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 .

W I L L
N E
I
W
A M
,UPL]
^!
S'S

UNIVERSAL PSALMODIST,
CONTAINING
I. A New and Complete Introduction Pfalmody; or, the Art of Singing Pfalms, &c. In-
to
terfperfed with many ufeful Scales and Examples, explained in the molt familiar Method
ever yet Publimed. To which is added, new, plain and concife Rules for Competition.
1L The molt valuable Collection of Pfalm and Hymn Tunes, Canons and Anthems, many of
which were never before Printed; alfo the Tunes, Anthems, &c. Sung at the Magdalen,
Foundling, Lock, and other places of Worfhip, in and about London, with Words adapted ,

to each Tune*
THE WHOLE COMPOSED IN A NEW AND EASY TASTE '

For Two, Three; or Foiir Voices, in the moft familiar Keys and Cliffs now ufed and recommended by tjie
trfoft eminent Matters: The whole calculated to promote and improve this moft excellent Part of Social Worfhip;
and thereby render it both ufeful and delightful in Country Choirs: Likewife, all Congregations and other Re-
I ligious Societies in Great Brittain, Ireland, and America.
^——^»^— '
"I iiii» —»—«i»i*i i i
_;- |
ll i ,in i
mmmggmm^mmm^fgfgffggfmmmmmlmmmmmmmmmmimmmmm i I i v».

The FIFTH EDITION, with the addition of two Anthems not in any of the former Impreflipns.

LONDON, Printed for and Sold by the Author, No. 11, Great Kirby-Street, Hatton Garden'. Alfo Sold by Meffrs. Longman,
Lukey, and Co. No. 26, Cheapfide, and may be had at every other Mufic Shop and Bookfellers throughout his Majefty's Domi-
nions: Likewife, the following New Divine Publications, viz.
Pfalmody in Miniature, thre^ Books by the fame Author, each 6d. Divine Hymns for one, two, three or four Voices, by Cole, W.
4s. Harmony Divine, b a Collection of Pfalm and Hymn Tunes, Anthems, &c. Bound, 3s. 6d. Six Hymns or Anthems, by
Edward Clark, Orgam of St. Pauls, 4s. Bond's Anthems, 7s. 6d. The Food of Devotion, being a felecl: Portion o
is Pfalms fet to Mufic by D» Senior, 3s. The firft principles of Mufic at one View, by B. West, Nc "

-* .
 ADVERTISEMENT.
THE Author thinks himfelf bound by the ilrongefl ties of Gratitude, in this public Man-
ner, to return Thanks for the great Encouragement already given to his new Univerfal
Pfalmodift, even beyond his moftfanguine expectations: in fo much that four large Editions
have been Sold in the fpace of four Months, which he flatters himfelf, is in a great meafure,
owing to the Improvements made in his Introduction, as well as in the Harmony of the Tunes,
&c. He is the more encouraged to this, by its having lately received the approbation of one
of the fir ft Mailers in the Kingdom.
I nowprefent my Friends and the Public, with a fifth Edition, together with the Addition
of two excellent Anthems, and other Improvements, being determined to fpare no Pains or
Expence, to render this Work more generally ufeful than any thing of the Kind ever yet
Publifhed.
^
J^~ s i

A. WILLIAMS,
Great Kirby -Street, September, 7th, 1770.

N, B* Be careful
^ BL

to alk for Williams's

^?'
new Univerfal
*

Pfalmodift;

ypf^yp-.
v.**'

b \k~4
Or
/
 I N D jL a. J*P

limes Page Guilford 62 Norfolk ;...40„

A Canon. 58 H \ O
Acton _* \ _ . 3 8 Colckefter _ 59 Hanover . _ . 6"3 Old 50 . ... ...85
Ailoffe Street 69 Crowle _ . _ _ . _ .34 Hayes . _ . . _ . 84 Old lOO . .... .45
Aimwel _ _ _ 56 D I Orange . . 4l
Alcefter _ - 43 Dalfton. _ _ 78 IpfwicH 87 P
Angels Sorig. 46" Darwall's _ . _ . . .68 Irifh .40 Prefect 51
Armley. _ _ _ . _ _ 66 Deal 6T> Ifling ton ... 70 Prior's J J
Aylefbury 36 Devonfhire _ 51 K R
Aynhoe 63 Dorfet 38 Kingfbridge 82 Richmond 71
B DTCroft's 59 L Riclananfworth 54
Babylon Streams _ « 64 Drefden . J6 Leeds : 42 Rippon 54
Bath _ _ . 49 Dudley 58 Marlborough. .5J
Little RocKefter 49
Bedford 43 E London 86 Rochfcrd 44
Bethefda. -'.. . -72 Eagle Street 80 Low Dutch 4*
Bexley. . 39 Evening Hymn 3J M St Ann's. 46.
Blewherry 62 F Morning Hymn. _ _ 8
J st"Georges . 65
Bloxham. _ . .38 Farnham ^ 52 N st Hell en's J9
Bofton _ _ 5_ - -74 Foundlings . . _ _ . 86" Namu£e .53 S*. Jama's 34
Brentford. 83 G Newcaftle. .55 S*. Mark's. -40
Burford - _ - 33 Gainfborougii. 86" NewEagle Street. _ 53 S*. Martin's . 6"1

Buxton _ _ _ - _ 3J Greens 100 . ... 45 New York. . 40 StMarVs _ _ . . . .39

4
St Simon's . -6*1 Trumpet. - _ _ _ 44 Wells , _ 48
. Canons "\
S* Swithin's 39 Tunbridge 3J Weftminfter_ 56 Haftethe O Lord .

Si Thomas's- . 64 V WeftonFavel . ___73 Non no his _ « [88

Salter's Hall 85 Virginia _50 Whinchefter 61 The fame inEnglif \\j
Southwell. 5J W Windfor 33 O Ahfalom. .85
.Stafford 48 Wakefield . _ 60 Workfop . __ .35 Anthems
Stafford New _ _ .52 Wallingford , _ _ _ 36 Y Behold the Lordis. .8.9
Stroud water. . _ .4/ Walfal. _ _ 35 Yarmouth _ _ 50 O he Joyful. 90
.Sutton _ _____ 42 Wantage _ _ _ _ _ 55 York _' .86* Glory he to the Father 92.
T Wareham „ _ _4l praifeGod 90
Tooting -8l Warrington - - - - - 3/ Awake up my glorv -93
1 heard a voice from.9.9

IB. that the initials fet over the Tunes fignify as follows viz N. V. New Verfion. O. V. Old.
Verfion D* W. D? Watts. L. M.Long Metre. C. M. Common Metre . S.M. Short Metre. P. M . Particular
Metre or Meafure •

Lately Publifhed, by the fame Author,

, PSALMODY in MlNIATUR:E,in two Books, Price 6$ each or 1* together,Conta*ningThe Tenor and Bafs of an the Tunes,
generally fung in Public Worfhip ; neatly Engraved,fo fmallthat the Whole will conveniently lie in a common Pfalm,or Prayer
Bo)k. The like never before attempted .

/
 ,

A Compleat Introduction to

THIS Art is
Psalmody
founded on the fame Principles, a nd taught by the fame rules as other Mufic,from which it is.

diftinguifhed,not only by having Sacred Words ufed therein,hut by a peculiar gravity, and Solemnity of Stile in.

which it ought to be Compofed. The Knowledge whereof is conveyed to the mind by certainMarks,or Cha-
is,or
^racters,of which there are feveralforts,as firft,thofe which point out the feveral degrees of Sound,Showing howa
yoice may afcend or defcend in a pleafing manner to any given diftance.Secondly, others teaching us how to
treat thofe Sounds 8tc
whioh^when put together,may not improper ly b e called the Alphah et to Mufic, o<r
. All
the Mufical Alphabetwhofe fhape andufe itfhouldbethe firft bufinefs of the Learner to know,elfe he will he
like Such as attempt to read before they know theirLetters,and confequently in a continual perplexity on that

account * Andherelmuft obferve,that,{bme feemto expect the Knowledge of this Art to Come without fomuch
as reading a Treatife thereon once through,others feemdifapointed,and fometimes difoouraged,becaufe the
Notes 8Cc do notreally produce thofe Sounds and other effects which they have been reading' about,f rget.-
.

ting that Sound is produced byMotion,and as the Characters have none in themfelve s,fo me Voice, or In-
produce it for them, to which they are only the Guide,andnot the Sound it felf . Now to
ftauiiient,muft
accommodate fuch fort of Learners,feems difiicult,and an Art whichlprofefs not wholly to have attained,th(\per-
haps,have come asnearitas any before me,yet there remains a them to doyiz. topurufe the foil owingTable,
little for
wherein the wholeis laid down and explained,as itwere at one\lew,to which is added a further Expla nation for
theufe of the diligent Reader to oblige whom has been my chief Study .
 A Table of all the CHARACTERS in PSALMODY,with their Explanation and
Examples annexed. ~ ,
Characters. * ; '
Examples.
r r Five Lines with their Spaces whereonMufic is wrote,NJ . The Space r .
|
m
aV6
\ \ above and belowis always confidered as belonging to it ------ .

(P -6-

Ledo"er f f A fhortLine
addedwhen Notes afcend,or defcend more than one dt
Line { I gree above, or below the Stave _ ------ —— i TPPrff-
,^ -j-

on a Stave to indicate fo many different Sounds one above f~- qg=E *-

/ Are fet &=& =5=c

p I another, and repeated as often as the Gompafs of Mufic requires,but not

E ^3=
I feen ma Tune, being reprelented by Notes of different value, ye tare al ^=H €=TX
j
ways Suppofed to cohabit the lines and lpaces;which are called aftery* ^m JlG_
B I Letters thereon fixe d,whofe places are fhown by the Cliff that Governs EJjjgjj
them,and fhould be readily known as being the foundation of the Art
l
V .
.
fSee Cliff
. /_
Gamut kc.) gg =5*=
5=E ^=d
G *

The Treble AVhen fet at the beginning of a Stave,denotes that part to be thelre-

or G Cliff ble,it is alfo called the G« Cliff,becaufe the Letter G. is always found on J =2 g-
e fame Line -with it •

TheTenor. on the fourth Line denotes Tenor,if on the middle LineXounfer,

If fet
Counter as in the Example above,it is alfo called the C .Cliff,being always accom-^ f%
or C Cliff panied with that Letter . - _ _ —
__'_-- -- - - — -- —
TheEafs, r

crFCl iff f 3 ;
i
Is g en€ra Hy &t on the fonrthLine/ andcalledtheF.CliflCFromitsLetterF.j g?F l^-'rF-

..U
 _

f floweftNote
Is the _ inMuficand feldom ufed except at a f lofe or inif __
A Breve
{ I
.
„

Some particnlar pieces • (SeeTime&c

rr
.) _ . '_ _ its Reft x; J
*"^ s
y^
A Semi - Half a J3reve, and the SlowefiNote ufed in Common/it is alfo Calledy \
•Breve O >*v meafureNote,fromwhence the LefTer ones take their proportion- -j^zz -e-
I __ . -.-.._ - - - _ _--„ -Its Reft,
-*~ ^~
I

A Minim -{J{. Is half a Semibreve __.._.. -its Reft, jm. 2 < g 4

A
Crotchet HalfaMinim,or one Fourth of a Semihreve_ -;-; ItsReft, r 4 \ g-
j +1 -g-

U A
Quaver
{ H Haifa Crotchet, or one eighth of D?_ _ . _ :
ItsReft, "I 8 \
$m
fcffc

A Semi
Quaver
A Demi- f
H Half a Quaver, or onel^of D? . _ _ . its Reft, =f MX S
{
-HE-
0-0-9—

Semiauave^ Half a Semiquaver, or one 324 part of D9 ItsReft, n 32

rHere obferrethat eachNote hath itVcorrefponding Reft or Note of Silence Signifying -where
Hei {
)ccur that you muft Reft or keep Silence fo long as you -would havebeen Singing the
•^theyOc fii H J j J .^
i-Note o Notes which they feveally reprefent. .
k-Note or _ ______»_-«__ Ex.] ^" " f" Y'3' 3"
When added to a Note or Reft makes it half as long again thus a dot , 1
J
A Dot ( t , t -J . .

or Point ted Semihreve is equal to three Minims a dotted Minim to three Crotchets
8C0 . It is feldomufed to a reft longer then a Crotchet which is then equal
three Quavers or their Refts . . .„ ... _ . _ . . / |
r
r-f-p mni\ P+-*>
 8
"Whenfet before any Note,finks it half a tone lower than it&natu- f
A Flat
ral pitch, or found. - ; — - -•- (, |
?0-

ASK arp Raifes any Note half a Tone higher. (See Tones kc .)

allNotes onfuch line,orfpace^

Either of thel'e Set at the beginning of a Stave,caufe allNotes
,fep=^P
Natural. _ _ _ _ «„-;._..
ccept Contradicted by a Natural.,
Yto be Platjexcept ..__-, -
~-V
A i f Caufeth any Note before made Flat or Sharp,whether at the begin-
f Q\ h| L J 9 hm
Natural v&sm
{ L ningor accidentally,tohave itsNatural,or primitive Sound . _ _ _ . (ffi.1 * S? j 1

C^B.that all Hats, Sharps etc. intermixed with the Notes are called Accidentals.)

The SloweftMood in Common Time contaiiiingoneSemibreve two Mi- ( 9r+ c% I

Q ^
nims or fo many Leffer Notes Refts &c . as -will make that quantity in
'

~
Adagito- j fj
eachBar which muft beheld while you can leifirrely count 1,2,3,4. y _ MM"
Counting 1,2 .with the Hand down and 3,4 .with it up. f D*"
t

&fcE

This Contains the fame quantity of Notes,or Refts 8tc. ineachBar,

I Largo
Ml
{ (fc V and is beat,or kept in the fame manner,only Confiderably Quic
Note Sometimes this Mood contains two Seniibre\er.or
^{ppff fp-e

H Seniibre\e.orfo inaiW other Notes &c

fo nianj, iCc . in a7
< c
y
*S Bar andis then called Allabreve time. _ - - Which See Page. 2G_ 20. _ »._ _ -
(
]_

| (, ( Thefe Moods are but as one in ufe, each Containing thefame quan- Krf) w O . ^F f * r'loff |

2< tity of Notes as the firfl,but is beat as quick again,Viz . one down and * U
!
v Allegros tf)

one up in eaohBar .
J%>

^ i €*

This Contains only one Minim,or twoCrotchets 8Cc . in eachBar,and

2=m
generally beat one down and one up.,.- .» . ,.-_ \~£p4
 '

r „ ( The fl oweft Mood in Triple Time,containing one dotted Semibreve, f ^

VJ
J
510 S
_Adagio -< ~ i
"j Minims,orfo manjLefferNotes^neaoli!Bar,to-w}iich we count 1 fflte
three Mimms,or i
'||t^
. .

-a
<•
V
V.
'
I threeyiz. down and one up
two d
threeyiz.two » - . «. _____»_>___V
o
o
2
f
The next in quicknefs,Containing one.dottedMiniEi.thr«e Crotchets, r
i g J"?
Largos . i or their equivelent inlefser Notes,and beat of kept in the fame Man- -1 '

(<rd*
m)
l-^-^f-^c^,
\t* 1 i ner,only quicker .__ _ - _. K -

it
l& AllegroYf ^ f A Still Quicker mood.wherein one dotted Crot chei-three Qua _ _r
I
1 44

L
os
o 1 vers, or fomany leffer Notes m*ke aBar,andbeat as above, only
J
V_ j,

\quicker.

