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32 X
|<V^
"ft ■:4if"C^l
CHOIR, COMSEGMON, MD SINGING CLASS:
CONTAINING A '
CHOICE SELECTION OF TONES OF EVEEY VABIETY OF METEE IN 6ENEBAL USE.
A r a i\
MKf*-
ALSO,
Fourteen Chapters on Music, and two on Versification and Chanting,
Br
TORONTO, C. W.
;.;>€^^: .
, V. /^>v '
PUBLIC ARCHIVES
NOVA SCOTIA
\\
^Mf*&«=--.
fJiSfa.,
wmm'
Bv>, - I ffi.
Presented by the Estate of
Isidore H. Pottie
;yi/ V
^^
r\o
^^
^^
-^=j^l§^hs^
f"" H. B. HALLETT
lAILOR and DRAPE
Gent's
Furnlshi
LIYERPCOL
ig Gooc
IT
Aii GafflSiilJ HaHii In (lis Latest Styl
.'l/^rf OM reasonabU
1 C
J I.
.^
/^r^(^
//,-y
iC
I TV-r T n k^WW I \i\
)UlkmMm>it
A COLLECTION OF 313
OLD AND NEW. DESIGNED FOR TH
E
CHOIR, CONGREGATIOBf, AND SINGINa CLASS;
CONTAINING A
CHOICE SEKCTIOIf OF TUNES OF EVEET VABIETT OF METEE IN GENEEAL USE
ALSO,
Fourteen Chapters on Music, and two on Versification and Chanting.
Br
TORONTO, O. W
PUBLISHED BY THE AUTHOR.
PIIEFA.CE.
The Vocalist is intended to supply a want, that has been long felt by new beginners in music, and members of the
dijOferent denominations, namely : a cheap text-book, in which the elements are explained in a simple and thorough manner,
and a tune-book, which contains a large number of the good old tunes.
The Elements have been divided into twelve chapters, which embrace all the points introduced to a class in a course
of twelve lessons.
Five additional chapters are devoted to Time, Accent, Pronunciation, Articulation, Versification, Chanting, and the use
of the tuning-fork. Their perusal will be both interesting and profitable.
All technical terms have been omitted, and the science presented in a simple manner, and expressed in language that
all may understand. The sharps, instead of being placed on the upper part of the staff, are placed on the lower, because it
would be much easier to apply the rule for finding the key-note. The Alto is arranged, as it should be, for female voices.
For good reasons, the tunes are numbered, and the paging omitted. The Elementary index is placed in the first part
of the book, and the General, Metrical, and first-line index, at the end. The " Elementary Index " will prove to be very con-
venient, as it will enable the student to turn at once to any point throughout the seventeen chapters.
If the name of any tune is forgotten, and a part of the first line of the first stanza is remembered, it may be found by
referring to the " Index of the first lines."
The different metres are classified ; that is, all the long metres are together, and all the common metres together, &,c.
Among them will be found tunes of every variety of metre in general use.
I would thus publicly express my sincere thanks to Dr. L. Mason, Prof L. C. Everett, Dr. A. B. Everett, and Dr. Thos.
Hastings, for the use of some of their excellent compositions.
That the Vocalist may be instrumental in awakening a more general interest on the subject of singing, both public and
private, and thus assist in elevating the sfcindard of Sacred Music, is the sincere desire of the
AUTHOR.
N. B, A large number of the tunes in this work are private property; publishers are therefore cautioned against
tudnflr them without permission.
•^ COPYRIGHT SECURED.
1
Miwiaa^-'' itiii iiiiiiiiiiiiitiiiriiii;iiiL
'sP^M!'^
...
members of the
)rough manner,
lass in a course
ig, and the use
language that
ver, because it
ale voices.
I the first part
be very con-
ly be found by
s together, &,c.
and Dr. Thos.
3oth public and
AUTHOR.
itioned against
Aooont
Accidental ||...
Aeeiilental |?-.
Accidental |} • . .
Added line*-.
After-tone • . . .
Amphibrach, w.
Anapaest, -^
Appojrgiatura
Articulation
Bars, double :|]
Beating time
Cadence
Chantine
Chromatic scale
Clef, F
Clef. G
C. H. M. explained . . .
C. M. explained
C .P. M. explained
Compound double measure-
Compound triple nieagura ■
Da Capo - D. C.
Dactyl, -w^
Dal Segno -D. S.-JJ....
Degrees
Denominator
])erivpd measure
X Diatonic scale
I>ot, single and double. ...
Dotted primitive note
Dotted rest
Double measure
Eights -88 -explainad
Kights, sevens li.o burs -8s
Flats ,
F clef
Gclef
H. M. or esStSs
ELEMENTARY II^DEX.
Half steps
Iambus,
Incidental
Intervals explained-
Key-note in sharps
Kov-note in flats-..
Ii- M. explained
Measure
Minor scale
.Musical terms
Natural
Note -eighth
Note-h!,lf.
Note- primitive
Note- quarter
Note— reciting
Note-sixty-four
Note- thirty-second. ■
Note— whole
Numerator
Pause, ^^
Portamento
Priniiiry sounds
Primitive measure
Primitive note
Pronunciation
Pyrrhic, --'—
Quadruple measure . . .
Reciting note
Rule for finding the key-note in flot....
»• ij- M- explained
o- M. explained
S- P. M. explaine<i .".''
^vens-rs- explained '.'.'.
^^l&;bl^:::r.!'.*.!'''-«p'"'-'i•■
2 Scale, Chromatic ','//,[
Repeat, ;t .
Rest— whole
Rest- half "".
Rest -quarter ',
Rest-citthth ". '
Rest- sixteenth
RfKt-thiHy second
Rule for dividing psalms and
Kulo tor reading music
Rule for finding the key-note
hymns
in
9 &1.S
8& 13
13
13
13
•• 13
for chnnting- -16
1
5
12 Scale, Diatonic
12 Scale, Minor
8 Scale of C
4 & 13 Scale of D
2 & 13 'Scale of E
4 I Scale of E flat....
Scale of F
Scale of G
Scale of A
Scale of A flat-...
Scale of Bflat
Shake
Sharpa
Signature
Slur, ^~^
Spondee, . . . . ,
Slaccato, M t » . . . .
Stafl"
Tenor
Tie, —
Time
Transposition, sharp
Transfxjsition, flat .,
Tribrach, -^^^^.. .
Trill, tr. ;
Triple measure
Triple compound.,..
Triplet, 0^f ..,,..
Trochee, — ^
Tuning-fork
Turn. j\9
Versification...."."..'
9
15
15
15
15
15
13
12
1
la
3
6
8
...... n
9
5
7
13
10
12
5
5 •
9
15
12
1
•••••• 3
9
13
5
9
15
12
.9&13
13
10
15
17
21
15
ELEMENTS OF MUSIC.
CHAPTER I.
Masl-o is divided into threp (a) dopairtmenta. . . . i i
First, Melody, which relates to sounds differing in pitch — as, high and low.
Second, lluYTiiM, which relates to sounds differing in length — as, long and
Third, Dynamics, which relatestosoundsdifferinginpower — as, soft and loud.
Such is the nature of Music, that these three distinctions are intermingled in
theory, and practice.
At the foundation of Music lies a series of sounds, called
The Diatonic (b) Scale. It is composed of seven primary (c) sounds.
>3^ with the first repeated, making eight
^->, G O ^ t Bouuus in all. qes. 1 & 2.
P f " *
The space between two, sounds is called an interval, from 1 to 2, is an interval,
from 2 to 3 is an interval, from 3 to 4 is an interval, from 4 to 5 isan interval,
&o. qes. 3. , , t • ■.
If there are eight sounds in the scale, it follows that there must be seven inter-
vals, qes. 4. , > iL .u
Intemls may bo large or small, some of these intervals are larger than the
others, there zrejlvt largo ones, which we call whole steps, and two small ones,
which we call half steps, (d) qes. 5 & 6.
One of the half steps occurs between 3 and 4, and the other, between 7 and 8.
'^The places where the half steps come are indicated by a curve. See the scale.
Five horizontal lines, with the spact.s between them, is called
The Musical Staff, (e) qes. 8.
a
33
If each line, and encb cpace is calfed a degree, it follows that th«re mart b*
nine dcj^rces. qes 10. 1 j. 1
The different degrees of the staff, receive their names from tho^r«< ievm letters
of the alphabet : a b c d e f g. qos. 11.
The stuff is used to represent the pitch of sounds, qes. 1-.
This fc character is called a clef. cies. 13.
qes.
It is said to be located on the second line, as it crosses that line four times, and
neither of the others but twice, qes. 14.
It represents the letter G — that is, the letter belongs on the same degree
as the clef is located, which is always on the second line. qes. 15 k 16.
Clefs receive their names from the letters they represent. Ihe clef, represent-
ing the letter 0, is therefore called a G clef, (f ) qes. ^'^■
The clef is used to deterniino the position of the letters on the staff, (qes. 18.)
For instance, suppose we wish to ascertain what letter belongs on the fifth line,
we first enquir' rthat letter the clef represents, having ascertained that, we take that
letter for our starting point.
The clef just introduced, represents G, on the second line. The G line, then,
will be our starting point. As we use only the first seven letters of the alphabet,
and G being the last letter in the series, wo must commence a new series, above
the second line. . -n 1,
The next letter on the staff above G, would be A, and the next above A, Jl, So.
By placing the letters on the stuff, in regular order, as they appear in the series,
it will be seen that F belongs on the fifth line. Ex r """
^§^^1
Eofeh line is called a degree, and each space is called a degree, qes. 9.
If wo wish to ascertain what letters belong on the staff below Q, we simply
place the letters in regular order, backw ds, descending the series.
I
.Fa, is the
If^'Mif^^—tn-^^llmu.-M.,
1 tbat th«re nart be
tho/r»< jwwn lettem
12.
lat line four times, and
on the Bome degree
qc8. 15 &. 16.
Tlio clef, represent-
m the staff, (qcs. 18.)
)Dj!;8 on the fifth line,
ineJ tbat, we take that
le. The G line, then,
It'ttcra of the alphabet,
:o a new series, above
c next above A,B, &o.
icy appear in the series,
G^^XI-
-TT-P--
yr^-
r below G, we simply
the scries.
ELEMENTS OF MUSIC.
_»dded — lian abcrft.
QUESTIONS AND ANSWEHfl.
Added — line bvluw.
SomeMmos more than ODO added line i. used, qcs 19
.ppljthefcllowingsyllablS (if) ■*''''''" " *'"' *"""»' "^ ">« -^^''^ we
The letter a. in Faand La^should 1. pronoaneed the^me «,«i„StmwandFlaw
Pronounced, ^^.l^il^e£ i /I ilii.
BULB FOR READIKO MUSIO
the place for Si.
r~S>~^=EE
2 llZ ,?"'"^ '"""''" '■•""P™" ""- "■"'<= ? /!«.. Ei.-ht
3 \\Z, 7 '""""7 ""'""'^ '"0 ""-■•■« ■» ^".'. Seven
: ^'^•:;:t"rHf r^rs^"'-"""'^- a- inter..,.
8. Wnu „ .,„, ^^ ealled 1 A,.s. The musical ,.„ff.
«lphal.er"" '" ""^^ "^-o 'I'- -- <•-".' ^«.. The fir.t «,v.n Ie«.„ of dM
>2. What i, the M„ff u.,ed for , An,. To ..present the pitch of .onnd.
>3. What i, this ^ character called ? ^„,. A C/./
?■ W rJ- /*r- "" "»' "'^""'l line!
^or_j,„. To determme the position of the letter, on the .uff
tn trri _ '
"• '^'"«'"-e"'<'«o =r^ short lines called?
.'In*. Added line*.
Sol Si.
^e same rule will apply, if Do is found on a. space, qe,. 20
■Pa, is the place for Re. Ex : TrziTg
1)0 U F» „e.
,The same rule will apply if Do is found on a lino. qca. 21.
^f MTtl.^'s';." "" " "■'"=■ ^'"" -'« -" •- found on the next lino .bore, «.
^"'''LrFa",'^: " "" " '-""-■'' ^'"'"' "<"«^^""«= found ou the next .pecebelowt**.
rrthcf'i'r 4%"'? "^r'^"' -r^'-'ion «/ 'ihe humr"i'r t f.'"'-"iT't?-'°-"''"""''
" '""""" '■"'™ 'ncro arc but seven primary sounds. '" " '^""'^''''"«= "":«. "'•»
hu:„?:„'i7e'rr"e;pr:!l!;^o?rh'l ,ir,".Vr„'.'"wr"' of /<..-becau,e a ton. me.n. ,h.
to au instrument or the rolce. »y«teini whereas the term soand ma/ »pptj»lt^l
6
ELEMENTS OF MUSI:
d. — In some works it is called a (semi) half tone. On examining the Dictionary it will
be seen that a tone means a sound. How ran we mako a half a sound ?
O.— Some teachers call it n stave What is a stave 1 Ann. A part of a barrel, (See
Dictionary.) Does tlie musical staff look anything like a part of a barret ?
f. — People Rcncrally call It a treble clef; but as it is used for three distinct parts, viz. r
tenor, alto and treble, one male and two female parts, that certainly is not a proper name
to apply to it. Inasmuch as It is used for three different parts, one part has as much ri(;ht
to claim it as another. It is just as much a tenor as a treble clef, hecau.ie it is used for
that part ; and for the sanio reason It Is as much an alto as a tenor clef. Its proper name
is the G clef.
g. — By some teachers they am called leper lines. We call them added lines, because
they are simply added to the staff to meet certain exlpencios. For instance, if we wish to
write music two decrees nbn ' or below the stuff, wo must make use of te .iporary lines.
h. — Guido Aretlnus, a Bi'i.t.iiciiuc Monk of Arezzo, a city of Tuscany, has the credit
of being the inventor of the present system of notation, foimded on the adaptation of the
syllables — Ut, Ke, Jli, Fa. Sol, Li. The-ie syllables he took from the following hynm :
Ut qneant /axis resoniuo librls,
Mit» gesiorum, A<inula tuorum ;
So/vi polluti, labii reatum.
Sancli Johannia.
The present staff, a« well as the scale, was invented in the 1 1th century.
CHAPTER II.
EDO
Mi Re Do.
Is here represented with the letters as they are permanently located upon the
Btaff.
It is very important that the syllables Ih) thoroughly memorized, and the order
in which they come, both ascending and descending.
A line drawn across the staff is called a bar, and the space bctwc«n two bars,
is called a moasHrn. (b) qcs, 1 &. 2,
liar. MFnanre. Rnr. Menxnrc. Bnr.
Bz:
At the beginning of a piece of music, (on the upper part of the staff,) a fieuro
called the numerator, is placed to indicate the number of parts or beats in •
measure, (c) qes. 3. Ex :
When the figure Two is used, the music is said to be in Double Measure, (d)
qes. 4.
The boats in Double Measure are performed down and tip. qes. 6.
The full measure must always be commenced on the downward beat. q88. 6.
In beating time, we make use of tho right kand and fore arm, keeping the
wrist perfectly sitiff, passing quickly from point to point, pausing at each point.
The hand should pass from a perpendicular position, to an angle of 90 degrees.
Uand up.
Ex: El
I ^
Elbow. U»Dd down.
This <o character which is used to represent a sound, is called a whole (e)
note. qes. 7.
