«>,. Pages discoloured, stained or foxed/ r I Pages detached/ r~| Showthrough/ I I Quality of print varies/ I I Includes supplementary material I I Only edition available/ Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les pages totalement ou partiellement obscurcies par un feuillet d'errats, une pelure, etc., ont 6X6 filmies 6 nouveau de fapon 6 obtenir la meilleure image possible. This item is filmed at the reduction ratio checked below/ Ce document est filmi au taux de rMuction indiqu* ci-dessout. 10X 14X 18X 22X 12X 16X y aox 26X aox : 24X 28X 32X The copy filmed here has been reproduced thanks to the generosity of: National Library of Canada L'exemplaire filn6 fut reproduit grAce A la gin^rositA de: Bibliothdque nationale du Canada The images appearing here are the best quality possible considering the condition and legibility of the original copy and in keeping with the filming contract specifirstions. Les images suivantes ont 6t4 reproduites avec le plub grand soin, compte tenu de la condition et de la netteti de l'exemplaire film6, et en conformity avec les conditions du contrat de filmage. Original copies in printed paper covers are filmed beginning with the front cover and ending on the last page with a printed or illustrated impres- sion, or the back cover when appropriate. All other original copies are filmed beginning on the first page with a printed or illustrated impres- sion, and ending on the last page with a printed or illustrated impression. Les exemplaires originaux dont la couverture en papier est imprimie sont filmis en commenpant par le premier plat et en terminant soit par la derniire page qui comporte une empreinte d'impression ou d'illustratiori, soit par le second plat, selon le cas. Tous les autres exeiitplaires originaux sont filmAs en commengant par la premiAre page qui comporto une empreinte d'impression ou d'illustration et en terminant par la dernlAre page qui comporte une telle empreinte. The last recorded frame on each microfiche shall contain the symbol — ^ (meaning "CON- TINUED "), or the symbol V (meaning "END"), whichever applies. Un des symboles suivants apparaitra sur la derniire image de cheque microfiche, selon le cas: a symbols — ► signlfie "A SUIVRE ", le symbols V signlfie "FIN ". Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure tre filmed beginning in the upper left hand corner, left to righ'. and top to bottom, as many fra 1 PHAYIR *0R Tins CnO'-tSrtRS MroRB DITtNl SHRTtCi. OLOHD, let Thy blessing rest on those who are here ap* pointed to lead the congregation in singing Thy praises ; assist our humble endeavours, and keep far from them all vain and worldly thoughts, for Jesus Christ's sake. Amen. Heavenly Father, hear all our i)rayer3 this day; and graciously incline Tiiine car to our songs of praise t make ua to be thankful for these joyful opportunities of addressing our Psalms and Hymns to Thee: enable us to "sing with tho spirit and with the understanding also ;" and prepare us for the chants and services of Thy hca\ nly courts. Grant thisj merciful Father, through Thy Son our Lord Jesus Christ, Who liveth and rcigneth with Thee and the Holy Ghost, on* God, world without end. Amen. sMnrtctt. are here ap« Thy praises ; um them all :e. Amen. is day; and se : malvc ua r addressing ing >>ith tho pare ua for Grant this, ^esus Christ, Ghost, on« C»>wfr*»>ot L.>«W.'4 wi Cov^aiu.- P^ocese oi To,o..-to. C ovMrti !.■•_««. ovi ' *i «*•:'»< '"' ;■. ;^ 1 » » SECOND EDITION, WITH AN APPENDIX. CHANTS AND TUNES. PUBLISHED UNDER THE DIRECTION OF THE COMMITTEE ON CHUIICH MUSIC, or THE FOURTH THOUSAND. THE APPEXDIX CONSISTS OP SBVEVTY-POUB NRW TUVKS, PaOMI' HYMV8 AXOIEXT AMD MODEllX. CHOPE'S CONOBRGATiOXAL TUNE BOOK, THE TUNE BOOK OP THE CHRISTIAN KNOWLUDUK SOi.'IKTY, THE CHOttAL BOOK KOR ENGLAND, WITH OTHER|SlANl)AllD WORKS; ALSO, OP THIRTY GREGORIAN AND ANOLU < CAN CHANTS, RESPONSES TO THE COMMANDAIBNTS, A SANOfUS, AND GLORIA IN EXCELSIS. "Sing with the spirit, ?'ng with the understanding abo." " Prayer shall ccu^e, preaciiing shall cease, but tlic praising of God iball nerer ce*M, neither in this world, nor in that which is to come." %ttxnta: PRINTED BY LOVELL AND GIBSON, YONGE STREET, BOLD AT THii CnOBCH BOOK AMD TRACT OEFOSITORT, AND BT ALL BOOK8ELLKE8. Price, to non-Sub*criberi, G6 c*nt$, to Sfib$cHber$, 60 cent$ ; Appendix alone, in paper, 26 and 20 centt, limp cloth, 30 and 2S cen ts. C35 Entered according to Act of the Provinciftl Legislature, in the year of our Lord one thousand eight huudred and sixty-seven, by Tu» Ciiuucii Socibty of THE DioOKSK OF ToBOMTO, in thc Office of the Registrar of the Province of Canada. h' J- INDEX. 81 VOLE CHANTS. No. ,lonrk 23, ii'\ Jdpich 17, i'l Ini'ini ^ l;ittishill 22, 32 II. nv 1'> Cki! 217 roft 11> (iipiiis 3" 'niT.mt 3 '.•!tc)ii 33 ibhoiH. C 27 Savi'i-.-al U av.«H. V l!i , Hves, \V 21, 2S luiip'iroy, P S >iii-s 20, 21 »iii?ilon 31 >r 11 To'iitwartl 7 iionyiiious 4, fl, 12, H, 212, 2U, 213, 21(1, ilS-a^'S 2, 22S. 229 2 fit, 231 212, 213 231 23.J 21(1 237 23S, 2;9 IX 13, 2W), 211 rcaorian I H III IV V VI VII VIII DOUBLE CHAXT3. attishill 17 No. Rrtvno i^ Cih)ki) 3'.> Ur.tch .U Karraiit 52 Flinln't ri.'i Oii)l)i>iiH. (). 2V) rtooiluiioUKh r>i Ooss .11, 49 Hinilnl 5(1 Hives H» liaiivilo'.i ill Liwps 3S Morlcy ."l tl(iriiiiiu;ti>n ,,; 4! Nowby T}\ Norrii 4i Riiiilatl 4-. Itob'.nson 37 RESPOXSRS APTRH COM- aiAXDMliXTS. Cliilrl .in M irlx'i'k 5''. Mi'inlclssdlm (i't M^ilmisli-y .">7 Anoiiyiiiuuii 212, 213 SANCTUS. Travers, J 241 GLORIA IN EXOELSIS. Aiiunyuou:* 210 TUNES.-C, M. AbhoyTmio Bl Al>riilit7 Oi'diiiatioii llvmn 77 St AiiiH 71 St. Itavi N 72 St. I'ulhTt 2(10 Sf., la Ill's 7.1 ! St. .Mitfuiw 71 1 St. \larvs 7."i St. P't.'i- 21i» I Sr. St'p'K'iis 7(1 I \Viiii'li.-»l(T ,... 79 ! WjiiiNor so Voi-k 78 D. C. M. Kll Rl St. Matthew-t HI L. M. AiiBol's SoncT 83 ("ras-cliiis 81 i;is(!i;nch N.) Kly 8(1 l')v. '111111; Flyiiiii 09 (ireatlicecl 87 lliirsl.-y 2(>3 K.'llt 8S L'li'is Creator 8'.) liMtOll 9(1 .M i'.'i!t'l)urx 91 Mi'iiV'k.! 92 Jli'lriimlio 91 M.iii(!iiintM'y 91 Ol.l Ilmi.lreath 95 I'layloiNl 9(1 Il)i'kii»i;liain 97 ijaxniiy 9S Siaii.M'Diia 2iri biirroy 121 8. M. No. Ti- .Nloravia !(('.• Mdiint Ephraltn un I'ots'latn Ill St. Hriiles 112 St. Helena 193 St. Michaels 113 St. Petroi'k 18.> .SoiltllWell lit Stiicklon 101 (S, 4i 6,4; 0.6,4. Ilorbury 193 6, 5, 0. 5. Ca-swall 188 .MHiriUleiie 198 St. Lamburt 100 6, 5. a, .1, D. Bohemia 125 0. 6, 0, 4. Mersey 184 (1,8,4; 6.0,0,4. St. Austin 187 C, 0, 0, 4 ; 8, 8. 4. St. John 186 6, 0, «. 0. Carnarvon (I'lmblc) 183 St. Ovpriaii (Tro liaic) 1U7 t)U Martin (Tr»ell'ii IWth lU 0. n, 1 1 ; (1, 0. 11. PortUKUf.Hf llymu 128 7. -l; 7,4; 7. tnr7, 4; 7, 4, D. Ea»tur Hymn (.Monk) 170 7, 0, 7, 0. 8t. Alpbi'KO VW St.OiUer 141 7.0; 7,0} 7.0. Canllfran 137 8alzlmrx 1;».J Shurliomo I.*i0 ■WiltoinborK 130 7.0;7.0.D. Kwinit 140 St. rht'odiilph MS Wittemburu IM 7,0.7.0; 7.8,7,8. Atonement 142 7,0.7,0; 8.7.0. St. Marks IM 7. 7, 7. St. Pliilip I...' 170 7. 7. 7. 5. Capetown 177 7 7 7 7. Christ Clinpol'.. .'...'...! ll.'i CuddesiltiU 174 No. Oulhnch no KistiT llvinii (Worifftii) 11'.» KiistiT Hymn (Monk) 170 ll.Tiilciu 17.'. I-nl).'iii 171 St. Switliin M.-1 SitlzliiirK Vi'i bliurborne V<0 7, 7. 7 ; 7, 7, 7. Voni Sanctu Spintusi 101 7. 7. 7. 7. D. Enstor Hymn (VVornan) lift Miillihgsidu 17 J l. t Wultliani 12u 8,7.8.7; 7,7, Drctzul : IM 8. 7. 8. 7 ; 8, 7. Mount Calvary 1,11 On.'l lis St. Di-nvH I.'i7 St. Wcrlicrnlis i;U Wiillluim 120 8, 7, 8, 7 ; 8, 8, 7. Lutlior's Hymn lOV 8,8,0; 8.8.6. Bridchoad 1.54 Ovtord 127 I'uiluigli 155 R, 8, 7. Stabat Mater ".. 153 8, 8, 8. Didvmiis ir.o LiuUttcld 162 8, 8. ", 8. No. 8t. Aelrcd 201 8, 8, 8 ; 4, S. Homo 151 8, 8, H, 8 (.\napc!itic.) Mentz 14tf LutherV.Hymii ini 8. 8 ; 8. 8 ; 8, 8. Hallo 1S5 Surri-y 1:1 8,8,8; 8.8,8. Day of Wratli (Trochaic) Us Old 113th 1211 (Quebec l;i2 4 of 10. Tfoyle, No. 1 1C9 6 of 10. Yurkshiro 1-1.5 10, n, 10, 11. Haiiovor 123 Wafiiham ]u2 11, 10, 11, 10. Uolstoin 117 11,12,12,10. Nictoa ;. 140 13,11,13,11. Holsteiu 147! rilEPACE TO THE SECOND EDITION. 1 1 4. 8. Anapcstic.) , 8 ; 8, 8. No. 15J m i 121 1 LVocliau') US Vi'.i )no. jf 10. , 10, 11. , 11. 10. 12. 10. la.ii. 109 lis 124 lu;i 14G 147 The suocpss which attended tho first effort of the '' Com- ittcc on Church Music," of tiio " T(.ionto Diocesnn Synod,'" as rncournged them to carry on their ,work bj comi>ilinB an Appendix to tiio Chant anil Tune Hook, publishod in 18G'. iiat work waa intended to supply'the more pressing need of hoirs and congregations ; nnd the Committee arc trratilied *' *'"' in» bat tiieir efforts have been so mucli appreciated as to cause he sale of over Two Tiiousand Five Hundred Copies. The present edition is intended to supjdy tiio want which as been very generally felt of a larger number and a greater aricty of Times, and especially of a selection suited to the eculiar metres which are found in the collections of Hymns 1'^- ^hich have come into use in the Province. As these wants came known, the Committee directed their attention to tlie bject; and, through the kindness of the several Proprietors collections of tunes, they have been permitted to publish any deservedly popular and justly admired tunes. From 'ymns Ancient and A/odern, have been derived No's. 137-40; 3; 146; 150; 153,4; 156-9; 161; 163,4; IGG; lf,8-70 ; 117^2; 174-6; 178,9; 181; 186-8; 190; 192-4; 2ii3, 4; 206, 209-11; from Chope's Conc;renalional Iliimn and Tune ook\ No's. 137 ; 142 ; 155; IGO; 1G5; 167; 171; 17.3; 184, 189; 195-201. Tunes 149, 180 and 185 are the property Dr. GaucMett. Tunes 142 and 183 are from The Tune-book ' the Society for Promoting Christian Knowledge. Tune 8 is irom Mr. E. B. Thome's Selection of Ptalm and Hymn ) In NiiiKin^ U. 257, or K. S71. to U7, all the notes are intended to bo sun); ; but the Ilrst two notes of each strain must be slurred in verse one, lines two and three ; verso two, lines two and four ; verse tl.ree, Una two ; verso four, Hues two, three, and four. SKCOND EDITION. 168. 