Collection of P Sal 00 Grea

GREATOREX^S
GHURGH MUSIC.
Library of the Theological Seminary
Princeton . New Jersey
Presented by
Archives of the Organ Historical Society

Westminster Choir College
M2125 .G74 1851

Greatorex, H. W. (Henry
Wellington), 1813-1858
Collection of Psalm and hymr
tunes ...
A COLLECTION
OF
PSALM AND HYMN TUNES, CHANTS, ANTHEMS, AND SENTENCES,

ORIGINAL AND SELECTED,
FROM THE BEST STANDARD COMFOSERS:

ADAPTED
FOR THE USE OF THE PROTESTANT EPISCOPAL CHURCH IN AMERICA.

AND FOR CONGREGATIONS OF OTHER DENOMINATIONS,
AS WELL AS FOR SOCIETIES AND SCH00I5
BT H. W. 6REAT0REI,
OBOANIST AND DIRXCTOB OF THE MUSIC IN CALVA&T CHUBCH, NEW TOBK.
BOSTON":
PUBLISHED BY OLIVER, DITSON AND COMPANY,
%n WASHINGTON STREET.
Khtsbed, according to Act of Congress, in the year 1861,
BY A. C. GOODMAN & CO.,
« Ib th« Clerk's Office of the District Court of Connectaeat

P B E F A C £.
The' Editor of this work trusts tnat the following pages will be found generally useful in the service of
the church. His aim has been to furnish good music, rather than —
light, frivolous melody to restore, as nearly
as practicable, the old standard tunes and chants to their original harmonies, while, in the selection of the new,
he has endeavored to avoid vulgarity, or straining after effect.
He flatters himself that the large number of chants will be found acceptable, for even where chanting is
not practiced, hymns in metre, of four lines in each stanza, may be sung to almost all of the double chants,
thus giving nearly one hundred new tunes if required.
He would recommend to those in favor of congregational singing, to use the same words to the same tunes,
invariably, and in a short time the association between the words and the music will enable the congregation
to sing most of the tunes.
It will be observed that the time marks are omitted throughout the whole work, as the space they usuaUy
occupy more than compensates for their loss. Mai-ks of expression are also avoided —the character of the words
sufficiently indicating the sentiment of the music to whicli they are attached.
A &HORT CATECHISM
OTf THE ELEMENTS OF MUSIC.
PART 1. CHAPTER II.
Q. Does not the performance of a piece of music occupy a eertun portioB
EHYTHM. of time?
A. Yes.
Q. Must that time be dix-ided ?
CHAPTER I. A. Yes,
Q.
into equal parts, called Measures.
By what character are the me-isures separated

QcKBTTOK. What is a musical sound or tone ? A. By a Bar.
Answer. A sound produced by the vibration of any sonorous substance, Q. Are measures divided ?
as, a bell, an organ pipe, a string, wire, or reed ; or by the human voice, &c. A. Yes, into parts of measures.
Q. What distinct properties has every pure musical tone ! Q. When a measure is divided into two parts, what is it called (
A. It may be long or short, high or low, loud or soft. A. Double Measure..

Q. Into how many departments, then, may the element^j-y principles be Q. How is it accented ?
divided A. On the first part.
A. Three. Q. Can you illustrate it by an example in words f
Q. What is the first? A. Ho-ly, 1

Fa-ther, |
Mighty, |
Spirit. |
A- i2Ay(A7»—treating of the length of tones. Q. What is a measure of three parts called?

Q. What the second f A. Triple Measure.
A. Melody — relating to the pitch of tones. Q. How accented?
Q. What the third?
I A. On the first part, as. — Trinity, |
Umty. |
k, Exprtition —determined by the loudneu of tone*. Q. What is a measure of four puts called f
A. QuadrupU Jftaswrt.
ELEMENTS OP MUSIC
Q, How accented Q. The sound I have just sung is therefore one beat long. How is it repre-
A. Strongly on the first, and slightly on the third,— as, Whensoever, |
sented ?
Powerfully. |
A. By a character made thus, ^ called a Quarter Note.
Q. What is a measure of six parts called f Q. I will now sing a note as long as two beats. Will you beat time as
A. Sextuple Measure. before I
Q. How accented ? A. (Teacher singing la) Downward beat, upward beat.

A. On the first and fourth parts, — as, infallibility, |
Infi^nitessimal. |
Q. How is this represented ?
Q. How must we mark the parts of measures in order to insure their A. By a character shaped thus, ^ called a Half Note.
equality ? Q. How is a sound as long as three quarters represented I
A. By a motion of the hand, usually called Stating time. A. By placing a dot after the half note, thus, p •
A dot after a note
Q. What motions or beats has Double time adds one half lo its length.
—
A. Two Downward beat, and Upward beat Q. How is a sound as long as four quarters represented f
Q. What Triple? A. Thus, <s> called a Whole Note.

A. Three— Downward beat, Inward beat, and Upward beat. Q. Are there any other notes in common use f
Q. What Quadruple ? A. Yes. Eighth Notes, made thus,

J J or tied toget" er,
A. Four— Downward beat, Inirard beat, Outward beat, Upward beat. Sixteenth Notes, made thus, or tied together,
Q. What Sextuple ?
A. Six —Downward beat, Downward beat. Inward beat. Outward beat,

Thirty-second Notes, made thus, ^ôx tied together,
Upward beat. Upward beat.
Q. When three notes are sung to one part of a measure, what are they
called?
A. Triplets, —and are marked thus, or ^^^^

Q. We are often required in music to beat a part, or parts, of a measure,
CHAPTER III. or a whole measure, or a number of measures, — in silence. What characters
Q. How arc the various lengths of sounds represented are used to denote this ?
A. By difierently shaped characters. A. Certain characters, called Rests, which correspond in length to the n. 'es
Q. Will you now beat Quadruple time ?

fi-om which they receive their names.
(While the teacher sings la to each beat, at a convenient piu^, say F in Q. How many are in common use ?
the first space in the treble, the pupils count,) A. The PTAo/e made thus -i^. Half Rest, J*- . QtMrter Rest, ^.
A. Downward beat, inward beat, outward beat, upirahl 'âL Eighth JUst, 1. Sixteenth Rett,
q.
A SHORT CATECHISM
A No. Different notes may be used, but the vaiue must not exceed tiM
CHAPTER IV. primitive notes, as,
Q. Are there any varieties of measure ? 4 I • • Jir err I
A Yes.
Q. How obtained ?
A By the use of different notes on each part of the measure. i r r c;j r I r •

I
Q. If the parts of Fourfold measure are quarter notes, what b it called ?
A. Four-four Measure, and is marked thus, or Q It is also called
Common Time.
Q. What do the figures at the commencement of a piece of music indicate ?
A The upper figure shows the number of parts in each measure, the lower PART II.
indicates the kind of note used to fill each of those parts. Thus ^ means
four haM notes in each measure. means three quarters in each measure. MELODY.
^ three halves. ^ six eighths, «kc.
Q. What varieties of time are in common use ?

CHAPTER V.
A In Double Measure. Q. Of what does i/e^rfy treat!
2 f 2 p A. Of the pitch of sounds.

r
4 I I
I
I •#
I 1 I
I 2 I I J J I Q. What is that series of sounds, called the <Scaic
In Triple Measure. A. A succession of eight sounds, which may be represented as foUowi;
irrrujjiirrrijjjii.wiîj'i J
J
In Sextuple Measure. J
J
frrrjjj i ecuCLLrLwm i
J
1
•
2
T
3 4
: :
5 6
Q. Is It necessary that the same kind of notes should be used in each Q. How do we designate the sounds of the scale
MMOTOt A. By nmneralt.
ON THE ELEMENTS OF MUSIC Ttf
Q, Bow is tbft scale written t Q. Seven*

A. On five horizontal lines, called a Staff. A. Si. (See.)
Sth line* 4lh space Q. Eiffht?
4ih Hue. .1(1 a^ce.
3cl line,
ad line. '2d space. A. Do, again.
Ist line. 1st space.
Q. Have they any other names
»nd on the spaces between those lines.
A. They are also named from the first seven letters of the alphabet
Q. What is each line and space called ?
one placed on the added we must commence
A. A degree. A staff contains nine degrees, — five lines and four spaces.
I is first line below, with C.
Q. If more than nine degrees are wanted, what is used ?
A. The spaces above and below the lines, also additional lines, called Leger^
or added lines.
„ -p I? n.
Space above._^ — Leger Lines.
'SpacelkeTow.
^ licger Maes. Z
CHAPTER VI.
Q. We will place one on the first leger line below, —how are the rest placed f
Q. What characters are used to determine the names of ihe degrees of the
staflf? A.—
A. CTf/s,—the Treble, or O Clef, and the Bass, or F Clef,
Q. When the scale is thus written, what name do we give one ?
A. Do. (Pronounced Doe.) the Treble Clef fixes G upon the second line of the staff ; the Bass Clef fixes
Q. What, two ? F on the fourth line of the staff.
A. Re. (Ray.) Q. Is then the F on the fourth line on the bass staff only one note below
Q. What, three? the pitch of the O on the second line of the treble staff?
A. Mi. (Mee.) A. No. It is nine tones lower in pitch, — for example :
Q. Four?
A. Fa. (As fa, in father.)
Q, Fiv»f
A. Sol. (Sole.)
Q. Sixt
.A. la. (A, as ia fathar.)
A SHORT CATECHISM
The male voices generally sing in the bass clef, and tne female in the treble. What is the best method to fix th is© intervals in
—
The treble clef is also used for the tenor, the voices singing eight tones, or an Sing in the following order :
octave below the real pitch. 135 8 3158 5 13 8 8 13 5

1385 *3185 5 18 3 8 15 3
1538 3518 5 3 18 8 3 15
1583 3581 5 3 8 1 8 3 5 i
CHAPTER VII. 1 8 3 5 3 8 1 5 5 8 13 8 5 13
1 8 5 3 3 8 5 1 5 8 3 1 8 5 3 1
Q. Is there any term for expressing the-distance of one tone to another ?
A. The distance or step from one tone in the scale to another is called an Q. How can we strike seven correctly ?
Interval. A. Sing one, then think of eight, and sing the next sound of the scale beloi
Of what intervals is the scale composed it. Seven naturally leads to eight.
Q. f
A. Of whole tones and half tones. Q. How can we strike four ?
Q. In what order f
A. Sing 1, then think of 3, and sii^ the next sound above it. Four natn
A. From one to two, and from two to from three to rally falls to three.
three, are whole tones ;
^
four a half tone ; from four to five, from five to six, and from six to seven, are Q. How can we strike two ?
whole tones ; and from seven to eight a half tone. A. 1 or 3 will ser^-e as a guide to 2 ; as 5 will to 6.
Q. When we have learned to sing the scale in regular progression, what

should we do next ?
A. We should learn to strike each sound separately, or in connection with

any other sound. CHAPTER VIII.
Q. How ought we to commence 1
Q. As the human voice is capable of producing sounds higher and lower
A. By learning the perfect intervals, — as the third, fifth, and eighth, and
than the eight sounds of the scale, how can we represent those tones f
determining the imperfect intervals, — as the second, fourth, sixth, and seventh,
A. When we sing above eight, we consider eight as one of a scale above, and
from them.
when we sing below one, we think of one as eight of a new scale below.
Q. How can we fix in our minds the interval of the third !
Q. How can we write this
A. By singing 3,-1, 3,-1, 3,-1, &c.
Q. How the fifth?
1, 2,
A. Thus: ^
A. By singing 1. 2. 3, 4. 5,-1, 5,-1, 5,-1, &c.
Q. How the eighth ?
3 4
A, Sing 1, 2, 3, 4, 6, 6, 7, 8,-1. 8,-1, 8,-1, &c
ON THE ELEMENTS OF MUSIC.
Q. Into how many classes is the human voice generally divided A. 'The sharp, — thus,
A. Into four, — Treble or Soprano, Alto, Tenor, and Bass.

Q. What is the usual compass of each class ?
A. The Bass from F to C, ^ the Tenor from C to G,

Q. Which ii used mostly in descending ?
A. The flat,- -thus,
the Alto from G to C, and the Treble
from C to A,
m Q.
&c. ;
How
by
8
letters,
7
C sharp,
syllable appropriated to the natural note
6
do we name these chromatic tones 1
A. In speaking of them by numerals we say, sharp one, sharp two,
D flat,
5
&c. By
changed, —
is
4 3
syllables, the termination of the
for the sharps to

1
flht four,
t (pro-
CHAPTER IX. nounced ee,) as, do, di, — re, ri, — — —

-fa, fi, sol, si, la, li. For the flats to e.
(pronounced as a, in late,) as si, se, — — —la, le, sol, se, >/»', me, &c
Q. The Natural (or Diatonic) Scale consists of five tones and two semi- Q. If a note has been sharped or batted, how is it restored ?
fones. Can the tones be divided ?