This p' is called a half noto. (f ) qes. 8.
11 (g) indicate the end of the tune.
Two heavy bars thus
QUESTIONS AND ANSWERS.
1. What Is a line drawn across the staff called ? Am. A bar.
a. What Is the space between two bars called ? Ans. A measure.
.1. What is the >fumerator used to indicate t Atia. Tlie number of beats in a metuar*.
4. When the figure two is used, what measure is it called t Ans. Double measure.
5. How are the l)eats in double measure performed ! Ans. Down and up.
6. On what Iwat must we commence a full measure ? Ans. The downward beat.
7. What is this o called ? Ann. A whole note.
8. What is this j* called ? Ans. A half note.
NOTES.
a.— A II bcrIps recniv* thmr nam?; from the letter located on the degree where Do li
found. For instance, if Do comes on the Q lino or space, tho music is written in the iealt'
of G. If it (Do) comes on F space or line, the tune is in tlie scale* of F.
* Some people call the scale " The Gamnt,"
I
This
It represt
E. qes, 2.
:, As remar
-I iLoy rcprese
f It is alwa
- voices, and i
Whenever it
acgree lo wl
.*mmmk
^^^Pm^^Wm-'^^f^f.'^ffi^^^S^^i
■«W WAfcV W»f i lilM li'-' l H l M]|i'wi.X <«*iitJ
ofthestaff,)afi^re
parts or beats in a
Double Measure, (d)
0. qes. 6.
■ward beat. qes. 6.
"0 arm, keeping the
ising at each point,
agle of 90 degrees.
is called a whole (e)
the t\iDO.
af beats in a meaaoN.
. Doabis meaaare.
1 and np.
downward beat.
a degree where Do k
c is written in tlie leala
*ofP.
ELEMENTS OF MUaiC.
re.eu.in^'ti.^o.'^.K'vf i;;?X:d Z^" """'" '"'''""' '"'"' ""» »-P'« -ode of ..p-
turtle to represent one, and an^imelopo the X ^ ""''''" •*"" "' ''^" ''» *° "««<> "
l.^^rSL"::™r:„"t,:r"ir.;^^^^^^^^^ la it, .can. .he™
that number of beats by plaoinii^ the fitu™ a »? ,hi -1 '" » measure, why not indicate
^ortKrti,L.JS3Hr^r-"«"^^^^
eeivethe relative value of "^r,Z-.X^JZ:;:t'^^:^; ::-^^^^^^^^^
a 'hii^fru^rt: rSr i'Lr '"" '-• ^ '- - -ound, but a note ia si^p.y
g.-The period bar | is used by some writer, at the end of every line, and by othe„
at the end of every two line. ; and this g character a. the end of the tnne. For seven..
S'a1n""""l^e"j„'n:s:'' "^^ *""'"«• '" ""» "O'^, and the double period bar placed at
C I)
Do Re
E F
Mi Fa
<' A li C C B A
bol La Si Do Do SI La
G F K DO.
Sol Fa Mi Be Do.
CHAPTER III.
"^ i 2trn"t£r:Ja'^rJ."'-" the /..,.. li„e.(the degree
P."2T'"' '.he letter F. that is wherever it ia located, that is the place for
voices, and /ometimes fofZ Terr ?h? !!'' ^ P"', "^Y'^ *° '<"' ""•'o
^Vhc^evcr it is used Do T, fi ", ' ^ V T^ '^"P*''** "^ ^'«»» ""^^ ^ices.
aegrco to wba? ut'when tt o'cieSsef "" "*^' ^ '""'^ ^" " '"^^^^^
, ■ — ^. ^^ uo Bi La Sol Fa Mi Be Do.
A heavy dash placed below a line is called a whole re.t, (c) and one placed
„. ,. ,. . , Whole R„t. U,lfR„t. •^
above the line, 18 called a half rest. qes. 4 & 5. Ex: ^==I=Z
beaTi;7ie"ls?,itS„2"^^- '""'°"^'' ^^^^^^, the
1. Where is this i
QUESTIONS AND ANSWEBS.
located? Ans. On the fourth lino.
Why 1 Am. Because it is below the
- sz — "'=" ■ ^inj. un in(
Z. JVIiat letter does it represent ? /1m. F.
3. What IS ,t called? Z,,,. The F clef.
|._ 4. What IS tins -• called ? .1,,,. A whole rest.
J^. This -is called what? ^„.. A half rest. Why? ^»,. Because it is above the
NOTES,
b -wi'""":; T":" ""' *' ^'"^ "-- ^^^^^^ ^'""■"•''^' " ^-
clef isuse;i:V^mLr:^^i;S"f„'t:'T^^^^ po.,i„>eni,ch; but when the O
owinp to the fact that there i, an oomve i fe eneo ?„ n' "''■^'''tl' ^''^'''' ^''"^- This is
female voices. Although the s«n?e clef is used fnr^l,^^ '' '' ^T*=" ""' "''''" >"«'« and
the pitch is the same, yet a fen. "c should not ,„,. '""?■■ "' ""' "'«'''«' ^n^ ^ «he eyo
she would be sini-in/nn or"ave fc ! t I''. T l"7 '^'^"■"stances, sine the tenor, J,
.-, -aave (eight .k.gK.e,)J,,ghcr than the music is-intended to be
«ung. Formerly a character called a C clef 3]-^
.entcd on the degree between the two heavy dash^
waa used for the tenor. It repre-
«w
..^-t-jL
8
ELEMENTS OF MUSIC.
CHAPTER IV.
At the beginning of a piece of music, (on the lower part of the staff,) a figure
is placed, called the Denominator, which is used to esprcss what /rac<Jona/ part
of a wholo'note must receive one beat. qes. 1.
If the figure Two, is used as the Denominator, a half note receives one beat,
and of course a whole note must have two beats.
The note that receives one beat is called a primitive note, (a) a measure filled
with primitive notes, is called a primitive measure, qes. 2 & 3.
This f character is called a quarter note, (b)
If a half note receives one beat, two quarter notes must be sung to one beat.
When a measure is not filled with primitive notes, it is called a Derived meas-
ure, qes. 4.
PrimlllTe. PrimlU™. Drrirad. Primitlre. DeriTed. Derind.
Mvuurv,
M«uure.
Meaaare.
Mnuure.
Measure.
Measure.
A dash or hook added to the stem of a note, is used as a sign of subtraction,
for instance, this • is called a quarter nom, if a hook is added to the stem of it,'
thus : p it will represent only a half as much time as it did without it, and instead
of its being called a quarter, it would be called an eighth note.
Sometime, two eighth notes are tied together, thus : 0Jt Notes represent
relative, and not positive time. A tune written in quarter notes, is not necessa-
rily to be sung any faster than another written in half notes.
Ez:
In esample 2 a qu.nrter note receives one beat, it may be sung just as slow as
example 1. The primitive note, is the standard of measurement throughout the
musio, if it is sung long, all the other notes must bo long in proportion.
QUESTIONS AND ANSWEBfi.
2. What is the note called that receives one beat ? Am. A primitive note.
3. A measure filled with primitive notes is called what 1 Am. A primitive measure.
K w^tb^'l °? *'"'"* ^'"? .PI'""""' "<"«» is called what 1 Am. A derived meaaure.
5. What kind of o note is this ' 1 Ans. A qiiartsr "ic«u.i,.
6. What IS this J called » Am. An eighth note.
N*0 T E S .
rht,^M(!''"Ti°I.'^°°*°^'*''*P' »«''>,o.l«,''"?. may be used as 8 primitive note. (See
Chapter 13.) The time of every other kind of a note iu a tune is governed bv the tinw
last or slow, according to the relation they sustain to it.
. V~^?.-°T "?'■''' "^'' ^ " "^»"«'' " crotchet, and this J a quaver. We reject those
technicalities for the same reason as given in Note e, Chap. 2.
CHAPTER V.
In order to have a variety of music, we move the scale from one degree to an-
other. Ihis changmg of the position of the scale, is called 7he Transposition.
Ihero IS one Transposition which leads to the introduction of Sharps, and
another to the introduction of Flats.
There are two modes of Transposing in the sharps, viz : by a fifth above,
and a/owrtA below— the former we will use. J -fJ
We take C, the second space of the Bass, for our starting point. On this
second space we build two octaves, and place curves to indicate the position of
the Halt-steps. We commence at the bottom, ascend and count oS five. The
degree on which the fifth is found, is the place where we commence a new scale.
nal part of a wnoie noiB
imitivo note.
A primitivo measnre.
int. A derived meHure.
a primitive note. (Se«
is governed by the tima
the other notes mutt Iw
[uaver. We reject those
rrom one degree to an-
d 7he Transposition.
action of Sharps, and
iz : by a Jiflh above,
rting point. On this
iJicate the position of
count off Jive. The
ommence a new scale.
3 4
-«-7-
-fJf
Wroii».
1
i
" MyiB#afc*liirirt'a^fc^^^ '^j^
.:4<F0'^^^^^
ELEMENTS
We find that it comes on G, the/o«rtA space. On the fourth soace then »«
represent tho Jirst sound of a new scale, called the scale of G ('r
Having represented a new scale based on Q, and numbered each note we must
now ascertam whether tho halPsteps como between the right figures or nor
f),« 1 "'" ''"n ""' 'f'""'^ ^'"' ''"""8'' •^°''"- '" ^"^oh the first half step in
the old o„e we w.ll examme the nest. The second half-step, comes between the
first space above, and the added line, we will indicate it by a slur, o^ he same
parallel degrees ,n the ne^ .eale. and see where it will co.L. It come between
3 & 4 wh.ch ,s nght. See Ex : We will now see where the next half-step (in
the old scale.) comes. It will be seen to come between the first line and the first
space of the Treble staff. We will indicate it by a dotted curve, on the same
paralle degrees in the new scale, to see between what fi-^ures it will come t!
This j* character is called a sharp, qes. 1
It is used (b) to represent a sound a half-step higher, than the destree renre-
tbtexa5e:?s F " '^'''"'' '" '"'^°'"'' '''^ '"^^ ""'^ '" ^^ M,V<^ Measure in
It represents the sound that belongs to the first space, but the last note in the
•^1 ' ZT\"'l"-^°' ;• ''"' ^ '""f ''•• '' '"P''''"'' " ^°""'l " balPstep higher
Be ween b & , m the new sea e, is a half-step, and between 7 & 8 a whole
step both of which are wrong. If we can increase the distance between 6 & 7
a half step, and s/.oHen the distance betweet 7 & 8 a half step, the scale will bl
If, between 6 & 7 the distance is onlv a half sten hv nlnn! u ^ .i
left of the 7,h. it will be a whole step. l^ZH S/IST^^^Z.^:
sound a half-step higher than the degree represents, upon whicif i is pCd It
8 whoie stop between <3 & 7. and a AaZ/step between 7 & 8.
OP MUSIC^UBLIC ARCHIVES OF ^•OVA SCOTIA
HALIFAX. N. S.
9
Ex:
i
intfrv'il''^''iP''""^"'5°" «7 degree, indicates the arfrfWon of a half-steo
.nterval below, and the subtraction of a half-step from the kteml S
Ihe sharp just mtroduced we place between the olef «ml fll ft. \f^"
may becon.e the signature (c) of the s«»le! ^ '" '^''°''°°
It indicates that the music is written in the Bcalo of G
The tifl fo-i'hest from tho clef we call the right hand sharp qes.
Ihe right hand sharp is always Si, the seventh of the scale ^ ^
Do fth. K ^f'/r /'"';«5' '^^ Ket/.Mte m Sharps.
to th*
that it
^:t^:^^^=^
"-=?:fc
Do Re Mi Ka Sol La Si Do 'BT^'TTi^K-W-^
8 r
sharp.
Do Si La Sol Fa ill Re D« ~Do Re jiPlC" Sol U
QUESTIONS AND ANSWERS.
!. What 13 this i* called ? Ans. A bhurp.
1
Si Do.
^^4.^Whoro is Do found in the ^^>^. ^'"'J^L ^^ij^:,:^'^^^^^^
MiBU6SSeaikm&if^-^L^ai^i f.il-iJ.i^
10
ELEMENTS OF MUSIC,
NOTES.
a — It is uullcil tho scale of G, because G is the key-note, and the scale is founded on the
same degree as that letter is located upon. This explanation wilt suffice for all Bucceedinir
scales. ("See Note a, Chap. 3.) *'
b — We are told in Homo inu.sic Imoks that a sAarp rai.scs a tone (sound) a half step.
Common sense teaches u.i, that if while making a sound, we raise the voice the slifrhtesti
wo are not making tho same sound, but anotlier, one that is entirely difterent. How tl,cn
are we to raise a sound ? It cannot bo done ! It is one of tlio impossibilities, and its pro-
mulgation is a monstrous error.
O — The signature is used to indicate what transposition has taken place, so that the
instrumcntali.st may know what letters to sharp. The sharps are the result of transposi-
tion. To the voiio all scales are alike— that is, when we sing a tune written in sharps or
flats, we arc not aware when wo sing them (sharps and flats), because they are simply used
to represent tho half steps in their proper places. The scale must correspond to the con-
struction of tho voice.
CHAPTEl? VI.
If we wish to continue the transposition, we must commence a new scale on
the same degree as the fifth of tho last (G) scale, and sharp tho 7th, and that
will give us Tho Scale of D, Two Sharps — F and (J.
-8 ■/
I^-^I
-3-
-+ — 9-
-3 —
* -
fi— -7-
bo Si La Sol Fa Mi Rs Do Do
z^zcszf?:-^^^-
\
lie Mi Ka Sol La Si Do.
§lfc-^fe
Do Ko Mi Fa Sol .La Si . Do Do Si La Sol Fa Mi Ea Do!^
A sharp placed between the clef and the fraction, besides being called the sig-
nature, is also called an incidental: because it belongs to tho scale in which tho
music is written, qes. 1.
But a sharp placed to tho riglit nf tho fnction, is called an accidental, because
it does not belong to the scale in which the music is written, qes. 2.
The rule for pronouncing the accidental sharp is as follows : The last part of
Um name of (he note, receives tho sound of E, as in thee. qea. 3.
The relation between the accidental and the note on the next degree above it,
IS the same as between Si and Do. An accidental sharp is never placed to the
left ot Mi and hi, because (lie interval between them and the next do-ree above.
IS only a half-step. °
Accidentals may appear in any scale, but in all eases, their influence is con-
hned to the measure in which they appear, except the frst note in the following
measure is on the same degree as the accidental.
In that case, its influence is felt through all succeeding measures, until a
measure commences on a different degree, qes. 3. Ex :
'■"'" ' Fee Fee '"- " '
Fee
la
Fa
Fa
QUESTIONS AND ANSWERS.
incidemar' " " ''""^'' ™"'^'' that is placed between tho clef and the fraction ? Am. An
2. A sharp to the right of tho fraction is called what 1 Ans. An accidentaL
3. What sound does the last part of the accidental sharp receive ? Ans E
How IS IJo,pronoance(I?,Re?,F«?,Sol?,La?. Am. Dee. Roc, Fee, See Lcc'
on a dTffirmdegrro. """ '° "'°^"'"' "" "^'^''"'""''•' ^"»- ^'^en a measure commencet
CHAPTER VII.
If we wish to continue the transposition, we must count off Jive of the last
scale, and build a new one on the same degree as the fifth, sharp the 7th. and
that will give us
The Scale of A, Three Sharps— P, C, and G.