109. 179. 181. .0. 13; T. 9 (3). . C. 40 ; T. 148, 193 ; K. 420 ; B. 192 (4 j .0. 50. .T. 257. 192 C. 232; T. 151. 194 T. 272 (5). 200 C. 189; T. 199. 209 T. 61. There are, likewise, some metres which are not distinclj provided for, but may be sung in th^ following manner ; Metres. E. 546) 7,7,4,4,7 (C. 107; 7s, and 8,8,6 (B. 2.'54) 8,G,8,(5, 4 8,8,8,7 (B. 169) 8,G;8,8,6 (C. 24) 8,7;7,7;8,5 (K. 572) 8,7;8,7;6,6,6,0,7 (T. 244) 8,7,8,7;7,7i4,4,7,7(C. 182) to 7,7,8,7. No. 164 and 154 (<| No. 79 and 17G voj CM. (7). 8,7;8,7;8,T (8). No. 194 (9). 8,7,8,7;4,4,7(10).j (3) Tunc V.i'i may be ruuk to the snme hymn, by ropeatinir the f and serond strains, and by siuKinK them aKsin to the chorus, " Hark,"| (() This must bo sunR like a double chant, but in slower tinio; the last three minims must be sung to the last three Hyllablci| eaeli line. (5) In sinirinK this, each line of the hymn is axinff to a strain o(\ chant; each Alleluia, or sets of Alleluias, also to a strain. \\\t there is no Alleluia, two lines of the hymn are sung to one strain o(| uhunt. The Alleluias at the end take two strains. (0) These tunes arc recommended because they are in the samcl| Others would bo suitable if transposed. (7) RcpeiktiuK the third line. (8) SiurriiiK the last two minims of the third strain, and repca| the Ilrst two words of the last line of the hymn. (0) llepeatint; the whole chant, and singing the flfth and sixth 1 as one, to the ilrst strain of the tune. (lU) £cpeatiug the first two strains and the last. W K«|i (7) R*;> "'•tsyllal (8) And nx the ich. (9) R«p< (10) R.-! seoinmen (11) Sim (12) Rep (13) Ren fhere nor (14) Sine 2 PREFACB TO THE 8CC0ND EDITION. L420; B. 192^4 are not digtinclj ring manner : e,8,fl,4 |fi,8,8,8 trochaic 8,fl,8,8;4,7 |8,8,8;8,4,4,8 Iveni Creator |8,8,8;8,8,8;8,8 |8J,8,';4,0 |9,8,9,8 10,8,10,8 ) 9,19,1 S |10,U, 10,11 11,10,11,10 11,11,11,11 (K. 219) (C. ft; T. 8; K. 85 ; (0.218; T.271;K (C. 184) (K. 532) (C. 143; K. 329) (C.112;T.385;K. (K. Ps. 96) (K. 10) (C. 120) (C. 72) (K. 521) (B. 195) (B. 30) 8,7,8,7, D. B. 0)No. 104 (0). .253) No. lG9or 194. 8;7,8,7. 8,8;8,8;R,8 (7). 516)87, 89 or 103(8). 8,8,a;8,8,8 (9). 8,7,8,7(10). 8,7,8,7^11) or N0.1C9. No. 194 (12). No. 102 or 122 (1«). No. 102 or 122 (li!). No. 147114). o. 194 (9). by roix'atliiir tho iocUonw,"H»rk,' in ilower tinio ; tat three ujilabla mng to ■ Btrain of , to a strain. VI iig to ouc strain ol I. .y are iu the Bamc (fi) UepcHtinn first two liiH's. (7) R«p<'atinkc " H()'o'e of a derided Church character have bron selected. The great imiirovcmeiit wliich has been manifest in the selec- tions publi3h»»d by tlic Wesloyans, Conpregationalists, and others, as well as of tiiosc published exinessly fur the use of tlie Ciiurch, testifies to the correctness of the princifdcs upon which this work was begun and carried on, and must be higlily gratifying to ill lovers of real Church Music. Tho ligiit, 'florid, secular kind of tunes, whicli were in use some few years back, have been almost entirely superseded by those of a good, solid, devotional cliaractcr; and, if the efforts of the Committee have in any way tended to pro- mote so desirable an object in tho Canadian Church, they feci themselves well repaid for tho labour they have spent upon the present work. Bfter^vards to the last two; leaving out thn small notes iu the first strain, and slurring them in tlie secoml, third and fourth. (15) Dividing seuiibieves and removing slurs. PREFACE TO THE FIRST EDITION. Tni objects of this publication are chiefly, — First, to pr - mote Cungrogutional Singing ; Secondly, to bring buck our people to a liind of singing suited to the cbaraclur of our service. In order that the chants and tunes may be sung by the congregation at large, they should not be too high or too low for the majority of singing voices. Tliu most usual fault in existing publications is that the tunes are too liigh ; — this evil has been carefully guarded against. Home favourite tunes have, however, been retained, wliich are not altogether free from this fault ; but it is hoped that the collection will be found to furnish scarcely a hindrance, if any, to those who are capable of singing, in uniting in this part of divine wor- ship. Another fault of many current tunes is, that they have too great a number of notes, in consequence of unnecessary re- petitions and superfluous ornamental notes, wholly unsuitod to the singing of a body of voices. These arc contrary to the simple, impressive character of our British psalmody in its best days ; they lead to continual mistaltcs in learning the tunes; they produce discord and lead to vain display. In Great Britain, the revival of general congregational singing has been accompanied by a simpliflcation of the tunes, as may bo seen in the greater number of books published with this end ; and even some of those denominations of Christians who have hitherto upheld the lighter and more florid mcio- dies, have either discarded them, or reduced them to a simiili form. The music is printed in (what is called) ihorl neore; that is so that the four parts, viz., treble, alto, tenor and bass, stun one under the other, the two former on the treble clef an the two latter on the bass. It is the mode of printing nn. versullyudopted in those British publications intended forth use of the multitude, and without it a work of such unusiia { cheapness could not have been prepared. In both singiu and playing the tunes, it is recommended that no notes ulioul be introduced into the melodies but those wliich are priulod but in playing it will occasionally be requisite to take a teui note with the right hand, or an alto with the left, on accoutj of their distance from the bass or treble respectively. The ciiunts, like the tunes, were selected because they wcr known to be suited for congregational use. For that reuse | a larger number of single chants have been given, as theya;| much easier than the double. A chant consists of either two or four musical phrases, a. cording as it is single or double. Each ^jhrase is intended : be sung to half a verse of a psalm or canticle ; and the coli] is placed in that part of the verso where the first phrase ol^ single chant, or the first and t bird of a double chant enc;| Each phrase consists of a single fixed reciting note, occupyiji one bar, and of a variable mediation or cadence, occupying i remaining bars : the mediation being intended to come bcFii PRKPAnC TO TRK FIRST EDITION. iH tlicm to a siinilt iorl »eor«; that Is >r and bass, stun le treble clef an 1 of j)rinting nn; IS intended for ll. k of such unusua In both singiii lat no notes shoul ,vhich ore printed lite to take a teui 10 left, on accuuLj ipectively. because they we: . For that reuse given, aa they k\ .usical phrases, a. rase is intended : jlc ; and the colij le first phrase oli oublc chant enc; ng note, occupyis ,'ncc, occupying 1 ded to come befn bf colon, an'! the cadence at the end of »hn verso. The re- Iting note is sung to the word.< at the beginning of \\w verse, to those just after the colon; the variable notes to Miose ^Rt hpforo the colon or just before the end of the verse. When jCaiilicle or I'dalm containing an uneven number of verses is kng to a Double Chant, the latter half of the Chant should repeated to the last verse, leaving the whole chunt for the lloria Patri. It is desirable to guard against singing the words appro- iated to the reciting note too fast, or tiiose for the variable bte.a loo slow. The former should be sung nearly toppiii(f, except at the end of a musical idirase ; unless t\cn absolutely necessary to take breath : but important )rds, or the word just before a sto|> in the sense, may be Iglitly (/loW/ upon or HwclUil, in any part of the reciting note : kd if there is no such word at the end of the reciting note, le singer should pass on, without dwelling, from the reciting kte direcjlly to the first note of the variable portion. In Iging the variable part, we must avoid, when possible, sing- an unimportant word on the accented note of a bar, that on the first note after the bar. iTo carry out these rules, those syllables in the words sung, 1 the reciting note, on which it may be proper to dwell, are Intod in italics ; and an accent has been placed over those ^lablcs to which the first notes of the bars in the variable por- ^D are to be sung ; and, when two notes are to be sung to one syllable, a doubln accent (thus ") has been placed. Thus every verse, or half verse, should bcffin with tlie roriting note; and if any word is printi-il in italic*, lliat woni .•iie, and must prove piirtinularly UMoriii to CoiifcreKational Hin^inK Cla^Hos. A black hoard will bo required for vocal oxcrciseM : tlieKe kIiouIiI ha sclwtoil l).v the teacher, accord 'nir to the reqiiiremont of the clans; coinnipn(MnK with the scale ai proceeding to inturvals of a third, fourth, nrth, fto. Examples on counting uiight also b« ({ivju in Ilk* manuor. 1 '\ M and ■■§ Th .