EDWARD BEVIN

PRAISE THE LORD

Edited by Brandon Cox

LITTLE TOOTINGTON-ON-THE-HILL
EARLY MUSIC PRESS
 EDWARD BEVIN

PRAISE THE LORD

(c.1630)

Score

Edited by
BRANDON COX

Little Tootington-on-the-Hill Early Music Press

2017
 BIOGRAPHY
Edward Bevin (1595–?), the youngest child of Edward Bevin and his wife Alice was
among the six children whose baptisms were recorded in the parish registers of St
Augustine the Less, Bristol between 1590 and 1603.1 Few works of Edward Bevin’s
works survive; the few keyboard works that do survive from the early parts of British
Library manuscript GB-Lbl Add. MS 31403 were initially ascribed to his son Elway
until Joseph Graham Hooper pointed out the forename given on all but one of the works
was ‘Edward’, an unlikely mistake. Before this, the existence of two separate Bevins
working as musicians and composers was not considered.2
Edward Bevin was probably employed as a Bristol chorister in the years 1606–
1607 and 1608–1609 (his name is listed as ‘Ellway’ in the records). Records suggest
he also worked at Canterbury Cathedral during the years 1618–1625, after this nothing
is known about Bevin’s life.3 An ‘Elizabeth Bevin, daughter of Edward Bevin’ was
buried in Canterbury in 1623/4 and he is known to have been alive until at least 1633
by his dating of an Emanuel Soncino piece Fantasia Cromatica copied in his hand in
Add. MS 31403.4

Praise the Lord is the only known vocal work ascribed to Edward Bevin, all
other works ascribed composed by ‘Bevin’ are safely attributable to either his father or
other composers. This work is found in the part books copied and compiled by John
Barnard and can be found in the Royal College of Music manuscripts GB-Lcm MS
1045–1051 (not to be confused with the published part books by John Barnard The
First Book of Selected Church Musick) among works by composers such as John Bull,
William Byrd, Orlando Gibbons, Thomas Tallis and Thomas Weelkes. The manuscript
set contains parts for medius decani, contratenor decani, tenor decani, medius cantoris,
contratenor cantoris, tenor cantoris and bass cantoris; the bassus decani book is missing
from the set but this is irrelevant for Bevin’s four-voice anthem which is contained in
cantoris part books only (GB-Lcm MS 1048–1051).
Robert Ford’s assessment of the Edward Bevin’s compositional efforts is far
from complimentary:
Elway Bevin, though by no means a writer of genius was at least a competent
composer who had some very good moments. The same cannot be said of his
son Edward. The anthem Praise the Lord and call is an excessively mechanical
work. Its short and not very interesting points enter at all too regular intervals;
some of the part-writing is awkward [see bar 19 in the transcription for an
example]; there are too many full stops and, in general, neither enough variety
nor sustentation. At best the work is rather like the many mediocre viol

1 Graham Hooper, ‘Elway Bevin’, The New Grove Dictionary of Music and Musicians, 2nd ed., eds.
Stanley Sadie and John Tyrrell (London: Macmillan: 2001), 3:497–498.
2 Robert Ford, ‘Bevins, Father and Son’, Music Review 43, no. 2 (1982): 105.
3 Ibid.
4 Ibid.
 fantasias of Jacobean and Caroline times—pleasant chord-changes from
beginning to end, more rewarding to the performer than to hear.5
Along with the keyboard works in GB-Lbl Add. MS 31403 (which appear to have been
written with the beginner in mind) there is a short piece with the ornaments realised
underneath entitled ‘Graces in play’ (Fig. 6) which is one of the few places that gives
an indication of how the single and double stroke ornaments common to English
virginalist keyboard music were played.
GB-Lbl Add. MS 36661 contains the last known work by Edward Bevin Bevin
his fancye, the untitled piece on the same folio may also be his. Robert Ford observes
that both MS 31403 and 36661 are the only two sources of the Soncino piece discussed
earlier, suggesting they were made within close range chronologically in or around
Canterbury.
Below is a list of a table of all known works by Bevin and their manuscript
sources.6