6 e ^
?:.i_
6 5
a— +-
11
Do Ko Mi Fa Sol La Si Do' Do Si La Sol Fa Mi Re Do
Do Si La Sol Fa Ml Re Do' Do Re Ml Fa Sol U sT^Do."
Th«]
'iflli'ttiri'iiiiieiia
le next degree above it,
p is never placed to the
1 the next degree above,
, their inSacnoc is con-
•st note in the following
•ding measures, until a
I Fa
IS.
nd the fraction ? Am. An
An accidental,
ivo? Ana. E.
Fee, Sec, Lee.
i'hcn a measure commcnccf
nt off fve of the last
fth, Bharp the 7th, and
andO.
KLEMiSNTS OP MUSIC.
Sol Fo Mi K« Do.
7 H
-C9-
y
F« Sol Ca 8i Do.
to mZI aTpei'tis^""""' "• P^^P--!-'-.-- of dots, thus: .. is used
^^ Da Capo, or D. C. is use. to indicate that we n,«st sing fro. the bcimdnl
whitirSr '%n '^'^ °^ "^^ "■- ^^ ">« ^^t. or rest, to the right Jf
Jtinra^hLKoS^ ifwTX:: t; \:t -t- r '■^■^ «^ ■■' --■'^ ^e
equal to th^e halves, and in iier„„t\r,tXl''ie:^^^^^ '^^" ''
T),«nn.»»», » • ■ ' ' ~ rrr ) I - ^i/?, See Chapter 13.
ssr=™.^^;itf.r'£^^ "t» I™ *^-'^■
lixamples w.th the Dotted Primitive and Rest ^
T?==rr-i .
11
QUESTIONS AND ANSWERS.
4. How many beau, must a dotted primitive receive 1 Ans. Two Uau.
NOTE.
i« n*ot soVrL^o'on'iSTerS tolStTe Tn",'' "<";—» » note one half, Tbi.
used as a sign of addiUon. ^ ^ "^""* ' """« "« ^^st^y iu identity. The dot S
CHAPTER Vril.
7th!::iif: ''"> ^^ "^^ ^-' ->«. - the basis of a neu, scale, and nharp the
The Sc,le of E, Four Sharps -F, C, G. and D.
Do Si to c«i T^I**^,. .
I - _ -***•"»"> u uuu ivesc.
"— -ft-
7 •
:^--^-:z^--T.I fe^lS^
«» Si U so. Fa Mi Ke l^o-^-nruT^C^^TU;
^^if—
^0 «e Mi Fa Soi U ^^r^-^sr-U^rFT^-^^
i
Ex:
Th. right .h«.d dot repreBent. one half of the time of the loft.
qes. 2. *" "''" ''^ "' '° P'^'oDg Ao sound, and cease beatinj Ume.
It is generally recommpndpd that fho nnta w ~,- .«. .
%,:
--tSbS
12
ELEMENTS OF MUSIC.
!l.
w
When it is placed to the li'ft of a sharrcd note, the last part of the namn of
the note receives the sound of A, as in fate. qos. 5.
Example with the Pause and Nutnral.
/T\ _ 'T^ say
:t:^i:
[^-f2i::i:::|r
^Milfe^ii
I.
QUESTION'S AND ANSWERS.
What U this ^!^ charncter called ? ^ii.». A pause.
8. What does the pause indicate ? Ans. That we must cease beating time, "nd prolong
the sound.
3. What is this bf chaiticter called ? Ans. A natural.
4. What is the natural used for ? Ans. To cancel sharps and flats.
5. When a natural is placed to the left of a sharped notc.what sound does the last part of
^e name of the note receive 7 Ans. A.
How is Mi, pronounced ?,La?,SI 7. Ans. May, Lay, Say.
CHAPTER IX.
Havuig introduced all the sharp (a) scales that are generally used, we will turn
our attention to the flats.
Thetrt a:e two modes of transposing in the flats, viz : Jive below and four
above, the latter we will use.
We will take the added line below, treble staflT, for our starting point, and on
it represent an octave and a half, count oS fmir, and represent the flrst sound of
a new scale on that degree, which will be the first space of the staff.
^-
6 6 7 R
t:4-2?-?^
IS":
Wrouc
Having represented a new scale, founded on the first space, we must now ascer-
te'n in regard to the half-stepi. and see if they come in the right places or not.
We will examine the upper one first. It will be seen that it cotnes between
Hxe fourth $pace and t\\e fifth line, having reprisented it by a curve on the same
rrallel deT;rees in the new scale, it is found to be right, because it comes between
& i). n'e will DOW examine the one below it. That one comes between the
third line ,nnd th(! third spare. ITavina; indirntcd it by a dotted curve, between
the same ])arallel dosiiccs in the npw scale it cotnes between 4 & 5, which is
wronjj, because it (n half step ) inu-^t come b.jtween 3 & 4. ■
'I his 1) character is called a Hat. qos 1.
It is used (I)) (0 represent a sound a half-step lower than the degree represents
upon which if is platted, qes 2.
In the following example, it will be seen that thpre are three notes on the third
inc.
The /rs< must be sung or played B. the sound which that degree represents.
Hut the second, in consequence of having a flat to the left of it, must be sung
or played H flat, another sound a half-stop lower.
In the following example we have a half-step between 4 & 6, which is wrong.
Wo can increase tho distance one half, and make it a whole step, by placing a flat
to tho left of the 4th.
By this operation wo reduce the distance between 3 & 4 one half, which will
leave it a half, instead of a whole step.
Ex:
Corrected,
A flat placed upon any degree, indicates the addition of a half-step to the
interval above, and the subtraction of a half-step from the interval below.
The flat just introduced, we place between the clef and the fraction that it may
become the signature (c) of the scale
It indicates that the music is written in the scale of F. (d)
The flat the farthest from the clef, is called the right hand flat. qes. 3.
RULli! FOR FINDING THE KEY NOTE IN FLATS,
Do, (the key note,) is found on the fourth degree above, and tho third below
the right hand flat. qos. 4.
Tho right hand flat is always Fa, the fourth of the scale.
I
f*r^lSspi*^i^-» *;' 't-;
ELE3IENTS OF MUSIC.
a dotted curve, between
)etween 4 & 5, which is
4.
lan the degree represents
three notes on the third
that degree represents,
left of it, must be sung
4 & 5, which is wrong,
lie step, by placing iflat
; 4 one half, which will
-ft-
7 8
:ctcd.
n of a half-step to tbe
e interval below.
1 the fraction that it may
(d)
and flat. qcs. 3.
ve, and tho third below
,le.
13
The Scale of F, one Flat — B.
iSi^if
I
1)0 Si La Sol Ka Mi lie iJ? 15? ^ m'T?! Sol La Si Do.
When the figure three is used for the Numerator, the music is written in triple
measure, the beats of which are performed Down, Left, aid Up.
t Ex:
The hand should pass quickly from point to point, and pause
at each pomt, qea. 5 & 0. *^
A character made thus : ^ is called a tie or slur, it is used to connect two
a" ri^rung'trol'rs^abie"' Exf "'^"' ''''''' ' '^''^'^''^^ '>>«' ">« -tesare
Left,
structure of the voice. ""'" ""«'" '^^""e"?'""! to the pl.y«iolo«ieul
CFIAPTKIl X.
The Scale of B Flat. Two Flats, B and E.
:£_•:
H
:p=c:
QUESTIONS AND ANSWERS.
1. WImt is thii () chnrnctcr called 'i Ana. A flat
A^. "Tal'S."""'" "°" " ^'^P^'^'"^"' " """"'' '•"'■' '"« '>'=^-'' upon which U is placed .=
below the ri-ht hand Ih.t. ' "" "'•° *"•"■"' "^^'S™ 'bovc, and tho third
Triple meTsiT "" ""■" '"'"" '" " "'^'"'^' ""'" "'"" «f ">«-u™ i« if called ^ ^„,.
6. Uoa- sre ihe beats performed ? Ans. Down, left, and up.
NOTES. . *
a— It is very seldom that more than four sharps are used 'in vocnl mn.in t .
*.Te been msened to show that music may bo written wi^ te and s&p,.^The7«^
mm
O. H. ML K. S.I u Si I,„ D7-;„-E7w'>.-MrEVlJ-
-#1-_L " ronit. ' ■'
Lo ! the stone k rolled a - way.
_ii__i itiaht. J
F.v • 9 --V-(-23l j"'^ T — i i-T —
Lo I the stone ia
way.
14
ELEMENTS OP MUSIC.
Ex: 3.
^^3:
-mm
£i:
The dew shall weep tby fall to
on the upward beat, because there is only one beat in the first measure.
Ii::]~|: Commences
night.
Qx;
3=3:
'Twas mid -night! and on 01 - ives' brow.
commences at the left beat, because it is written in triple measure, and the first
measure is only half full.
When the first measure is not full, the last will not be full, if the notes con-
tained in the first measure, were added to those in the last, thej would be equal
to a full measure.
Three notes tied or slurred together, with the figure three, written above or
below, is called a Triplet, qes. 3.
Triplets never receive but one beat, qes. 4.
-i,
Ex:5"'^
:i2t::[:it:d :^:-j:t=±ztB .t=-Ezzh::xd <?xttip--t
Awake, my soul, stretch every nerve, And press with vig-or . . on.
QUESTIONS AND ANSWERS.
1. On what bent must we commence tlic full meiisure ? Ans. Tlie downward beat.
i. When there is only one beat in tlie first nieasuro, what beat must wo commence on ?
Am. The upward beat.
3. \yhat is the 0^0 called ? Ans. A triplet.
4. How many beats do triplets receive ? Ans. One.
CHAPTER XI.
We go through the same process to get this sealc, as we did the last, viz : rep-
resent a succession of eight sounds, on the same degree as the fourth is located,
and flat th^ fourth.
The Scale of E Flat, (.a) Three Flats— B, E, and A.
I 7 8 _ 8 7_
r^S^fc
1)0 Be til Fa Sol La Si Do Do Si La Sol Fa Mi Re Do.
8 7 7 8
S!ife
-ft-
Do Si La Sol F» Mi Re Do ^ Re Mi Fa Sol La Si Do.
A natural placed to the left of a flatted note, indicates that the sound is to be
made which belongs to the degree, upon which the natural is placed. The last
part of the name of the note receives the sound of E, as in thee. qes. 1.
D. S. or Dal Segno, indicates that we must sing from the sign which is gene^
ally made, thus ; 8 qes. 2. Ex :
'(d • D S
Fee.
^ or Quadmple measure is simply two measures of double measure thrown
into one. See Chapter 13, Example 8. .
QUESTIONS AND ANSWEBS.
1. When a natural is placed to the left of a flatted note, what sound does the last part
of the name of the note receive 1 Ans. E.
no« is llo, pronoanced7,Re?,Fa?,La?. Ans. Dee, Ree, Fee, Lefl.
2. What docs D. S. indicate ? Ans. Commence from the iign.
^ NOTE.
a.— AlthoH?h the notes rcijd the same in E as in E flat, thev are by no means the laiM.
It is possible that a tune written in the one may be sunR on the pitch of the other. (Sm
tunc ^64.) The real diSercnco between the two scales is a half step in the pitch.
E, and A.
^^
Zc^
:sa-o
Re Do.
? 8
Sol
Fa
Mi
— a -
-JS
^^<^-^
-5S
"f»
Sol
La
Si
Do.
hat the sound is to be
is placed. The last
in thee. qes. 1.
le sign \rhioh is geaer-
D.S
ree.
luble measure thrown
sound does the last pad
ie«.
'0 by no meani the laiiM,
pitch of the other. (Sm
ep ia the pitch.
ELEMENTS OP MUSIC.
CHAPTER XII.
The Scale of A Flat, (a) Four Flats- B. E, A, and D.
I
15
WOTES.
51-^533
,^:^_^-
a lu.If_5 i-Mhl Stda'^tsT'tt Tor ■'" "" ' "''" ''"'°"'"" •^"''«"' ">• two ,cale« i.
tunes written with a less nun.l,er of Hutl ^ " "''P'^ •» "'"«'• J'"" «'"» same as to
Co Bo Mi Fa Sol La Si Do r^o~^{I^orinr^l~,
g?==
-o-^— a — ^: -
T::-ra;:-5Es
O" »■ u So, F.^Mi B, D. o. K. "iirfrErirsris-
. THE CHROMATIC SCALE
18 Simply a succession of twelve half-stops. Ex •
Ascending. '^ * '
(8)
___^,Jl.''- rfc-^lfeaa-i---- A-K- - descending,
^m i^^mmm^ lilililililli
Performed.
For other varieties of time, see Chapter 13
Havmg presented ail tho scales (b) and the elements wo will clo,i .!>;« C\ .
by gtvtng a few general explanations, and a table of JWaT Term ^^
1 w> QUESTIONS AND ANSWERS. ' •
tiie J^1,-ff y::."^: - -"lent"', «>mt sound does the last part of the natnc of
How a Ml, pronounced ?,So;7,La?. Ant. May, Say, Lay.
iff "T A
SI
c$
l)i
Dee
■Descending
3
I)
Ite
Kay
Roe I Mee Faw Fee
Sole I See
A
La
Law
Lee I See I Do«
7
n
Si
See
oe
Say
-^W^s4eIeI
Law
THE MINOR SCALE.
I* Si Do Be Mi Fi
La La Sol Fa Mi Be ^sTuT
•«!r^
16
ELEMENTS OP MUSIC.
"In the Minor Scale, there are eight tones, and of course, seven intervals.
In asccniling, the 6th and 7tb are sharped, and the half-stops come between 2 and
8. and 7 and 8. But in dcsccndinj?, the (Jth and Tib are not sharped, and the
half-steps come between 2 and 3, and 4 and 5."
_ Hero we have a succession of sounds rcprosentud, based on E, nlthough the
signature plainly indicates that it is in the scale of G, yet, Iwoks and not a few
teachers tell us, that it is in E Minor, shall wo believe our own eyes, or shall we
believe what others tell ua ?
This calling scales out of their proper names, is not only contrary to science,
but also to reason.
The idea of calling a succession of sounds, a scale, and naming it from the
degree upon which it is based, without any regard as to the signature or transpo-
Bition, IS a char repudiation of fact.s. for the sake of a t/ieoty.
Sharps and Flats as signatures, are used to indicate what scale or transposition
the music is written in. Without them, we would either bo at a loss to know
what scale to sing or play in, or else would infer that the music was written in C.
There is only one scale of musical sounds. It is natural, because in its con-
struction, it corresponds to tho structure of the voice, all other so called scales,
are artificial.
The so called Minor Scale is simply a part of two Scales joined together, if
we admitted tho theory, wo would have through the transpositions, twenty-six
different scales.
To study music under such circumstances, would be almost equal to the study
of a language.
It is quite evident to my mind, that it is an unneces.sary multiplication of tech-
nicalities. My reasons for rejecting it, are.
1st. Tn its arrangement it is contrary to tho physical structure of tho human
voice, the half-steps should come between 3 and 4, and 7 and 8.
2nd Thejirst sound of a scale, is called the Ionic, and to it is alioays applied
the syllable Do, but in the '■ Minor," it is called La.