■> Th iithe 8 1 INTRODUCTION. MUSICAL NOTATION. ; Musical sounds are represented by characters called notes. _h The notes are named, in instrumental music, after the first seven letters of the alphabet, i. e. A, B, C, D, E, M Olid G. In vocal music they are knuwn by the Italian syllables, Do, Re, Mi, Fa, Sul, La, Si. The notes are written on, between, above and below five parallel lines called a stave The lowest line is caUed t first line, the next above the secondf ka. Tlie spaces between the ~ lines are numbered in — like manner, thus, L J{_- H' As only eleven notes can be written on a stave, small additional lines, called fer lines are used above and below the stave, the notes being placed ou and j\e them when over the stave, and on and below them when uuiler. Clefs are used to give names to the notes. Each voice has its own diatinguishing clef, and were these used, sr lines might be almost avoided. There are three kinds of clefs : ii;u '. |e TreWe, G or (S'c' def- er The C or Do clef, named fr^ according to its position on fl^Tf '^^f the stave, the Alto clef j , i clei M-r\- The Lass, F or Fa clef ^ The Treble Clef (G or Sol) is placed upon the second lino of the stave, and gives the note placed upon that line name of G or Sol. This clef belongs, properly, only to the highest range of voices, known as trebles, but it ia juently used for tlie alto and tenor voices ; in wliich latter Ciiae the notes are written eight notes hi^'her thau are intended to bo sung. The Alto (C or Do) clef is placed upon the third lino of the stave, giving the note ced upon that line the name of C or Do. The Tenor clef ditfers from the alto clef by being placed on the |ith line instead of the third, giving the note placed on the fuui i.h line the name of C or Do, The Buss (F or Fa) is placed upon the fourth Uiie of the stave, giving the note placed upon that line tliu name of F or Fa. T» INTRODUCTION. The names of the notes upon the various staves are, Leger lines above. Spacei above. m ti t ^3 Leger linei below. Spaces below. Treble Linea. Spacen. •# i ^ M. " l«.'J45 1834-#-— *'*"~~ It 128 i m i Mi S«l Si Re Fa Fa La Do Mi SOBDF FAOB La Do A C Sol Si Be O B D ~:^ — ~ w i Itave Dale 'mi( rhicl Alto Do La C A Be Si Sol J> B O -H-rt-- a i a F La Do Mi AUK Sol O Sol Si Re Fa O B I) F Si B Re D La I/O Mi ACE Tenor '. 1' ■ -HkH— Be Si D B Mi Do La K C A Bo Fa La Do Mi D F A C B i Mi Sol Si Be B O B D Sol Si O B Fa La Do F A C __ __ ^ Bats m ^ :• m X A 81 B Sol O Do C La A Fa F ^7 ,_?_ # II 1 M # 1 1 1 -^ m ' m II 1 hiwn ^ W « II 1 8^1 a Si Re Fa La fi D F A La A Do C Mi B Sol a Do C Mi £ Si B Re Fa F Mi £ Do # Fa F Re SI B INTRODUCTION. ▼U The relative position of the several voices, with their respective clefs, may bo seen by reference to the following tave of eleven lines, ca.\\ed tha full or great stave, as it embraces the ordinary compass of the human voice, both ale and female. The note C or Do is found on the middle lino of the eleven, for which reason it is often called middle C." In the following Example the notes after each clef point out the various positions of this note C or Vo^ hich always retains the same sound. Seldom round t;enuine Mcn'H voices. except in boy.s. Women's and boys' voices. f- * ' — \ / * \ r- * — ^— — Bass. tBaritone, or 2nd Tenor. Tenor. Alto, or Contralto. Soprano, or 2nd Treble. Treble. Do C La A Mezzo ijopfano. ^ Ab musical sounds may be of different lengths of duration, the notes expressing them are written in different lomis, according to the length of time which each note is to be sustained. In modern music there are six principal fharacters used, viz. : The Semibreve. The Minim. The Crotchet. The Quaver. 0' r r ch note having its corresponding resf, or alienee mark ; thus, The Semiquaver. \ Tho DemiiemiquKver. _^.- _-•?-_ z:f^ Music is divided into small e ][ual portions, called Bart ; these portions are SHparated by perpendicular lines wn across the Stave. TUl INTRODUCTION. The relative duration of the notes is shewn in the following table : — One Semibbetb O. is equal to two Minims, or/our Ckotcitets, I -r — r- or eight Quavers, or sirfeen SkMiQI'avebs, or thirty-two Demibemiquavers, •-^-ft-* g g & f-^-P-»-ii-ft-p.-tt—^t.p-i S-S In like manner, — One minim is equal to two crotchets, or fou: quavers, or eight semiquavers, or sixtee; demisemiquavers. One crotchet is equal to two quavers, or fou semi-quavers, or eight demisemiquavers. One quaver is equal to two semiquavers or foi; demisemiquavers. One semiquaver is equal to two demisemiquaven It will be observed, some of the notes are gronpe together in the example ; this grouping in r, way affects the length of the notes. When the figure 3 is placed over or under three notes of the same value, they are then performed in the time of two, and are called a triplet. Groups of sixes, played in the time of four, aa well as other irregular group- ing of notes, are met with chiefly in instrumental music : such, however, seldom occur in vocal ecclesiastical music. A dot is often placed after a note or a rest, to make the note or rest before the dot, one half as long agai| A dot after a semibreve wilVmake it as long as a semibreve and a minim, &c., as is shown iu the following table : D >1 ted Seinibreve. equal to Dotted Minim, equal to Dot. Crotchet, equal to Dot. Quaver, equal to Dot. Sem-Qua. equal to e is~~» -_: :igL-(g:: li^ieiE^ii^ilfe^^tep^fc A douUe dot adds one additional quarter to the note preceding the dot. INTRODUCTION. IZ rotchetB, or fou' vers, or sixtee: quavers, or foil smiquaverB. miquavers or foi; demisemiquaven notes are groupe his grouping iu r. notes. (E=T=(Eqcqi: m There are two I'inds of time used in music, com/mmx Uvm. and tnTplt time ; the former the even time, the latter le uneven. This latter is sometimes called half covMnwi timt, because in it or |-R or ^ there is (Mily the value of une minim in a bar, while in the two former there is the value of two minims, or one semibreve. The upper figure shewing the number of parts contained in each bar ; the lower figure indicating the kind of notes referred to, by shewing what part of a semibreve is intended. likewise, tlirce-eighths represented by Triple time is presented by the ires I Thus, 2i means three half semi- breves, or three minima in a bar. ■jr means, three-fourths of 511 a semibreve, or three crotchets in a bar. There are also Compound Common and C'om- tnd Triple times ; the former consisting of two \ of triple time in one, and known by the figures SO MUSICAL w ^ - or ([uavers. the latter consisting of three burs of triple time in one, and knowii by le figures These latter are seldom met with in church music. ACCENT. % This term is applied to the stress whicli belongs to certain parts of each bar, the stress being stronger, in all jes, upon the fir.st note of eacli bar, and correspondingly lesseiu-'d upon each sub-sequent uneven part of the bar ; |e princijial divisions, however, being stronger than the lesser divisions, as shewn by the following examples of uiting; the figures shew the separate beats in the bar, which may, in some cases be bubdivided. In Compoimd Kutnon and Compound Triple time the accent falls upon the first part of each dotted crotchet, or the first of each rision of three quavera, «Jic. COMMON TIME. alf as long agai| •Uowing table : •m-Qua. equal to ^-=^:^ -+ — -& — &-■ H — I- ~:W — o ^^^1 18 3 4 rf*— '9--r&^- l S 3 4 18341834 18 COMPOUND COMMON TIME. ^ — I \ 1 — T — ' i ^- \- ^^ij^j^p E||2^^|:5^i^^|| 8 3 1 8 1 8 1 INTRODUCTION. TRIPUE TIHB. -&-- JJ_/ J-J :ij | g_-^-J I COMPOUND TRIPLE TIME. ^i ^^^^m 1 S 3 1 B 3 It is necessary that every learner should carefully count or beat the Time with the hand or finger. (The habit of beating with the foot, or in such a way as to annoy one's neighbour, is very much to be deprecated. ) The person beating Time is to beat "one, two ;" or " one, two, three ;" or "one, two, three, four," »fcc. &c., according to the Time of the piece. He ia at liberty to beat at each Minim, or at each Crotchet, or at each Quaver. Thus in Com- mon time he may either beat two, or four, or eight beats in a Bar. In Triple Time he may beat three, or six. In Compound Common Time, two or six. In Compound Triple, three or nine, may be counted. In this we are to be guided by the difficulty of the piece, it being desirable to make the largest uiimber of beats when the music is most intricate ; but in every case the beat must be made downwards at the beginning of each Bar, and upwards [at the end. The remaining beats are to be made to the right, or to the left, or both, according to the number of beats required, and according us the Time is Common or Triple. SCALES i».ND KEYS. A Scale consists of a regular succession of notes, commencing with any one and proceeding to its octave. There are two kinds of Scales ordinarily used in music, — the one called the Diatonic or natural, the other the Chromatic or artificial ; — tlie former is again subdivided into Major and Minor. Each diatonic scale is composed of five Tones and two Semitones. In the Major diatonic scale the Semitones occur between ihe third and fourth and the .seventh and eighth degrees — the eighth degree being a repetition of the fii-st. In the Minor diatonic scale the semitones naturally occur between the second and third and fifth and sixth degrees ; but inasmuch as, in ascendiiig, this scale is not agreeable to the ear, it undergoes a modification in the accidentally raising of the sixth and seventh degrees one semitone : this change, however, only takes place in *iscending. The Chromatic or artificial scale consists of twelve semitones ; chai'acters called sharps JT^ and flats p being placed before the several notes, where necessary, to mark these artificial notes which have not separate places of their own on the stave. Sharps are used in ascending, fiats in descending, to point out these artificial notes. Another -o-^ m 1 t 3 -H ! 1 » 3 Br. (The habit .. ) The person ccording to the Thus in Com- ,t three, or six. I this we are to lenthe music is and upwards |at umber of beats 3 octave. itra?, the other enth and eighth fifth and sixth dification in the takes place in \f being placed places of theit otes. Another INTRODUCTION. xi character termed the wiimoX n, is also wa^X to lestorfc any note which may have been previously altered by a i)MT)^ ye pit to ita original position. These sharps and flats, (accufetitob, as they are called w hen used promiscuously), become particularly useful in the formation of the several Diatonic Scales, one major and one minor of which is fonned on each note of the Chro- latic Scale, thus making twenty-four major and minor scales. The position of the several sharps and flats will be ea'^ily seen by iuding the proper place for the semitones in the several keys. Thus, f a major scale begins on C or Do, which is the natural scale, the Bmitones fall between Mi and Fa and Si and Do, all the other notes ieing one tone apart ; thus. Were this scale placed in the minor, the semitones would occur etween the second and third and fifth and sixth, and to efiiect this it rould be necessary to employ flats ; thus. m i=r^1=3=KSi ^ith the modification, however, which the minor scale undergoes, it would bo written as in the following example, le three flats necessary for the formation of the scale being placed immediately after the clef, in which caao it rculd be called the signatuye of the key : 183456787R54321 3; ^i »^4 u-z^. 