Title Instrumentation Source

Praise the Lord Four voices GB-Lcm MS 1045–1051
(Med, Ct, T, B)
Preludium Keyboard GB-Lbl MS Add. 31403,
f. 3v
7
Prelude Keyboard Ibid., f. 4
2 in one; in Miserere Keyboard Ibid., f. 12
Canon. 2 in one Keyboard Ibid., f. 18v–19
Duo Keyboard Ibid., f. 23
Duo Keyboard Ibid., f. 27
Bevin his fancye Keyboard GB-Lbl Add. 36661,
f. 59
[untitled, possibly Bevin’s] Keyboard Ibid., f. 59v

5 Ibid., 107.
6 Ibid., 108.
7 Published in a modern transcription containing fingerings from the manuscript source in this collection:

Peter le Huray, ed., The Fingering of Virginal Music (London: Stainer and Bell, 1981).
 PERFORMANCE NOTES AND HISTORICAL CONTEXT
Praise the Lord is a four-part voice anthem written in the Jacobean (1603–1625) or
Caroline (1625–1649) era. The vocal anthem was developed as a replacement for the
Catholic motet during the English Reformation when the Church of England broke
away from the Roman Catholic Church. When the First Act of Uniformity 1549 was
passed which established The Book of Common Prayer as the official prayer book in
England, English replaced Latin as the official language of the English church. Indeed,
many anthems are adapted from Latin motets and translated into English (contrafacta),
for example, the Tallis’ I call and cry to thee (published 1641) is actually a
contrafactum of O sacrum convivium (1575) which itself was initially composed as an
instrumental fantasia.8,9
Most anthems can either be described as ‘full’, ‘verse’ or ‘consort’ anthems.
Full anthems almost consistently used the whole choir with little variance. Full
anthems usually employed four- or five-part syllabic, imitative, note-against-note
counterpoint, a noticeable departure from the more florid, melismatic writing of Latin
motets (although melismatic ‘amen’ sections can still be seen at the end of many full
anthems including Bevin’s).10 The simplicity of the full anthem style can partially be
attributed to the desire for the text to be heard as clearly as possible. 11 Verse anthems
were developed later and allowed for more varied textures in the music, the anthems
usually contained a passage for soloists (one to a part) with organ accompaniment
(verse), followed by a passage for full choir.12 By 1600 the number of new verse
anthems being composed far superseded the number of full anthems, some of the
popularity of this style is probably practical: the usually harder passages in the verse
section only had to be learnt by the solo voices, the full choir only had to learn a smaller
part of the anthem, greatly reducing rehearsal time.13 Consort anthems are essentially
the same as verse anthems but with a viol consort in place of an organ accompaniment,
one viol may have also doubled the solo voices during the ‘verse’ sections.14
Although no organ part book exists for Praise the Lord, it is likely that this
full voice anthem would have been played with organ accompaniment.15 The
editorially provided organ part underneath is merely a reduction of all the voice parts

8 Peter Le Huray and John Harper, ‘Anthem’, The New Grove Dictionary of Music and Musicians, 2nd
ed., eds. Stanley Sadie and John Tyrrell (London: Macmillan: 2001), 1:719–721.
9 Timothy Dickey, ‘O sacrum convivium (also set as "I call and cry to thee" and "O sacred and holy

banquet"), motet for 5 voices’, AllMusic, http://www.allmusic.com/composition/o-sacrum-convivium-

also-set-as-i-call-and-cry-to-thee-and-o-sacred-and-holy-banquet-motet-for-5-voices-p-210-
mc0002657957. (accessed 10 June 2017).
10 Le Huray, ‘Anthem’, 720.
11 Ibid.
12 John Morehen, ‘The English Consort and Verse Anthems’, Early Music 6, no. 3 (1978): 381.
13 Le Huray, ‘Anthem’, 720.
14 Morehen, ‘English Consort and Verse Anthems’, 381.
15 The organ part for this piece probably did exist but has since been lost, similar to the bassus decani part

for this manuscript set.

which, while useful as a rehearsal aide, does not reflect how the accompaniment should
be played. Organ accompaniments in other early seventeenth-century are usually very
sparse, often only reinforcing the upper and lower voices (bicinium texture). 16 It is
therefore at the discretion of the organist how much ‘filling out’ of the inner parts he
does.
Praise the Lord’s overall low tessitura reflects the fact that seventeenth century
cathedral choirs were all male, treble and medius parts would have been sung by boys
and the contratenor part would have been sung by high tenors rather than modern
countertenor singer.17 Although the vocal ranges of this piece do allow it to be sung by
a modern SATB choir, transposing the entire piece up a tone would allow for the
contratenor part to be sung more comfortably by the altos. It is also worth noting that
at this time A418 was probably around a minor third sharper (A4 = 475 Hz) than the
modern A4 = 440Hz or today.19