_ 3rd. The music is said to be in one scale, while the signature indicates it to be
in another, that is, while we read the notes in the scale of G, they tell us that the
music is in E Minor — and
4th Because it is not uniform, between 7 and 8 being half-gteps in asoendin>r,
but whole steps in descending. °
NOTE.
..*;rT'"™''",'''''«"''5"'' oP'"'"" »'"onj.' musicians m rcRartl to the construction of
tte minor scjle. Some oonten.l that it should he written one way, and others another.
I lie one which I have introauced id gcuerully used.
MISCELLANEOUS.
Tho Shake or Trill, consists of a rapid a'ternatioii of two sounds. Kx : 1
Wrilica.
y Pe rformn d.
A - men. A - - - men. A men.
The Turn, consists of a principal sound, the next above, and below it, it should
be performed with care, and not too fast. Ex : 2.
WrUten. I'errarmeil.
Sometimes small notes are introduced, which do not really belong to the tune.
When a small note is placed to tho left of a note, on the accented part of a
measure, it is called an
Appoggiatura. E.x: 3.
When a small note is placed to the left of a note on an unaccented part of a
nieausuro, it is called an
After Tone, Ex: 4.
Written, Prrfonneil.
The carrying, or gliding tho voico from one note to another, is called
Portamento. El: 5.
Written. , Pj^rformed.
^iiiiiiliJiiipiiSil
iiM^,.
' two sounds. Rz: 1.
■ - - - - men.
ve, and below it, it should
really belong to the tune,
the accented part of a
an unaccented part of a
'M^M
lothcr, is called
a«>
-M:
-??:
m
ELEMENTS OP MUSIC.
» , MUSICAL TERMS.
Ab Libitum, At Pleasure.
Adaoio, Slow.
Alto, The loweM female part in muaio.
Andantk, In a distinct manner.
A Tempo, In Time.
Baritone, A voice between Bass and Tenor.
Bass, The lowest part in harmonv.
Dal Sbgno, D. S. Sing from the sign '$_
F^STeE^ir " ^' "•""'"" '""'' ""^ «"^-"/ '»!-''««>•
FoRTK, /. Loud
17
1st. A whole note o. a whole i«H
2nd. A half note p,,, half mA
3rd. A quarternota f, a quarter re*
Fortissimo, jf. Very Loud.
Labghbtto, Kather Slo
Slow.
Laeoo, Very Slow.
Lboato. In a smooth gliding manner.
Mkzzo Piano, mp. Rather Soft.
Mezzo FoBTB. mf, Rather lioud.
Piano, p, Pronounced Pee-ah-no, Soft.
Pianissimo, ^ Pronounced Pee-ah-nee-seemo. Very Soft
Retardando, Kit. Gradually Slower. ^
Sfohzando, »/, or > Sudden and full.
Soprano, The highest female part in music.
Staccato, i i f i Short and distinct
&%r^es?ml^^'Ks!r -"'^'^ '^''"- '''^ ^'•--•'-bydeg^e.
4tli. An eighth note
5th. A sixteenth note
!■
?■
an eighth rest
a sixteenth rest
6th. A thirty-second note J, a thirty-seocnd rest.
The sixty-fourth note ^ is seldom used.
I
m
A dottftd wVinlo nnfn , _
CHAPTER XIII.
TIlf£ AWD ACCENT.
.V.T™®' '° """'.'"« tte duration of sounds, i^ a'lso innln,1p, fh- '-M^-^.' -f -;i
There are nix kinds of NotwTndsx^S'J'l^^'*' *" '«r'^"' ''"«°^-
rf a note or a r«t, is deteSredt:^'^^?;^^^^^^^ ^''"»'-|
A dotted whole note
A dotted half note
A dotted quarter note
A dotted eighth note
<^* equals p p> c»
P' equals f f f
f ' equals J ^ J
9 * equals J J J
i? equals j^ |^ g
A dotted thirty-second note J * equals J J J
j^ 1^ ^
A dotted sixteenth note
18
1BLEMBNTS OF MUSIC.
<
z .
uu Z
O
C/J
UJ
>
O
<
00
X
<
A dotted whole rest
A dotted half rest
A dotted quarter res
* 1^
A dotted eighth rest
A dotted sixteenth rest \~~^
A dotted thirty-second rest j - tfr I
a, The different varieties of lime nre represented by two 6gures, called a Fraction,
which ispla, ,1 at the beginning of a tune, the upper figure, called the iVamera^.-,
indicates the number of parts, or beats in a measure, and the lower figure, called
tha Denommator, indicates the number of parts into which tho whole note is
divided, each of which parts receive one beat.
Wheo the figure Tioo, is the Numerator, tho music is said to be iS
Double Measure.
^''•'lrr\^\rrrrir-\r'^rr\r'rr\
The beats of which are performed Down and Up. In the above example, a
half note receives one beat.
When the figure Three, is tho Numerator, it is called
T'-iple Measure.
trrr!-!°r
t-i/i^ 'J
I li I; I
The beats of which are performed Down, Left and Up.
qoartcr note receives one Mat.
P f! ff I P * I
1 (^ / i I i
1.1 thiB exaroplfl a
??riipi
czS"^^
^Vhcn tho figure Four, is tho Numerator, it is called
Quadruple Measure.
Ex: 3 4 ^ f f f I,. • f I • • 5 r f 1 -^ I f f
Tlie beats of which are performed Down. Left, lli!;li» and Up, which is some-
what complicated for new btjginnors. I prefer bei;';ii ; i> ,i- doable measure, down
and up, twice in each measure. It is more simplo, and is not a violation of any
established rule, in tho science. All Quadruple Measure, may be performed aa
Double Measure. See Example 8.
In the above example, an eighth note receives one beat
When the figure Six, is tho Numerator, it is called
Sextuple, or Compound f>ouble Measure.
The beats of which are performed ( by some teachers ) Down, Down, Left,
Right, Up, Up. Some perform it a.s Triple Measure, but as the former is too
complicated, and the latter is not strictly oorrecf,»I reject them both. I perforin
it as Double Measure, singing three, parts or primitive notes to one beat, to per-
form it thus, is not only more simple, but it is perfectly correct, and enables U8
to express the sentiment of tho fomjiosition.
When the figure Nine, \s tho Numerator, it is called
Compound Triple Measure.
The beats of which are performed Down, Left and Up, three primitive notei
to one beat This measure is seldom used.
ACCENT.
By accent, is meant, singing one or more parts of a measure with more power
than the others. There are eert.-.in words in p.-try.that require to be eajpbasised
in singing, in order to r-mrss tby real idea of the Poet. These emphatic words
are generally so arrangeu, oj l«» -or m the fir«t .lart of the uitiusure, w that
they might be sung to tho dov ■'•,". r^ ' 'leat.
Ex:9-
r
and Up, wliicli is Home-
' '< doable mcaRure, down
8 not a violation of any
, may be performed as
isure.
i III
) Down, DovTD, Left,
it as tke former is too
them both. I perforin
ites to one beat, to per*
correct, and enables ua
, three primitiTe notei
easure with more power
fOtlUirr to Dr Siilphasizcu
These emphatic words
)f tbe ut»M8ure, w tlutt
ELEMENT8 OP MUSIC.
tbetrSaTrvTttatr ''"'' ^"'-"'^ ^P" '^'^ «- !«''• -
19
U n D U D4U D U
Triple Measure h composed of three parts, Down. Left and Up
part of the measure receives the accent. ^
Ex: 7^
i~d"&ud&it
The first
Compoimd Triple Me8»"''o is coniTmnp,! «f n; „ .a r» . .
three primitive m.-.-s to on, <olt tCr °%" "" P""^- !>«'"'. Left ond Up,
Down' Left and i ^^L.Ti^^.J^.J^:^:/'''^ -""^ ««^«'"h P«rt.. or th'.
-.■". ui.u iiQYcuiii parts,
™, . ,. f'l bei, s, receive the ore. Mt. "^ '
part of ^ach measure, rceivesthe accent," and ■•^primi-
ward hrat. nr I he fi
<«'r<! «o/8 r 'uives OD
^iil?i
U I) L U D4L U D r"u D4 U
"^ "<s^X
Ex:
Quadruple Measure is composed of four parts, Down. Left. Ri..
The/r*< and third parts of the measure receive the aocent.
DL&U
and Up.
Ex:
^-^^}-V''f^
u t'
u u
U L K&U
Sa
L It
U D
if an imagitiary lino is drawn through the middle of each moimiim nf .1 .\^
example it will be like Ex : «, the accent ooming iMlZr^tif/! v
kat. Quadruple Measure is simply two measut^s'V ^ ^^'^ttt TX
lircVm;:':;:.'" '"^"^^^ "^ ^^"'"'' "<'-"-• ^-^^-s ^"^ -^ «" '"c^
up^trpi^itertot^t^z lt:^^^^^^^^^
ward and tlie Upward b«a.s. receive the i^eat I is Sm5%he te ' ""f"
the measures were filled with triplets. F"wmod the same a if
10 same m singing, as in correct epeakinr. A
"vor an article, should be pronoinced ih. tho
hi : ah-way, ah-long, ah-wake. not aye wa>.
two sounds, the long fi. u in thte, and abort
"i e as ,„ M«.^hen the word to the ri.ht,
)1 sound thiio • ♦l,o« ..u .V . .P
I AFTER XIV.
PBONUNCl^ noN AND ABTICULATIOW.
PB. XUNCIATION.
VVords should be pronoun
this vowel, wliiether used as ..
same as a. in the word ano
aye-long, aye wake.
The. The vowel in this «■<■
6. as in them, it should be proi
ofitcommehces with a vowel, . wcl sound thnTrrCJ"' u "liT •" "•» "gni
hour, thee angels, not th eh ark n < i elrTh Th I h " )^ ^''^' '?*" ""''• *~
the woni to tCe right of it<^mme n w h , "'' "»«''?''««'''• And when
Dounced eh. the «me as 6 in them I ilucT^'lx Tf' '' '>"''* ^ P^"
thee City, thee Star, thee K '^'"^ ^''^' '^•«'> S'*'"' "»■«»« Lord, not
as Kmel^'S'ir^BLTbe";;; L"u»J' '"'"'' ''''°"'\^ r»--<» w.
short, as in ch!n. ^in pin 't ,s used as a noun, itshoufd be pronoune^
.«-6 or a «o4 that we shouirp^ronouS Tl^ "«"' ""° ^ **"« *
20
ELEMENTS-OF'MUSIC.
£z: 1. " So, now, from idle wishes clear,
I make the good I may not find ;
Adown the stream I gently steer.
And shift the sails with every wind."
Now, shall we Tiolate the rules of grammar and make the poatry rhyme, or
ehall we express the sense and let the rhyme go ?
I emphatically answer, abide by the grammar, and let the rhyme take care of
itself, it cannot sound any worse than some other poetry.
Ex : 2. " Fully absolved through these I am.
From sin and fear, from guilt and shame." sham?
Ex : 3. " Thou Lamb of God, thou Prince of Peace,
My longing heart implores thy grace." grease ?
Great care should be taken in pronouncing certain words. Do not sing good-
nits, for goodness, singtn, for singing, hekase, for because, mountane, for moun-
tain, weUiOT, for welcome, nither, for neither, gardinff, for garden, heaven/^■«, for
heavenly. Loved, Called, Toward, and similar words, are generally sung as one
syllable.
ARTICULATION.
Good articulation b a great beauty in singing. Bad articulation, drawling words
together, and leaving many words unfinished, results from bad teaching or care-
lessness.
In singing, every word should be rendered as full and round as possible, and
every word should be as correctly and distinctly expressed, as in reading.
No display of sldll or scieiHe will compensate for the want of a good enunciation
Here are a few examples, which if carefully studied with a view to correct
articulation, will afford some aid.
Ex: 1. Fix tin ane temal state.
For — Fixed in an eternal state.
It is very common to hear the d separated from the word to which it properly
belongs, and joined to the next.
Ex : 2. An dam I bom to die.
For— And am I born to die.
In addition to the last error, is another, that of separating the a from fhe word
to which it belongs, and adding z to the next.
Ex : 3. " He by hi zown almighty wor,
Dwil lull your fearz-reniove ;
Fo revry woun dis precious blough
Da sovereiffn balm shall Drove."
For—" He, by his own almighty word,
Will all your fears remove ;
For every wound, his precious blood
A sovereign balm shall prove."
The T is often omitted entirely, or separated from the word to which It belongs,
and joined to the next.
Ex : 4. "Ho 1 ye that pan for living stream,
Zan pine away — an— die."
For "Ho I ye that pant for living streams,
And pine away and — die."
Ex: 5. " When will thy love the res tree veal."
For—" When will thy love the rest reveal."
Ex: 6. " His paths I cannaw trace."
Or—" His paths I cannot race."
For—" His paths I cannot trace."
The T is sometimes separated from the word to which it belongs, and joined
to the next. Ex. 7 :
" Blessed comforter come down.
And lie van moo Tin me."
For, " Bless'd comforter como down.
And live and move in me."
Another common error is the omission of h, which tends very much to
obscure the sense. Ex. 8 :
" Call, whil may be foan
Doh see-kim whil o's near,
Serv-im wi-tlmll thy art-an mine
Dan worshi-pim with fear."
For, " Call while he may bo found.
Oh, seek him while he's near;
Serve him with all tliy heart and mma.
And worship him with fear."
Some people make two syllables out of one, thus : Fi-er, for fire ; ger-ace,
for grace; stir-ong. for strong; kir-imes, for crimes.
Another bad habit is sometimes contracted by those who take the lead of singing.
Instead of giving the proper pitch at once, a nasal sound is produced, and the
voice slided, go to snealr, nn to the kev-note.
Trilling the r, which is neculiar to certain localities, sounds very disagreeable
to persons not accustomed to it. It should be avoided as much as possible.
Ex : Ca-err for care, guar erd for guard, Sco.
Singers should avoid anything like a nasal twang, or alfeotatioD.
ELEMENTS OF MUSIC.
blood
irord to wbioh It belongt,
as,
real."
il."
I it belongs, and joined
b tends very much to
Fi-er, for fire ; ger-aca,
take the lead of siaging.
id is produced, and tha
Dunds very disagreeable
ei as macb as possibla.
ffeotatioD.
M , , Taking BrtalA
monct„T,ndlk^TLl\tt"af t^^^^ ^'f ">« '""g' before com-
Binging a short word, suoh as -ASd, ., a^ &o! ' '°"""'"'' ""* ^^""'^
21
CHAPTER XV.
An Iambus, ^-' ^ ^f'J''. "-- ,
A Spondee, - -' "?" Amphibrach, — ,
A Pyrrhic. ^ , ' A'V^h'P'r'' ^~ '
l^eTsrclJT/iJotff ''' t'^"' "^^""^ P«^^-'-
the unaccented. ^ ^^'' ""' "'^"'^'^ Viable, and the curve (^) over
An Anapaest has ThTfim It^ ''JXl.'r "^ "'" '*'""' ""'O-^-
vene, CnUirpriso : ^ " ""' '"» ^''''''Ics unaocoutod. and tl.o last accented • a, CSntrt-
A Standee ; a,, Th^e fit^*' a pl'^h"'''" '"x^ ''*'"•«' '^ »«"•
D«Mtfill: .Trib«chr...NZ6r»bll:'"''''=' "■«'•'•>«'•» tree: an Amphibrach ; a,
but.r,?^//ur''y'^«P«»/V°°'°°'^»P°°'»'«"'-'^"orHlab'-- r
" "-"" ""' "'''""" Md disUnces of "the Eccented"wo^'- "* " ^"'*'
Arise ! arise ! wltl, joy tarviy.