Larpof
^"*
f The Sloweft of this Sort, Containing fix crotchets or fo Many other f-^ry—
•a
o
o \ ** \ Notes 8to. in eachBar,beat half down and half up. .| w4-r
^ c

O f & f A quicker Mood,Containing Six Quavers,or their value in otherKofrs/'

4. " V an(^^ ea * * n *^ e fame Manner, only Quicker. ___ „ _ „_ _ ") W 8 pEfl~z±£^i£ 3C
( Tor a further Mftration of the above Moods. See Time, page 20.)

A Single
< ) Serves to divide theTime into Small Guautities,or Bars ._ _ _)
£
Bar
A Double
oubleT
Ba r i
J.
II
f Shews the end of a Strain,or line of aPfalm,but does not affect y
i Time,and if dotted£hews it mufthe repeated. - - - See rep .
.{ ^ =fl=JMHi:

BMn *
10
H — 1

%
A. Repe at <

C
'X' \
I
Shews that part mnft be repeater! from where it is marked.
HH m •*, _

—
A Slur
X
f drawn over,
Is

u,
^ the fame Syllal
or under
rer,or fo
-
many Notes as are tobefung to one and f
tobefong
w 1 '•wm
Oi

^^
h <a '

# 1
I
I
1
il

if with a f^T^ f Set over or nnder three Notes of any kind they mnft be ftrag in the J JJ J f fm
Fig
Ffcof 3 <hi4 \ time f ^o
f t ^ e nice Sort . I jTf Llf

A Direct
irect < v\/ < Shews where the firftNote in the Next ftave is to be found
{;
^
s~\ f Signifies that the Note over, or imder which it is placedmuft be f -r-— r^
A Hold f
^ 4, held fo mething longer than its proper time • _ ^3 3
f h Is three four or more Bars, denoting the endof a Tnne 8Cc. calledf —ft i i O j^i _
a ciofe
{ Fine, orKnal ._ ,..,'... {
^J i rrri'| i in

A Lar 8 ° ars ars

ar e
g f 21 f Serve as Refts,or Notes of Silence, when any partis to reft a . f pZJ*
AL ong i r i good while ____ _______ \ H I '

Braces
f Thefe ferve only to brace,or tye fo many parts as are to be SnngVqfa^ <-* £
}
X3
m
I
one and the fame tinie,as a help to the Eye

Here the Learner may proceed to the Leffons of Key s,Note s &c . as Given page 13,&c.
^m
and aifofome eafyPfalm
£2 m
^
 _

11

Tunes 8Cc. After which he mult return to the followingTahle ofGraces,if he would become a good Singer ..

I s breaking a Note or Notes to foften the roughnefs of a leap, either

Tr
fit ton
m.m

Jig
f

'-^aicending or descending, this

(quires Caution and {kill toufe
Grace
it
is often ufed toThirds, but
ingreater Intervals -with propriety
zrm Ltr
JSL

=*^3
*
1

T*he Swelll ~JL f Thefe two Graces are hut asonetho' Occasionally ufed Separate
, 8C
&\. and when
s Clllll
\ IV; ufed
VVJ LV 11 fo
*T\ Ul^U the
IIIV fwell is made
2 vvv.,ll AD JLLiaViV/ hy
*/^ begining
W*-iriUUJ, Toft arid leaving off f^fc
XE
pimini£h\ ^-- (^ loud while the Sound is increafing .The Dimini •iminifh hep-ins loud8tends{ofti>^

xr
P? Joineds--^L^_< In vocal Mnfic it is more common to Join them together . "S -jgy

Graces ^^
Appog- A Diminutive Note, Shewing hew we may arrive more gracei
giatura to the next following, and the time we dwell on it muit he tak<
or "\ J "v from the principle one, it is occafionally fet after a Note, to anticipate^ Performed thus
prepa- the next following, or to fepar ate there-from, and Sometimes two or # ^p|fly |i gw frr^m
^p ,»

rativeNote' three together hy way of Tranlition* _» - ;

Marked Sung
st accato
M
)
n!|
f
4.
_

tic as
Signify that Notes fo marked Should he Sung as diftinct and empha-
poffible.. m » - «. » {p?g ^m
PlainNotef f To do this,Sound the firft half of the Note plain and then Shake y r ^J.
8C5Shake 1
I [I

X other half. „ . -thus{^

m
—_
12

ipOpen Shake
This is reckoned the Capital Grace, and is always begun from the
The Trill Note next above, \vhicli,if itbe awholeTone,is called open, if a Semi-

or common/ 1
tone a Clofe fhake,to do which,begin flow, and fhake distinctly , is -
bn
creafing in Quicknefs till yon have Accomplished it . KB. the
Shake
Q-uicknefs oftheTone muft determine the length of this Shake, except
at a Clofe,where Tome time is generally allowed for it. _ -'.-"'J
V — ^
A This fhake differs from the Former, becaufe it is always beat,Gr f n V' .
M '

{-{ fhook,from the Kote

.

Beat i

next below.- __,--- _ -X tf>

^ I J* *+3*

There are more Graces,but being feldomif ever met with in Pfal mo dy, and partly exx>lained by the fore r ,

going examples,are ommitted as unneceffary • There are alfofome thathave no Character toreprefent them,
which fee,p age. 26"8tc. *

The dumber of Parts Performed. , their Order, 2s. How

Pfalmody is generally compofed in Four Parts,Viz.Treble,Counter,Tenor and Bafs,which are as fo many .

different Tones, contrived to be fung at one and the fame Time, and being in dne concordance with each
otrur make Harmony, the Bafs being the loweft part, the Tenor next above,the Counter next &y Treble at top. r

treble
The Example here prefixed is according to the rules of Compofition,b
ion,butit/~ {0 -
may notbe improper to obferve,that the C.Qiff. is now but little ufeddinPfal-JTreUe-^p
mody,the upper parts being generally wrote in the Treble,or G.Cliff. as in die
Counter firbfequent Scheme, the knowledge of which ismore eafily attainedbeinglefs
_j Ms^0-
~ MW
-^ moveable,It is alfomore known,becaufe allMiific for die German Plute,Yi -W
. enor j^j-- j
!

j
-I

—!4- ^ 4l olin &Cc . is found thereiruAnd this it is prefunied will iufti fy fome little irreg-
ularity in the frequent ufe of it among Singers • NJ . that in the firft
Ex. the Air,or Church Part is the Treble,but in the fecontfltis re-
Bafs
moved to the Tenor. A general Cuftom now,tho"> difapp roved by fonie .V?
(, See Preface)
 I

13

1$ow a Boy, or "Woman's voice is proper for the Treble, The Counter requires a Toft Clear Man's Voice, al£b
ahighCompafs The Tenor fhould have
. and fmooth . For theBafs.a Voice cannot,
a Stronger one, yet Clear
be too Strong, ifMufical*, only let the Bafs, and alfo every Part,rememDer to {often the High Notes, and as in
1
height, To let the foftnefs encreafe Thus having briefly explained each Part, 8tc. Learners may practice
.

* that to which their Voice is heft adapted, and when perfect therein, a Competent Knowledge of the reft is
extremely eafy to attain *

"
. SOLMISATION or SOLFAING.
So called, from the Syllables ufed in practifing LefTons, 8tc. And tho' there are feveral ways of doing this,
{hall only mention tAVO, as the mo^ rommoaand eafy to pronounce,which are applied to the7 Letters as Follows,

.
r
\
c/
Fa,
d,
Sol, La,
e, f,
Fa,
g,
Sol, La,
a, b.
^
Mi.J
tlms
TO
^.^^V^s cSK3£r pc D *
W,Mee^ Fa, Sol,Si,
CFa^Soie,Se^Raw,Doe,La
Ra, Do, La, Mi. J
:

' '
F > *' A '
B -
1- '

In the ftrft only four different Syllables are ufed,wherefore three of them are repeated to compleat the.
Scale . In the fecond there are feven ,Viz . one for each Letter, and is therefore fo far the beft . IB. that thofe
Names are removeable by Flats andSharps^See Tranfpofition^)
The firft LefTon generally given is the Keys, or Mufical Letters, which are exhibited and explained at the
beginning of theTable of Characters, therefore neednotbe repeated here onlv let them be got by Rote and then
•|£>roceed to the Second,which is as follows . \
Lessor of Notes. .,
4i
Fa Sol Si Ra Do La Mi Fa Fa Sol Si Ra Do La Mi Fa

— o Q ;>:
H—<3 Ck-._ I " I 1 I 1 -H-
Fa Sol La Fa Sol La Mi Fa Fa Sol La Fa Sol La Mi Fa
Having exhibited, two ways of Solfaing.I cannot expect that every one will chufe the fame method, there fore I have
omitted both in the following LefTonsJeft by obliging one fet ofLearners I fhould offend another .
 . i —

14

•
To nnderftaud the foregoing Leffon, we need only know the Tune of Eight Bells,which are thereby exactly
reprefented.except that Ringers begin with the higheft,or fmallBelLwhich is eafily done here/ by tuneing them
h.ickwards, or defo ending, to do which, begin Slow, and fo fafter asyou grow more perfect therein to any.
degree of O.uioknefs .
It is vory Common to give a LefTou fromG, to G, inftead of the above, as being in a better-Compafs for
theVoict ',but otherwise not Quite fo proper,unlefs F.were made Sharp,and then it would be an exactTranf-
polition thereof
It is ll(b (V i/oiion Jo give LefTons of Intervals Kc . in the fame manner, which,that I may not appear Sin-
gular, are arlded in the ufual way. but may be- made proper, at pleafure, by putting aSharp to F. at the begin-
ning t»f each Stave, and Sol Fa them accordingly . ^
Lessons for Practice.

<£»— . O— m X3l v^ L
1
jzs..
IS -*=*
X3I
m
-^-t
1 C
XT -e- 1
The Semibreves broke into Minimi .

- — -
r* O—^—**» ^ >- ^*
: * : »
fc
*=*

i
^
I i
v—^ ^
' »-<
H—»«H
—C C -—
1
*- J ^.- 4
>
J
i*
——
i^ii
:

k. gs .- -

•(
 u
15

The Minims brx>ke into Crotchets.

V*? J JJ « >
!"''' lprp*!|
ft }
ij
;| i J
'<•
1 M II I M I' J
i
'II' ' ' '7TI 1
I
\\ | 1 1
1} | |
>
Ijfj f 1'^^^' ^^* -

[ | i

S* jiJJJJlJjJjlJJJJftrf nTirrrrirrmirrrr rrrrifrrrirrrr JJJJ i

+4-
I
1
——
—"Hr
j i ! . i .

'*'* 0+m~»
I —

Intervals .

Q Cj 23 SP^ rr

^ ig att
i

yjiiij^n
5 ^ s-

B 6^ ths

%uW 5* JPC
-p-*-
gths
M
i
q-T7 & h °i
n °, i^^ f
£#7
i
£±*&c
' >

o d gin^
i
i e+T ta mW ? r»(ii
fFP^
i da >'
»,
-t-^-
^> i

o
> j^

^n
'

r f i f=#
J J J|J r
p
ipp rrfirrrnrr pppp
fcf!
JUJJUJJ p=£? nrrr'rr ^ ^ y~st
0,

i rh M'1
1

1
'
i i^

xr
r
.c

^a '
£efejg
ZZ JlJ f 1,1
i'
1

rn % m, fl'|
J|^ J l
'l
J'N: J I I
r
\e

There is another way of learning Intervals, which is as follows.

Mi
Vsc.

E -*-# ^1 tH»"
V* i
m Jg|i fi
i ^ aa
p^jjfjjjjl p^l
l Vi 1

Thofe Notes.which are not reckoned in the Time,Serve as Steps to lead to the right Sound of the
little .

next following, and when -perfect therein,leave ont the intermediate Notes, and :fing only the Extremes, .

Of the GAMUT ^c.

Gamut is a Compound Word refering to the Letter G, found at the hottom of the Greek Scale, and hy them
called Gamma, hy others TJt,whioh heing joined and abreviated,make Gamut/whence the-^hole Scale takes
it's Name, it is alfo applied to any Octave,or Scale of Eight Notes, which may he appropriated to any

Part in Mufic, and if there were a Thoufand Parts, each fhould he considered as having fucha Scale &
belonging to it,which muft he reckoned from the Key Note or its Octave which is the Same thing. 7
J
In counting any diftance the two extre*ams are always included, thus if we raife an Octave upon G, D /

we add A B C D E F G, and if we add a Second, we put A B~ CD E F G again, whence Note,thaty b

Letter G is doubled twice and the middle one becomes y laft of the firft,and, firft of the SecondOctaveAG*
'

as in the Margin,The fame is to he underftood of all Diftanoes, and if hy the fame rule we add a{hird e
D
Octave, we {hall compleat the Vocal Scale which is as follows . C
P
A .'
 17

The Gamut or Vocal Scale . Explanation. ..

The number of founds inMnfic, as toHeight or

in Alt Depth, cannot be afcertained/being limited only by
the Voice, or Inftrament that is to perform them, but y
ordinary Gompafs of the Human 'Voice is here exhibi-
ted, tho feme lew can reach higher, and fome lower,,
in which cafe obferve, that if a Note ascends higher-
than F in theTrebie,it a« called in Alt, as G in AJt
A in Alt, Re. Or if it defcend lower than G in the. _^_

Bafsjs there called Double, as double FF.donnleEE

8Cc. to which double Letters are fometones applied.
It may not be amifs to obferve that this or any
Scale of Note g, however C opious, a s limply comprehen-
ded in the flrft.or any Seven thereof, which with
their Intervalsbetween contain all the variety of
Mufic,as appears hy a repetition of the fame Letters,,
neverthelef, the perfection of Harmony as found in
an Octave, the Eight ferving as a Cap to bind th.<e
G amift leffer Concords, as Practice will fhew„. and an Oc-
tave is made hy doubling any one of the J Letters ...

If it fhould be afked why the fame Letters are repeated, the anlwer is,becaufe every Eight Sound is
put as a repetition of the firftbeing fo exact in agreement therewith,as when founded together with
Judgement, are not to be diftinguifhed from onellngle Sound, -whence they are called Unifon,that is, Two
.. in One. ihu*' if we count from any one of the Seven Letters, its Eight, or Octave will be found the Same,
IS

to which the fame Letter is alwavs applyed •

The foregoing Scheme alfo fhews the Parts divided, and fet on their proper Staves,which proves at
once their connection with the Scale, and alfo with each other, by which it appears that the Tenor hath
originally but one Line, and therefore borrows two ofihe Treble, and two of theBafs to,Complete its
own Five, -which lhave diftinguifhed by dotting the borrowed lines. ]SB, That this Tenor, or Counter is
Sometimes, and very properly, called Medius, becaufe the Notes it contains are in aGompafs orMedium
between the two extremes, viz .Treble andBafs. Now to underftandtthis Cliff perfectly/we need -only re
member that the Line whereon it is found will be the fame identical C, which it Occopys in y Scale, and
confequently the fame Sound,for the fame Letter doth always indicate the fame Sound while governed
by the fame Cliff, and its connection with the other parts will be alfo the fame.The like is to be under-
stood of the other Cliffs in cafe they fhould be removed, which Rarely happens, but if we move any
Cliff, its Correfponding Letter goes with it and of confequence the whole Syftem or Octave,in due
Alphabetical Order,,from which they never vary, if this was well remembered,it would fave much
puzzling among Learners.

