$b

4

3$

3

£

(7

*/f.

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

BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY

Dtvbfetf

^S^j

THE
Vv,;^
i

s

*WV.p.

i.

^

-,«

1st

^5*1

of

rtfi^s

AMERICAN HARP:
BEING

><> 9 1932 ^MCH 6t*S

A

COLLECTION OF NEW AND ORIGINAL

CHURCH
ORGANIST TO
ST.

MUSIC,
IN

UNDER THE CONTROL OF THE MUSICAL ROFESSIOKAL SOCIETY
ARRANGED AND COMPOSED BY CH. ZEUN£R,
PAUL
S

BOSTON

CHURCH, AND

T0|

THE HANDEL AND HiYDN

SOCIETY.

STEREOTYPED BY LYMAN THURSTON &
1

Co.

BOSTON:

PUBLISHED BY HIl)LIARD, GRAY

&

Co.

CAMBRIDGE: BROWN, SHATTUCK&Co.
/

Entered, according to act

of

Congress,

in the

year 1832, by

CH

:

ZEIXER.
Massachusetts

in the Clerk's Office of the District Court of

THIS
IS

WORK
RESPECTFULLY DEDICATED,
TO THE SINGING CHOIRS OF ALL THE

CHRISTIAN WORSHIPPING ASSEMBLIES,
In the United States of America.

/?

NIL MUSICAL PROFESSIONAL SOCIETY OF BOSTON,
Respectfully

recommend

this

work

to the Public.

I'.\(

EPTING Old Hundred and four other Tunes,
Professional

all

the .Music herein contained

Organist to the Park Street Church, and to the Handel and
signed Trustees of the Musical
satisfaction to express

Haydn

Society.
it

is originally composed by Ch: Zeuner, President of the said Society,now Mr. Zeuner having submitted this Work for the examination of the underit gives us both pleasure and purpose, combining a sublime and sacred character with

Society,
its

we have found

possessing great beauty and correctness; and
its

our entire approbation of
It

contents, as being perfectly appropriate for

ease and simplicity.
indefatigable Study
tdl

is

suitable for the different capacities of different Choirs,
it

whether

in the city or in the

country

;

and being a

Work

of great and

and laborious exertion,
interested
for the

is

but just that Mr. Zeuner should meet with thankful and encouraging acknowledgments from us, as well as

others wiiu

feel

promotion and improvement of Sacred Music.

To

select

Music

for sacred

Operas, Marches or Glees, and to introduce such into the Churches,
published
•ir

we condemn

as highly improper and absurd.

purposes from common Songs, from This book is, perhaps, the first ever

and as almost every work passes through the hands of the Profession, more or less, before published, and and better conviction, we cannot doubt gaining public confidence The method of d patronage for a book, the merits of which are exclusively supported upon our own professional recommendation and responsibility. [ruction attached, is upon Pestalozzi's principles, as generally used, with great effect on the Continent of Europe, affording methodical facility to both
in this

country by the Profession

itself;

names are frequently attached

as a recommendation, even contrary to their wishes

jrs

is,

and pupils; and it surpasses any other method for instructing and forming Choirs. This book, if sufficiently sought for, is intended, in future The Small Notes between the Treble and Bass, are either for the Organ or Piano, and to reach four hundred pages, but nothing will be altered. Ale such as do not understand Thorough Bass to accompany the voices properly, although the accompaniment may be omitted without detriment to All the Hymns and Poetry are taken, with permission, from "Church Psalmody, a Collection, &c. fee. parts, which are perfect in themselves. Public Worship, by L. Mason, and David Green, of Boston, and published by Perkins and Marvin," which collection having been selected ked with peculiar care, judgment and ability, is a chaste specimen of Sacred Poetry. The Hyrnn tunes in Chant style will be found of great utility: uently difficult to find an appropriate Hymn to many Stanzas, they are intended to obviate many rhythmical imperfections,
I

as might desire
psic,

some

further information in Singing, as well as a collection of Chants, Anthems, &c.

we recommend Mr. Zeuners new and
it

original

consisting of Anthems, Motetts

and Chants,

to

be had of Hilliard, Gray,

& Co.
will give satisfaction not only to the

)ur profession at heart,
Stself,

we

trust

Mr. Zeuner's work will have an extensive circulation, convinced that

but also to the liberal Amateur, and to any congregation where Music forms a part of worship.
Sept. 12th, 1832.

[•ox,

G. G.
C.

J.

E. R.

WEBB, Organist to the Old South HANSEN, Organist to St. Paul's GRAUPNER, Professor of Music.
Professor of Music.

Church. Church.

GEITNER,
GEIB,

G.

Professor of Music, and Organist.

G.

POLLOCK,

Secbktart.

Preface to the Second Ediiiosa,
is sensible of no small degree of satisfaction in presenting It is an original public a second edition of the American Harp. work of Church Music, composed expressly and exclusively for the worship of God, and not a mere adaptation of opera airs, glees, songs and marches. This character has gained for his work a degree of favor which alone has been sufficient to compensate and console him for the many difficulties with which he has had to contend, particularly as these difficulties have, in a great measure, perhaps wholly, had their origin in attempts to decry and slander the Editor and his works by some who are in the habit of imposing upon the public theatrical, operatic and other

Ic^pTiie Editor
to the

compositions, more particularly with Church Music, winch ought to be In the second place, it is sacrithe most perfect in character and style. legious to rob the church service of its solemnity, and dignity, in order Church Music ought always to be to gratify either ambition or avarice. free from unhallowed associations, and its character, dignity, and solemnity ought to be constantly guarded, and as far as possible religiously preserved from all derogatory influences and corrupt and debasing tenIf such be not the true character with which Church Music be stamped, there can be no limit fixed, and Sacred Music will become so mixed and entangled with every other style, that neither reason nor custom will be able to draw a line between sacred, and secular or profane Music, and instead of its being what it was evidently intended, and what it has always been believed to be, a powerful means to warm and raise the heart to join in songs of praise and glory to AlmighIt will be felt by the Chunks. ty God; it will become a mere mockery. as a curse not easily removed. It will offer occasion for levity, unholiness, and irreligious feelings. Are the public ready to substitute Secular for Sacred Music in the Musical part of public worship? Has the time arrived when Sacred icords are to be associated with Secular Music for common use in our Churches? " My house is a house of prayer, " Stc. If one happen to hear again in the Church what he has before heard in a profane place, he must indeed doubt, whether he be in an insane hospital, or a place of worship. Gretry says in his 'Memoirs, ou essais sur la Musique,' when he speaks composer who writes for the church of the style of Church Music: " ought to be exceedingly rigid, and to mingle nothing that appertains to the theatre in his work," What a difference is there indeed between the sentiments which reign in Psalms, Anthems, and Hymns, and the vehemence of the passions of love and jealousy! Thoughts which aspire so high beyond the reach of our knowledge give birth to feelings of awe. All the sentiments that rise to the Deity ought to have an appropriate and devout character. The study of harmony and the beau ideal of harmonical combinations ought to be the peculiar pursuit of the ecclesiastical composer. The Editor.

dencies.

ought

secular or profane music, (for sacred,) by slight adaptation of sacred words to such music as will suit their purposes. Among the objects of the Editor, it is a principal one, to contribute as much as possible towards establishing a chaste and pure style of Church Music. This he anxiously hopes to be able to accomplish, by From the abuses and absurdities that correct Musical publications. exist in well known publications, it is not a very difficult matter to demonstrate that the Church is inundated with Music of a frivolous, For example, in the trifling, and, may we not add, profane character! Choir * p. 55 'Sudbury' is the air of JVid Nid JYoddin,' from which also a strain may be found p. 290; p. 203 is a song To sigh yet feel no pain;' p. 241 is a comic composition by Handel, The Harmonious Blacksmith ; p. 332 may be considered as" a military march founded upon TJie Brave Swiss boy; p. 50, from a German Waltz by Mozart. a song, More special selections might be cited as highly exceptionable, which -even the moralist would, (and ought not the professing Christian ?) exclude from the worship and temple oi" God; viz. 146 No. 2 222 No. 2-—252 254—262—269 No. 1—306—332 etc. Many pieces are taken .No. from operas, now performing on the boards of the American and English Theatres 1 viz. 72-83,-88,-117,-273,-321, 8tc. The pieces above de'

— — —
'

'

'

A

1—

,

signated whether adopted through ignorance of their original character, or with a view to spice a work, to suit corrupt tastes is alike deserving of, and obnoxious to just criticisim. In the first place, ignorane and inexperience have at best but a very doubtful right to meddle with Musical
*2n<i. Edition.

Rem.

1st.

The arrangement of the
in

&em-2nd. The exercises

Tables

parts are as usually printed. The melody next the Bass, 2nd. Treble, next above the Tenor, the top line, and the small notes for the Organ. I. and II. may be practised without singing by counting the beats, and clapping the hands for each note, however quick.

J

INTRODUCTION TO THE ART OF SINGING.
Of music.
Remark: Music
consists of

grees, namely: five lines, and four spaces (counting from the bottom up-

Melody and Harmony.

wards.)
5

Melody, is the air or tune of a composition, or the most conspicuous and flowing, and generally the highest part. Harmony, is the combination of several sounds at once, by which an agreeable effect is produced on the ear, and the connexion existing between different Chords, (whether Conchords or Discords,) in a whole
composition. Notes, signify all signs by which the different sounds are expressed, recognised or represented; also the Cliffs, Rests, Dots, and all other The notes are placed higher or lower on the necessary characters. lines or spaces, according to the height or depth of the sounds which they indicate.

thus

l

43—

The

five lines.

m
The

four spaceB.

On these lines and spaces of the staff* are placed the notes of music, (musical notes are expressed by white and black signatures, thus O or •; they have stems occasionally attached to them, which may run upwards or downwards, it is quite immaterial,) »— © —p — — p—w

FIRST LESSON.
ON THE STAVB AND CLEFS.

m *
which are only seven
in

p"

The system
called notes,

of lines on which musical sounds are represented by signs

is

termed the stave;

— thus

which has nine de-

number, and they are named after the first seven A, B, C, D, E, F, G, Should a melody or tune exceed these seven, the same series of letters are repeated.
letters of the alphabet:
is

As

it is

of great importance that the situation of the letters

upon the Staff should be perfectly known, the student

advised to commit to

memory

the following Scale or

GAMUT.
Treble, Alto or Tenor.

E — First

Bane.

F— Fifth-line
E Fourth space — D — Fourth-line
(Xj

G

above First space above
leger line

C— — B

First leger line above First space above

-A— Fifth-line

.

o-

H J
w" -

4

-C
I)

B—Third-lineA Second space G — Second-line
First space F-—First-line
First space

C

Third space

02

<
SB"

X

-es-

F — Fourth-line— — E
Third space

G

Fourth space

-D—Third-line


/

F

— A

C Second space B — Second-line
First space
First space

-G— First-line-First
I<.'<'<t

— First-iegtr-liue-below-

below

line

below below

:


INTRODUCTION.
gravity of considered

I

II

degrees of these notes, as to acuteness or of course understood, that a note can neither he acute nor grave, until it be compared with another) depend marks, representing letters, called clefs, which are placed at ning of a staff;
diti'ercnt
is

The

Bound

it

on certain
the begin-

staff,

thus: fix

Should more notes be desired, an extra

line is

then added above and below the staff and notes placed on them:

thus
All the different notes take their
cleft

M
names from
the lines

on which these

3
These
lines.

or

/j*s

may be

placed; Thus:
additional lines are called ledger or leger lines, short or light

Treble:

Bass

— Tenor
F

Counter.

Alto:

ft
i i

Example.

this is of no imRemark: Some write cliffs, iffs. others cleffs or cleaves The word clef is derived from the Latin (clavis,) a key; in which sense we look upon a clef as the key that opens to us the names

nrzZTZZJ i~ a
E
F

portance.

"#" "•"
Still

D

G

A

-m—P9 —iT^» P— BCD
r r
D
if

*

++A
B

E

F

G

and pitch

with respect to acuteness and gravity) of every note in music.)

more notes may be gained,

necessary, in the like manner, by

the application of other lines.

Example. Example.

• +-

iz^
than nine notes (which the staff can only contain) are required, two degrees may be gained, one above, and the other below the

-wr-F-

When more

[-3- "#""•" — "«"•"
B

j

-r— t
u
E f

g

a

b

C

cue

f

g

a

n

c

d

j

a

a

QUESTIONS.

QUESTIONS.
8.
1
!(.

QUESTIONS
13.

Wh

it is

understood by Melody f

What menus the word Harmony What signifies the word .Votes? What is a staff' How many degrees contains the staff?
II hi'

How many How many
What What What
is

lines contains the staff?

Wiiat

is

spaces?

14. 15. 1G.
17.

What

is

the the

name of the name of the

fourth line fifth line?
?

?

Questions for Trebles and Tenors.
10.

?

How

do you do you

call the
call

spaces above or below the staff? the notes?

11. 12.

is
is

the the the

name of the first line ? name of the second line? name of the third line ?

18.

How do you call the first space How do you call the second space How do you call the third space ? How do you call the fourth space

?

?

REMARK:

The master

is

requested to practise after each lesson, the Time and Scale Tables, 1-2-3, &. 12.


INTRODUCTION.
LESSON
Of Notes and
The Bass
or

r

r

111

II.
Clefs.
situated on the fourth

The

Alto, Counter Tenor, or

C

clef

is

situated

on the

third line of a staff.

F

Clef

is

always

in

modern music,

line of the staff,

the note consequently on \&i that line becomes

F

_Z—CZ—

p

—-

f trom

TENOR.

whence

all

the notes in that staff derive their names.

^
A &c
is

=Q=i
1

COUNTER OR

Example of the notes

in

the Bass.
k

m

ALTO.

—rn n
_

I — n-i-i-^-e-©i

——

P
E"

9 T~

•P

I

rrPTi

^
The Treble
note becomes
their

1

EEEEE —— T£ •" * FGABCDEFGABCDEF
D

m
staff,

E

clef

is

always situated on the second

line

of the

the

G

— from whence

all

the notes in that staff derive

names.


— eTJ~*~
G

q

"

»~l*~rzrzr — — —rs~»-* i— — zzz A BCDEFGABC
i
i

_

C &c likewise placed on the first and second lines of a staff; the notes in that case derive their names accordingly, C being always the name of the note situated on that line, wherever the clef may be placed, as before observed. When the C clef is stationed on the first line of a staff, it is called the soprano or canto clef, and is used for the voices of boys and females. In Italy and Germany this clef is in general use for the Voices, Organ and Piano forte, most in ancient compositions The Treble or G clef being reserved for the violin, flute, Sec. and high Treble voices. When the Clef is stationed on the second line of a staff, it is called the Mezzo Soprano clef, and is employed for the voices of boys and females, of lower compass in respect to pitch than the former. -r*

The C

clef

rrl

D

E

F

G

SOPRANO. ~
1

r

A

© I' -^ ^# • •
1
! 1

"i

i


i

r~
I 1

© P r
i

"i

r

i

i

I

i

1

C D

E F G

ABC
P
1 1

D

E F

G

ABC
m-F-

The Tenor

or

C

Clef

T

is

generally situated on the fourth
1

of a staff, the notes of course derive their which the C clef is stationed.
line

names from the

line

on

MEZZO SOPRANO

~^~ i i
i
i i

-

P
i i 1 !

i

-FPPf r
i

i

ABC

i

i

D E

I"

G

A B C

D

E F

G A

IV

INTRODUCTION.
tions,

or F Clef was also placed on the third line, in old composiand called the Barilono clef; it was used for the voices of men, who could not sing so high in pitch as a Tenor, nor so low as a Bass.

The Bass

In general use however, in our time only the Treble and Bass Clef, Tenor, and Counter Tenor, 01 Alto, seldom, and the other clefs very

uncommon.

IUrm >*.>.

^±j^T* -*
QUESTIONS.
i

r-r=

=
QUESTIONS.
8.

QUESTIONS
use
'

1.

2.
3.

4.

On On On On

5.
t>.

7.

which line is the Clef of F Ba« clef) situated ? which line the Treble Clef? which line is the Tenor Clef situated ? which line the Counter? For which kind of voice is the Bass Clef? Is the Tenor Clef for female voices? Which kind of voices have the Counter Tenor to sing.'

Which

clefs are

now

in

common

12.
13.

9. 10.
11.

Qiistioss tor Bas? SnrazRS. Can you tell me the name of the first line
clef ;

14
in the

Bass

15.
lt>.

What is the name of the fourth line? What is the name of the fifth line Know you the name of the firat space Tell me the name of the sec ind spa Do you remember the thir
'

J

What
Wli.it

is is

the the

name of the second line name of the third line?

?

17.

You

certainly can

tell

us the

I-

For which kind" of v icesisUieTn
tk •first tirj lines

splayed?
12.

REMARK:

The teacher

is

requested to practise with his scholars, after each Lesson, the time Table 1-2-3-4

and Table 5

and Table

On
**
\)

the Tlarks

ol*

Transposition, or the Sharp, Flat, and
within a

.\atiiral.
Mat v.r n-D «Separate I.* such notes as fall upon the line, or space ne bar, though to pit- •< nt mistake >. they
t
-

B

Each of the seven primary notes, C, D, E, F, G, A, B, mentioned Thus, before, may be depressed, or elevated by marks of transposition.

Tune, they

affect only
i

3.

single,

&

— double — single h — double
which
it

h or

h|).

on which they are marked, for are usually contradicted by a natural.

Both single and double marks of transposition are used.
Flat, directs that the note before note lower than its natural tone.

The marks
1.

of transposition are either essential or accidental.

A
A

is

placed, be sung half a

Essential,

when they are
and so
j

Sharp, directs that the note before which it is placed, be sung half a note higher than its natural tone. A .Vatural, directs that the note before which it is placed, be sung neither higher or lower than its natural tone: and it is used to contradict Remark. Flats, or the Hats «r sharps, placed at the beginning. N.c. sharps, placed at the beginning of a Tun'?, affect every note upon that line or space, throughout the whole, but when placed before any note

sition, after the clef,

oint out the

written at the very beginning of a key in which the piece

compois

writ-

ten; in this case, they transpose throughout the entire piece, those notes whose place they occupy on the stave.
2. Accidental, when, in the course of tiie piece, they are placed by the side of the notes: then they preserve their influence, only throughout that one bar; unless, during the course of it, they should be again con-

tradicted bv a natural.

QUESTIONS.
1

QUESTIONS.
5.

QUESTIONS
9.

2. 3.

4.

What is the use of a flat? What is the use of a sharp ? What meaning has a natural? How many kinds of tlau and sharps

Do you know

their

names

?

6. 7.

are in use

?

d.

with a sharp ? Can you tell the name of the note A with a flat How many kinds of transpositions do you know ;
call the note

How

do you

C

10.
:

11.

12.

What shows an essential transposition What is meant by an accidental transpoe What is the use of a doable sharp What is the meaning of a double flat
: ;

r

INTRODUCTION.

LESSON
On
the

III.
the rests equivalent to

Names
them
I.onga.

of the Notes and Rests.
Minim.
Crotchet. Quaver. Semiquaver. Demisemiquaver.

form of

the notes, their value,

and on

Semibreve.

in duration.

rzzm
Notes.

various forms of the notes determine their value, time, or duration, rests, bear a certain fixed relation to them. These latter direct the singer or performer to cease for a longer or shorter period.

The

EQ3
Two
bars.

and the

Uncommon.

ilHi^j^i^!^^
I
.*

4

16

3f

Proportion of the Notes.
Form One Semibreve
of them, their value, time, or duration.
Rests.

_Q_
-

PH^H^Hg
"Uncommon
"5"
j

Semibreve.

Minim.

Crotchet. Quaver. Semiquaver. Demisemiquaver

-

-

-

-

is

equal in duration to

2 Minims

ZUZZ
"
i
i

4 Crotchets

r
i

"i

i

Here it may be seen that during the time of one semibreve, two minims must be sung; similarly in the time of one minim, two crotchets; in the time of one crotchet, two quavers, &c. &.C., in order to fill up the time of the longer notes by the increased number of notes of smaller valFrequently three equal notes are required to be sung in the time ue. that two of the same kind would naturally be; these notes are called triplets, and are usually distinguished by the figure 3.
The
triplet of crotchets, is

equal in value

The

triplet of

quavers

&c. &c.

8

Quavers

16

S emiquavers

-

3-2

D emisemiqua-

nrriTr n

i

i

i

rrrrrrrrrrr
-cr

vers.

vv^^S*5^s^^

a
5.
6. 7.
?

Two

Crotchets.

Two

Quavers

1.

2. 3. 4.

QUESTIONS. How many kinds of Notes are there ? How do you call them ?
Which is the longest note ? How many minims is a semibreve
equal to

QUESTIONS.

QUESTIONS.
?

How many How many How many
What
now

crotchets

minim equal to ? quavers do you count to a crotchet
is

a

8.

semiquavers ? means the value of the notes?

do you know the length of a note ? 10. What is a triplet? 11. How do you know that certain notes are triplets?
9.

How

12.

Do you know

the rest

?

REMARK.

Time and

scale are

to be practised.

{The master examines his pupils about the

rests.)

VI

INTRODUCTION.
LESSON
O.V TIME,

IV.

AND ON THE BAR.

and equal movement in music, which our feelings naturally resolve into short and equal measures, or portions of duration, and which measures, they again subdivide into a constantly equal number of elements, or units. These elements we shall call parts, and the constantly equal number of them, which concur to form a whole measure of duration, make what is called a Bar; from this we see, that whatever is rythmical in music, is comprised under the idea of time, and that the term bar, as compared with time, is only a subordinate division of this rythmic and equable movement, accordingly, Time includes:

Time,

is

that rythmic

The different species of time, are with one or two exceptions, indicated by two figures, in the form of a fraction; the bottom figure, shows the value, and the top figure, the number of parts of the bar contained within the bar itself.

^ji—

4_4—

0-:

1.

The

marks of figures which are placed
changed
2.

determination of those rythmic numbers of equal parts, by at the commencement of a piece, im-

Before the Pupil begins to learn any tune, let him, in addition to the signature, attend to the marks of time. The parts of the bar, are divided into accented, and unaccented. By the former are to be understood, those parts upon which our feelings naturally bestow a certain degree of weight or stress.

mediately after the clef and signature, in the course of the piece;

and which sometimes appear

The

degree of movement
strict

determination by means of words, of the quicker or slower (il Tempo;) and lastly: the constant, equable, and preservation of this fixed degree of movement, usually called, keep-

The latter pass by our ear, as it were, and, in comparison with the In beating, or marking time, by former, appear light and unimportant. means of the hand, the former are distinguished by the falling, and the latter by the rising of the hand.
Emphasis is frequently misapplied for accent, and accent Hy accent is meant a certain stress of the voice, of a emphasis. longer or shorter, stronger or weaker, higher or lower, quality of sound upon a particular vowel or syllable in a word; but emphasis is the peculiar tone of importance or stress, given to whole words or sentences. Without accent, there is no more melody in song, than in the humming of a bee; and without the regular management of long and short syllaThere are as many different accents, bles, there can be no versification. or modes of enforcing or enfeebling the meaning of words, in music, as There is a yes that says no, and a no that says yes. The in speech. voice of a feeling singer, can modulate all these shades, and affect the hearer on the side of intellect, as well as sense.
Remark.
for

ing (he lime. On (lie other hand, by the word Bar, is to be understood, a group of notes, which, according to the time fixed upon, are separated from the following notes, by strokes drawn perpendicularly across the stave, in order to place more clearly before the eyes of the performer, the rythmic divisions of time. Hence, all the space contained between two such strokes, [bar lints;) together with the notes contained therein, form what is called a Bar

Example.
1

_2

-

2

-

-

4

bare.

QUESTIONS.
1.
'2
:i

QUESTIONS.
5.
6. 7.

QUESTIONS.
9.

time or rythmic in general ? Wli.it is a incisure ? What means those figures placed in the beginning of a piece of music ?
is

What

What shows the top figure ? What else is to be understood by What means keeping the time ?

time

?

10.

What is musical accent ? Which notes have no accent?