Th« glory of thfilattfirdi"-
Already is th« duwn bfigun,
Somefmes a troot ISodSt? T^' ''"■
In somcTerses the ««/?: f "' '^'^ °on"nen«ement.
fourth. ""^ '"' '- ^''J^™- with the third, and the second with tb.
Pass a f«w swiftly fleeting year.
S'd'^-"'''''''en,e,.hCvuleof'tea™
The,r righteous sentanco to receive
li' 31. 6 lines (88 88 8K k
As oft with worn find weary feet "*""•
ThTt'h6'^''hn '^"^'" l^^K^^^y o'«r;
ne tho t, hi5w comltlrting find sweet
Christ trod this very path bCRire^ '
Pr-m"rr? ';"• "'"knesses hcS
In a few cases fh^lfv ""l"*^"'"? •" I's Ze.
and theTurRtfSf^"^ ^"^"'^^ -'" "'^ -o^d. the third with tho sixth
Tho following stanza commences with a trochee •
Happy the man wha^o Iwpes rely
On_Tsr.-.ei'8G0d:hemaJethesky
ne_8«ves th- 3pp, est, he feeds the poor
And none shall f I„d his promise vain.
i« composed of iambuses wit^' ?hJ'^' ^^^''^'^J-)
each of'^hich. conta'ro„e"r,!;p tor''''''" •'' '•''' """^ "'^ ^^^ "'xth lines.
aixth.trtrfSr;itf tfrfi^th''^ ''^' "'^"^ -"• '•>« -n^, the third w.-th
Bat leaves the grcen«st will dficiy
When autamn winds are sweeping.
Th« hand af death will ,o,-,„ bg thi.,.
And turn thd sc€no 13 weeping.
•X.^ . li. la^
1X2
ELEMENTS OF MUSIC.
fei ^
C. M. (86, 80.)
is composed of lambuseg. The first lino generally rbymes with the third,
each of which contains eight syllables, and the second with the fourth, each of which
oontainsBix syllables. Sometimes a Trochee is introduced at the commence-
mant
X> joyfni and trftnsfKJrttng scene
T liat iis89 to my sr^lit ; .
Swcfit fields arrayed In living greSn,
And rivSi-s of JClight.
This metre was originally written in two lines of seven iambuses.
Flanged In a gulf 6f dark dCspiiir, W8 wretchSd sinnCrs 15y ;
Without One cheirlng beim 6f hope, Or »pirk «f glim'rtng day.
C. P. M., or more correctly. Ss & 6s, (88, 63, 86.)
is composed of iambuses. The first line rhymes with the second, the third
with the sixth, and the fourth with the fifth. In each of the first, second, fourth
and fifth linos, are eight syllables, and six in each of the third and sixth.
My soul attend the s6l8mn call.
Thine earthly tent mflst quickly fall :
And thou mtist take thy flight ;
BCjond thfi vast Cthcrcal blue, - *
TS love and sing as angSIs do :
Or wc£p In Endless night.
C. H. M. (86, 86, 88.)
is iambic ; it contains six lines ; the first rhymes with the third, the second
with the fourth, and the fifth with the sixth. In each of the first, third, fifth
and sixth lines are eight syllablci^, nnd six in each of the second and fourth.
Xnd when thC shades (if Evening ftll,
WhSn life's list hour draws nigh ;
H Jistts nhinn tlixm tht! foul,
Haw hllssftl tliSn tft die ; *
Since he his risen, wliO once was sliln,
Y£ di£ In Christ tO live again.
S. M. (m, 86.)
is composed of iambuses. The first line rhymes with the third, and the
second with the fuurth. In euch of the firht, second and fourth lines are six
lyllables, and eight in the third.
A 8t4r tlntimely sSt,
Why should we weep fSr thai t
Thy bright and dewy corSoSt,
n rising from th£ sea.
Sometimes a trochee is introduced at the commencement, thus :
Help m« t6 watch and pray.
S. P. M. (66,86,68.)
is iambic ; it contains six lines ; the first rhymes with the second, the third with
the last, and the fourth with the fifth. In each of the first, second, fourth and
fifth lines are six syllables, and eight in each of the third and sixth.
Thy promlsSs are triSe,
Thy grace Is cvSr new ;
There llxed, thy church shall i!t.' ; rSmoTe,
Thy saints with holy ftar,
Shall In thy coiirts apptiar.
And sing thine erSrlastlng love.
S. H. M. (66, 86. 88.)
is composed of iambuses. It contains six lines ; the first rhymes with tha third,
the second with the fourth, and the fifth with the sixth. There are six syllables
in each of the first, second and fourth lines, and eight in each of the third, fifth
and sixth.
ThSre Is a world above,
WhSre parting is tlnknown ;
A whole Sternlty 8f love,
Formed Kr thfi good alone.
And faith bfiholds thfi dying hfire.
Translated to that happifir sphSre.
H. M., or more correctly, 6s Sc 8s, (66, 66, 88,)
is iambic, with an occasional trochee. The first lino rhymes with the third, the
second with the fourth, and the fifth with the sixth. There are six syllables in
each of the first four lines, and eight in each of the last two.
By faith Tscfi thfi land,
Thfi port lif endlfiss rest (
My soul thy sails fixpand.
And fly to Jcstts' breast ;
dh m&y I reach the heavenly shore,
Whfire winds and waves disturb nH more.
H. M. or hallelujah metre, as it is still called in tome books, was formarlj
written with eight lines instead of six, thua :
ELEMENTS OF MUSIC.
nent, thus :
he second, the third with
firet, second, fourth and
rd and sixth.
imore,
irst rhymes with tho third,
There are six sjllablea
in each of the third, fifth
5, 66, 88,)
hymes with the third, the
rbere are six syllables in
St two.
more.
tome books, was formtrlj
SoTereign of worlds above,
And Lord of all hclow;
Th^ faithfulne'ui and love,
-ihy power and mercy show;
FiiUill thy word,
Thy spirit give,
Let heathcna live
And praise the Lord.
It wa.i called Hallelujah Metre beeauso rhp I,of ft>..- r » .i
e^ht . six lii ehe H. M. ^^ .l^^^^^l^^^r^^^ JZ
^the fourth. Sou^^^tla^ostAZZ^^^^^
with tho fourth. ^ '^"" "'^ ""'•'^- «nd ">e second
See th« leaves ariS fiilllnjj fan
fecattarcd by thg wlntrf b!a« •
So Our youthfal ploaomCs fade
Cares will so<5ii Our breast Irirado
or 2: ?'''" '' ^'" "''""" ''''' «'^ ""-• '"« '-- -'h- rhyn,i„g as the above
Now fi-rtin laliOr a.id frOm care
Evcni.ij; slm,|os have set msVree ; *
In the work Of praise find prayer,
_ Jmvi\, T ivduld I OuvCmsc with tlieS •
() hChold inC {nm aiiove, '
F;1I me with ft .S.-.vinOr's'love.
The second form is trochaic ;
23
Time Is wincing us ttwa*
io our eternal home;
Life Is but a winter's diy,
Ajoarne^ tothetomb.
ber as L. M,. but it is quite tfflJ? Tu ''''''■ *'«*" 'y^^"^^"' '''« ««">• "uT
ittoalongmetrotu.!;t'':i;e?^^^^^^^^ the go.ng, as will bo seen by ,ingi"g
M^ hope Is an centered In the*,
Itrust to recover thf 15re ;
OB^eurth fhjf salvation tO see,
And then tO enjoy It above.
itM8sT7:V''^'''''^''"^'' •o'-TsillaUe^'at the end
It as 88 & 7fl, by repeating the fifth line.
See frOm Zifln's sScrfd mountain
Streams Of living wStCr (low ; '
Ood hfo opened there ft IGuntain,
That supplies the plains belflw •
They Bre blessed.
Who It« sovereign virtflcs know
It is common to sing
It IS called such because there .tro seven st;ll-,l,In= • v
.ext It i. written in two f; ^ Ih^ fi^Iu^SL ' T: " """^ ''" '" "">
* The ruil.l th«t many travel
ItlCoils lO death and sorrOw,
In it rwofild nOt bo.
The remainder of the inetrcs rpceive tlmli. n.™„„ r ..
in » line. If a stanza has ten sy III , 1^ n ^Tne T 'i,"r,'^' of syllable,
stanza has six in one line, and nin/in nmher i is'oalM « 1 o^' '" *^ """""=*
other hns seven in one line, eioht in thcnext nnH fi . ' ' "^ ''"■
L. P. M^; in otttor. six 8. ; j", iro'rherTsr pI^ ^- ^' « «"«« is called
«ix Ts^.:-.;;; R ^i.- 'c"h 'Mi;Sii'" ''• f^)^' ''■ « '•"-• '^ -"^d
-jniformity i„ natning the merre.; has do e t"''!',"^ ^^ ^'\^^- '^^' ^""^ °f
duction. ' '^""^ '"""''' '" Pfcvent their general intro-
sySes't- rreh^Le.^ '"' "' '^ "^« ■"«'-'• ''-« -f~ to the number of
-«.-jL-^
n
ELEMENTSfOF MUSIC
CHAPTER XVr.
CHANTS AJSTD OKASTISa.
The Chant is the most ancient, and the most simple kind of tune, and when
correctly performed, is both solemn and beautifiil.
The first note in a Chant, is called the Reciting note, and the notes to the right
of it, to the period bar, constitute what is called the Cadence.
Single Chants, are composed of seven measures-^ two Reciting notes, and two
Cadences. To it is sung one verse of the psalms, or one stanza of four lines.
See Chant No. 11.
Double Chants, are composed of fourteen measures — four Reciting notes, and
four Cadences. To it is sung two verses of the psalms, or two stanzas of four
lines, or one of eight lines. See Chant No. 4.
The time of the Reciting note, is determined by the number of syllables to
be applied to it. In singing some verses of the psalms, wo have as many as a
dozen syllables to apply, while in singing others, we have only three or four, and
in a few cases, but one. See Chant No. 2.
The Reciting note represents pitch, and not time. If in singing one verse, we
have ten syllables to apply to it, then we must prolong the sound while we recite
ten syllables. But if in singing another verse, we have only one sylkble to apply,
then we simply prolong the sound while we recite one syllable.
Three points are to be observed while singing this note.
1st. The pitch must be sustained throughout the recitation — that is, the voice
must not be allowed to rise above, or fall below the pitch represented by the note,
whil* the words are being sung, whether they be few or many.
2nd. The words should be distinctly enunciated, and delivered about as fast as
> good reader would read in private.
3rd. Great care should bo taken to equalize * the time of the different syllables,
not to give one more time than another, or more plainly speaking, not to go jerking
along.
ITie Reciting Note.
When there are two notes in the first, or reciting measure, all the recitioK syl*
labJes, except the lait, must be sung to the reciting note, the remiuning syllable
must be sung to the second note.
Ex: l.^=Ei^9 E==z:Z= ] ^ E
♦ In Bome Chnrcbes, both in Europe and America, tlio time of tho Iteciting Note is not
equalized, but is sung as though it \Ya8 writicn thus :
O come let us sing un- | ■ to
The la«t emphatic syllable, in the Reciting passage, being sung about three timeg as lonp
M eithw of the others.
3
::z^zi:
I
Praise the Lord O mj soni, While I Ure will I j praise., the | Lord.
When there is only one syllable for the reciting measure, which contains more
than one note, the notes in that measure must be slurred together.
Ex: 2.
Lord I lift.... thoa
When there is but one syllable to be applied to the reciting note, and one or
more notes in the following measure or measures, the notes must all be slurred
together.
Ex : 3.:
Day.... I — by j day.
or
Ex: 6.
'S^.T^
3
s-
:s)zi
1
O I — — I Lord.
Ses Chant No. 3.
Praise) —
I
— I thee.
Ex:
The Cadence.
By the Cadence, is meant the preparation of the close of a passage, or musical
phrase.
Tho first note of each measure should bo accctitcd, (See Chap. 13.) hcnee, ifl
it must be applied an accented syllable. ,
If there is only one syllable to be applied to the notes of a Cadence ineasiijt9;
all tho notes must be slurred together.
'-'mmm-
sure, all the reoitine tjl-
a, the remiuning syllable
if
I
1 1 pralie. • the | Lord,
ure, which contains more
1 together.
up.
reciting note, and one or
lotes must all be slurred
li^S
,fL-p±:ffi:
I — — I Lord.
[SesChantNo.S.
bee.
e of a passage, or musical
See Chap. 13.) heneo, to
es of a Cadence measfur?;
ELEMENTS OP MUSIC.
For I am |
25
brought — I ve
"•y I low.
or -&-— —1 __,
Siiig,re.|joice,...aDd | giya _ "l thanki
Ex: 11.
Give unto the Lord, | Glo- ry.... and . |
y ,, " —J., ana. I .trength.
note"ntAEf ^^"'"^'^'•''"'^--^"'^'''e »=" ^-en applied to the l^
Siiig,re.|joice,...aDd | giya _ "i thanki.
measure ^ "'^ -^'^** '^"^^l^' *« the acc«n<«rf part of the
Ex:
Sometimes two. and in a few cses, three aw applied to it.
Ex
'dE^
Ex: 13.
God be merciful unto I u. and | blew"^
•...of I b0-U4l*U.
Ex: 9.
:t
'&-
Let the people | prai.e thee ....0 | ^
^P^
Ex: 10.
of the I Lord.
Let u> go into the | houie.
Soo Chant Nos. 9 & 10.
fc H^ orrarnTed'w'oft : KSaS '".r "'^ r ' -^ '•»« «-' I
Jpc«.K must be sungTtL:t?rrpaYt o?& tVuT'^' "' ^'^ ^|
worihip the Lord in the | bliu-ty
See Chant No. 1.
recitation and the cad^ce '^ Chantmg, is the contrast betw^n the
be pronounced quite shoTa'd the SJndsZri;'^ \^ =iV^^
a. three syllable, as in Ex : Is'lTtSl^rt^dV '"' "•" '^^^
last s;iLHeTnd";h:?."ir^^ '.''""• ^ ^''■«'' P^- ^''-''^ «» -de between the
.e"wirnL^rn;t„Vtt;trb/xs ""^ t^* *"'/ p^"'-- - •pp"^*.
On examiniiiK the psalms r^fU PM.^'''® ?"''"''««'« •J'^ided.
two dots. thus,V:)cSraSu SL^'"^^^^'*' '^ read in churches.")
all the words to th« l«fi '? fh: n°!:7'" "^ '^"""'l ."> ^^^ middle of each vei^
and th- ^ords to therigh, t s^ng toThe^XVir "' ^"^"^^ «'"«'« ^hant;
. ll^'A^T^'^Tjt^.'^^^^X^^^r,...^ fora^example.
sleep of death." We wUl wmmTnce af t h« ^^^'*." u""°* *'^'" '«■* ' •'«'P '•» -
it fiit. to the Colon. «"»'»«"'=« at the end of the verse, taking om hSlf of
-fUh^"
.A-L.