A. By a {Natural)' placed before it.
A. Between any two sounds a tone distant from each other, — as from one Q. What are these characters called when they occur in a piece of music ?
to two, another sound may be sung. A. Accidentals.
Q. What is that scale termed which consists of semitones only f
Q. Does an accidental affect a note throughout the whole piece ?
A. The Chromatic Scale. A. No, — only throughout the measure in which they occur. A bar destroy*
Q. How are these semitones obtained i
their efiFect.
A. Either by elevating the lower, or depressing the upper, of the two sounds.
Q. What Ls the sign of elevation ?
A, A # {Sharp) placed before the note. CHAPTER X.
Q. What is the character used to depress a note ?
A. A b (Flat) placed before ^he note intended to be lowered. Q. Is there any other scale besides the Diatonic and Chromati«f
Q. What character is usually employed in ascending? A. Yes, — there is the Minor Scale.
A SHORT CATECHISM
Q. How is that formed I Fs in the piece. It is then oflUed the Signature, The signature of the key of
A
to four a
from
l^'rom
six to seven
one to two a whole tone, from two to three a half tone, from three
whole tone, from four to
a whole tone and a
five a whole tone, from
half,
five to six
from seven to eight a semitone

a half tone,
:
G is therefore one sharp.
-a# — A
Do Re Ml Fa S»I L.a St Do
Q. How much higher than the key of C is that of G?
A. A fifth higher, or a fourth lower, as a fifth above, and a fourth below,
is the same thing.
Q. What is the next regular transposition by sharps ?
CHAPTEE XL A. The fifth of the scale of G :— D. But as, if we continued the scale up-
wards, it would take it out of the range of the voice, we will write D on the
Q. We have hitherto taken C as one of the scale, or as the key note. As
jpace below the lines.
the scale is then said to be in its natural position : can any other note be taken ^
Q. What note must we sharp in order to preserve the order of intervals?
as the key note, or tonic ?
A. The fourth of the old scale, C, which becomes the seventh of the new kev.
A. Any other note may be taken as one of the scale, from which note the
scale derives its name, — as, the scale or key of G, the key of U, (fee.
Q. When any other letter than C is taken as the tonic, what is said of the
scale?
A. It is transposed.
Q. What is the signature of the key of D ?
Q. In transposing a scale, what is of the utmost importance ?
A. Two sharps.
A. To preserve the order of the intervals.
we G how can we preserve
A — being
Q. If take (the fifth of the scale) as the tonic,
Ji. the fifth of the key of D.
the order of the intervals ?
Q. Is the same rule followed as in the previous transpositions ?
A. The intervals will be all correct till we come to F, the fourth of the old,
A. Yes. Tlie fourth of D is made sharp, and becomes the seventh of A,
and the seventh of the new scale, when, as there must be a whole tone between
6 and
« #
Q. Is
7,
before
and a semitone between
it.
this character to
7
be placed before every

and 8, we must make F
F ?
sharp by placing
the signature of
a»*
A being three sharps.
^^=^=e^=
A No. It is placed at the commencement of the Lne, and alfects all the HI Fa M
ON THE ELEMENTS OF MUSIC XI
A. E — the fifth of the scale of A. And by following the same rule, and
sharping D, (the fourth of the key of A,) which becomes the seventh of the
Ml
new scale, we make the signature of the key of E to be four sharps. De
Q. What keys are the next in order ?
A. B :
— five sharps. F¥? :
— six sharps. C# :
— seven sharps, &c. But as
Q.
A.
What is the next regular transposition by
E flat, the fourth of the key of B flat
flats I
these are seldom used, and follow the same rule, there is no necessity to pro- ,
ceed further.
Q. How is the scale transposed into E flat ?
A. According to the same rules as before. Flatten the Ifeventh of the old
key, which becomes the fourth of the new, and the signature will be three flats.
CHAPTER XII.
'
h- . ^ -g
:1c-——
Q. We now take F
will (the fourth of the natural scale) as the key note. Me Fe Sol Le 8* D« Re Me
What note must we alter tv preserve the proper order of inter^-als
What are the next keys in succession ?
A. We must flatten the seventh of the scale of C — which becomes the
Q.
A. Ab :— four flats. Db :— five flats. Gb :—six
fourth of the key of F — in order to make the inter^•al3 correct : as there must
the same rules for transposition.
flats, Ac, which all follow
be a semitone between three and four, and a whole tone between four and
five.
Q. What will be the signature of the key of F

A, One flat
CHAPTER XIII.
Q, The key is frequently changed, (transposed,) during the perfonnanoe of
a piece of rnusic. What is that change called ?
Q. What is the next regular transposition by flats ? A. Modulation.

A. The fourth of the scale of F, which will be B flat.
^
Q. What are the most common modulations
Q. How do we transpose the scale into the key of B flat ? A. From one to five, and from one to four.
A. We must flatten E, the seventh of the key of F, the fourth of the new Q. How is the modulation from one to five efiected ?
cale of B flat^ —which therefore will have as its signature two flats. A. Bv sharping the fourth of the key, which immediately becomes the
A SHORT C ATECHISM
seventh of a new key. A sharp seventh is called the leading note, as it leads
to eight. CHAPTER XIV.
Q. Which is the note of modulation from any key to its fifth ?
Q. We have hitherto spoken of tones and semitones as intervals. Are there
A. The sharp fourth.
any others ?
EXAMPLE.
A. Yes. Unisons, Seconds, Thirds, Foutlhs, Fifths, Sixths, Sevenths,
Eighths, or Octaves, besides others, which are now immaterial to out purpose.
Q. What is an unison ?
A. The unison, (though not strictly an interval, is treated as such in the

theory of musi'c,) is from one to one. In counting intervals, the note from
which you begin to count is always reckoned as one.
Q. When a modulation occun, 4o we make any change ?

An Vnlsoiit
A. The melodic relations of sounds, and often the syllablea applied in sol-
niization, roust be changed according to the new key. Q. What is a second ?
Q. How is the modulation from one to four effected A. A second is an interval from one letter to the next. If it includes s
semitone, it is called a minor second if a tone, a major second.
A. By flatting tike seventh of the key, which becomes the fourth of the new ;
Key.
Q. What is the note of modulation by fourths ?
A. The flat seventh. —SI :
Major Sccondsi IHInor Second!.

t EXAMPLE.
J Fe_MI_R(B. Do
Fe_MI_Re. Do_
Q. What is a third ?
A. An interval from one letter to the next but one. If it includes a \
and a semitone, it is called a minor third ; if two tones, a major third.
Q. The examples have been given in the natural key of C. Are the same
rulas follpwed in otêr keys ?
^
A. The same rule is applied in idl the-keys. Minor Third. Major TUtrd.
ON THE ELEMENTS OF MUSIC xtii
Q. What is a fourth » Q. What IS an octave ?

A. From viv o'le leuer to tne next but two. Including two tones and a A. All octaves are equal, including five tones and two semitoDes.
semitone, it is a p^r^'ct fourth ; if it includes three tones, a sharp fourth.
Sharp Fonrth.
Perfect Fonrtltt
Q. What is a fifth!
A. An interval containing two tones and two semitones is a flat fifth ; one
including three tones and a semitone a perfect fifth. CHAPTER XV.
Q,
m
What is a sixth ?
Flat FUUi. Perfect FUUi.
Q.
A.
Q.
A.
What are Passing Notes ?
When notes not properly belongiag
are called Passing Notes.
What is an Appogiatura?
When a passing note precedes
to the harmony
the principal note,

are introduced, thet
it b called an Ap-
A. An interval of three tones and two semitones is a minor sixth ; one of
pogiatura.
four tones and a semitone a major sixth.
EXAMPLE.
Written,—
Minor Slztb.
Major Slxtli.
i
Sung,
Q. What is a seventh ?
A. An interval of four tones and two semitones is a minor, or flat seventh
of five tones and one semitone, a major, or sharp seventh.
Q. "What is a Syncope ?
Sr A. When a note commences on an unaccented, and is continued on the

Flat Bcvemtti. Sharp S«T«atk* accented part of a measure, it is said to Im syncopated
SIT A SHORT CATITCHISM
EXAMPLE OF SYNCOPATION. Q. What is the use of a Double Bar ?
A. To indicate a division of the phrases of the piece.
Q. What is a Close?
A. A Close denotes the termination or end of a piece of musi&
EXAMPLES.
^^^^^
Q. What is a Tie?
^""^ Repeat. Double Bar. CIom.
A. A Tie is used to connect two notes together so that they become
but one, — as in the above example. It is also used to show how many notes
are to be sung to one syllable. It is used also to denote a Legato style of
performance.
Q. What is the meaning of Legato ?
A. When music is to be performed in a smooth, gliding manner, it is
marked Legato.
What
Q.
A. When
is Staccato ?
the notes are to be performed in a short, pointed, detached man-
PART III. .
ner, it is said to be Staccato, and is generally marked thus,
Written,— EXPRESSION.
CHAPTER XVI.
Performed,
Q. What are the principal means of gi\ing Expression to a piece of
music ?
A. The Dynamic degrees of force, and the appropriate delivery of the
words.
Q. What is a Pause? Q. IIow many degrees of force are in common use ?
A. A Pause indicates that a note or rest is to be prolonged beyond its A. Six: — Pianissimo, {pp) Very Soft; Piano, (p) Soft; Mezzo So-
usual length. prano, (
mp ) Rather Soft ; Afezzo Forte, ( mf) Rather Loud ; Forte, (/)
Q. What is a Jiepeat ? Loud ;

Fortissimo, (ff) Very Loud.
A. Dots across the staff require the repetition of certain parts of the piece. Q. What is an " organ tone" ?
ON THE ELEMENTS OF MUSIC
A. A tone commenced, continued, and ended, with an equal degree of Q. WhsAis Sforzando?
force. A. A single sound, struck suddenly and with force. It is marked ff. or fs.
Q. What is a Crencendo ? or >, or A. ^
A. A tone coinmencing soft, and increasing in force to the end, is Cres- Q. What is most essential in order to give expression
cendo, and is marked Cres., or z » A. To study attentively the character of the words ; to deliver them with
Q. Wliat is Diminuendo ? a distinct and clear articulation, duly emphasizing those words which require
A. A tone commenced loud, and diminishing to soft. It b marked Dim,, it; to preserve the vowel sounds in all their purity; to take breath at those
or places only in which you can pause while reading the words, and avoid equal''*
Q. What is a Swell? the extremes of a tame, lifeless delivery, an<l ranting.

A/ A tone partaking of the Crescendo and Diminuendo. It is designated
thus,— -O-
XTI INDEX TO THE PSALMS.
ftolm. Toa*. Tvtt. Psalm. Tune. Vage. Psalm. Tane. P Pialm. Tune. Page Psalm. Tune. Pa^. PmIio. Tom. Pbi*
1, St. Anselm 45 23, St.James's.. 22 47 St, Neot's .. 68, Monmouth 60 . 83, Pt 2, Lancaster ... 61 103,.... York n
S.. ...... Dedham 28 24 Truro 6« 48 Viner 69 Dowland .. 8 85 Irish 2 104 Brigham 83
8 Dayspring 44 25 Coupar 14 49, Preston 69. V. 3, Windsor ... 29 86 Angel's Song 64 105. Solitude 116
4 Oower 31 26 Christ Church 79 50 St. Pancras . 70 Henwick... 94 90, St. Olaves. . . 67 106 Rcpton n
6 Nay land 20 27, Peckham 63 61 St. Matthews 70, Pt. 2, Solney 126 9a Melcombe ... 59 108 Farrant 4
6 Carlisle . 86 28 Abridge 19 52 St. Olaf 71 Ditchling . . 6 92 Aston 92 109 St. Paul's ... 44
7 Bedford 30 28, Pt. 2, St. Gregorius 23 53 Rockingham 73 Mear 20 93 Bangor 16 112. Andrewes. . . 46
10 Trent 47 30 Wareham ... 56 54. Pt. 2, Drew . . 73. Pt. 2, Zurich 22 94 Strasburg ... 49 113. Walton 71
12 St. David's 21 32 Crucifixion . . 7 65, Axbridge 74 Magdalen. . 71 95 St Ann's 1 114 Compton 2
T4 Rochester 69 33 Bemerton ... 41 55 Geer ... 75 Harmer . . .106 96, St Michael's 36 . 115 Manchester . 80
15 Mario w 27 .14 Sekea 63 57 Willington. 76 Epping 60 97 Borne 43 117 Shropshire .. 26
15, Part 2, Tiverton 15 36 Tavlor 45 61 Sumner . 77 Tottenham . 41 97, Pt. 2, Bishopthorp 37 . 118 Portland 126
17, St. Mary's 28 38 St.'Bede 55 62 Carleyle 78, Winchester. 21 97, Pt 3, Colet 12 119 Clifton : 48
I
17, Part 2, Old Common Tune 29 I