11.
12.

9.

How

do you

call certain strokes across the staff?
to practise

How How

do you beat the accented notes ' do you beat the unaccented notes?

4,

What shows

the bottom figure

?

The master continue

time and scale.

.

I IV

T R O D tJ C T I O IV
To
Triple time belongs:
consists of three minims.

Til

LESSON
On the
There are three kinds of time, equal,) and Compound time.
1.

V.
Triple, (unj

3 Three minim time, -~- the bar of which
this time

As

Time.
sent
j

Common, (even, equal,)

all

does not contain any groups of three notes, if we desire to reprethe 3 parts by a single note, we may supply the place of the third
dot.

Common

the
ed.

first

times are those which contain an even number of parts, of each couple being always accented, and the second unaccenttimes belong: four Crotchet time,

j

part,

by means of a

To Common
time,

4 —ris

i

usually called

!

Three crotchet-time,

3 j—

as well as three quaver time, -q- differ from

3

common

and marked by a C;

this strictly

speaking,

a doubled -jthe foregoing only by the alteration in the kind of notes; as,

time, divisible by the

number 2 into twice 2 parts, of which the former is always accented, and the second unaccented; consequently, each bar of four crotchet time, contains 2 accented and 2 unaccented parts, as:

{

3_

4

8


The


is

3 S
Two

3.

Compound

times, are those in

main the same with regard

to the kind of notes

which the parts of the bar always reemployed, and which ap-

pear multiplied only with regard to the number of them.

Thus:

less Allabreve, or

2 minim time, -—- generally indicated by 4fc
a minim.
crotchet

4
9

6

is

a doubled

3

4
3

8"

6

is

a doubled

3

8
3

contains two parts or beats, each of which
time,

4

is

a tripled

4

9 8

is

a tripled

8

2 -.

differs

from the less Allabreve, only

in this, that in the latter,

1

2

8
the parts of the bar are minims, in this crotchets

a quadrupl ed

3

8

are those of which the bars may be divided into 3 equal parts, of which the first is accented, and the other two are unaccented.
2.

Triple times,

It will now be of great utility to the pupil, to learn to mark or beat the bar of these different times by himself; by so doing, he will acquire a more correct idea of precision in time, and of musical rythm in general.

viz. the

Tables No.

1,

2*, 3, 4.

QUESTIONS.
1.

QUESTIONS.
4. 5.

QUESTIONS.
7. 8.

How many

2.
3.

kinds of time are known to you ? Can you tell us the names of all of them ? Which notes are the accented notes in common time?

6.

Which in triple time ? What is the difference between Allabreve and | time? Can you remember some of the compound times ?
to be practised,

What

kind of time
call f

is

| time

? ?
?

Don't you

Common

time

9.

What's the difference between accent and emphasis

REMARK:

The time

is

now

Table 1-2 and 3, also Table 3,-the first two lines,

and Table

12.

--

Till

IXTRODl'CTIOX

LESSOR
Marks
indicating repetition

VI.
at

On Musical Characters.
were more numerous formerly than

The characters now in use serves to denote the repetition of present. both parts of a theme or composition, as :||: or of the first part only, as or of the second only, as II: according as the little dots or dashes are
:
I

times under the notes, and implies that the group of notes embraced by it, must be connected together closely and smoothly, without striking the following note again. The word Legato (tied) indicates also that the whole musical Period in which it stands, even when no slur appears, must be played in the smoothest and most connected manner.

Mark

( • •

or

M

t

t

t
,

placed on the one side, or on the other. Should one or more bars at the end of a strain which is marked for repetition, be performed the second time in a different way from the first, and so require to be passed over on the repetition, such alteration is pointed out by the expression 1 ma. volta, (first time,) and 2 da volta, the second time;) and the bars to be slipped, are enclosed by a curved lii.e drawn over them, and omitted on the (2 da volta,) or repetition.
i

detached from one another. ed Stuccato.

indicating that the notes are to be perceptibly This stvle of singing or performing is call-

When

a curve

is

drawn over the

dots
it

-

—the notes receive a

cer-

tain increasing

degree of emphasis, and

is

called portamento.

1

ma

vulla
)

_ _(iLret.1' "25

<—>

2 da vol la ^second time)

The Pauses (^) over notes and rests, indicates a point of repose to the performer. Should two pauses occur one after the other, separated only by a few notes, the performer must dwell on the former a shorter time than on the latter.
Pause, or stop, /JH Sic, should be increased and diminished thus, after which a profound silence for a few moments, gives it a wonderful effect. In crescendo, we must open the mouth a little at first, and by degrees more; in decresctndo, just the reverse, both have a fine

—=:=^::='~
The

A

slur

«

\ which
Tie.

is

similar in form to the bind or tie occurs
Slur.

effect.

thus

m

r~P~

sometimes over, and some-

The crescendo (~=Z) shows by its form that the quantity of tone or force required in performing, constantly increases from the point where the lines meet, towards the opening; as in the decrescendo (1=—) it
gradually diminishes.

QUESTIONS.
What 2 What 3. What
1.

QUESTIONS.
4. 5.
tie
;

QUESTIONS.
7. 8. 9.

is
is
is

the meaning of a repeat? the use of a Blur > the difference between the slur and the

C.

What means a curve line over the dots ? Do you know the meaning of a pause ? What means the word crescendo
?

How

is

What What means

decrescendo to be performed means singing Ltgatof
the

?

word

Staccato T

REM.1RK:

Time, and Scale and Intcrtals are note

to he practised.

©


INTRODUCTION.

——

r

IX

LESSON
,

VII.

On Musical

Characters.

(This lesson demands the particular attention, as it has an important influence on the accurate perception of time, and on the correct division The It is closely connected with the preceding lesson.) of the notes.
dot lengthens the note behind which it is placed, by one half, of its natural value; consequently, a minim with a dot is equal to three crotchets, 8tc.
dot, as well as the tie or bind, lengthens the value of a note.

rests have a similar power to those after notes. Notes are termed syncopated, when their rythm sometimes precedes, and at others, follows after that of those notes which occupy the place of, and which mark the natural and equal divisions of the bar.

Dots after

One

ri" \~jr* STZ3 • I* r
naturally,

i

3

\—

w~P~\
syncopated,

— 3ESS9E m
1

:n:

T"

n

51

THUS.

On

Shakes.
marked
(.

i^iiiiii^i
-©-.

Shakes are

in

Music Ijiportant Graces.
is

5
=r

pmp^ipgia
is

A
thus.

turned shake

jt~ j-j

if to

be sung

n nTTTrn 0&&&&&P&?

If two dots are placed after a note, the first and the second to the half of the first dot.

equal to the half of

it,

thus.

>

%

i—

^^h^p=fe^pj

Shake
written thus.*

men
TO BE SUNG.

^hake. leading grace. Anticipation. *Forzando. *Tenuto.

Bis..

QUESTIONS.
1
.

What

2. 3.

How How much

the use of a dot after a minim ? much, adds a dot after a note or rest?
is is

4.
5.

a dotted

minim ?

6.

QUESTIONS. How much is a dotted crotchet How much a dotted quaver? How much is the second dot by a minim
?

QUESTIONS.
7.
!

How much

6.

?

|

9.

the second dot by a crotchet ? What are syncopated notes ? How can you know the movement of a composition

?

Time, Scale, and Intervals are

now

to be practised.

INTRODUCTION.

LESSOR
mines the principal key of the piece.

VIII.

2. The major or diatonic semitone, on the contrary, stands always on the next degree, above or below; as:

On the Scales. Every musical composition is founded upon one or the other of the 12 notes comprised within the compass of the octave, and which note deterSignifies the Diatonic major or minor Scale, as formed from anj tone, in which a ((imposition is written, and from which tone it obtains its name. The Diatonic Scales, consisting of whole and half tones,
jr.

n

•=**

J26~I£

1

K

we

late or

arc compelled to use more or less, Flats or Sharps, in order to regukeep the tones at a proper distance, hence we have as many keys as halt' tones within an Octave, and hence the meaning of placing Sharps

or Flats, b< fore a

Piece of Music.)

character of the key depends upon the scale, that is, upon the correct orderly succession of the notes by degrees. By the word scale lamul is to he understood the regular succession of whole tones and semitones, ascending or descending by degrees.
<

The

Semitones are of two sorts, major and minor; The minor, or, as it is also tinned, the chromatic semitone, is formed by a #, |>, or fci, and stands always on the same degree of the stave as the preceding note as:

M
QUESTIONS.
i

zszzfai.

I
6.
7. 8. 9.

It follows therefore that a whole tone, always comprises one major, and one minor semitone; and, that between the two tones which form the whole tone, there is always a half torn in the middle. The scale is termed diatonic, (natural,) when it is composed of tones and semitones; chromatic, artificial. when it consists of semitones only. Each of the 12 principal tones in an octave, may be either major, (greater) or minor, (less); the former is determined by the major third, and latter by the minor third. Since each of the 12 degrees of the octave may be taken as the root or commencement of a scale, and since this may be either major or minor, there are in all 21 keys. To render the Pupil familiar with, and certain as to the succession of notes in the most common scales, Gamuts) I should advise the master to explain to the scholars the regular succession of tones and semitones in both the major and minor scale, and to take care that they be thoroughly grounded in them, for this purpose, the scales of C major and A minor should be selected as models, they being the most simple. The major scale contains 5 whole tones and 2 major semitones; in ascending, the latter full between the 3d. and 4th. and 7th. and 8th. de>
|

i

grees.

QUESTIONS.
Can von
tell

QUEST I%\
II

-

notes do you count within the compass of an octave ? Row many sorts of semitones do you know? How is a chromatic semitone formed? How much comprises a whole tone ?
[

iw

many

us the names?

Can you
nor key

tell
?

us the difference between major and mi?

10.

Of what is the diatonic scale composed ? Of what consists the artificial or chromatical scale? How many whole tones contains the diatonic scale ? How many halftones?
to the

12.

How many
minor third

semitones contains a major third
?

—and a

How many

sorts of scales

do you

know

?

The master proceeds

common

usefvl practice of Time Scale

and

Intervals.

——
INTRODUCTION.


IX.
3 whole tones. 2

r

\i

LESSON
Scale or Gamut, of
DEGREES,
maj. se miton e *

C
*

major, as a model.
wh ole tones.

maj semitone

1-2

mj. sem.

2 whole tones.

3

whole tones.

mp. sem.

Remark: In descending, the succession of notes remain the same as
though the order is inverted. scale differs from the major in ascending, merely by the minor third, since the major semitone, lies between the second and third degrees; in descending, on the contrary, the succession of whole tones and semitones is very different.
in ascending,

The minor

Scale or Gamut of
maj, semit.

A minor as

a model.
maj
.

DEGREES.
maj
,

maj. semit.

sem it
,*
i

i

I

i

rzz~

r

T
Q whole tones.

semi t.

1

whole tone.

4 whole tones.

2 whole tones.

1

whole

tone.

(In descending Minor Scales, the major 7th note is often used in There still however remains much doubt as to the place of the minor. employment of it. For my own part, I introduce the major 7th note, when the scale belongs to the harmony of the dominant, and the minor, when this note immediately succeeds the tonic, in both cases preserving the minor sixth note.) As a practical exercise in all the Keys, and to impress firmly on the mind of the Pupil where the marks of transposition, of each Key are set; the master should write out the notes of a scale, and let the pupil add the required sharps or flats in their proper places, according to the arminor, given as models. rangement of the scales of C major, and By this means he will acquire a knowledge of the signature proper to any given Key, and will abstain from employing a false succession of notes through the want of a correct ear. Remark. The major seventh is usually called the leading note; some technically call it the sensible, or stimulating note; and others the pointer, from its seeming to announce the note to follow. The expression, leading note, is in general used. In addition to former scales, (Gamuts,) there are also enharmonic mutations of notes, (consequantly,) an Enharmonicul Scale. These mutations are of importance, as, though they alter the notes to the eye, their pitch and place or sound remain unchanged, as:

A

perceive that in descending, the two major semitones lie between the 6th, and 5th, and the 3d, and 2d degrees. The Pupils should pay particular attention to the descending minor scales, because from them he will most readily gather the number of sharps or flats required for the signature of the minor keys. The relative, (correspondent) minor keys, all originate from the major keys, having the same common signature; the minor third below the major key note, is always the root of the relative minor key.

From the model, we

Enharmonical Scale.

~T — — — — — Q-itJ^'-t^®^ — —
I

"i

i

-./

i

;

1

i.

i

i

:

|

j:

\

— — 3bSs@#©-^
i"

i

:

'IT*

i

-#-#•-

QUESTIONS.
1
.

2.
3.

Where do you find the two semitones in the major scale? Where is the place of the semitones in the minor
scale
?

QUESTIONS.
4. 5.
6.

QUESTIONS.
7. 6.

How

What is

the difference

between a major

& minor scale

?

do jou find the relative minor Keys ? What is the difference between a chromatical and enharmonical scale. Do mutations alter the sound ?

What

is

the only alteration

?

In which manner can you find out the relative (cor respondent) major Key ? 9. Which Interval is called the leading note ?

The master proceeds

to the practice

of Time, Scale, and Intervals, the scale icith,or without pauses.

Ml

LESSOIV \.
O.v Intervals.

IXTRODICTIOA.
Perfect Fourth;
one semitone.
iiiven note,

consisting of two tones and

)

Ex.

vJ o m.

-

(

Interval signifies the distance of one note from another which may be termed the root or bass note as:

Sharp Fourth;

<£-©
(called also

_Q
I

Tritonus;)

con-

)

Ex.

::___^_
Names of the Interval*.
Prima or Unison. Minor Second.
.Major Second. Minor Third. Major Third. Perfect Fourth.

sisting of three tones.

i

Flat Fifth;
Perfect Fifth.

(called

also

imperfect

or

fake

|

Ex.

^
-©-

I

fifth;) consisting of

two tones and two semitones.

S

Sharp

Fifth.

Minor Sixth. Major Sixth. Minor Seventh. Major Seventh.
Octave.

Perpect Fifth; consisting of three tones and one semitone.

)

Ex

,m cr

J

^

Sharp Fourth.
Flat Fifth.

Minor Sixth; two semitones.

consisting of three tones and

)

Ex.

^ D_
VJ
-

Example.
Prima;

EE== oo:
Ex.

Major Sixth;
semitone.

consisting of four tones and one

)

Ex.

ZV
*-

)

Minor Second;

consisting of one semitone.

rr -©-I
Minor Seventh;
(flat

seventh) consisting of

)

Ex. ffi1

Major Second;

consisting of one tone.

:,M o
)

four tones and two semitones.

^1

-O
Major Seventh;
five

Minor Third;
semitone.

consisting of one tone and one

Ex.

S^EEI
XL

(sharp seventh) con sisting of tones and one semitone.

)

Ex.

>-*'

q

(

Major Third;
What
II
\v

consisting of

two

tones.

:,B
4.

Octave;
tones.

consisting of five tones and two semi-

)

Ex.

m
\

5

QUESTIONS.
1.
•J

QUESTIONS.

is

How many
manv

understood by the word interval : whole and halftones do vou End in a
;

How many
seventh
?

QUESTIONS
7.

whole and half tones contains a minor
a perfect fourth
? ?

8.
9.

perfect fifth
''

5.
?

Mow manv

contains an octave

G.
:

A

A A A

major third ? sharp seventh ? major sixth ? Jfcc. Jkc.

minor third

REM.1RK

Time and

st -It

are

now

to le

remembered, especially Tabic

1"2,

such kind of practise should the master bear in his mind.

INTRODUCTION.
May
be taken as a separate Lesson. On Appogiaturas.
itself

viii
to the dot.

the appogiatura borrows the whole value of the principal note, which

must be sung

Appogiaturas are at present often introduced as forming a part of the' bar, and represented by notes of the usual size; however in many cases they are still expressed by small notes. They may he considered as suspensions of the principal notes, from Appogiaturas are divided the value of which they borrow some portion.
into long

cz: xzdzzz
Written.

i

n

r>

*

and short.

long or accented* Appogiatura borrows one half the value of its principal note, when, according to the nature of the measure, that conIt will therefore be proper to denote at once sists of two equal parts. the real value of the Appogiatura by means of a corresponding small

The

On the
The

Turn.

note, as:

turn is a group of notes consisting of a principal note, and the It occurs over notes and also besubsidiary notes above and below it. tween them; it must neither be sung too quick nor too slow, but with vivacity, neatness, and energy.

Written

WRITTEN.

b

fe
TO BE SUNG. :»e
Before a note with % dot, which by
this

3t_
-p-«-

^FFi^^^l
1
mi?

TC^
G

means

consists of three parts,

I

HI
D

LESSON
On the
To
learn

XI.
all

Keys.
the

how many #

or

\)

are contained in the signature of

more easily their relation under the same signature, we may employ what is called the circle of perfect fifths; Thus, seek from C as a root, the perfect fifth above, G one #, and again from this latter; D two #, the fifth again A three #, u. s. f. till we come back to C again; and we shall find that each new fifth supplies the root of a new key and scale. While we explain to the pupils their signatures, let them compare them with the scales as filled up by
major and minor scales, and
to ascertain

major has only one #, the comparison he then will find, that ascending, this falls on the 7th. degree before F; that in major, a second # comes before C, also on the 7th. degree from the tonic, so in all the keys; So they will find all the keys of the sharps. To find the keys of the flats, employ the following circle of perfect fourths, counting upwards; thus, (telling C again as the rest:) we will find that the key of F major has only one \), which falls, in ascending, on the 4th. degree B; and that in the key of Bt>, a second b comes beTo find the relafore E, likewise the 4th. degree of the scale &.c. &.c.

Upon

and

that, in

tive

minor keys look page

xi,

Lesson

ix.

N

themselves according to lesson.

far as Afc>

B. The master examines the scholars about the keys, perhaps so and E# together with their correspondent minor keys

xiv

!9

OF ALL THE KEYS. SCALES VA
.

Key of C, Major Mode
«">
(

Key
lr-

o

f A, Minor

Mode.

X Seldom Cud.

"O"

)

X1T.

— O
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TT
oy /feu key o/*

1
KVy of £, Mi nor

,

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^ o Q O.
-©3S

^ Q O ^

Jtloae. Major Mode. (r, Jylajor G,

Mo de.

_© 1=2X1! O—"
Jfgy of D, Major Mode

O
_Kt_y of B,

*=£

J^^==EEEJ g O
LL
Major Mode.

Minor Mode

.Key o/\2,

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Key_of E, Major Mode.

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Keif of

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Key of B, Major Mode, f

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SCALES.
Key ofA\), Major Mode,
t

Continued.
.Key o/*jP,

xv
Minor Mode.

-© :cxz

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-©-©-

Q.

©

o: ©-

m

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Key of C, Minor Mode.

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i

Key of B\), Major Mode. -©-©

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D, Minor Mode.

©-

.Key

ofF, Major Mode.

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QUESTIONS.
1.

QUESTIONS.
j

QUESTIONS.
I

How many
of

sharps do you find in the key (or scale)

4.
j

A

major?

5.

2.
3.

How many
Which

in th« key »f is the relative minor

G major

?

key of

G major

?

[

j

6.

do you find the relative minor keys in general ? In what way can we find out how many sharps or flats a major or minor key needs ? How many sharps has the key of C major ?

How

7.
j

Why
Do
y

has
r»u

it

no sharps nor
flats
?

flats?

8.
9.

know any

j

sharps or Tell us how

other way to find ou^ *iow a kev needs ?

many

A

VERY IMPORTANT HINT FOR MASTERS" AND PARENTS.

Instruction in general should be made a source of pleasure and entertainment, and respect and confidence, unmingled with oread, entertained towards the master, by parents is the best security of the ultimate improvement of his scholars.

T
ALLE GRETT O

A.

BIIjK Ho.

1.

Exercise to practice the
ft"

Time without

Rests.
Mixt Time.

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La
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La

La

PORTAMENTO.

ALLEIiKO.
I

TABLE
'

Hfo. 2.

Exercise to practice the time with Rests.
t

Milt Time.

STACCATO.

B e<fiES3^3
1 I

I

ss^s 3
'

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eg
»

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f

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t

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LLEGRETJp.

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La &c
:

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szsizs:

s

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it
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p

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Beal two.

FT^=H*
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MODKKATO.

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JVo. 3.
Sins always
L.

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J. Improving a a clear a, like after or father. .W. ^^ .^h.

CiROCTVD AND FOUND ATIOIV OF ALI, SINGING. THE To To keep To good
sound.
2.

swell the sound.

3.

in the breath. 4.

strengthen the chest.
,<«*.

a

SCALE
^M.
^^.

or

GAMUT.
^^
x^^

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be sung.

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1

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MODERATO

A

A

MODERATO, LEGATO. ^ziSSi^ii: ~%~^5Z^5 o,-*-. irrr rn~n rn
,


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MODERATO.

TABLE

IVo. 4.

Exercise to practice the

Time without
IZ53]

Rests.

Triple Time.

-4r
r#-i

loZL
Sol.

:o:
La.

-©—
Si.

:oi
Do.

1©T
::
Re.

HZ

^
r:
i

=1

:

8

3
Sol.

:

n
Sol.

"•zur

E
-©-


'•Z~J

-©Closc^ or go on.

I

Sol. &c: La.

4—
)

r
Sol.

2JZTZ*:
&c: La.

10-

:or

^
©

Sol.

S3
ilH
-©-©-

©
Sol.


&c: La.

~Q

-ozzzwi

—o:

I
——
i

~ry

xs:

Sol.

I

9-^rm~w • • •-• zzr^zz^: l" ^
»r-«— »v»-

-i

l_^

——7Z
•t^-«^«
Jgr

Sol. Sol. Sol.

Sol.

&c

^ *

:

La.

~4e -•••

:fc~

t.:

;*^S~SIfi
&c: La.

MTSZ3L •j>~»"

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Sol. Sol. Sol. Sol.

WT1
i

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pr-

i

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j r*"©~ «:
Sol.

q

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&

<

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a

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g"

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&c: La.

m

^ a

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)-4»->-»-»-»
Bol. Sec:

^NW^^F13
See:

Z£c*7«:x* • •»*-» V^~*»» -^ La.

jP~?-?->

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* *

Remark

:

Do, Re, Mi, Fa, Sol, La,

Si, are the names of the notes in die Italian language; and for the pronunciation in singing, the very best.

T A B Ii E
MODERATO.
.•_

I\o. 5.

To

practice the time

and Intervals without Rests.
-©:sx

common

Time.

-©La

:q;
La &c:

©

<y

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&

La

La La

La &c:

re »
:

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MO ERATO
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TABLE
La

Noi
-©-

6.

To

practice the time

and

Intervals.

Common

Time.


Do
Re

-O
Do
Si

O
La

Sol
I*r

Si

H^IH
or No. 2.

><
Sol

--

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Sol «tc:

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2
r
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3.

or No.

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Sol Sol &c:

ia in
;

or No. 4. &c &c Only sometimes to conclude.

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Sol Sol Sol

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La La La &c:

La

La

La

La La La

Sec:

TABLE

S^
A THIRDS.

SECONDS.

TIME AD LIBITUM

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No.

7.

THE IITERVALS.
>

To

practice

them

in different styles.

r

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ipippPz*^ =t ESB
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nzi «=

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ALLEGRETTO-

TABLE.

I¥o. 9.

Exercise in seconds with Rests.

Semp: Legato.

Mht

Time, and Mixt Keys

.ALLEGRETTO.
:nzzzz

A

g|Efefcf»: pr-p- P~T.

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ALLEGRETTO

TABLE.

i\o. 10.

Exercise* in general to practice the voice.

Mixt Examples.

~^Z

Timead

Hbil:

For a

liigh

Tenor voice

l

'"


.Jr.

m
:n

t:
:*z

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For a Counter Alto voice.

t*

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1

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f-F*r*•#•-

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Take your

choice

3EMP: PORTAMENTO. among the Examples,

according to the compass of the voice.

ADAGIO & ALLEGRO.