26
ELEM K NT S-OF- MUSIC,
The last word must be Bung to the last note in the Cadence, we will thercfo^
divide it from the others by a perpendicular lue. Ex : /'L.gbten """««?«» '^^f
Isleeothesleepof I death/' \f^ ^iow draw a line to the left of the first accented syl-
l£& s t^ofi left of the word j.>st pointed off ; that it -ay be sung to the firs
partof the measure. Ex. "Lighten mine eyes least I sleep the J sleep of | death
As three measures constitute the last Cadence of a Chant and we ha;« P«'"t«J
off only words enough for two. we will draw a line to the left of K\M accented
Byllable. which is to the left of the word which we have already pointed off. bx .
«' Lighten mins eyes least I | sleep the | sleep of | death.
We have now, words enough pointed off for the Cadence, the remainder.
«' Lighten mine eyes least I," must be sung to the last Reciting note.
See Chant No. 11. , , rx t j
We will now take the first half of the verse. " Consider and hear me O Lord
my God." The last word must be snng tx) the last note m the first Cadence, we
will therefore divide it from the others, by a perpendicu ar line. 1.x : Consider
and hear a.e Lord my | God." | As an a«>ented syllable must be sung to Uio
first, or accented part of I measure, we will draw a line to the left of the first
accented svllable. which is to the left of the word which we have pointed off. te .
'Ssrde?anrherr me | W my | God/' | As .here are on y two m-sures
in the firet Cadence, and we have pointed off words enough for hem, the rema,. -
der, " Consider and hear me O," Is to be sung to the first reciting note Ou
work stands thus. "Consider and hear me O I Lord my | God | Lighten mine
eyes least I | sleep the | sleep of | death." | See Chant No. 11.
As aU verses do not fit as nicely as the one we have just analyzed, we will take
another, and analyze it by a slightly different process.
We will take the 2nd. verse of the 98 Psalm, divide the verse into two parts
and place a perpendicular lino to the right of the Colon, :) pnd at the end of
the verse ^f" The Lord hath made known his salvation : | his righteousness
Kropenly shewed in the sight of the Eeathen " | Place a mark over the
last occenW syllable in each of the divisions, and draw a bar to the left of it.
Ex : "The Lord bath made known his sal- I vation : 1 his righteousness hath he
openly shewed in the sight of the) bCutheu :|
To the right of the ac«n<erf syllable which, we have just pointed off, is an
i«iacc«K«rf one. they are both to be sung to the last note m the Cadence.
"See Ex: 12.
We will now place a mark over the first accented syllable which is to tbe left of
the one already pointed off in each division, and draw a bar to the left ot it. m:
" The Lord hath made known 1 his sal- 1 vation : | his righteousness hath heopen^
showed in the | sight of the | heathen. | We have enough syllables .pomted off
in each division, for two measures. As there are only two measures in the Hist
Cadence, the remainder of the words in the first division, " The Lord hath made
known," is to be sung to the first reciting note.
Three measures constitute a Cadence, in the second division of a Chant; as wo
have pointed off only syllables enough for two, we must point of enough for an-
other, we will therefore place a mark over the next accented syllable, to the len.
of those already pointed off in the second division, and draw a bar to the lelt ot
it. Ex : " His righteousnci hath he openly | shewed in the j sight ot the l nea-
The remainder of the words, " His righteousness hath he openly," is to be
sung to the reciting note in the second division of the Chant, which completes
""it stands thus. " The Lord hath made known I his sal- 1 vation: I His righte-
ousness hath he openly | shewed in the I sight of the | heathen. |
In the last measure we pointed off. and tbe one to the right of it. are two «n-
accmlcd syllables, they are both to be sung to the unaccented part of the measure.
Sec Ex: 10.
HYMN CHANTINQ.
Hymns may be Chanted as well as Psalms, and in most cases, both may bo
sung to the same Chant. A single stanza of four lines, is sung to a Single Chant.
Rule for dividing Poetry for Chanting.
Point off the last five syllables of the fourth line, to be sung to the last Cadence,
the remainder of the fourth line, and the whole of the third, is to be sung to the
last reciting note. Point off the last three syllables of the second line . to be sung
to the first Cadence, the remainder of the second line, and the whole ot the nrst,
is to be sung to the first reciting note.
Ex : Biother. thou art gone to rest.
Thy toils and | cares are | o'er ;
And sorrow, pain and suffering now,
Shall I ne'er. . . . dis- 1 tress. . . . thee | more.
mtmumamammiMm
ELExMENTS OF MUSIC,
jlewhiohistotlieleftof
)ar to the left of it. Ex :
leousness hath ho openly
a;h syllables pointed off
Ko measures in the ftS^t
"The Lord hath made
ision of a Chant ; as wo
point off enough for an-
ted syllable, to the left
Iraw a bar to the left of
the I sight of the | hea-
th he openly," is to be
Dhant, which completes
il-I yation:! His righte-
sathen. |
5 right of it, are two «n-
uted part of the measure.
most cases, both may bo
a sung to a Single Chant.
iting.
! sung to the last Cadence,
,hird, is to be sung to the
;ho second line, to be sung
ind the whole of the first,
i 1 more.
Th» rule will apply to any atanza of four lines. See Chants No. 9 & H
Two stanzas may be sung to a Double Chant. See €bant No. 4.
J^ltorthe^l'^^^^^^^^^ off th3,3st tb.e
CHAPTER XVII.
THE USB OP THE TUNING FOEK.
To.ce. so others, if su1,g too low. wouldira^'^i'of'irel'^i''''''^ "" ''^
Ihe table below la arranged for the C Fork
^ The «,und of the Fork, is the same as thai rep«sent.d on the M.V. ^ace,
27!
Treble^Staff. it is al. the 8th. .und of the scale of C. and we will therefo.
SHARPS.
the'i: o;TFt:t^ z': '" r- ''r '^""^ ^^^'•> '- ^° •- - sharp.
two Sharps, tb si Zf D '? 0^^ ? J ''''' ^' """"^ '^'^ » ^o^"
Do in three Sharps, the f ,e ff A ^0:"^'" ' ^"^ """' ^""'^ '"
is Do in four ShaVps. the scale of E.» "^ "^ ^'' ''"' "'""'^ <^'>
FLATS.
Th, »„„d of Iho Fork 1. Sol, 1„ ,„ F,., „,» ^,. „f p,
b-fL" rjcs; rr.T;L":r^s:r,ftV' -'• "^
• More than four Sharps, or four Flats, «re seldom nwd.
eiJeUC ARCHIVES OF .OVA SCOT,A
HALIFAX, a
! !
If
&:ai
^^~
\^-^
THE VOCALIST.
"W^XjTOIT.
■ ■F'"*-->ii-v
X.- I^.
ALTO.
^S-^i^^=^^^i
B*T. 0. H AUir,
^— L__j__rT JTT ,- _^ _ ^""'^ ^'"« Ten thousand sons a -round bim.hine.
'S--r~l — TT »"r " "■'""'«": io lorm a robe of lieht Hi v,n„ t .v ■ ■-~'-"" ««.nioeJMin«,
rS=^SJ:?SrzH:SrS^223rrt-r=tlZ=n^3cTf^" _ "«"''''■ "'"^^^-'^ousand .una a- round bin. .hi„e.
ii^^i^igg^^
I3EIIB-5Z-." X.. 3VI-'
1^ -r--- r-riZffiI*r«rs__-_X«-3*3H
On angel's wings to joys o- high.
Si
3Za;^^Xi:i»J.-.^-^— - - OnangeVaw'n* tojojBonhigh.
^4j !J _i !rt"' '" • iL ^*' IT1 rn — i j -^ -i — -j- —
E^,t±^=^.^±^ _•- _...,.rr™..,:P.isevetheLo,d.ithhan.and voice. JointhefuUcho-.us of .he .^y.
^^^^*^*^^ ' *" ,.^ »./.P„iBevetheIx,rdwithharpandvoicelJointhefullcho-rus of the sky.
W-weUthepealing organ's not.s, Breathe forth your souUn^ptures h,gh^r.se^ethe^^^
^^rj^iv
sealing organ's not.s , Breathe forth your soul in^ptures h,gU ; r^se , . ::-::;^_L ._-^_-,^q?jT-=::^
IzptSUidt
I^EVOTIOIT.
L. i«r.
gel's wings to joyB O" high.
ingol's wings to joys on high.
Sweet i. the d„ of ..cr.d re,, Uo Jo„:^ ..r:^,.,^~;~^^
o .a. ™, ,... ^^ ^^~D^^hT;rorl^SS^
s^^
-T 11 IK*
gleiifJ
As when the w^iT. rv 7^, "^^ * -®^'*'^I»-*"*^^J^*rt#~;i-J#liJ-*f»vJ-^^
i^=SiffiE=I5=4^vqr ---1'"-™%!"''""^ hi. Si4'.r.Xi:r«-" i.".~..i,o.a,.. u„, .„„.
e
Il-A.:^J:sG^-A.TE.
Xj. 2^.
T. CLIBK.
'^•-jjEff^zifjIi^r'ij.j^— zj^jr-TEE^jigte^
w sweet to leave the world awhile, And seek the presence of our lord ! Dear SaTiour.on thy neonle smile. And come armrdin,, imy^^^ a„j _■:__ .. ., _. ,
How sweet to leave the world awhile. And seek the presence of our Ix.rd 1 Dear Saviour.on thy people smile, And come according to thVTord, And come according to tbvTord.
From bu»y scene, wo now retreat, That we may here converse with thee ; Ah, I^rd,behold us at thy feet ! Let this the gate of heaven be, Let this the gate of heaven be.
' — — - s—x "■ •"-"■o" "c, ijci una lur gave oi neaven D«.
OmiT-A.. T^. IM:. or Ss Sc 4. (8. 8, 8, 8, 4.)
_ CCZBN8.
PlirgsFJ^gilgiililiiifliiiliiei^^i^^
M. F«rfrommythoughtsvainworMbeBone,r,etmyreliKlou«ho9rsalone:F»lnwouIdmv,,vi«.mvSn«in„r... i^nif- „!. :. , ..j <•_.„ ..^"^ . . .* * _^ ^^
L. M. Fsf'VommythoughtsvainworMbegone.r.etmyreligloushoSrsaloneiFalnwouIdmyeye.mySoviour.ee.Iwaita vis - it Lord from th^l„.if » "• •. r j r^ ^
8.^&...0,.„.gM of thelan^i^of peace, When wiU.houeverco™.f„rme,.fai„wouM be wheV.or^^^^^
. ' ...-_. ...J „.„.. •s-ionao, 1 ivuu lur inee, 1 wait lor mee,
i
I
T. CUBK.
ome acrording to thy word,
his the gate of heaven be.
wimm
ti^P^tl^^
OCZENS.
e^|i=^
it:
i
t a vii-it Lord from thee,
tforthee, I wait for thee.
'^
zz^r^iifi^^.
L- :h/L.
Da. L. MAMOM.
m
From .arble domes and gildXire. Sh,.ll ourlin.^H r '^ ='-*^''^~-«^^-^=^^^i^^^^^^
?--3:=Jf^ 1:1]::^— -p-j.j-_____ ^ BEAD. ^
i^ME^l^=ii^^i^~^'^~^i'3=^^=^^~^:fh-^ '"°'''' ''■ '''^ ^""•'l g^'" ""^ h^^^enly road.
^^^^-^^m^mi^m^mM^^^
PUBLIC ARCHIVES OF NOVA S-JTIA
/'ALIFAX, R S.
^fi^
■■iiitiiiiraiiiiij^
-^^mtmt-
no
?4t:;Ss2!:f=f-5iri:t:H5
fes^siafeigsgf^i
^XjAJSTTO. Xi. Is^,
one that ne'er Mmll end I ^'^" "'"''''^ ^«»* '•>« 8'°™s of life, And hea-vv is th^ ^l,a.f« • i -ru , "t_T ■«-«— •-IE-11
'e day th.v God hnth blectd
' one that ne'er slmn end
■• IINTON, 1865.
iulgence, lore and pow'r.
Pine.ral anihem raise.
OUXJCIFZXIOIT.
x^. nvr.
13
Lrfa-ri?~*i:^-I--^-^-#-»-f«i-#iiiid"i"d~i]-r] — it— i — > ^t , i '■■ "• *i*iKBso.v, *
^i^ii^j
mk-^^M"'
14
II«TVIT-A.TI01sr. r.. I^.
KIMBAU.
^ome^y be - lov - ed, hasto a - way. Cut short the hour, of thy delay.FIy like a youthful hart or ™e. - ver the hills where spices grow.
I
a_^ _ - , - .-. »..- uiwo niioiu o(iiv:o3 f^ruvr.
Come^,ny^be.lov^cd, I-s^^-J^y.Cu.^1,0,. the hours^ftl^y delay, ^^^^ hills where .pieesT^w. ' jiy nk~
Fly Uko a youthful h»rt or
Fly like a youthful hart or roe O vor ii,» i.ni < ,
Q ' " — ^verthe hills where spices grow. - ver the hi"-, where spl - - ccs grow
Fly like a youthful hart or roe, O
vor the bills where spices grow, 0-vcr the hills where spi
ces grow.
Vnnfhflll hnrt nr *na n ,— .!.„ t.iii 1 .. »,. ... ... "^^^ I "^ ^ -^ ^■•■M^*'— hai^l^B 1 MM
youthful hart or roe, 0-ver the hills where spices grow, Fly like a youthful harTITT^ or roe.
ver the billi where spi - - ees grow.
I__ —0- — « .^- ^ ^^ ' — I .^.^ — — - ""vio o^i . . CT,5 grow.
W«, O • ver the hills where spi - - - . cos grow, Fly, &o. •-•—.- — ^'•i— I JS^-A^ ZZ^_jt_rp: — I — |Ii;i^ZZZ:ilZzJj
KIMBAU.
Fly like a
Fly Uko a jouthfuThMt or"
E£
hero spi - - ces grow.
■here spi - ces grow.
-rtt — I — H — H- "^
here spi . - ees grow.
TllA.3SrQXJILlT-Sr.
'iUbM..^..
X.. 3^.
l^Kgi^ma^f^^-g^.gi^i^^
JXJSTIFlOATIOlsr.
3Li. 3Nd:.
^^^iSifea
-«_- ^ ^--=Eft:i:E:t2:tcfe^*^falrP:z:fg?|
3?-*-Q^ri=:::jzm:r-T-rnT— r , '^ ~ — i— iJ=-z:;zit:|
:«S«!lSz«^v-|ffs^±5fe?^fsi53^^P4-^^ ouldone.rias all h.s m^iest works outdone.
16
:5J^t^^
:;:J:
^|H^
.^fW^lifg;-t^-->1^:-
17
"T^HITFIEIjID.
la. Is^.
Bs^^^^^^s^^^s^m^^^^^^
czza:
Sweet is the scene when Christians die, When ho- ly souls ro - fire to rest; Howmiltlly heams the clos - ing eye, Howpen-tly heaves th' ex - pir-ing brcnst.
So fades a summer clouj a- way; So sinks the gale when siorms are o'er; So gen- tly shuts the eye of day, So dies a wave a -long the shore.
m
ii^l^^illiiggiSlilE^iil^iliili^lJ
«:■
i
Pii-
s!iM.
e:<*-0~0- -ts
i^rps::
^%
18
-A-IITOIIS.
JS/L.
tJrUon
3^-iq
:^_*:la2
11
::1.T-
In 'sun.