41, St. Cufhbert . 66 63 St George's 79 Old 100th. . 51 97, Pt 5, Burton 42 121 St Stephens. 43
17, Part 3, Gorton 24 )
42 London New 19 64 Older . 80 Benoni 46 97, Pt 8. Lewes 26 122 Irenaus 102
18 EaBtham 42 j
43 Brevint 91 65 Dundee 81 Ivy Bridge. 62 97, Pt 12. Manheim.... 60 123 Old 104th... 129
19 St. Martins 3 j
44 Leighton. ... 83 66 Stonefield 82 Comber 84 97, Pt. 22, Tintern Abbey 48 124, Grostetc 68
20 Kirkdale 79 I 45 Norwood ... 24 67, Ferrar ... 83 Highgatc . . 65 101. Laud 4 124,. .. .Marlborough. 6S
22 St. Magnus 14 I
46, St. CecUia... 9
INDEX TO THE HYMNS.

in. Tone. Page. H.vmn. Tnne. Page. Hyinn. Tune. Page. Hymn. Tane. Page. Hymn, Tune. Paga. Hymn.
Turiiham Green. ... 16 37, Dunluce 72 66, Milman 75 112, Manoah 36 147, Arabia 10 173, Resignation 130
Frome 8 38, Wor.-hip 119 67, Baun 67 116, Whitehouse ... 3 148, Norton 11 174. St Mark's 49
Exn)outh 89 39, Wimborne 76 69, Moira 114 119, Mariner's 133 149, Ridley 87 175, Wilhelm 67
Ilklev 90 40, Vernon 128 72. Wesley 61 128, Matlock 108 150, Madeley 122 177, Mant 124
St Gabriel 73 41, Lydia 17 74. Adams 83 129, Dovedal« 119 151, Wheeler Ill 179, Thornton 86
Carey 99 42, Homewards ^.123 75, Hobart 31 131, Shirland 81 153, Chimes ...180 180, Christmas 13
Warwick V3 45, Coxe ..• 109 79, Mount Sinai 101 132, Ken 7 154, Old Hundredth... 51 182, Bellefield
Vinivnt .'..117 47. Stafford 34 83, 'I'hHnksgiviug Hymn .120 132, Medfield 15 155, Trinmph Ill 183, Monsuldale .11
Whithington 85 49. Fden 39 86, Rathbun 123 133, Burlington 26 156, CiM'fterfield 5 186, Germany 6
Wa!;" am4owe 02 51, Litinier 33 87, Tutbury 80 134, Lullington 18 158, Horne 6 187, Heber 132
Broihy 78 52. KItl.lermiMster 87 88, Braraston 80 135, Balclutha 76 159, Wilson 97 194, Luther's Hymn ... ICS
Randal 5 63 Beveridge 103 89, Re-t 62 138. Eltham 18 160, Leicester 95 195, Cholmondelcy lOlf
Nelson 125 of-. GUnek' 110 92. Anwmeriiig 25 139, SherwiK>d 121 161, Oxford 65 196, St Bride's 82
Newark 84 59. Cleincn- ST 94. Alf et..n 68 I
142. Martvrdom 34 163, Ridgeway 77 201, Wingfield lift
S;icrilice 8'2 60. l;<-Miazz:ir 64 ',>r. S.ic.'.iment 70 j
143, Juxon 113 164, Morning 'Hymn .. . 74 20:<. Siloia 126
StliblH.lH! i5<< 61 Ta!t...i 127 ICO, Deep River 78 143, Seymour 112 167, Beckwiih 107 205, St Austin 69
Ame 96 82, Lowth 69 W7, Hodnet 104 144, Refuge 131 168, Evening Hymn ... '34 210, Stapenhill 81
.Portsmouth 100 111, Downes 116 I 14ft. IncenM 114 172, WortliiDgton 118 811. St Uelen't IM
Salvation 65
«
GREATOREX'S
COLLECTION OF CHURCH MUSIC.
ST. ANN'S. C. M.
t ALTO
With cheer - fill notes let all the earth To lieiiven their voi r ces raise; Let all, inspired with god - ly inir|^. Sing solemn hymns of praise.
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How good and gjeasant must it be To thank the Lord most high! And, with re peat-ed h\iiins of praise, His name to mag - ni - fy
HORNE. M.
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Hear, gracious God ! mi humble moan, To thee I breathe my eighs; When will the mournful night be gone! When shall my joys a - rise?
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BORNE. C. M.
How bless' (J are they 'who al-ways keep The pure and perfect way; Who nev - er from the sa - cred paths Of God's commandments stray!
dO MANHEIM. C. M.
For ev - er and for er - er, ,Lord, Tin - changed thou dost re - main ;
Thy word, es - tab - lished in the heavens,
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Does all their orbs sua - tain ;

Thy -word, es - tab - lished in the heavens, Does all their orbs sus - tain.
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OLD HUNDREDTH. L. M.* 51
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All peo - pie thaf on earth dc J well, Sing to the Lord with cheerful voice, Him e erve with fear, his praise forth tell — Come ye be - fore him and re - joice.
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THE HUNDREDTH PSALM. L. M.
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With one con - sent let all the jarth To God their cheerful voi - ces raise ; Glad bomage pay, with awful mirth, And sing be - fore him songs of praise.
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64 ANGEL'S SONG. L. M.
0 ren-der thanks to God a -bove, The fountain of ter - nal love, Whose mercy firm, thro' a - ges past, Has stood, and shall for 67 - er last.
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FERRAR. L. M.
God of my life, O Lord most high ! To thee by day and night I cry ; Vouchsafe my mournful voice to hear, — To my distress in - cline thine ear.
68 ROCKINGHAM. L. M.
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ITie servants of Je - ho - vah's will His fa - vor's gentle beams en - joy ; Their upright hearts let gladness fill, And cheerful songs their tongues employ
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GROSTETE. L. M.
0, praise the Lord in t lat blest place, From whence his goodness large - ly flows ; Praise him in heaven, where he his face, Unveiled, in per - feet glo - ry shows.
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ST. AUSTIN. L. M.
The morning flowers display their sweets, And gay their silken leaves un - fold, As care - less of the noonday heats, And fear - less of the evening cold.
WILLnfGTON. L. M.
Thy presence, Lord, hath me supplied, Thou my right hand support dost give ; Thou first shall with thy counsel guide, And then to glo - ry me receive.
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PECEHAM. L. M. 63
He's blest, whos e sins have pardon gained, No rnore in judgment to ap - pear ; "Whose guilt re mission has ob - tained. And whose repentance is sin - cere.
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GERMANY. L. M.
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As -when the weary traveller gains The height of some com manding hill, His*! eart re - vives, if o'er the plains He sees his home, tho' distant stilL
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0, all ye peo - pie, clap And with tri - umph - ant vol - ces
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No force the migh - • ty power with - stands Of God, the u - - - - ni - ver - sal King.
WILHELM. L. M. 67
Je - BUS ! and shall it ev - er be, A mortal man ashamed of tbee ! Ashamed of thee, whom angels praise, Whose glories shine thro' endless days !
BAUN. L. M.
High on the bending willows hung, Israel, still sleeps the tuneful string? Still mute remains the sullen tongue, And Zion's song de - nies to sing!
68 TRURO. L. M.
Ye, that in might and power excel, Your grateful sa - crl - fice pre - pare ; God's glorious actions loud - ly tell, His wondrous power to all de - clare.
ALFRETON. L. M.
My God, and is thy ta-ble spread? And does thy cup with love o'er - flow ? Thither be all thy chil - dren led. And let them thy sweet mercies know.
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74 MORNING HYMN. L. M.
Awake, my soul, and with the suh Thy dai - ly course of du - ty run ; Shake off dull sloth, and ear - ly rise To pay thy morn - ing aa - cri - fice.
EVENING HYMN. L. M.
Glo - ry to thee, my God, this night, For all the blessings of the light Keep me, O keep me, King of kings, Un - der thine own al - migh - ty wings.
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'Tis finished — so the Sa viour cried, And meekly bowed his head and died; 'Tis fiaished — yes, the
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RIDGEWAY. L. M. 77
Sa - viour 1 when night in - volves the skies, My soul, a - dor - ing, turns to thee, — Thee, self based, in
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CHRIST CHTJHCH. S. M. 79
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De - fend me, Lord, from shame. For still I trust in thee ; As ust and right • eous is thy name, From dan - ger set me free.
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KIKKDALE. S. M.
To God, in whom I trust, I lift my heart and voice ;

Oh, let me not be put to shame. Nor let thy foes re - joice.
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80 TTTTBURY. S. M.
The gentle Sa - viour calls Our chil - dren to his breast ; He folds them in his gracious arms, Him - self de - clares them blest.
BRANSTON. S. M.
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Soldiers of Christ, a - rise, And put your ar - mor on, Strong in the strength which God supplies Thro' his e - ter - nal Son.
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STAPENHILL. S. M. . , 81
Heirs of un - end - ing life, While yet we so - journ here, 0, let us our sal - va - tion work "With , trembling and with fear.
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SHIBLAND. S. M.
The Spi - rit in our hearts Is -v rhi&pering, Sin - ner, come ! The Bride, the church of Christ, pro - claims To all his chil - dren, come
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BBIGHASL S. M. 88
From low - est depths of wo To God I sent my cry : Lord, hear my sup - pli - ca - ting voice, And gracioas - ly re • ply.
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LEIGHTON. S. M.
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Have mer - cy. Lord, on me, As thou wert ev - er kind ; Let me, op pressed with loads of guilt, Thy wont - ed cy find.
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84 COMBER. S. M.
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O, bless the Lord, my soul. His grace to thee ppoclaim ; And all that is with - in me, join To bWs hia bo -^y name.
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NEWABE. S. M.
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I love thy king - dom, Lord, The hoiise of thine a - bode, The Chvirch our blest Re - deem - er saved "With big owb pre - cious blood.
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WHITHINGTON. S. M. 85
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THORNTON. S. M.
A charge to keep I have, A God to glo - ri - fy ; A nev - er - dy

ly - ing soul to save, And fit it for the sky.
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RIDLEY. S. M. 87
Come, ye that lore the Lord, And let jour joys be known ; Join in a song with sweet ac cord, And thus Bur - round the throne.
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How beau - teous are their feet. Who stand on Zi - on's hill ; Who bring sal va - tion on their tongues, And words of peace re - veai 1
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With joy shall I be - hold the day That calls my will - ing soul a - way, To dwell a - mong the blest
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Be - gin, my soul, th' ex - alt - ed lay, Let each en - rap - lured thought o - bey, And praise th' Almighty's name, — And praise th' Almighty's name.
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Let heaven and earth, and eeas and skies. In one me - lo - dious con - cert rise. To swell th' inspiring theme, — To a well th' inspiring theme.
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0 GJod 1 my gra - cious God, to thee My morning prayers, My morniag prayew aha I of - fered be — For thee, like one who -thirsts, I pint
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And still my soul im - plores thy grace, As in a dry and bar - ren place. When I re - fresh - ing, When I re - fresh - ing wa - ters want
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He that has God his guar - dian made, Shall un - der the Al - mtgh - ty'a shade Se - cure and un - dis - turbed a - bide
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Thus, to my soul, of him I'll say, He is my for • tress and my stay, My God, in -whom I will con
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When gathering clouds a - round I view, And days are dark, and friends are few, On him I lean, who, not in vain.
Ex - perienced ev - ery hu - man pain; He feels my griefs, he sees my fears. And counts and treasures up my tears.
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As, pant - ing in the sul - try beam. The hart de - sires the cool- ing stream. So to thy pres - ence, Lord,
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A - thirst to taste thy liv - ing grace. And see thy glo - ry face to face.
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God's tem - pie crowns the lio - ly mount, The Lord there con - de - scenda to dwell ; His Si - on's gates, in his ac - count,
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The Lord my pas - tiire shall pre - pare, And feed me with a shepherd's care; His presence my wants sup - ply,
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100 PORTSMOUTH. U. 4.
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In loud, ex - alt - ed strains. The King of glo - ry praise ; O'er heaven and earth he reigns,
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We give im - mor - tal praise, To God the Fa - ther's loye For all our com - forts here,
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Ye boundless realms of joy, Ex alt your Ma - ker'a fame His praise your song em - ploy, A - bove the star • ry frame
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BEVERIDGE. H. 5. 103
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Rise, crowned with light, im - pe - rial Sa - lem, rise t Ex - alt thy towering head, and lift thine eyes ! See heaven its sparkling
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Fro m many an ancient riv - er. From many a palmy plain. They call us to de - liv - er Their '.
and from error's chain.
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iiCTTHER'S HYMN. 11. 7. 105
4t
real God, what do I see and hear 1 The end of things cre - a - ted! The Judge of man I see ap-pear, On clouds of glo - ry seat - ed:
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ITie trum - pet s ounds — the graves re - store The dead which they con - tained be - fore ; Pre - pare, my soul, to meet him.
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108 HABMER. n. 8.
Sing to the Lord a new-made song ; Let earth, in one as - sembled throng, Her common patron'3 praise resound : Sing to the Lord, and bless his name
From day to day his praise pro - claim, Who us has with sal - vation crowned ; To heathen lands his fame rehearse, His wonders to the u - ni - verse.
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CHOLMONDELEY. HI. 1. 107
BECEWITZ. m. 1.
Now the shades of night are gone, Nckv the morning light is come : Lord, may we be thine to - day ;
•
Drive the shades of sin a - way.
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108 MATLOCK. IH. 1. Doable.
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Sinoera, turn! why will ye die? God, your Maker, asks you whyl God, who did your be - ing give , Made you with him - self to live
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He the fa - tal cause demands, Asks the work of his own bands: Why, ye thankless creatures, why Will ye cross his love, and die?
coxE. m. 1. 109
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Hark I the her - - aid an - gels sing, Glo - ry to the neiy - born King, Peace on ' earth, ana
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mer - cy mild, Peace on earth, and mer - cy mild, God and sin - - - ners re - con - ciled.
110 v^LEXELG. m. 1.
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Saviour, when in dust to thee Low we bow th' a - dor - ing knee ;
When, re - pent - ant, to the skies Scarce we lift our s treamiDg eyes;
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Songs of praise the an - gels sang ; Heaven with hal - le - lu - jahs rang. When Je - ho - vah's work be - gun, When he spake, and it waa done.
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Lord, my God, I long to know, Oft it caus - es anxious thought ; Do I love thee, Lord, or no ? Am I hine, or am I not?
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Je - SU9, Sa - viour of my soul, Let me to thy bo - sum fly ; While the waves of trouble '•oil, While the tempest still is high.
WORTHINGTOir. IH. 1.
53: i
Soft - ly now the light of day Fades up - on my sight a - way ; Free from care, from la - bor free, Lord, I would commune with thee I
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JTJXON. m. 1. Double. m
Je • 8U8, Saviour of ray soul, Let me to thy bo - som fly, While the waves of trou - ble roll. While the tempest still is high
Hide me, 0 my Saviour, hide. Till the storm of life is