IVo. TABLE. fffl

11.
,^

Exercises in general to practice the voice.
mfin

fc

RffSE gEg^^gj
li

wP-z?

v

^

*»-

f^PA
q0<i«
I i

:z:

l^
:z«zs!
A

Each passage

fP
is to

Semp Legato.
:
:

Sing

."..

be practised se parately

in the

beginning, slow.

i

:#e^g:
>_

ALLEGRETTO.

5=ffl^fl=
MODERATO.
J*.

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iTwizzr^HZC Z^H
ZH^«»-r r**^ •-^•'

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ALLEGRETTO

ALLEGRETTO.

nn

ALLEGRO.

e«J

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* fr^P—
-

ALLEGRO.

em
Take > our
choice, about Forte; Piano, Crescendo, Decrescendo,

ZZZ_EI?«iZ®
&c.

Mezza

voice, Staccato

;

and

t?i

atf

Tables,

employ your

own

taste

and judgment

TABLE
A
Degrees of the Major Scale"1 "

No. 12.
S<

To

practise the Intervals.
L'SF.FUL

VERY IMPORTANT AND
H ILARS TAKE

PRACTISE.

A

specimen

to

show how
9. ~~

AWAV THE BuOK9.

the Intervals are to be practised

. •
3
-

2

1

1

I*Th^ Muter

r

10

u

12

H
m
i
II

to his scholars.

Pan "sound one!
rail

"Sound two!"
or

Sound
or

three!

€>"

I
ALLEGRO.

out loud.

tor

Key note) ~tf*~

or

ALLEGRO.

A

ALLEGRO.

'the second;

ALLEGRO.

third!

A

One! Key

I

-~

.-.

>u

ud

in surresu'
|

lion

llirei- di

"•" Five!

Bl

,

_

J
fj-

g

Six!"*"

©
Perfect
fifth
!

t^
Sixth
!

o
I

^p
HT^'
I

ion:
Octave !-«=CZ^=»-Repeat Uiird

1
line
for

A
Remark
If the pupils should
(ail, let

the master.)

( >

the Master show "j the degrees which are Tl to be omitted.
j

I

Key without pauses

!

^3

Sixth

!

Key

1

©
Sixth
:

1
zo:

o
Fourth
'.

I
&x.
A.

-©Kej
!

i
Shaip
fifth
!


Key!

I
Key a Pause

,

1
1©-

Perfect

fifth

!

Kej

without Pause or one
!

©!

Two'

zy

One!

^
Key!
is


Five
!

—\
Kev
Eight

©
Nine!

I
I
Eighth
!

I

PI

I
Kej
!

I
Minor Third
!

>©Remark.

The

Uiird line

Major Third often to be repeated in fast time, last note short
!

©

1

-%gT
Key
'.

a Pause

!

4tc

ic.

EXPLANATION OF THK USUAL TERMS IN SACRED MUSIC.
Accelerando, constantly accelerating in speed. (ma, but non, not; troppo, too Adagio, slow.
;

Brio, Brioso,

Con Brio,

fiery, or

with great animation.

much
two

A

Motto, much or very. Due, Duetto, is a composition in two parts, or for
voices. Tre, Terzetto or Trio, in three parts. Quartre or Quartetto, in four parts.

Brilliante, a brilliant style or manner of execution. Cadenza, a close; or a preparation to close, whole or half, Explanation would Canon, a scientific composition.

Duo, Duetto, for two parts, with or without accompaniments of an orchestra. Duolo, con duolo, with pain, sorrow. E, and, as moderato eflebile, moderate and complaining.
Expressivo, expressive.
Fagotto, Bassoon also a stop on the Organ. Falsetto, or voce di testa, Head voice produces the higher tones; is of a more delicate and soft sound, artificial, and seems to originate from the throat.
Fastoso, sublime. Finale, the last part. Fine, the end. Forte or F, loud. Eortissimo or FF, very loud. Sforzando, or Fz., with force, emphasis. Fuga or Fugue, a scientific composition where the parts constantly imitate and according to certain Rules there are many kinds of Fugues.

A A

Ad

Libitum, without strict observation of time, or at pleasure.
Lib.

Ad

Affettuoso, affectionately.

Con

Affetto,

with affection,

or tender expression. Alia breve, or Alia Capella, or a C with a line drawn through, signifies two beats in a bar, and to be performed quick.

AUegrezza, lively.
Allegro assai, di molio, Allegro, (or Alio,) brisk, quick. agitato, vivace, an increased quickness of Allegro.
Allegretto, a little brisk. Allegrissimo, as quick as possible. Alto, in German, Italian, and French compositions,
;

be entirely useless without knowing contra-point and fugue. (There are a great many kinds of canons pr. Ex. canon simpler., canon duplex, canon triplex, canon apertus, canon clausus, canon amigmaticus canon cirularis, canon infinitus, canon perpetuus. Some canons receive their names from certain kinds of imitations, like canon in Hypoditono, in, Epidiatessaron, in Epidiapente, in Hypodiapente, in Epidiapason, in Hypodiapason, there are, perhaps, more than All such names and expresfifty kinds of canons.) sions, on the top of a canon, have no meaning for performers, except in the canons cirularis, and infinitus, where only one part begins. Cantabile, singing in a pleasing style. Calando, (or Calo,) a diminution of time and sound, in
general. Canto, Cantus, the Air, the voice part or the melody. Concertante, is added to a piece where the parts have the

><

means

always the second Treble, to be sung by a female or but in English compositions, it signifies child's voice a high Tenor voice. Andante, a little slow. Andantino, a little faster than Andante. Amen, yes it will certainly be done, or be it so, or may
be so. Amabile, amiable.
it

melody

alternately.

Chorus, a composition for not less than 4 parts, often to 5, 6, 7, or 8 parts, sometimes signifies Chorus ; Tutti;
for all the voices.

(Fuga ricertata, fuga libera, fuga saluta, fuga sciolta, fuga recta, fuga retrograda, fuga. per augmentationcm. fg. p. diminutione-m, fuga per arsin et tnesin, in relation to the Theme fuga composita, fuga incomposita, fuga authentica, fuga plagalis.) All such names and expressions are immaterial to the performers, and no
.-

Amoroso, tenderly. Animoso, animate. Anthem, in former times meant a portion of the Scripat present, however, it means not tures, set to Music only that, but also sacred words put to Music, for 1, 2, 3 or 4 voices or parts. A tempo, in time used where the singer is at liberty to retard, or quicken the time; and means that strict time must again be resumed. Aria, an air song. Arietta, a small air song. Arioso or Cantalile, a melodious air. Bass the Bass part, and the lowest part in harmony.
:

Coda, the close of a composition, or an additional close. Confuoco, wild, with fire. Con, with. Con anima, with soul expression.

anxiety need therefore to be felt concerning meaning, nor that of the different canons. Grave, very slow and serious. Gustoso, or con gusto, with taste. Hallelujah, Hebr. lang. signifies praise the Lord. Innocentamente, innocent.
Interval, the distance

their

Comodo, like Allegretto, commodious. Con moto, fast. Crescendo, or Cresc, to swell the sound
Deerest., to diminish the sound.

Largo, slow
Deerescendo, or

—slower than Adagio.

between any two tones.

:

,

Bis, twice, or repeat.

Capo, (D. C, orD. Cp. to repeat certain strains, or from the beginning, unto the Fine, (End.) Dal segno, (D. Sg.) from the sign. Diminuendo, (Dim.,) gradually slower, diminishing. Divolo, solemn or devout. Dolce, sweetly or soft. Doloroso, con dolce, melancholy or dolorous.

Da

Larghetto, pretty slow. Lagrimoso, Lamentabile, Lamentoso, lamenting. Legato, slurring the notes together. Lento, slow like Adagio. Lentando, rallentando, ritardando, gradually retarding; Listeso tempo, in the same time. Ma, but Major, the correspondent major key, or major in general. Marato, diminishing.

EXPLANATION OF THE USUAL TERMS IN SACRED MUSIC.
Marrato, well marked, or accented. Majestoso, majestic. Mi l<«ty, the highest part, principal part,
JUesto,
air.
is the art of sustaining or carrying the voice, (or sound.) blending the notes together; contrary to portamento is the staccato. Presto, quick Prestissimo, very quick.

Portamento di roce,

Stretto, and Vri agendo, pressing the time faster. Stringendo, pressing, hurrying on. Syncopatio, is a slurring of the notes contrary to the nat-

Mm.

less.

mourning. nun forte,

ural Accent.

less strong.

Primo, the

first part.

Mum
Messa

riro,

di cure,

with less spirit. swelling and diminishing the strains or

sounds.
ffezzo, half, mezzo forte, (MF.) half loud (MP.) half soft. Mi/Kin the correspondent minor key, or minor in general. Moderato, moderately.
,

Mnlto.

much.

Morendo, dying away.
Motetto, a vocal composition, in general fugueincr styl«, the words taken from the sacred scriptures, and never less than 4 parts, often for 5, ri, 7, or 8 parts.
.\'im
,

Quasi, nearly as. Ritartando, to diminish the time and sound gradually. Recitatico, a sort of musical declamation, having to each syllable, a musical sound. Risoluto, resolute, resolved, decided. Ritornello, repeating certain phrases, the expression taken from a sort of ancient poetry Rondeau cest ma
llalli niniulo,
:

Tasto Solo, (T. S.) signifies in unison all unisono ; in compositions for the Organ, signifies it without the Pedal
base.

Tanto, very.

Tempo, time A tempo, in time Tempo primo, the time of the first movement Tempo secondo, the time of the second movement. Tando, slow.

ritournelle continuelle. Secondo, the second part.

not.

.\,,i,i

Sostauita, passing quickly

from piano

to forte,

and

from forte to piano. Organo, Organ
Pastorale, in a natural, (pastoral) style. Patetiro, pathetical, grand, passion, effect. Parlanto. more speaking than singing. Piano. (P.,) soft, (MP.,) half soft. Peilal. that part of the Organ, played with the feet. Perdendo, Perdendosi, losing itself. Pinri rf a piacere, at pleasure.
.

Semi Chorus, half the Choir or voices Segue, or (Seg.) go on to the following. Sempre, or semp. always, throughout the piece. Senza, without— senza replica, without repetition.
Serioso, serious. Siciliano, a more slow movement, in general written in 6-4, or G-8 time ; like pastorale. Smorzando, becoming extinct.

Tempo gusto, like moderato, but not so serious. Tenore, con tiwrtzza. tenderly, with tenderness. Tenuto, like sostenuto, (Ten.,) sustain the tone with equal strength. Tenore, Tenor, a high male voice, the third part in compositions for four parts. Timoroso, alarmed, timorous. Trio, a composition for three parts. Trillu. Shake, moving two successive tones constantly,
and quickly
after.

Tutti, (T. or Tutt.) all together.
L'n poco, a little. Unisono, Unison, sounding alike, in one or more octaves. Ueloce. quick. Vivace, or liro. a quick movement. lirttcissiino, very quick. I'olta prima, the first time. V. S. I'ohi Subito. si rolti. Verte, turn, turn quickly. Vigoroso, strong, vigorous. Voce, the voice. Voce di petto, chest voice Voce di testa, head voice Zelo, ardent, zealous.

Soate, Sweet. Solo, for a single voice, (part,) Soli, for single voices in

more

parts.

Pianissimo,

(PP.) very

soft.

Pietoso, soft, hasty.

Fin mosso, quicker—piii presto, stretto, the same. Hiu. more pin Allegro, more lively piu forte, louder. pin tosto Andaute, rather a little slower. Poco. poco a poco, by degrees, poco a poco crescendo, to
swell the sound by degrees. Pomposo, grand, pompous.

Sopra, above come sopra, as above. Soprano, for a high Treble voice, signifies Treble voices in general. Sostenuto, or Sost dwelling upon rests, in giving them a peculiar expression. Sotlo roce, middling strength of sound.
,

Spiceato, distinct. Spirituoso. or con spirito, with spirit. Staccato, or Stoccato, (Stacc:,) short and distinct.

THE

AMERICAN HARP.
OR FIRST VOLUME OF THE

BOSTON PROFESSIONAL. MUSICAL. SOCIETY'S COLLECTIONS
OF

Church Music.
UN POCO ANDANTE.
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L.

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May

Common Hymn.
be used wuh attention to th e acc<- nt.

n

•-JJ-eC
Je
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hovah reigns, he dwells

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light,
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r


-

«T

©-«
are

or
foes, In
this,

T>9 TJ~ff
weak
state of flesh

——
I

'

~0~ sffiE!
-

iE
-

a
is

H

how ma

ny

my

and blood;

My

peace they dai

-

ly

discom

pose.

But

my

defence and hope

God.

ALLEGRO. ASSAI-v.

HYMN FOR ALL MANKIND.
^>:

L.

M.
_

Common Hymn,
OR ANTHEM.

:zc


©
na
-

5

!•-•"
"i

r

i^zzs^ It

:oz: ©-

T

i©—

=E :e£*i-d^g
TJ
king
;

L_V__»r

1*1
I
I

I- 1

vO"

z]

z

zor

©L -©^-» -©^ —qT^^, -^--tio:
the

3
Be

©
~T5T
sov'reign

T
Serve

©T
lions

3
"U
ful heart

Ye

round

earth

re

-

joice,

-

-

fore
I

the
I

Lord, your
I
I

him

with

cheer

and

_Q___qLLj

L

l©'

zzo:
ZE

"o:

j

i~F


glo

CODA when
i

used as an Anthem.

r

~
©'-

©V
voice,

:S©^ ©
With

:oz
all

©—&

your

^
-d-

•^
~L
IB

XT

~o:
FF.

o

-©-

©H—

P
ill
men.

©ez
-

tongues his

O^
ry


sing.

~o~r o:
Lord,

P

3
sing
'

©Je
-

©^
vah's name.

-p

IOI ^tO-

id"

©^g

Praise the JL

O
(O

ho

~o A

-

-

_©l—
ry
FF.

4

~t

r
'-

T^
|©—
~1"

ozzzzz zIzzz^FzzzrzF Z Z—LZ© — p_ L_©

Sv

o:
-o-

-©-

<3

-©-

o
"o"
,

-©-i
-e-

g:
^--

i

T B^
iO~

^rr

:o

Hymn fine. _i_
oi

f.

rr ~rs
r

~S"

-o-

-d-

J.

-3

O

Hz

P—

ZQI

o cr

T~

^

XS

I

I

fS

ALLEGRO VIVACE.
<>

r

PERC1VAL. x3353 B5 J JJ» <>•
*-

L.
X>_

M.
6l^J-

Two

Stanzas.

Peculiar
May
to the

Hymn.

be used for other HyfflDB,witb attention iccenl and musical

HI

JJ1

J^r^-cfi-^rT)3
Come,

-^

~c*~^*
thy

-e^J^oE
great

O my

soul, in

sac

-

-

red

lays. Atte mpt

Cre

-

a

-

tor's

^
praisje^

i
But,

™i

<jj^rg
tongue can Speak


•las

«
SOLO.

oh

what

£q®=

"ORGAN

form a

robe

of

light

di

-

-

-

vine,

Ten thou

-

sand

suns a

-

round him

shine,

Ten

thou

-

sand

a

-

round him

shine.

Hil
@tt


i

o^-«
iQ_

_?
F.

TUTTI.

"I

Fp •—
J^L

T^
'I
i

iSS
J

©
iO

L

^f-J--

IX o
^J

-©'-'-

no

<5

On t ±i~v
1

rf-v

:o

pp

i

i i

— — —r
i

-

#~Tr»"i

——
i

-p-r :&. o: Sin:
!:

-t-p
lE^r
rn:

2L

i

-i©— to-

©-

r- ^©
Common Hymn.

ALLEGRETTO.

SANCTIFICATION.

L.

M.

Deep

are

-

the

wounds which

sin has

W*
made Where
;

shall the sinner

find

a

cureJJn

vain,

a

-

las!

is

nature's

aid

;

The work

ex

-

ceeds her

ut

-

most power.

laffigfe

-f©-p-

;oz«;
~i
(

~r

Of*

tpzn -Pn»

a:

3E £Ef?

~i

S5ZS

t-'r~r*i"l

jK

-gH

ifO

ALLEGRO.

KING
I

DAVLIJ.

L.
i

Common Hymn.

)4~- •-/3\4e-*Fn»m

——
i

I _

I

_£J~

K

L

*£c
zzi
[j
i

ri

'

ri

i

— — — —h~r
I

i

I

i

F.

_

~r~

15=3=
all

as •••
be
-

-O
the
skies

Gi— e
-

o
-

that

dwell

low

Let the

Cre

...

a

tor's

praise

a

-

rise

Let the Cre
I

-

a

-

-

tor's

praise

a

-

r

r

•— t2=l
:

T
I

&

I

I

j

-4
II

izszir*
1

r

MS
~^~
si
1
,

1
I

F.

,

I

-d-

«

-•-

1

r>'

»

1

o

1

o:

I^3T
1
1

~or
r

O" -F

1

r

U r

~~r

_0

,

Q-

p ~p V
1

r €>

m
^1
<>

S
•--©.~
|

:o: :r*"F

^—
"i

1

T~or
I I

:<">_

r

23ZZSI

*

—*"il
"l

JL3~

r

x=z:
r
-

CRF.-J.

MF.

Je

-

-

ho

o—
-

feoEi
glo
-

-o
sung. Through ev'
[

3
,

r

szzJErc
land,
,

S"
er'
-

-o
tongue:

i

vali's

rious

name

be
I

rv*

by

ry

Through ev'rv

land,

b}-

ev'

-

ry

tongue.

bRBB.

S: •Tip— T-tb-o
I
J
<

LT_ULr^-_jqr_o'Z^Z=J==£:

MF.
ai

4

^

O
I

«2i

HL_I

H
I

—— —
s
I

r~i~ ~~r~~r
,e

#

w
r

-©=

n
I

r

>

^ QZZS

o T5

r
rr^=^i

•-


x:
m
~
"i

p-*-

f
:

"i

F=fc
-*L

i

^==F 9
-o
.

m
I

•"

p

3Z

m—
,

m~\

m P~m

-©L

^~i
i»~r

1

'

I'H* IF o:

1

^—1

P- ha*"

-eL

1*~

•n~ r~

ALX.EGRO.

MESSIAH.
:

L.
x?

M.
r
i

i^S
"~T

«^
1

MF.

CRES.

Common Hymn.
TTid«:

21

O—
EE
name

g
.nit

w-#»

a

©r

o=
-Or

~r~

-o^oiHe
reigns
!

-•-«-«reigns
!

3
lof
-

zrr
#*- :ior:

~r~
;

-=y-#«
Sing
CRES.
to

:rzc
his

-o 1

the

Lord, the

Sav

-

iour

Sing

to his

ty

strains

name

lof

-

ty

strains

PS3ggg^
CRES.
i

MF.

W
i

b=ht
"i

iH-i-

—rr
r

&--r

_
i

o

T
r

1*-

——
i

— ^--^5n ~rr
t*i

:?»
r~
_r"r

— T~r
1

r

ZO:

JOr-

1_

ALLEGRO MODBRATO

ISRAEL.

L.

M.
^CZ

NEW
©C^qC

Common Hymn.

©C.©C

©c^*

t:

h©^©'

3=

II

lipa^ss^gsi^p^iipipp
Loud
hallelujah
s to

the Lord,

From

distant worlds'

where creatures dwell; Let heav'n be

-

gin

the

solemn

word.

And sound

it

dreadful

down

to

belL

_i
I'MSON.

;

——
«

Z&bk3^&t\
:.r. r .JL
... ""

~r

• #-

o
j.
i*

i
i

15?

rl

4

i

.J.

JZ.

4, 4

4

7

I

I

|__l

I

J

__4__l J
J.

J_,_J

O-nr
^\-

*
<

>


Common Hymn.

UN POCO STACCATO.

LEGATO.

^^^^^^^^^^^^^^^^^^
^i£i j-*l^3r»T»j JhoFg FoF-JI— -©-•No change
of time shall ever shock,

MODERATO.

EASTPORT.

L.

M.

rVEW

g

:o:

llil§iSi§B
For thou hast
al
-

<3Z

isz,
to

My

firm

af-fection,

Lord .^o thee;

ways been a rock,

A

fortress

and defence

o mc.

Kt -Jr© ia it®:jb~» 4St 3f
r
i

•is: i±?:
•t5:
p
.

p
-'-j.

»

T

^r^bm
J

i

">

g^ ~F
5
1

i;

j

j

,

-

-7

j

.

j75 -i

j

d

i 1 +

-<*+
-or

j. j.

Jjj-

J-

I

o

o

©^-*

-®r

33uB

EB

1

=±EE

^r

lip

UN POCO ALLEGRO.

CHRISTIAN HYMN.

L.

M.

Common Hymn.

23

Great God, whose u

-

ni

-

versal

sway, The known and unknown worlds obey;

Now

give the

kingdom

to

thy

Son,

Ex

-

tend his

nower,

ex

-

alt

his

throne.

3
PENITENCE.

ALLEGRETTO

L.

M.

Common Hymn.

SEES
-e>- -•Blest
is

-•God, Whose
sins with sorrow are confessed,

-ot«- -©L»-o-« d-r -©-•- -©T
covered with his Saviour's blood

the

man

-

for

-

ev

-

er

blest,

Whose

guilt is

pardoned

by

his

And

Zoi
i
i

iji
r

Jiinzzrq

i:

T~l
a
i

——
i

F=?W
-J-

*—i —
-©L

WTW

t
t-p-h-

ai
.el-

O
<&i

r~'

_r

-»-i©
pgL
J
.

HE -P=P=^- 1TIS

:rn

T7~g

-J.

i

r

T

n©-

JE-J& f-p-p-

r SOLO.*

SI
lis*
®:

g~»~#'

^-[-oL-Pfj ~o~

Ji.Aj.J VP
be repeated.

_J_

L

H
*

E

J

f^P1

-©',

reL4U T4 CT

I

May

I

ALLEGRO.

TETRARCII.

L.

M.

Common

II > him. Accent pecul i.ir.

^^^-^=^EtE^^^E^^^^-~|^S^^^
*C -Blest are the

O

T

T

G^

I^HH
humble

"O
pov
-

7

"

s^li^lto
humble

'

u«-_g
I

souk

that

see,

Their

emp

-

ti -

ness and

er

-

ty:

Blest are the

souls that sec, Their

emp

s^
-

r
-

-ti

-

ness and pov

cr

tv

:

Base Solo and Organ

Tl'TTI P.

5rBnn=3: in
Tlic Base Solo

—n— —
I

UJVJ^eLJ-reU^
T~BT O.

^2

€*t

*-i

O
-©-

«r^rr
I

may

lie

omitted.

^es
._

•'*

l

SO-•-• ?»^
'

~rr

~rr

T -• n

er°i
of

©joy

«f
laid

O Q ^T
;
|

^
i

<s^»

ffi

And crowns

up

in

heav"n;

&
«?

_ T» H

a

[z

o-iRgnH rer lic_j
)

<3

jg^4^
of joy laid

~ rzu rant -©7
r

O ~o

Treasures of ffrace

to

them

4. J

IO

are

<riv'n,
,

And crowns
.

of joy,

And crowns

»=*
i

F=P
_^-_ j_

"

TZ
i

^-F©te
~r~
i

L_p:_i

1__ _.u_j <s^-» o<

-r-rzr

»-

— ^q
up
in
i

heav'n;

And crowns

of jov laid up in heav'n.

f.
.

-4^.


I

imrnm^mtm
j

_t

j-

j*>

j

^^

TFF
J

r

-

o
I

ifefc
And crowns
of

joy

^r
i

<;;

;

1®—

1

|

jt.

-<*•

-^

cv

*

J

ALLEGRETTO.

SAMARIA.

L.

M,

Two

Stanzas. r

Common Hymn.

25

5S&
Li \J ^J 3 ~W~r®_Cfl___P
|

©
5r Q_

Efa
care,

n~i:
of man, with sap are
i-

e^E
ce
i

tSSiliil —^#As
those in

The

trees of

God, without the

Or

art

-d

-^T—i

fed

;

The mountain
r

-

dar looks as

r -i -i

— JE9B55 HHMT p
:

I©-

"IIP"

I

!•

f-F

3S v» —

^z:

——
i i

i

n

fair,
1

roy

-

al

gardens bred

i

1

_ rsQr d-flLC

I

SIS
SECOND STANZA.