7#: __^__^ — ,. ~^-^ — I It will bo seen that the naturals employed in the ascending scale modify it, by placing the semitones between he seventh and eighth, instead of between the fifth and sixth ; while in descending, the flats restore the scale to fB original position . I The sharps, according to the order in which they arc used, are five notes above each otlier, the first being F, the Bcond C, the third G, the foxirth D, the fifth A, the sixth E, the seventh B. s The flats are five notes below, the first being B, the second E, the third A, the fourth D, the fifth (J, the si'ith H, the seventh F. The keys are likewise five Motes apart — the sharp keys five notes above, the flat keys five notes below. In the fajor, the natural key is C ; one sharp, G ; two sharps, D ; three sharps, A ; four sharps, E ; five s'larps, B ; six >arps, FJI ; seven sharps, C ||. One flat, F ; two flats, B '? ; three flats, E 1> ; four flavd, A i» ; five flats, D 1» ; six Its, G > ; seven flats, C i». In the Minor, the natural key is A ; one shaq), E ; two shai-ps, B ; three sharps, F ^ ; four sharps, C | ; five *^=G- Sil INTRODUCTION. sharps, G| ; six sharps, DJj ; seven sharps, AJj. In tlio three latter, a character called a double sharp X becomes^ necessary ; this nvLses the sharpened note one additional semitone. The key of one ilat is D ; two flats, G ; throe j flats, C ; four flats, F ; five flats, .13 1? ; six flats, E [> ; seven flats, A K A doxible flat ^ depresses a flattened note one i additional semitone. When the Minor scale contains the same number of sharps or flats as a Major key, the relative Minor scale, as it : called, is invariably a minor third, or three semitones below *he major ; the relative Major key (or the key with tlie same number of sharps and flats) being a minor third above its relative minor. A major third contains four semitone!!. The minor scales contain three flats or three naturals more tlian the major of the same name. The simpltst way of di^icovcring whetlier a key is major or minor, is to refer to the last chord in the piece, the lowest note of which will be the Key-note. If the third aboA'o this last lowest note is major, the key will be major ; if the third is minor, the key will be minor. A minor piece of music often ends in the major, it is therefore necessary to refer to the signature to discover whether the key is really major or minor. The Slur ""^^ placed over or under two or more notes of different name, signifies that such notes are to be smoolhiy performed, or to be sung to one syllable, a slight emphasis being placed upon the first. The Apjmiilititura, a smail note beyond the proper number belonging to — ~j 1 is performed a bar, introduced beforo a note, from which it borrows part. Thus, [Z_^,_^_] nearly thus. The Tie ^'"^, the same mark as the Slur, except I ^"^O 1 They are performed as hni: that it is over two note.s of the same name : [I_l|_l4_^ — l_l| one, thus | The Pause /!>, pljiced over a note or rest, signifies that a pause may be made on it at pleasure. The Double Bar occurs in the middle or at the end of an entire movement, and is like a full stop in common reading. When it has dots on either side of it, the portion of music between the last Double Bar and it, is to be repeated. The mark ^ directs the repetition to begin at the preceding mark ^ Da Capo, or D. C. (i. e. begin again), and play or sing as far as to the words 11 Fine, the end. Piano, p., aoit. Piattissimo, pj\ very aoft. Forte, f. , loud. Fortissimo, ff. very loud. Crescendo, cres., or — "= IT, increase in loudness. Diminuendo, dim., or 1Z. , diminish the tone, ■:^ 11^^— , alternate loud and soft, or swelling. Mezzo Staccato • • • *, distinctly and firmly. Staccato * * ' ♦, very short and "crisply," When the figures ''"^^ and ""^ btand over Bars on each side of a Double Bar, the preceding part has to be performed twice, and the second time the Bar or Bars marked ^"^ are to be omitted, and those marked ^ are to be substituted. .idrfa^io, very slow. Largo, slow. Andante, f^snily. Afodera<«, moderate. Allegro, fast. Presto, ve\y tA%t. Grave, with solemnity. Maestoso, majestically. Gun Espressione, with expression. Legato, Smoothly. Pat'ioraU, in a pastoral manner. Vivace, in a livel> Tnarner. Con Fuoco, with fire and energy. E3 IS Tallis.] SINQLE CHANTS. [Sl'ENCER. iarp X becomMj flats, G ; three j ttened note one ( [inor scale, as it he key with tlie four semitones. ill the piece, the r will be major ; ireforo necessary 1 notes are to be J- •6p«^3^SiS^sr«^ ^tniU. come, let ns ninff iin*6 the L6r(l : let U9 heartily rejoice in 8lr^!n<;lh of our salv&tion. [jet us c«tine liefuiv liis preMitee with tlianksglviDg : and shew pelves glad in liim with PB41m9. Tor tlie J.ord is n great Gdl : an I n great Ki»p a*i6ve nil g6(l?. til hishimd nrc nil the corner* of ihc e&rtli : and tiic slreuffth [he liilJB is his ^Iso. The son is hit kad he m&dc it : and his fiands prep&rud th<^ l&nH. cotne. lot us uorthip, find fall d6wn : and kneel bef6re the ' our M4ker. For h^ i^ the I.6rd our 06 I : and we are the people of hia pasture, 4n I thu vhi'-cp-of his hrovoca/('iN,nnd us in the diiy of icm|it&tioii in the wiMerness ; Whin your falhera tdmpted m6 : proved inc, and f&w my works. Foi fy years long wns I grie>ed with ihiii generation, nnd pAid : It is n pr-uple that do eir in tliuir hearts, fur they h&ve not known my w&ysi. Unto vhiini I tware in roy wi&tb : that they should not £uter iut6 my r£st. lit I 8 Pelham Humphrey. -^H-«9-6H ^s*"^ ^ mm - -G-O^ -«- ^^^-^ Sii (Ngg^^Sggg li i O come, let us ting unto the Lord : let us heartily rtjoice in the strength uF our salvation. Let us come before his prtf»«ne0 with thanksgiv'. g : and shew ourielvet gl&d in him with Pf^&lmit. For the Lord isa great Ood : and a great King above all gods. In his hand are nil the corners of tlie e&rth : and the slrevgth of the hills is his Also. The sen is hit &nd he ro&de-it : and his handt prep&red the dr^y 14nd. O come, let us worthip, &od fall down : and kneel before the L6rd our M&ker. finite. For he is the Lord our God : and we are the people of li^ patture, fend the Fhoep-of his hand. To day if ye will hear his voice, harden not your heArt^ : as! the provocation, and as in the day of tempt&tinn in the wildern«tl When your falhert t6mptea m6 : proved m^, ond s&w ni works. Forty years ?ong was \ gr^evedv^\\}^ this generation, and s&idf It is a people that do err in their hearts, for they h&ve lu^j kn6wn my w&ys. k Unto whom I twart in my wr&th : that they should m^ 6nter int6 my t6it Havbroal. 11 Turner. 12 f s^iia ^ ^— ^-1- .UfigE? , h-4-t-r "" ' -"300 " i i isr our paaiover : t B&crificed fur us : therefore 16t us keep ast; with the old leaven, nor with the leaven of m&lice- ickedDess : but with the v.DlcaveQed bread of sinc^ritv' 6lh. ist being raised from tlie dead, dieth no more : death hath re domiiiiua 6ver him. in I hut he died, he died unto siu 6nce : but in that ho he livoth unto God. ewise reckon ye also yourselves to be dead indeed unto }ut alive unto C/od through J^sus Chi ist our L6:-d Christ is risen from the de&d : and become the tirst-fruiUi of th£m tliat sl4pt For since by m&n cai;ae de&ih : by man came alto the resur- r6ction 6f the de&d. For as iu A'dam all die : even eo in Christ shall &11 be m&de alive. Otori/ be to the Father, and t6 the S6n : and t6 the H61y Qh6&t I As it was in the beginning, is note and £ver sh&ll-be : world witliout en J. Amt'n. 'Ill 18 Spkncbk. 14 ^^i^aii^^^ ^3 :Ht mi ^ Dii. P. Hayes. J •^ 1^ SSSl t-^h-r Dr. Bluw. Ui ^t\m. Wb praise i\\4e, O G6d : we acknowledfje th<5e to L6 tho L6rd. All the earth diith w 6rship thde : the Fdther dverldsting. To thee all Angels cry' aluiid : the Hvuvens, and dll the Pdwera therefn. To thee Chcrnbln and Sdraphin : coutfimally' do cry', Holy, H61y, H61y : Lord G6A of Silbii6th ; ,, Heaven and earth are fiiU-of the Majesty: of thy G16ry'. The glf>ritius company df-the Apostles : praise thde. Tlie goodly fellowship df the i'ldphets : prAise thee. dot! I' Uf, The noblo drmy of Miirtyra : pr^Hai th^e. The h(jly Church throughout fill tho world kndwledgo tlnJe ; Th») Fithe'r : of an Infinite MAjesty'; Thine honourable, tinie : and 6u'Iy S(5n ; Also the Hdly Ghdit : the CoQifoitcr. Thon art tho King of Gldiy : O^ " Christ ; Thou art the everlasting S<5n : df the FAthjJr. When thou tookest upon thee to duUvur man : the didst not abhdr the Virgin's wdrab. Dr. Aldrich. Dr. Nares. gap ! world : dotli' u* ''e praise thee, Gotl : wo acknoivledye ih^e to be the •d. Lll the earth doth wdrship thde : the Fdther ^verUsting. Po thee all Angels cry' nlo\id : the Heavens, and dU the irers therefn. thee Cherubin and S^raphin : continually' do cry', [oly, Hdly, H61y : Lord Gdd of S.