p ast ; Safe in - to the ha - ven guide ; 0, re - ceive my soul at last f
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Christ the Lord is risen to-day, Sons of men and angels say : Raise your joys and triumphs high, Sing, ye heavens, a nd earth reply I Sing, ye heavens, and earth reply !
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Chil - dren of the 1 aeavenly King, A8 we jour - Hey, let us sing ;

Sing the Sa - viour's worthy praise, Glo - rious in his works and ways.
SOLITUDE, m. 1. U5
•7 ' ' ' ' '

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liOrd, for gv &t thy sido, Let my placG End portion be ; Strip niG of the robe of pride, Clotbe me with, hu - mil - i - ty.
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Glo - ry to the Fa - ther give, God in whom we tQove and live ; Children's prayers he deigns to hear, Children's songs d j - light his ear.
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Who are these in bright ar - ray ? This in - nu - mer a - ble throng, Round the al - tar, night anil day, Tu - ning their tri - umphant song
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Worthy is the Lamb once slain, Blessing, hon - or, glo - ry, power, Wisdom, rich - es, to ob - tain New do - min - ion every hour.'"
VINCENT, m. 1. Doubla 117
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"Tia my hap - pi - ness be - low, Not to live with - out the cross ; But the Sa - viour's power to know, Sane - ti - fy - ing ev - ery loss.
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Sin - nei , rouse thee from thy sleep, Wak e, and o'er thy fol - ly weep ; Raise thy spi • rit dark and dead, Je - sus waits his light to shed.
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WORSHIP. III. 1. 119
To thy tem - pie I re - pair ; Lord, I love to worship there ; While thy glorious praise is sung. Touch my lips, un - loose my tongue.
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Hasten, sin - ner, to be wise ;

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Wisdom, if you still despise, Harder is it to be won.
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120 THANKSGIVING HYMN. m. 2.
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1 For love crowns our davs; Bounteous ev
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Praise to God, - inor - tal praise, the that source of - erv jov
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Let thv praise onr tongues em - plov: All to thee, our God, we owe. Source whence all our bless • mga flow.
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SHERWOOD, m. 2. 121
Rock of a - ges! cleft for me, Let me hide my - self in thee ; Let the wa - ter and the blood,
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From thy side, a heal - ing the dou - ble cure, Save from wrath, and make me pure.
122 MADELEY. IH. 3. Double.
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Lord, with glowiiig heart I'd praise thee For the bliss (hy love bestows ; For the pardoning grace that saves me, And the peace that from it flows
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Help, 0 God, my weak en - deavor ; This dull soul to rapture raise ; Thou must light the lame, or never Caft my love be wa rmed to praise.
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RATHBUX. m. 3. 123
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Saviour !
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feeding .With the shepherd's kindest care,
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While the lambs thy bosom share.
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124 MANT. III. 3. Double.
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Giude me, O thou great Je - ho - vab, Pil - grim thro' this barren land; I am weak, but thou art 'mighty, Hold me with thy powerful hand.
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0 - pen now the crystal fountains. Whence the liv - ing waters flow ; Let the fiery, cloudy pil - lar Lead me all my journey through.
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Saviour, source of ev - ery bless - ing, Tune^my harp to grate - ful lays ; Streams of mercy, nev - er ceas - ing, Call for cease - less songs of praise.
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SILESIA, m. 3.
Blessed be thou, the God o Is - rael, Thou, our Father, and our Lord ; Blessed thy Ma - jeg - ty for ev - er, Ev - er be thy r ame a - dored !
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126 SOLNEY. m. 3.
God shall charge his angel legions Watch and ward o'er thee to keep ; Tho' thou walk thro' hostile jegions, Though in desert wilds thou sleep.
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PORTLAND. III. 3.
God, my Kins:, thy might confess 1 thy name ;

Day by day, tliy throne ad - dressing, Still will I thy praise proclaini.
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Who is he that comes from E - dom, All his gar - ments stained with blood, To the cap - tive speaking free - dom,
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Bring - ing and be - stow - ing good ; Glo - rious in the garb he wears, Glo - rious in the spoil he bears f
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Tri - umph in re - deem - ing grac e ; 0 re - fresh us, 0 re - fresh us, Travelling through this wil - der - ness
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OLD 104th. IV. 1. 129
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0 praise ye the Lord, Pre - pare your glad voice His praise in the great As - sem - bly in sing:
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In their great Ore - a - tor Let Is - rael re -

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m RESIGNATION. IV. 2.
In - spirer and hearer of prayer, Thou Shepherd and Guardian of thine ;

My
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to thy cov - enant carp, I, sleeping or waking, re - sign.
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CHIMES. IV. 3.
Be joyful in God, all ye lands of the earth, O serve him with gladness and fear, Ex - ult in his presence with
th music and mirth. With love and devotion draw near.
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REFUGE. IV. 4. 131
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132 HEBER. IV. 4.
I vould not live al - way ask not to stay Where storm af - ter storm ri dark o'er the way;
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The few lu - cid morn - ings that dawn on us here, Are e - ..;>ugh for life's woes, full e - uough for its cheer.
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MARINER'S. IV. 5 a33
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When through the torn Bail the wild tem - pest is streaming, When o'er the dark wave the red light • ning is gleaming,
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134 PECULIAR ADAPTATIONS.
Rise, my soul, and stretch thy wings."
Rise, my soul, and stretch thy wings. Thy bet - ter portion trace; Rbe, from tran - si - to - ry things, Towards heaven, thy destined place
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Sun and moon and Time move my and haste a way To seats pre pared a bove.
de shall soon this earth
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stars - cay. re - Rise, soul, - - -
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This tune m»j be uaad for the 185tb Hymn, by slngiiic the unsll notes st the commencement of the aixth lint.
"The God of Abraham praise." 135
The God of Abraham praise, Who reigns en - throned a - bove ;

Ancient, i)f ev - er last - ing days,
9And God of love
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Je - ho - vah, gêat I AM, By earth and heaven con - fessed ; I bow and bless the sa - cred name, For ev -
er blessed.
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'Hail to the Lord's Anointed. 137
Hail to the Lord's A - noint - ed* Great David's greater Son 1 Hail, in the time ap - point - ed, His reign on earth be - gun 1
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He comes to break op - pression, To set the captive free, To take away trans - gression, And rule in e - qui - ty.
. B •f^ h* ^^-f^W
" Mercy and truth, with sweet accord."
Mer - cy and truth, with sweet ac - cord, Hig ris - iiig beams a - dorn ; Let heaven and earth in con - cert sing, " The promised child is born,-
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The promised child i8 born, — The promised child is born !" Let heaven and earth in con - cert sing, " The promised child is born 1"
May b« tuns ai a Da«tt byTrabU and Alto.

Erect your heads, eternal gates." 139
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E - rect your heads, e - ter - nal gates TJn - fold, to en - ter - taia The King of jlory : see 1 he comes With his ce - les - tial train.
Who is th 3 King of glo - ry ? who ? The Lord for strength renowned ; In battle mighty : o'er his foes E - ter - nal vie - tor crowned.
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Grace, 'tis a charming sound!" 141
Heaven vith the echo shall re
Grace 1 'tis a charm - ing sound ! Har - mo - nious to the ear ; Heaven with the ech - o shall re - sound,
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sound, And all the earth shall hear.
Heaven with the ech - o

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And all the earth shall hear, And all the earth shall bear. And all the
3^
earth shall hear.
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And all the earth shall hear. And all tb« earth •Lali h«ar.
14J 'The Lord himself, the mighty Lord."
The Lord him - self, the Lorp him - self, the mighty Lor«., The Shepherd by
The Lord him - self. the migh - - - ty Lord, Vouchsafes to be my guide; The Shep herd by whose
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whose constant care • My wants are all sup - plied,-
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stant care My wants are all sup - plied, The Shepherd by whose constant care My wants, my wants are all supplied.
PHI
"The Lord himself." Concluded. 143
And gent - - ly there re - pose, Then leads me
In ten - der grass he makes me feed And gent-ly there re - - pose, Then leads
5 me to . . . cool
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shades, Re - fresh - ing wa - ter flows, Re - freshing wa - - ter flows. Then flows.
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144 VENITE EXULTEMUS DOMINO.
GRAND CHANT. No. 1. p. HUMPHEHS.
Tenor
m
1. 0 come, let us sing nn- to •
the . Lord ; . . let us heartily rejoice in the. strength of •
our salvation.
2. Let us come before his presence with' thanksgiving, . and show ourselves glad in •
him with
•
psalms.
3. For the Lord is a great God and a great King •
a- bove •
all gods.
4. In his hand are all the corners. of •
the., earth ; . and the strength of the ',
hills '
is his also.
5. The sea is his, and • he. made it and his hands pre- pared •
the dry land.
6. 0 come, let us worship and fall..
• down, . . and kneel before •
the Lord our •
Maker.
7. For he is the Lord our •
. God and we are the people of Bis pasture, and the. . sheep •
of his Land.
8. O worship the Lord in the beauty of. holiness let the wliole earth stand •
in awe •
of him.
9. For he cometh, for he cometh to. judtce the .• earth, . . and with righteousness to judge the world, and the peo- •
pie with •
his truth.
Glory be to the Father and 'to the. Son and to •
the Ho- •
ly Ghost.
As it was in the beginning, is now, and. shall be, world without •
*end. A- men.
No. 2.
No. 3.
s
No. 4. ATTWOOD. 145
1 I
No. 5.
A. A j=u
4"
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ins:
No. 6.
eje:ê3=f=f==e^: 3E#
A
No. 7. CROTCH.
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14< GLORIA PATRI. No. 1.
Glo - ry be to the Fa - ther, and to the Son, and to the Ho - - ly Ghost; As it
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was in the be • gin - ning, is now, and ev - er shall be. world with • out end. A - - men. A
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GLORIA PATRI. No. 2. 147
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Olo • ry be to the Fa - ther, and to the Son, and to the Ho . • ly Ghost; As it
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was in the be - gin - ning, is now and ev - er Ehall be, world with out end. A - men. A - men.
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14» GLORIA PATSI. No. 3.
Glo - ry be to the Fa - ther,

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to the Son, and the Ho ly Ghost

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was in the be - gin - ning, is now, and cv - er shall be, world with - out end. A - men. A - men.
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150 GLORIA IN EXCELSIS. No. 1.
1. Glory be to Qod 00 1 high and on earth I peace, ' good will • towards men.
I
t. We praise thee, we bless thee, worship I
thee ; | we glorify thee, we give thanks to ... | thee ' for thy •
great glory.
m
—— '
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S.0 Lord God, I heaven -ly I King, I God the I Fa- • ther Al- I migh- I tjrl
4, 0 Lord, the only b«(gott«n Sod, | Je- • bus | Christ; | 0 Lord God, Lamb of God, | Son • of the | Fa- | th«
GLORIA IN EXCELSIS. Concluded. 151
faj:
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6. lliat takest away the sins * of the 1 world, I have mer- * cy up - I on ub.
6. Thou that takest away the sins • of the world I have mer- •
cy up - | on us.
7. Thou that takest away the sins • of the world, I receive •
our prayer.
8. Thou that sittest at the right hand of .. . God * the Father, | have hier- * cy up •
|
on u.
— iPTl
9. For thou I only • art I holy I thou