ISIIjiDn~iTT j_am
-ffiSSEEE
Safe
in

t~«' fpiti

:

h#£ :

Til

=F

X

zz

o~

*

©-

©r

SrxFrrw

Q

iaa
pi
-

the

lof

-

-

— —
±t

*
»W

*
m~

ty
|_

ce

-

-

dar's arms,

The wand'rers of

the

air

may

rest;

The

hospi

-

ta-ble pine from harms, Protects the stork, her

ous guest.

i—i-

©

I

—jy-n u

H

^T— rr
"

©

i

th:

znii^zTri-rz
lO
• LL^_

p-

Kjt
ij

\-?I

ill
zzc

I

I

I

I

I

v Sfl

II

I

I

* "f-

e>-

3

Trrn

i"»~yi or

rs—

P~

^F

Tl»"

"cy~r^

IOI1

JLfc O ~Q ft © Op-1 Z5T H

?ii1B"

ct?r

tiO

ALL A BRETE.

fir

-.
i.

...1-S^^^Sfe^ttB
» »
i

CATHEDRAL ^» CHANT.
_T_J
! ! t
r i f
i i

L. >I.

If
I
I

I

~~
_L

——
l f

— — se ES
i

^ ~r
-

^rail
thee, Lord, on

sHi
<rrave'

Common Hymn.

i

r

ntt^iz
dis
-

Zl^B^N
fly;

.<<>.

-=4

ijjfebskfl
=?-??'
'7.'

I

will

ox

tol

high;

~

At thy command

ea

-

ses

Who,

§ 5!fe
UNISON.
J
t
I

-p~ri
-1©

:

r
-o-

J
r

i

i>
t

TrTT~~r

hut a

God, can speak and save, From the dark borders of the

o
TT7
l l

©P

-to-

-•- -•- -#-

^-r^-ti^gqr-

ite^Si
?W=g
°
- J- -2

-r—
ALLEGRO VIVACE.
if r-f-rf KB
'"*-

ALOWETTI.
I

L.
:rx

M.
b-°r©r
1
!

Common
I

II\ inn.

Peculiar.

*

'Q7
1

en

o

ri

ri

——

1

rrT'l

— mi— — — —:~ri~i n—
i

r~|

i

13-O

©

©

©

I'~-i^B
a

High

o'er the hcav'iu

supreme, a- lone^Th'eter

-

mil

Lord

prepares

his throne: O'er all

his

kingdom

he'll

ex

-

tend,

Beyond

lim

-

it

or

an end

-

>

-,—

.

i-°
i


:

rPl?Z.t?
:

9

S

It

-

°~

PHIS'
f\
i i

*

3Lj2
i

—3 ——
*

,""
,

^r"fcj
I "j

i

i

i

i

— — i— — — — — zj
i

i

i

i
i

,

May

be repeated,

ttie fir~;

time, Solo ana rir.no, the mci nd nine, Tottl and Forte

ANDANTE.
re :fr~ fr--o

REMEMBRANCE.
s

L.

M.
.8
L^_

Common Hymn.
'i

27
_J

f~

f

I

ziz=£Z

n

^~
-

ii
tend
-

r~

reuie Second ecoim Treble. a
-i .

TIZZI

d*s _i5z L*g
• ®

—©-

—=s_!q3=zzszLqzz__— EzzzrrJEsE
est,
'rest,

EH
39
:

nrl

Yes, we'll re

-

cord

thy

matchless

love,

Thou dear

best

©of friends,

V

*
Thy

-

w
-

sj=

V love

V
the

dy

ing

""TT-iTztzr;

z"

L.

.

:tp_.

t__rr.

'W

"©"

&~
Z&L

J3_
"»"

rizz»z±iLj_^zi:
no
izfc
-

s_®:
ty

« &
tran
~®~
-

L _©

i-

*_

X"
scends
-

blest

praise,

Of

long

-

ter

-

ni
p»>

scends;
_jrn:

Of

long

e

ter

-

ni

ty

tran

-

T

far
J

=3:

-U-'T

i-

izr

tr-tr
i

o
:

i*~i*~

T
»

T"

r
"i

r-

T
n:

T
ZE

in

J

-4,


:

"i

r

^\

EEt

»=

:^

S

U ZT

ETHIOPIA.

L. IM.

Common

II

»

inn.

EL

ess
V
#==
Know
r#

-Q

©r

-oi

<*r-mi

—Qr

r

EE2
T~
-©lone;

^~

z± m P ~
U5T"

r+r
i

Q|

Q

-^
"I

<~

:<:>

o o

1

i

~r

i _

.

*o

cy~

T r —cr
Lord
j
is

-©^ ©-


-

-o- is:
he r
de
-

a
strov

that

the

God

Know

that the

Lord

T
is
I

i

i

God
I

a
I

-

lone;
mi

He

can

ere

ate.
1

and

«=f -©
75

—S
O

r

TTT o
-©r

S

-oC-eC
^

,-

23-

:KZTJI

T J.
i

Jtl
m

:rzn

©— 1®:

_

io:

n

r

v
-oi

i

O

F.
I

TT
-Qr-

3

£=§ O
I

I
d. c.

*

izffizerza:

—©r

-O.-r-fl-

•~^ «— r
I

t
'i

r

f

r

^

IQI

-Or— e-

5^T

zzsz

VS POCO ALLEGRETTO.

HEBREW HYMN.
"-[

±

L.

M.

Common Hymn.

i"

©
==
©'
all -

i

©<

1

F=^F — =F
1 1

==

-

~n-

«soul
i


sal
--

©va
-

©h
tion

1
I
1

my

straits,

My
'-¥¥-

soul

for

his

sal -

va

-

tion

waits;

My
i

-

for
i

his

waits.

r

V -F^r
&

Z
-r

W=3=*
t
t9-

:t^

-©'

n
±d I ©'

~i»~0
I

*'
I

*"

"zo:

Is
i

r'

T FT ©
J-J-

a>

=©C
15"

TZ

cres.

&± *>b—<^

o>

_

n_

b«[)

IT
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ORTHODOX.
ctor

L.

M.

Common Hymn.

±

The Lord

in

Zi-on

ev

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o'er her holds his guardian

hand

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ALLEGRETTO.

THE RIGHTEOUS.
Shun
the broad

M.

Common Hymn.

way where

sinners go
i

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Happy

La-©^ -®-L« ®
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I

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the man, whose cau- tious feet,

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fears to talk as
scoffers

m
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the broad

way where

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Who hates

the place where ath'ists meet,

3

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rays with
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my

soul,

shake off thy

fears,

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gird

the

gos

pel

ar

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mor on

;

March

to the gates of

end

less joy,

Where

sus thy great Captain's gone.

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VS POCO ALLEGRO.

THE CITY OF DAVI D.
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L.

M.

Peculiar

Hymn.

33

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O my

soul,

and

morn,

For unto

us

a Saviour's born

;

See,

how

the angels

wing

their

way,

To

usher

in the glorious day.

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blest

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God

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Sj§g£b*3
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ALLEGRO.

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how shall wretched

sinners dare, Look up

thy
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di

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prayer,

fore

a

and

ho-ly

God:

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Lord, when thou didst as

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Ten

thous

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the

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round

thee wait

Like

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BRYANT.

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Two
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Peculiar Ilvmii.
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What
his

word of

truth and love

,

the n ations

from ab ove: Je

ho

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vali

here resolves, to show.

alinigh

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grace

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T©— p—

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TUTTI.
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sing, at

SOLO.

B
way.

Lord

how

de

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light -

ful

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is

to

see,

A

whole as

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sem

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wor

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ship thee!

once they pray, They hear of heav'n, and

learn

the

^—
The Solo may be sung
the second time by male voices

3S

IX POCO ALLEGRETTO.
ol

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If Ljl^CrC

I.

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bring
sal
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va
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down

power and grace

long

my
i

strength,

and

my

song:

He comes, my

-

viour

from bis throne. He comes to

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Hymn.
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SOLO. *

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h _L_ a • eat,
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when

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thy

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name
in
fair -

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lines.

declare thy glory Lord, In every star thy
|

wisdom

shine*; But

our eyes behold thv work,
!

name

in fairer lines,

We read

thy

er

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CONFESSION.

L.

M.

Pecnliar

Hymn,

May

be used or other Hymns, with
attention to the accent.

q f\ O *J

POT

'Tis

by

the

faith

of

joys

to

come,

We

walk through des

-

erts

dark as night; Till we

ar-rive

at

heav'n, our home,

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BAPTIST.
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L. 31.
^^
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Peculiar
May

Hymn.

be used fur other Hymns, with attention to Die accent.

1

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35
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calm each mind,

,omc.

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fit

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ap

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vain,
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world

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lead

us
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to

thy blest
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I

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lead us

to

thy blest a
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Kingdoms and thrones
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your song

wond'rous name and power

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Kingdoms and

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i

flame

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Tur

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name,

I

J*JJ
the

I

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song!

ee!

deem

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er's

rious

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wake

sacred

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may
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im

tal

flame

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ev

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heart and

tongue

VS P#Cf ALLEGRETT^
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Common Hymn.

93
IZ

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the

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place,

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8

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all
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jjj^jfcjjj-^
ye
lands
in

God

rejoice,

To

him your

thanks

be

-

long;

Umi
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him your thanks be

long;

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SOL.O.

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In

strains

OT

glad

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ness,

raise -

your voice,

In

loud and '(byful

In

loud and

JL

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my med
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— -®i p-p-°rP _ r "PzoL: *b~ Ti—
r

M.

Common Hymn.

95

HI
tend

=ffb E3=E
Lord hear me, when without disguise,
I

p^g
My
words
«|
I i

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Ja 3=
;

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i
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i P^^
rise,

zr

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to

thee

i

=£5
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^

as

-

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cend

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when

T
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n

^

,

tations
-

Oh
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gra

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cious

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ly

at

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s

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i

i-Or
p-Oj-p-HJP^p-

J.

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or
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ALLEGRETTO QUASI ANDANTINO.

LEfllRE.

C.

M.

Common Hymn.

©-WL«rd what
is

©^ ©^

man

pttr

fee

-

ble

man, Born of the

earth

-

at

first:

His

life's

-

a

sha

-

dow

light

-

and vain,

Still

hastening to the dust.

«IO

ALLEGRETTO.

jra \j

& 2%. rmn i*.

Used with attention

to

ihflkii'

.1

s*-i

in

-

car

iH ill
-

natc

love

!

in

-

car

-

natr love

!

r

r

r

i

—rr_sz _

i

TQ~ZK

E^Eg^^E^^

^E|^E^g
-

§

1

r 8

I

f

si
bove.

gS^^^g!!
bove,

To crown

tlffe

head

a

-

ALLEGRO

ASSAI

OBLIGATION.
©

*

C.

M.

new.

Common

Jlynin.

97

"a Bllfe

T~

grg^pP^gT-JNE-fl
My
i
i

Long

as

I

live I'll bless

thy name,

My King, my God
I

of

love;

work and

joy shall be

the

same, In

bright

er worlds a -bove.

an rn
f~n

n DZir
r

i
^'P
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iCCZ

.tM^-ifMe-r?I

til © P
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i

f->

j-

f-'r-f-

p r
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r

p
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r
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ii

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ALLEGRO VIVO

HARMONY.
^3r

i^=a
L.

M.
Jr B, e:o r

IVEW.
~M

Hymn

Chant.
p- :s
:

Common Hymn.

-^-©

jsia:

i=GB en

g g==

"~

T T
in

o_

:o— «r. =pf^=gp

©^h>
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i

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r

Ti
is

TT

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3-^i^°
serve the Lord,

——
i

r

i

rzi

rr~i~


I

rr^r ©

z^B^^^a
to burn,

"I

m
r
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d-H
The
vil -est

— ©-©sin
-

BEEFH
may
xe X«
-

Life

the time to

The time

t'insure the great
_!_
I I I

reward

^

;

And

while the lamp holds out

ner

turn

_ L

RP3=F "H" E3fl r zo^roz:?"*=^=o= • -i Eiffl
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+

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T^T^TTr T~ B:

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G^

AYPAVTE.
3P HlZZE

HOrtG.

C. 31.

Pccaliar Hymn. May be used with attention
to the Accent.

—HT ~t—
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Decree.

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n—

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When

Death appears be

-fore

my

sight, In

all

-

his

dire

ar

-

ray,

Un

-

equal to the

dread

-

ful fight,

My

courage

faints a

-

war.

J-J-t-*-#—^= FS }—*#»-*-r -—J
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ti

PSALM. ^,S2SS2SA^ — n — — —n~~T~l — — ~r n~T~j H rrzizrs:
i

C.
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M.

Common Hymn.

r

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r~* poz^l^zz: ^zzj^z®:] f^b^c z rrT © ^^
SOLO.

^—
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o
O
God

RF3 — ~rzj~ra
How
love-iy
is

zzrpz:

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o
SOLO.

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i

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nj
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brightness of thy face,
I

a
brightness of thy face.

of host-:, the mighty Lord,

the place,

Where,

in thy glory

we

-

be

hold,

The

E3-H
fcl- - -o^-*
:o:
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ALLEGRO

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^-^'^ —— — •-LeCQJ-e^—
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HUMMEL.
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C.

M.
Li

Common Hymn.
<3=*IJ
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-

wake, ye

saints, to

praise your King,

Your sweetest passions

raise

Your

pi

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ous -pleasure,
..—

while

you
\

a

b±xl

i§ses ^
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sin",

s-^

Increasing witn the praise. s
I

1ft

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UN POCO ALLEGRETTO. AJfDAJfTINO E R1SOLUTO.
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COLUMBIA. L. ® R SR .nzrTftr: — rft p- m -p-^-p-n -I—:«i^ — isg:jrq_5fczb
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rejoice,

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SOLO.

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all

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Before the Lord, your sov'reign King

Serve him with cheerful heart and voice, With

vour tongues his glory sing.

e
UNISON.

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CANNABICII.
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TWO
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StanxaS.

Common
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cc-^trj^^

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ANTHEM.

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SECOND TREHl.K.

?.

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How

sweet,

how heav'nly

^-^^^v#
T-^'-i
r

^

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f

:

J *-^ :

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is

the sight,

When

those that love the

Lord,

^
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SI
FINE. /-S

ill
In

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i

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SECOND STANZA.

SOLO.

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each can feel his brother's sigh;

SOL O

ass
And
joy from heart to
-

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TUTTI.

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heart.

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And with him

bear

a

part;

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When

sorrow flows from eye

to eye,

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heart,

-

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joy from heart to

SOLO

solo.

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^ 5ft

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UNGELENK.

3^

C.

M.

Common Hymn. MINOK.

101

In

mer

-

cy,

not

in wrath

rebuke

Thy

fee

-

ble

worm,

my God

;

-

^^
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My

spi

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rit

dreads thine an

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gry look,

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i

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Common Hymn. MAJOR.

UJVGELENK.

102

axdvxte.

KING SOLOMON.
S

C
5

y\»

Two

stanzas.

Peculiar

OR AATHEM

Hymn,

fcS
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5E -p_:»z:r^p=iz:_*zizri zl-jz zszzi: jtz
t
perform'd of
old
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years

zuiVV
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gg
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Let
children

zh-F

T^ aziZjLt:

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s told

hear

the

migh

-

ty deeds,
r

Which God

:

^:

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al
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zt

^^JTJ—> J^-fr^f^ kg3±l f — P—
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n nzn «
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Which in our younger !V- • •

we saw, And which

our father

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Continued.

103

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MISSIONARY SONG.
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heav'nly

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107
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all

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Common Hymn.

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Come Ho
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Spi-rit,

Heav'nly Dove, With

all

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thy quickening powers,

Kindle

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USED A3 AN ANT HEM.

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Continued.

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C. 31.

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LIFE'S

THOUGHT.

C.

M.

Common Hymn.

113

How

vain are

all

things

here be

-

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low,

How

false,

how

fair

How

false,

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yet

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to

all

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man

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LUKE.

C.

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lin u bouse 111 God'a •••"I O own J'li'lli his praise, His grace he there re II1II43V pronounce In

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veals

;

To heav'n vour

joy and

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The

^i
spoke.

tempest,

fire

and smoke

Not

the

of

that word,

nai

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VIVACE.

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3-5 Tr
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XXI Qt
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my

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Blest
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man
,

-

whose softening

heart, Feels all

an

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pain;

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the

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our

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How

vast

our soul's afI

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'.

Yet senseless mortals vainly strive,

ish out their years

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A DEATH CHANT.

C.

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Common Hymn MINOR.

119

When

youth and age are snatch'd a

-

way,

By

death's

re

-

sist

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less

hand, Our hearts the mournful

trib

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pay,

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bow

at

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DEC

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Common Hymn. MAJOR.

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let

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UN POCO STACCATO

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120
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ALL A BREVE.

NANTUCKET.

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narrow space,

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how

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I

am A

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CAPE ANN.

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inn Chant.

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Lord,

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and bless- the

ln-voke his sacred -- name,

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His matchless deeds proclaim. His-

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1^5

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God,

my

heart

is

fully

bent

To magI

ni- fy

thy name;

My

tongue, with cheerful song of praise, Shall cele-brate thy fame
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Songs of

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mighty God;

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raF^r^^hNt#trti f~cr"r
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their voi-ces

llfljjrjiJI
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honor

of his

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his glorious praise.

AIXEGRO

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Common Hymn.

\ Ai

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day the Lord hath made,
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Let heaven rejoice,

let

earth be glad,

And

praise surround his throne.

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C.

M.

Common

Choral.

145

My

soul

lies

cleav

-

ing

to

the

dust,

Lord give

me

life

di

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vine

;

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de

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C. 31.

E?fefei espies
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God

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fill'd

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147

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to

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some hour
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til

The name
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n

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of

Ja
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cob's
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fend,

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shield thee

pow'r.

r~ari

CHORAL.

FESKA.

C.

M.

Common

Choral.

~T3
i

I'm

not

a

-

sham'd

to

own my

Lord,

/gs

Or ,1

to
I

de
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fend

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cause

;

Main

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tain

the
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hon
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or
I

of

his

word, The

ry
glo
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his
cross.

.

148

CHORAL.

LENT.

C. 31.

Common

Choral.

Oh

may

my

heart,

by grace

re

-

new'd Be

TT
re
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deemer'e throne;

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be

T7 my stub

I

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JERICHO.

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Th«

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Common Hymn.

151

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p— p—i*zziP'

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bless thy

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In

mercy Lord

in

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cline

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brightness

of

thy

face,

On

all

thy

saints

to

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through the world be

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distant

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thy

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152
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LATRIA.
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153

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Lord, Je

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ho

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reigns, Let

all

the na

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fear

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Let

sin

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And

saints be

humble

there,
I

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saints be

humble

there.

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our God,
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urn—ws~T|

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TY CHIC US.
XX
SOLO

S. 31.

Common Hymn.

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day proclaim,

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Two

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155

How

beauteous are their

feet,

Who

stand on Zion's

hill

!

Who

bring

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sal

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va

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S. 31.

Common Hymn.
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31.

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ALLEGRO.

ZUMSTEG.

S.

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Common Hymn.

159

Ex

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alt

the

Lord

our God,

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worship

at

his

feet

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Common Hymn.
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O

Lord our

heav'nly

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is

all

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glories

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shine.

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179

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181

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let

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197

Ye

saints

and servants of the Lord,

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tri

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ANTHEM.

coda.

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1.

triumph

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his

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THE RICH MAN.

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Common

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Life
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Common Hymn.
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1

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for

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HYMN.

Continued.
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KKOMxMER.
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L. P.

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Common Hymn.

mnzr

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gives
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fe
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SECOND TRF.BLE.

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For

ev

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er

bles

sed

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be

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the

Lord,

Who

a

long

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re

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proach, and pain

:

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thirs
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my

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my
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2X
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come, That

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to

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in

Lord,

thy

cred word

!

What

light

and

joy

those

leaves

ford

To

souls

deep

dis

tress.

cr.

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stray,

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rest.

fear

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to

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prom

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leads to

ALLEGRETTO
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EXPIATION.
i
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C. P.
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Common Hymn.
OR ANTHEM.

^11

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1.

Great

God! -our

voice

-

to

thee

-

we

raise

;

Tune thou our

lips

-

and hearts-with

praise,

Thy good

-

ness

to

-

a

-

dore

:

Our

life,

-

our health,
I

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J

/—si

I

S

and

2.

Stretch o'er- our heads

-

-

thy

guardian wings, Se

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cure

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the

weak,

O

King

-

of

kings

!

Our

shield

and

ref - uge

be:

Thy

spir

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Lord, -con-

9
1.

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of the
poor.

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eve

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friend,

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From 111
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thee
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thee

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our youth, Through Christ, the

life, -

the

way,

the

truth,

we

-

-

may come

to

m

!

212

CHORAL.

WRANITZKY.

C. P. 31.

Com.

O

thou,

that

hear'st

the

pray'r

of

faith,

Wilt

-^"bd"
thou
not
soul

from

death,

That

caste

self

on

thee

?


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214

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HAYDVS CHANT.
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BEETHOVEN.
n^' • nz

sevens.

Common IIvm».
'

fc* — —
i

?=*

q:
:

i

f r~~r

l~rTi— i-t t— H
|


SOLO.

111
-:

35
is

£fcF3

-P f frfip ^5,

'iiS
r

*s

T
-©-

' I

"1 1

hH


the

Tl'TTI.
:

r

!

rl


they
join to

r

T
OWhen
-

:

-o
-

^5:
sing
-

i

Sweet the time, ex

ceediag sweet!

When

saint* to

-

gether meet,

the

Sav

-

iour

the theine,

When

of him.

ALLEGRETTO.
30T
2d.

J—4~d-

FRESCOBALDI.

Sevens.

Common Hymn.

231
<x

TREBLE.

T

^
H S
God
!

*
TT"
-

-o
~rr

3

o:

*x

^&

o:

s s^
-

3
-

xz
praise,

SS &
For
the

iiEi
love
-

"o

Praise

to

im

mor

-

-

tal

that

crowns

*-4—\
*

53-:
~

4

*

•?_&£.
=r*

r

fy~

i

~
J

-F-

EI r
T
i>

— S
our

£^
days

^
of

Boun

-

teous

source

~n

I

szjzz:

*

Al

i—

p
iO-

i §te? $4

J
ie.

:?L 10-

d
-o'

P

M
~ior

u
U.
-J-

r^f-el
-J-

3X

tO-

232

UJ.EfiKO

£e
-P:

MET/.

Sevens.

5-h*=

n^_^-i— •Praise
llie

s
*

Common llunn

gggisisi
Lord, his
glo
-

SOIX).
-I-

HP»
li -

»iw
as

T

i

^ r^ ¥&$ ^ru Fi ^ ^Tmorrpp
bJ33*
.

ry

bless,

Praise

him

m

his

ho

ness;

Praise

him

the thertie in

-

spires, Praise

him

as

^
his

•rat r—ri
i

-«-

--^J-i

iH
^r azzzpzz:-^:
or

f^ fcfc
SOLO.

I

*
TUTTI.

ft"

:o~

-Or
n

©-

rr

H
i
•zrc

:S
fame
re


fame

_ce
re

T ^
quires.

quires,

Praise

him

as

the

theme

in

-

-

spires,

Praise

him
I 1

-

his

S

r^FTit r
rittt

\;

ivrrn

*-*-

-J-

J

-o
HP-

JI2Z
£=
cJ

I

Z5

t
'

-j

*— — —

^E* 1

j

1^1

ALLEGRETTO.

JOMELLI.
T~
icJzs:

Sevens.

Common Hymn.
fezoz*:izz^zzizz3zz:z:

233
ozzzi

^zpzBzpzdzzztzq:

-rrr
itJzl

1

— ——
i

rl

1~1~~!

r

T^ZZ).