Of Tones and Semi-tones

, The Sounds which die foregoing Scale reprefents, are not fo many equal degrees, but confift oftwo forts

Viz-Greater and Lefler, called Whole and Half Tones/ which are beft underftood by Supposing the Greater
Degree, or'Whole Tone to be an Inch, then the Lefler will be half an Inch, and this is called a Mathimati-
two Semi, or
cal Demonftration8Cc. Here obferve that in every Octave, or Scale of Eight Notes there are
half Tones whofe natural places are between B, C, and E, F or which is the fame thing,.upon> C andF
>

afcending, and upon E and B defcending.Alfo that thofe Semitones may be, and are occafionally remov-
,

ed to any other part of the Scale by Flats and Sharps, See Tranfpofiti on. N3 Thefe Tones 8tc are. .

plainly de mo nftrate d by an Inftrument, called a Pitch Pipe,wherein is a Square Tube/on which are
 1.9

marked the Seven Letters at their proper with the Semitones, or Intervals between,fo that.
diftances,

by fixing any Letter &c. thereon marked to the end of the Pipe, and blow, we fhall have its exaotfound
either Natural,Flat, or Sharp at pleafure.The faidTube is marked in the following manner •

This Scale likewife anfwers to the Keys of an Organ, or Harpfi-

cord, and fhews that an Eight or Octave is divifible into twelve
Semi, or half Tones, and that by Flats or Sharps at pleafure,from
whence arifes the infinite variety of this Myftery ! So jnftly called
Divine •

N5. That GjJ and Ap, are to be considered and treated as

Unifons, notwithstanding they occupy a different place on the
Stave,and fo are all the reft which are Slnred,or tied together,the
Proper Notes being Semibreves,and the others Slured Minims .

G B C D E F G
(Sh.
SE Jbd v.vtfo bo o j gj
bo o jfcalv|
g ° ^ i
 .

20
Time .

Time is that "which, regulates our Mufic with reipect to the duration of Sounds, 8Cc . Its Velocity,
or Quiclcnefs is varied, even from the flow Movement of a Common Houfe Clock, to the duick puliation
ofaWatch.It is of three fbrts,Viz. Common Triple, and Compoundyof thofe
,
alfo there are different tranche s,
each having its proper Signature, or Mood
begining of the Stave, as exhibited in the table of
at the .

.Characters 8Cc It is divided by dlftinct motions of the Hand, or Foot -while finging, which are varied,
as to number and Guicknefs, according to the Mood,or Meafure of Time each Tune 8Cc. is in.Common.
Time ismeafured by two, four or eight Be ats, and Triple Time by three in a Bar, This is called Beat-
ing of Time, in -which cbferve always to he&t regular, and that the Hand or Foot do go down at y .

beginning, and rife up at the latter end of each Bar, in ail forts of Time, of -which fee the follow-
ing Examples, wherein the Letter D,fhews -when the Hand muft go down, and the Letter TJ,when
it muft rife up . f The fame in flurred Crotchets, as a help ">
\ to the Mind in counting the former, or any ( «
Adagio ^LaftLine of Windfor dcther flow Notes J LARGO. (Walfal)
.

.Tunc
i
/"
\

ewJ
.

11.11 —
i , . I I 1 I ... , «
dd uu dd uu dduu dduu dduu uu dun
o r\ dd dduu.
dd uu. dd uu d d d uudduu.
s~\

Allabreve. Allegro. CRochefter) D? or FRENCH TIME . CAlcefter)

i 33:
-a £
J dd u dduu 1

dd uu. u f u da.
I
§1 n J
m SI
p i 3 a=s=f
 .

21
Adagio. CHanovet) LARGO. ( The fame ) Allegro . ( The fame)

J>'rlrJHJr
r
h-ll(fer/l^pl^nJr r rS .l

dd u d d u d d u d (in ddu dd n d d u d d u d u ddu. <I

Largo . Allegro.
rri \ rrrm *
t
>->

t\&\kj\ t tM
*«! limn* uana uiii
>l l Trll 1 ,vlii j l '

^.*J IKS! ".» I **j ;n«! «-.« r>i

i i

There are other forts of Compound, or mixed Time, hut not being ufed in Pfalmody/I pafs them
as unneceflary here, and have only added their Moods, as above •
NJ.The higheft Figure tfiews the number ofNotes in eachBeupand thelowefthcwmany thfreofmakesaSemibreve.
In the foregoing Examples, each Bar is made full,either with Notes or Re ft s, except the4wo laft,
^vhere you may ohferve an odd Note at the beginning of each,to make the Time right,its value ig.
omitted in the laft Bar. This frequently happens in all fort* of Time, and alfo in the middle of a.
Tune 8Cc . after a Double Bar •

Obferve that the foregoing Moods are fometimes fung quicker/ or flower, as the words of a,
Pfalm, or Hymn 8Cc. may reauire, and alio that the word Largo, and fometimes Allegro, is put to
the Mood here marked Adagio, in which cafe it muftbe fung as auick as if the Mood Itfelfwas^
altered •
22
SYNCOPATION or Driving NOTES .

This an Art belonging chiefly to Composition, and of great variety. The following Examine*,
is

well learnt, win fhow how the Tin?* is to be beat, or kept in all £uch LeiTons 8Cc .

^^^
thus! or .thus, or

J
SE^r*
thus
i^f F^J-Jj qfe **^? '^ 1

"What makes fuch a Tune difficult, is /that the hand is beat down, or up in the middle of,crwhil
a Note is founding. .

IB. The following method is offered as a help to the Imagination •

ffriifrr'"»^Mppl 11IS11JI
This Method, if Mentally applied,will be of great ufe in all difficult PafTages .

Of Keys.
The word Key is fometimes applied to any one of the Characters ufed in Mufioeach ferviug
as fuch to open to us a further knowledge of the parlor thing to which they belong,it alfofigni-
ftes any Octave, or Scale of eight Notes, the loweft whereof is the Key Note, to that Le£fon,But hy
Keys,ls here meant, the Seven Letters, upon fome one of which every Tune is founded, and thereby
becomes the fundamental or Key Note, to which all the others are made fubordinate, on this theBafs
generally begins, but always concludes, and is therefore eafily known •
This Key, or Key Note, hath the property of being either Flat or Sharp, that is,Chearful or Milan-
 23
cholly, which is determined by the thirdnext above. If it he a greatest third, the Key is Sharp,

C Sharp Key) Cjlat Key^

if a Leffer, it is Flat Ex. Q :
gj *!!§ and as the Key is,fo is the Harmony called Flat or Sharp

Sharp Key Flat Key

,o -Q-
XX zee BE XT
XX -e-
Greater Third,
1 xx
Leffer Third,
33C 1
All other Keys are called Artificial, being in effect hut a Tranfpofition of thefe Two,from which
they are derived, and to which they are reducible at Pleafure, as will appear by confideringthe order
of the Semitones, which are in all Flat Keys, between the Second and Third, and the FifthandSixth
above the Key Note, and in all Sharp Keys, between the Third and Fourth and the Seventh and Eight a-
bove . (See Tranfpofition)
Keys are fixed by placing Flats or Sharps at the beginning of the Stave, as exhibited,
Artificial
in the following Examples of Tranfpofition, but I would juft obferve that fome Authors, for re afons
beft known to themfelves, Set Tunes in Artificial Keys without puting the proper number of Flats,
or Sharps at the beginning, by which fuch Keys fhould be determined. Thus we fometimes find a .

Flat Key on G with only one Flat at the beginning, tho' it ought to have a fecond upon E ,
whereby the Key would have been properly Settled , and the Learner naturally lead to Sol fa it
according to the rules laid down/Therefore fuch omiffions in Vocal Mufic muft indicate the Author's, <
careleffnefs, or, prehaps, ambition of f hewing his Skill, be caufe were it not for the eafe of Solfaing&c.
tt is evident that a Tune may be founded on any Key, without either Flat or Sharp at the beginning,

and only add them as the Notes occur, or as the Air may require, which will appear by this follow-
*n
£ • * "

*J* For L efforts in all the variety of Keys See Page 3 J .

24
Improper Proper

ffi% r
J3l ,
,l^
The above Example may ferve to explain all others of the Kind, which are apt to puzzle . M
Practitioners and therefore very improper .

Transposition.
To Tranfpofe remove from one place to another, i. e. higher/ or lower to j-.^oomo-
lignifies to

date the Voice, or fome particular Inftrument, to underftand which. Suppofe we have a Tone in
the Key of A, whether Flat,or Sharp it matters not, and we find fome of the Notes too high for.
our Voice, to reach with any tolerable eafe,, fas in the Tenor of WallingfordJ now to remedy .

this -we muft put every Note in that Tune one degree lower, and place two Flats at the begin
ning of the Stave, whereby the Tame Air is preserved/ and the founds being lower are more.
eafily preformed 8Cc.The following Examples fhow how a Tune or Leffon may be tranfpofedgra-
dually Quite thro* the Octave But firft fee an Example of WallingfordTune,traiiIpofedas above .
.

The Tenor of Wallingford Natural State

La LaMiFami
e^i
fa
§Q X3
Colfamila,
I 22

Fa mi
in its

^a^c -GrQ 32

fa fol fol la,

m ES fol
& Srcsq
fol fa la fol la
SPI
la fol fa mi , la
o- c

fol fa
pBi
fo mi la
The fame Tranfpofed

^
o G.

ae
fa

La la mi fa
[T^j|
mi
^i^ i"'|rB
fa fol fa mi la, fa mi fa fol fol la,
c

fol
ii
c
i
,

fol fa la fol
ni " |Pf
c

la la fol fa mi,
^ la
XX
fol fa fol
XX
mi
-ev
la
1
 2d
EXAMPLES, Shewing how a TUNE, or LESSON, may he Tranfp o&c\ gradually thro'tfe
Octave .

fy^.o ° " °
(y la Sol Ra D»
Si

The eight Leffons ahove are hut one in nature, %* will appear by considering the order of the -

Semitones/ and alfo of the Syllables -which are not varied, tho their places are different on the Stave
each of which fhould he perfectly known, as preparitcry to Solfaing a Tune 8Cc. with fcch a .

number of Flats or Sharps at the beginning • Li

To add more Leffons of Flats or Sharps feems needlefs,becaufe, in either way of Solfaing, they
are called the fame as thofe already given, as appearr hy the Examples ahove, ** where the Sylla-
ble Mi (and coilfequently all the reft) is brought on to the fame Line, or Space hy .four Flats as.
2$
hy three Sharps, and To of the reft, -which fee, only that hj Sharps -will he half a Tone higher
thxn that hy Flats quite thro' the Octave, as will appear on comparing them. IB . that the Syllable,
,

Mi in hoth "ways oi Solfaingis in all Sharp Keys, next below the Key Not e, and in all Flat Keys next.
above it, to find the other Syllahles or Names yow need only consider their order, SCc «,

In Tranfpofing a Tune 8Ce, carefully obferve any accidental Flats, Sharps or Naturals* which if.
rTranfpofed mnft fometimss he changed, for Inftance,fnppofe a Tune in the Key of G> with one.
Sharp on F, and -we find one or more Notes on that Letter with a Natural before them,if fuciiTune
he Tranfpofed one Degree lower, viz to F with one Flat on B, then thofe Notes -will he in E,andmu{t
,

have a Flat hefore them, fo fometimes a Sharp, or Flat muft he changed for a Natural ,as will appear
by a little observation .

There is yet a fhorter way of Tran{poflng,if it maybe fo called, which is as follows^fuppofe

the forefaid ^Waliingford Tune be too high, and you dont care for the trouble of writingit out ?.s be-
fore, mentioned, then with a Pitch Pipe; or any? other Inftru me nt, found €r and call that your Key, .

founding all other Notes accordingly, and then the Tune is properly tranfpofed in effect tho the. >
,

Notes keep their places, By this it appears that a Tune may be raifed or funic to any degreewith-
out moveing a Note, which is called Pitching the Key 8tc. an advantage -worth notice. In doing
which, only obferve that all the Parts take the fame method, and have your Tune fo pitched that
each Part may he performed without fcjueaking above, or Grumbling below •

The Graces .

This the Ornamental part teaching us to add that beauty and elegance which th e plainNofes
is
are not capable of producing A perfection in Singing to which' few in comparifon arive _
Some for want of Ability but more for want of Deligence leave them quite out of their Practice .

forgetting that they are the chief Flowers of the Art—They areas follows •
'

Tuning the Voice •

\11 that is meant hy this is to have yo-OTf Voice as clear as poffible in order to which open.
 a
/
27
.your Throat and teeth freely,but not the mouth too wide, avoiding ail ill gueftures of Body, or .

twifting of the Features, affo a i*ti(? formality, but aim at eafe and freedom,in which imitate the moft
Eminent • .

Expreffion
By Expreffion is meant a good, or,if you pleafe, a genteel Pronunciation, without -which, the.
heft Mufio will fall fhort of it's perfection/Words ending with en, of more than one Sy!lable,t3\e e
fhould loofe it's found, as in Chof'n Soft' n 8Cc . lilcewife words ending with y, fhould founf? as
if they ended with e, as for mighty, might e, for lofty, lofte, 8Cc. If my comes twice in one Sen- -

tence, call the fecond me.ibr tcfing too. For people, not pepei. but peopl. A little attention and
practice will prove their utility.
Accent.
. To underftand this Grace, obferve that everyBarhathaccented and unaccented parts, of which
the former is the Principle, being chiefly intended to move and affect, Kow if a Bar of Common
Time be divided into two equal parts, the Accent is upon the firft, if into four equal parts, it is
on the firft and third . In Triple Time it is on the firft part of the Bar,fome will have it to be.
pn the firft -and third, but others, perhaps of equal Judgement deny this, for reafons that relate
, .

,to Compfition,fuch as the pr eperation of a Difcord,8tc. and were

my opinion to be afked I
Should pronounce it unnatural, except in Compound Time,as# 6"
&c. which it is prefumed will
prove itfelf upon examination, If any part of the Bar be fung louder than the reft, it fhould
pe that whereon the Accent lies,People fhould not fingtooloud,le aft their voice become harfh, befide.
referve ought always to be made, in order to give due force to fome particular words, as Might
Noife, KcVWhen the words Soft, Meek &c. occur theyfhould be fung foft .

"When the Words Pia.or Piano, occur, fuch PafTage is to be fungfofc.So For, or Forte fignifi fS
loud. FortifP or Fo r tiff imo , very loud.
28
. Concife RULES for COMPOSITION.
The firft ftep towards Composing Mufic is to know well the Concords and Difcords which
are as follows
Unifon, I Third, Fourth,! Fifth, Sixth, Eighth Second, Seventh*

i 5
Concord
>f§ ^^
I
5 f
I Difcords ^^ up*
t
n 1
The Unifon 4*! 1 5*!1 and S*. are called Perfect Concords, the 3^ and o^} Imperfect, but in Two.
Parts, the 4^ ufetf as a Difcord.
is The 3<J 4. 5*. and tf*! 1 may he made Greater, or Leffer at.
pleafure by Flats or Sharps, and fome are naturally fo from their Situation in the Scale • The ,

Greater doth always contain a Semitone more than the Leffer, fo a Perfect Interval hath a Semi-.-
tone more than an Imperfect one of the fame kind. IB. that hj the 2 d. 3* 4*2 S*. 6 } 7 8C 8^1
h h d

is occafionally to he Underfood(becaufe every S^is as one 8C the fame ) f 9* 10* 11* 12* 13* l^lSSCc

In Competition, four things are to be confidered,!? Melody, which is the regular progreffi on of
Sound from one Note to another . 2 d Harmony, which is the agreeable Union of Sounds in two three,
.or more parts, when fang or played together. 3? Modulation, or the Art of rightly ordering the
Melody of a {ingle Part, or the Harmony of many parts, either keeping in one Key, or paffing from
that to another, 8Cc. 4* Motion Now there are four ways in which the Parts may be faid to move,y.
.

firft whereof is generally called Standing ftill, bee aufe it is only dividing a long or flow Note into
fhorter, or quicker, here you may ufe as many 3 5*^ or S* as you pleafe . The next, commonly call-
ds s
.

ed th.e firft, is Oblique Motion, wherein one Part moves while the other Stands as before, in this alfo
you may move fo any Concord. The next is Similar Motion, which is when both parts move the
fame way, In this you may move by 3 d.s or 6^i s either* or both mixed, or by a 5^ and 6"*. The laft..
andbeft Contrary Motion,by which the Compofer is leaft liable to fall into thofe Paffages called Dtfa-
is
lowanees,asUntfbns 4** 5^ or S* s two ofwhich are forbiden to follow each other, except Standing 8tc.a s above.
The Several Motions are Exemplified as follows •
 29
Oblique Similar.
Standing.