16 Jonathan P. Wainwright, introduction to Richard Dering: Motets and Anthems, ed. Jonathan P.
Wainwright, Musica Britannica 98 (London: Stainer and Bell, 2015), xxii.
17 Ibid. xxix.
18 This edition refers to pitches using the scientific pitch notation standard where ‘middle C’ = C4.
19 Ibid., xxxi.
 EDITORIAL NOTES
PREFATORY STAVES
The original clefs, key signatures and time signatures, initial rests and first notes are
given on a prefatory stave for each part. Editorially added staves appear at 75% size
and have no prefatory stave.
NOTE VALUES
Original note values have been preserved other than for the final bars where longs are
replaced with notes with fermate that fit in the already established barlines.
ACCIDENTALS
Sharps and flats that function as naturals in the source have been modernised without
comment (e.g. if an ‘F-flat’ appears, flatting an F-sharp in the key signature it has been
modernised to an F-natural). Accidentals that are made redundant by the barlines added
in the edition have been preserved. Accidentals in square brackets are editorial and are
added either as a consideration of musica ficta or because context shows they were
omitted from the score (e.g. contratenor bar 42, first C-sharp). Accidentals in the source
are considered to only apply to immediate repetitions whereas editorial accidentals in
the source apply to the whole bar. If a non-consecutive accidental within the same bar
needs cancelling due to the added barlines it will appear in round brackets.
TEXT
The text’s orthography and punctuation has been modernised without comment, this
includes replacing long s’s (ſ) and replacing ampersands (&) with ‘and’. Lyrics in
roman type appears in the original source, lyrics in italic type is text that has been
realised from iterum marks.
SLURS
Slurs not in the original source appear as dashed slurs and are, with exception to the
long ‘amen’ melismatic passage in the final bars, applied to melismas consistently.

THE TEXT
Praise the Lord sets text almost verbatim from the 1599 Geneva Bible translation of 1
Chronicles 16:8–10:
Praise the Lord and call upon his Name: declare his works among the people.
Sing unto him, sing praise unto him, and talk of all his wonderful works
Rejoice in his holy Name: let the hearts of them that seek the Lord, rejoice.
 SOURCES
Medius GB-Lcm MS 1048, f. 17v
Contratenor GB-Lcm MS 1049, f. 18–18v
Tenor GB-Lcm MS 1050, f. 4v–5
Bassus GB-Lcm MS 1051, f. 6

TEXTUAL COMMENTARY
PITCH
This edition uses the scientific pitch notation to denote pitch names, where ‘middle
C’ is ‘C4’.
ABBREVIATIONS
Part names
M Medius
Ct Contratenor
T Tenor
B Bassus
Bar Part(s) Comment
2, beat 4 M A4 in original, corrected to Bb4 by analogy of the melodic
shape in other imitative entries (e.g. tenor bar 2–4).
9, beat 1– Ct Breve in original, corrected to semibreve (same note value
2 as tenor) to avoid awkward false-relation with medius.
43 Ct, T, Fermate added.
B
47, beat 2 All Long with fermata in original. Changed to semibreve to fit
in prevailing barring.
Figure 1: Edward Bevin, Praise the Lord, Medius, GB-Lcm MS 1048, f. 17v.
Figure 2: Edward Bevin, Praise the Lord, Contratenor, GB-Lcm MS 1049, f. 18.
Figure 3a: Edward Bevin, Praise the Lord, Contratenor, GB-Lcm MS 1049, f. 18v.
Figure 3b: Edward Bevin, Praise the Lord, Tenor, GB-Lcm MS 1050, f. 4v.
Figure 4a: Edward Bevin, Praise the Lord, Tenor, GB-Lcm MS 1050, f. 5.
Figure 5: Edward Bevin, Praise the Lord, Bassus, GB-Lcm MS 1051, f. 6.
Figure 6: Edward Bevin, Graces in play, GB-Lbl MS Add 31403, f. 5.
 BIBLIOGRAPHY
Dickey, Timothy. ‘O sacrum convivium (also set as "I call and cry to thee" and "O
sacred and holy banquet"), motet for 5 voices’. AllMusic. Accessed 10 June
2017. http://www.allmusic.com/composition/o-sacrum-convivium-also-set-
as-i-call-and-cry-to-thee-and-o-sacred-and-holy-banquet-motet-for-5-voices-
p-210-mc0002657957.
Ford, Robert. ‘Bevins, Father and Son’. Music Review 43, no. 2 (1982): 104–108.
Hooper, Graham. ‘Bevin, Edward’. In The New Grove Dictionary of Music and
Musicians, 2nd ed., edited by Stanley Sadie and John Tyrrell, 3: 497-498.
London: Macmillan, 2001.
Le Huray, Peter and Harper, John. ‘Anthem’. In The New Grove Dictionary of Music
and Musicians, 2nd ed., edited by Stanley Sadie and John Tyrrell, 1: 719-728.
London: Macmillan, 2001.
Morehen, John. ‘The English Consort and Verse Anthems’. Early Music 6, no. 3
(1978): 381-384.
Wainwright, Jonathan P.. Introduction to Musica Britannica. Vol. 98, Richard Dering:
Motets and Anthems, edited by Jonathan P. Wainwright, xvii–xxxi. London:
Stainer and Bell, 2015.
 [Praise the Lord]
EDWARD BEVIN
Edited by Brandon Cox