E
IS
^
Awake, my tonini' thy tiil) - "le bi-ine To him who (lave thee power to sine; Praise him. who is all praise a - hove. The source of wisdom and of love.
How vast his knowleiK-e! how pri fmiiui! A dcptli where all our thoushts are found! The stars he numbers, and thelrnames llegivesto all those heavon-lv flames.
L'nison. -^^
I'nlson.
JQ
iPiillliillsilv2iiilliailgililpiililiill P^
hcnvcs th'cx - pir-ing brenst.
wave B - long tho shore.
Je - »us shall reign whero'c- the s«„ Doth his suceessive jo;7,;:;s";„,r '^~=-~^-±^-^.±ZJ::{~'^- ' ~f £t::.«^^»rF«Z^^£?5
^-jfca-rqriLzirriiziiT'znric- r ■. ' " '••"""--'J""' Mivtci, iron, shore to q.or,. TiM^iT t' -*
."..*..»« „,„.l;.„„T£„,^„,—--,;;;^~«^^^
l9
g-i@l
of wisdom nnd of love,
all those heaven-ly flames.
^ne_^^.^H. .i„gdom^reteh^ft.om ,hore_.o ,hore. Till nToons .^1^.^^-
Eg.-t
;z=— T -n--^ — 3
an iiiose nenven-iy names. I -^ •
H- IP- 1..^,--,-- , - ~' ^ — ' 1-' 1
■teS----- ~ '""" ™" ""'' "■^"''
II
II
,:?.-_,-.__,_, te)^Sri^—===i-r!-T-d-^-~^^^^^^^ -- "o t„ore.
For Iiim ghall endless prayer be marie
And pratKPS throns to crown his head:
His n.in.ehk.. swm pcrCnme shall rise,
IV ith ev ry morning saorifiee.
PooplpH a'ul realms of ev'rv tonirue
Itwcil on hig love with swectesrson" ;
And infant vnices shall proelaiin °
Tncir early hlesslnjrs on his hepd.
niossinjis nhnun.l where'er ho reigni,
I he priVner leap-* to lose his chains,
llie weary find et-rna! rest
And all ih'e s-jns , .nt are Wnit.
t^t every creature use and bring
I eculiar honors to our kinjj;
An^fel^ descend with aonus ai'ain,
And earth repeat the loud ainen.
I'-r.X'^
SO
BOOIT^VILLE. Xj. Is^. Doubh.
'^-m-T-ts' — -,
P| ^z g EaEg4r.^rr zf:^f--.gg:t:gfa^t£'-:z^t^i^t ^-:i^ -
i:^=::di=zx«-:3z-^5:
m
-/^T
tr±-±pr:?rtr:±:
-<»-
is
ox.
ILlLft •
:1-
=1:
:?^=hT:
*!?;
^*^
1. A-wnke, our sonls,
A - wake, and run
D.c. But they for - get
±-jg=S:]
liaailiFi^iil^li^diiili
b:^:
:=1:
a - way our fears, Let eve - ry tremhlin? thought bo gone; )
the heavenly race, And put a cheerful courage on. J 2.
tlie minhtv God, Who feeds the^strenRth of cverv saint.
zzxzziz:: '
True, 'tis a rougb and thorny road,ADd mortal spir-its tire
and
-tS-
faint,
■■e»—
So
-&--•-•-
\^A
EEE
D.C.
■ ::t:z.-p::
SI
a-IjE3Sr"VILI-.B- L. lyj:.
A. J. RUDD.
n-
It
:=t:±Fr:
3^Z3t
-i-T^-" _-_.i-«jZ:#-:z}_z|:i_,_q — zU-if-ig— »--e— z1:T- ~ i ^ ' g 'p i-L.gZ.^- — U- #-T-Ziz:i]:zzj_:
■4j&zitfi]zq^E:t:zi|zz-'zzzqz3z^3E=1rz3z^Izaz3~^z-fa
l-±zA^^z-.st£^i^^^zz^-^t9.z:4z:^
From eve-ry stormy wind that blows,From cve-ry swelling tide of woes, There Is a calm, a sure retreat, 'Tis found beneath the mer - cy-seat.
There, there on ca - gle wings we soar, And sin and sense mo-lest no more ; And heaven comes down our souls to greet, And glory crowns the mercy-seat.'
■z£z:itii;2z*z-^:
:*:t*J:
mt'-^
s~ms-
-•-
:tz:;
-«Sll— •-- S'
prl:xz^zn:zqzd:izd-zr.zrj:zirpqz:zzz=tz
OLID HUnSTDl^ED.
Xi. 3S4C.
A. J. RUDD.
"i;S"~?T-»--— T^'-iiritrD'l"^ hr— l— --r« « '^ Amhor unknown." ^<Sfe'
BEA-tTFOHT.
^;
33
-q f-*'- "» sh"! a tliousami (Imp, lor vou A ,h "'"".'"'"'"« 8hak«, the around 3 rnm« .
D,0.
EUBUC ARCHIVES OF NOVA SCOTi/
HALIFAX. N. S.
"*mM
24
coijES'VIIjXjE- Ij. :m:- double.
REV. G. COLES.
3g^gEfJ|iig |5E i|gg|^g^
t;±±:
::p::p::
z:t:.:
:-p:
iiiiil
1. A poor way - far - in" man of grief llatU of - ten crosncd me on my way, Wlio BUfd so liumbly (or re - lief, Tliat I could ni!V - cr an-swcr nay;
2 Once when my wan-ty meal was spread. He entered, nut a word he spako, Just per-isli-in^' for want of bread, I pave him all, he ble&sed and brake,
3. I spied imn where a fountain burst Clear from the rock, his strength was Ronc'riio heedless watwr mocked Ills thirst, lie heard it, saw it hurrying on ;
4 'Twas niirht, the floods were out ; it blew A wint-ry hur-ri-cane a - loof, I heard his voice a-broad, and flew To bid him wel-come to my roof.
sT Stripped, wounded, beaten ni"h to death, I found him by the hiiih-way siile ; I roused his pulfle,broui.'lit back his broath,Revii'ed his spwit, and suppliec
Stripped, wounded, beaten ni;ih to death, I found him
In prison I saw him next condemned To meet a
pplied
tr'ai-tor's doom at morn ; The tide of lyinj» tongues 1 stemmed, And honor'il him 'mid shame and scorn,
7. Then in a moment, to my view. The Btrangor start - ed from dis-guise ; Tbo to-kens ip bis hands I knew, — My Savioub stood before my eyes ! <!: —
'il
^ili
^t:
knew not why.
to my taste.
a
I ran and raised the sufferer up.Thrice from the stream he drain'd my cup,Drpp'd and
I warmed and clothed,and cheer'd my guest, Laid him on mine own couch to rest, Then made the earth my bed, and seemed In E-den's "gar - don while I dreameil.
PEp3:^:rriJfiS=f'i^=33Eg^^
fcEl:t._......^
I had no power To ask his name. Whither he went or whence he came. Yet there was somethiuii in his eye, That won my love I
And ate but gave me part a - gain ; Mine was an an-nel's por-tiou then,.\nd while I fed with ea - ger haste, -The crust was man - na
Ireturiiedit ruii-ning o'er, I drank, and nev - er thirsted more !
Wine, oil, re-freshment— he was healed, I had my
My friendship's utmost zeal to try, lie aske<i if
•self
I
a wound concealed.But from that hour for-got the sm;»rt. And peace bound up ray broken heart,
for him would die, The flesh was weak, my blood ran chill. But the free spir - it cried, " T will."
^^mM^^^m^^^^^^m^m^m
He spake, and my poor name
be named — " Of me thou bast not been ashamed : These deeds shall thy memorial be, Fear not, thou didst it un - to me.'
KKV. a. COLES.
0-T T— -
)iil(l ni!V - er an-swcr nay ;
liiiii all, he blesHud and brake,
ird it, saw it hurrying on ;
jim wel-come to my roof.
TOORNLKir ^S
._, —
^^r^^
livii'i'd his spfrit, and supplied
or'd liim 'mid shame and scorn,
m
vioUB stood before my eyes ! I —
^iJnzCiiic:
Ml
___»_-. —
my love I knew not why.
was man - na to my taste.
andnev-cr thirsted more!
n'8"gttr- chm while I dreameil.
) bound up ray broken heart
'ree spir- it cried, " T will."
Thine earthly S„„ha(h.,Lor<l,*^o!orc-B,,t thereto n. M * . !-•-•-
. _^. " ^ sta
i
OUI
e i
iili
tbou didat it un-to me.''
— 1— •- — f-u-9 f -^ " — — ■ "I ■ — I ^ |_ ^^ 1' — ' — ^ — r' 11 - r-—- *— 113
I"; '.
^^ _, ,
L. 1^.
BARTUILBMON.
-■ r^ L. ■- i^.^nx la 1780, iM 1" 1*6.
TiUlnBonrdiu. la 1780, <>i.d In 1806.
TAtLIS.
Jt:«:
^^^^^^^^^i^^^
-! !-
!J I « —
,c«:
^iWi
■^■L- -L- :M:., or 88 & 4. (88,84.)
— •*■—— Jl._ '
^Z^#Tv;p-T-«-- ■' "^ »8 & 4. (8 8,
'-j-.#as:rrrT — i — '-r — , ^ ^^-^-^ — ^■
a W. MNTON, 1861. <|^'
1,, '™ " " '""n for those who weep A 7"J , '^"'"'' ''■"P''™'=" ''•'wm; We wonf wi7."^T ;=^>-^~^--I^~«-l:;^ ^-+=^1^1^^-
STANLEr. 3Q
the shadow of thy wings.
I sleep at peace may bo.
-.- L ~ T It— n— n , ' ^-^-=^i^i!^^=^±^zn
-4 I IIJri]"T:in~~f I 1^ — T?~ T~l r- —
Sisfe^i^^gi^^
,u
0, W. UWWN. 19«-
■■i
I
»3M^I— V^*^^ "^-> 7 la, -tro o'er the scone
t^T^^fi>^fi*^'=" - ,„, ;^?e .^n With Ooac,"!:.^ r.y^^ ^J^^, .,eer, hi, _^- "^.t' ^ "
:5s— « — - — ' — ,T-z^ =>:izn-^#i— - ,±jz:u--p-4;--yirr--| - — -=^_j ._::Ji:
:P=??ISSS
:^Sg|iiili^E|EE|Es^
r-«t==T^-#93i-^-^-
tOS, IS"'
trc o'er the aceno.
rahis laii-gui'll"''-"'"''
,«<-
iH
iatton. ,
and fnith our liRht.
— I-
i
'I^»g^^i|||P|||||||^^
34
■'>'•« » rhe ;" ° '7'""--" '- «on-; »e whom f ^^^^ ^- ^'=»-f^r«ia=^4*?<?Ji^^fe^-:-^S=]T;qT=---T--,..
JI»^ — f— T-iru~f/ — I — f-rr— _ ; ' "'••^'"'siu (ciinU \, „,,, ,w ' 'PC, and i'm „ ^i;;=?-»' t_SS ":irr-?5i H
36
'-S^^^—- ^.---Z-'-^-'-P-'^V-r:^ . taction claim.
|^-J^t33--S-«'-^''^^'==^r 'L a - dore thy ho - ly -^ \J L^t i^ thee can tno.taU tru. . . ^ ^=^:.:n5--3:r=l
^^'^^ 4r'- on, Lo-^. f- ^'''^^' ^r eath of life thy ^P'-' S^^ ' ''^" --Tft-af^S^-iSpf^^l^-S^^
ssi^Si^e^
a.^^,5^itaf%:i1illMii#»«SiMl-% ' .
o'Mdlessdaysl
-vere his name.
-^ ro - tcc-tion claim.
/aoJ,Ua8F««to8ave.
sn —
/
« Birth'
.AU
li
J.
\ •
! \
\ (
W
20
I— ^T5* ■="''( conscience, Ueftve
^l-^^—
Att.bTO-^'''
40
^V^r-:^::^---^''-— -
^HlEBROlsr.
■aiT,
'v.?Rsa.'"»'
41
; •''.own So,ne fresh mc^^oT-l^-^-.f-^^itSM
»-j — ■* "" • 'y word, Our grief ai , •'^ "■ our God rif„ . ^^'^ ~^-^-»5-Jri~J i-f-^^t^mt — F+— 41
O/iJ^iC
'^ftCHii
e^
/VOl//t
scoru
■ • ./ • ;
v
li^
JO /h(n^^:-
p-'^-Jt^-^--
&:^^-
-:p^^Q^^c^^;
5r€:r?E-t^-^':=::=^i-
*'^^ "^n there.
^ge breast to I-
■^^m^-
-^^z^:=^fs>
H
■~rn:
*5
I'll
I
, — *-- tf: — l--z-i:*:i:if^ii:z^:-c-G?--f-i-::tzf|
-.*!'■ ^«.
M.
l\\
M\
ti:::^
vioidthy f'"^'
V-^^
lfttOnnrh„. ... ^-- N«^
-ra--f-*r-- "' """PP'^"«''.Un -bur -uen Terr "°''=* ""'^oST
Plaint, .uppro,.-T.t grof; And "S^ *^*^***5^^P=i~feS^=^3^S^FP5
-J— .i_rr^r- -^ ._ — ^ "J' of tivft„,i.-Pu.. „ .. precious balm :. , ^-^ ^^J
3— _!_ ^ "'^-^'"^ '^-'t the' mV.erf; I"""-
— -^ ' ^'^ •n-omwordlFor
^^Ig^^
l^rrs::
ev .
"ly pain, To hem Z!"' ^
^"^^rf^^hi^^-l-mzz-
M
^l: /^J..-'^
-=Sl5E^^S=Hi=?i:i5~T-;;i^ _-^- ^-M. e tines. ,.
.^tk^M^matm
i
19'
551::^
„\cads
My
. ^Vher•
i
jioe8. luw-
P
^,harc? Ata.
Igl^i^
l^^f^ptflJZ^ -j-r ^ '""""npainlf He
0- w. LiNToy, isae. ^Q
fiiJBUC ARCHIVES OF NOVA SCOTIa'
-HALIFA X. R a
Ifti'
\ -
/^UJr
i
.■-— - ^ ,_i,— r __;_. .^-—^ ^. MAT""""
■ 1
^1
i
5^i3i--
j|C. M. The
' ■~^**^«Mi-iJB^6B(^«^l(KP|i|^)^>i
' Ho. 59-
fa,ev»e\\ i
ase to roar,
partnotnor-
p fatev»e\U
,j breast, a" ef,
«^'''''^""rt straws*',
vr into
W^ ?T".S one's V'°„
"• W- UNTON, 1864.
61
^2,(^ ^'^hdfy^^
^^Ss^^
^
fwm^
r-w- I, piqpi III '-TT;' 5^
i2::^*::itt:«?r-*ft~^;^df^^?!f==:rL-T ^ —
4'''
Let .11 mechecrful naUon. ^ __
\-j;a:t:5lH- r-tnr:: ,^t „« the cheer lu
lonnd. Ji
cheer-ful «»-^''°"'
S^'^
2^3^-
awsf
TonnJ,
■•1'°' o'er cur .S^ '"^'^ ''^'^^^'3^^'
*■■ iaNou>.