^badth ; ,, [eaven and earth are Mll-of the Mdjesty: of thy Glory', glorious company <5f-the Apostles : prjW.se thde. le goodly fellowship 61 the Prdpheta : prMae thee. Wt §mm. The noble Army of Mdrtyra : prAiae th^o. The holy Church throughout (ill the world : doth' ac- knowledge th(^e ; The Father : of an fniinite Mcijesty'; Thine honourable, tnlo : and ou'ly Sdn ; Also the H61y Ghdst : the C6mf6rter. Thoti art the King of Gldry : O'^ " Christ ; Thou aH the everlasting S6n : <5f the Father. When thou tookest upon thee to deliver man : thou didat not abhdr the Vfrgin'a wdmb. "mmmmmmmmm W. Jones. Battishill. \ When thou hadst ovevcomc tho shdrpnoss of ded,th : thou didst open the Kingdom of Hedven to dll be- lievers. Thou sittest at the right hdnd of Odd : in the gl<5ry 6i the Fdther. We believe that thdu shalt come : to be oAv Jiidge. We therefore pray thee, he'lp thy adrvanta : whom thou hast redeemed with thy prdcious bldod. Make them to be numbered with thy saints : in gldry ^verldsting. -(CONTINCED.) O Lord, save thy pedple : and bless tliine heritdge Go'vern them : and lift them lip for t^ver. Day' by ddy : we mdgni-f^y thde ; And we worship thy Ndme : ever, world without eii' Vouchsdfe, O Ldrd : to keep \is this day without sliij O Lord, have mercy updn iis : have mercy \'ipon \is. O Lord, let thy mercy lighten upon us : as our trAstj in th^e. O Lord, in thee hdve I tnlsted : let rao never b^ coj founded. ..iCi.ue^iiMiit""**:**'**""'*""""""''^'"*'*' PURCELL. s fe ^ -o &-^-o Dr. Aldrich. EB PSI-Pl ^1 ■I ^'' 'I'i l^'lien tliou litulst overcome the shdqmess of dedth : didst open tliu Kingdom of Hedven to dll be- ars, liou sittest at the ri(j\ii lidnd of God : in the gloiy of iFdthcr. ^e believe that thou shalt come : to be ofir Jiidge. ^e therefore pray thee, hdlp thy servants : wliom thou redeemed with thy pr^oions blood, [ake them to bo mimbered with, thy safnts : in gl6ry isting. -(CONT/NUKD.) O Lord, adve thy people : and bless thine heiitdge. Go'vern tln5m : and lift them lip for ever. Day' by ddy : vre mdgni-f^y tln^o ; And we worship thy Ndme : ever, world without ^nd. Vouchsdfe, O Lord : to keep us tills day without sin. O Lord, have m^rcy upon us : have nnJrcy ilpon I'ls. O Lord, let thy mercy lighten upon us : as cur trlist Is in thee. O Lord, in thee hdve I tnisted : let mo n^ver b^ con- f oiinded . I "o » T*{^-r* SL £L ggg g F?^ t ■ J^ Am:^ Dui'uis. =1: ^^--^ -&-G SL S :^ 32 Battishill. i I -(©- ^yr grr- ^^f^f P^ ^TKLffirV- ^endidte. O ALL j'e Works of the Lord^ bMss ye-the LA'-'I : praise /liw, and mdgiiify Win for dver. O ye Angels of tlie Lord^ bldss ye-the Lord : etc. O ye Heavens, bMss ye-the Lord : &c. O ye Waters, that be above the Jirmatnent, bless ye-the L6rd : (fee. O all ye Powei's of the Lord, bl^ss ye-the Lord : l«^ss ye-the Lord : (fee the Eaith bless the L<5rd : yea, let it prsiise, k Felton. rr ^l^liil ^fei^ jd <9^^^ il 35 (Before Gospel.) -sriisi -i^^ r iS- Ig g" !-^- <9- GIo - ry be to A J5t=2^ f^ azzffi Thee, God! P ^^1 — " ye Mountains and Hills, bldss ye-the Lord : «fec. all ye Green Things upon the Earth, bless ye-the 1 : - iis^^ gi-^ i5h-fi^^~G-^ u n ;i% kL-». :t (©^ R -6>" l-i ^- i9- -^^ ^=^ Pf=P S i aa^ p -^ E "s:: ^ III '; I ' ' 1 I O BE joyful ill the Lord, dll yo lands : serve the Lord W'^Ji gladness, and come before his pre'sence with a song. Be ye sure that the Lord he is God : it is he that hath made us, and not lue ourselves ; we are his people, knd the si' 'ep-of his pdsture. go your way into his gates with thanksgiving, and into his courts with prdise : be thankful unto him, m spe^k good of his N ame. For the Lord is gracious, his mercy is everldst; and his truth endureth from generation to ej<^neriitioii^ Glory be to the Father, fiime. For the Lord is ijracious, his mercy is 6verlastiiig and his truth endurcth from generation to generation. Glory be to the Father, tfec. As it was in the beginning, &c. I'l a Randall. Langdon. m ^p ^iif^nt^ i telSi^ ■^ 1 :^ t: ^Si :t-_7tzl -©^ jg*fc^ 11 ^1=^ g ?^«Omtifat My soin' doth mAgnify-the Lord : and my spirit hath rejoiced in God my Saviour. For he hath regfirded : the lowHndss of lifs hr.nd- mafden. For, behold, fi'om henceforth : all generations shall cfill me Massed. For he that is mujhty hath magnified m^ : and holy is his Name And his mercy is on thdm that fear him : throiighoiit all generations. He hath shewed strenr/th with his &rm : he hath scaj tered the prvvd in the imagin&,ti()n of their hearts. He hath put down the mighty from their seat ; aii hath exalted the Inimble and mdek. He hath filled the hungry with good things : and t| rich he hath sent dmpty aw^y. He remembering his meicy, hath holpen his s^rvJ Is'rael : as he promised to our forefathers, Abraham his fc^ed, for e'ver. Glory be to the Father, &c. 47 Battishill. BOYCK 3|l|lifs|p^lplfl|fiilli?f|=lgi ^T#' Blliyl rP ^M^m^Hm My sou? doth magnify the Lord : and my spirit hath ^joiced in God my Saviour. For h.3 hath regarded : the lowliness of hfs hand- maiden. [For, behold, from henceforth : all generations shall Ql me bMs.sed. J For he that is mighty hath magnified me : and holy I his N&me. [And his mercy is on th^m that fe4r him : throughoiit 1 generations. Pagnifiat. He hath shewed strencfth with his arm : he hath scat- tered the proud in the imagination of their hearts. He hath put down the viifihty from their s^at : and hath exalted the hiimble and meek. He hath filled the hungry with good things : and the rich he hath sent dmpty away. He remembering his mercy, hath holpen his 8erv<*nt Is'rael : as he promised to our forefathers, A braham and his s^ed, for ^ver. Glory be to the Father, «kc. 1 ; ' tv. I 49 Gdss (from Weethovcn ) (^mxUU, O Sing nuto the Lord li new song : for he hith done m&rvellous things. With his own right hand, and witli his holy firm : hath he gotten himsi^lf the victory. The Lord declared hfs salvation : his righteousness hath he openly shewed in the sight of the heathen. He hath remembered his me- cy and truth toward the hoiise of Is'rael : and all the ends of the world have seen the salvation of our God. Shew yourselves joyfid luito the Lord, all ye lands j sin(f, rejoice, and give tliankp. Praise the Lord upon the harp : sing to the harp witij a psalm of thanksgiving. With trumpets also and shiwns : O shew yourselve joyful befoio the Lord the King. Let the sea make a noise, and all that the'rein fs : thj round toorld and th^y that dwell therein. (T'antate— (CoNTiNLED.) jct the rioods clap their hands, and let the hills be |ful torjdhvr before the Lord : for he conieth to jildge earth. Wi';h rbfhtcoHsncss shall he jiidge the world : and the jie .pie with t'liuity'. Glory be to the Father, (tc. S. -v. "V -N. -V- -V ■^^ -s. -s AFTER COMMANDMENTS. Lord, have me'rcy upon us : and incline onr hearts to Lord, ha /e mercy upon us : and write all these thy p this law. laws in our hearts^ we beseech Th^e. EWBY. %m\< ^imitti^. Lord, now lettest thou thy servajit depart in peace : according to thy word, For mine ey^a have ae4n : thy' salvation, "Which thou h&st prep&red : before the face of &U people ; To be a light to Ifghton the Gentiles : and to be | glory of thy people Is'rael. Glory be to the Father, ^'c. As it was in the beginning, «S;c. I : Flintoft. III Fraiie Him an O all ye Work* of the Lord, bleis vo the Lord : 8- T- J--^-S-T-g u nd mag • ni - fy Him ior 'liWraf^ iiiiEl^ zistzi •4>- ev — <9 (5^-*-, sT er. J2. P grttsi piisimatur. Jea : and to be !oD be merciftd unto ils, and bless us : and shew us j light of his couhtinancc, and be merciful linto lis ; [hat thy way may I e known upon e&rth : thy saving jlth among all nations. et the people praise thee, O God : yea, let All the pie prafse thee, let the nations rejoice knd be g7&d : for thcu shalt te the folk rujhfecusly, and yovern the nlitions lipon Let the people praise ih4e, O God : yea, let ^11 the people praise thee Then shall the earth bring forth her increase : and Ood, even our otvn God, sh^ll give Us his bltJssing. God' shall ble'ss us : and all the ends of the world shall feiir hfai. Glory be to the Father, V-^ i fc -^ ::^ 12 <9- Q~ ■-G ^ ~G—G- ?^ -&=^^5—&- •g^-g I I I « i gi 3i= -^ ^-^^ <9~ U -<9- I r p PI -S- ■» gl si :E£ :p5^-.p:l: I I'll M' SB! inngar. C* M« 68 Dr. Miller. -^ rciffi -A ±ji: •* •* -» 'P I #=«=# -f=^- i^ f T®- -^ -«- f=F i li ^ hfi>- -^ !^ I k m e -T©-—- ,<»■ -^ i 4' ^- tiT -G- -^ :±ld; H i- -«— J ftr f -G- -G~ ■I^ m -o- I I T 1 I i P LER. i 64 ^tAUtA. m C> M* Wheall, Pi^^ r^'~r~r~f i ^ -o~i m r -& ^ t m I -1 i fii ^ I i I :]^ £ -«- ^ :«z:3i P f f i i «» h tT^J^ -f9- 1 iLM -©- -^- i il r 'I v 65 I ■^ -G- m^ r -Q- -©- %)XtlimL C* aLt H. PURCELL. ^EE^^^^E "O — ^ «- isn-^ ir ■^- te JQ- 9 G "AA l»=6^ -gW' g -^- J. ^^SSS :®Z3S!; -e- w s^^4i#s^^Esg -6>-fi" -©- -r^ i=idrF^ ^ -G- i -fiL^ 1 ^.^E~^pt -fi-^ JRCELL. i i -&- a .-± > 3 i^=S jt!^(b. CM. -d- # -H- :r ^=^ ipi -«r^^- ^ •«»■ t -&~ f f^ i -G- f i :3^ — ^ j5>- |9- f=T= a -^ -^ - qsi: -©- Mi •» -» -Q- i # H h «- r-^ 15 -fi»- I^ZI. -^ -©■- 1 4 -^- -^ f= m i I tSOM ■■M liArrinQt^n. C« M» Dr. Harrington. m i: I -sh ^-g < i''^ ' «- -«^ ::-j^ J tee rt^=F^? fT # &a—SL ffi- f^B^ ■i9- -«- -G- ISi i A J^. -<9- ^f .:?L_is»_ (9- G—^ ^ :p:pt-- 1 ON. |fH$lt. CM. 68 Isaac Smith. H h- i«-:^: t-- ^ i f ■4-y< «- 3^11^ -L— -^ r -<^ 2^: i TSF «•-«- I3E i -C_^-C_J*L_.OL (©- -!»- -©- d: f^ ^ 1 fi ^ m^mm rfMBSi ■ ■ I in ^mAm §m. CM. 69 Dr. Croft. k ^M i i "6>- H-^--:^ I -<9- — -fS- -G- i ^- ^j-^ f^i3^^ •■«- -C i J: «- i i^J m g^EE fckit F^^3E^-f^F |2— ^- -!5>- ^i :i^ -o-—^- :i -<9- a ^^ f: -G- i f= •H-- -G- @a I5f ^k Jzzfeiq^Uiqziy -^=i:[r -h- .^__ -«■- i -Q-. ^ -- ^ s~ ^ ' I T-^-p ■6^— 1 I '^3m&s}K.-is:::i:isi.'rx^'^'-'r-^-' ^r^avx,. v.-v.-sm m C« At* Wainwright. ^d2— t::7ie -&■ d: 2^-^z::2^. -o~ t -^^^-^^ li^^i^H T- «- -^ js: -6>- Q & •JO -(a E -G- -G- i ^^f&g:-^^----^ ^g:l ■^ ^ B'F=f^^ iO h:; 111 ( \ #t. g^tttt$. C< M* II Dr. Croft. I » __^_. Ei =8^: — f- -« — w- (P " t. ^i^^gi -QE^ t=?2 i ^^P f ffi: 1 o — «- f" =^— t: i -«- fi>- ^^E^ :^ ::^ ir i — 1- -6>- f-r --« — (&- - I =?!=(=: i:eni:t= racitz: f 11 r~ --^-P- ~\==^ V I ? f^ a mmmtm M* Sm\A», C« Ma 72 Ravenbcroft. i m i 3 i ■+■ i :3: 3 i ^ -«9- fi^ f * < (g te ■^M -O. — a ^la 1 H EBE^E^ :^ s i P^ 1 r # -^- ^ -r-r-f # ^ liS: ^zrJzpgL^JrrzJz:::^ ^ d "l^ pti^ -<^ H ^ f f=f #t. Mmt^. Ca 3l« Raphael Courteville. ,#- (P^^ \, m ~G T :st -^—G-—G- ^- ± -G—G- ifefczT^ -~G G-- ^-\ 2?: -«>- Pr G- G- iii m i9- r-J: e 6^ r-f^^^r T ^ -<9 ^F= i i 74 1 lite #t. lft»gtttt|9i. C> ]£• :j-- :at: ^-^ H 1- t :s:___ G 1= r^^zs: -fs- -&- i J5L. Jeremiah Clark. 4 » r" f ^J^t ^ i _t: ,t= Sia III a '•'_ ".!' 3ti; — ^-- .fc_^-:r, H h t (2—1- ^— ^ -^ ,•!•' ^ ^P-^ -«?- S-T -»■ O i i -G- — I- z:«=i^i=::^ -^— :^ m^ -«--fe- j^: -<>'- s J2z::s Ezzt^^^: — (^- :t:=f= (7 I i 9t mw^' 0. M. 75 Dr. Blow. I M -J2: -G- F"r^=f i rT 1 3^ f ^ -1— « G J. cl « ^-, -<9- i9 G- i :f=:?