^.i r:r ,,^^^jjr r

irrr
r
i iijjj jjjji
i

^ rr rr^
rr i ^
£2Z -f*fln

W &Q XE nn 33
rJri jJJ ji'V^'jjJJi^
Contrary.
^
Two 5^ are allowed if one he Perfect and the other Imperfect, hut then they ought to meet a
s

gain in a Sharp 3 A . IB. that TJnifons or Octaves are fometimes ufed without limitation, hut no other
Cords muft he taken while fizch Unifons are moving, which are only put to produce fome particular
Effect, and requires Stall to ufe them with propriety .

All Mufic ought to hegin with one of the Perfect Concords of the Key, the fc^ is heft.K end in it's
Keynote, it may negin wkh a 3 d hut never with a 6^ • Thofe Melodies are hefY that go hy Conjoint,,
or fingle Degrees, next thofe that move hy the fmall eft leaps, All Melodies have the Perfect Concords
of the Key they are in viz . Unifon 4^ 5^ and S^ for their Fundamental Baffes, which in Counterpoint*
ie .Mufic wherein Concords only are ufed, do in all Keys, whether Flat or Sharp, require their .

Common Cords viz . 3* 5 th and 8^ for their Harmony r except the 5^ of E Key, which has its Greater
.

d
<5^ inftead of its 5^ But for variety the Imperfects viz. the 3 . andff^alfothe Difcords of the Key Viz.
the 2^and ,7V may he ufed,which are then called Supofed Baffes, and require th^ir Imperfect Cords Viz.
h
fJff^andStf for their Harmony except the 7*. of E Key, which has its 5*2' inftead of its &** .
1
,
 so
The followingScheme exhibits the Natural Harmony, or Cord of each Letter in the Key of C , as
an. Example for all Sharp Keys, which are in effect but a Tiranipofition thereof, as has been fhown
.

likewise the proper Harmony of each, in the Key of A. as an Example for all Flat Keys t ,

2A 3d 4th 5 th 6& 7* 8.*

-
• • 24 3* 4th S* fftt 7-th 8*. tt

The Common &.

Key jc8 jTg e8 f8|g8 a 8 h8|c8[! a 8 b8 c8 as e8 fa #£ 8 08
Jf*»-tr Uncommon Cords
\tA& c6 cS d5 &6 *6
e$ a5 b5 d<y
of C. ftf g* g*5 of/, "i etf- are taken any way

.3
leg \i 3 g3 5 b 3 c3 da e 5 c3 d3 *3 £3 g3 *5 h3 c3
(
in thefe Examples j
o o *
Key. « 3 E ? G A B G:[ Key. A B c D E F #G A
j Z6 8 3
1 3 2
5 4 1 3 4. 2 6 3 6 8
ferves for making Three Parts to a Bafi, in the two Natural Keys, The
The above plain Table
Harmonic Scale is the Bafs, being diftinguifhed by Capital Letters, and the imall ones are the proper
Accompaniments or Harmony of each Letter, as in their refpective Keys, from which or their Oc-
taves the Melody, and other Upper Parts may be taken, as the Compofer* Genius fhall direct. Now
it you would go out of thofe Keys which is generally neceffary for variety, it muft be done by
malting a Cadence or Middle Clofe, whence Note, that the firft Cadence fhould be made on the Key
,

itfelf, which is fhown by the Figure 1 being put under C in the Sharp, and A in the Flat Key, The
next heft clofe is denoted hy the Figure 2, and fo on to 3 4 and 5, as under G E A and F, in the for-
mer and ECD and Fin the Latter, which do not mean that you muft ufe them all in one Tune, hut
only {how the order in which they beft foil ow, according as the length of your Piece may require,
f^~ after which you muft always return to the principle, or Key Note, and make your Final Clofe there-
on. In Modulating from, one Key to another, the following hints may be. of ufe, as if you would go
from C to G.it is done hy introducing F#, which is the 7'«h of t£at Key, and put the proper ac-
companiments thereon, which may be feen in the 7 th of C Key, only inftead of the 8*.h if there be 4
parts, let the o^be doubled, because no accidentally fharpened Note ought to be doubled, except
in 7 or 8 parts Thus by introducing the Sharp 7 th of any Key you are naturally led thereto whether
.

Kat or SJi3rp,for in every Key, if its 7*»h be not naturally Sharp, it muft be m? ie fo when Notes
 31

happen upon them, Examples of Modulation anrl Cadences may he feen in thefollowinFTunes^ArtthemsgCr
IB. That the Large Figure 3.and0.in the foregoing Scheme denote a Sharp third and fixth,.
fo the ieffesr 3'ior 5\ indicate a Flat third or fixth,and muft he made fo in all tranfpofed Keys, .

wKere they do not naturally fall, efpeci ally if Notes are ufed thereon .Note alfo that Where the
uncommon Cords are ufed,tis generally Setter to douhle the 6$ than to take the 8*£ And Further
that the Fundamentals may he made Supofed Bafles hy ufing their 6"^ inftead of their 5^ So the
Suppofed BalTes may he made Fundamentals hy adding the Sty in lien of the &*£ which if fome- -
times done for Variety in long Pieces •
Every Compofer hefore he hegins, muft he fupofed to have fome Ohject to •work upon. For
Inftance, in Pfalmody, he will have fome Words of a Pfalm,or Hymn* 8tc to fet to Muficin order
.

to which,let him confider the Suhject matter they contain, that he may Ax on a proper Key8Cc.
If they are of a Melmcholly or Penitential kind, he will find a Flat Key the hefttohuild upon,
iIf of a lively or Joyfull turn, as tending to praife,8Cc. a Sharp Key will he moft futiahle, Next confide*
ihe Time, in which he careful! to have the Accent of the "Words fall on the accented part of a Har,
i

Ifo that the Words and Mufic may go on fmoothly together.Having fixed on a proper Key &c the
Practitioner may go on as his Genius directs, avoiding Difcords as much as poffihle hetween.
the upper Parts, and all forhiden Paffages hetween each Part and the Bafs, which is heft done by
a contrary motion thereto. Alfo let the upper parts move as much as you can hy (ingle degrees,
in the neareft concords to each other, and not too remote from the Bafs .

Of Discords .

The Natural Difcrds are hut two, yet in Practice are reckoned three, via the 2? 7*.h and Sft for
the 5. is made a Difcord hy the 3$ its neceffary
Accompaniment, and prepared and refolved in the
upper Part, whereas the Zd is always prepared and refolved in the Bafs,hefides it may he ufed in
.

wo parts which the 5^ cannot. All Notes treafed as Difcords muft he prepared in the unaccented
bart of a Bar,hy heing ftruck as a Concord in the ney:t accented part of a Bar, the fame Note
r
 .

32
an me
holding on is made a Difcord hj ftriking with it the Note next above, or its octave, an<i
de-
following unaccented part of t health the Difcord muft be refolved by defcending s Tingle
gree to a Concord, that Degree may be a whole Tone, or greater Semitone . Dlfcords are aliot;?-
ken by paft, or Snppofition, as when introduced between two Concordseither afcendingor de r
fcending, fuch muft fall upon the unaccented part of the Bar.

^flflTiViji
^
Difcordi_by Preparation.

^
i
"
r
i

'i

M^Ui"!!
i

iirni'4ju

:sr
l)
.
i
by
Mi u r r

-e I
l
Pafs, or fur^pofltion.

XE
i
,,

rH 'iif^

1
^^
3E
:cr
1
:

this fort
Canons. So called from the narrownefs of the Rule by which they are^Cpmpofed . In
every Part ought to Imitate each other in the fame Species of Interval s,8«kthofe
which are
end
not fo exact are called Fuges, Imitations 8Cc • Examples of each may be ffHi at the latter
of this Book • 4
proper Harmony.
vr
Thorough Bafs is peculiar to Instruments .The Figures therein ufed denote the
.or Accompaniments of fuch Notes, and where no Figures are, the Common
Cord is to be taken, viz.
Compofiti on
the 3* S^^ 8^ 8Cc. Thus by the foregoing Instructions, Cbfervati on and Practice,
will be eafily attained •
TERMS ufed ill SINGING •
Chorus, or Tutti, all fing. The fever al Diftinctions of Time Vivace, rather quick.
Solo, only one fings. fncceed each other as follows. Allegro, ouick.
Yerfe,one fings to each Part • Prefto,more ouick.
Recitativo,a fort of {peaking in Aria^io.the floweft . Preftiflimo, very quick
ma non Prefto,brifk bul
fingiag • Largo, not fo flow as Adagio. Allegro
Affettu o fo,very tenderlyorAlTeeting; Andante, diOinctly and exactly y *«ot too fa ft •

Volti,turn over • Moderato moderately

, •

'>. •*
 . , , 1

33
Windsor. Pfalm cxix . l ^
h
P* M Dl W.^ C. .

*mlA O Q
325
3=
^mmu jioii-jf^hLoihhh
i

E ep:
a m
thattheLord wouldguide my Ways To keep his Statutes :ftill 1

ffr3=^
P c
1 £5
O that myGodwouldgrantme grace To know SC do
r JlJL

1 S 33
his "Willi
33
1

:u e
35:
s p^ E ill- =¥=§
>l>li to fr)i^
-
Ji,Uinii

^
( 1

3 I
jj
O that the Lord wouldguidemyWays Tokeephis Statutes ftill I O thatmyGo dwouldgrantmegraoe Toknow8C dohis "Willi
s
33
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m
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j, ;
33
rt jC ^'H >
-' fEfe£ffi
5 I
33tt ii
2. O fendthy Spirit dowii toWrite Thylawnp on my heart'. Nor let my t^gue indulge Deceit Nor actthe Liars parti

BURFORIR^ XXVII. W. ?. V[>

QZZ53

The Lord of Glory is

Ihh'Jl^lo ^
my lic4it,And my Salvation too;God
e-e TV
my ftrenpth;nor will
—a
sJ a iQr
ngi
l
'

a s
I fear^What all
P
33
OZ±Z=§Z
myfbesran do.
—
^g
MMn ^ mM is
; M
n in l
E33t
l . l in Mlll
11 IMI„ Jll;
I
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IV 1^ Q 133
,

1
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§
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,,» IIC ;> ,

^^
t , , Q v > jQ
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aq M iagg^ 3X Q PiQ

^
3=© i -igt .
> r
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I 33 fcj MSl<J-J<Ji^ f
The Lord of Glory
3 |

is my ligiit,And my Salvationtoo;God is my ftrenjrthnorwill ifearWhatalliny Foes can do-.

'II i Tii l
-T i
I 'l l |n
i

hiTrr t
i i i4ii"ii"iy^fa r
f my God,
i

2. One Pri-vi-ledgemyheartdefires; grant me my Abode Among the Churches of thySt |ntsThetemi)les of

k

^ • -
 ' — J r

H
S1 James's . Pfalm XXXIV. DT W. C. M.

I ^ n
p7 f\ff p And
/7\

r J- JjiJiiJipc p fU^U^iJ^rf ply

<7\

ii

<•
SI
unlearn to fear "the
Coine>,Children,learn 'the Lord;
P
Lord:

£ f»if££e£P
'
P
T£7
t
that yonrDaysbelong,
#p»
yonrDays be lone* , Letnot a faife or^itefulwordBeftundiiponyourTongue
=r4 * - ^
£
P P « . ^i t
a
orfoitefulwordBefiundiinonyourTomme
i - « » » T*^ ^ —
w
^ i

i
£ £
m m
^TJ
CoiJiejChildrenJearnto fear the Lord«And that your Days be long, Letnotafalfeorfpitefuly^rdBe&und
i
jr-iirirrrnJr'r'J i

frr}^^^
Tongue
uponyour

(p
i=£ "
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^T |
r ^ LriirFJ^iff
^ e
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I
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rr
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2. Depart fromMi£hie£ practice Love,Pr •fue the worksofPeace;SofhallyLordy \vaysapprow,andfetyourSoulsatEafe.

IS ^ Bleft

i£
CROfI E.
^=7*-

is the
4-.U-
3^
J

q P
£=*:

i i
Pfalm

IX ii J
i

i
I.

f r i
> i

man \AofhunstheplaceXherefinners love to meet^Vho fears to tread theirwickedwaysAndhatesy

J ii

e
BT

fifrftr
W.

l
C.
J 3 |j| | J
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M.

3K is
|
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^ ft
Scof-fersSea
en

«
s i ater
Bleft is the nia n "who fhuns theplaceV here f inner s love
Hr.J^'h i
.ri'iiirifrri'i r^»r
tomeetWho fears to tread theinvicked way sAud hates y Scoffers
ri
f^^ Seat

;):-, TTTn
— i ! !
--
a r-i«fr fr ir#»
^g if i • ir#y
i
5
But in the S\utntes o£ t
<
theLord, Ha g plac'dhis chiefdelight,By Day he reads or hears the^ord^nd meditates by Xighl
 !

35
Walsal. Pfalm XXIV . Df W. CM.
m— —
B f\i*r?^y^j^*i^
sx
ifc ± [
°
r? '

'h'raif
'1
The Earth (ore -ver is the Lords^lth Adam's nunirdns Race; He Arches
<1 its on the Floods,Anri built it on ihe Seas
o- *v ^ £ ^--b jb,,^r -f •.c, JE
§E lis 9 q ..
XJ
:

33 33
-i — i-
HI I
i > l

£ £2
^=r
S3
ff^rrllf^laJ
«t 33
I
xn ^r\
»--er
j^.
2
^r
_£^.

s e F I C:@ o-©
cnH-^| an*
*as&r
S3 ^^
m
TheEarthfor ever

a±r i
i

But who among y: Sons of Men May vifit

is

]
theLordsWithAdam's numroiis Race;

'

1
i^Jj>| rr^h'i-)hfrrirnr>^
i

thine a-hodejHe
He raifdifs

7
Arches

^
on the Floods,Andbuiit i

that hashan(]sfromMifchiefcleari>1iofeHeartisright\v;Gofi^
t

gec£
on the Seas.

rrrr
th
I

ft
"/.UK
p
Worksop.
i
j

a
r.

m=£
i
'i r naei
en I -with pleafing wonder Stand,And allmy Frame
Pfalm

u 11*1*^
i£a
^^ CXXXIX.