— I on- •
1
ly
vf
I art • the I
—
Lord. I
10. Thou only, O Christ! with the. I
Ho- • ly |
Ghost, ...| art mo»t high in the . . .
|
glory • of | God - the | Father. | A-
152 GLORIA IN EXCELSIS. No. 2.
m
1.
2.
Glory be to
We praise thee, we bless thee, we.
God
wor-
•
•
on
ship
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high.
thee; |
|
and on earth
we glorify thee, we give
peace,
tlianka to
•
•
good
thee for
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thy
•
•
towards
great
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men.
glory.
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8. 0, Lord God |
heavenly |
King, .the.. I
Fa- • ther Al- ligh- I
ty-
\
GLOHIA IN EXCELSIS. Continued. 153
154 GLORIA IN EXCELSIS. Continued.
— 1^-
6. Thou that takest away the of the I
world, have I
mer • cy up - |
on |
us.
i ~^—
7. Thon that takest away the |
sins • of the |
world, , . re- I
. . .ceive | . . our. prayer.
GLORIA IX EXCELSIS. Concluded. 169
m
Thou that sittest at the right hand of . . . . |
God • the | Father, | have | mer - cy up - | .... on |
i
9. For thou I only •
art I holy, I thou I on- • ly I art • the I Lord. I
10. Thou only, 0 Christ I with the ,. . | Ho- • ly |
Ghost | art most high in the .. |
glory •
of | God •
the | Father.... | ... A-
-pry
166 ' TE BEUM LAUDAMUS. No. 1.
1. We praise thee, •
O God! I we acknowledge thee • to be * the Lord.
5. To thee all angels cry • a- loud | the heavens, atid all • the powers • therein.
6. The glorious company of the apostles . praise thee, I the goodly fellowship of the pro- •
phets praise thee.
8. The Father of an iiifi- • nite Majesty \ thine adorable true, •
and on- • ly Son.
IS?;
2. All the earth doth thee the ,

lasting.
I
4. To thee cherubim and .... phim, coii- ly do cry.
I
7. The noble army of martyrs praise . . . . thee the holy Church, throughout all the world,. doth knowledge thee,
I
9. Also the Ho- • ly Ghost I
the Com- fort- .
IS—
EEfe
». H0I7, ho-Jy. ho - ly. Lord God of Sab • a - oth, heaven and earth are full of the ma-je« - ty thy
Concluded.
J/ai« VoietK. 10. Thou art the King of last-

•
ing Son •
of the Father.
female Voice». 11. When thou tookeat upon thee to de thou didst humble thyself to be. of a virgin.
Male. 12. When thou hadst overcome the. .. thou didst open the kingdom of. heaven •
to all be- lievers.
Female. 13. Thou sittest at the right glo- •
ry of •
the Father.
^fale. 14, We helieve that come to be our Judge.
Female. 15. We therefore pray thee '.
whom thou hast redeemed with •
thy pre- ciouB Wood.
Male. 16. Make them to be numbered glo- •
ev- lasting.
Female. 17. O Lord, save thy people, and lift
•
them up •
for ever.
,
Male. 1 8. Day by day we and we worship thy name ever. world •
with -
end.
Female. 19. Vouch- this
•
day with- •
out sin.'
Male. 20. O Lord, have mer- - cy up- •
on us.
Femal*. 21.0 Lord, let thy mercy 18 in thM.
To b« sung alternately by male and female voices. For the male voices play the Treble an octave lower, the female voices play and sing the Bass on octave higher. If thsra i
in all the parts, let the air be sung alternately by Tenor and Soprano.
O Lord, in thee, in thee hare I trusted; let nev - er be con - founded, — jet me ner - or be con - - found - ed
1S8 TE DETJM LAUDAMUS. No. 2.
pjneiicin— una: 3
We praise thee, O God, we acknowledge thee to be the Lord, all the earth doth worship thee, the Father ey - er - last :; To thee all angels
;— J i p—i • p r. • »— i
—
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r I
It ~~r~r~#^ p— »
fi ——— i i
cry a - loud, the heavens, and all the )ower3 therein ; To thee cherubim and ser - aphiin contin - ually do cry, Ho - ly. Ho - ly.
i ^ i .i i
IE DEUU. Contmued. 159
at :i=i:
3^
Heaven and earth are ma
3=J
Ho - - - ly Lord God of Sab - a - oth, full of the - jes - ty of thy great glo - - ry.
it
The glo - rious com - pa - ny of the a - poa - ties praise thee ; the good - ly fel - lowship of the prophets praise thee ;
5 the
r r
JL A ^
160 TE DEXJM. GontinuecL
no - ble ar - my of mar - tyrs praise thee; the orld doth ac • knowledge thee. the father of
-r~
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p
*
J- J 1 • ^ 1 b-^ 'I TT2
in - fi - nite ma - jes - ty, thine a - dor - a - ble, true, and on - ly Son; al - bo the Ho - ly 3ho8t, the Com - fort - er.
f ^ ' F^ f 2 -i ^
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Thou art the King of glo • ry, 0 Ch.i t, Tliou art the ev - er - 1 ist . ing Son of the Fa - User. When thou tookest up oa thee to de •
- — > -^ -H ----- —r-'f-»- -t -m-m H—p-r-f

^ 1^. 1 _
liv - - - er man, thou didst hum - ble tl y-self,' thoudulsthum-blet
^ •
=
BENEDICITE OMNIA OPERA DOMINI.
1. O, all ye works of the Lord, bless . ye the Lord, praisehim, and magnify hira •
for ev - er.
5. O. all ye powers of the Lord, bless , ye the Lord, praisehim, and magnify him for ev - er.
9. 0, ye winds of God, bless ye the Lord. praisehim, and magnify him for ev - er.
13, 0. ye frost and cold, bless ye the Lord, praisehim, and magnify him for ev - er.
17. O, ye liglitniiigs and clouds, bless. ye the Lord, praisehim. and magnify liim for ev - er.
21. O, ye wells, bless ye the Lord, praisehim, and magnify hira for ev - er.
25. O, all ye beasts and cattle, bless . ye the Lor.l, praisehim, and magnify him for ey - er.
29. O, ye servants of the Lord, bless . the Lord, praisehim, and magnify him for ev - er.
82. Glory be to the Father, aud •
to the Son, and to the Ho- • ly Ghost
m
2. O, ye angels of the Lord, bless ye •
the Lord, praise hira, and magnify him •
for ev • er.
6. O, ye sun and moon, bless ye •
the Lord, praise him, and magnify him • for ev - er.
10. 0, ye fire and heat, bless , ye •
the Lord, praise him, and magnify him • >>for ev • er.
14. 0, ye ice and snow, bless ye •
the Lord, praise him, and magnify him • for ev - er.
18. 0, let the earth bless •
the Lord, yea, let it praise him, and magnify him • for ev - er.
22. O. ye seas and flood-!, bless ye • the Lord, praise him. and magnify him •
for ev - er.
J6. O, ye children of men, bless ye •
the Lord, praise him, and magnify him •
for ev - er.
30. O, ye spirits and souls of the righteous, bless ye • the Lord, praise him, aud magnify him •
for ev - er
4
BENEDICITE. Concluded.
r SNOR SO LO.
3 O. ye heavens, bless ', Lord,. ,. praise him, and magnify . him for ev - er.
7. 0, ye stars of heaven, bless Lord, . . praise him, and magnify . him •
for ev - er.
1 1.0, ye winter and summer, bless Lord.... praise liim, and magnify . him for ev -
er.
15 O, ye nights iind days, bless Lord,... praise him, and magnify . him •
for ev - er.
19. O, ye mountains and hills, bless Lord,... praise him, and ra ignify . him for ev - er.
23. O, ye whales, and all that move in the waters, blesa Lord,... praise him, and magnify . him *
for ev - er.
27. 0, let Israel Lord,... praise him, and magnify . him for ev • er.
f-f-
BASS SOL O.
r- !--
i
4. 0, ye waters that be above the firmament, bless Lord,... praise him,and magnify him for
8. O, ye showers and dew, bless Lord,... praise him,and magnify him for
12. O, ye dews and frost, bless Lord,... praise him,and magnify him for
16. 0, ye light and darkness, bless Lord,. . praise him,and magnify him •
for
20. 0, all ye green things upon the earth, bless Lord,. . praise him,and magnify him for
24. 0, all yo fowls of the air, bless Lord,. .. praise him,and magnify him foi' ev - er.
28, 0, ye priests of the Lord, bless Lord,... praise him,and magnify him for ev - er.
81. 0, ye holy and humble men of heart, bless Lord praise him,and magnify him for ev - er
S3 As it was in the beginrong, is now, and Shall be, world without end
16S JUBILATE DBO.
No. 8.
3
1. 0 be joyful in the Lord I all •
ye lands; serve the Lord with gladness, and come before his I pres- •
ence I with song
2. Be ye sure that the Lord he •
is God ; . it is he that hath made U'^, and not we ourêlve-:,
|
j
we are his people. | and •

the I sheep of •
his | pasture.
8. O go your way into his gates -with th.inksgiving, and into his I CDurts'witli he thaflkful unto him. and I speak •
good | of • his nan)e.
4. For the Lord is gracious, his mercy is I
ev - er - lasting. and his trutli fndureth from gt-ne- |
ration •
to gen- •
er- |
ation.
6. Glory be to the Father and • to the Son . , . and to • the Ho- • ly I Ghost
I
6. As it was in the beginning, is now, and |

ev- * er sliall be, world with- |
out •
end. A- men.
No. 9.
— ^ —sr'-
I I I I
I
I
'
J
No. 10.
A 5_ 9_^,.
^ - fS?-
No. 11. .VALSH. 169
170 TUBILATE DEO. No. 2.
0^6 1 0-\ — 1 '

1— i
1—i- -J— — t
>— 1
i i
!- H ^l-H — ^-n' i~F
.J. .J~^
0, be joy - ful in the Lord, ^11 ye lands I Serve the Lord with glad - ness, serve the Lord with glad - ness, and
F-^ pj^z-M=^ iij^—-

tq-i> zzrE -^-f— -e^ r ; :
r ,
"
come be - fore his pres - ence with a song. Be ye sure that the Lord he is God, it is he that has
=^ tip «r—rl-
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-pi =^ ^
!
JUBILATE DEO. Continned. m
3:
mi
made us, and not yre our • selves we are his peo - pie, and the sheep, ^the sheep of his pas - ture.
# — i-
-| » r • » p I r r p p
-J J-
O, go your way in • to hk gates with thanks - giv - ing, and in - - to his courts, his courts with
rtf 1
-f — m
174 BENEDICTITS.
No. 15. FAftRANT.
1. Blessed be the Lord God •

of Israel, . forhe hath visited, and •
redeemed •
his people
2. And hath raised up a mighty sal- va- lion for us, . in thehouse of •
his ser- •
vant David
S. As he spake by :he mouth of Iiia ho ly prophets, which have been . since the world .•
he -
gan;
4. That we should be saved from •
our enemies. and from the hand of all • that hate us.
5. Glory be to the Father,
As it was in the beginning, is now, and
and •
to the Son. . . and to •
•
the HO. .
„ Ghost.
6. ever shall be. out end. men.
i76 E7RIE ELEEISOX. Xo. 1.
#3=
Lord, and 3ur hearts to teep tbis law.
The Kyrie Eleeison may be chanted to any single chant, by dividing the words thus :— Aorrf, Snoe mtr
|
• cy up- | on us, I end in- | elina • our heart* • to |
keep • thit | /aw.
For the Tenlh Commandment Lord, have mer • ey upon us, | and write ail thesi thy lavs in our
:
| [ |
hearts, • xotbe-\ seeeh thee.
After the Tenth Commandment.
25 4* #' "2? 23 # 9 2?
Lord, have mer - cy up • on and write all these thy laws in our hearts, we be - seech thee.
p . • p
^ • p p 0
p
p pi ^ I • . »
p .p.
i
178 GLORIA TIBI. No. t GLORIA TIBI. No. 2.
The Gloria may be mag to the last clanie of any Chant, dividing the words thus :—
O/ery \ it • tt |
thet, • O |
Lord.
TRISAGION.
llierefore with angels and archangels, and with all tlie com • pa ny
• of heaTcn, we laud «nd mag • ni • fy thy glorious name, ev - cr - more praising
TRISAGION. Concluded. 179
thee, ev - er praising thee, and say - ing, Ho - ly I ly I Ho - ly I Lord God of Hosts, beaven and
-(S>
^
0 0 ^ J J i i
earth are full, are full of thy glo • ry. Glo - ry be to thee, 0 Lord most high^ A • men.
—J, —J—^.—!bp— ^p:^zi-^ ^h^—h-.-h ^-.-^ — — J— ^-^ J ^—r- ^- —^ ^~

180 CANTATE DOMINO.
No. 22.
G>'-
0, sing unto the

With his own right hand, and iih
mi Lord a
Im-
•
new
Iv
for
hath he
The Lord declared hi!4 sal- vat ion, . liis riljhteousiiesshath he openly shewed
He hatli remembered his mercy and truth toward tlie house •
of Israel. . anil all the ends of the world have seen tlie sal-
Show yourselves joyful unto the Lord all sinij re-

Praise the Lord upon the h:.rp.... sing to the harp with a
With trumpets •
and shawjiis. O. .'-how yourselves jo} ful be-
Let the sea make a noise, and all that there- the round world, and
Let the floods clap tiieir hands, and let the hilU he jny-
ful together he- fore •
the Lord. . . earth,
With righteousness shall he judire •
thl! world. . . equity.
Glory be to the Father ami •
to the Ghost
As it was'în the beginning, is now, and ever shall be. orld with- men.
No. 23.
'
II
I I I'll
I
I
I
'
I
J J
I
' I
-t5>-
J 'J ' I 1
No. 24. BATTISHILL.