~o
Come
di
-

^sfelilisgz^i f zHeeB —Pig o
-i—

®

_

_OZ»

*

©-©-

vine and peaceful Guest,

Enter

each

-

de

-

vo

-

ted

breast:

Ho

-

ly

Ghost, our hearts in

-

spire,

Kin

-

die

there

the

gospel

fire

rTfr-T—
-- ie—

3 r
«

Szi^zlzz^
fi I

_eL.J.

_©L.J.

-J-

-eL

^zzzz
«

-n
i

-obzjzfzzz.-ft
i

h-Q
:*i

e'-J-el-

F^pf4-p —
Ij

T
1

~r

i

UNPOCO. ALLEGRETTO.

—— MARCELLCK
ZL
;r~
]

i^i-^-r t«~i

zlzzn^L FFzzizEzlztzzEEQ-zz^
i

r

or

ii

SCVCHS.

Common Hymn

u.

3E* SECOND
Wake
the

9i?zft

—Jin :rzzcz±zizzzr
-i

i-ft*- -!©—•»"

-@

w
"i

«zz»
_
izz
t?z

©

f

»

ft,

IS itizzzezh -Fh-P-EFf

TREBLE.

ifzSzHr~Z —^nzj
S5zz4^z?
song
of


-

1

—rrn
-

r zz

t

—i^lzt—
i"

^i

TT
Ju
bi
-

z5zx^z®zEz
Now is come
fe the

lee,

-Let

it

ec-ho

o'er the

sea!

promised
i

hour;
fc
_i
i

Je

-

-

sus reigns with sov'reign

powei

$^qzzi^zzzpizzjzzzpMzzi=P«i=i-:

1

l

zzjzi:zrzzrs:p«j?_«zr®_^ lid
e

-4»-^--FM-Ht— f—F j= -*-F rr-r
I I

a

I

f#T1®

P
i

fs-Ti

"i

'I

* :z5:

Z
"9"

f
*

r

-A

1

*

«i

•^—4^«- r r
i

»^-n-n%

A— A— "•
1
i

F

%~ F H^ J
I

#
1
1

J

^

1**

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1

i

1

i

1

rrT

^:zx_ -PT®- h r-(— r <S 1 S?^ _ZZ^f_
rzn
i

,-«

A 1*

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i*

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o

n
J 9 n --•

:

i

# ^EL__r
*;

/~n
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/-S

1

1

A F
I

A F
1

^Wl >
-

II

30

^O"*
J

IX POCO ALLEGRETTO.

WEBER.
-©—
^^i

Sevens.
r

Common

11

>

imi .

i

^=F
»$OLO._4LTO. ^ u
*^i
.

p

SECOND »• " " TREBLE t_
*

S3
Chil-dren
ol
-

the

heaven

-

-

\y

King.

-

-

-

As

-

ye

jour

-

-

ney,

sweet

-

\y

sing;

Sing -your Saviour's

-

wor

-

thv

praise

e *g
I

J

^

,

!

I

^:f

,

.

.j

n_:!:

_i
_.

I

r-1—<y
i I

!

;

ii

»1 •'» A —

o
T~iO"


T®-

SOLO.

x>

T
i

r

»
i

r

©

r

1
r-rft
i

SOLOn
r>(»

«^Ei 2_tj]

'

—•

t»-&-~
~i

B
JjJ ^
I

:£5~r*:

i

"T]Q— jH

r

©-

I

Tl'TTI.

Glorious

in

-

-

his

works

-

and

ways!

Sing

-

your

^
Sa
-

ii

I^J
wor
-

*-l^ f
thy
praise,

"•
Glorious
in
-

1


-

i"

r

©
wavs

"i

— 1
fl

viour's

-

-

his

works
I

and

:zzrzz#z

r

~—

:«zr—

_:zo:

SOLO-«-f»

-

I

u

K

Tl'TTI. _©L

' | I

-J-

-eL

-J-

-2L

_i

_a.

_©L

XL

E


'f

:nro;
3
.

r1~l

o

•"

~t*L± iJ
1»—r
"I

|^
-

V,.,

J

UN POCO ALLEGRO.
iffr^

RIGHINI.

Sevens.

Common Hymn.

^O O

Songs of

praise the

an

-

gels

sang,

Heaven with

hal

-

le

-

In

-

-

jah

rang,

When Je

-

hovah's-work

be

-

gun,

-

When

he spake, and

it

was

done.

ALLEGRETTO MODERATO

.

PALESTRINA.

Sevens, or Sevens Six Lines.

Common Hymn.

fStsttittiO^
Now
be
-

gin the

heavenly

theme,

Song

-

of

mercy's healing stream

Ye who

Jesus'

kindness prove,

-

Sing of

his

re

-

deeming

love.

TTT~

Fine

for

Six Lines.

Common

Sevens, Fine.

«')0

IX POCO ALLEGRO

|gj

EE2EH
-

3
here
!

GREExV VALLEY.

Sevens.

Contra on

Hymn.

^s;
Trees and
fields in

ISZZE

O.
i

^
r
!

ioz

^HF

IZ"Zrz_irZX

1
1 iP
praise
!

'if qzzz =3 3=3
Pleasing spring a
-

=|= =f3* 5^t EFJ3: 3S 5=5 dzz^ 3zzq= =£33! •—•- 4— * #
bloom ap
-

gain

is

pear

Hark

the birds, with

art

-

less

lays.

War

-

ble their

Cre

-

a

-

tor's

T

4t

L_»

«—1_+tX„
I

-m


••
1

IT
i I

u
<4

-ill— r
r

.Z

r

_».

_«LTl^5 ^l
-r!
'

r

i-h^-i s*^?*^ T"
JPIt
-

^x-

JB.i
1
'i

r

r

-O

:izzr

^

—rr —

3
1
~r

i

-*L

-©-

X3

BE

SHS^ w
B

-O-

r^

III
Common Hvmn.

N

*gj

ii iflzfcgzg || ;
r#T

IX POCO ALLEGRETTO.

ZIKLAG.
,-&-= -d

J

l

.

-^

!

I

o

^P

SOLO. TWO TENORS

and "A.SE.

r


i

^Ng
Tl'TTI.

Sevens.

^
o5
tzzt r "O »~ T5~
"i

o-*
"i

^ «3
"i

^
i
stray:

o:
Oh how
blest

the

man, whose

ear

Im

-

pious counsel

shuns

to

hear;

Who

noi loves nor treads the


9 the sons of

^5"«
Where

^jr^rry
folly

way,

oi

J

J

VS POCO ALLEGRETTO.

HOMILIUS.
IOr~P-P- -p—p— »--p- ~o~ T~ "ZZC T"
"T"

Sevens.

Common Hymn.

237

iras s-e-V-- i_
:

p—p—P:
ZT

T"

1 zTzPzPz
~T
the

;P--Pl*-P-

•~-»:
Hark
!

^
song
of

a:
ju
-

o
bi
-

mJS
Loud

s
as
i

33e;
mighty
'&"* J*
thunders

Q: TT
roar;

EFFETE effe
1
sea,
i

:oz~*~

the

-

lee,

Or

the

fullness

of

When

it

breaks
i

upon the shore
_

fcZZZjZZZK

-©-


"T

i

^j:
p
p

zSE?
=P-el.

e

,-©LTSr

¥
fcfe e

o~

~~i

££ —

:«^n-i3
o"
t

^

— See

Je-

jrziezd

n
L

«.

(3- _«_«

-eL

J.

5*

1®_

H^-f-f-LTP
t

r __r_

i

P~
i

-j

a~^~
rz:P-

~

z^zz:

p p 'pl izzEEB
"^ZZ T~

"Zr

5
T2I

:o;
i

TZI

j~:

±»: ^zzPz-p-

"Or

^—P"

-P— P-r

^

I

*

:

^T
j

|

hovah's ban » ners furled

!

¥=* Sheathed his sword — he speaks

5^
'tis

i

i"

^¥i=i
done
!

F

xrzrszs:
Are the
-

g

^
kingdoms
of
his

^H
Son.

Now

the

kingdoms

of

this world,

i
-bp-

s:
~t

t T t

w-

£5V z4
f j

^^BEEf^zS
J
.

^ZZ?ZZZZZ«L

-f—r-G>-

sa^^na
r
jcl
J

^
fefc
iPzzm -®r
T~

r*

See*

azzn

-?—?- "PzzPz ^zzP:

m

Common Hymn.
May
also be song by

men's voices.

Hear

my

prayer, Je

-

ho

-

vah

hear!

-

-

-

Listen

to

my humble

cries:

Seethe

day

of

trouble near,

Heavy

on

my

soul

it

lies.

itrr:

e

33 - cl~&
net
TQ^e

#
<ym
*

c^^S 9

HO T5"

Egg
©-

."oi"

o

1

fC

!

o)

ol

:o:

-©-

^

£

JZJZX

oJC5I

?w fc^
Oh

ALLEGRETTO.

LATROBE.
xo
23:
"T

Sevens.
cj

BB
2X

i

F^ cx>~

S_
_T

m
xms: ^r
Wonders which
I

Common Hymn.

q=

i

^
that

©

:cr

'CX~ »~

men their songs would raise,

All

his
I
I

goodness

*^? © ^
to
-

'-©
All Je
|

.£51

^3-

de -dare,

hovah's wonders praise.

their children share.
'

I

^

2d.

rtf~ ~i


1st.

CHORAL.
TENOR.
i

KREUTZER.
~i

Sevens, or 8's

&

7>s.

Common
Comp;

Choral.
male

for four

OOQ O XJ
fil

¥$*

o-o <E> =©s roz^ -fOf TENOR.
iOZ

T~


^fer

©

zioco:

f-

•fQfpiSj e r
soar;

IZQ
s±-

Q[ <^ :o :s5Zot:p

s#;^ ex -© xx ffp
Who, O Lord, when ALTO or 2d. TREBLL

^

-p_£2_p
o'er,

«

Ql xsS^-

©

&<3 rzn
ev
-

531

©
guest,

^pbiII
In

lifers

Shall to

heaven's blest mansions

Who, an

er

welcome

thy

ho-

ly

place shall

rest.

BASS.

ALLEGRO MODERATO
^
»t

PICCINI.

8»«.

& y»s.
•-•i

Common Hymn.

:

r#:

^££ S3 !^3S0S — — — 3^^s —— — —ess
Z Z
1st.

2d.

TENOR.

tt
•P——
i

eti:

*m
'i

——
i

i

\-

r~_

S
ye

Comp:

for four

male
/

voices.

"T

L
-4-

I

TENOR.

i

p

i

i

i

~i

^j

i

J
bless

r L
his

o: fr-T
my

y-f»

theLordJe - ho alio or ^a ALTO 2d. TREBLE. i:,
!

Lo

.

m

-

vah

liv

-

eth

!

He's

my rock,

I

name: He,

God,

sal

-

vation giveth; All

lands ex

-

-

alt

his

fame.

_iN__

NIP
,1? JT
i

m f—£
?

3
•«
I

•_ ?=#•

-«^-«

Si^II ^JJ/l?
r-

"S_

EZPZZ* p #-6^-p— ca
i

Tl

1

i*"

i! X
1
1

J—.U-t
i

A JL
fti
i

it
P_
i

HZT

p •

"BASS."

T~

:orj

• • • • r"
"i

— ——
i

6?
f

E c

pa

240
tt

l

S

I'OC'O

ANDANTE.

GLUCK.
=t*
-••

— r~

^

•'

s*
my
ac

Search

my

heart,

-

tions

prove,

-rN-^-rf-te-fcN

^

a-

Sevens, or 8

4

7.
-1-

1

— IT

Conmou Hymn.

§
thy

d
they

J
rise;

Try

my

thoughts, as

For

kind

-

ness

-<
:iczr:

inHifi

^.

*%t

J.

Jt

^

r=e

-

3

K
•"*

~^~

^^

w

...

fw

* •

:

s

=*r

UN POCO ALLEGRETTO.

Sevens.

— — or®
"i

i

— T~ £3T
©'

i
f^r
j

»-E
rn;
i

r~1 —on 3E^ he — 5 P©n:
I-

I'rn;

? :eee?f nz

~

._..

TT"

__
|

mzzz:
i

r

_

n TTOi— Pfc=ft±ff o-d

Common Hymn. MIXOK.

^4
,=s

3

p.

— — — —— OZj 22TS
i
i

i

i

i

rrz-rn-i

T~

— — £e
i

-"iS
,

KA -o^SShall
[

ij

-rl

©-

F
?

—rnfn — — —
,i

rr~!

c:zi
| '

— —— — — rF
ri
?

~r-~Tsr

—±3
-*ie-

r~j3

i


a

i

r
way

rr

Lord,

my

God, how long by thee,

quite for

got

-

ten be

Lord,

how

long

?

— for ever — say
i
i

Wilt thou turn thy face

-

~n—
,€>
I

©E3
i

JICOE
1
i

ie--ic "

EE — —fa R— — —ttzit — p »—
1
1 i

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..]j>*

i

|J^©L

:-©c^:
^

r<E*S3
1ST

i


p-

"otto
^©-

iO

>

©-

0>~~ *

-sMi
=1

U^izldbzE

r
i

i

»

TT

=F

T~ T2T&

p^|o£p:3:^ yFeppF qw^-PH

E:E

ri

i

e^eee

3T

'I

on,

now

a

-

rise

and shine

!

-

Lo

!

thy

liffht

from heav'n

is

come

!

These that crowd from

far are thine,

2~r~

i

——
n

Give thy sons and daughters room.

r tJ~'TO'

«W1

i

r

r~ r

ri

— rr" ozz

— -S-U
if

l\\

POCO ALLEGRO.
l5=*rr

IOMA1V CHANT.
Lzzre:^
--&r-^

Sevens.
©,
l

Common

lit n:n.

H::--s
I
b

>~^n
i

—m— —

zsxs
r

Thanks

^bijffli
for mercies.

1
With
eter
" -

IB
i
in

~CT~~
-

Lord

re

-

ccive,

Pardon of our

sins

re

new

;

Teach us henceforth how

to
.

live,
.

ni

-

-

ty

view.

4

»
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*

r

«-£±
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S3 o
(>

335
•j
>i

_jSi
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15ns:
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N_J

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. -T^X —

——

:.:

f

ii

'

— e ^^ f^^TTO

l

r

»

— —•-#r*~* n— —T-pH—
i

r tr
s*-

~Z5~ ->-

3M;
T~
e>

-b-

>g>

#_

r~i

»-i

©r

-©r
~r~

©r-#

BE

3
-

ALLA BREVE MODERATO.

PILGRIM'S

CHAM.
w=;
e
o-

Seven*.

Common Hymn.

:ferr=

Ibfer»—

VM
I

I

F~?

r

I
Z]— i»n
re
-

pre
r

r w.^ J
I
j

J czz
we
pair,


to

^ ^X
wor
-

xxiszxi^zj b#-^*-^r^
vail

1~"

il

To

cv "o
mer
-

cr
seat.

thy temple

Lord we love

^CTfe ^ *
75i©i

-o-

T^T* 3= SZSZjI
jl~x
r r r
*

:s2
<

ru

ship

there; There within the

we
r

meet. Thee up

-

on the

cy

-o-

T~

-d-=-»-»-

>-

^-«-

W£+

'i

-©-

-j

i

J

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~8J*~<

IH5ZZ ]=*m=:

«
_

^FvS rr
j-

p-

ISX or

ys
o

W- r

o

__Q_

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9'
.

i

r

S3 <> zee
>£•

IT.

O O

i

1

ALLEGRETTO.
*<-§*-*

TELEMANN'S CHANT.
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Sevens.
"I "i

—%•—% — • — *J
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Christ, the Lord,
is

3 *

n

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Common Hymn. © •" p~zr~ :P-PI

243

B W—
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ris-en to day,

Our

tri -

urn

-

phant ho

-

ly

day
-!-

He

endured

the cross and grave.

Sinners

to

r#-#
8

3i
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en
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deem and
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save.
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ALLEGRO

LEUTHARD'S CHANT.
32-

Sevens.

Common HymU.
By omitting
ver
the quarest.

i

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H

^44

m^^^^^^^^^^^^^^^^^^r
AIJ-ECHETTO,
Ail.

MA XOX TROPPO.

Tenor

Libitum.

» mils lakr n from a Fa mily

1 1\ SI iJL*.lJM P raye Boot

r

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Common
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For two

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Bi okn,

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Tenor Ad. Lib.

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Now

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Cease here Ion

de

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me,

Kindest mother drown'd in woe,

thy kind car

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me

;

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ad

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let

me

I

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the death of a child at day-break.

CHORAL.

MARSCHNER.

& 4»..

Common
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Chorai

CHORAL.

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suit
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Common Choral. z:n:

245

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At

TTT —ott-^ o _xzr
thy
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we come

be

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km
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thee

now

:

we hum
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bly

bow
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Oh do

;~~ra

not

our

dain

!

Shall

we

seek

thee, Lord, in

vain

?

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CHORAL.

CLEMENTI.

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grass

31
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charge

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'Midst the

pre

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246
1

ALLEGRETTO.

MUFF AT.
B-

Sevens, or

8>s, A: 7's.

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Hark what mean those lamen

tations,

sadly through the sky

Tis

the

of

heathen nations,

Come and

help

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us,

or

we

die

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ALLEGRETTO

MUFFAT.
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who came

Common Hymn. MAJOR.

N

Brightness of the

Fathers glory

!

Shall thy praise

Break, each tongue, such guilty silence, Praise the Lord,

SH
'

o

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to die.

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UN POCO ALLEGRETTOrffc* r '3 g-L * -y|— D- » 2Z

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Jesus,

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thy

peo

From our

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ALLEGRETTO.

A

"

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S's,

7's.

Couuioa Hymn.

35

mm
heads and
die.
1

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winter's

tem

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lowers.

O era

bleak

and

cloudv

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Praise the

Lord

'

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ye heav'ns a
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dore him, Praise
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him angels

in

the height

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Sun and moon
.
!

re

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DIABELLI.

7 's Six Lines.

Common Hymn.

33

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MAUIiER.
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Sevens. Six Lines.

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Christ,

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32:

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9 3E
sword;

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they,

on his

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Who

live in this

day,

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witness his wonderful deedi.

13

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my

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the path of

ty plain.
s

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me

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a
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me! Can my God

wrath

for

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bear?

Me,

ners spare?

CHORAL.

fcb S-^ ^=> ©--©

ifez:

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n

WEIGL.
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8' 8

&7' S

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o

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O Q 2X

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Cease ye mourners, cease to

guish, O'er the grave of those

love; Pain,

and death, and night, and an

guish,

En

-

ter not the

world a

bove.

UN POCO ALLEGRETTO.

STERKEL.

8>8.*7's.

Common Hymn
OR ANTHEM.

255

I
Thou
art
I

ev

7

crea

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ture's

theme

— Hal

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le

-

Iu

jah

!

Hal

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le

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lu

-

jah

!

Hal

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-

le

-

lu

-

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jah

A

men.

T

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HYMN

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ALLEGRETTO.

S

SOLO

GRUNER.
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& 4.

SOLO.

S*=
Lord, dis
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Fill

miss us

with thy bles -sing,

^^B
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Common Hymn.
v'J'lit;..!—

t.XuLOGY.

*•

our hearts with joy

and

TREBLE.

i^ifeis
solo.
Lord
dis
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SOLO.
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peace

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peace

"•"

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ei^i

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miss us

with thy bles

sing,

Fill

our

hearts with joy and

HfMiUljJliii
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a
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Lord

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miss us with thy bles

sing,

our

hearts with

jny

and

peace

TPTTl
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When

us<_-(l

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an an Anthem, t the whole may be sung !lmngh<v:t Solo,Jtnd Hie Tulti r^ peair .l in <.' hurU8.
i

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sm
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wil
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each

thy love pos

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sing,

Triumph

deem

mg

grace.

fresh

us!

Trav'

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der

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WEBSTER'S CHANT.
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Common Hymn.

gzfpp: qg^fflg:

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257

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vho stand round the throne, angels who

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In

rapturous songs
, ,
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make him known, Tune
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CHORAL.

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Eights.

Common Choral.

M

(O

P

"^drsi^idh^x^Lioislz^^ozs Q^^o-to
The
love

of

the

spir- it

I

sing,

By whom

the

a

-

tonement's applied:

Who sin

-

ners to

Je

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sus can bring,
i

And cause them in
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258

IX POCO ALLEGRO.

"-

3

FLIXTS TUNE.

81. 7*.

^ra ^SSi^

& 4.

Common

OK AWTHEM.

Ifvinn.

Sonu-s Songs

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a

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M
have won.

done

!

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vie

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tory

— Glo

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rious vie

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— His

right

hand

arm

Jl

t*

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33_
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Anthem, The

first

time Solo and Piano, from

*

The second time Tutu and

Forte Sl D.

Cp.#

ALLEGRETTO.

NEEFE.

8's. 7's.

&

4.

.Common Hymn.

259

On

the

mountain's

top

ap

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pear

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3

g>

the

sa

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cred

her

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aid

stands

!

Welcome

news

to

Zi

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on

bear

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ss i^ r—
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God

self

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bands.

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us,

8's. 7's.

& 4.
^i

OH ANTHEM—DOXOLOCY.

Common Hymn.


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ere
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jzj we
go;

1

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When we

I^r^ gE#g3n^zj
I
join
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sal

va

tion, hear us

;

Bless,

-

oh

bless

the

world, be

near

us,

r#~

?~j2ZI*
Lest

22:
cold
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we

5 e
and
care

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rv
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less

stow

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keep

us,

Sav
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keep

us,

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us
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SPAZ1ER.
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wh. ©-

& 4.
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261

j_
SOLO.

g^ ffip

HI
the

#JF

5
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the

God ap

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From on

high

Je

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ho

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5 f^^rf-^^TTi
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"13"

East

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beholds him,

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sal

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8's. 7's. A: 4.

Common Hymn.

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ty

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the
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then world reclaim

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To

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souls

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NEW JERUSALEM.
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•--•SOLO.

Common Hymn.

8 ^jr^:>-g- ar-g *

S P P f P

2.

With joy

shall

we

stand,

when escaped

to the shore;

With harps

in

our hands, we'll

-

praise

him

the more

-

We'll

range

the sweet plain's on the

bank of the

riTer,

CODA, ALLEGRO ASSAI.

£!£- •r~y
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£-MZ3_ca
HYMN FINE

t ?=S=q
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51

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blood flows so freely

streams of sal

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vation.

Hal

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le

-

lu

-jab

to the

Lamb,

Who

has bought us

pardon; We'll praise him again,

^ssjm
When we
pass o
-

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Jordan.
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n^L±5fd?pdxi*:
L'NISON.

,

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sing of sal

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TZ2I1
The
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T^
Anthem
fine.

er

and ever.

FINE

VS POCO ALLEGRO.
[

GALILEE.
*

Elevens.

Common Hymn.

269

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The
Lord
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sheep
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his

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our shepherd, our guardian, and guide, Whatever

we want,

pas

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cies

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IS

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pas

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f*~j°-tK7

ALLEGRO.

SUSSMAIER.

6.

A ;4.

OR ANTHEM— DOXOLOGY

Common Hymn.

271

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all

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Wor

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thy

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Sixes

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Common Hymn.
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s
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WEBB.
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5's.

& 6>s.
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OR ANTHEM

Common Hymn. TWO VERSES.

^|0

T

O"

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ZOI
1.

F ^zszz»~ zzo^«zz©:
works,

=^:
saints,

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^Ts SOLO. 4~ qzzir
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How

wond'rous and

great

Thy

God

of

praise!

— How

just,

King of

— And

are

thy

ways

!

-

Oh,

who

shall not

^s
2.

To

nations long

dark,

Thy

-

-

light

-

shall be

shown

;

Their

worships and

vows

-

Shall

come

-

-

to

thy

throne

:

Thy

truth

-

and thy

.p.
1
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9 -P— P"

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thee,

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hon

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or

thy

name

!

Thou

on

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ho

-

ly,

Thou

on

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y

su

-

preme

!

Thou

on

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ly

su

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Till earth's

ev

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peo

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Con

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thee

their

God,

fess

thee

their

God.

274

ALLEGRO.