Survey^Lordj'ti'- thyWorlci
DT
©-#

£*
E
W. C.

ia
M.
T=t
ptf|
own,thyH.indThns iuuttmy humble Clay
31
-Q-
23
* i I I f
I

'
."When
iPP Vffft' ffh r Tn"fF TT^ii
I with pleafing wonder Stand, And Frame SurvtyLord my
r
thyWbrkl ownthyHaiidlliusbniltmyhmiikle Clay.
all
|

ii i

'tis
;i
|
XT ^=V
£r;
fr

^
EE
^
ThyHandmyHeart andReins
i iifij^i^i f
i J i

poffeft "Where unto rn Nature grew^lliy^fdomanmyFeatarestrac^^

33
m i ^
 — r — — :

36
Aylesbury . Pfalm XXIII. S. M.
<i' >)
r
The Lord my Shepherd
phUi-niri
is,
r pi*|
^
mm— r^
I {hall be well fnpply'd; Since he
cs
i

^s
i
^j-^jJ
mine and I am his,What can I want be- fide!
J.i.s 3X

5=^ MC n en
I E^X HI I —
I I

*=p=
z=c
The Lord my Shepherd
^ i
^o'ir
is, Ifhallbe -well
Cj
|
*

fupplyd; Since he
*
'H-
'

]
i
^ ^
is
-e-
i hrr ri^N
mineandlam his,AVhatcanIwant be-fidef

i r. i n
XT I I I') ^ l
'|
'iLJ
. 2. He leads me to theplace whereheavmfyPaftore grows ^Vhere living Water sgenuypafs,Aridfall Sal- va-tionflows

Wallingford. Pfalm XXVII. IS PJ Df W. C. M.

i
WhenTroubles rife andStorms appearlhere may his Childrehhide;God has

8^
a ftrongPaviiioirwhereHe makes mySoulabid

q I
o 'G i
Q :: " i "II
i
Q 1
n c
i rY m i

Q.
U-UM-u
^o
C) IS OIC Sli

^^ j i

«-
fF# CllQ
,

e=q
ifr^n
=o=q €> S
ES Fi
"iUT-'
H HC, ^irrrrn^f
V
^^
/^Q
i
2.
When Troubles
\.

Now
iQrt ^

fhall
-

«=i
Q ©—
E5E§
i

my Herd be
—
rife and Storms appear There
may
. q —O— j

lif-ted high
hi
H A-bovemy
;
ev-,
i
m ~
3X52j
—-™
^
his Children hide; God has a^tong PaviliomxhereH-malcesiiiySonlabide

Foe?, around, And Songsof Joy

I 'nO'n.- w .KSXo
Q.^-iQtePi
1
5
-.

jCE
to.

and VictoryWithin thyTetiijiii

I , o
nz§
>
33
x —
tiound
I
 —
37
The 14 following Tunes are given as a Suit, or fet of Leffons in all the variety of 'v)s,.for y improvement of Practitioners .

Evening Kym-n . L. M^. Flat Xey in A *

Sleep do^ny Sleep come clofc myEyes Tir'd with behold ingva-ni-'tyXelcomefueet Sleep ^hyldriv'Ita-way'IneTb ls8CI bI]iesofyI)ay.
-r-j
\ \]
=f
f & mi• I '--
;

I I I ' iq
OnthyibftBofornlet melieForgettheWorldandlearntoT)ieOIfraeriwatchMShepherdfpreadTh} -guardian Angels round my
Buxton. Pialm cxvri.
-

Sharp Key isp A,

loMlJa -
rTTtffJ~r~T
i F i
"i
-^qg
» <•* '.

xzj: ±±
fc^-j^g ggES
,

:«z±
i

9Bed

teg
PPI f"="t=f
CP t is rd:
23:

LetaEtheNationsof the^foddTheirgreat Great or praife; And all it s Scatter'd People Join his mighty Name
o=*q=e "G
^s ^^ i 1 w«
«—#r*4
•g —
to
j
V.

raife
1
sI «©!-

\\T10feKindnefs towards us is great his Mercies ever Sure:Then let

Tunbribge.
e-
£R=Q

A Hymn,
3?
I -*»

our Praifes-like his Trutfvfor ever ftill

jg rci^' endure •
i 'i.
i
^ l

Flat Xey in_Bv .

iVinirWJr
EC
fa'^i ji^ n.ihr
'

l.lli-J-a
XX*=$ i
i

O Kowun-ea^fy we hereFullof are Sin and full of FearE-ver weary ne'er at reft Till in thee dearLcrdwerebleff

•*W i "jp =E
Earth's a Clog theitate
.
^^i^^
— — « — p_- ,
,

of life Does but quickengxiiltandftrife"Witnourfelves we difagree Till we

il=
-y|
Jly rI.Uto
__j
^ri^—mI^
|
j— l
j
;

all unite in thee

1
r^
•

Harrington.* PfalmXCVIIX DT "W. CM. Sharp Key inB .

1 1 i^ u
u~~
vn um ji ^
/5^jivr_-i-1L-f
;_j_j w v
L_ l '
1 cpp u i.m. pq=^ iv a lij *Q.,1 _~..il_. ^iU„
w
To our Al-aiigh-ty maker GodJKew honours b« add reft HKgreatSalvationihinesa-broHd And makes the
_.j_5„^ri .._ 1 pii....i'.../1.: L 1
i

tt,"
— 1 l I i
[

vr!*. «;
Ntf-tioiisbleft
'
,
»
'U7«nu

aiQ. XT
~D5ZZ
— ty •&
4
He fp?kc ttioWbrd to Abraham firft His Truth
ife^pfeferti^^£^^^0^ a fulfills theGra^elfte i bisXb&^xiriBbal!!: Aadlnisca hU lllgl&t^oii^Q&i
 . .

38
Acton Pfalm CHI N. V. Flat Key in C

My Soul in-lpircHit*! facred Love Gods holyNameforeverblels Of atthisFavoursmin<iMpr0ve~ And ifflttygratefulThanks exprefs.
&=&& zat i i-'ififnifHy^ ^^ji^^U^^
Tishethat aUthyfins forgives And after Sicknefs makes iheefound FromDanger he ^YLifereliievesBy^himmmGraceandMercvcTOwn'd
EloxhAM. Pfalm xxxiv. D? W.
.
C. M>
rs YSharpKeyiilC

Sing ie,How a s"^jpoor Suf ferer cry*d,Ni ope expof U deny'

Dorset Hymn XC . B. 2^ D? W. P. M.

^j i
.t i
|
J_J JlJjj jirTTTt^f-Tr^^lJ Ij
I I
UJ |J_J J iJJ Jl r 1,1-^ljvJ Jl -I II
j II i
Howfad our State by Nature is,Our Sin how deep itftains,And Satan binds our captive Mind s,Faft in his flavif h Chains . But

Uri^ rir7
r
ir?ji^iiftr^^iyirh r|
r>r irri h l
ir|f
i-
f rrrj
i |

1 "r
1

To the dear Fountain of thyBlood,In carnate God If ly,He re let me wafh my fpot ted Soul,From Crimes of deepeft Dye.A
Flat Key in D

voice of
there's a Voice o± fovereignGrace,Sounds
lover eiv fromy fa- credlVbrdJIo/ye deiparingSinners come, And truft upon the Lord
'
33 r
'l
ir'[ii ii J i
ri'ifif]
f
i ni i ini i| j j i i h
|

guilty,, weak and helplefs "Wbrm^On thy kind Arms I fall,Be thou my Strength andRighteoufhefs,My Jefus and my All
 Bexley. Pfalm LXXXIV.

ferirrr
*J MyH
^
|J j
^^J
My Heart andHefh cry out for Thee While far
|| J |

M from
'
i i
!

|
i
ii i
J
thine A-bodeWhenJ[haIlI tread thyCour
uj ji
JJ Hr'i
•
1 s 8t fee My Saviour and my Go d

1
Sparrow build'sherfelf'aNeft Andfuffers no remove O make me like Sparrows bleft
the Spj To dwell but where I Love .

r. W. C. M.
S*. Marys
M . Pfalm cxix. .9. Pt B TTat JCej in E

J*J Thy
Ttiv\fpTr>w»s flTI ihplT.itvihm
Mercies fill iheEarthO Lord Hnw good
mvA How thv Works appear
<rnnrl thy at>l)fiar O- penmineEyes
oerimineEves to
art 32 -©-
tc read thyWordAnd fee thy Wonders there
I

i di-'H^ 'jh-l Ji^n^i >-ji^ ii.h| ^aJiJ.li;i~3ij

My Heart was fafhionM by thy Hand My Service is thy Due O make Ay Servant underftand The Duties he muft do
StSWITHINS, Alias Jeffers . .~ Coflipofed by Mr. Je£fer

To God y Father'sThrone Per- pe-tu-al Honours raife Glo- - ry to bodj son

Godjf Son To
lo uon
God m<
the Spi- » rit
^c
^lar pritiiTri i
^ i^r-x
^i^j^lo ll
q 1 q
ftpn ^ji
Sharp Key in E
bUi i c ric ,j | „i |
f1
i J,[jij_jj i

r^r| Ji,u,M o i i,

Praife

^oiirn " ^
j
And while our
]

i
Lips Their Tribute Bring our Faith

-mn^ii cfrrn^i
a- -

i
1

^m
doresTheNamewe fing

33: Jii-*-
 . e .

40
Is ORFOLX . Ffalm LXIX D? W. C. M. Flat Key_in F .

jli ^q^^
Kowlet our Lips with Ho- -ly Fear and Mournful pleafure fingThe Suff'rings of oar greaVr^prieftThe Sorrows of ourKi^

™gq
1
He
j.j i

finks in Floods of
.i .
jp^Ws fcfcrt^t
deep Diftrefs How high the Waters
33rcn
s
rife "While
g " q s
o o4
to his heavnly Father's
I -n—
Ear He fends perpetual
13
3
Cries
St Marks . Hymn XLVI. B 2? . D\ W. L. M. Sharp Key in F.

£?&*
Pi
Up >to the
•-=?
Lord that reigns on high And views theNations from a- far Let
4
e-verlafting Praues flyAndtc&howlargeMsBcunties are

He that can fhake theWorlds he made Or with hiswordor with hisRodHisGoodnefs howamazingGreatAndwhataCondefcendingOoo
New York. . Pfalm xxxii. D.T W. S. M Fiat Key in.G.

O Bleffed Souls are they Whofe Sins are covered o'er Divinely bleft to whom the Lord Imputes their Guilt no more

n m& i^B^pl Ipl 'ih

ii-ej i i

They mourn their Follies paft And keep their Hearts withcareTheir Lips and Lives withoutDeceitShallprovetheirfaithfincen

mm
IRISH.

v God of Old was known

InJudahG
cj
i i
Pfalm LXXVI.

rifrT^iJiiriHnrfJiiyff .Ult
His ftame in Ifrael great In
_ D? V*

Sa-lem ftood his

CM.
i

ho-ly Throne
^SharpKey inG.

And
itiT.fif jijji
Zi- on was
r
his Seat

Among the Praifcs of his Saints His Dwelling there he chofe There he receivdtheirjuftComplaints Againfttheir haughty Foes .
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their ofmyGod III (p^asMfe^ dai- !y I re atik-

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WAREHAM. ; Pfalm XIX. D! W. L. M.

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The Lord the SovereingKIng,Hath fix'd his Throne on high,0'eraU the heavenlyWorH he rules, And all beneath y Skv.

Ye Angels great in might,And fwift to do hisWilLBIefs ye the Lord i*hofe Voice ye hear,Whofe pleafure ye fulfill.

SUTTON. Pfalm XIX . D* W . S . M.

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Behold die lofty Sky,Declares its Maker God/And all his Starry Works onhighProolaim. his Pow'r abroad

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H&rfe rfittt Soul how e - vry thing,Strives ^ adore ourbonntlousKing^Each a douDleTributepaySingsitsRirtanrltlierioSey.

Hark dull Soul how e - vry thing, Strives t' adore ourbountiousKing) Each a double Tabutepa^SirigsitsPartsuid then obeys

PEl tr Err^ afli

Sfeke for Shame my fluggifhHeartSVake andgladlyfingthyPartLearn of Birds and Springs andFlowVsHoWen^lovthync^lorPo^rs

Bedford . Pfalm lxxxiv. D? W. C . M '..

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My Soulhowlovely is the PlaceTo which thy God reforts'Tis Heaven to fee his finilingFace/Tho'in his Earthly Courts

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CXVII.

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From all thatdwellbelow theSkies,Letthe Cre-atorsTraife a-rifeLet tbe Redeemers Namebe fungThro' ev'ryLand by
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V Eternal are tnyMercies Lord.EternalTruth
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Trumpet Pfalm G 2^ Metre DT W L M

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Sing to rae Lora wnn
theLord with jovtui
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Sing to the Lord with joyful voiceLetev ryLandhisNsjn* adore TheBritilhlftssfbalLfendy noife A-crolstheOcean to thefhore

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Rations att end before hhThrone^itha
HoneWtlifdlimnilialf^lthfucr^dJoyl^iowthattheLordisGod
-ed JoyKho alone He can create and he deftroy.

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 . . ..

W. M. 45
Old ioo . Pfalni C . Df L.

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Ye Nations round ^Earthre-jcnce Be-fore yLord y SwereignXingServehimwChearfulHeail:^^
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Ye NationsroundtKeEarth rejoic e Before y Loru y SovereignI<mgSei=vehim w (liearfiffleai^8Cvoice)\IthaUyTBngue!iisGlory Sing

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TheLord is God'Tis he alone DothLife and Breath andBeinggive,Ve are his Work and not our ownlheSheep that on his Paftures live
isGod'Tishes

Greens ioo Pfalm xcn. DT W . L . M

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S weet is theWbrkmy God myKing^To praifetfyNamegiveThanks and fin^To fhewthyLovebyMorrdngl^t^ndk Jk o f ^llthylruthatNight..

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<>-,iJJ>nn ii"i-'|iM^i') Jici-jt±ini^iJjJi fa ^iiri'rrift^ 'i
I Bleii is the Nation where ^ Lord Hathfixt his graciottsThrone^Tiereher^^ theirTxibeshisown,

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Does ihe Tihole behoMHeform'dus all of equal ClayAnd knows our leebleMould •

Angels Song. P&Im xlvi ., BT, w. L. M.

Let Si - on in her King rejoice/lho1 Tyrants rage and Kingdoms rife,He utters his AlmightyVoice^eNationsmeitlheTuOTjlt dies

Let Si- on inherKing rejoice/Thd' Tyrants rage and Kingdomsrife/He uttershisi^^tj\Hce^eNationsmeltthe'Ilanultdiesi

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TheLordofOld for Jacob foughtAnd Jacob's God isftillourAiciBehold theVorkshisHandhasvvrou^^VliatDerolationsiieliasniude

 • . »

47<
LOW DUTCH CXI DT W. C. M.
,

Pfalm .

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Greatis the Lord his works ofmight, Demand our nobleftSong^Let his 4-fembledSaintsu-nite Their Har- mo-ny of Tongues.

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his Children FoodAnd ever mindful! of hisWord

Pfalm CXVII . D? W .
Hemakes hisProraite Good
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all
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ye Nations j>raifetheLord,Each with
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His Mercy reigns thro' every Land,Pro claim his Grace ahroad,FoT everfirmhisTruthfhailftandPraifeyetfjefaiJfifiillGod.
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 » . C
48
Wells . Pfalm cxiv . DT W / L . M :

"When Ifraelfree'dfromPharoah'sHaidLeft theproudTyrant 8ChisLand TlieTribeswChearMHomage uwnTheirKnngcTu- dawas hisThrt

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W No Sleep nor Slumber to his Eyes,Good Da- vid would af-fordTill he hadfoundbe-lowthe Skies, A Dwelling for the Lord .

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Yarmouth . Pfalm XLI. D! W, L. M.

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 ; — ' .

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Prescot. Pfalm I . O. V, C. M.
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Th'eMan is bleftthat haihnotlentToT.ick-edM^nhisEarNorledhisLife as Sinners do Nor fat in Scorners Chair
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But in the law of God the Lord doth f et his whole delight,And in the fame doth exercife himfelf both day and Night •

Devonshire. ^ Pfalm cxxxii.^> DF W. L.

Norfat in S corners Chair.

M.
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.
52
FARNHAM. Pfalm XIX. Dr W. S. M.

i
** Behold the Morning Sun Beginshis GlorionsWay^isBeamst|TrdalltheN^o^sinn»AndLife anct Light convey .

m i ?vf lrii o '»ii o iy o iri^r' "

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theMorning Sun Beginshis (HoriousWayHisBeamsthroall iheNationsrimAndLifeand
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Stafford A e¥ t
Pfalm I . DT W. S. M.