183 BONTJM EST CONFITERI.
No. 29.
1^: 41
1. It is a good thin^ to give thanks un- I to • the Lord and to sing praises unto thy I name, •
O 1 Most I Highest
2. To tell of thy lovingkindness early in • the morning. and of thy truth • in the |
night ... season.
3. Upon an in:,trument of ten strings, and up-. | on • the Kite. ... upon a loud instrument |
and • up - on the
•
|
harp.
4. For thou. Lord, hast made me glad I through •
thy works,. and I will rejoice in giving praise for the oper- a- • tions ( of •
thy |
bands.
6. Glory be to the Father and •
to the Son, . . and to • the Ho- •
ly Ghost;
6. As it was in the beginning, is now, and . . . . | er- • er shall be, world without • end. A- I mea
No. 30. MORNINGTON.
lilii -i —
No. 31.
No. 32. -MYTH. 183
No. 33.
lib:
No. 34. BECKWITH.
:
'
r '
'
111.
in
No. 3S.
'
,
I* 5^
uu - to thy name, 0 Most High - est; to tell of thy lov - in^ kind - ness ear ly in the mom - ing.
*
BONTJM EST CONFITERI. Concluded. 187
Fa - ther, to the Son, to the Ho

m
:
— ~
was in the be • gin - ning, is now, and ey - cr shall be, world with - out end. A • men.
-f ——
r r
f^*-^- f —— r
r-'-.z
— — —f— r
r
— -? f — r
"^-p
r-'-'-f f^-f—^
188 DEITS MISEREATUR.
No. 36.
1. God be merciful unto .
2. That thy way may be

5. Let the people praise. . .
4. O, let the nations rejoice .
6. Let the people p

6. Then fhall the earth bring
7. God
8» Glory be to the Father
9. As it was in the beginning,
No. 37. BATTISHILL.
T 1
No. 38.
Xo. 39. JACKSON. 189
'
1
'j 1 I J J J ^
—p & f-p^ 1~ — —r ^ — r'Y^~'^~r^~'^~i— — —^ I — ——
i ——
I i' —
i
No. 40. HINDLE.

AJi# 1 . ,
... . 1 ,
! . ! , ,
. ! . . . - ,
1 ! 1 1 .
No. 41. AYLWARD.

190 BENEDIC ANIMA MEA.
No. 43.
Praise the Lord 0 my and all that is within me praise •

his ho- • ly name.
Praise the Lord 0 mv and for- get •
not all •
his benefits..
Who fortjiveth all •
thy and heal- •
eth all
•
thine in- firmities.
Who faveth thy life
•
from de- struction, and crownetfi thee with mercy and lov- ing kindness.
O. praise the Lord, ye angels of his, ye that ex- eel in strength, ye that fulfil his commandment, and hearken unto the voice •
of his word.
•
0, praise the Loril. all ye, •
his hosts, . . . ye servants of his, that do '
his pleasure.
0, speak good of the Lord, all ye works of his.
in all places of his •
do- minion ; . praise thou the. 0 •
my soul.
•
Glorjr be to the Father and •
to the Son and to the Ho- • ly Ghost
As it was in the beginning, is now, and ev- • er shall be, world with-. , . out '
end. A- men.
<92 BENI3)IC ANIMA. No. 2.
Praise the Lord, my soul, and tint with me praise his ho name.
111^
all is - in - ly Praise the Lord,
^ I I . , ! 1 .
0 my soul, and for - get not all his ben - e - fits, — who for - giv - eth all thy sins, and heal - eth
I T -?-
J- 1
.2 ,2,
4
BENEDIC ANIMA. Continued. 193
raer-cy and lov - ing
ye an - gels of his, ye that ex •

BENXDIC AiriMA. Concluded
Glo • ry, Glo - ry be to the Fa - ther, and to the Son, and to the Ho • ly Gho3t ; as it was in the be - gin - ning. ia
J j i
now, and ev • er shall be, — is now, and er - er shall be, — is now, and ev • er shall be, world with • out end, A • men. A - - • mea
J-^—l ? i-J-f-ji— r~^p Lp—^-Lh>

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— „;
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.,r7
196 EASTER DAY.
No. 50.
P-jg |g
- P- (g \
^- I
J I
1. Christ, our Passover, is keep the feast

2. Not with the old leaven, neither with the leaven of. malice •
and wickedness, . but with the unleavened bread. eerily and truth.
8. Christ,being raised from the dead dieth • no death hath no more do- . . . him.
4. For in that lie died, he died unto but in that he liveth he . . God.
5. Likewise reckon ve also \ ourselves to be dead indeed uii- • to but alive untu God throujch Chiist •
our Lord.
6. Christ is rioen from • the dead and become the first . . fruits of ihem • tliat slept.
7. For since by nmn • came bv man c.ime also the i rec- • tiun of •
the dead.
8. For as in .'. Ailuin •
all die even >o in Christ >-hall. all • he made •
a - live.
9. Glory be to the Father ;in 1
•
to tlie S.n and to • tlie Ho- - ly Ghost;
10. .As it was in the beginning, is now, and. ev- • er bhall be world with out '
end. A- men.
OFFICE OF INSTITUTION OF MINISTERS 197
No. 53.
=5:
j. J-
O praise the Lord ; biud ye the name •

of the Lord . prai'ê it. O ye ser- •
vants of •
the Lord.
Ye lliJit siancl in the hou-e •
of the Lord. ill the courts of the lioti-e of God.
0 pnii-e the Lord, for the Lord •
U O sini;pnii-es unto his mine •
.
'
for it
•
is lovely.
1 he Lnni i^ trracious •
an I loll;; siifFei iiifj and •
;.f' great •
goodnesa
The Lord I" lovinsr 'into ev- •
erv inan, . and hi- mercy is ver all
•
his works.
All works
il)v priii-f thee. •
O' Lord, . . and thy saints •
give thanks un - to thee.
The Lon! .loth build •
up Je rusalein. and (jaiher together the out- •
casts of •
Israel.
He lienleth iho-ê ihat are b oken •
in heart . and giveili medicine •
to heal •
their sickness.
The Lord's delight is in them •
tliat fe.irhim, and put their tru-t
•
his •
mercy.
Praise the Lord 0 •
Je -
ruâlem. praise thv God. •
0 Zion.
For he hath niiule fa<t the burs •
of thy and liath blessed thy children within thee.
He m;ikeih (x-nce ill • ihv and tilleih thee with •
Ihe flour •
of wheat.
He i- our (lod even tlie God of wiiom Cometh • sal valion (Jod is fill- LonI bv whom • we es - cape death.
U God, wonderful art thuu in thy .... ho- • ly places, even the God of Israel, he will give strength
•
and power unto his peo- pie. Blessed •
be God.
G'ory be to the Father and •
to the Son and to thfl Ho. •
ly Ghost;
•
As It was ill the beginning, is now, and shall be, wot Id without end. men.
THANKSGIVING DAY.
No. 55.
1. Praise ye the Lord ; for it is good to sing praises un -. to •

our God. for it i^ pleasant • and
2. Tlie Lord doth build • up Je - rusalein, he gathereth together the. out • casts
3. He healetli those that are broken • in heart, . and bind- •
eth
4. He ciivereth the heaven with clouds, and prepareth. rain •
for the eiirih, . he maketh the gra^s to. . grow • up -
6. He giveth to the beast •

his food, . . and to the voting
6. Praise the Lord, 0 •
Je- rusalein, praise thy God. •
1. For he hath strengthened the bars of •

thy gates, . he hath blessed • thy
8. He maketh peace •
in Uiy borders, and filleth thee with the.. fi- •
nest
9. Glory be to the Father.' and to the Son, ... and to •
the
10. As it was in the beginning, is now, and shall be, world without • end.
No. 56.
No. 67.
BURIAL OF THE DEAD.
No. 58.
3^
TiOrd let me know mine eml, and the number of •
my days,. . . that I may be certified how. . . have live.
Beliold thou liiist made nw days as it were a span long, and mine
!ige is even as nothing in re- spect •
of and verily every man living is. geth- •
er vanity,
For man walketh in a v<iin shadow, and disquieteth himself • in he heapeth up riches, and cannot who * shall gather them,
And now, Lord what is •
my hope?... Truly my hope thee,
Deliver me from all *
mine of fences. . and make me not a re- buke ' un • the foolish.
Wht-n thou with rebukes dost chasten man for sin. thou makesi
)iis beauty to consume awny. like as it were a moth fretting •
a garment every man . there- •
fore but vanity.
Hear my praver, 0 Lord, and with thint ears consider •
my calling. . hold not thy. peace •
. . at my tears.
For I am a stranger with thee and • a sojourner, all my... fa- thers were.
O spare nie a little, that I may re- cover •
my strength, before I go hence and • be no more seen.
Lord, thou hast been • our refuge, . from one gene- ra- • tion to • an -
other.
Before the mountains were brought forth, or ever the earth and the world • were made. . . thou art God from everlasting, and world • with -
out •
end.
Thou turnesl man to • de- struction, again thou sayest. Come a- . .. gain, •
ye ciiildren •
of
For a thousand years thy sight are
in but • as yesterday, seeing that it is past as • a watch •
1 the night.
As soon as thou scatterest them they are even sleep, . . and fade away sudden- •
ly like • the
In the morning it is green, and grow- eth "p; but in the evening it is cut down, •
dried up.
For we con>ume away in thy • dis- pleasure, and are afraid at ihv wrath- •
ful nation,
Thou hast set our mis- deeds before thee, and our secret sin-" in the li-ht • of counrenan'a
For when thou art angry, a'l our days are •
gone .... We bring our years to an end, as it weie •
a that i.H told.
The days of our years are threescore y«'ars and fen and ihough
;
men 1* so strong that they come to fourscore years, yet U their

f-trength then but labor •
and sorrow, . . 80 soon, passes it i way, •
and we • are gone.
, So teach us to number •
our that we may ap- ply • our hearts •
unto wisdom.
Glory be to the Father and •
to the Son and to • the Ho- • ly Ghost;
As it was in the beginning, is now, and ev- •
er shall be,. world without * end. A-
No. 59.
-G>-r x~Cf f-
LAUDATE DOMUnJM. 201
No. 60.
#5:
L_p p L ^_
1. O praise God in •
his lioliness;. . . . praise him in the . . . . firma- •
mont of • his power,
2. Praiiii; li'm in his no- •
ble acts; praise him according. to • his exoi'l- •
lent ^reatnesa
3. I 'raise him iti tlie sound of •
the trumpet ; . . prai.'-e him upon • the lute • and harp,
4. I'rni-e liim in tlie cymbals •
tirui danci'^ ; . . . . priii-ê him upon • the strinijs •
and pipe.
6 Prai-e liitn upon the well- • tvitied f\ mb ils . . . praise him upon • the cvnibals.
6. Let ev. ry thin!< that •
hnth Iirealli Lor.l.
'C't''
7. Glory be to llie Father and •
to the S<HI and to • the Ho. • ly Ghost;
8. As it was in the beginning, is now, and shall be world without • end. men.
m SENTENCE. No. 3. " The sacrifices of Goii. 213
-3"-
5
The sac - ri - fi - ces of GoJ are a bro - ken spi - rit: ken and a
•I
0 GoJ. thou wilt not
-j -f^r r- -r-f y^. -L, .» _: -1-^ , __t:^_-__l_

.J_j!_ . i 1^- ^ L J_ J -1
-r-
SENTENCE. No. S. "Repent ye."
Re - pent ye, pent ye, for the king - dom of heaven is at han*,- Re • pent ye,
m ^
~ w
Dent
pent ve.
ye, for the king
Icincp - dom cf hearen is nt hand.
hand, — Re • nent
pent ve.
ye, re • nent
pent vc.
ye, ro - Dent
pent ye.
ve.
216 SENTENCE. No. 6. " If wo say that we have no sin.'
B—i-
If we say that we Vfe de - ceive ou truth is not in m: if we con
fees our sin, Ood is faith - ful, and just to for -give us our sin, and to cleanse us from all un - righteousness.
"The Lord is my Shepherd."* Continued. 219
:=:f.-:?:
wa-ters of com -fort, in the paths of righteonine?8 for liis name's sake, fur his name's sake. Yea, though I walk in the
r# ——C-— r-;^=; ^-r^ r~ r-^-—- r-,Î^lbzz=:

m
val-ley of the shadow of death, I will fear no e • vil, for thou art with ine, thy ro«l and stafif com - fort me.
* tliyrodand ^
220 "The Lord my Shepherd."
mm
is Concluded.
it CHORUS. , w.
lii.l-le - lu-.i>.li, 1ml le - lu - jMi,
Hal - It; - lu - jrtli, Iial - le - lu - jali, lial-le - lu - jah, lial - le - lu-jah, liiil - le - 111 - iah.
I
! I , r^^ , ^ >
Hal - le - lu - jah, hal - le - lu - jail, Iml le - lu -