^ ^ w -si — ^ ^a—e- t=:t: I ^- ?=?35 1 d— -^ ^ r -G- f t s i i npzq: -<9- i*' iSt -G- G- -&~ ~G- i f 15)- r i 6*- •»- •»• g ) ? !©- 4 f-tt ii J^t cf%lt^$. CM. 76 Rev. W. Jones. ^^: -«9- r :rii \ I tf: ^=i^=-i^ -« -G- ~G- ? ? f^ -f-£tE^. ^ -gl ^ «. ■<9- J::r^ -^- r i i r I 3^ 1 i i It H -^- n^i J- .J- ^9- ■-G 1 -/9- ± :i-fi- =:3'zzi=:^-_:^ £ Ef: 35t -«- i -t -G- i -6>- ^— ^ - -^IZI^IL ^ «? -ti: i f f 3 i (^xAiuiUin Sgutn. W- Tallib. i ( I s ^ ^^^f^^^p^^^^ 1 ^E -© — -«- i r rr f I I „ I J kii!' ;-f= -.^^ ^ :=! ^ — «- ■i9- t -^--G- guPHiiliiPl 't^: P=^ I (^ -G- j:t:L-jst -o — ^ m ■fi! — I—, — I — J— I— gi — si- i ^ •-«>* rr" T « -■»' 1 t P jtif P^-wd ^- :^ 1 -^ . -»- r-<9 «- -fi>-- -»■ -(^ZhSlT PI :li. %ptl. 0. M. John Milton. P ^ $^=fc^ -«- -«- i r~rrf ^^^ -;S i f f5>- ^jd^g^^ ^1 ^^E^ f -<^ I I Allison's Psalter, 1599. 1^ i m m ■«- — «- ::«- it^ r A 3*: f -«- ^i=- ^ ^ A-J-^AA. -^ f i — G- ~&- M :t ?Efe -(2- 1 (&- s. -a- i i A --&- -G T -G- G— T- 2^- G- Wt ~G -G- j 1- ifzii-^ i i (| •^ gi ^ ^ ^ ~G- i T^r « -G- A. 1 —zia: -G- ^? fe -^ — G- -t- 1 ^Mm, 0. M. 80 KiRBY, 1592. ^ ^ h- 3£E f-^f=rf=f=^ 5^ JE^z: E-^^ ^^ r J. J. rrry -<5> !»■ IS -fi- ^ 4 g f=F --ri — ^ ~rftj~^~r^ ^ — gLj — ^— H— '-I— '- ? ^ J-al l^gi gJ . ^ ^ F -«- g g *=:g^ I ^^ f=f -6>- i i i ^li, (CONTWOiD.) i ii' '. I I: i m T ^ -o — w- ^— -3--^" ^ f=-r- 1 1 d: "75 lO- -Q. OL gEfe t^f: -«-. I 1 I^ggj^ mmmmmmm i=i1- ^^ :^A ft. IKatttMWit. D. C. M. Dr. Croft. ■■«- -f9- f- '-1S' ^EEi^gp^ ■*■_ «■ rat ~o- o ift: E ^;^E^ i -1©-L i ro Trg: d «■ :^!Ci »-<&- -ti- -L^-^ i SE^d^ #i IBiattbewisi.— (OoNTwcKD.) Z -o—fs- -G- '?Sl =^ =F :3z:: ^^i^ ds^ iZIffiZl-TilSE r — fi^ — «- 1 m i d — d- niiv. #=f^ -6>- i ^=#- n —I- Wzr: -i9- ^=2^-^ i ■«>• ■«*• 9^^ — ±-er: :f=::i;=? ISC i i f-i^ :a: ^ :^^ Iff: i ::3e: i tarn ^nqtVfi f 0ti«. L. H. 83 Oblando Gibbovb. i :fc ^3 ■jO — ISr -Q — fsr T ^-r^ig^.^ :£ I^S I i: ^^ 1 i:^ -I L. i I -&- f=-r^ ^■ '&- f % f ?3 ■^ ^ ^=A=A ■t i i ^ ^ ^ A A ^ A ^ J ^AJ. t — k Ipp^i^^p 84 PS (itM%%t\iUfi, L. K. Crasselius. -\ 1- IS m ig^ «- z^zzjeL «L 15?- •<5>- -^ •»■ 15>- -^ u fTTrfT^ o- -G- ■^=^ t d=^q:^ »-o' tf E^ I ? ^F=f ip^ i ^t^ I # f fT (g P^^3? -©- ^ ii ■«• -^ ? -^ -&--r i^Tzzac f 1 ■.. I.; m»tm^. L. X. 85 pi '■^ ■e^—^ - J^IZU^Z -i r G- ff pT \^ t=^- 1^=:^% ! j^: -r-^—A SCH EIN. f--^ t^^m^p^ •&■ •»■ m ^ A*i ^ "Ft^ f i 'm^f'mmsmf^mmmmmr- mt L.H. 86 ftl Bishop Turton. W zt::^ .© iSh ^ ^fc i ^e — »- :^ i^ « -6^ ? f f i j^ -^— 1'^ f H~^ 1 -»- (9- i f i ffi -«- ^f ^^ f ^F=^F^-t= i i M— r^-^T^^Tf^ 5; F^f^-^-? ^ i (^ ^ElpEg «: .^a ^ m -&- k ry f- ^ A:kl :S=± ^^mms zrz^c: s (^VtMttA. L. M. Ancient Mrlodt. i t i g~'l l~P^| -I f- -6h Ff ^511 -G~ ^=t ^ -^ -^ w :sa~T:^ i JA,A_J fc^ :^i 1^ f5>-T- r i i^^4s««ifei;a»*fc ^;i^t^.^i_i MAlil geirt. L. n. 88 Dr. Greene. \ r—r ^ s^i i ^:d=: 1 r«^ rf=f ^FB f f f fT -«- (^ ^ -» I I ±I=(? -«- ^ i=i ?9 ^ i^ -!»■ ii t=zit iflfcty I f i ^^^^ 89 ^^-S£=£^3=r:|:3=:^ r i r=^"f fe -«- ^il^f ■^'-j^^-^--^-, -^ ^-^^^ -^- ^ If Jiij' ■*>• I*- 121 i u i £2: -r5»- znz f3=SfE^. t -Q- I (S^ife «- ■^ •«>■ :2=^: «r ^^-41.: ^9^ £ i :»W •» ■«■ -|5L -& 3CZI^ =^ ^-.— a. •»• •»• ~i9- ^^ :^ i ^uUn, lit If* ^ I I ^l2z:^ -G G- tTT -iznij^ -& 6h \ ^^^i 1 G^ :sr ^-o- % G G- ■fj- ^ rr\-s— ^ IS? m y^ -G- d r^ w^ ^■st^ ^u^AtWt^. L. M. ( 91 GouDiMEi,, 1565. Zt ^=^ I I I I I III.' I ' . ^^m \aA1±±£lA s. 1 a a p m JQ.-^JOl. t- i # ^9- -<9- -©- :::£ -»" S -^ -^ -G &■■ f -G- -G^ JO.. F ^- i^- f ^ :rfi: ^m -G- -isz * i ■O-- -A--B:x ^A ^ -ffl •G- ^—fiL i9- -<5>- =1 i ^idntU. lit M* 92 p i3 ^i ^ -i9- # izp±^ 7r 1 «! J I J I I J I ^ ^^ p^i^ttp^-^ 'T^zLAn^SSa -fs- t ?^ J J I i i ^ ^ -ii * I =1 i i ^^ iE^ -« «■ „Z2Z (^ 1 -«- ^1 a — (g- i ^ -^ — ig: -©- ^ J5L f t 1 «L_d ^tf F^ -o- J^^A m r 1 i s- f 1 ■11 '^tU$mU. L. M. Webbb. I J=tf -«- i :f=^ ^ 3Z: * im^. B: zzjsr: e^-^j^—£L W -G- g J -^- 1 ■O- I I .5^ Jl fi iPi i -^ f=^ :?iL i Ma.,ri^A;&:....i!M:.itl5;JiikiAAt:^^a.l.;.i:. j.j.j^.i.ifejt^j'ati, |tlont0om^v)|. L. If. 94 t P s ^ Stanley. Pi ^^ ISlI ^-*- o^ ■» ■f^ g^zzr-igJi:3a: -^-1— r -Jt=.:i T fE^^^ fif -©— 6H— e <2- «^ SI (SE UJ-l^^ ^Hp J (» ^ --«-- s: i£ ?s» -»- I J J I ^8? I IS- I ^ - r f—^T ^A-'^ W^ -^^ 1 # i^U ^mAttAth. L. M. d5 Claude G'^^jdimel. I hi. m wpf=f^- _a li I -o- f ~Or O (O i= -G- ^ ^ ^ I ^ i ^ ■ f :f f i < i: (^ -<^ -^ 10 P" 4,^:^ IS ~o — »- ^?r^ -^ i i # ^ k i XT -fi- d 1- #i -»- Iffi ,0 <5" i :g I I 13^ i 15>- -15>- ? ? r ^ glajjfarA. lit M» 86 Playford. i *^ ~G~--G- ~0~19~ ^~1S ^ I i*g -fi_^ :==^T-3^ ¥ ?^zzi5>zr -!5^- ^ rrrr i (^: ^^^i; T^f-=f -©- T5i- -<9- -^a- :4: ^^^^^==3 ■^T^ i ^>- :»" # -&- f^—i^-y^ ~G' :^izi5»: :^-i:^ -^ I I -6>— -^ t i -j-g. T-Tf f 1 -9- ±4 rf-5^|dij ±t=t: I^arj^inodjim. L. M. 97 Dr. Miller. ^ « pt- -^ i i^^#^^#i p ':sr -«-T :|= ■&- ^ g -«5» Ff ■ _G -fi-_-© ' (9- eI ( \ jl»X«tl)|. L> M* Havergal. 1 — ■> i I m 3 3 -« H -I- 1^ m 4 i -«- ^ i^ ■i f ■f :^ J i 1 WjhW (Aviminq Si^mtt. L. M. 99 Tnos. Tallis, ob. 1585. -g— 7S<- T'r ~& — -^ r -©- J J J -^ '^^ f^ -fi>- J- A T ill :B/zh-_^ r f p _, — I ^z-:. ^—r t\- --O' i '-rrjfc :|=: L J J J JJ i^appp^ T 35 1 i U0tmi0, L. M. 100 I o ^ -& ~6t- -Q 2?- d: "O — o- -fi>- «- I 1 I US' ^ ^- Dr. G. W. Stratht. r 5 »- r r I ipin^ f=r? SI a:s3 «- J_: ::^- j — g-pg) — ri - #■ -Ef] l^fe^ -«-T~^— ^T-^Z^— ^ -<9- 1 I % ir=:^^-=^ 1*-^ I rr -O O" :z22: ■«- 1 I*- 1^ f ^ -© iEEi "O O" -©- -f9- H f- •:^z:3^ n 3^- f ^ -«i '^-:: «--2$T-^- h: -lO p.--' sii^ii £ ' ' ' ■ ' rJzz JzTig'— g^mz^- ^w -^-1&- i W^Mntt. L. M. 101 Wawftam. L. M. 102. m 1^^ I I I I . _ I I I . 1l ! 1 n^i^T^ii=^^: mms t^ } — fSh ^~(t ^r i p «>• i lA P 1&- { I ^T^ ;v,ii- ^f»|' I: i»5— -(^ r<5i:: ^ eJ3^ f-o- _^:-2^_ f :^ ©- ii -j=v-»- — f. ta r la n -«9- -&- ^^ zze la: *:^^^ii?iiii=i ■&: i^- itiii^^p Wi^mtMtx, L* M* 103 ^^^gip^p^l^SI ^^» ^-i^-^-^ -^ ._fi- r^zgrgr ■i= m ^—J L_,^ -^- f^ ^-^ -G~^- i fl ^i=-i:^: I /9-^ IST « & — & JOT- ^ i.^. ig=r^.?z: H h ^ 4 - ::^ ^ H -6>- Jl i #: A & f-f- -<9- I I ' -^- i H 1- ^U^ -6^ 15^ -6^-=- I IS G- -^± ^f^"^ f 1 / ...V 1! m I l^ttttltr'ji gawn. 8, 8, 8, 8, 8, or L. H. '■^-£-i LVTHER. ::p^^ "i — TT-T— TT -Z±|i— q-i--- ta ::g:=rq-_;- ! | — n f3qE£33 «iJ_^-J J I ! J ^^ J^ ^^^J 111 It I "^ ^n-+ h ©■ i r ^r-^tf^ttizg:: iSl 5^' -©»- -«^- mm^t i .Q- -L^«_U^, 15" e. ■e^--^ ■^--f- w^--^^-- 4: AA ±^ m ±ji^ ■(*■ :£ ^ -1& %mMiM, S. M. 105 i k% W- :si te -^-2J f I U: is: -19 <5>- —s! — -- 1 i 19- -(9- -(5» ^ 15?: 12: -© -G- VL i J^j-j -^- -«-■ ^ -©^ 19- -.^-=1 ^—G—-G ISL fi f= Ts: :SL i -^ i^ s ±=: -fi>- ICi. -6>— J-r -^— g- r-'g * •* ::?2: «>- i -fi^ -<9- -6>- (9- -&- -isrjz:^^ -h- I ^r"-^~*f r^ s i is: I -5, ^ ■ ^ ^H jrr--^ :1 ;'i (i>Mntv^. S. M. 106 I m i d— -G- -i HORSLEY. 15- •#■ :^^ i9- PL !1?^ ^ -^>-gsl- i ■4-=*.-f- ^ — I- itzgL ~G- 127 751= -(^^=;5^- ^ ^5>- «'-4t— ^ I i ^- :1=: :22: -<9 S>- ■^-sj—gj- JSEZH^ ^ i I < I- a.. •G- -^-n^-G--^ -U-^^ -&-- ^9- ^= r- -G~^ ■±1-2^ i -^-ngi -«- © ^-^ f ^5^6>^ ^ 19- •«>• g gS^- T-?Si -.^izzis:! & ■y:^-^=st -^9-- 3^z:^: ^^^ K 107 ( feg Mtlkt^itv. S» Jt« i ^^„ J I j -=J;:FJ i 1 i&- .4 -fi) -& «- -« -G- (22- (^- r^T^'^r-fr^ -(&- (m -s- ^^^EE ^ J ^ "g^^g^ia :te^ ,^ (5- I i S'- -«- ^1. — ^ ~o- (Miaik'^, S. M. 108 Dr. Miller. |M fj ^^ f -^-^ H h (^— ' o a^ * -rjsrz. i =2?!- 3:1^ ~^f^ff ms --^--TH ^^r^zzz St:: F-rp •Sf- <9-\-?^—G- G- ~&- G -O- 1 ■2 — -H-YA ■» ■fc^ -«^— ©- isc: i -J— I -.-^- .- .-I---U , 109 4- iK -&- H ^. f- Paravla. S. H. Eev. E. R, West. G G—^—& SS ^iigdi^iiii r ■i9- (2- (2- ■0: i u. --v=h ^-3Ep 9 1 m m I m H IKount ^pUmittt. S. M. 110 — ! \-=^^ 1 0r'd 1 *- 1^115*: ■jsi- k^ ■ ^—ei U -G- Mii,(;rove. J ^ -I -4 ^^ZJ^ ■■&- r .p_ (9— (9- S i^^zU ^--"-«5^t §^ f Iffi IS » fr?^ :gr_:<5d J2 . P -<9- f5h- \ ^5a. ^y^^ IMAGE EVALUATION TEST TARGET (MT-3) ^^>v 1.0 I.I 118 |Z5 ilT 1^ |2.2 III 1.8 1 1-25 |||||_y, 111.6 %. 6^ ^ ^>> V Photographic Sciences Corporation 33 WEST MAIN STRSET WEBSTER, N.Y. 14S80 (716) S72-4S03 4^ 4i. <\ <\ > f ot^Aftm. s. H. Ill s From S. Bach. m ^^§^^ f f r i iE^E^^E^ mi miW f^ ^i=p^^=^i ^^-p==f :^ ii ?^ i* #: zst i f « S3 3 i^i ly fi!-,J*. /v 1 as? :fni ^ J_Ji -«- ^?-^±f 1 =ftf I i f i r IT i 3 III Bach. ^P IS u $t. %Mt>. iia li^ --■+- izii^zzzTSi-z: 9?i^: P 8. H. i—T Dr. Howard. -liiz: Mm T ^^. f f A m f -p- r f i »i. ^irlmel^. S* M* Day's Psalteb, 1588. « — I — G f9—r--0 ?^ i ^i^H^ES^ I * i- 1^^^ ^ •«^ i^- iari I P 'f « If -t:; ^ i ^ ^ j i I 1 jf$ni%mll B< bL» U4 ^ m 1 3: i I ^^ 1-3== ^^3^ I -^- .^ .^ ^3^^ M «- f9^- i -i- s liK^-i J=3J:^= d -J_L _J -f9- n^T -.6^ 1 i ■^- a (?^ i J J ? j- ^^ ^3!^^ 1 f T* 1* * i^ F^ i lis k - ^ ^^? r-^ i Dr. Croft. «vafr$ 148tlt. 6, 6, 6, 6, 8, 8. 123 « Xj^-.q i Dr. CRory" ?PP^Iiiaiii !SZ2» f Tffr m f''f M ^f. rj' 83^?^ ■o fWrfrrr m SSag^^ T 1 ! i 124 tf ff ~JU i ^ §«IWf(r« 148tll. 6, «, 6, «, 8, 8. Darwell. I e j ^y ISL is p^^ O O &- ? ■6' I Sfcsi ^-^ ^ «-^ F^ 2: i -I— t M J- ^"^g> _ g (y i ARWELL. s ^-i fff i0lteitti». 6, 6, 6, 5, 6, 5, 6, 6. 125 1 ZE 1 ^ & ^g f fcSztfc^-g H -«— ^ -P— ^ ^ ISL -G—&- ^ ^^i^^ AA ^^ ^^ ^ u r I ' ^ T^ -^&- i S i 4 ^)r$»I. 8, 4, 8, 4, 8, 8, 8, 4. 126 mmmm =fffTff^^^^ ^ft§-^- iiia -'^^^ P ^ g=F * i -© -^L 32: lis: ^4 2 i «^ I m #Xf0VA. 8, 8, 6; 8, 8, 6. 127 Dr. Bo\ce. W5* K a I ! AA ^ AA A A ^pt W ^m -G^-G- i^^MiC^i^-iiiL^j ^^ ^S -^z ««.T ■i i I I •. I it L 128 Latin Melody. ^|i "^«r. iS :«^5rSz::a-=: H 1- t^Eg^::^ --^ ^ .o! j£ j2 ^ ^ .^ ^f^^ -+- :^--=s:. E^ «-(» u- -i .«--FE±EE:EEiE-3 « Melody. g^-g^ r -o—o^—ar ^ ^a ■» Q^ -O- Q.* I I I 128 (91(1 llStfi. 8, 8, 8, 8, 8, 8. GOUDIMBL. m ^ tE > J P f-7 i^i^3^ i ■« gsi A i i i ■i- A fJEpifepg ^^fgp pp « -J — [- :^zz2^ «*- rr:^ f fc-f?: es Tgj — -- g| - | — ^ j >~ T — -j J T" I 11 I I I I r ! f -7 — g>- -.©- I I -^- -«- -(5> "©- ^Ei^ prf"f ^^s ^J: f=F A -i f i ^^_j__j_..j_^^w^ ^g --« --/a i ^^ I 111 p: 180 S^Utthttnt. 7, 7, 7, 7, 7, 7. ( fe§^ ^ i^ f^^r"^^ -»- 1 t^E^^^ pr±f-f^ff I l^^^^^iE^ i_^ <9- f f: ^ f: «L^ I l=# J2 „ fcji=i+ m t ^i^s P^ t5^ F^Pfp^F^ —G&- i (^: ^ f ^il: I ! '^1 ^^ -G- -&- 1 i t -t-f ^ f g rr 2; i « — «>- J J J J ! J F ^^ .J J iE^^:^ "©-^^ f9- rr -»- i t *=tT; i 181 ~^' J2. — 6>— ^ p i^^m o> 7j 8| 7, o, 7. i ite^^ J i ^ p p p p r f^f T ■i m John Carter. ( 182 <$Uetirr. 