The Man is e - ver kleftTVhoflimstheSinneiWaysAmo^ Place •

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The Man is

to ffliu lYnr^ ^
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SW
But makes the Law of God His Study and DelightAmidft theLabours of the Day And Watches of thelsight
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theLordvonchfafdtohearTheVoire of myReqneft .

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Since he has nowhisEarinclindlnever will defpair,But fiili in all the Straits ofLife to him Addrefs
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my Pray'r

Nxw Eagle Street. Hvmn civ. B.iri, Df w, S. M. Bj Mr I. Smith .

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Sing
I kLLjliMf rirrr'f
how Eternal Love Its ehief Beloved chofe, And btdhimraife ourwretchedRace From their Abyfs
i of Woes
Pi
.
 .

54
D* W. M.
Rippon.

m^M
Pfalm XLII JS.

5 #N ps m^
^With. earneft Longings oftoeMindMyGodtotkeel look So pants th^hnntedHartta find And
;
-i-tJ [JyliJ ii
ia€t tlie cooling Brook

5^g ' '

^Vithearneft Longings of theMindMyGodtothee^lookSopantsthe^ cooling Brook .

H 1

'
'
r
TVhen (Kail I fee thyCourts of Grace And meet myGod agaii^So long-an
^l
Ab&nce from tliy Face MyHeart endures witli Pain .

RlCKMAtfSWORTH. Pfalm LXXX IV. . D* W. L. M.

i •+* JUJlJ.ll.lllJlJ jjI ^ynMdUJlJJi^ ^P .

GreatGod attend^dhileZionSingsTheJoytHatfrom athoufand days of Mrth .

GreatGod attend^^eZicnSiiigsTheJoyfhatfrom%^ of Mrth .

$
Might I enjoy the meaneft Place IVithin thine Houfe O God of Grace,Not Tents of Eafe,nor Thrones ofPower,Shouldteinptny Feet to
'
leave thyDoor
 1

55
Wantage . Ifaim LXXXIX. DT W. C . M.

p 33=5=3
^ZX
—
o
<• T^a-j|d o 9

^TfO o-e
I

MthlWrenceletihe Saints appearAndbovbe-fore the Lcr^^

"t 1

^^ Q-nO XX XT
]!** 51 33:

O QO
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JI..I-H..

HIE
Ji.Li. ai
Me at his Word •

g •p—^r C
I XX zc
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IVIthlWrenceletthe^airitsa^earAndbo^e-fb^^
iceiet trie;
'-n
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4

fK4 i
1

3^= ^3- XX
rtK
^.Ii.bJi,,
trem- ble
'[ly ^
athisWord •

Ipll
How terrible
BS si m
XX o-
is XX
€> Q I 1A

thy Glories be How bright thine Armies fhineWhereisy Power that vies withthee Or Truth compared to thine..
XX
-e-

M.
Newcastle.
%
* m m
IjiUiM^ ^^M^}^^^^^^^,
PfalmXLVni.

Great is the Lord ourGo4And let Jus-PraiTe begreatHe

D* W. C.

make s his Churcheshjs Abode, His moft de- - ligh-ful Seat.

rhwrni^ iiii rP u^ mmurn rir ihtf

Great theLordourGod,And let

g«
is hisPraife be great, Hemakfcs his Churches his Abode, Hismoft de - ligh - -ful Seat..

g^Pffiirriftrtfip p
Thefe Temples of his Grace How b-eautifull they ftandlhe Honours of our Native Place, And Bui works of our
a
at P3W9 Land.
 . ' 1 1 .
na
56-
AlMiWEL Pfalm CXVII. D r W.
. C . M.
fmss i O
-e- l

att ye Nations praife theLor<^ach with a diffr^n^

l-JlJJMJL,-^giJUJlJcJlJh )[cJ jlJj,]l
be Sung
ll

jpgapi] ^i?ii^n ji^ia-^-riH' i

rnri^n^N rr'°fi

t/ . O allyeNationspraifetneLorciEacKwitn a diffrentlbngae/In ev'xyLan^^geleanifii^ordAnfi letliis Name he Sung •

(*y \^[ \
J l ii-gi J|.
1

HisMercyreignstnroeveiryLandPirbplaimnis
.

;
i
ci.
1
j i HHto^^a
Grace anroadFor ever firmhis Truth fhallftandFraife ye thefaithful
crcr
I_J_

God . •

Westminster. Pfalm cxvii. N. V. C. M,

m
.

§
i
T—
^—e* M
d djo || -'c|lj';. t freh^ ^ =c?
°i I
Jk.ihJiJ Ji' l
d
-

,-iioir
S
s
i i=s
S
VithrnearfulNoteslet ailtheEarth
C Q.
TttT N-yn
To Godtheir voices raife/Let allinfpir'iwithGodlyMirth
•e-
tHf^Tln^ii § S3 ^?q
»
SingSolemnlfymns ofPraHe

With chearfulNotes let ailtheEarth To Go dtheir Voice srai^e, Let a^iiiix)irH^iih^o(llyMirtKSing Solemrit^mnsof Praife

^
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d w-j^L^zJa
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God's tender Mercy knows noBoun4hisTruth£haUne'erdecay,Thenlet thewiliingNations roundtneirgratefnllTri^ute pa/
 Sf
Southwell. Pfalnv XC D* W. S. M.
G35
Sjjpig^ilgpgs
Lordwhat a feeblePiece IstKisonrmoftalRameOnrvLifefio^poor
T

aTrifle'tis
JTiolMl.* J- IS
That icarceMeferves the Name
H ^j-H-^8
.

Lord"tthat a fee nlePieoe Is this our mortal Brame Our Life hoypcor a Trifle 'tis'lThat icarce deferve s the Name

^^^^^aj^U3^HS^
.

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Alas the brittleCiay That built on? Body iirftAnd every Month and every Day 'Tis mouldring fcacli to Duft.
S '
-
'• '
'' -

Little Marlborough. Hymn xxv . b, 2<J D!f W. S. M.

"Welcome fweetDay of ReftThatlaw theLord arifeJWelcome to this revivingBreaft, And thefe rejoicing Eyes

4-P4^44q^^ ,

Mrf\mM \f\°ft t
pm rs
m
PS4
^Mfffn^
Welcome fweetDajr ofEtfiThat faw.theLorcTa-
^m i iht^ti
rUeWelcoinetofhis reviviiigBreaft/And thefe rejoicing
-^

Eyes
s .

N.
The King himfelf
P^i.nr.i.i.r. ^^
co mesne ar, And feafts his Saints to DayiHere" Jwe
€t-#

may fit and iee himhere,And love 8Cpraife&pray

 .

58
Dudley. . Pfalm XLVIII. DT M W. S ..

4-4

c.^HT Kj "^ hHH ^

i#)
2*
Far as
Jiff
thy Name
J
is
i «H f
t 1=
^ n -i'r
r J
!
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'

Known The World declares thy Praife,Thy Saints O Lord before thyThroneTheirSongs of honourraHt

WW! i^m urn ruTm rni rH nr^i

i

iiu-iiijji jTfr'i
r
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r r
it

r
i^ ii
r
ir7
r
iJjj!M-fHm r i'i riff^
Far as thy Name is Known The World declares thy Praife.ThySaintsO LordheforethyihroneTheirSonffsofhonourraii

\lth
s Joy let Judah
i
ft and On
I ^m^¥^m^
Sion's chofen Hill,Pro claim the Wonders of thyHand,And Connfels of thy Will
~
}\ iiri't-JM
Canon. Pfalm CXIII. D T W.
. L. M.

f
ffl-Jl
rr f r if.j JJiJJJJU J-JHJ JJ l
J J J JprTj^]f=U^M
Ye Servants of tfiAlni^btyKingln ev- ry Age his Praifes Sing Where ere the Sunfhallrife orfetTheNationsfhaHhisPraiferepeafc

#y tti^ttt-w1-^ j
r r r r P
Ye Servants of tliAlraghtyKirgln rv-ry Age his Praifes Sing Wh
here ere the Sunfhallrife or fetTHeNationsihaTIhisPriiiferepcat.

ttno t.x- Earth beyond theSkyStands

nTT firjfrgp-f
his
r j r t-
rr*H
highThrone ofMajeftyNor time norPlace his PowerreftrainNor bound his ITniverralReign
^ ,j
 —^——— , ,
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COLCHESTER. Pfalm LXXXIV. D* W. C .M.
s e—a
My Soul how lovely
T^ ^%tNto^l Q
is
J loir-) I o Ji^tjj JinE^
the place To which thy Go drelbrtsTisHeavu to feeliis {milingFace/Tho in his Earthly Courts
i
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My Soulhow lovely is tf^ place To -which thyGodrefort^Tis Heavn to feehisfinilitigFace/Tho in his Earthly Courts.

jimimi 1 jri nil 1 mi

There the GreatMonarchof theSJdesHis laving Power dilplays,AndLJght hreaJcs inuponourEyes^With kind and qaickningRays
a ^m jCC
35:
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Dr Crofts. Pfalm cxlix . DT W. C . M.

m\. .m ^ifii,i(niP S i
ifcca
^^
All ye. that Love the Lord rejoice, And let your Songs h e new; Amidft the ChurchwChearfulVbice His la- te r Wonder s fhew.
5 i~ ' I
Bj —srr-tv IfiQ Pi>
aiaTlu^i^
nrrifi" rir
^unr
frnit

ri^JjJ4l i
J^r.jm*iri^hTir#
All ye 4iat Love theLordrejoice/ And letyourSongsbe neroAmidit the
letvourSonffsbe new/Amidlt ChurchwChearfcl Voice His la-terWonders {hew.
theChurchwChearnilVoiceHis

^u
The Jews the People of his Grace Shall their Redeemer lin^And Gentile Nations Join the
.Bj rri'i a r i
'iin'i^r
PraifeTWhile Zion owns
'H'i
hear Kin&j
6t>
DEAL. Pfalm"XXXV. '
* N. V.
4

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ii-.c, ! °\
f
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v
To -thee gip-oci we render^Praife, To tliee^itKthanksrepaij&For^ttKyNametonsisnear ThyWondrous Works declare
iJii^f i. Ul j-Jfy^rrtrnrn
..

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thee 4ith thanks repair, ForthatthyName to as isnear ThylVbndrous Works declare

^
To theeO Godwe render PraHe, To .

N^hi iT^iJ-^' b i
3?
;fibi^ij;,]
^Jn KraeJ "when xrryThrone is fiadi with me IhallJuftice reigi^TteLand^itnDifcordfbakes; WljfkilcLng Frame fuftain.
i

V |i'|'iki^i.i 'iiii Ji g

Wakefield. Hymn XCII.B.l£

a .
±
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ShallWifdom cry
1
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ii., iii jy-^-:. i r^i j
-loud And not her Speech hjehear^'^e-Voice of Gods eternal Wbrdl)eferves
n ji^Jj
i
jj^^jujm it no Regard
-" - i» , /^ - - - - **• * * ^ , JM i i i
^ V M .- -

Shall Wifdom cry a- loud And not lier Speech he heard,The Voice of Gods* eternal Word Deferves it no Regard.

e^hhm r -f i
I
xa
+=* Jl M-rf f [gJJLUl
I was liis chief Delight, His everlafting Son, Before the firft of ail his, Works Creation was Degun
 — r [

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St Simon's. Pfalm XXV. DT W. *S .-M
i
2E
=*
±^rrte
Ir^ UUffi^fe l
XX
i^r+^-W* g c o iLiio j yj^sg
Inhere fhalltheMan he ioundThat fears t'offendhis GodThat loves theGof-pels Joy - fulSoimdAndTremoles at hisWbrd,

i^
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¥here fhallthe Man be foundThat fears tfoffend his Go4 That loves the Gof- pels Jov- -fulSoun^AndTremoles athisWbrd.

m
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Trie Lord fhallmake himlcnow The Secrets of his Hear^TheWonders of his Covenant fhow,
I
_
And all his Love impart •

r
StMARTINS. •
Hvmn XCIII. I> . W. S. M.
XT I
Mv God my
My mv
rav Life my To thpp

m
'ty Love.
Love, thee, +r» thee T
to +hp*» I Call
Call,. T
I Can-not
can- not live if 4inn
than rpmnvp. For
remove FYiir+hoii
^thou arfr
, art All
All in All

ii° i h i
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!

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My God my Life
xsz^: i
my Love, To
^m thee, to
3? :#e:S

thee I Call)
pp^ -e-
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I can-not live ii thou remove, For thou art Ail

°|v>liJ :c

^ in
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fe
M
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o ° In°
oi Love/Where all
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my PleafuresrollTheCircleTmeremy Paffion&mQve,And Centre

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of my Soul
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62
Blewberry. Pfalm LXVH. D* W . CM.
»)ffljtl-illol
Shine migjity God on Britain ShinMth heams
|
J!o Jl^.lul
ofheaVnl^
xx
mi i^sygmn^ 33
Face
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sa £2: o-
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Shine mighty God onBritainShineJVithDeams
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^^=4j^+ j^rsnf
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o^earnl^ace^ewaltKyBWrthroalJourCoafis.And Shewthy Smiling Face

c Ji.l

^ir-jio^ujjni 'iipM !

Amidft ourlfle exaltedhighDo Aon our Glory ftand, And like a Wall ofGuardian-Fire Surround the Favourite-

CXXXni
^ O c

D? W. S. M.
na ^-4H^
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GILFORD. Pfalm .

m ]jo^|i
Bleftare
:l te |.»||^3^-d
me Sons ofIteace,"Who{e Hearts and hopes
|
u J|oHc|
are OneJVhofe
y^-^o
€fc«o t -e- !
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h[^J|ito-|lii '

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kind Defigns to llrve SCpieafeThro'all their Actions run*

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aretheSonsof Peace~Who:feHearts andhopes are One^Whofe kind Defignsto
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KpleafeThro'
l

theirActionsrun

m
Bleft jferve all
O
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the pious Houfe^Vhere Zeal andFriendfhip meet,TheirSongs of
ii
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i

Praife their
ci>
ppjip II

5
,

mingled VowsMaketheirCommunionfwee
m
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Aynhoe . Doxolagy .

§==CS
g±g d IdfJPTQ I
LetGodtheMakersNameHaveHonourLoveandFearToGodtheSaviourpay the Same, And God the Com-for-ter •

C o I

^tauin'ii^r'r r ioitir^ EC Big XX

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Let
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Godthe
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jJJi "||q \° c\\ r l

Makers Name Have Honour Love andFeaif Tb

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God theSaviour pay the Same,

e^ Mm m
And God the Com- for- ter •

a X3=§:
Father of Limits above, Thy Mercy
H'H"H'l
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we
X£ ^^ rfc

Th Son of thy Eternal Love, And Spirit of thy Pow'r

adore,Tne
xs:
1 ^ m ia
Hanover.
jz
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with Mercy and Love,The cherifhing Beams of Favour he --ftow, That Earth
r*t .
Onr God kiefs us all is juft

XE ^*c
iii i i§ XI I iiJ-.i Ji n n
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I "i/i.J f 'tnJ'iih \\ >m
Dealings

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may

is
lie
H iT ^—>€r
v'-ii
and aj> - provelfis healing Salvation
XT
H'liynr H.lilc^ i
all People

^
may know
 . .