˙™ & b2 ˙™ ˙™
bC 4 œ ˙ ˙ ∑
œ ˙
Medius
[Soprano] B ˙ w
Praise the Lord and call up - on his name,

B bC ∑ ˙™
˙™
4
˙™
Contratenor
& b2 ∑ œ ˙ ˙
[Alto]
œ ˙ ˙ w

B b C Ú∑ ˙ ™
Praise the Lord and call up - on his name,

Ú ˙™
˙™
4
Tenor # b2 ∑
œ
˙ ˙ œ
Praise the Lord and call up-

? bC Û Ú Ú
˙™ ˙™
? b 42
Bassus œ ˙ ˙

{
Praise the Lord and

& b 2 ˙™ ˙™ œ ˙˙ ™
4 ˙ ˙ œ ẇ
œ ˙ ˙ w

˙™ ˙ ˙
˙™
[Organ]

˙™
? b4 ∑ œ œ ˙ ˙ ẇ
2 œ ˙

& b ˙™ ˙™ œ ˙ ˙ ˙™
˙ ˙ ˙™ œ
œ ˙ ˙ w œ
praise the Lord and call up - on his name, praise the Lord and call up -

& b ˙ ˙™ œ œ œ w œ ˙ œ œ œ ˙ ∑
˙™ œ ˙ ˙
p p
call up - on his name, call up - on his name, praise the Lord and

#b ˙ ˙ w ˙™ œ ˙ ˙ ˙™ œ b˙ ˙ w Ó ˙

˙™
on his name, praise the Lord and call up - on his name, and

? ˙™ œ ˙ ˙ w ˙™ œ ˙ ˙ œ ˙ ˙ w
b

{
call up - on his name, praise the Lord and call up - on his name,

˙w ™ ˙∑ ™ ˙˙ ™
& b ˙˙™ ˙™ œ ˙™
˙ œ
˙ œ
œ̇ œ
œ œ̇ ˙ ˙ œ wœ œ ˙ œ ˙
œ ˙

˙w ™
˙ ˙˙ ™ œ b ˙˙ ™ ˙ œ ẇ
? b ˙˙ ™ ˙™
˙ œ ẇ œ ˙ ˙ Ów ˙
˙ œ ˙
4

© Copyright 2017 Little Tootington-on-the-Hill Early Music Press

 œ™ œ œ œ ˙
˙ w j ˙ ˙
&b ˙ Ó
˙ ˙ ˙
˙ Ó ˙
on his name, de - clare his works a -mong the peo - ple, de - clare his

& b ˙™
œ™ œ œ œ
œ ˙ ˙ #w ∑ Ó j ˙ ˙
˙ ˙ ˙

™ œ
call up - on his name, de - clare his works a -mong the peo - ple,

#b œ J œ œ œ œ ˙ œ™ œ œ œ ˙
w Ó ˙ ˙ j ˙ Ó ˙
˙

œ ™ b pœ ˙
call up - on his name, de - clare his works a -mong the peo - ple, de -