AMSTERDAM.
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my

Thy

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things Tow'rdsheav'n thy native

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shall soon this

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my
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ga
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3

—Eh£b
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Sun and

moon

and

stars

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cav.

Time

move;

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a
|

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way,

To
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seats
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prepar'd «*_

bove.

J

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^zzij^z^zzzz:
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——
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UN POCO ANDANTE.

ELAM.
:Eg
fa
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8»s. 3's.

&
do

6>s.

May

ALLEGRO.

be used as a Duett for two Trebles, or a Trio, omitting the Tenor.

tf>

COMMON' HYMN.

0~ h"

T

ii
my
God,
I

:

<5or©r
bless

;o:

vor, This day

show'd by

my

r~
Sa
-

viour,

I

do

-

bless

my

E»I
Sa
-

»» E .« 4 *3

viour.

yffifej
2.

Leave me

not, but

ev

er

love

me

;

Let

thy

peace

be

my
fc_

bliss, Till
I

thou hence re

-

move me,

Till
I

thou

hence

re

-

-

move

r*

s-i
3.

!

-(,

a
-

>-p
,

—a
I

p—
sleep,

,-«

!

——
thy

ITT ESls^EB L -442^ I
-e-

rrri

Sg
:

r

13 T~
J31

p-

Thou my Rock, my Guard, my Tow J. -J- J_ J: JJ.

er

— Safe
-J.

ly
-J.

keep, While

Me

with

all

pow

er,

Me
I

with
!

all
,

-

thy

-J.

-eL

gfrF

— ©- ~m r— i-gi—
r
With
the

-«L

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321
num
-

pow

-

er.

eL

^ra
4.

EH?
whene'er
in death
I

T~~
slum
-

And

ber,

Let

me

?

rise,

wise,

Counted

in their

num

^FR= r
Counted

r

F

[

-

ber,

in

their

-

ber.

ALLEGRO MOLTO.

SYRIA.

10's.

&

ll's.

Common Hymn.

fe ezp-fTg^zg^
r

~TT~!"
:~
-

q

dd Ml

^

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Oh
praise

J

n-r r
With
voices united the

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—I--I- ©
I

a
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"3

U —IT
music divine.
L __!_

ye the Lord, Prepare
I

anew soncr, And let all his saints in
I

full
I

concert join;

J

1

I

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JgESL —
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anthem prolong, And shew
J
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forth his praises in
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ALLEGRETTO

t—

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MASSACHUSETTS. SECOND
FIRST TIME.
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8»..

7*.

TIME.

&

4.

Common Hymn.


(


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2

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fcozII

Sffig
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FT — — ipzsij;
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he comes, witk clouds descending, Once for favor'd sinners

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lujah
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God appears on

earth to

reign.

to

1
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saints attending,

I

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Thousand thousand

ALLEGRO
Lc^ji.q"j:n
i

ASSAI.
ijz

MOUNT HOREB.
rr i

Swell the triumph J^p

QZFof

his train.

to'»-

& «'•
i i
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i

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— ~n— —rr~rr
i

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Oh

!

praise

&yittessis
ye the Lord, Prepare your glad voice, His praise

f
c
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i—r rl :o~a. .qzozo:

— — — —3 —
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Common Hymn
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in the great

assembly

to sin<r in their

great Creator let

all

men

rejoice.

And

heirs of salvation be glad in their king.

5-

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Lord,
let

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be-

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UN POCO ALLEGRO

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CHRISTMAS.
ram
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AXTHEM.
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TREBLE
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sounding through the skies;

331 E
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S^ES
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COMMON
HV.M.V.

Hark

what mean those holy voi
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Sweetly

th'

angel

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1

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hear the

w-ond'rous

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Which

they chant in

songs of joy;

Glo

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in

-

the highest, glo

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WHEN THE LORD.
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shall

Recitativo and

IVIotetto.

289
CZ»

|f^=

-F-

•• fe

EF
~P~
Lord

1

3s:

J r
Zi
-

A-ZZZZIZiF _p~ e r ^
i

CE

-I
up
-

:g
ap
pear
in

Wlien the

build

on,

he

shall

nis

glo

U-

:or
-©-©-«l-

T
— -©|l"i"

T ©r

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E

P- *'

P

P
I

»I

rf
I

^r

I

E

ORGAN.

jo:

"£T

T0-

T5_

3
"cy
f
i

Jjfc.
I

p »»

r p B
shall

r p
be

I

p~ —

_

*
rest

f P—
for
-

gr~g

|Q
r

^—
j^
" r~

r->

I

P

ipzip:
I

p

r

": ~p
p"
dwell,

r

p p

i

p

* r* p p p~~p p
i

.

2Z^;

#— —^
i

_
i*
i

&
HHHl
Q~
©-

This

my

ev

-

er,

saith the

Lord;

here will

for

1

de

-

light therein.

ra

M=\
nrr

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:r

^ES -ok
"O"

q 51^
<©r

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p^-p

^:

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E

37

200 CHORl'S.
3
l>l>

ALLEGRO

O PRAY FOR THE PEACE OF JERUSALEM,
-^

xotctto.
t

FFF^-^ EEEE ©i
O
pray for
th e

e^
of

3S
Je
-

-•
sa

— •-

£
;

I£fc

£
for

r

peace.

fo r the

peace

3

i'<

Ipii
• -m

~~r
-©.

o

^^m
ru
-

lem

O
IQTi

§
Je-

,pi?y_

the peace of

3ESE
fo r

I
peac e

i»i» -f-

—•—•— -p
f!
-P-

^T
j>eace

33B
rr
for

t
the

r
peace

XT
i <

Si
i •

o

the

peace, for the

T

r

-©L f^
O
pray

S
for

3 3-•-•i

**f±<•<,

'o-v-

—e-

i

q

pray

for

the

of

Je

-

ru

-

sa

-

lem

tlie

peace, for the

j>eace

"i"r-s

Tl

--J«"» »
.i

I

PT
P ra7

E-Pfor

-,•-

-P-

-P-

r

o

-

the peace of

Je-

5b
ru

_
_

:|*
-

^S
-

<3—p—&1*-

l
-

r

T
.

sa

lem

they

shall pros

per

)ze>
of

t

©
-

^ ©
-

?P*m
it

rjT-^FP^s:

EES3

lOLO.

TENOR

or

SECOND TREBLE.
'
i

~

3
they
-

:rn~ a j mi
love

zm*zz
thee.

Je

ru

P

©
' >

s
sa
-i©--

•*•
shall

lem

"•
I


r

pros

-

per that

rn
-— T©-

"i
I

*TSOLO.
tliey
-

J_Z

*f
of Jp
ru
sa
-

m-p*£ 3S S=D
^r

l.>m

;

shall

prosper
E..

lem;

MOTETTO.
they shall
prosper,

Continued.
pp.

291
peace

they shall prosper

that

love thee, that love

thee.

Peace,

=:

HEE3H5

HH
i i

:^S-J5S*iEii

•-•

"•:

©

©^

©^
"O"

TT

£
"cy

-F:

Ty-

I

i

they shall

prosper,

they shall

jj prosper
i

I

U.

'

.'

that

TUTTI.

~0

be with

thy

-

-

-

walls,

-----

and plenteousness

within

thy

pal

-

a

-

ces,

and

plen

-

teousness within

thy

pal

-

a

-

ces,

q_._

iszh: n_n

TX

^L-

»

Ml

Tl

gC
ID

r

42nor

-©rthy

©t^
1^5
walls
I

h
T5
P.

I

— r— —g~ g f~ ~»»- J
t-r

i


and

^5i_,i • •

^--^ 5 ^

3!l

35

—51
p
ces,
i

S

n
>. •»>
i

-r
thy
pal
-

r
a
- -

-r
ces,

^

be with

and
.

plenteousness

within

plenteousness

~a

-&-

o>

o

Prp-

P"*
"i

btt

i

,

ff

within

thy

pal

-

a

-

f

-P

-

-

-#- «-

1^

f^

1®=

— S" r

292

JIOTETTO.
ijzz^:

continued.
X>
r_

-F
pp

XLZkI

&

3 ^1-EHEl
rp.
and
plenteousness
within

SSS^E^
walls,
-

=SZZZ5
pal

Uiy

a

-

ces,

peace

I*

fc

I*

f. -©'-

T pp.
and plenteousness
within

pp
thy
pal

-r
peace,

s
I

£©-

r r
be

a

-

ces,

peace

with

-

-

in

thy

walls,

FT
and

£Z3:
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T
.

TZZZC

k_

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xt:
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r

:sl

o

^
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men.

23:

i^X j

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XT

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:

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feEgE^EgE
plen

"~r

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pa

-©Ila

XL
r

5^
-

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te

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ousness

with
|»-

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in

thy

XLXX
-FT'

o
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la

^3
A
-

men. CRES.
-

A

XL
=F
men.
J

XL

XL
men.
I

pces,
-

I

plen

teousness

with

-

in

thy
_j-_.

pa

A
eL

x*:

XL XL
r

r

5:

2E

1

ALLEGRO.

I

WILL ARISE AND GO TO MY FATHER.
:xr

Motetto.

^r
:

-©r

—&
p.
jg~

3

CRES.

293
23"

35

o-

I

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MF.

~^T
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and

1
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3=»
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"I

J

r

s=?t

T*
my
fa
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tt
I will

cy
- rise,

5
and

I

will

rise

go
!

to
i

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ther,

a

I

will

a
—)-

- .rise

T~
^sf

,—s

zx

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ȣ
MF.

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F=F=F

To

T

SOLO

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p.
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33:
i

-o-

r t
T5T

^H Y~r
-Or

2S

^5

a

-Or

fc
SOLO.

UNISON.

to

my

fa

-

-

-

-

ther,

and

will

say un

-

to

him, and will say

un

-

-

to

him,

29

TITTI.

MOTETTO.
o
MF.

Continued.
€>r

3=
pp.
fa

S^EF

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^3
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rZT
I
p^~

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m

<->

^^
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DECRES.

.*-4
against

^
heav'n

^
and
be
-

^F=
thee.

IT"

ther,

have

sinned

fore

"I

^=£=4£ob=
t
MF.

II ?

5
I

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pp.
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DECRES

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XT

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X2Z^r
no more

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4
be

-o:

JSZZX

:az

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and

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If
wor
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— gcr^o
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son.

am
xz:

thy

to

call

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ed

thy

son,

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to

be

call

ed

thy

c o

-o

1

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^
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15

1

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<">:

j^ZZ&

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aixegretto.

BEHOLD, LORD

IS

MY
T'
1

SALVATION.

Sentence.
SOLO.
1

295
B~Pt "i

3BE
¥=

5
Be

^
o:
f*
i©-

5
_zOhold,

_Tg_

X2Z

:n CT
hold.

z
Lord

m m
is

^^ r =pj-^
my
sal
-

^
i

*^
^T
-rt~»'

?=
Lord
is

sis
my

c.
sal
-

S
va
-

— £E
will trust

I

be

va

-

tion,

Behold,

tion,

3

4
r
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^=
TO"

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p-EdLr^d 4

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i i

esS HPT dj
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r
trust

S3
t-tZlT B=
SOLO.
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-J-

r

r
i

e-r- IT
1

«F

WTW
r

T1*"P"

£
lOS2_
not

will

trust

C^ESc F
:

-o
trust

HZ?!" CX
]

1

h*

r~r P^F ^^ *=£
I

3?~t

I

will

and not

be

a

fraid;

JP

T
and

^

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will

5=
TUTTI.

O
I

T
X3T
will
trust,
I

*i^^c:
will

tQZ
not

-Obe

-O
a
-

trust

and

fraid;

for

the Lord Je-

296
i
r

33
for

s
Lord
Je
i

SENTENCE. — —r~ — — ~WW
i
i

Continued.
T©ho

O
-

"i

i

O
is

hije
i
-

the

iia'arnzn


-

hovah

is

my

strength, Je
I
]

-

-

vah

ill!

my

strength, m^r

m
ICL

CO'

is
EF^F^

1T~~H

jaEjg:
for
:

E^^^lb^^^l^
vah
is

"
I

the

Lord

Je

-

bovah

is

my

strength, Je

ho

my

strength,

my

strength

T-

i=*z*

^L_£l

£e
strength, Je

^ i^ri 3 ?rF*«F
z?3:
1®ho

#F
£3£
my
strength, Je
-

U-v

I

rqt
ho
yah
is

^
my
strength,

©^
..._....

T

-<e-

hovah

is

my

vah
-J

my

for

the

Lord

Je

-

hovah

is

WW my

strength,

my strength my

strength

^P*
1 1

-©-

1

H
and

_ z~*x»~ i»^» »^»:

i

:r~r

i

zzz:
;

r

~i
become

ww.

-\


my
sal
-

-»-#**

song

he

-V-

O
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75"

x?:

o

:u:

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?R=

© 75"
a &^©^*-

— h-

^

P
.

^o- T
-f^=

¥=«=? © i* r t s v ~1W IC* iz«r« T« O xzz__i_

©

s
..

al

-

so

is

my

salvation,

vation

;

he

also

is

become

my

sal

-

vati on.

my

*
sal
-

vati on.

"diJTJJJJJlJJH
* >
I

,

,

.*
I

J*"S~#

hoe
7*1

I

!

I

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-feCT-

•• •

^8F
• 8

^r~r
:*zs:
5_

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=^F rr rmr ^;r 11
J.
J..-JTZE3.

SE E

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t

jq;

o
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'WWW

r*1»

^J*J-i^r.

-j-c^

::££ -r» -• r

p

SOLO.

SENTENCE.
-*-!*-

Continued.

wrf*
Be
-

hold

Lord

is

my

sal

-

va

-

tion

;

SOLO.

TUTTI.

• JJ
I

~i

—trj""i—ri—
;

will

trust,

i

will

trust

and not

be
~~i

a

-

fraid

for the

Lord

Jc-

P

c
r

rl* 9m
lO

"T

%

II ^rf rr

— — »a
5—
r
:

T

-=B f-f

TUTTI.

Ld 1iC5~~ & *- *
~

u y
Lord
is

y "-^
sal
-


tion
;

my

va

-

hovah,

is

my strength and my

N

ii

,

song, he
P> P.

al

-

so

is

become,

is
l

become
I i

20 O ALLEGRO ASSAI.
Praise

PRAISE GOD FROM WHOM. 1®- |3 -^-pHZ= ^zza: t~ #C o -rJ-*- ZQZ ZO_Z —
r :z
i

Anthem.
DECRES.

*e

xl
him,

^P-F=r*

rit

1

God,

praise

God from whom

all

blessings, all

blessings

flow

Praise

ALTO.

MF

praise

him from

*e-

TV o:

O-h^r^
331
-©-

-O-

"O

IQZ

-©-•;

;

t~ mc o~

pm o
Praise

~1

"r;

T
God,
praise

O— -^ -^
1®-

o
T5
all

——
I

Praise

I?5

^P-^ T5

T"

1

=ji=3
flow;

^izn i^zii
Praise

X5~
hlm yJ
.

IS
fron

f^zT

God

from

whom

blessings, all

blessings

I

n

praise

him from

mf.

Praise

him from

-*-©<

^^?# TT-rr
"

~

~\

<Ei:r
him a CRB9C:
-

-o^

IZUZ«
bove. praise him a
-

'r>~gy-ci
bove, a

Z^ZSl ^t
'

1©-

o' •
host,
/•£.

X.
lwre

|

^
Ho
-

_c>.
ly

t?:
Ghost.

L
ye
-Pf

whom
r#"

all

blessings

flow;

Praise

P.

—=r

heavenly

praise Father,

Son,

and

*.

PP.
~;
i

^
Tt

©-©
*-©
whom
I

E3
u
1°-."
flow;

-©-•-•i

as
——
i i

zzzr r?z?z
-•-•-

X> zd: ICTZZO:
1 r-©
1

o
T>

i

i

^

"

—uzqzm:
€>-r
p.
n *»•-*-

r-f ¥--? ."75all

g-H._-.-_l__©
him a
-

a ~ 1®—
-

fi

^
i

F^^F^T* — zr
r>
"1
-


O

»-lJ

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TT~^

cr

1

-

p
W
ly

E
*&,
"

UE^wzmz
r \ i host, praise Father,

^TF=£^=^ r~ i»Son,
I

blessings

Praise

bove,

praise

him a

bove, a

bove
-J

ye
>

heavenly

and
I

Ho

-

Gho«t

cresc;

«==;

O

1

e

"

PP.

J

ANTHEM.
ifc:
©-

Continued.

3E
-#©praise

-©-

* CE

O"

-©-

FF.

»
©
1

—©-r

and

299
-©i©-

o

3
pp.

xz

Q^

*E

XT
B2=
*

©
God,

:sx
him

T

xe
Praise
fa
-

©
ther,

-©Ho
ly

25:
Ghost,

IDE

-©-

-©men

a
~23 o

Praise

Son,

A
io:

-

-

men,

A
-©-©-

T
I

—©- TL

j_

oz;
-e-

-©-

^E>'

©
j^i
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©- — ©'

©
I

~_

e-

J^_

o
-©-

si^d:
o"

7E

-f—
_ jpp.

F-

I
I!

E

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_Q-

©

FF.

O +& ©^

o,— o 1©-r ~o~rio~
s

#:

a
1

13:

-©-

1©-

©-

-©-

©

ALLEGRETTO.

n:

CHRIST OUR LORD IS RIS'N TO DAY. —^£Z3lH — a rrtr f1 — ^ h - iTl r ——
-

Easter Anthem.
_

•",

:#~~it

f

" !•
i

r*~r
1

*--

1

fc

MF
J

T
3

F.

2** *
ns n
to

3^^
_©_

5:
le
I

Christ our Lord

is

day,

Hal

-

le

-

lu

-

jah,

Hal

-

-

-

-

lu
i

-

jah,

Hal
I

-

le

-

lu

-

jah,

Hal

-

le

lu

jah

©•

»»i

*
-L^r
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&

s

J m

I

h

-i
**-?
•r>

J=V
v.
P.

I

MF.

UNISON.

S5

-ft

-f»-

i

P-r*"

300
"r- :»
Sons

ANTHEM.
3=^
angels
say,

Continued.

S
"i

of

men and

Hal
r.

-

le

-

lu

-

jah,

Hal

-

le

-

-

lu

-

jah,

raise

your joys and

triumphs

high,

Hal

-

le

-

-

lu

-

jah,

FF.

¥
men and
an
-

:««-•

Hal

-

le

-

lu

-

jah,

Hal

-

le

-

lu

-

jah,

-&^~-~——Em
r

^
r
le
-

-&-

^^
gels say,

*
. -

W
I
1

J=5f!V
your joys

J«.
.-•

E:2

*=F
and
triumphs
high,

Sons

of

Hal

-

lu

jah,

raise

Hal
."ft-

-

le
J*

-

lu
I

-

-jah,
I

F

I

J

FF

*-

Si
i

]

r

•~rT

T
-

t-

a
'i

r

i

x—r

l

>i

—l—

l

IK

r-i

|*H»-

1^-1»-

r

i

r

r

'ft.
i

I

r

T~

gr

-^-^-^-h*^^ 11
:z-*
:

^^
:n#*
jah,

~*T

*~ *~
i

r~»^-»-r-*— *-h».— •
"i

t

-•

;

I


i

'


r

r
i

i

r

~i '

P

r
s»~

r

F35£J§53 i*SK
hal-le
-

-#•-

S3
-

m
jah,
hal
- le
-

ik
-

-•
le
-


-

•hal
-

±m
le
-

-F-

lu

-

jah,

hal

-

le

-

lu

-

hal

le

-

lu

-

lu

-

jah,

hal

-

le

-

lu

jah,

hal

-

-

lu

jah,

lu

jah.

ANTHEM.
©
©CRES.

Continued.

301
&Z-P-

©

p-r

P

Ip


-©and
.

©

sing

33
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325
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ANTHEM.
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Borne
a
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Continued.

327
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will guide

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you

22
to

far 'midst

foes

and strangers,

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is

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is

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you

the

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328
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Continued.

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J1PP
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THE LORD, AWAKE

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Continued.

331

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ty

God

thy grace proclaim, Thro' ev'

name Let adverse pow'rs

before thee

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the

-

iour Lord

ALLEGRO

332

AXDAXTE.

To

the

memory of

*^7

ELIOT.

Funeral

Hymn.

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1
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—*—"—•
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soon
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Life

is

a

span,

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hour,

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por

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is

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ten

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ful

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3

ALLEGRETTO.

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•~I1WIWZEMZ

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334
5USI

HYMN.
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Continued.

*"|

4

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never
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;

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never die, never

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f

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51

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FINE.

ALLEGRO.

THROUGH EV'RY
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Continued.

335
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35

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336

ALLEGRETTO.

o

ss
God in
i

GOD IN HIS HOLINESS. O PRAISE ILLEGRO ASSAI S U3is: > fi PRgrfSyiC" 6 C i .C E
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SECO ND TREBLE.

DEC RES.

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li
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ness,

W

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him

in the

firmament

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power;

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Praise

him

in

his

no

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ble acts, Praise

him

ac-

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excellent

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J-^_
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MOTETTO.

Continued.

Praise

him upon the

lute,

upon the

lute,

upon the

lute

and harp;

Praise

him &c.

E -•ye-o

#

F—

strings

and pipes,

Let

every thing that hath breath

praise

the

Lord, Let

every thing that hath breath praise the

Lord, Let every thing that hath breath

p-pn

pr-p

JIOTETTO.
\

ALLEGRETTO.

THE GRACE OF OUR LORD.
irri

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Lord

H*
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Je

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sus

Christ,

And

the

Love of

God, and

tlie

fellowship of the

ly

Ghost,

Be with

tu

all

ever,

ev

r.r-r f"-p-eL4-4

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TO GOD THE FATHER.

Sentence.

Doxology.

339

To

God

the

fatter,

God

the

Son,

And

_
God

-

the

spirit

three

in

one

;

Be

hon

-

er, praise,

and

glo

-

ry given,

By

all
I

on
I

earth

-

and

.J-J.

at

err

ALLEGRO

ASS A

ALLEGRO ASSAI

34r0

ALLEGRO.

BEHOLD GOD

Si
I

IS

MY

SALVATION.

'lull

Ho.

s
Be

-

-

hold, be

-

-hold

God

is

my

sal

-

vation.

will

trust

in

him,

Be

-

hold,

be

-

-

hold

God is my

sal

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Tation,

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trust

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for the

Lord Je

-

-

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is

my strength and my song,

he

so

is

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r

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Praise the

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Continued.

341

ffi

55Zpr
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MOTETTO.
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Continued.

353
33.

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THE GLORY OF THE LORD.

Tlolrtlo.

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31.

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Continued.

355
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Continued.

357

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Continued.

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Continued.

359

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TEMPO PR IMO.

The

Glory of the
I I

Lord
I

shall

en

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dure for

ev-er, for

ev-er, shall

en

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dure for
I I

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ev-er
I

;

the
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Glory
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aT ^s^st^lB^ P^-g-©
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The Lord

is

our shepherd our guardian, and guide, Whatever

sheep of his pasture, his mercies abound, His care and protection his flock will surround.

t
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362

MODKRATO.

WO UNTO

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at

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in
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* Written for

21st Anni»er«ary of lli» Massachusetts

Temperance

Society, and performed in Park Si. Cnurch, Feb. QGth, 1833.

—T

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Continued.

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sin in

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but

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be-

thou

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Continued.
JgZ 3
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33
the

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per

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shall

per

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i

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UN POCO ANDANTINO.
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CREATE

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from

388

MOTETTO.

Continued.
SOLO.

S
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&

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SIXXl
Re
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3E
the

SSfejEp!^
store

store

unto

me

joy of thy sal

-

vation,

and

up-

unto

me

the joy of thy sal

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vation.

and

up

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hold

me

with thy

free

spirit.

3ESSS*
rz-J- j
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SP^P
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ners shall

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izziz

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, I

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Continued.

389
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390 TUTTI.

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Then
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MOTETTO.
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Continued,
p.

Si
will
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<>

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con
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teach transgressors thy

ways,

Then

teach transgressors thy ways, and sinners shall be

feSf^Sl
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to

thee.