8, 8, 8; 8, 8, 8. John Cartbr. < '11.11 ' III! E^i^^SJ^ ^—^- -« ^ .MAJ: 3S^£ I d -&■ — &- ^^^^^J^ ■O- Ail Carter. ip P I ! i g I o ^ 4 f^ 188 pi i j|)iltslittr«. 7. 7, 7, 7. 7, 7. B>— ^ f P f ^^hrH-^a r ^ ^ff « i tei^^^s^: :f: i im ft ^ P n ^ \- f==F r n r ISL i ~o- xt Iv ^i^hE^^ f^T^-r ^S^^si i ^U f# 1^ i k !«' 1 r rf ■« 19- -e>—i± r~r7 M i -d- f9- ii=i f=f -9 9- 1 — r - Tft f?T M e ---I — t-'- Jz "5Sr i n ^ ^ ^ SI 184 3 91 WfvbordlKi. "» 7| 0| 7» 8| 7« f fe^ J J s- ^ VT i M. Haydn. ±1: I I ^ f ^ i J I j > J , > H F^^ lac i t-^-f^ i [^ i -g — gi — m « — «-- f=F±1^=f i r ' r r' ' rr I !l / 185 ji > ^_ ^^^? c5y 8} 8} O) O) o* KVGBLMAN. ^-E J-i .^ i ^ ?=^Fr^^ ( ^K^ ^^^f ^^ J -g ^ ^ ^ i f^" 1?^ a_*. n^^ r- .-~L=UUMA ggp^P^i ^ii i 3SE^iE3E J rr~rT~r m ■O—^ i i f-f rr ■+=1- a !<•' 136 Wl^ittmhtv^, 7, 6. 7, 6, 7, 6, 7, 6. Crvger. r ^- :^:: :ti; f^ t *=Ff J i J J J 1 ^. -Q- ^ I S -«i ( ^:f: fe^ pgiiEgirf^p^ i ^ 95 El-j?i3fe -I 1 z=^ « i i iii ^^1 IffiZI -ifi?^- 1 i # -<5^- E:: o- :^ :^ # i ia :pdz:pr:|^ =j; ^- P r\ p- # #^^ Ht^ td:- :^ f g^ H h •^ -a- -G-— 1 r^f^ ii -r?j- -?5l- I /'^l Crvger. na: i -G- I is: -|- 1 qrr: :as: :K I 1 — — 1 — =^^FE#3= I I 137. Carbigun. 7,6,7,6,7,6. n. IjRpnr.Ar). -a 3==g HI ^^^ -«^ — \ 1 ! — i^iTJi-'^zr' i :^ -- ^—r -4 -- -F^-^- :ZS ^" ■^r MP^ >^" ^g -4-J-^ rf -;£,-= lUi 5 < Q I I g -f^- ^vf A-mcn _C2 cpsT^; 1^ i m^ ■.■„»- .. . ,..,..., ..w-^--^ il! !il!i Mil h f 138. I 5 ^ s St. ®;^tobnIp^. 7,6,7,6. D (From the Gennnn.); W.H.Mokk. ^ .s< -gJ-g^=g 53: JUU^ :^^=^ rJ rJ ^ i :s5: 153: 33: -©»- 33: 153: ^^ ?^ 23 -- j r^ zzini .^_v^ 4 :53: iss ^" :s3: 5ZS3: iss: jFine. A-men. •J-mJ-J-J ^ 22: 33: :s2: :s3: 33: -A J- ^^^ ^ M L 1 -^— — ^ p^^r^lp==3 -C5 — =" -Cl. ■4\ i. Monk. A-men. S2: Z3 t. St. TiiEonuLrn continued. ^^^ M ^ ^ 139. w Z2 n ^^^ :s^ 221 ^^ _ ^ __ ^m bee; ^^ ^3 d: St. ^lufecoe. 7,6,7,6. Dr. Gauntlett. 1 =, ^ ^-'^ :^ s ^__c i isq: -- -<5»- ^m -r A A r^ 1 -<^- ■^- IS?: -<^>- ^ i^^i rn~T ^ w ^ ^. -- -^r>- -Gh ~Z2L ^ ^ Q gg -- ^ J ■ ■ J , J J J --4 i s Z7 ^ 5)t:: -«s^- Z2 :c2: ^^ 221 221 -^— ^- -«Sv- 5^: n :S: JCZD- m 4- A A A ^. J2 i t -^ R EVVINO. m \ ^rf Izz: 221 m EwiNG cmtlnued. ^. #: m 3:t^± -^iS^ i^ff-^^Ep^a=^ PJ^ A - men. :^ m=^ -- J -- Dr. Gai'ntlett. I rfa :^ 23 ^ 22 ^ -J- -^-^ =3= i :^=:^ -— C5.- d=^: "=1^ -- I li hS^ Z2: ^EE^^ ^ J: ^ 3 te4 -<&- ^ ^ ^ ^:. ^^Ft^ ^B Ill :i : 1^' : 142. §^tomm*nt. 7,6,7,6,7,8,7,6. Boliemlan Brethren's Hymn Book. I kt ^ Z^ ^ ^A^--^ J rj - J- -QL . -^ _^ ffi i P ^i^ih'' ^-^ m z? ^T^ hs* g Z2 ^~~^~ P ^ ^ -^ ^^=^3 t— r -- iisJ -c>- -^ev i 15^51 1531 ^^^E333^ -- U 1 -- ics: S3: szles: ss: Al - le - lu - ia ! A-men . s -- :S3: ®=53] :s3: 144. fel :^: Z2l: St. Parh's. 7,6,7,0,8,7,6. (From the Germnn.) J. Goss ^ -•s*- :^- ■«^" -O—J— 33: J: 3: J- 11 '^■ "=s" 23ii(: iS'- :22: ¥^ '^^- '^~ \:> gJzJiii jz ;^: ^n^Ttffcp^ -- I I -^-^>- I I ^«=T ::1; /Cs ^^^p^p^ @: :s^-s^: -s^ :^ rig ■^- -o- ^ J.J. s :s^: :1: ■1- ^_ ■3- ^ :s^s:^z: I f i '-T -^--^ I J _l J S ::::! -1- Ha ^ -^- "O" -sJ- -G»-&- ^^- rt. ^ Z2 ^. J- ^-^- ^^fe^ ^ ^ ^ J x^ pj,-.zj:r-jzfl ^ -J. 1 i '. 145. ^lorhsljiw. 10,10,10,10,10,10. Dr. Wainwrioht. ^ ^^^ i ?-^-^- t^-^±w i "C? ^ A - men. k^ !',. ,;. I ! !!i 146. urn. 11,12,12,10. RrV. J. B. DVKEB. ^^: m -] _ -H <^ -- -&- J2!. -M: j^. i^H -«S| :cs: A. -Ci. iss: S2: r^^-^E^: ^^=^=^=^ :s3: d: ^^^^= it^'^^ ^=^^r=T=T^T HSlt- 1ta|l" ^5 H ^ ^ ^ _^_^_gL^^_^. :^^^^ :a: a :=5r: J»^ ^ 1 .C5. :te: H- hS» A. '^=s=i. — -O — ^ "T ^d. SEi i i ^ ■: m NiCiKA eontinueil. '%: 33: -^-- ^^ - 5S =1: /c\ :c± I I A - men. 1^2: ■^-^ _Ci. :a: in: j-j- -s» d^E» T^ A - men. ^^ I ^ 147. liolstem. 11,10,11,10: (13,11,13,11.) From Romberg. The small notes are intended/or thejirst syllables of the measure 13, 11, 13, 11. G^ ^^ .Ill 148. ga^)Oftonit§. 8,8,8,8,8,8. Trochaic. E. H. TiionNE. fe cres. -j:±r :t- qznij: t :c/: =t :^d^^ Tgy- , ^-1 — gj r o — — n ^^E^BE^^EE^ i rir-^-l-r-J- l^S #•' I . I . . . . ^ .ri. ^^=,A=.^ -^¥^ -Gh "cr "^ I .a. ^:£^3^^L^ ■^^^ .^ A AJ. 1 S5=S^ Diis^a =1 TT^ Z2!rl^: fe s P =^J-J- = ]- R ^^ ^^1^CT O^J^ /" I ^3 ^^l^^'^lt^^ -^^^"^^'^'^ ^^ ^ -•Si- i J^ ^ "r I i Tliree last lines of the Hymn. ^^^^^^^^ 4-^A ^^^ J^. ■^ 22: 22: JJ-^^r-} 149. P W ^s A y Cltt^. 8,8,8,8. Ariapestic. (From Handel.) Dn. Gauntlett. ^s:^ m 3Z5: A ^ -d A f 3 z:i -CL J2. :s5: -^ -a- I ^ ^f^ -^ -^ -cr rJ -^ d , rJ J J m ; ^ . :S5 ^SE^ :s^^ I :S: 23^ ^ ^ I. ^^ s^=,=is::^ 3: ^s:^" :s^: [— f- — [~^ -'^ .^2. ^— i-^- I il : ;' 150. Semi-CJiorus. I ics: ,^H_ w Al I Z2: g z± gibtrmws. 8,8,8. lu ^^"rT«5 ^^ W. H. Monk. Repeat in Chorus. ial Al le - lu egg lal -- T— - =5:^ m -vs»- 331 i -] — , /Ts fc2± S^ -<2^ ^ 1^ =■# -e?>- 2? ig zi: -'Or ^ !l^I — ei- -o- -^ 'm :S3: ^ ISE ^ r ^, 7 --T- --^ "• ~gv -Cy- ^ii lu Si/ t=4: Ifei ia. :ej; 151. Momt. 8,8,8,4,8. (From the Chorale Cook for England. P "^" :iz=zizri:#c ^- -«s>- "0~ :g!: ,=^; pi §fe zq: -Gt- ijxz: -^-(^ -C5 :a: 1: .J. zs:^=^- 3=^ -o- TZZ:*riI -«^- i_0_ -— r-S> & I^ZE^ -f3- -O- L'^E eIh^^ i^ ^^^%=l^=^=f^3^: m -(S>- .-J. c~cz: -s>- ^ - S~ira!^ic=§ 1 iS :t:t .d_..=J. s^ ^* z=S=ito-_ffittr2zd[i: =te -CJ — ^' J-A ^Z^^tgrl^i^^ -e^ '^~ &-n—^ — G>- -«^- J- -G> i^Z^ 22111 — ^ :a: "O" J3_ ^^^ f i: ' I':. 152. fmbfidh. 8,8,8. W. H. MoxK. 1 '^" W=^ --^- -e- =i: Pp ^=^ .(Si ci. -& -^Sir -J^-=.-r±. '^- :^=^=4EE:| k ^-^r^ 1 -(© — -o- _ci ci- :Sj z± n ^j ^drz:^: -.- ^ n\ A. A liS ^=T -o- ^^ ^d :^: ^^ =F i A - men. .Q_ ic: iq: v^ 153. Staljllt Plltljr. 8,8,7. Trochaic. W. H. Monk. i -^■ n u :ci: ■^ -Gh -S>- -e*- -S^- ;^=^is :d: A -G>' ^ '■^~ :sq: ^ ^^^^^^^^ Stabat Mateu continued. 1 -^- III 'I A . men. ""r ^^ n 12^: -- C3 154. gnb^^tatr. 8,8,6,8,8,6. A. H. D. Troyte. r^- is:^: J ^ ^ .qL :T^ ^^= :§ -H- ^ -€5»- -— — g ^ '=:^=^: i^a^j^ -C2'._C^_ :c5: -.- 1 :fel -^ :s^; izE^znizi^ A n -QSt- i p=^^ ::rct S±s: ■^ _d^._. -=5: ^^^^ :=?2: -^ -^- .^-«cy m .c^. -^- ^■ l^_ tZZ^ZiZ^. hA -^■u-± e^ */ za; Q • lliil j-j- :s:5=^: -1 1- :s:^ ^ -^^ • A- men. s^izci: ^-£3=^=^=3 22: -^- lo: 166. St. Thomas. 8,7,8,7,8,7. chiefly from Vincent Xovei.lo. ci l S "^ ^ :r2 "or =^ r^ ^fei :Z2 -- n ^ tt J ^ ^ r^ I ^ ^ ^^ ^ .. J r^ -ps= ffl ^^^-=^sr' -^ ''T i'> sJ ^ I I , -J , - 1 , . [- I I Pl l I &1 S ^ ^4^-^ -H-F^^^^^^^gL^^^^,^^-^-o. :5:?: :s:^ :5^ fe A-mcn. -O- :ci: 167. m. gmiis. 8,7,8,7,8,7. W. H. Monk. ^A P <«f):- ^ O ' # Q HS* -^Si' ZJ ?^"T1"^ gj r J- -s* =^ =i :^izs^=S5 :^ ^ ^3 ^ i i IM H^^ r j^^ ^j ' ^ '^ — r^ ^ ^_^. rj r. ^ i - . ^ . . . . ^: P^^^ ^^V— ^^^ ^ h J J J fJ .^ -t i J o ^S==F^-P =^ -- TT"1^ -,i-5_ ^ a 180. Stutiamor^. 8,7,8,7. "C5" Rev. R. R. Chope. 5Q -- 1^ ^^-T I s :^ SCUDAMOKE cvntinved. ^ }^JLJ^== d^^Ed 1ZI -^=-L_^ f^^'^f^TT^^Ti ^ :q: ^ — r — I II L^ ^ I ^! -J 1 a ^^ T^ 161. ' i: St. ©nlfebtrf. 8,6,8,4. i Rev. J. B. DyKEa. ^PW fSR an fl^ -Gh- ^•f ^" H JE i S: -ri-r^-=L zt S Hf JE^^4if4^^ fir ^ S^— !- I < "r 162. xm, 8,6,8,6,8,8. (From Piirday's Collection.) ZJ^aS'- ^E^ AAxA=A ^s i=^ -- -<^- ^ ssz=^ * jezd: J-^U J-^LU zi ^ -«2>- i5_ iq: 122: ^ s -<5>- "-S^ -<^- :g: J. TT^ ^2IZ« A I^ZZS^I ^ :a: rs* — G^ ^^ -G> ^ sszis: :g: ;S ic :s^ fa =s^ ^_d. -^ Z2 -- :s^=^ i^ A - men. :s^ JSL -S>- -«^>- -■> ^ A j=i. ^ * -«S^ r -- I il -- icz: Z2: S 1 <^ ^ ■^- 4=A A - mep. :§: n -TT?" 1 rr 'T^^ :5:5: -«s>- "CT 1 165. St. StoitMit. 7,7,7,7,7,7. ^J^-E^^. -I — I- --^-^: i£ :i^ S ■^ pn=. ^ ^__Q =^^^[3^^ :a: :=i ^Sf ^- -€5i- W. IT. Monk. n ^^ :S m Er^ -s . rera -- A^ .a. ^ -Q5E>- i -:=^— ^ :i^ 1 s I 166. Mismrc. 7,7,7,7,7,7,7,7. W. IT. Monk. )iS- ^-_jr^-_ iz:^-:^: ~1 — -1- :^^ iz-a -C5> -e?- -QD- :e ^^^^^-^^^^ I -o- xis: _^, I -•r? — «!5?- J- :^: -G» — 153 i^-: .^_j_ "i= .a ^Jlr=:: :]; '^ III IC m: -<^ (S* — c. if-^-^: :^ ^ ^"=n -o- ii=i^ J — ^- :^=:;^zi:: -s»- ;d -<^- ^= :^z_T~- -i- a: i BE^=a3=_g; :^-^ -- :5q: =T -o- -ot — &- ,_c^_ -i h «s:^- ;iz;;E9- r — ^• :=*: 5!g= .dmmlk. 1 :c2ZJ 1 1 M iMKUKliK amlinued. V- -Gt- z±- ,Q :j^=::r^ ^^^ i=i^is^i|gi^^^i -d=^r^^^S^A--^-r^ -r'^^^W-^-^^f'-^- 32":z^r~==:~ :3: ibiEil^l -f3— r-G» G>~x-r^ ^ T 167. St. Columbit. 7,7,7,7. Rev. J. B. Dykkh. ^1^=3: 1— t^r-^ (tJ— I -Q_IJ— io _ISSIZj_o— S^— l-o— *'S— i^ I 1*^ I I _^.jn s-ffiqjE^ all rd - |J -r ^ 11 J . A4-^ -fl> zl: :a ^ :s=i: d-.--! g 1 r-'-^=^ iESl^lE^i^E :-^-::i- lo: -G>- -G*- *- — Hi ^=3=g!gp^!^=^iMI pJ.d: T oaa- 8 I m W i 'I'l * 168. 1: gtmbelssobn. 10 of 7. Mendelssohn. ^^"^^^^^1^^^^^^ :^=:d=d=^ ^^^ g: I cL .ci -^ -^ .d .s). -s>- ^^^^^^s^^^q^ .a_ I :S: :^=^: :=!: :g ^^ :d: -GL :d: -- ES i— "Si :^»^: 1 ^- -G>- I I CZZ3" 3 -¥^--^ :c± -^ "1 is^: J=d^d:zd: "^ ^ .4 ^^^ :gbd: - s lu :& jah :z2: 1 zi=ci: -is»- ^- -j^z S3: ^ :c3. I -J- "1 ^ ^- -«i3- -A- :=^: :S3: :^ J_J_^. ^=^ zz: Ed &:^ J— .--J X -^ tr\ E: -QSS- ^. ^^^ -e»- iii :d= 3::^: -«s»- i:zc2: ■si- J^ J- ! :di=i± 3: T ^^^ -o- S :a: =-^= J -<^- la: IQTIZ -^ I ::ziq: bzid: -=^- T-:S: Vi/ ::izc2: ^1 ■ nm-n ^^-— .~«t[ *" I I i 171. St. Hiniatt. 7,7,7, .',7,7. Dr IMONK. =1 r^ -.^ns: J- m :d .<^_ ^ ^_i ^-[^^^ J =t ^8=4=^ : ^ rj -(S»- -' Ch ^T 3:^ ^ "CT" _Q_ ^^ ^^ _Q_ - *^ -^>- ^^-^ T=T^ m S3: -«s»- I 1 8 * I ■ 172. ibc. 7,7,7,7. D. Rev. J. B. Dykes. e-t -^^ pp.J_ :^ -^s* ■^-^-^^ ^=L=d :c± -«*■ ^ m=B ^t fc K ^ A fc fw; :^a t=d=xd=^ .^2. zcz: ^ "T T^P=s JQ- -s»- ^^tl CT il 1 k ^ /0\ 33: -QL ^~^ -d ¥t^^^ ^asB- 22: hQ>- ^_^_.^ s^zzs: ^=^=^ -<5^ S -- *=^ ^^____ ^ -1 — r ■^--^■^ rJ — I r _Q_ :^ -o- 1 i 1 HoLLiNGSlDK Continued. it ^ iTS SSI A-men. 1^2: Z2: 173. K :^ Crairirm 87,8,7. %^t^ 22 ■Vl^^ :? ^ ^- S S. jVI. Baukwouth. "n i^ '& ms d--:^^-^.^U- ^-j-.^^^'-^. -^- .^I^. -Q- ::zs^=toz::z^ ^^E^^ -Ci— - 11: let I ' '~<^- p^^F^^^^ -^J — &>- :^=^i ^ -C5» — &- 033- ^1==^ ^ -— ^ -rk PE^-f^ -<£^- :=a=^ -t-«>-i 174. Cwbtresbtn. 7,7,7,7. R. Redhrad. $ ^ i^ :c± «3| ^ t^ —Gf- "J rJ — ^rJ — di :^ kzi -- :g icz: 22_ ^T^ 221 i Heknlein continued. i 9s* :^ ^ ^ -1 ^ : a-~5~g^ ■"l-^" ^ ^ •e*- ^ ^-^J Pi-ggT' mfl A- iiiun. --J ^E^-^ :r:Jz^^ I ^-:^ -C5- 176. ^f^^ ^ ^E^: Wimnu, 7,7,7,7. Rev. W. H. Havergal. m ^--^^^ ,J "^^^ -^r 3 :ci ^ JCS_ ^=^=i=^ -«S)- "T -iS- :z3 C!>- -S*- ^^ 3:5: "f S^ -C5 ^m nn ^^=^ -- 5 ? -1— t :z2: -- ^ AA SS -eV A laeu. :^ -«i>>~ IS I If l!5 :^ ii^ 177. '^il~ -d Captfoten. 