?b ˙
J ˙ › ∑ Ó ˙ ˙ ˙ œ ™ œJ œ œ

{
up - on his name, de - clare his works a -mong the

& b ˙˙ ™ ˙ œ ẇ ˙ # Ów ˙ n˙ ˙ œÓ ™ œ œ̇
j œ ˙˙ ˙˙
œ ™ œJ
Ó ˙œ œ ˙˙ ˙˙
∑
œ™ œ œ œ œ œ ˙
j
? b ˙ œ ™ bœ ˙ w› Ó ˙ ˙∑ ˙ œÓ ™ œ œ̇
j œ ˙˙ ˙˙ Óœ ™ œ œ˙ œ
8
J ˙ J

& b œ™ œ œ œ ˙ œ ™ œj œ œ ˙
j ˙ Ó ˙ ˙ ˙ ˙
works a - mong the peo - ple, de - clare his works a - mong the peo - ple,

&b Ó ˙ ˙ œ ™ œj œ œ ˙ ˙ œ™ j
œ œ œ
˙ œ œ ˙

œ™ œ œ œ ˙™
de - clare his works a - mong the peo - ple, de - clare his works a - mong the

œ™ œ œ œ
j ˙ ˙
#b ˙ ˙ Ó ˙ J œ
clare his works a - mong the peo - ple, de - clare his works a - mong the

? ˙
b
˙ Ó ˙ ˙ ˙ bœ ™ œ œ œ ˙ œ œ œ™
j
œ œ œ
J

{
peo - ple, de - clare his works a - mong the peo - ple, his works a - mong the

& b œÓ ™ œ˙ ™ ˙ œ™
j j
Ϫ
œ œ̇ œ ˙ ˙ j
˙ œ ˙˙ ˙ ˙ œ œ œ̇ œ œJ ˙œ œ
œ

? b ˙˙ ˙˙ œ̇ ™ œ œ˙ œ ˙˙ œ̇ œ b œ̇ ™ ˙œ œ™ œj œ œ ˙œ ™™ œ
J œ œ ˙ œ œ œ œ œ
12
J J
 &b Ó ˙ ˙ ˙ ˙™ œ w Ó
˙ ˙™ œ ˙™ œ ˙™ œ
sing prais - es un - to him, sing prais - es un - to him, un -

&b Ó
œ œ w ˙ w w w ˙ w w
peo - ple, sing un - to him, sing un - to him,

˙™
#b ˙ ˙ w Ó ˙ w w ˙
˙ œ ˙ ˙

˙™
peo - ple, sing prais - es un - to him, sing prais - es

?b
w w w™ ˙ w w Ó ˙ œ

{
peo - ple, sing un - to him, sing prais - es

& b Ó
œ œ ˙w ˙ ˙˙ ˙w ™ œ w
w
Ó
˙w ˙™ ˙ œ ˙™ œ Ó̇ ™ ˙ œ

? b ˙ ˙ w Ów ™ ˙ ˙™ ˙ œ ẇ
˙ w ẇ
˙ ẇ ™ œ
w w w
15

&b œ œ œ œ ˙ b˙ ˙
˙ ˙ ˙ ˙ Ú
˙ ˙ ˙ ›
to him, sing prais - es un - to him, sing prais - es un - to him

&b Ó Ú
w w ˙ ˙ ˙ w ˙ ˙ ˙ nw
#˙
sing un - to him, sing prais - es un - to - him

#b ˙ ˙ w w Ó ˙ w #˙ ˙ ˙ #˙ w ˙ w ˙
un - to him, sing prais - es un - to him and talk of

? ˙ ˙ w Ó ˙ ˙ ˙ b˙ ˙ w ˙ ˙ Ó w
b w ˙

{
un - to him, sing prai - ses un - to him, un - to him and talk

˙
& b œ̇ œ œ̇ œ ˙ b ẇ ˙ ˙˙ ˙
˙
˙ ẇ
˙ ˙˙ › w
ẇ ˙ ˙ nw ˙ b˙

? b Ó̇ w˙ w #˙ w ˙ Ó̇ ˙˙ b ẇ ˙ # ẇ ˙ ˙˙ # ˙˙ w Ó ˙ w
19
Ó w
 &b ˙ w ˙ ˙ ˙ ˙ ˙ œ œ w ∑
˙ w
and talk of all his won - drous works, his won - drous works,