),al le - lu - jab.
Hal - le • lu - Jah, hal - le - lu-jah, hal-le - lu • jah, lial - le - lu - jah,
hal-lc - lu-jah, hal-le - lu - jah, hal - le - lu-jah, A - men. A -men. Hal-le - lujah, hal-le - lu-jah,
lu - jah . . Hal - le - hi • JmIi, hal - K- - lu jah, A men - ' I I i
I ~
l-U - lu -iab. A-mea Hal 1« - lu - jah. halla - lu-jah. 1
ALPHABETICAL INDEX.
Pape.
Abridge C. M J. Smith . Carey ...11. ?, Carerj. 99 Epping L. M..
A'laiUB C M T. Ad-tMH. Oarleyle . ...CM ItaveriKvroft 23 Evening Hymn L. M.. . . . .7'allis . . .
AliVeton . . . .L. M BeaMeed.. Carlisle .S. M

. ..Lorkhart 86 Exniuuth II. 1.. ...F. W. W..
A.i.lrew^ .U M //. W. 0.. Cecilia, St . ..C M HniM : 9
, . L. M Cro/l Cheslertielil , . . C. .VI Haweix 6 Farrant C. M Farrant..
AUjitiiieiilig.. . .0. M A/uZfirt . . Cliimes.. . . ..IV. 3 tlorn 130 Ferrar L. M H.W.G..
Aiii.V, St .0. M Vroft .... (Jholiiiondelev ,..III. I 107 Frome CM Bond.. .
Atisleiii. St.. . ,.C. M T.G Christ Church ,..S. M S S. Wesley 79

Anil.ia C. M Ford Christina-'. ..CM Handel '.
. . 13 Gabriel, St.. L. M Haydn 73
Aine II. 3 Arne Clemens .. ...CM H.W.G 37 Geer CM H.W.G 40
A^tnn II. > Clifton... ,..C. M Wexley 48 Germany ... L. M Beethoven 63
Austin. Si L M O. Loder. C.let ..CM H.W.G 12 fteorges, St CM .St irt... ... 47
A.'cbrid'e C. M. Clarke Comber . ...S. M H W. G 84 Glenelg III. 1 H. W. G. ... 110
Compton . .C. M Hartnnni/ bit T.G... 2 Gorton C. M Harrison. ... 24
CM
,
n.lc'i M
,L. ...Flint Coil par.. , . . C. M Scotch Psalter 14 Gower '
15a.i-or •CM Raven^croft Coxe .... ,. .III. 1 Afozart 109 Gregorius, St CM, Tallis.. .
U,.iiii . .L. M Arr. by GauntlHt.. Criicitixiun . ..CM H.W.G 7 Grostete L. M H.W.G.

BecUwitli ..Ill 1 Cuthbert, St. ,..L. M H.W. G C6
I5c I.-. Si ,.L M H. W. 6= Harmer If. 8 G. Loder. 106
IfeJf.rd ..C M Wheal Divid's, St. ,.C. M R/ivenxcro/t . . 21 Heber IV. 4 Pleyel 132
lie.cHeld.... ..C. M Tucker Davspritig , . CM Hawkins 44 Helen's, St III. 1 Beethoven 118
Bel hizzar... ..L M Shore Deep Rive ..L.M...,...W.J.Babcock. 78 Heiiwick II. 2 Arr. from Havergal. 94
Ik- inTi.-n . . ..O M U W.G De.lhim.. , . CM Gordlner 28 Higligate L. M Davison 65
B ...mi .CM W.G
fJ. Diti-liliiig. .C. M Moniington. 6 H..l.art C. M H. W.G 31
Bevel id ..II. 5 H \V. G Dovedale. ..Ill 1. ,// W. G 119 Hodnet II. 6 Thalberg 104
IJisliojtlKH'je . M .U Clarke Dolvlaiid. ,.C. M.. ../. D'nv/and. 1592. .. 8 Horaeward.-i III. 3 Ogden: 123
B 'i iie ...... ..CM // W.G Dovvnes .. ..III. 1. . L T. Dow lies 115 Home CM H.W.G «
lira'iiHtoii S. M.. .H W. G... D. ew . .L. M.. .S. Lenvh 64 Hundredth Psalm . .L. M Claude le Jcune 51
B e bv L. M. .Lonoff Dundee... ,.C. .M.. .Scotrk /'Salter 27
B ev.i.t II. .H. W. G... Dui.Iuce. ..L. M . .T. y. Chubb 72 Ilkley .II. 1. 90
B i.le . S! S. M., . How ird. . b.Oe.ise . . . . .III. 1, . Ogden . . . 114
S. M.. .Tuekerntan Eistbam .0. M.. .K Taiih Ii e.iajus. . . .11. 4 . . Havergal 102
B ir i:i^ton C M.. .Bnrrown . . Eden. . . .CM. .G. Lodt, l.ish .C. M 2
Burtou C. M., .A. W. Kltbaiu . .CM,. Ivy Bridjje. L. M. A'imllo 62
222 INDEX.
James's, St CM OourtvUle. Navland CM.. . . Jonex. . . . .. 20 St. James's C M.. Courtville 22
JuxoM III. 1 H.IV.G.. NeU.n III. 3. .H. W. G. ... 125 Si. xMa-miv C M ...Clark .. 14
Nuot's, Sit. 1. M . ..H. ir. G. St. Alarlin s C. M 'J'nuxur ,. 3
Ken C. M.. .//. W. G.. Ne^vark S. M . St. Mary's CM lilnw
Ki.lclt!rininster . . . .S. M.. .Baxter. . . Ni)rti)ii C M M. Mai'thew's CM Croft
Kii kdale S. M.. .S. \VM,e. Norwood C M.. 24 St. Mu lmt-l's CM M
St Neot's L. M H. \V. G........ 70
I/,inc:i9ter ]j, M. Ola/. St S. M.. ..Ht,/,!n 86 St. Olaf S M Haydn 8S
LîlillUT., .0. M //. W. G.. 01ave's,St L M.. .U.iilislu/l 57 St. Olave's L. M BattUhill 67
Lhu>1 . .. , . .0. M .H. W.G Oi ler U. M.. . G Loder 39 Sr. I'ancra* E. M HiuUon 57
Leicester. ..If. 3 Old C..inin(.n Tun«.0 M . . .D;wi<ii>4 2y St Paul's , .0. M Harmony by T. G. 44
Li'is;liion . ..S. M .H.IV.G Old Hundre>rili L M . ..liar, hif l)owlaiid. .. 61 St Stephen's CM 43
Lew en.. . ,.C. M Davff Old lii4ili IV. I ..lUmld 129 Sacranient L. M G. Lode' 70
London New. . . ..CM . Uro/t Oxford.. L. M.. 65 Sacntice. S. M Dyke 8-2
L.wtli ..L. M . Noijen Sal vai ion L. M MendeUsohn 55

L'l liii-jtim ..C M . Friizer Piuicras. St L. M.. .llmUon 57 S.-U a L. .M Mozart 53
lû'liei's Hymn.. ..[I. 7 . Luther. Paul's. St. C M.. .H>ir. hft T. G 41 Symour III. 1 Weber 112
Lydiii ..CM . Leach IVckain L M .Stolhe'rt 63 Sli'ul .nd S. M Stanley 81
P..rtl-,iiid 111.3. .// W.G 126 Shropsiiire CM I^ratt 26
Made-ley in. 3 Handel...'. 122 Portsmouth II. 4.. . D'lrwail lou Sile.-.ia 111.3 Seb. Bach 125
Mii^dalen L. M .Jarvis 71 Preston IL 2.. .Handel a3 Solitude III. 1 L. T. Downeii 115
Matjnus St CM Clark 14 Solnev III. 3 Sehulz 126
Manchester CM Wainwright 30 Randal CM.. .Randal 5 Slatford CM Wainwright 34
Mînlieim CM Seb. Bach 50 Rathbun IIL 3. .J. Con key 123 Sianhope IL \. H.W.G 88
Maii.ali CM 36 Refuge IV. 4. .G. Loder 131 Stapennill S. M Clarke 81
Mant III. 3 Spanish Melody ... 124 Rep'oM C. M.. .VanSrhri/t 17 Stonefield.. II. 3 Altered fr Stanley.. 98
Mai i.ier's IV. 5 G. Lnder 133 Kesignatioa I V. 2 .G Lnder 180 Strasburg... C M. Seb. Bach 49
Marll.i.roiigli L M Har. PerfeHa 50 Rest L. M .Chard 62 Sunmer L. M H.W.G «2
MarOA- . . M
.0. Old English Tune. 27 . Ridley S. M.. .H.W.G 87
Martin's, St C M Tarnmr 3 Kidfêway L. M. 77 Talbot .IIL 3... .H. W. O .. ... 127
Martvrdi.tn CM 34 Ro.-lie«ler L. M . 69 Taylor .0. M ... .A. Pettet.. .. 45
Miirv\ St CM Blow 28 Rockingham L. M .Harrlnglon 58 Thornton. . , .S. M.... . . 85
Mai lock Ill 1 //. \V. G 108 TintJL-rn Abh .0. M.. .. , . . Novella . 48
Mallhew'ti, 8t CM Croft 32 St. Ann'-: CM.. . Croft .C M . . . . .Griffg .. 15
Mear CM 20 St. AiiM lm C M.. .T.G TottenSiani . .C M . . ...T.G .. 41
M,'<ltield C M.. . .Mother 1.5 St. Au-tin L M.. .G. Lod-r Trent .C M. .. ...// W.G :.. 47
Melc.nihe L. M.. . .Webhe 53 St. Bfde L. M.. .// I K G Tiiiimph .111.1... ...H W.G Ill
M.-ssiali CM... .Handel 38 S'. Bridt-'s S. M,. .Howind .L. M . .. ...Barney 6S
Islicliaern, St CM... ,
3ti St Cfcilia U. M.. .Handel iinihain Green . . .0. M.. . . . Ddvixon
. . 16
MilMian L. M... . Bee/ li oven 75 St. Ciitliliert L. M . W. G . . 66 utbury S. M ...H.W.G 80
Mona III. 1. . .H W. G 114 St. David's........ C M.. .Ravenscroft 21
Miiniiiiinih L. M.. .E. J Loder CO St. (Jabiiel L M.. .Haudn..'. 73 Vernon., ..in. 5 Novella 128
J!onûl<lalf III. ! Ogdn, .. . . . 118 St. Oeorjje'- CM .Smart 47 Vincent. .. .III. 1 Novello 117
Morning Hynii. L M iSnrlhelcvK. . 74 St. (Trf;roriU3 0. M . 23 Viner. ...L. M W.L. Viner. 19
Mount SiuaL IL 4 A'eiiko/iim. . 101 St. UeWs IILI. .Metthwien ,, Uii
ALPHABETICAL INDEX. 223
Wixlthamstowe L M R Loder
J. 62 Whithington S. M Barlow 85 WIngrfield TTT. 1 Beet\oven 116
Walton L. M . Arr. by Go»» 71 VVilhehn L M Ilrz 67 Worship IJl. 1 G. Loder.. 119
W;ireli;ira L M. . Knapp 66 Willitigtoii L. M William* 5'J VVorthington iH. 1 Weber. 112
Warwiik C. M StanJei/ 13 Wilson [|. 3 H. W. G 97
Weslev L. M Beethoven 61 Wiinborne L. M Whittaker 76 York CM John Milton 11
Wheeler IH. I WheeteT Ill Wind^-or CM. Scotch Pmller 29
Wliit«hou3c CM Whitehoiue. 3 Winchester CM Playford. 21 Zurich. CM Gennan Choral 22
PECULIAR ADAPTATIONS.
I45t]i Hymn. " Rise my soul." 134 I'.Hh Psalm. "Erect your heads." Miller. 139
15'2il Hvnin. "The Goil of Abraham praise." H.W.G. 136 16th Hymn. "Salvation. 0 the joyful sound." Madan. 140
i;<Oth Hymn. " Pe-ice, tr.mlileil coul" Mauinghi IS 6 23d Hynjn. " (trace,
'lis a charming sound." Clarke. 141
54tli Hymn. "Hail (o the Lord's anoiiiteil.".. 137 18ili Psalm. "The Lord himbelf, the mighty Losd." Calcoit. 142
44th Uy mn. " Mercy and truth." .'. ..Bennett 138
INDEX TO THE CHANTS, &c.
Veniie Exultemus Domino. Chants, Nos. 1 to 7. 144 Benedic Anima Mea. No. 2 //. tV. O. 192
Gloria Patri. No. I .H. W. G. 146 Ea^tfr Diy. Chants. N.w. 50 to 62 196
Gloria Pat, i. No. 2 H. W. G .. U7 Offict-of In^tituiion of .Vlinisters. Chants, Nin. 53 and 64 197
Gloria Patri. No. 3 .H. W. G. 148 Thanksgiving Diy. Chants, No-.. 65 t.) 57 198
Gloria Patri No. i 149 Burial of the De.id. Chants, No-. 68 an 69 1 199
Gloria in Excelsis. No I .H W. G. 150 Grt'gorian Funeral Anthem. Bles-ied are the dead."
• H. W. G 200
Gloria in Evcelsis. No. 2 .TalliH... 152 Laud.ite Nouien. Chants, No^. 60 to 62 201
'I'e Deiim Laudamus. No. 1 156
Deum L iiidamus. No 2 , .H. W.G 158 Gregorian Chants. Nos. 63 to 70 202
Benedicite onmia opera D.unini t'roin a Gretforiaii Chant. 166 SiiHile Chants. Nos. 71 to 78 203
Jubilate Deo. No 1. Chants, Nos. 8 to 14 168 Penitential ChanUs. No.^.79 to 'j6 204
Jubilate Deo. No. 2 170 Occasional Chants. Nos. 87 to 106 . 206
Benedictus. Chants, Nos. 15 to 21 174
Kyrie Eleeison. No. I .H W. G. 176 Sentence. No 1. "The Lord is in his holy temple.".. .H.W.G 211
Kvrie Eleeison. No. 2 . Lod<-r. . 177 Sentence. No. 2. " Let the words of my mouth.". .'. .H.W.G 212
Gloria Tibi 178 Sentence. No. 3. "'ITie sarriKces of God." .H. W.G 213
Tri-iagion 178 Sentence. No. 4. " Rend your heart." .H.W.G 214
Cantate Domino. Nos. 22 to 28
Cliantii, 180 Sentence. No. 6. " Repent ye." .H.W.G 216
Bonum Chants, Nos 29 to U'o. .
est Oonfiteri. .
.'.
182 Sentence. No. 6." " If we say that we have no sin.".. . .H.W.G 216
Bonuiii est Cuntitori. No. 2 ."
184
Deus Miêreatur. Chants. Nos. 36 to 42 188 Anthem. " The Lord U my Shepherd." U.W. <i.. . ait
Beoedic Anima Mea. Ubaatd. Kôs. 43 tu 49 . . . 190
METRICAL INDEX.
G. U. Farrant 4 Paul's, St 44 Germany 63 S. M. IL 4, or H. M.' "Worthington 112