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d=E

is:

TT

will I Thenrinri

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UN POCO ALLEGRETTO.

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YE. REPENT ALLEGRETTO.

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Continued.
TUTTI.

391
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Continued.
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MORNING PRAYER.
TENOR

VENITE, EXULTEMUS.
IOI

NO.
-©-

1.

Before the portion of Psalms.

-<£

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FIRST & SECOND TREBLE.
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BASE.

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sal
all
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vation,

ORGAN.
1.

O

3.

come, let us sing unFor the Lord is a

5. 7.

The

sea

is his,

10.

For he is the Glory be to the Father, and

.... ....

...

-

to

-

-the
. . .
-

Lord,

-

great

and Lord
to
-

-he
-

-

our the

God; made it God;
Son,

Let us heartily rejoice in the strength of - and a great King a and his hands prepared the and we are the people of his pasture, and the and to the

.

our

g
4

bove

gods
land,

...

(J

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ry

U

sheep

of his
ly
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Ho

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hand. Ghost.

8
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Finale.

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O come let us worship .... O worship the Lord in the beauty of
For he coinelh,
for

TT
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and show ourselves and the strength of the and kneel be- - let the whole earth
and with righteuusness, world, and the

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in
is
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him
his
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_©lW_J_^

T
-©with
our of
his
-

o:
psalms.
also,
3.

Let us come before his presence In his hand are all the corners

with thanks
of
-

the
fall
li
-

-

giving, earth,

-----

I

glad
hills

-

men.

-

-

-

5. 7.

and ho

down
-

fore

the
'.Tl

Lord

Maker.
him.
truth.

ness

;

stand
judge the
) j

awe
with

-

9.*
10.
-

he eometh

to

-

judge

the
is

-

earth

to

As

it

was

in the be

ginning,

-

and ever

shall be,

world without

-

P eo end,

" -

pie

-

A-

-

men.

A

men.

MORN'IXC PRAYER.
TENOR.

GLORIA PATRI.

NO.

2.
-o

After the portion of Psalms.

SJKT
j

:q©:
2d

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be

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Glory be
,y

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to the Father,

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was

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the be -ginning,

now, and ever

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end,

A

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A

MORNING PRAYER. PSALM
a

m

C.

Tenor.

JUBILATE DEO.
:m;
-©-

NO.
-©-

3.

After the Second Lesson.

©

^=©t

3

1st Treble.

2d Treble.
Base.

2
gates with
-

^F xx
p
i

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221

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sence


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±a
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m.«fe
1.
3.

©
all
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©H T
ye
-


©lands
praise

o o
with
of

:

O be joyful in the Lord O go ye your way into his

serve the Lord with gladness, and
be thankful unto him, and

5

thanksgiving, and into his Glory be to the Father, and

courts with
to
-

...

-

the

Son,

and

----------------

-....-..

come

before his

pre

-

a
his
ly

song.

2.

speak good
to
-

name.
Ghost.

4. 6.

the

Ho

-©r

m
1

-©-

<y—zy

22:

^
©^

:o:

s
<s8:
2. 4.

-©-

XX
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Mo B
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he ev ev

:

©

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r

^=g
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©

i3|
xrJi

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33
-

©God;lasting; shall be,
it is

a
his-

25


-

33
pasture.
ration.

23
he that hath made us, and not we ourselves; we are and his truth endureth from gene world without
people and the sheep-of his
ration
-

6.

sure that the Lord - - - For the Lord is gracious, his mercy is As it was in the beginning, is now,and

Be ye

is

na
3. 5.

erer-

to

ge

end

A- men,

neA-

men

-

A-

-

men.

MORXIXG PRAYER
In
l

BEXEDICTUS.

NO.

4.

After the Second Lesson.

iinnii.

i
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"J

ORGAX.

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S.h

-4

$s
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H
2.

ss:
^v
1
.

=EEgE*|Hy
;

3. 5.

As

Blessed be the he spake by the Glory be to the

Lord - God of mouth of his
Father,
-

"-J
Is

ho
to

ra ly

-

el

-

;

for
-

he hath visited
-

prophets

and

the

Son,

-

which have and

and - re been since the
to
-

deemed
world
-

-

his

• -

people.

be
-

gan.

4.

the

-

Ho

-

-

ly

Ghost

C.

IQI

1QC

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^=
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-©-

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g:
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6.

-#r -e
33:

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*
1=.i

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,

;i=Hi
hath raised up a mighty sal That we should be saveu from our As it was in the beginning, is

zp=3r- L-pi

:82=:
in

HHgH
David.
hate us.
-

And

....

vation for us

the

-

-

-

house

of
-

-

his

ser
all

-

vant
that

3. 5.
-

enemies

now,

-

-

-

and from the and ever -

hand
shall

-

of be

-

world without end.

EVENING PRATER. PSALM
Tenor.

XCVIII.

CANTATE DOMINO.
T
~T3~

NO.
Q~

5.
^51

"CF

cr
2d Treble.

"O
~°r

O
-©-

dr=^=!
or
3~r

:r

:o:

UNISON.

^
P

r®[

^
-

T

p

o

c>

O

sing unto the Lord a
the Lord
•»

new
his
all
-

-

-

song;

-

for

he hath

The Lord declared Show yourselves joyful unto With trumpets,
Let the floods clap
their

sal-

hands and Glory be to the Father, and

let

the hills be jojful together be-

also fore to -

ye and
the the

vation; lands,

shawms O Lord;U=10
Son,
-

his righteousness hath he openly sing, re show yourselves joyful be- -

done - - showed-in the
joice fore to

the

marvell-ous sight-ofthe and - give Lord - the

things.

2.

heathen. thanks.

4.
6. 8.

King.
Ghost;

-

and

the

Ho

-

ly

~M-

-©-

©

©

-©-

«r

© TTTT

s:

u:


UNISON.

©
o

-©-©-

?^e»
-©r

gB
,-J-

m
-Or

12.

T3I

£2

ex?:

2.
4. 8.

With

his own right hand, and with his He hath remembered his mercy and truth towards the house of

6. Praise the

Lord up
all

Let the sea make a noise and lO-U'For he cometh to 12. As it was in the beginning,

that

hath he gotten him self- the vie to - ry. all the ends of the world have seen the salva - tion of - - our God. psalm of thanks - - giving. on- the harp; sing to the harp with a they that dwell there- in. there-in is, - the round world and qui - ty. judge-the earth With righteousness shall he judge the world and the- people-with e is now, and ever - - - shall-be, world -without end.

TT ho-ly
Is
-

©
321
arm,
el;
-

a
3. 5.

11

ra-

and

-..--...

7. 9.

J> ft tt-

EVEV.NG PRATER. # Tenor
-

FULM

ICIL

BONUM EST COAFITERI.
g~z:

NO.

6.

After the First Lesson.

P*=&
1st

5

xe
UNISON.

x>

?e

^
fc>

Trehle.

^
^
-

xe
UNIS ON.

XI

.£3

=1

2d Treble

^

xa

o-

*+
O
on
-

:*:
1.

XE
a good thing to give Upon an instrument often strings, and upGlory be to the Father, and
It is

3.

5.

thanks- unto the on - - the the to

Lord,
lute

Son,

and to sing praises unto thy name, upon a loud instrument, and up and to the

-

Most
the
ly
-

m
2. 4. 6.

Highest.
harp.

-

Ho

-

Ghost.

-^r

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3
€> =8

xe

£

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i

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iff

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2.
4.

*
:cr

To

6

of thy loving kindness early For thou Lord hast made me - As it was in the beginning, - - tell

the morning, glad through thy works ;
in
-

^f=^
-

5
now,
-

tXE
r and of thy and I will rejoice in giving praise and ever shall be, world without
for the ope-

T
night of -

truth - in the ra - - tions

season.

3. 5.

thy

hands.

is

end.

-

A-

men.

A-

men.

EVENINC PRATER. PSALM LXVII.
_
Tenor.

DEUS MISEREATUR.
n

NO.

7.

After the Second Lesson.

4fce
\Jp
*

"
Treble.

°

o
l

1


o
<->

-or-Hi

1

0"
firr

*

1st

I

JLhf* ^
2d Treble.

o
_c-

o
*1
f\

o

t*

1 1 I
1

ol

uo
t

|

Q
d
i

o
"-

° o
,-,

1 1
1

(?)•

* N-'-hf*

y

l_/

U
1.

o
be merciful unto us and Let the people - - - - Let the people Glory be to the Father, - -

o
....
O O
us,

vJ

~
and show us the light of his countenance, and be merciful
yea, let all the people yea, let all the people and to the

i
i

1
1
1
-

God

3. 5. 8.

bless praise thee, praise thee, and - to the

God, God,
Son,

-----------------------

un

to
-

-

praise praise

-

us. thee. thee.

2.
4. 6. 9.

Ho

-

ly

Ghost.

2H
-©-

25

c>

-o

UNISON.

"cy

s
°r

x?:
-or

22
-©r

-&

25:

3K
-Or
-Or

m ^f
2.
4.
6.

s
-

^r
earth
glad;-

That thy way may be

O let the

known- upon
joice - and be forth- her inbless is
-

-

nations re

-

Then shall the earth bring ET7. God shall 9. As it was in the beginning,

crease; us, -

-

-

-

-

now,

-

thy saving for thou shalt judge the folk righteously and govern the and God, even our own God shall and all the ends of the and ever

-----

a^—
-

o lo
-

2?

m

health

a

-

mong
on
bles fear
-

-

all
-

nations
earth. sing.

3.

nations- up

5.
7. 8.

----------

give us- his

world
shall

-

shall

be

world-without

him. end,

evening prayer. PSALM cm.

BEXEDIC AXIMA
Ul

5-e'

^
-Q-

5

-&-

JIEA. NO. o

8.

After the Second Lesson.

^
1

HHill
i

3 3X © ^
5=3 T
-

-©-

-© -©

©
rr~r

^r-»C«
~

O

_£L

ICE
soul
sin,-

Z£T
and all that and healeth
ve that
fulfil
is

T
ho--)vfir-

1.

3.

5.
?.

Who O

Praise the Lord forgiveth praise the Lord ye angels of his, ye that exGlory be to the Father, and

O
all

-

-

ray

-

within me, praise his
thine in

name.
ties.

2.
4.
I

thy
-

all

mi
ly

-

-

eel-

in

strength,

his

commandment and hearken unto

the

-

-

voice

of his
-

to

-

the

Son,

-

and

to the

Ho

word. Ghost,

i:

•J

l'raise the

Lord
life all all

4.
I

Who
()

O
ye works of his
in all places

-

my

saveth thy

praise the Lord
it

> 7.
(l

O speak good of the Lord,
was
in the

of

from-desye - hishis - do-

soul, traction, hosts, rninion

and forget not - - and crowncth thee with
vc servants of Praise thou the and ever
-

all

his
that
-

be
lov

-

fits.

3.

rnercy-and
his
-

ing
-

kindness.
pleasure. soul

5.

-

-

do

his

7.ILT

I

Lord
shall

-

Aa

beginning,

is-.,

O

-

&

now.-

-

be,

world without

end.

A

EVENING PRAYER. PSALM
Tenor.

XCVIII.

Additional

©r

CANT ATE DOMINO.
iq:

NO.
zs

9.

After the First Lesson

:a

-3©r

1st

Treble.

<^
:Q

WW
<2A

XT

Treble.

F
-

23
F

-o-©-

^3?
-o
-

^
TY—^3
marvel-loussight -of the and - give Lord - the -

:q:

-O-

eF
1.

-o-

-©-

O

3. 5. 7.

sing unto the Lord a The Lord declared Show yourselves joyful unto the Lord,

^
new
his
-

-©f
-

song

;

;

for

he hath
-

sal

vation
lands,

With trumpets
Glory be

----and

all

10.

to the Father,

also to -

-

ye and

-

his righteousness hath he openly sing, re

done- - - showed -in the
joice fore
-

things.

2.

heathen.

4.
6. 8.

-

shawms,
Son,-

O

show yourselves joyful be

the-

and

to-

the -the

Ho

-

ly

-

thanks King. Ghost.

11.

IDl

3

zo:

s

-©-

s:

B^^^^E^I

2. 4.
6. 8.

With

his own right hand, and with his ho He hath remembered his mercy and truth toward the house of Is

-

ly
ra-

11.

Praise the Lord up Let the sea make a noise and As it was in the beginning,

onall

that

the there-in
-

--

hath he gotten him ; el; and all the ends of the world have seen the salharp; sing to the harp with a is,the round world and

arm

self

-

the

vie

-

to-

ry.

3. 5.
9.
-

va - tion of - our Psalm- of thanks- -

God.

giving.7.

-

is

-

now,- and ever

they that dwell-there- in. shall-be, world without end.

A

-

Additional

CAXTATE )OMIXO.

Continued.
:o

°^uozt: IM
o o

^
apsf zozr
_s
d

SSI

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o~
_o

SBs '^ff
,-J-

I

ZQI

3 13 rP tor.

Si
Si
e


K
'" 9
'

hw'^^fi"tortS«^l»

W'^''^

M
and with righteousness
shall he

1

et
-

^'e-

fore - ,he

Lord

;

for

he cometh to

judge the

earth;

judge the world and the

people with

qui

-

ty. 11.

V_

MORMXG Tenor.
ID

I'll

v

•»

i

i;

Additional

GLORIA PAT II I.
r

XO. 10.
_^n=

After the p° rtion of Psalms

-

>-e
Alto or 2d Treble.

©—

"i

mt
~o~
Son,
-

-©-

-o-

fsH
o. II
;

#5
t

T"

is:
-

rsziix:
to
-

-©and
to the
-

tr^g-

1

Glory be to the Father, and

the

-

Ho

]y

5

e==
^
it

«^g=| cD—
-g— /-©
-

T -o
c
'

r

_Q_
-

b

r


beginning,

—©r
-©-

:o:
now,
-

As

was

in the

is

and ever

shall be, -

-

-

world

mm^^m
-

r

mm
-

—o

Ghost

&
±.

without

end.

men.

ANTHEMS
329 372 Motetto. 340 Sentence. 295 . . Behold, Lord is my salvation, Motetto. 302 . Blessed are they, O Lord, Motetto. 379 Blessed is the man, (first Psalm,) 316 Sentence. Blessed be the Lord forever more, Motetto. 317 Blessed is the people that know, Motetto. 274 Create in me a clean heart, . Anthem. 299 Christ our Lord is ris'n to day, Sentence. 288 . Daughters of Jerusalem, Funeral H. 332 Eliot's memory First Psalm Motetto. 379 Miss. Hy. 366 Father, O Father, Doxologie. 309 <$ Great Jehovah! Anthem. 271 . <£ Glory to God on high! Anthem. «j> God of salvation hear us, 260 <j> Gracious Spirit, love divine, Choral An. 253 -4> Great God our voice to thee we raise, Anthem. 211 How beautiful upon the mountains, Motetto, 374 Hail thou long expected Jesus, . Anthem. ' 247 Anthem. 110 <£ He, who on earth as man was known, 100 Anthem. ^> How sweet, how heavenly is the sight, How wond'roiis great, thy and works, Anthem. 273 <j> Motetto. 293 <> I will arise and g> to my Father, <j> Kingdoms and thrones to God belong, Anthem. 41 <$ Let children hear the mighty deeds, 102 Anthem. Lord dismiss us with thy blessing, Doxology. 256 Men of God, go take your stations, Anthem. 324 My heart is fixed, O Lord, . Motetto. 285 My voice shalt thou hear, Sentence. 371 <> Mighty God, eternal father, Anthem. 255 O give thanks, 349 . Motetto. O praise God in his holiness, Motetto. 336 212 <> O thou, that hear'st the prayer of faith, Choral. Praise God, from whom all blessings flow, Doxologie. 323 <J>Praise God, from whom all blessings flow, Anthem. 298 Praise ye the Lord, praise the Lord, Motetto. 311 <£• Praise the Lord, ye heavens adore him, Anthem. 249 <* Praise ye Jehovah's name, Anthem. 272 Repent ye, for the kingdom of heaven: Anthem. 277 <£ Sav Lord, or we perish! Hymn. 348
of the Lord, awake!
.

METRICAL INDEX. — CHAIVTS.
Motetto.

Arm

Hymn.

Awake! ye saints, awake! Behold, God is my salvation,
.

.

.

.

Anthem.

j
t

.

.

j j

.

.

j

.

i

$

.

Sing unto God, O ye kingdoms of the earth, *$> Songs anew of honor framing, The glory of the Lord, <J> The grace of our Lord Jesus Christ, The Lord is great! The Lord will comfort Zion, The Lord is in his holy temple,

j
j

.

.

.

.

j
i

$

.

.

j j I
!

....
. .
.

!

.

.

I

280 258 Motetto. 354 Sentence. 338 Anthem. 306 Sentence. 369 Motetto. 320 Qr To God the father, Sent. Dox. 339 Through every age, Hymn Dox .334 Choral An. 270 <£ The day is far spent, <$ The voice of free grace cries escape, Anthem. 268 <$ There is an hour of peaceful rest, Anthem. 263 When the Lord shall build up Zion, Recit. 8c Motetto. 289 Wo unto them, Hymn. 362 <*> When stern oppression's, (Independence) Hymn. 347 4* Ye servants of God, Temp. 378 <£ Ye nations round the earth rejoice, Anthem. 17

Anthem.

7's.
Page

or

6's.

Pee.
252.

12>s.
Page
268.

8's.
Page
257-279.
«fe

6's.
Pag.s

8's. 7's.
8's.
Fage

4's.
256.

Commencing page

& 6's.

& 4's. 7's. & 6's.

271-272.

Page
263.

274.

8's. 3's. A: 6's.
Page
275.

lO's.
Pages
264, 265, 266.

....

lO's.

&
&

It's.

5's.
Page

& 7's.
&6's.

378.

^

Pages 267, 270,275, 276, 378.

5's.
Pages
269-270, 279.

i

Page

273.

.

!

Il's.
Page

I3's.
277

8's. 6's.
rage

.

& 4.
278

^

j 1

.

j
j

Metrical Index, &c.

I

i
i

|
\

i

.

|

L.m.
Page
7, as far as

i

page

89.

S.
(

P.

I?I

^

j j 1

'd

mmenciug page

Chants.
213.
j

.

C.
Page 90, as

M.
page 149.

.

\

far as

h.

mr.
21S.

Venue, Extillemus Domino,
Gloria Patri,
Benedictus,
>

Commencing page

.

.

.

...

.

.

i

s.
Page 150, as

n.
page 189.

far as

7>s.
Commencing page 230-252.

Jubilate Deo,

.

.

i
I

<

18. Lines. Commencing page 190.

L.

6

& 7'.*. Commencing
8'*.

.... .... .....

No. 1 No. 2 No. 3
4
Ne.
.No.

Cantate Domino,
!

5 6
7

page 246, and pages 239, 240, 253 & 255.

Bonum

est Confiteri,

l. p.
j

m.
202.
|

Commencing page

7'$.
Page

6 Lines.
250-251.
j

Deus Miseratur, Benedic anima Mea,

No. No.
No.
No.

8 9

.

.

C. P.

M.
209.
j

5's. &: 8's.
Page
252
i
j

One additional Cantate Domino, One additional Gloria Patri,
Gloria in exceUis,

No. 10
11

.

.

Commencing page

$

Signifies Short

Anthems,

Hymn

Style.

INDEX OF THE TUNES.
Abt Vogler, H. M. Adoration, L. M. Agricola, B. M. Allegris Chant, C. M. Amon, ],. M. Vincrican < 'hant, L. M. American Psalm, < '. M.
2-28

Chestnut Street, L. M.

9
157 117 54

Chapman,

L.

M.

-

Christmas Chant,
Clenienti, 7's.

S.
-

M.

-

Convent Chant,

L.

M.

43 98
•201

Ambrose,

L.

M. 6
/'.-.

fines.

America, L. M.

Vmsterdam,
Aquuilfl, L.

&
-

(?s.

-

M.
!..

Arkansuw,
\tl>< i~t.S.

M.

7 274 49 63
189

Contanai, S. P. M. Confession, L. M. Confidence, L. M. 6 lino*. Consolation, L. M.
J

-

M. Columbia, L. M. Crucifixion, L. M.
(

'iillociition,

L.

...
-

M.

(

'ubn, 8?s.

-

-

-

59 58 100 245 42 216 39 199 54 38 99 50 279
i«o 145 119 145 57

Evidence, S. M. Exploration, C. M. Expiation, '. P. M. Exhortation, C. M. Factum, C. M.
<

187 91
-

Hiller, L.

M.

211
!»2

Hieht, 10V. Hope, C. M. Hofmeister, C.

Festival Tune, S. M. Festival Chant, H. H.

90 150 227
147
22i
i

Feska,C. M.Ferari, II. M. Firmament, L.
Flints Tun.',

-

Homilius, 7's. Honesty, C. M. Hosanna, C. M. Hoseah, L. M. 6 lines. Humility, c. M.

.... --...
-

56 266 98
147

M.

237 93
'.hi

-

196
146
!X>

Rf.
7's. -

36

Hummel,

.-'s.

&

CM.
M.

-

4.

Frescobaldi,
Galilee, ll's.

7's.

258 231
182

Front Street, Chant, S. M.
-

Huasitan Chant, C. M. Hunn lor all .Mankind. 1- M. Iconium, S. M. Illinois, L.
-

116
17

1-7

Bach. Seb. H. M.
Baptist, L.

219
40 185

i

M.

-

Barrington, S. M.
iioven, ?'s.
Belleville, S.
liitliynia, C.

230
I..

M.

Bishop Heber,
Boston,
!'.

M.

-

1..

M. M.

-

185 12 107 51
121

Dan/is' Chant, S. >I. Darkness, C. M. Death Chant, C. M. Devotion, C. M. Denton, I.. M. Diabelli, ~'s. H lines.
Distress, L. M. Dittersdorf, S. M.
-

German Chant,
Gilead, L. M. Gluck, 7's. or
i>

I..

M.
-

-

Gibeon, L. P. M.
r's.

269 43 202
193
-

Immortality, L. M. Innocence, L. M.

...
-

lines. -

Independence, L. M.
Indiana, L. Ireland, C.
Isaiah, 3.
Israel, L.

&

7's.
-

240
12

250 85
159

God's Presence, L. M.

Gomorrah,

L.

M.
-

84
11

M. M. M.

63 87 34 347 59
126
153

-

!

-\

iloiu

Square, Chant, O. M.

I

Bryant, L.
(

M.
H.
-

Iniinabicli, ('.

Calvin, L. M.
<

36 100 53
84 g is 105

I

Doria, C. M. Eastport, !>. ML Caster Hymn, L.

149
.M.

Ebcrwein,

S.

I*.

M.

1

'aiphns,
rUIUIttU,
';•.;.
1

1,.
1.

<

M. M.

Eischlelmn, 10's. & 11's.or Eiaenhofer, L. M. Eliot's

IV.

22 33 217 270
81 52

Gospel, L. M. Gratitude, L. M. Green Valley, To.

M.. .

13

Graun, 8'Si «\: 7's. Gruner, 8's. 7's. >!t 4's. Great Britain, C. M. Greenton, C. M.
Hallelujah, C.
1

236 247 256
1-23

Jericho, S. M. Jewry, L. M. 6
Joniclli, 7's.

.

151
l!^i

lines.
-

padoei. i, ( '. M. Catliedral Chant, I..

Hymn,
8's. 3's.

L.

M.
6's.
-

M. M.

-

(
(

"i'|m-

Ann
(

Chant,
1..

<
'.

N

nchrea

'bant, 1~

M. H. M.
-

-

26 120
85 213 86 200 23

Khun,

&

275
183 155 177
-

Handel's Song, L. M.
laslinger,
'..

lines.

<

!herokeea,
'hur.-il

M.
I..

-

Eleazar Chant, S. M. Kpaphras, S. M. Episcopal Chant, S. M.
i

-

Cherubim,
(

S. P.

Song,

M. M.
t'<

Eternity, C. Ethiopia, I..

M. M.

-

-

lot;

Hanson, 10's. Haydn's Chant, S. P. M. Harpshead, S. M. Hartford Chant,
I..