64
Babylon Streams

o.ll g
. Ffaim

>jj^fl;-)io ,lloc||eJ^|gt
LXIX Df W. L.
=m!lo d
O Q "
M
fetfete^ ^
^
=j| t *

Deep in bur Hearts let us record The deeper Sorrows of ourLordBehold iherifingBillowsrc-llTo over- helm bis holvSoulj
Ovi
Pi-^
g ^ •e-o &T©-
^tffa ^ s to
a
qt
;

5^^^ ^ H')^^ ii
l

Deep _ tt ^_ i_.4_ _J
record rrt J_- .
The. deeper
I «* _!• T lr>^'
Sorrows ofourLordBehold
....
theriHngBillowsroIlTo overwhelm his holv Soul,
in our Hearts let us

wiriu
lc«g Complaints he Ipends
J i
si

his
n^ i "iru -e^

Breath While Hofts of Hell andPowers o Death And

-O i HH
all
EE 32T
ii ^nn t
theSons ofMalicejoinToexecuteth curftDefign*
11,
-

N^t
'

St THOMAS'S . Pfalm XLVUI . D! W. S . M-.

Great
,
"
J J *
is
«1

the Lord our

- J
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\sr j
J
.4. n ./VCbe great, He
God, And let his Praife »r
j r i ^4f4- x
r
4 j£,4l-
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^t W*^ As. it. J-
'>Mr J
makes his Churcheshis AJbode/ His moft de- <!^tx
_l!/V J, A.4 «»_ _ A
TT! _
light-ful Seat
J
^ -
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ftp 8^ i "fj-f-rf f Cor

r"rh" B

Great is the Lord our God, And let his Praife he great, He makes his Churcheshis Abode,His moft de- ligit-ful Seat

ThefeTemples of his GraceHow beautifull they Stana,The Honours ofour Nativeplace, And Bulwarks of our Land .
 65
si Georges. PfaJm CXXXIV. D? W. G, M-.
JjJj J jjj ;JTjjJ J J J I , J
r| J tj=j4=fefc
Ye that O-hey ihtmmortal King,At- tendhisho-lyPlace,Bowto tKe Glories o£ MsPowr,aadt>le£sMs-^or^ons

^W|^-f-^
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Ye that O-hey uiimmortal KingAt- tendhis ho-ly Place,

Tirirrr^^^^F^^ Bow to tlie
*4
Glories of his Totfr;an.dhteikhAs wondrous

pwir rnrr r f p r
:wt:

rHy i irirr r rifT?

T.<3>"
-0
2C —
!

Gra ce _ . _, and hlefs his wondrous Grace. lift up your Hands hy Morning light,
And fend your Souls on high,
Bifeyour admiring Thoughts hy Night,
Above the ftarry Sky.

.The God of Zion chears our Hearts,

Grace \vondrous*Grace

^
, andhlefi: his With Rays of quietening Grace,
f^a^ £ The God that fpread the Heavens atroad,
PS? ^- i And rules the fwelling Seas .
 ARMLY. Hymn LXVII. B. if* Dr W. L.M.

i )J[J :
«J+rJ-J
ThouTcliom my Sonl ari- mires
p£§ a -hove All earth-ly Joy
rrrri'i-jFJiJ
andearthly LoveTellme dear Shep- herd
J
^

t . ThouwhommySoul
xjiou wnomm.) ad- mires a- hove* All earth-ly Joy and earhly LoveTellme dear Shej-> - herd
Q" ft »
pi g jr i rr £J ir
'

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Where is Shadow of that Rock

the
let me knowWheredoth thy fweeteft Pafture grow.
That from the Sun defends thy Flock
£=*

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ID
Si 1 I Fain would I feed among thy Sheep
Among them reft among them fleep •

rr^ii'lr) ig ^i JJMn J
Why fhould thy Bride appear like one

m
let me knowWhereddhthy fweeteft Pafture grow. That turns Paths unknown
afide to

b V P rs
i M -
p-
p^j
My conftant Feet would never rove
Would never feek another Love*
 *7
Winchester. Pfalm II. Dl W. L. M.
Q |g gpll
the Jews proclaim, their Rage
" ll'|l
ut
|hf
rs
X3I
m O l
v;>

The Romans why theirSwor<is employA^ainft the LordtheirPowrs engage

CH-5 -

J l ^hH
"Why die!

a o ^ O C -C -_...
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Why why
did theJews proclaim their Rage The Romans

m employ -Ar.ainft the Lord their Powrs engage

their Swords

K^ i
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33:
fi a Ct I
Q 32C
Q O EC n
Pffif

Come let us brealc his Bands they fay

This Man fhall never give us Laws
And thus they caft his Yoke away
And nail d the Monarch to the Crofs •

But God who high in Glory reigns

Laughs at theirPride theirRage controls
He'll vex their Hearts with inward Pains
And fpealc inThunder to their Souls .
 i

68
DARWAL^S PfaLn CXLVm n. v.
fe^J Jrn-JlJ^ ±

Ye bciaidlefille/dlmsofJqjjEx- altycKn^MakerVPcanelii^
h=t
^Hn# ^m ilJjJi.lrplTl i ^^ i

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le boundlc
boundleisRealmsof JcyJE^altyouiMakei^^ ftin-ryFrame^ourvoicesraifeyeChera-
CHH*
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p£? rrri-'^'r r r r ig .I'-jg.i j'-jiJ-'
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Let them adore the Lord,

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iim,Aiid Se - ra- phim

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Pf^
to Sing his Praif e
X5
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A:id praife his holy Name,
By whofe almighty Word
They all from nothing came:
And all (hall laft,

r r r
bim,And Se-ra-phint to
rn
Sing his
'ina Praife
From Changes free:
His firm Decree

*
Offy*
^ r r r m" a r p Stands ever faft •
Ailoffe Street. Pfalm C. ver. 14 5. Dt W. L . M 6$

«J Sin £ to the Lord with Joy-ful voice.Lot

^33
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ev--»-'ry
m Land his iName m -e- I &§3
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<
H^ j f i
s=gI i^fjfjgg ^c
Joy- ful voice; Let e v- - 'rj Land his Name a^- dore; The Hritifh If1 cs {hail
\
3ZE
1 / •
X5
m -**">-*r -e>

- We are his People we his Care,

.Our Sonls and all our mortal Frame:
.What lafting Honours fh all Ave rear
Almighty Maker, to thy Name?

We'llcroud thy Gates with thankful Songs,

Hi^h
o as the Heavens car Voices raife;
And earth with her ten thoufand Tongues
Shall fill thy Courts with founding Praife .
 *

m
. ,,

7o Islington. Pfaim cxvu Df W. L. M.

g r
ir
r r
iJj JlJn r lfrr ipJJlJJ^ 6te W
& From all that dwell be--Taw
be raw die Skies Let the Cre- a --tor's Praife a-rilejLet
a-rtfe;Let the the Redeemer's Name he Sung,
33
iinrmrrrir i

!*-. From all that dwell be-- low die Skies Let the Cre - a - tor'sPraife a-ri£e;
at*
Let the Bedeemer s Name be Sung,
Si
ii i /"""N I /—N, i • s~~^ I

ffir-i jijjrtrr J|,| |n rr |

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i r
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a
^ «JM
Thro" e-Vry Lanc^ thro
*—
5
rmt^m^
ev

Ma I
^ r^
- rv Land, by evry Tongue.
Eternal are thy Mercies Lord-,
Eternal Truth attends thy Word*
Thy Praife
Till
fhall
Suns fhall
found from Shore to
rife and fet no more .
Shore,,

i 1

m ^FFi ^ ^^^P To God the Father, God the Son,

1 32
And God the Spirit Three in One
Thrd ev-ry Land,
,

dire' ev - ry Land, by ev- ryTongue. Be Honour, Praife, and Glory, giv'n

(s^e By all on Earth and all in Heav'n.
FPfPF 1
II
 71
Richmond . Pfalm CIII . KV.S.M.".- By Mt J. Su:kh '.
.

-r_r

-<
>
a
My Soul

r
if

J
f

J;(.
ff
fl^r g^|
i
y MM
repeat his Praife "Whofe mercies are fo great;Whofe Anger

^a^a
is fo Slow to rife fo ready to a-?>ate

^J^^p
)g
F-tt
^g fo.
:

i
5

\ Jjl- CflJilrJ J JJf JjJ

l

fl
My Soul repeat his Praife "Whofe mercies are fo great^Whofe Anger isfo Slow to rife fo ready to a-bate
mm M—r-i
:

SS —^— r—» » «— (^ /<

mr- (B '<

— im »-.—

Bp^
* if *r

J'HlTrriy,
:
1 I 1 '
i .

I * J lf lfT
|
l l I l I

f r fr f

*/ Wnnlp Anger
AnCTpr dy kn God will not always chide*,

mm
"
"Whofe «S
is fo
Vc\ flow +tor» vJ/o
firmer rife /V> *»oa -
fo rea _ A~it to
4-r\ a -
a _ +e
bate .
•
And when his Strokes are felt,
a2 ftc His Strokes are fewer than our Crimes,
£ fi i
r i I And lighter than our Guilt .

1V^^^
'
ftrlJNlf r :
i
High the Heavens are raif d
as
Above the Ground we tread,
"Whofe Anger is fo flow to rife fo rea- -dy to a- -hate.

s f *=ffi I So far the Riches of his Grace

.

p r
irj r
iJ
o.
±s Our higheft Thoughts exceed . -
 Q
7-2 BET11ESDA Doxology

,IUJJ?I°I J MQj|„l-,lli =gg

To cur E -ter-nal (rod, The Fa- ther and the Son, And Spirit all Di--viriqi

e— -O.

^ 1 | i
"
i i-^ri^ I

To onr
rHJ «Jlol|-J|J
E- ter - naT God, The Fa- ther
J Uand the
Ji?U1t^
Son,
NpW
And
D
Spirit all Di--vine,

faBi ICE
i
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5 4=§t -J L. ^ ee
33: XI
P
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rr ^ a-
y^j i tfr ^fe^
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m
.Three My-fte-ries in One, Salvation,powr,anrfpraifc, he given, l!j all on earthanrfall inHoaven.

^^fttH-^ff g»3 i n q i ^ q q o-
I
-<
?
==&
Jhree My-fte-ries iji One,
S
c ^=z

Sal - vatiorvpow'r/andpraife, he given,

^^ By all
^myM
on earth and all
j-J

in
UJ t
Heaven.

as ^-r-

X5
pip £5 33
si **:
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^ I
 Weston Favel. Hymn LXII. B .
1
I ? DI W. CM. 73

rT'jfl-.' ll

lv Come let,, us M An
'With An-
Song's.With
Join, ourcficar- ful Songs, - gds round iheTnronSTen
-gels theThron§Ten Thoufand Thoufand are_ their Tongues,

<
us
5 ^JiJ^jJirff^jitf^C
ii I pgggg
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^p
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1 1
1

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mm Come let. _ us

¥
loin, ourchear-

m
ili} Songs ,With

i
An
x?
gelsrcurKJ^eThroneTen Thoufand| Thoufand

seip -O -i
are. their Tonfmes,
—rr
g=a
—
P But
i
all
r r
their Joys
i h
are. one,
Bgp — "'Cjr«
t^— SIP i

Ten Thoufand Thoufand

b=S:
' '

US j
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~
'i

are. _thch*Tor£ ;^,P.ut

| f y~r
- ^r
all
*
But
*^
afcsg:
all their Joys are one,

#w^m mi m # i q
I
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:£
^ £x
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But
« *Jj l
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all. .their Joys,
^
are
^
one,
-^ ^^ac

Ten Thoufand
£ ?^- j rM-Jj^
f
Thoufand are.
iii lui^
.theirTonguesBut all But
» »

all their oys. are

Joys. ar one.
1
psi 5* ^f^lffFFi^^
Worthy^eLanij^atoydtheycryTobeexaltedlhuslVbrthytheLOTibourLipsreplyFor hewasflainfor us •
5*=*: Pi
.
JESUS is worthy to receiveHonour and Po wer Divine AndBlefIlngsmorethan\ve cangive.Be Lord for ever thine •
LetaUthatdwenabove^eSky AndAir,andEarth/andSeas,Conf^ireto!iftthyGlorieshighAndfpeak thine endlefs Praife.
;

ThewholeGreationjoinin one, To blefb thefaoredNameOf himthatfitsupontheThrone And'.o adore the Lamb •

 ,

74.
Boston.

(r
All-
i
r?
ye
-
i
^irr h
that Love the Lord
J
re - joice,
Pfalm

And
CXLIX.

||J|J
J J
let yoj[r
^ J
DT W. C

^New;
Sor^she
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. M D
luiflJ
A
. .

midft
J
the
i j J
Church with
J

vrll rlTr fir VhJmtfJ^

urn't /if r&rn r iiri i M^PP
s
All
3=* nz:
ye that Love the Lord
orci

m ^m re
rt
jiJijj Jir
-joice, And let your Songs

i
J

'i

be New;
ppjj
A midft the
^P
Church with

KT
i X2 If PP£
gg J1 i
Ghearful Voice
11

His la
friJj jij [rrrffi
ter Won-ders fhew. The Jews the
s?
Peo - pie of
Fhis &
Grace/ Shall.

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I AJfli-^t^ fljJi^T'
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Ghearful

The Lord
^
Voice His

HrtJ.l
la- - -

j
ter

T I
Won-ders fhew- The

i i
- ^ t
Jesvs
T*

takes Pleafure in y Juft\VhomSinners treat uilhScomTheMeekthatliede^ifclinDuft Salvation fhall

Then his h^Praift {hall fill theirTong^

the Peo- pie

I
?
of- _ his

E
adorn
Grace/

.
I
Shall

Lord

Then{halltheyKnle\vithlron-RodNationst^ dofimd to Hell

 '

15-
Continue d

J3JBJ I
JSJJ! J
Re- dee-mer Sing; And Gen- -tile Na-tions join the Praife "While Zi- -on owns her.

^KinF.
King. Hal-
Hal - le-lujahHal-
le- le-
jjiJjijJ:JJUJi^^
lujahHalle-lujahHallelujah Hal- le-lnjah
^ Hal-lelujahHal-le-lujahHalle-lu-jah

King . Hal - le -lujahHal- le- lujahHalle-lujahHallelujahHal - le-lujah Halle- lujah Halle- lujahHallelu-jah

rmrju J
irrirrirrifn r fH f
?
Saintsfhouldoe JoyftrilintheirKingEven on a dyingBed-Andlikethe Souls inGloryfingFor God {hall raife the Dead,
^en ChrtfHiis Judgment-feat afeends,Andbi^
TheRoyalSinnersboundinChainsNewTrimnphsfhall afFordSuchHonourfortheSaintsremainsPraife ye and love the Lord .
7*
Dresden. A Hymn on the Death of Chrift or to the XXII Pfalm. Dl W. L. M .

=
.

iBS at? JJJjg rJJ JpJ l J |J J,,|||,|J J|J_J

Hedies/theheavTilyLoverdiesrTheTidingsjPtrikeadolefulfound, OnmypoorHeartftringsdeepheUes, Intbecoldcavernsofy^
J^7T7CB
b( ;, » » » Eg g_j^i r nPt=P * C£f=-
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r.iJjiJJJjii^rrrHrljj.iy.i J

He dies, the heavnly Lover dies,TheTidings ftrike a dolefulfound, On my poor Heartstrings deep he lies In

^Mr ^m^irrr Iji 3m r

J
ir J r rM r ^g
thecoldcavemsof

^ yg

*jjJ JiJ^^ijrJiJJJJ^J.3ji
3^0 ^j i
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iiJ J J j gdjUp i

ComeSaints and drop a tear, or two, Onthe dearBofomofyourGoc^ Hefhed athouftjiddropsfbryoii, Athoufand drops oifrioiberBl'

^=- p-f-
I P£ 1r* (j * i
cr^irr" r f 1
.