Abridge 19 Frorae 8 Kamial 5 Grostete 58 Branston 80 Irenûs 102
Adams 33 Geer 40 Kepton 17 Highgate 65 Bride's, St 82 Mount Sinai 101 in. or
2, 7a, 6 lines.
Aiidrewe-i 40 George's, St 47 Shropshire 26 H. indredth 51 Portsmouth Sherwood 121
100
Anîiiering 2.1 Gort,>n 24 Stafford 34 Ivy B.i.lge 52 Carlisle 86 Thankbgiving Hymn 120
Aiiti's, St I Gower 31 St.Stephen's 43 I. -moaster 61 Clirist Church 79 II. 5. or 10s.
An-elm 45 Gregurius. St 23 Stranburg 49 Lowth 69 Comber 84 Beveridge 103 III. 3, or 7s & 8s.
Arabia 10 Hobart 31 Taylor 45 Magdalen 70 Kidderminster 87 Homewards 123
Axbridge 35 Home 6 Tintern Abbey 48 Marlborough 56 Kirkdale 79 • II. 6, or 7s & 6s. Madeley 122
Biiigor 16 Irish 2 Tiverton 15 Mel combe 53 Leighlon 83 Hodnet 104 Mant 124
Bedf.ird SO James's, St 22 Tottenham 41 Mihnan 75 Newark 84 Nelson 125
Bellefield 9 Ken 7 Trent. 47 Monmouth 60 Olaf. St 86 n. 7. Portland 126
Benierton 41 Latimer 33 Turnliani Green 16 Morning Hymn 74 Ridley 87 Luther's Hymn. . . 105 Rathbun 123
Benoiii 46 Laud 4 Warwick 13 Neot'x, St 70 Sacrifice 82 Silesia 126
Bishopthorp 37 Lewes 25 VVhileliouse 3 Olave's, St 67 Shirlaiid... 81 II. 8. Solney 126
B..rMe 43 Lomlon New 19 Windsor '.
29 Old Hundredth 51 S'apeniiill 81 Harmer 106
Burlington 26 LuUingtim 18 Winchester 21 Oxford 65 Thornton 85 in. 4, or 8s, 7s&78.
Ru-ton 42 Lydia 17 York 11 I'aniTas, St 57 Tiitbury 80 ni. 1, or 7s. Talbot 127
Carle vie 23 Magnus St U Zurich 22 Peckham 63 Whithingtun 85 Beckwith 107
OecilLi, St 9 MiinoliHster 30 Rest 62 Cholmondeley 107 III. 5, or 8, 7, 4.
Chesterfield 5 Manlieim 50 L. M. Ridge way 77 II. 1, or C. P. M. Coxe 109 Vernon 128
Christmas 13 Manoah Sii Alfreton 68 R.)chester 69 Exmouth 89 Dovedale 119
Clemens 37 Marlow 27 Angel's Song 54 Rockingh.iin 58 llkley 90' Dowries 115 rv. 1, or 10s & lis.
Clifton 48 Martin's. St 3 Austin, St 59 Sacrament 69 Sianliope 88 Glenelg 110 Old 104th 129
Colet 12 Martyrdom 34 Balclutha 76 Salvation 65 Helen's, St 118
Coinpton 2 Marks, St 49 Baui 67 Selsea 53 n. 2, or L. P. M. Incense 114 lY. 2, or 8s.
Coupir 14 Mary's, St 28 Bede, St 65 Sumner 52 Aston 92 Juxon .\ 1 13
Resignation 129
Crucifixion 7 Matthew's, St 32 Bvjlshazzar 64 Truro 68 Brevint 91 Matlock 108
David's, St 21 Mear 20 Brelby 78 Viner 72 Hen wick 91 Monsiddale 118 lY. 3, or lis & 8s.
Dayspriiig 6 Medtield 15 Cuthbert.St 66 Walthamstowe 62 Preston 93 Moira 114 Chimes 130
Dedham 28 Messiah 38 Deep River 78 Walton 71 Seymour. 112
Ditchling 6 Micljuel's, St 36 Drew 61 Wareham 56 II. 3, or L.M.eiines. Solitude 115 IV. 4, or lis.
Dowland 8 Nayland 20 Dmitiice 72 Weslev 61 Arne 96 Triumph Ill Heber 132
Dun lee 27 Norton 11 Epping. .. . 60 Wilhefm 67 Carey 99 •Vincent 117 Refuge 131
Eastbam 42 NorwooJ 24 Kvening Hymn 74 Willington 59 Leicester 95 Wheeler Ill
E.len 39 Old 0<jmmon Tune. 29 Ferrar 54 Wiinborue 76 Stonefield 98 WiMgdeld 116 IV. 5, or 125.
Sllbam 18 Older 39 Gabriel, St 73 WUsoo 97 Worship Ua Mkriiici's 138
APPENDIX.
INTERLUDES.
C— Common time.
No. 1
--art — —
r-k
1
1
2=; —
1
Kir- —
1 1 1
p 1 ,
No. 2.
-
4
&
— 4--T-J
1
^
r
T
1
-A— —^
P* 1
#,5 ^ ^
^ '
^' 1°
^
No. 3. Tr [pie time.
.
^
^1— —=j=F^ -d j
—
-7
—
—si _S
-«
—
—("S
ffl-
d-
o-
^^^^ -r^Jr^^ 1 1 i J J-i
F-
No. 4.
-J—J--J—\-J-
— f
— g-
s ,
, , .
===-
^ 2?— a- -C <sr
S
r— — N—M--—
No. 5. In G—Common time.
=^
^ (=-
f-
^ J 4-
V — — 1
<s»
L
^
No. 6.
SZE^j^
-G-
-J
-
^
s
I
— a.
1
^ 11
r
^
No. 7. Triple time.
.MMt—
^
1 J . ^ 1-,
-
'Ah-b
r f r 11 > : L
No.
^^^^
8.
-r-r ^ " • f fT
z^; ^ ^ \\
\-a. U — r—L
tiQ. 9. In F— Common time.
r
No. 10. f
1
r — 5
No. a Triple time.
1
1
No. 12.
use
P
No. 25. In E b—Double time.
m
No. 26.
1
^^^^^^^^
No. 27. Triple time.
hi ^ J-t: ij 1
---J=|=z_ |_| ri z|t
No. 28
g p ' g^-g-g-L-gJ g g-L^ |g

'
o p-t-^rgii^- g r
No. 29. IxL £—Conmion time.
0-
Wî^ r '
.
f —P ^
, No. 30. r
!• r
——
_i 1
^
—J- _J—^_
1
\—»
lt_-_ _
No. 31. Triple tlm<».
—Â.^ ^
No. 32.
si- ©1 fi? If-
—
No. 33' Tn A U^-ffAvnni ATI ftvnA
-^^y
=^
»
^h-n
.(S _j
J- ii
G 1
C^-
— —^^1=^-^
1
piEE^ 4--S= E^-t ^

\ 1 l.-j — —2?"
——
rt
P r g f -^--^^
f
'E=^^
b|, p> ^_
P-^
—
No. 35. Triple time.
Mr^-dzTT J. J -i-^=F=^ M-^ .t-l J
?—
^-J-^ '
^B^tr^n = == ^ ^
T «
No. 36.
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GREATOREX^S

Archives of the Organ Historical Society

M2125 .G74 1851

PSALM AND HYMN TUNES, CHANTS, ANTHEMS, AND SENTENCES,

FROM THE BEST STANDARD COMFOSERS:

FOR THE USE OF THE PROTESTANT EPISCOPAL CHURCH IN AMERICA.

BY A. C. GOODMAN & CO.,

« Ib th« Clerk's Office of the District Court of Connectaeat

OTf THE ELEMENTS OF MUSIC.

PART 1. CHAPTER II.

Q. Does not the performance of a piece of music occupy a eertun portioB

By what character are the me-isures separated

A. It may be long or short, high or low, loud or soft. A. Double Measure..

divided A. On the first part.

A. Three. Q. Can you illustrate it by an example in words f

Q. What is the first? A. Ho-ly, 1

A- i2Ay(A7»—treating of the length of tones. Q. What is a measure of three parts called?

Q. How accented ? A. (Teacher singing la) Downward beat, upward beat.

Q. What Triple? A. Thus, <s> called a Whole Note.

Q. What Quadruple ? A. Yes. Eighth Notes, made thus,

A. Six —Downward beat, Downward beat. Inward beat. Outward beat,

A. Triplets, —and are marked thus, or ^^^^

Q. Will you now beat Quadruple time ?

CHAPTER IV. primitive notes, as,

Q. Are there any varieties of measure ? 4 I • • Jir err I

A By the use of different notes on each part of the measure. i r r c;j r I r •

Q. If the parts of Fourfold measure are quarter notes, what b it called ?

A. Four-four Measure, and is marked thus, or Q It is also called

Q. What varieties of time are in common use ?

2 f 2 p A. Of the pitch of sounds.

Q, Bow is tbft scale written t Q. Seven*

Q. If more than nine degrees are wanted, what is used ?

Space above._^ — Leger Lines.

Q. What, two ? F on the fourth line of the staff.

A. Mi. (Mee.) A. No. It is nine tones lower in pitch, — for example :

octave below the real pitch. 135 8 3158 5 13 8 8 13 5

A. Of whole tones and half tones. Q. How can we strike four ?

Q. When we have learned to sing the scale in regular progression, what

A. We should learn to strike each sound separately, or in connection with

A. Into four, — Treble or Soprano, Alto, Tenor, and Bass.

A. The Bass from F to C, ^ the Tenor from C to G,

A. The flat,- -thus,

the Alto from G to C, and the Treble

syllables, the termination of the

for the sharps to

CHAPTER IX. nounced ee,) as, do, di, — re, ri, — — —

fones. Can the tones be divided ?

from seven to eight a semitone

Q. What is the next regular transposition by sharps ?

be placed before every

Q. What is the next regular transposition by sharps ?

Q. What will be the signature of the key of F

Q. What is the next regular transposition by flats ? A. Modulation.

A. The unison, (though not strictly an interval, is treated as such in the

Q. When a modulation occun, 4o we make any change ?

niization, roust be changed according to the new key. Q. What is a second ?

Q. What is the note of modulation by fourths ?

A. The flat seventh. —SI :

Major Sccondsi IHInor Second!.

and a semitone, it is called a minor third ; if two tones, a major third.

Q. What is a fourth » Q. What IS an octave ?

semitone, it is a p^r^'ct fourth ; if it includes three tones, a sharp fourth.

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