˙™
&b ∑ ˙ ˙ ˙ b˙ ˙ ˙
˙ ˙ w ˙ œ ˙
and talk of all his won - drous works, and talk of all

#b ˙ ˙ w ˙ ˙ ˙ w ˙ ˙
˙ ˙ ˙ w
all his won - drous works of all his won - drous works and talk

˙™
?b ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
˙ œ

{
of all his won - drous works, of all his won - drous works, and talk

w
& b ˙ ˙™
˙˙ ˙˙ b ˙˙ ˙ ˙ œ̇ œ ẇ ˙ ẇ ∑
∑ ˙ ˙ ˙ ˙ w œ ˙

? b ˙˙ w ˙˙ ˙ ˙
b ˙˙ ẇ
˙™
˙˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ w ẇ
24
˙ œ

&b Ú ˙ w ˙ ˙™ œ ˙ ˙ ˙™ œ ˙ ˙
and talk of all his won - drous works, his won - drous

&b
˙ œ œ
˙ ˙ b˙ ˙™ Gn œ ˙ ˙ ˙ ˙ #˙ ˙ ˙ #˙
œ œ
his won -drous works and talk of all his won - drous works of all his won - drous

#b œ œ ˙ ˙ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ ˙ ˙
of all his won - drous works, and talk of all his won - drous

? ˙ b˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
b ˙ ˙ ˙ w w

{
of all his won - drous works and talk of all his won - drous

& b œ œ ˙ ˙ ˙˙ b
ẇ
˙™
˙nœ ˙˙ ™ ˙
œ ˙˙ ˙
˙ ˙™ ˙ œ ˙˙ ˙
˙ G #˙ #˙

? b ˙˙ œ ˙˙ ˙
b œ̇ œ œ̇ ˙
ẇ ˙ ẇ ˙ ˙˙ ˙
ẇ
˙
ẇ ˙
28
˙ ˙ ˙
 œ™ œ œ œ
j
œ™ œ œ œ w
&b w Ó j Ó ˙ w
˙ w
works. Re - joice in his ho - ly name, re - joice in his ho - ly

˙™
œ™ œ œ œ
&b › ∑ Ó
w
j œ bœ œ ˙
˙
works. Re - joice in his ho - ly name, his ho - ly name,

œ™ œ œ œ w
# b #› Ó w j Ó ˙ w
˙
works. Re - joice in his ho - ly name, re - joice

?b › Ú Ó ˙ w œ ™ œJ œ œ ˙ œ™ œ
j

{
works. Re - joice in his ho - ly name, in his

ẇ ™ œ b œœ ™ œ œ œ̇ œ
j
œÓ ™ œ™
& b w› Ó j ww j
˙ w œ œ̇ œ œ ˙œ œ

Ϫ Ϫ
œ œ̇ œ ww ẇ
? b #›
› Ó ˙ w
J œ œ˙ œ œ™ œJ
32
J

™ œ œ ˙™
&b ˙ œ œ œ ˙ Ó œ ˙ ˙ w ∑ Ó œ œ
name, his ho - ly name, let the heart of them re - joice, let the

˙™ œ œ ˙™
œ™ œ œ œ
&b Œ œ ˙ j œ œ œ ˙ Ó w
œ ˙ ˙

™
re - joice in his ho - ly name, his ho - ly name, let the heart of them re - joice,

# b œ™ œ œ œ ˙ œ œ ˙™ ˙™
j œ œ œ ˙ Ó œ ˙ ˙ œ ˙ ˙
in his ho - ly name, his ho - ly name, let the heart of them re - joice that seek the

œ™ œ œ œ œ œ ˙™
? j ˙
b œ œ ˙ ˙ #œ œ
w
˙ ˙ ˙ ˙ œ

{
ho - ly name, his ho - ly name, in his ho - ly name his ho - ly name, let the heart of

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heart of them re - joice that seek the Lord.

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p the Lord.

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#b w Ó œ œ ˙™ œ ˙ ˙ ˙ ˙ œ ›
Lord, let the heart of them re - joice that seek the Lord.

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them re - joice that seek the Lord.

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& b Ó̇ ™
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& b #˙ œ #œ œ œ #œ œ œ ˙ ˙ w #w
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A - - - - - - - - - - - - men.

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A - - - - - - - - - - - - men.

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44