7,7,7,5. Gennan Chorale. ■ (■11 I i ' ^^r I ^ ^:^ ^^-J :s5 I fc fe:*=d; :^^i ^^ -- ^ ■ ^LJ i J -^ S5 -o- :s3: m :S -^- -^~ -J- ^=m :S3: ^-^-r-^-^ ^_^_ ra?^. -- :zs3=zs3zz: :: :s2: '-^--T- ^-_^_^ az3" -"S*- -e>- ^ 178. §^uljtch. 7,7,7^7. (From the German.) Havergal & Monk. :fc m 53 N^^ -d ^-^ -4 : r^ -^ :s3: I isi: -^H — r-s ITS -- iss: 1 i I LuBECK continued. P ^ c^ rj ^ -&■ ^ p ^ T^ 'CT-SS-OD- ^ A - luon. i ^ i 179. 5: I St. f 1^1%. 7,7,7. \V. II. Monk. -(S>- "s3" ^=^ t^^m ^=^ ^^S Z2 ^ _Cj_ - '^»- -- ^ J ^ 2^ _C5 £2L j3d: TCV -t^^ -*S>- :^ ~m^- H =P ^ -€S.- PI A - men. -- -- 1^ s — t- ^ TZZ?- -iSL -- i 1^2i -G^ -<^- icz: .SZi^ ^ -«^- :^ -<^- _Si -^^ ^ s -(S^- .^2- 3 1^21 -<^>- 181. St. I^avtm. 6,6,6,6. Troclmic. W. H. Monk. P ^fc^==^=2d: ^-^ -- ^ 221 ■'^^ ^^P -? r- rJ -^ ^ •^ =4: 1= 125: _Q_ -- -QSS- j^2: ^ A "^ ^ la: -o- Z2: ^ .r2_ i I h j^±=^ A St. Mautin continued. -Gh '^ "CS <, =T^ 22: -^ :22: -&- ± "=r=r i -<5E P "CJ ~ ^ ^ ^i^ -^&- jQ_ :^ -<^- A-men. ^2. 22: 182. Camarbon. 6,6,6,6. laminc. Rev. H. L. Jenner. ^^ ? - .p- — <-"" *s - ^=^ -^ r--> • ^ s ^^^ -J :ss ^^ :z2: -o- s ^ J ^ ^^^ :53z:;i ^ 1023: ^^"T^~^ A-men. I -(S»- cr iW' m' 183. ^coni. 6,6,8,4. r>. (From Ancient ITobrow mclvxly.) Jamrs Timi.r,, m =r-P=f j rJ T~T^ ^^ -G>- »^ -<5^ IGt ^i 'g-l — c- :c2; ,-J. ^^^^=f^ hS>- H«5^ -/^ :a. i ^^ =5ES :± _aaD_ 31 i^ _i^- :S5: d=J: -S"- =j^-±^ IGt ^i ^^ci -€?- :5s ^. .oL -o- E ^1 =T -G> — -C-> :: "^^ ^ .^_ M- _f2_ -<^- H^- "C?~ -€> i ^ fi^ tf ~-3' d=^'q=^ - -e^- -Spr^: -O- « d '^ ^m 3^ 4M ^ r^.^^J ^^ I i i Leoni continued. ^^§ f ^^^=^^:i^BE^^i ^-^- -^- -^E^-'^:=IE^E^ lifl^Ei -QX>- ^^^M^m mi 184. crscn, C,G,o,4. W. T. Best. S! .^-:±_: i=^i£§=^:x:z::^ .^d 1 e^jzi:s^=::: /rs ■ms^sm :a e»- ^ "^ A n .a d^ A -f- ^ .d. -— es- AZj^^^^^A. -o- -s*- I w 185. '1. ^Ctohtrg. 6,6,8,6,4,7. pj,oj^ p^^^ Gauntlett and the G erman. m I :§: 5=^: ^ ^" ;s ^^EE^^: -QS- I m Ei 23: E=q: ^=d=r^=d^C .Q_ j:^. ".a: E^ A A . J. ^'- .r2_ ^^ n ^ -e>- ^^^ -e)- P r^-- i SSe^ E^E^EE^E^ "^" cte^ ■ -"<& %^ -«SE&- ^^ -d-^ ^. @iEgE^ ^^sa: L:d -Q. .C2_ ^ ^ ^. J. :c2: . a. q-E-Q_B ^^ -^>- :s3: S -1— ^- f -1- ^ ^- ^^ -^ ^: -Gf l_g==g=|^=l^ ■cr i ^-- Z3: -<^»- "C5- C5~::: ^^ -^-=^- 1 ^=^^ -&>- 186. ± St, |0^n. 6,6,0,4,8,8,4. (Old Melody adapted.) W. H. Monk. i^^i f :c± -Gh- -& <&- «—• g— ^— !^ s "^ ^ * ^ J-rJ-^ -^ ^ -- "^ ^ jO. ^^ ^ s ^ -^ — tg — ^J c? e? ^ -J. :^ 22 c:^— Tj—rj :^ -s»- -- 'jI' 1 -i 187. ^ m t ^=22: 22: ^ I St. I^UStin. 6,6,4,6,6,6,4. Rev. Sir F. A. G. Ouaeley, Bart, Z± :^ rsBZ :§ ^^E^13 -f^^=^=^ -«^^ -e>- ^^ 22: -yS>- -^ -&- -G»- --Jl^=s^. M ^ :a: -«Q- rcz: xa s>- 3E£ i2Q. ^ J -G> jrl. I J J - i S* en'- 12^ -0- :a: -<^- -'S^- -^»— *•- -- St. Austin continued. i ^=22: :a: — s»- :c2: tizia: -s»- i::=:c s; o- iq: irsiizz -^ _Q. A men. 22: :z2: 122. -G^- -S>- 'CT ■C5" 188. Casio till, 6,5,6,5. (From the German.) W. H. Monk. r^- =::t=::1=zq: :s^: :^^ T=T -«^»- -J- J. g iqziziq: -«s^ :^: zt ^= :s5: J-J- -G^^ ^ 'S. -S»- -<^- -JCSHZXi -^—^—^-=i^=z (S>- -i 1- -1 1 %-=^- -c^- ^i ■^" t^^'^zE^jE^M^i^^^^^E:^ & :1: :s=i: =1: -<^- -s>- :z2: -- ^i: :=i: '^ 35: ±=:f ^ ^. -SI :^ ^ -t :^: -- -^ ■G>- :C5: :s3: '^3- ^- :s2 =:^=:iMz: :a: s:^' ^=-1 -«s>- :S3: ~- -«s>- to te i -- :s3: -1- ic^i ■Q — a" -H -\^\j—, w i I I ^ Iate continued. I 22Z22ie: u zazssrs: =n^ Z2: M: I --he> azSz^ofei :^zc2in2=s^ @^g--i:^^^ -Q. -S- r :22: 22: ■e?- :c2i:^ d: JQ. «: ^^^^'^. tAA tlot Z2~C2ZJl A- men. :22: "^--s ^ .Q_Q_ -!- -t ^^ - I .1 I 11 :c2: yjp ig^p t^ :^:Jp^ ^"^r^~ -^--c^— ^- -- "?:5" '^' ^^^'''' II II ^-T-T 1-7^^ - -. 1 \ ^^r <^,- SEI A - men. :c2: ICL Vi/ iEEE I 193. i^ I #S :^: 'd f ^2^ t. f clcna. S.M. ;v. H. ^Ionk. fs=g=| :?^-- -d-. -ass- — '3*-=- C: SdSE ^: _ci — 1 :^-- :s^- — «^>-=— I S.5 ¥ ■2=*= I 3^^^:' E^E^E^ V i"r^-"^" >— ^=-^: ^^ -^ HSi^ iiifl A-men. T^ :c^: .^-^ — G?, ■1 ^- Esa 1=^ 194. i—m~ ^1- '^ :M: Cronte. No. 2. A. II. D. TnovTE. -HS^- ^-J- 5^' .C2- Tl -GL :c2: ^i :52i: in: -o- li s=^^ I J2. :^: :c2: :-[]^y: •«^- li J i ul \m 195. J^riintOttiil. S.M. (German melody.) Partly from Haveroal. ±- ^ :ci==^?I=: : ■n tg± E^: TjQ: -j^: H ei 1 ^ c- :^=^=^ SEOES ^ I .=J_. :=5-:: S=? -Q_ — (S^- I l^i^-d^-^: 1^ "^ :ci--^ saizs^: :4 :=s: :* lE^#p:^^ d_, I r j-^ r ^ A-ni 1. zii: -d~ -S' — sn- ^c^- ?5:$E^~£3: T-V"-^""i 18 Lent continued. m w=^ ^ -^t^ 23 -G^ ^ l?a^" s= ^M iss: jGt — ho ^ Q r : ^ : -^^-^ =;^i= : ==5^iz ^^H^^ zg}":^ VT"1^ ?:> .Q_, -<^^- I i ^ -iTr'^TTV^^^^^^^^ ^^ 32 S J , J -X^-d :^ S=5=p: -e!>- "T -(S>- -s»- .i_£i ::t=T ^ 023. 1 -pt^^zp. I'C^j — ss: t 1 i I :Si: ^^^ S=*l: "^ 1221 22 -e*- *^ ■P f^^ F^- S-" ^i hS^ J I. J. rj ^^ . .J j ■ ^-J- ^5f=^itef::i^ :s^=^ "T •*Sr "^" "T ^~^ -Gh- -e^ 22" ^ -«^- ■^ 1^ IS %1 % ■ 197. I -P^- ?m- -«s>- -Gf- ^t Cnpriiut. 0,(5,0,0. Rev. R. R. CnorE. "r"i" ^ ^^^=T^^ IS?: -Q^ -i"^- :a: -J-J^ .oL ^ :^ :^ =^ .-iS_ :sz: Z2: v^ ^fe -.'S^ J- f a -- "C3" :sz: 5:^ -(^>- -^5>- -o- 122: J J I J-J :^ :S2 22: 221 198. ^Tagbalcuc. 6,5,6,5. d. Rev. R. R. Chope. 3! ^ — rzr. '^r. n zk s: i g3 i 3 L^ -<^- 221 ?=i=Fg^ la -- -&- -- -<5>- T=1r I Z2 - -C5>- ?!2 lipi BT -Tjrjnmt ag ^ya ? Magd^vleni; coiUiuued. f ■j^-jiz:^: -ev ^ :t--z:c. -r^- :ci: EiEES Zt .ci :^z=:^ :d: -C2>- J?^: -<^- I I I I iz:L[S5t]-| _Ci^,. i^.=3: -tiS«-, i I I t^; ^. t^ ■4 -d A S 1 ^=1: -£2 ^1^;^ ::1: :^EE:g:EE^ :^=^ :z^ ^ c^-^-^-l ^. =M1 tlsl- :^ -.^JziTrW-n t^-: - — •- --^- "")■ -=^=i i^^i^^^i wi,iM=i^M^=Bs^^^^-^=im *S±=3 ti:d=3: A ^^^^h^ -G>- d ] 200. :C!!=^r3nW: "T -"r ^t Slldjiirtr. 8,4,8,4,8,8,8,4. Rev. R. R. Chope. -q=qp=T m ^--^-^^ -^ -;g=s: k=S^^^ __.d._i_«^_,_^ -^ M l___^_-ji ^: E-izi^ 123: ■53- x_«2i — e!>- i m — 1' 1 Ohope. I i St. lliciiAKD continued. ^_hJ_ ^.p^b^ ^ ■^^ ^^ .^■^JaJ ^ 3^ -f%=^ -^ ^ d Z± -- 33 ISS ^ A -G^ i -rj r± n -e>- -^- icf z:ii=ctzz:§ 5T Z2: 1 'i I* W 'l ' 201. St. adalr. 8,8,8,3. Eev. J. B. Dykes. 1^ -fE^ 2 ^ ^=P^ "C5" fe S ^ -i^- ^ A bi TTirE -^ 3=[: £ S^ESE: ^ .^1^ w/ ^ s fc K 11 ^ ■ ^ L ^ ^^ n^ ^ -- :!S: -^- 22=^ ^^^ izz: £ -O- zd: -«s»- ^t^^ Z2: 221 -s>- -- i^t ^^ H sl- -- -fs i- - ei- I 1E3 -^>— *Sf iia: i^ jQ_ ^ ^^=sq: -s»- :;^ Q g^ S ^ -<&•• :g=± :g: 3 -<^- ^^ 123: \ I " • Stadacona continued. -^ !Ei=g=g -e^- ;'5s3-.:^c!d-i53: J-d 1 - ^ -zx. 1 -J-^ diz^E^z^i^E^g: ci. ii -JTTZS ^ W^ :s3 g^: n i ^tH ^=^=i« ^^— -£ i^- ^s> f^^^psaF^- ^ESz s:? -«S!>- -G^-Gt S3: :S: ^ -:C5: iS :53: ??:g:^ l-:g3l :c3j --^ -- "C5- i 1 • f,> 204. Cannork. cm. R. REmiRAD. s^ .::§: nJ: isazisi^: ?2: ^3 jCZCL roso: -(S* :s^: i — =r I I. r i ^ -«©- -- -&- ^ s -- S3ESEE3^E3Ea g: -o- ^ :S=: a 15^^: :^:^ i^ 1^5:: I -- -QS>- ^izn-it ^^r-T -- Aldkrley CDHtinuPxl, i^ i w *S.r ^ -CJ- P- -- ^^ :s5=:^ Ravenscuopt. Al, r^^ HE^i -- — - :^ izijziaz d: I It fe: - UtivrfBrbom. cm. ITOGB WiLBON. :c^: :^::t::^: .1^: :ri :ci: :ci: ^--r7^^-"-v-"i :^=i _(-5 X_<-5. ffe^ fed^ =i =i -eh ::|=± P^ 23 .C5_ji. P ^^^^:^^^^A -^ -e^- TT^ -- "--M A - me' tzl: iQizitizz:- 208. ;?»% :^ -€>- "^ 53^ ^ "=1' -^e* gnron. cm. H. S. Irons 1 ^. d=i ^r^^f=t.-^-^^.t.sr, I ,--n^.^..^^.-». ., -.,>^-.-„.-. M..J 1 ^__l_.4-+- Brecon continued. -s»- :^: ^=f^^ .d_d_.d. S _C5- ic^ 209. -^— t t. d__;d:d:d.J.J i "T^h-^^ ;^^:^E: ^= J~ei— - ^ gito ^- :^ i :^=^:S2, - fZi-fl.* - ^a Al - le - lu - ia, A-men. -rS>- :ST Z2: t'^' — n ==^ 1 rir; H 210. ^^ ^dE^ St. ^d;cr. CM. A. E. Reinaqi.e. ^ ■ ^ - G - ^^ r j J — - — ^ — 1 -^ "1- - Q!»- «^ A i m Bristol continued. I :^=^ i -s? ^ ^ zi: -«s*- ^ ^^^^ :i :s:? zizr. -e> — ^-'Oy Qw ^-p^-^ ^^ E^ ^ ' 1 ^ ■"■f^Efc^^ tg: P u A - men. If CT^- 212. 213. .C2_ '^^- iq: -€> € > d gj - -«s^- -^^ - ^ "^ Q -rJ ^ ^ Z2 e^ ^^ dL=J.<=._dJ. ^:i::^ p±4 g^ p:n S5 ^i I i r- nO. 1-^ 222. P -<^- j??fe^j^^^^ 223. irz. ~^-^\r:;^r:^\^A\A 3=2=^ ^ ■^ ^ •- ii gj-r:^ ^^=S2| ^ IMAGE EVALUATION TEST TARGET (MT-3) /MJ. ^^ t 4^ 1.0 I.I 1.25 121 125 tis m m ■ 22 ■ 40 2.0 'A^ 4^ <9% Va ^. 9^ J> >' ^ '/ a W '» Hiotographic Sciences Corporation 33 WS!>T MAIN STREET WEBSTEH.N.Y. MS«0 (716) •72-4503 ^.^ q\V i mi 228. (I.) (&«g0ri;an Chants. From Spenoek. 229. (I-) From IIelmore. 232. (III.) r' T 233. (HI.) From Janssen. •"«*• \ / From Helmore. - , (Zf., l-C rj .r^..Q .rJrJ.r:j' -^V T 1 ^ «► «a s^ -- Uj T gJ gj I g3 n -^ [ Q J. I ^ ^-^^-^ ^anctus. ^Tto- ziz^ BS^S^^: ■ ly Lord God, Lord God of • i John Traveus. liZESZZi :c5~q- ^: cfcc^ti^: ^==^ _Ci_ fa: drd, Hosts, Ileav'n and earth are full ^^^ I =^ ^ ^ O Lord, O Lord most high. Glo - ry be to Thee, . . .245. gouble C^ant. Dr. Orlando Gibdons. h\ ist and 2nd verses. 6lorm m ^fttlsis. Srd and ith verses. &thy 6^/i, 7/A, and 8th verses. 9th and 10th verses. w ODj Have mer • cy upon ni. Ke • ceive our prayer. |igi^y -o- V3- 4. ^rr^-^ z^ii^ ■cr A - men. T=5: a S2: 1 - T^^ ig^ai^^gig ir\ LORY be to God on high, || and in earth ^ peace, good will towards men. |1 2 We praise thee, wo blesa thee, we worship thee ; || we f A glorify thee, we give thanks to thee for thy great glory ; II 3 O Lord Gud, heavenly King, || God the Father Almighty. || 4 Lord, the only -begotten Son Jesu Chnst ; || / A / O Lord God, Lamb of God, Son of the Father, || 5 that takest a?vai/ the sins of the world || have niercy-up^n us: || 6 Thou that takeat awai/ the sins of the world, || have mercy-upon-us : || 7 Thou that takeat awai/ the sins of the world, || receive our prayer : || 8 Thou that sitteat at the right handoi God the Father, || have mercy-upon us. II 9 For thou only art holy ; || thou only art the Lord : || 10 thou only, Christ, with the Holy Ghost, II art most high in the glory of God the Father. || Amen. || j/^^ ff,,, ff.jt^ - ^r^r.-J U^^^^i'-r.^v^'^ ji^ I /!^i,.i ^/c'>> fe/Z/j'" '^''"^ ^1,) ^J^' I i 1 V' ^ LA V t — T^J/H'ch' -e^ T- ■* > :cs: -+-•♦- 35^ ■^ I g I w i l^^4 1 \^(y ^i>^iv ^ //•♦"■' tO^ {ytCX trtA^t dud:^^ W $ ^ =in , $ I M I M 1 1 1 ■'" (If i'^'' ' f f ^^^ ^^'TT*iVi r ' n I 1^^^ K^ i^^^ l-J- :afc ppp p I t^ I I / 'r ^ |-i--f--f t T iE4 gEj^jJJ-j-j l r^-t^ ^I^E^ ^'^ a ^^ M^- ^ ^/ i^C4^ ^C4.^A-^ it Af ^/ % Cc, / U A ^^ / A< ^c LV^ /^/ }<,^//£,^^^'J 1 /O^., A? /^/Ai: ^(ti ^^^'^^^^^^^. L^t A la (/La.V- "^Uihy^j/itic «-«. rirx '>' I z: -jm=^^ — wd-.^ i m ^ M i m I' i. i