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MrCiftTneQolrrfi;
ComeSaints 8t
r
Sir
l

r r[ r
drop Qa toon
/livm tear, /\»
J
or *tt™-w
two,
IcfflJ^ rlpflJllrJ
On 4^><\<-lA«-«DsvfsM«l
thedearBo&nofyourGod,
f"\i-« «-«
JilJLiJLJiiJjJJ
TlolllnJo
E-fn-iT-ffLnA Hefhedathou&nddropsforyou,
.-Jv.ior.
*ky>rTlJ^»-»./4 iin.t
.Cs-. *• • A 4t-iy>r J? m^.
AthouPcOiddropsofricherBlood.
*
» f ""*

mr riM'r n>nrTMi JJ Xir^Tr

Here's Love andGrief beyond degree,lheLORDof GloiydiesforMen^«tlo!uhatfuddenJoysIfee JESUS thedead revives again
J
r r^rirrr J i
JJ 3't

.
The rifingGOD forfakes theTombUp to his Father's Cou r tHe flies,CherubicLegions guard himhome, AndftouthimWelcome to the Skies
Break off y ourTears,yeSaints and teEHvO^highoiirgreatDelivTerreigns^ingboArhefpoilcItheHofls ofHel^dledfMonfterDeaihinCheins
"
Saylive for ever wond'rousKingBoriitoRedeemandftron

si
 PS-TT I

Prions . A Hymn for E after Day •

E -*_— *.

JefusCliriftismrito
gPzT^-crtJjBj.r.r
Day
a^
tu--jadi-OuruiuniphantHo-lyday
Hal le Hal- - -ie_
H
— lu_^-jah.
^ES^
r

r [ j if pjipii » P^s- 22l

gE

Je fus Ghrift is rifn to davHal- - - - le - lu- jafi.OurtrinmpJiantHolvr{ay,Hal -le- lu-iah.

^^m
- - - - .

s mi
ho lb lately on yCrofs Hal*.- le
#5^^ X5

In- - jaK. Suf-ferd to redeem our Lofs, Hal Ae,

^a
lu---jah

^S *E
niir-prrir
:o
I 3—f-g j r? '
-,=11
£
^JilJflirjii^ =*tarrcErE''iTi
'WKofolatelyohf Crofs HaP- - ?- le - redeemour
ltt-jah. Suffer'd to ^-i^- — le— lofiyHal lu---jah.

Hymns of Praifes let us fingv Hallelujah.

Unto Clirift our heaVnlyKingHallelujah.
r^^tt^u^ ! m
But the Pains which he endur'd Hallelujah.
Our Salvation ha'sprocur'dy Hallelujah.
trJrmrt
"Who endur'd the Crofs and Grave, Hallelujah. Now he reigns ah ove the Sky,Hallelujah.
Sinners to redeem and fave .Hallelujah • Where tht- Angels ever cryHallelujah .

.— fVvi_/
 ~
$»ALSTON . Pfalm CXXII. D! f. P. M.
^4
m O T 'O
i
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j

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m P l

*^

4*^ —
Howpleafcl and fcleftwas I
r

r r
=
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r
^,„
r
>ri
To hear the peo- pie cry cojae

r* .
-' p t r r i Tf£fi
let us feek onr God to clay Yes with

$ wm
a Ghearful!

-s

m
J.
fci *H
TT
'

I I -

HowpkafHandhleftwas I To hear
m* ±*
0= f-fi-JlJ
the peo- pie cry come let us feek our God
Jloll ^
to day, Yes with a Chearfol

Zeal, we haf'te to Zions hill, And there our vows and honours pay
.£!
£ i r- g r—f-f~^a— H e
1
£

pa
Ze^
^=p
we

I
Zion thrice happy Place,
hajfte

3E
to Zion's hili

i «± ^
^ ;

—~-
And

?
there our vows and honours pay.

^ = &£=' -e- I
In the e our Trih e s app e a r
Adornd with wondrous Grace, To pray and praife, and hear
And Vails of Strength embrace thee round; The facred Gofpel s joyful Sound.
Ave,

/
 . I

S£ HfcLLEtfS Pfalm CXLVI DT W P M W

S
. . . .

•f'r

I'll praife my Maker

'
-|l o J|oc
| U^^ijjJi ,J|o||Ji"
with my BreatlvUiHxvlienmyyoioeisLoftinDeatKPraifefhall employmynoMerPov»'r%
^.* <!NJ^ :

^
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m O C XT e- QQ
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X
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praifemy Maker withmyBreathAnd\dienmyVoice isLoftinDeathPraifefhall employ my nohlerPowrs;

X5
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Hi
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s fe^^E
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t"' I
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iS XX ^- |) cJ -o o °| 33 I

. MyDays
XI O-
-ff
xx
J I
1 dlcyfa
o Q
of Praife fhallne'er he paft^VhileLife andThought andbeinglaft,0r
O Q
7 XX o«c

Q..Q
B 'Ji*Jf xfc •©-
Im- mor-ta-li-ty en - dures
O QjQ £3
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is xx -e-
fflWM XE

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^t^4t4kr-J4=^=^n 'll llM|'|- g J C«> ^Cj^ XX
My Days of Praifefhall ne'er
SJL
xs
1 -©r
-53

^^^
bepaft^hileLife andThought and being

/Whyfliouldlmake aMan my Truft,Princesmuftdie and turn toDufyVain is the Help of Flefh and Blood;
X3 ^JPEf
laft, Or Im-mor-ta-
-e- xe
li- ty en- dure s

^^m
I

Their Breath depart&their Pomp andPowe^AndThoughts all vanifhinanHou^NorcantheymaketheirPromife good.

•-
>
80
Eagle Street. Hymn CL. B 1? D? 1 P. M. By Mr lm Smith

ft. Jin ! H.llo. UJJ.JlMll.ll^cJi.lol-.J 32

l
33:
i
Jpin all the Glo- rious Names Of Wdom, Love, andPowVlhat e - --verMo rtalsknewThat An- -gels.
OhQi Q
I
5 mnn 1 i IfffnTr

Join all
.
'
Q c
.
!

g^al
the Glo.- - -riousNames
l
t
||pJ
Of Wifdom,
l
rf
Love,-
c
l*|i
o

andlWrThat
B
B |i-
,

«J

e
t M y
|
qImIi^i^-J ^
verMortalsknevt^That An- - gels

P 3gpq xr
3 X£ X5l

P^ X3
i
5
*
I jJJiwIhlf^f
e ver bore, All are.
1

^
_ too mean to
X£
fpeak
Shis Worth. Too mean
GE

to f et_ .
W
mm ^S
i
my Saviour
33 1
forth.

.^.Vii'il
<< #->^Q nf
XT Cl
^m e -Q

'i7
i
s^
; i

e-^_^-ver bore, All

pp^-lm are, _ too mean to fpeak.
X2
-
O I
"O
his Worth, Too
abt
mean.
T^fg fe^
_ . .my
e-*
to fet
531

Saviour forth
i
(M 1,1 1
a
XT =e=q:
:Q: 33
^-
I -€>-
PP^ 3 i
But what gentle Terms, What condefcendingWays,I)oth our Redeemer ufe To teach hisheav'nly Grace;
Mine Eyes with Joy And Wonder fee What Forms of Love He bears for me •
 " ' ^' !•». "C' ' ' H*A*V' *:^A

Tooting. Pfalra LXXXIV. 2? P*. DF W„ L . M 81

23: ^FFe d:
XE
I i
CCP2^
i
35:
fe^d^ 4-0—gpg; -£H:

Great God attend -sahile Zi- - on Sings The Joy thatfrom thy PreienceiprirgsTo SpenrloneDaj-^ith tliee 011
jCL _CL *>ys ~ O Q—pQ^-^g^-
32Z jC
33:
33 25 - I .

J a J0L+

33Z
'^M^ 33 . g?
XE
J I I L , U-^-f ^^^ s erH-4^-^-4
—
.Great God attend "while Zi- on Sings The Joy that from thy Prefence.^xiiigsJTQ Spend oneD ay with thee on
-

§Ssi TT
fe
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3 ^ 'd
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\
ry EE53 -i^ ,©_dEEX3|
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X* -©-
I Misfit I enjoy ihe

^Within thine Houfe

meaneft Place
O God of Graoe 3
Earth, Ex--ceeds a Tfenfand flays ex. Mirth.
Not Tents of Eafe,nor Thrones ofPowex
XT.
Should tempt my Feet to leave thy Door.

God is our Sun^he malces our Day,

jV EartHj, Ex- - c ceas a Thoufand d?ys of Mirth. God is our Shi el d,he guards our Way

Li-t^i..

V ^^^^^^^S| From
FromFoe.i
all tli

v\
Atfauits of Hell

i^hout and Foes within

v.
and Sin,

.
82
KlSGSBELDGE PfalmXXlV. Dr W L M
#
. . . . .

S^^^^
Rejoiceye ShiningWbrIds on High, Be -
%H r
r r
iJ^ iJiJj]ji'J :

holldy .Kingof. Gflory Mgh,^1ioCanthisKingaf Gio-

r
iJ
^g = jry Be,
cr-T ZXJ
sfH-Elf
_u
p
^i n i^JL
j

llppiii ^'' riErrn g rr l

Rejoice
iotce ye Shining^/brlds
Shi on High, Be -hold y King of Glory Nigh^lioCanthisKingof Gic - ry Be,

mm
fg act
cc if H ,
F
h £ f-f-ui-
p| '-] i
,. a^t 35 4
g?=FF FB
T=CF

TheMigh-iy Lord the

^^H-cf^
Saviomr's He.
Ye Heavenly Gates
To Make ^ie Lord
yo'iir

ike S avaonr
Leaves dHplay
way,

^EH3E I± i
Laden with Spoils fromEarth. and Hell,
The Conqaeror comes with God to dwell o
d
Raifci from the deadhe goes before

Tkeliigh- tf He. He opens Heaven's eternal Door,

a
Lcr'c&nfoe Saviour's-
To give ids Saints a bleft Aborts

p^pp Near their Redeemer, and their God »

 *
Brentford .

T^^^
Nowihallmy inward Joys a-
in i

rife
j
Hymn.

11

And
j
XXXIX

burft in - to
^
a
B . 1? D* W
iifj^a a^^^^
Song, Al-migfa-ky Love In- injures
S3

my Heart,

^TTT]T7T g 4m M
Snd^
^
Bfc I
El r ') 1 ^1 m ±rr±=t £ ^_L^-13

I^=R 153?
f==3f
:

S**hta *m
-H- #=f
7 i
&cw iKail my inv/ard Joys a- rife And bor£t in - to a Scvng/Al-xMj^tf Loje in-ipiires my Heart,
.^—^L
sra
CQ H^ 3T
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jqrq-q W -er
3 *-©-

&F^f^g^^^a ^
f^a
W Aad fl
^
my
Plea fere tunes
^m Tongue a

God on Ms ti^'dry'Sion Mill

Some Mercy B>d^s Ikfflfij inrcwn,

And Coliesinn Gatlfis nave bound itiis Love
, To CSiowi' Salivation down o
:

ire Ump§ : my Tongue

^-i , -- - — r
84
Hayes

O ally?
~ Q ^
People clap yoi&HandsAudwifh triumphant Voi
~ O- q i^P TPq |f>n,i^ >|f>
~
Pfalm XLVII

^itMu
.

ks:

-
zs:
N.

cesfing;
~'
Q
^ No
V.
ti a
Forcelhe
O O
;
Q a-
^s
mighty PoVrwitJxftancfs
Q -ft
fe3*
Ufa O
f^if rnxzc yifr i,Tm
-
-

£
-H-e-t
i I
I
g? ^ all
44^iifea
£1
o e
ye People clapyour HaadsAndvvin ! triumphant Voi- cesfingi No Force the
1
.

W S3
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l
^j St mighty PcwVo/ithftands
m
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sz s= $s
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M
Of
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God_ e
tlie a -
3
ni -
O
ver - fal
Q' . I
'

o
King •
1 He fhalloppofing Nations
And -with Succefs our Battles
aueli,

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1 The Pride of Jacob,his Delight*

m 5 Ml
3 5 God is gone up,our Lord and King,
God n ver-fal King TVIth Shouts of Joy and Trumpets Sound;

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I x?: To him repeated Praifes fing,

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And let the chearfuil Song go round .

KT
 .

Salter's Hall. ^ Pfalm XLIV D* W..C.M. By MS T. Smith 85

'r Lord we have heard thy Works of Old.Thv Works of PowV and Grace; When to our Ears our Fa - - thers toldthe
fti 1
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P=!t

How thou dicifk huild thy Churches here,

Woh-ders of their iiays. The Wonders of their Days. And make thy Gofpel known;
Amongft them, did thine Arm appear,
Thy Light and Glory fhone •

Old 50 Pfalm L. DT W. P. M.
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The Lord
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ot Glory lends hisSummons forth, Calls theSouthNations,and awakes theNorth;< n^^ dlftant infolds.>8£

SoVreign Orders Spread.?

Reg- ions of the Dead U-^e ^umP *S°^d&HellTte
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 Foundlings . Pfaim XXXIII Dr . W. CM .

Rejoice to you;SingofnisNamef»is^ysMsWorciHQW ho-ly juft

>ngs toyou;SinffofhisNaniehis^ysMsWorq^qwho4yjuit
ye Righteous in the Lord, This Work belongs 8j true
8£

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LONDON; Pfaim XXXVII. Dr . W. C. M.
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My God .:• .A .'a .A '-'a

the Steps of pi-ous>len Are order'd by thyWillV'Tho theyfhould fall they rife a-gain.Tfyhand£u£%tortslfaQlW.
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YORK . Pfalm XLIV. DT W. CM.

^^
<*^ Lord
Lore! we haw
h^e heard thyWorks oi
of old, ThyWorks Grace; When to our
gCGracejWhen
of Power SC
of Ears our Fathers told
cnirEars The Wonders
Wonders of
oi then
theiv Days

Gainsborough. Pfalm XXXIV. Dr w. c.M .

m^=££=^
O.Sinners come and

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taite his Love,CoTne learn hisplea£mtWays,And let your crauE^erJLenceprpveTJieSweetnefs

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The World declares
Pfalm XLVIII.

t
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ri'i-^i
thy Praife;
^ Dr
.

Thv Saints O Lord be-

W. S.
X
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thy Throm- Their

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87

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Songs of Honour
35

raife;
Wm
Their Songs of Honour raife . .
"With Joy let luclah ft and
On Sion's cfouienHill,

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Proclaim, the Wonders of thv Hands,
And Counfeis of thy Will •

rir .

40RNIN G HYMN /T\ _ ~^^\ Se* byMT I. Smith

(w

fell, Sweet fleep_ and wifhdfor you.There fafe my Ma - - - ker

9 e 'P' m~
sii J'lJJgif^u n rifr r

Let me devote the morning ray,

To thought or deed divine;
And may my virtue like the Day,
To full perfection fhine •

Then myfelf I cannot keep

fince Lord watch me to the Gates of Death
Ev'n one fhort moment thro1 And thro thofe fates defend
Watch me thofe eyes that never fleep Thougav'ft and when thou taVfV my .breath.
Till morning beams a new. My God be thou my friend-
88 NOX. NO BIS. A Favourite Canon • By flie lateWUliair. Bird •

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Non no bis Do-mi
Do-mi - ne non
no no bi fed omini tuo da 61o-ri
€rlo-ri - am fednomini tuo .

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fednomini tuo da Glo-ri- - -am Non but to thy Name.. be all the Praife. .

Hafte TheeO Lord. A Canon in the Unifon .

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by MT. Ford
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 — -— ——
Anthem 89

Behold the Lord is

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my
From the 12 Chap . of Ifaiah

Salvation, Ihhimwillltruft fortheLordismy&'engtKanffmySonsanffheishecomemjSalvatioi^

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90 _ TKEM . From the LXVI Pfalm. Ej LF Croft

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$2 A Favourite ANTHEM, or Canon. By DlBlow.

''niMigf' a
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the Son, and to
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5

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 H

ANTHEM taken out of the 14 Chapter of Revelations . 39

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