...
-

125 105 190 55
2»J4

Job, L. M. Joshua. C. King David, L. M. King Solomon, C. M.

M.M.

--M.
-

-

233 34
115

20
102

King

street, L.
1_
8's. 7's.

60
81

Koerner,
Kospotli,

&
or

7's.
8*8.

or
<Si

7's.
7's. -

214- 215 178

Kreutzer,

Krommer,
Kuhlau.

L. P.

H.
10's.

<
(

'horister, L.

M.

lines.

Ihristian

Hymn,

I..

M.

Evening Hour, B. M. Evening Cliant, I.. M.

28 188
-

M.
-

HO
97

Kuhnau's Chant,
10's.

40

Harmony Cliant, C. M. Hebrew Hymn, L. M.

&

1Mb.

-

254 239 206 265 267
152

29

Latria. S. of.

INDEX OF THE TUNES.
Latrobe, 7's. Leo Hassler, 7's. Lecture, C. M. -

-

-

238
241

!

Nantucket Chant, C. M.
Natchez, C.
Nashville,

J

Lombard's Chant,
Lent, C.
Life's

7's.

-

-

95 243
148 1 13 104 122

;

CM.S.

31.

-

-

Neukomm,
j

M.

-

M.

Thought,

CM.M.
-

New

Bethlehem, S. M.
8's. 7's.

-

120 127 127 158 152

M. Punta Delgada,
Priscilla, L.

-

-

-

8's.

Kameau, L. M.
Redemption,
Reicha,
i

C M.
8,

7's.

or

-

Neefe,

&

&

7.
-

-

-

47 257 82 94 253
16

Sumatra Chant,
Syria, 10's

S.

& ll's

M.
-

-

1^1

Telemann's Chant, 7's. Temple Song, L. M. Tetrarcli, L.

-

4.

Life's Pilgrimage, C.

Litchfield, C. 31.

Lowett, L. M. Lottis Chant, C. M. Luther, L. 31. Luther's Chant, L. M. Luther's Song, C. M. Lystra, S. M. Lynn, C. M.
-

32
-

Marehner, 8's. Mason, 8's. &. Marpurg, TV.
Marcello,
7's.

& 4's.
6's
-

...
-

-

117 10 44 109 153 ]22

New England, L. M. New Jerusalem, 12's. New Jerauld, 8, & 7. New Nazareth, C M.
Niueveh,

-

259 s 35 268 248
114

Regency, L. M. Reinemhrance, L. M.
Rieder's Chant, Ries, F. 7's. Righini, 7's.
8's. 7's.
-

-

& 4.
-

-

-

-

CM.

-

-

-

-

'

-

-

-

244 263 238 233
41 126

Niagara, S. M. Nova Scotia Chant, S. M. NorthChurch, L. M. Obligation, M. Old China,

114 186
181

-

C

.Magnificat, L.

Marlow,
Maurer,

C M.
6

M.
-

-

-

Old Hundred, L. M. Old Chant, L. M. Old Jerauld, 8, 7. Olympus, L. M. Onslow, 5's. 8's.

-

-

&

Massachusetts,
7's.

8's. 7's.

&
-

&

62 97 377 89 42 248 47 252
15

C M. Rosetti, M. Roxhury, C M.
Romberg,
11.

Roman

Chant,

7's.
-

-

-

-

-

Sabbath, L. M. Sabbath Chant, C. M.

27 262 245 235 242 128 224 124 37
118 19

M. Temple Chant, L. M. The citv of David, L. M. The Holy City, L. M. The pious man, L. M. The rich man, L. M. The righteous, L. M.
Thessalonica, L. M. 6

275 243 32 24
4h"

-

33
87

-

88 203
-

lines.
-

Thanksgiving, S.M.

31 194 184
15(5

Tomascheck,

S.

M.

-

Treasure, L. M. Transientness, L. M.

-

-

14

Sanctifieation, L.
Salieri,

C P. M.

M.
-

-

-

Trust, C.

M.

-

-

-

-

-

4's.
-

276
251 53
-

Orator, L.

M.
-

-

Samaria, L. M. Santa Crux. S. M. Sabbath Morning, L. M. Schneider, 7's. or 6's. Pec.
Seyfried,
(."s.

209 25
183 8

Tychicus, S. M.
liowetti, L.
Utica, S.

48 148 154

M.

-

26
10.1

rngelenk.C. M.

-

M.

-

lines.

-

Orthodox, L. M.
Oreville, S. Otis, L. M.

M« lanchthon,
Mehul,
8's.

L.

& 7's.

M.
-

M.
-

31 178

&.

4's.

-

-

249
21 112

-

Messiah, L. M. M<--thfessel, C. M. Metz, 7's. Missionary Song, C. M. Missionary Chant, L. M. Mozart's Song, L. M. Montreal, S. M. Mortality, L. 31.
-

Paer, L.

M.
7's.

-

Palestrina,

-

61 83 235
191 177

Shadrach, L. M. 6 lines. Shimmin„8's. 7's. Silvanus, L. M. 6 lines. -

&

-

252 272 195 244
197 146

Lxhridge, L. M. Vera Crux Chant, S. M.

-

182 64 179

Yierling,
Viotti, L.

8's. 7's.

&.

4's.

Sinner,

CM.
L.

-

-

232 103 45 30
186

Paniphylia, L. M. 6 lines. Pastoral Chant, S. M. Passover, S. M. -

Sodom,

M.

-

-

Moravian Chant, L. M.

205 45
106 108 118

Morning Prayer, C. M. Morning Hymn, C. M. Mounting Chant, C. M. Mount Sinai, H. M. Mount Horeh, 10's. & ll's. Mount Horeh, ll's. Mount Vernon, L. M.

-

-

Muffat,

7's.

or

8's.

&

7's. -

-

Naumann, H. M.

222 276 361 57 246 220

Patmos Chant, M. Peace, L. M. Penitence, L. M. Pergolesi. H. M. Percival, L. M. Persis, M. Persecution, L. M. Phehe, S. M. Pickering, H. M. Pisari, L. M. Pisidia, S. M.

C

-

-

-

189 121 88 23 229
18

Spazbr, 8's. 7's. Spohr, L. P. M. St. Luke, CM. St. Timotheus, St. Simon, L. M.
St.

& 4.
-

...
-

86
261

M. Volland, S. M. Ward, L. M. Waker, L. P. M. Waynesboro' 31.
Weigl, 8's. Weinlich, S.

-

-

-

-

-

207
-

&

C

260 83 157 64 208
125 254 158 234 257

7's.

-

-

C M.
S.

-

Domingo Chant,

M.

C

Piccini, 8's.

&

... ... ...
-

-

-

-

-

109 16 154 221

Steffimis Chant, L. M. 6 lines. Staddler, L. M. Stoelzel, H. M. Sterkel, 8's. &. 7's.

116 110 8 179 198

31.

Weber,

7's.

...
&
-

Sussmaier,

6's.

&

55 223 255
271
-

Webster's Chant, 8's. Webb. G. 5's. 6's. Wessely, 7's. World's Prayer, L. M. Wranitzkv, O. P. 31. Zaccheus, S. M. Zacchini,

-

-

273 230
89 212
150

4's.
-

-

C P.

31.
-

-

-

56
188

Sunrise, L. P. Supplication,

C M.

M.

7's.

-

-

-

Pilgrim's Chant,

7's.

239 242

Surinam, Sunbury, S. M.

...
-

-

-

204 95 361 180

Zanesville, S. 31. Ziklag, 7's. -

-

-

210 180 236
159

Zumsteg,

S. 31.

-

Again the day returns, 10's. All !>.ul, incarnate God! II. M. All power and grace to tiod belong, I.. 51. Almighty Maker of my frame, I.. 5l. Almighty Father of mankind, M. Along tlie banks where Babel's current Bows, At anchor laid, remote from home, L. M. Awake, mi soul, Btretch every nerve, C. M. Awake, my soul, Ui a mud his praise, C. M.

....
-

INDEX OF THE
266 226 38 56
148

H1'.?1.\S.
How
beauteous are their feet,
plcu.,'d
13.

C

...
-

-

-

10's.
-

263 64
-

-

Awake, awake ihesucred song, C. 51. Awake, and sing the song, S. 51. Awake, my tongue, thy tribute bring, L. M. Awake, ve saints, to praise vour King, C. M. Ainid tliy wrath, remember love, C. M. Arise! arise, with joy «urvey, L. M. An..- O Lord, lift up thioe hand, C. M. -

-

-99

103 106 109 185 8
149

Depth of mercy! can there be, s '-- 8c 7'.-. or 7's. 254 Deep are the wounds which sill hfU made, L. M. Cha: 42 Deep are the wounds which sin has made, L. M. lly. 19 Deep in our hearts let us record, L. M. 81 ]87 Did Christ o'er sinners weep, .S. M. 190 Eternal Father! God of love, L. M. 6 lines. 13 Eternal God, celestial King, L. M. 52 Eternal God, celestial King, L. M.
Eternal Wisdom, thee we praise, C. M. Exalt the Lord our God, 8. M. thoughts, tain world, from begone, L. M. my Far Father of mercies, in thy word, From all that dwell below the skies, L. M. From Jesse's root behold a branch arise, Forever blessed be the Lord, L. P. H. Give thanks to God most high, H. M. Glory to God on high! 6's. St 4's. God is our refuge in distress, L. 51. 6 lines. God of my life, Uiy morning song, (". M. God of cur salvation, hear us, 8 *. 7's. &. 4's. Go preach my gospel, faith the Lord, L. M. Gracious Lord, disclose thy w iy, 7's. or 6 pccul. Gracious spirit, love divine, 7's.— 8's. <St 7's. Great God attend while Zion sings, L. M. Great <i'«l ir voice to thee we raise, C. 1*. 51. Great God weeing iliy mighty hand, L. 51. Great God, whose universal sway, L. 51. Great God, the nations of the earth, C. 51. Great is the Lord, exalted high, L. 51. Great is the Lord our God, 9. 51. Great shepherd ofthine Israel, L. 51.

M.

-

-

How
How How How How How How
If
I

and

blest

was

I,

S. P. 51.

... ... ...
-

bow heavenly is tin- sight, C. 51. pleasant 'tis to see, S. P. 51. precious Lord, thy sacred word! C. P.M. vain are all things here below, C. 51. vain is all beneath the skies! L. 51. won. f rou- and great thy works, t< 6's.
sweet

• 155 213-217 100 2H> 210 113

42
273
-

5V
-

122
]

.39

human kindness meets return. C. M. know that in \ Redeemer live.-, L. 51.
.

-

-

-

114 88

CM.

-

-

-

-

Arise pie, and adore, <.'. 51. Be thou, tiod exalted high, L. M. Before Jehovah'* awful throne, L. M. Before the heaven* were spread abroad, L. M. Behold how the Lord has girt on Ilia sword, 5's. Behold his wondrous grace! S. M. Behold, the blind their sight receive! Behold the lofty sky, S. if. Behold! what wondrous grace! S. M. Blesl are the humble souls that see, L. M. Blest be the tie tii.it bind-, S. M. Blest comforter divine, S, If, Blest i- tin' man, forever blest, L. M. Blest is the man, who shuns the place, C. M. Blest is the man, whose tender care. L. M.
|

m

53 115 120

O

... ...
-

-

-

SV ... ...
&
-

89 28 43 252
178 43 lo* 180

-

48 112 20 264 206 224 271 196 108 260
11

-

-

252 253 57
211

i

.... ...
-

-

24 160
159

44 23
-

91

1

I

-:

i.1

the

man whose
liv

1

ray soul, the

soft'niog heart, ing God, L. M.

C

M.
-

-

23 93 59 118 83
14

Breathe, Holy Spirit, from above, L. M. Brightness of the Father's glory! 7's. or 8's. & 7's. here longer to detain me, 8's. & 7's. u>e, ye mourners, cease to languish, 8's. Sc 7's, me, all ye servants of the Lord, L. M. 6 lines • Come divine and peaceful Goest, 7's.
i

-

-

246 244 254
198

Have mercy Lord, on me, S>. 51. Hark! from the croi-s a voice of peace, L, 51. Hark! what mean those lamentations, 7's.— 7's. Hark! that shout of rapturous joy, 7's. Hark! the song of jubilee, 7's,
Hail great luunanuel, all divine, L, Hail thou long expected Jesus, 8's.
51.

... ...
-.

59 Ig3

62 55

181--i.'>2

extol thee, Lord, on high, L. 51. ^6 u J spread my sins before tl" Loi 51. I'm not ashamed to own my Ls i:. C. M. 147 In Judah the Almig ty's known, L. 51. 6 line-. 193-6 In deep distress, I oft have cued, L. 51. 6 line.-. iOO In (iod's own house pronounce his praise. C, 51. 116 In mercy, not in wrath rebuke, C. 51. '01 Indulgent sovereign of tbe skies, L. 51. 98 Jehovah reigns, he dwells in light, L. H. 16 Jesus wher'er thy people meet, L. 51. 55 Join all the glorious names, 11. 51. 22?> Judge me, U tiod, and plead my cause, C. 51. 125 Kingdoms and thrones to God belong, C. 51. 41--63 Let all the earth their voices raise. L. P. N, 207 Let all the land.-, with shouts ofjoy, C. 51. 105-126 Let children hear the mighty deeds', (.'. 51. 102 Let every creature join, H. 51. 2il Let death dissolve mv body now, C. M. 145 1">~ Let sinners lake their course, S. 51. Lord, what our ears have beard, S. 51. 182 Lo! God is lure! let . 12 adore, L. M. Lo! the uiii;litv God appearing, S's. 7's. 4'.-. 261

I will
I

L

...

m

....
&
7's.
-

ic 8's,

•.

-

-

233
179 . 109 40 47 1S-60
-

He

Spirit, come, S. 51. in.-, holy spirit, heavenly dove, C. M. Come, holy-spirit calm each mind, L. in, thou blessed of the Lord, L. M. <) my soul, in sacred lay, L. M. in Iren of the heavenly King, 7's. a.isl, whose glory fills the skies, 7's. 6 lines. Christ, the Lord, is risen to day, 7's.

Come, Holy
i

dies! the friend of sinners dies, L. M. He, who on earth, as man was kuovvn, C. He saw the nation lie, H. M.

-

51.
-

-

-

M

He He

reigns! the Lord, the Savior reigns, L. 51. that hath made his refuge God, L. 51. -

216 243 237 48 247 50 110 225 21 58
194 31

Lo! die Lord Jehovah liveth, 8V & 7's. Lo! he comes, with clouds descending, 8's, Life is the time to serve the Lord, L. 51. Long as I live I'll bless thy name, C. 51 Lord dismiss us with thy blessing. 8' 5 7's. Lord let us to our tefuge fly! 51. Lord, m; God, h w long by thee, 7'.-. .

-

-

7V k
-

4's.

239 276 97-203
-

-

-

.

in 4's
-

C

97 256 119
241

Loud
Lord, Lord, Lord, Lord, Lord, Lord, Lord, Loid, Lord,

Hallelujah's to the

I.'. id,

L. 51.

...
-

-

i

,

.

I

Create,

O

God, my pow'n anew,
troiu

8's.

&
-

4's.
-

-

Defend me. Lord.

shame,

Si.

11.

234 251 213 211 188

lie that has (iod his guardian made, L. 51. Happy the man whose cautious feet, L. 51.

6

lines.
-

hear me, when w iihoiil disguise, C. 51. hear my words, my spirit see, L. 51. hear the voice of my complaint, C. M. how shall \vi etched sinners dare, L. what a wretched land is this, C. 51.

-

22 95

-

M

.

-

82 85 34
104 37 95 182 121

Hear my prayer, Jehovah hear! High o'er the lieav'ns supreme,

7's.

.

-

.

alone, L. 51.

rJoaanuah to our conquering King, How short and hasty is our life! C.

CM.
51.

238 26 96

US

how delightful 'tis to see, L. 51. what is man. poor feeble man. C. 51. what our ears have heard, 8. 51. who among the sons ol'nieu, C. 51.

-

-

-

INDEX OF THE H/MNS.
Lord, when thou didst ascend on high, L. M. Lord, we come before thee now, 7's. Lord, I can suffer thy rebukes, L. M. Lord, what a thoughtless wretch was I, L. M. Make us by thy transforming grace, L. M. Mine even and my desire, S. M. Mighty' God, eternal Father, 8's. & 7'*. My God, my King, thy various praise, 35-60

245 86 86 12 183 255
51 180

Raise your triumphant songs, S. M. Rebuke me not, Lord, forgive, C.

...
M.
-

My My My My My My
No

God, my

life,

spirit looks to

soul, he on thy guard, S. soul,

my love, S. M. God alone, L. M. M.
tie day, C.

»

...
M.
-

29
189 120 145 54

come meditate

Rejoice in Jesus birth! S. M. Safely through another week, 7's. 6 lines. 250 Search my heart, my action prove, 7's. or 8's. & 7's. 240 Sing praises to our God, S. M. 153-1 Sing to the Lord, ye distant lands! 105-121 Lord high, Sing to the most S. M. 134 Shall we go on to sin, S. M. 189 Show pity, Lord, O Lord forgive, L. M. 45 Show pity, Lord, O Lord forgive, L. M. 84 Stand up, and bless the Lord, S. M. 156

150 120 160

Thus

far the

Lord hath

led

me

on, L.

.... CM. ....
M.
-

soul lies cleaving to the dust, C. M. soul, thy great Creator praise, L. M.

Stand up, my

soul,

shake

oft'

thy fears, L.

-

Stay, thou insulted spirit, stay, L.

M.

shock, L. M. • Not to the terrors of the Lord, C. M. Now begin the heavenly theme, 7's. Now be my heart inspir'd to sing, L. M. Now may the God of grace and pow'r, L. M. all ye lands, in God rejoice, C. M. all ye lands, rejoice in God, C. M. bless the Lord, my soul! S. M. God, thou art uvy God alone, L. M. God, my gracious God, to thee, L. P. M. God, my heart is fully bent, C. M, God of hosts, the mighty Lord, C, M. God, to earth incline, S. M. » holy, holy, holy Lord, L. M.

change of time

shall ever

22 117 235
30

Sweet

is

the work,

So let our lips Son of God, thy
Songs Songs Songs Sweet

my God, my King, L. M. and lives express, L. M.
blessing grant, 7's.

-

O O O O O O O O O

88 94 107
1S6

63 208 126 98
150 9 236 16 185 267 90-124

O
O O O

how

blest the

man,

7's.

.

Lord, how many are my foes, L. M. Lord, our heatenly King, S. M. praise the Lord! prepare. 10's. & ll's. render thanks, and bless the Lord, C, M. thou, that hear'st the prayer of faith, C. P. M. Zion, tune thy voice, II. M. • On the mountain'* top appearing, 8's. 7's, & 4. M. On Jordan's stormy banks I stand, Opprest with guilt ami full of fears, C. M. Our days are as the grass, S. M. Oh may my heart by grace renew'd, C. M. Oh that men their songs wotdd raise, 7's. Oh! that I knew the sacred place, C. M. Oh praise ve the Lord, prepare a new song, 10 & 11 Oh praise the Lord, fur he is good, Oh praise ye the Lord, prepare your glad voice, Oh where shall rest be found, S. M. Pleasing spring again is here, 7's. -

O O O

C

...

CM.

Praise to God, his glory bless, 7's. Praise to God! immortal praise, 7's. Praise the Lord! ye heavens adore him, 8's. Praise ye Jehovah's name, 6's. & 4's. Preserve me Lord in time of need, L. M

...
&
-

7's

212 219 259 117 114 186 148 238 146 279 123 276 182 236 232 231 249 272
57-85

M. of mortal praise belong, of praise the angels sang, 7's. anew of honor framing, 8's. 7's. 4's. the time, exceeding sweet! 7'e. Thanks for mercy, Lord, receive, 7's. Teach me the measure of my days, M. 'Tis by the faith of joys to come, L. M. The festal morn, my God is come, P. M. The flowry spring, at God's command, L. M. This is the day the Lord hath made, M. This is the word of truth and love, L. M. 'Twas by an order from the Lord, L. M. 87 There is a stream, whose gentle flow, L. M. 64 There is an hour of peaceful rest, 8's. & 6's. 263 The Lord is our shepherd, ll's. 269 The Lord my pasture shall prepare, L. M. 6 lines. 192 The Lord my pasture shall prepare, L. M. 6 lines. 201 The love of the spirit I sing, 8's. 257 The Lord hath spoke, the mighty God, L. M. 6 I. 191 The heavens declare thy glory, Lord, L. M. 38 The Lord! how wondrous are his ways, L. M. 81 The Lord on high proclaims, S. M. . 158 The Lord in Zion ever reigns, L. M. . 31 The Lord is our shepherd, our guardian, ll's. 269 The Lord is judge before his throne, L. M. 56 The Lord my shepherd is, S. M. 179-185

C

... ... ... & ...
-

C C C

32 54 15 46 230 126 235 258 230 242 120 39 209 32 127 36

Thou blest Redeemer, dying Lamb! M. The voice of free grace cries, 12's. Thrice happy man! who fears the Lord, L. M. Through every age eternal God, L. M. Thy name Almighty Lord, S. M. The rising God forsakes the tomb, L. M. To bless thy chosen race, S. M. To God I cried with mournful voice, C M. To God I lift mine eyes, 11. M. To God, the great, the ever blest, L. M. To God the Father's throne, H. M. To our Redeemer's glorious name, M. To thy temple we repair, 7's.

C

M

46 116

268 61 83
181

...

50
151

146

C ...
&

To

thy pastures, fair and large, 7's. Unveil thy bosom faithful tomb, L. M. Vainly through night's weary hours, 8's.

228 49 220 92 242 245

87
7's.

Wake,

O

my

soul,

and

hail the

morn, L. M.
-

Wake

We come

the song of Jubilee, 7's. with joyful songs, S.
delightful

248 33 233
-

M.
-

-

-

152

Welcome,

What glory gilds the sacred page, C M. When at this distance, Lord, we trace, L. M. When dangers, woes, or death are nigh, L. M. When death appears before my sight, C. M. When gathering clouds around I view, L. M. 6

morn! H. M.

227
122 10
-

When
With

youth and age are snatched away,

C
&

lines

88 98 199
119 202 239

M.

grateful hearts, with joyful tongues, L. P. M. Who, Lord, when life is o'er, 7's, or 8's. 7's. shall ascend thy hea\eoly place, L. M.

O

&

...

....

Who Who Why Why

34

The The The The The The The The The

Lord Lord Lord Lord

Jehovah reigns, H. M. Jehovah reigns, S. M. Jehovah reigns, S. P. M.

. . -

.

. .

-

.

unto my prayer attend, Saviour lives no more to die, L. M. day is past and gone, S. M. day is far spent, 10's. & ll's. or ll's. time is short! sinners beware, trees of God, without the care, L. M.

CM.

...
-

-

CM.-

-

223 153 214 147 8 188 270
106


-

4's. 262 but thou, Almighty Spirit, 8's. 7's. droops my soul, with grief opprest, L. M. 44 205 should we start, and fear to die"! L. M. 248 7's. When the winter's tempest lowers, 8's. 257 Ye angels who stand round the throne, 8's. 53 Ye mighty rulers of the land, L. M. 7-17 Ye nations round the earth, rejoice, L. M. 47-99 Ye nations round the earth, rejoice, L. M. 45 Ye christian heroes, go proclaim, L. M. 204 Ye saints and servants of the Lord, L. P. M. Ye saints and servants of the Lord, L. M. 6 lines. - 197 378 . Ye servants of God, 10's. and ll's. 178 Ye sinners, fear the Lord, S. M. 222 Ye boundless realms of joy, H. M. 157 Ye sons of earth arise, S. M. 127 Ye sons of men, a feeble race, C. M. 218 Ye tribes of Adam, join, H. M. 154 Ye trembling captives hear, S. M. 27 Yes, we'll record thy matchless love, L. M. 157-185 Your harps, ye trembling saints, S. M. 241 Zion, now arise and shine, 7's.

&

...

...

-

25

*

-

<*5

#

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