See Israel's gen . tie
We bring them Lord in
■t=^
Shep herd stand. With ,11 en~~ ~~^ ~^=— 3^^~HTF^^^r=S^^^^Sl?
-i±
arnu.
be.
^'ilfS
.. .V fta 186. 88.B-1
-5*--?Sife— ^-'-"''f wln«»of love. To _30^^»,tl.e fte^^s of heaven.
e:-^--:fPsrvr.:i.e..^^
:3ffi---i^-fiy'?,^j: pay TO «;t t; n^o-meuurun.
^m^W
,-,fc, ^
J..
^.,. jj..y„
j,». MAO*"
^^ __— — T-m:^ — li^T-i-rlm-^t-rlJl-*^ -^ — ,„ wouniJ. a . , rai»e the
-r— dT^Ti
, ^ r-r- — •*■ - .T! -— P— t ff'T-^--''^^'^IZ^^-' '
-ti::
r^'
'=#te?i^"^=^UpiP=t'-^^=^'
•-— *-
:--5::P^:]
^i^f^g^^S^^
c^:^^
.fffei
'— «s--:
^^^^^^TO^. or ^^TAX^^
«__„ — '-lUdo to shpd Ti, -^ ""■"■"'"n" earn- Anj " =^IZ»T-# — ffl^_:~rx-H i—T^J—
■I'm
M
•%&■
h
■I
i
^l?^i
- c — ■"*'rci+ — 4^t"j3--4- " — i — i- — ^v-^ — r ^ - — -""^
3^llS
:^^i
,^.___ ^^^^ ll,-_-=jr ggs^^^l^sIS^
^-^■=^-
^i
p
ffi^i
e|-Sl^5=t^:^
.^t ••no'"-
„ ly . Ing.
Vnd learn
howfr«Ul»™-
iQio».. — nrime.
J ^ "' "'J' f«a« control. And bkf ^ **" '""^ ■"'"«' May I wUh «.„ . ^ f3*-d^=3^l;^ll
BrflL — T- -1 — ,» ' """-^l 1 •+/ — — — Hlt~t~i — •+s)- ]l"-j — (-—?+-— !!1I
eUJUC ARCHIVES OF NOVA SCOTIA
HALIFAX, U. S.
BOLBBK.
rt ^- ■ r-ix::^!!
The chang-.^_-'_ n— -T^^4i3jfe^^iS^^^^' "
n.oun««\"» '\„„d,p,fti.ey
^^BJSrSBTJU-
^■^■' Or^'.es&Sa. (7 6.86.)
■i-^§Sf?Sr£2&-ri:
^^i^^
;^{r-~-TL-J~H-r;™-_i,i^^^'"' 1' - ly must do -^av 'SV'"' "'? ^'•«a'h. beneath the hilJ n. «u -iC^^^'
■f— : ^t-Zzrr-T —
F-P
="e^fa^i^^3
,11
^■•' ^T:^-=SSjr3i^-^t^^--*'':*:.,,« vernal day.Hov^ ^^^_ ^,,
ii^
t#
sH^
-----r-^^^^r-*^-------
.- -^-
/ :ijrr; ^--^-
I»-A.LBSTiasrB.
O- 3S^. Double.
Good
Come,
news, goo-i now,, to Ad . am', r, r ^==*-f =^&*4-J-^^— *^+^=^to=5=^F^=:::7r: t—
ye redeemed, ;our 7111' ^' ^"''""'"'^ »" a - „^. t '^ "•--*~'~^=*^#;zJ^-fc*^:3:=^==qrtr|-
^a S -i—ff — SUTIj T~' — ^— ■ m^~'T. — r-» — — Z*i — =— t-», *^a-naan sinir Thf. : . ju - oi - lee.
88
:,1
afe^
ung,
— -X-^- He comes to-aj^^;: found. .
-— X---:i-^i^5S=:#-i^fc33^" He r«^e« tbc^of^^S^,, prove.
"■I#-*— #■"> . M>d ""
.tore *"^'"'^.l— ^-ttt::^-
-r::^*-^ » — And heav'n and «- -^r::^^-^3r^^^=r±i-i^cii^»-»
r^-i^ssEs-E^^^^
£3il=tfc>
2^^
*
■aSgCte H BTC^ i imU T ».»Sa>
LOEE.
c!- iwr.
II
■i^mm.-
tlB*l>-
9i
^:S
i
Pii
»
8hcp'
^^
r-i-
^-^'-:;-q^l-^=::^^=r;=^-Vr:<^-,-«-^^ '.round, i^** -,---Tz:::-^:r::^ii-i^^*'-^--^-f^'v1 shone <v-^
r^--:
PI
%*
"^^tT'
r„^around,A'^i
1^:
3^4:iiDr>x.Ei^i
ss
ZZUTf—r ^ ' "' '" «"""'"«. <" fare - well. Bu Z,' "^ '""'
" sad. And '
a' lut, Where
^2i5a-3-^:
r^tK
— I " • ler- nal ^
"i--:ri:zz r n<f '"''"«" "f grea
orl.i where .|| *-#~-J--'^-J^»^-^» "'"f ®7'?'"-. who is CI
" ■ eo^ ""1 Shall find ;,':"'"»' 'here. ^«h«a^«n'y babe you ,
— ■ — *^^-i-S^rt»
HY3IN FOR No. 9,
a-ofs-s'''"-^'^^'
W angels, praising God whn .1,
PUBLIC ARCHIVES OF,K'OVA SCOiii^
HALIFAX, N. S.
ISAiO SMITB-
IV — TTWr. ^B_l - — \ — ^T
))
I'S'-
-. -T'^— — Vt''tl---^ — rltl-t ril^^-G''^ rpst From n» "'^"^ ^ for "'"'' ^^— '-Tf-B'T-^-TSjS^
,^::S''^'"-i'4-tfcirr^^^r:^ig5^--' ^,v ''"»" '""'Jld sweet •.» the c«re f"' -C^T^^^-jS^^^r^^^^'
■jfzS'* '"tir.j^-T^rn^---'- — ^^^ „ Where weiv-ry op-pr"*' ' ^. -— -rr-'^^SIIII^ TT^i— -^-r ••?-t---T't^l — ■-*■
^^^-2*-*^^'^ of ..-cct re - P^?:;' By thousand care, ' .^^r^^^t^fi^Qt^^^^^SSc-^-^^'^^
'^ There-. » P;;- /I, ,p^-"' ' l^L-^rfiT^^^^i^&^^f^B^^^ -**-— P^
t/^'*
rn^PHiarf*^!?^'
'i can bring „ .„eet relief!; ' L ? "if "^ " " «-■
^» ".ee ?- tV,, e';-; £^ ;f«^;;^ee when ^.o., Hs^oXt,'"^ ' •-~^'^-"S?==^^^==t^
=i335fE5£.^:izga.-3--R=
s<" free, A heart thaf ] ^~#»-'S'~iS--I:it;iibr2^^il-
O' <■"■• a lo„.t^'"^'^°'^' A heart from «t^ . T"" •-■^—SflJ-*^ -=fc=3^ri^===SiJ3
:, '«»^ - Jj', con-trite heart B« i- .'"'"" set free, A hen-f n, ^ , ^~Sb~i5> iS~r:ir-V--3^^^±r~lB
^gg^q:^--:^: rt - ^■""^■'"«'*™« -^ ^''-^ mich " It ,t "^^■%^-'^^ b.ood. T frl^rt"^"^*
?#^:§a-j:r*~*— f=2-~5-i-3 — l— ^^:m-I-±--l— n— ^wer l,fe nor death cao part Prn,., i- ^ 'P'" '^'- Si
-4:rit::
^=^^1
Hrt>
t-^^
MAXIM.
._-, __ . -^ -._ __:::il'-t# '"* .acred love, In
^.&-:^fe^=^-:^ta---^-=^ Sn - d>o a «.- of -
iJfe-'-t -iV-^P^^r4S^'4l
hearts. »' — n::;-— S-i-^^^-d-iit'-ff^-idf^fS'-^ '5'
5^fe«^^r:-- W-^-;^;^ eold bearta of ours.
,tosccoWbearuofou«. ^_^...,rr^r:ri--^::,$;::^-::5--?i-ai
*^°"^,fo^n«Uherflynorgo,
«"l^t:a"ternaUo>s.
n^etuno our formal Bong.,
AltbHP<'»;:7;",%uU0thee,
^irSruseo^reat
^''^'fifflad a Saviour's loy«.
^T^dtaJstJlUmdleour.
-•l^*
i%iH&s£^
With cheerful note, I.t „ ~'*'^="~*-^^3-Spf fr5E3-fe^X^^f-q3;ir-^
With cheerful notes I.t n '' ^~'^^=^~i^^ii^^^-B3~^-k3^i-^~f^=;=Z~T-n
Sit:
fe^
=:TrJ
fsgfe-^
— 1-^ — :_JT---
-"P::i;±
2^tfflr-
Ir
I
v»
j,„d comfort of my "o^^
'And comfort of my
And cuu..-- «_^-#-T— -rZ-— -r
^^%r;Sn-m«^^^^'-;r;,U morning «t.r,
I, ,,vpn3 aroviml m
NV>A^>«^>fj° ^ercymme,
Vlyso«\«o«U leave *>^^^^^^^^
Uu" "V> ^" „V^^aUc my I>^"1-
To see an>i I"" ,
IM break t^"";'- ^ ^^ms of faith.
'IV f
^^^: laroi^E
Th* ' ' peaceful u ■ — — "*--^— ^fc::~;ri*t-^'— -t5?z^5t-f , ,^ — ,_._.
1 1-,^ ™™ "■<"" .«_Ti. , '"'"''>- mull's na«t Th. ■^Nii'-4-— L_Z; •t-'»r#+-^--I''
'" '" """kie,, 0„ flowery
<"" thoumb? And shall If . — * •— *'^*-*#::'f-^-^+'^-::ai^-.
^^Ji
IMAGE EVALUATION
TEST TARGET (MT-3)
1.0
1.25
l^|2.8
■ £0 ""^*
2.5
2.2
2.0
1.8
lA ill 1.6
6"
Photographic
Sdences
Corporation
(/u
23 WEST MAIN STREET
WEBSTER, N.Y. 14580
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u
V
O, ^^. DOCBLJ.
BILUN08.
»5.5i@^ife
g^^gt«^^
i=S
„e« of th. .vy.
,.„..t. hi, feot he ""'" __^^_,„^-^nT:^3 I Iff
_ _^ _______ c:!^
■ — ^ I^— #— ^— m\?IjK-#— '-^ — ■ .. IT' — MZm- «i " — ' — ^ 31— -T-H ■
— --i — rw ^ V — » •*• ^^^^ ^ rM ^ — P • fll^i— J— — I — 'T "V J-i ■
.iji-»'-"-i-:li__i — i — i-t--' \ — -i-i "^ , I
^dt-jprti-tiP
l^igSifciS
ebenib (
iberubira
I rWMITi "I \m
2--_ ST. -A.S-A.i>u
OIORNITICHI.. IO4
1hi
;.i S!
•-*-::3riirri|:T^==l^^^-»4-^«-::::f— *SV^ ^^ , " , heavenly King; _.:-+T-c::irr:=;'^5I
ig the mem'ry of tayg T:r:r;7==^q&^3^=*=*i:^2=*^i^^=^^ 1 thv rigbteousnesB. In
^^OITS.
CJ- IwT.
r-if==P5^c:-T-
■ -^-^r
« W LlJtro.V 1861 Wf^
X-!;r!;:5~S-£g|f
^fe=^^^^
-i^et earth receive her King J 7r~ *~^~* ■^^^=^=X:rH^~:=rfEi*~^^3t:S ~^^^
.A-Jx__J^:j^--;P4.«ZPITK3^tH--^ — -^^ , ^^aren and nature sina An.i u^. ' — *'^^*-^^"
' ■?-*-iJ.-3^Z^^^g^3g|j K-'PBat the sounding joy' '' """^ P'"-^
'■^"'•""•"^"•-■^^-'-•^r^^ZIZrz^pSferiiJ:-^-— —ir^jl Repeat the «
»nd nature sinffr of- . --^^^^^^~rj-^1i
^7°;j^«'«'°«nd sorrow grow
•^' heaven «ud „. . tarT^"—*^*^ ^! ''?"'' '' »"■' "ghteouaL
t^URi'r ,„ ^""^ '''""'«" of hi. love.
^«^'-ARa„.£sor.owscorw
j^l-'FA)^ K S.
*
■t!
O- ^^-
Come let us J ^^^^
Kl i iif - -"*lliTi» a iim.i * '« «
IfSte
^*^^S
^j_^_j^^ ^^EXTOU, OP I>XT3SriDBE o
"'■''8 calm „ . ~ "®~^^^'^-*^-Snts--i3^^3:tZ]J-^^^ 3 ' r- "^
hmtrr-tT— — ^ ""'•AnJ grace her mean, f ®®' ^nd seem bv ,.,„ ' ^'Ci2^BrP^~:rrT--r
9
— ^^
f^Sl
1 py land, Where my posses.ions lie. ^'
■"" l8tand.Aud calTTwishful eTel^rp^-^— -t£S^f-??::*F^-^1?fa?^^^ir- ~}t^-HV^
I?i
'»fl 1
^
i
CM.
'|7. 6 & 8.
L«
wmA*
misn.
O- 35^.
J SMITB.
_^ on «*«nh no more.
='*rc, aro o'er. An,l ,„. .."'" '"^ '«""'"'• of m, -fj-' -^^=^*-J~«^-rzrj£^|
•.«J.~P TT^ f+— ^ea-" ~t"T — 1-^ , "^ — — J — i 1
;s5!^E
m
m
Ill
It
I
ff'
domed
" ,^„..a.l««eo«M<lo'«>
the »«" •'*'^
115
'r-r- ^_ ^^ II There I. , „, -**-^-« '■^-Sirid:Biz^±^'=^^Z±F^^=±±
^^^:^-S5-#- - _^ •'""''"'''■ •'''""■8 grace/ lp-"^-tsZ^^g^^^ '
S-T— - ^ Un.tro,..Mod a",;; " " ^«'here beaut, .^^^.^--^^-^Wi^g^^Z^^fc
11;
9i.A— ^ — "i — #^+-^;:l«-+-»''«:i3-J— ■ — , n^,\ tq - sorts, ^" ^^— T-r"
:t'
lU-rtWJ •"■"■
in
his
tlWy '
>ttrt9,Tho'
in
bis I
aly
Bin'
il - ins
face,
Tho'
\ii
bia
^^fe^S^^
:^^3^rfS^^S^=^^^' — ^^
==^iriiti^^-i
rtx-^— -nr
r::^^— t::'^-^-^ — "
:?— ^
IlEFtJa-E.
Cf. 2^.
»• DOVQALL. I 1 y
•uu pre - Q10U8 to » Ala uiU . giQ A — X , ^ M A^^^ ~0 l J / | T"~+»'M
3E3~:ife
:£i:^-i^
S^ii^
^tFi?=
-.•-f#
^■■^.
et^euc
>^RCf
't-;j
h-iS'— I
SCOTIA
ic - »ai.
' V
There bappiM bower -:i-.I-*T-i^i^;tr^r^-itrJ— P— * ^ —--.^0'-»'l=i=A
S^*^^
—C-A-^-
%»vvi/Urround,ewheeI.oftJ,F,;7-,Z~*^~-t:i:!^:£:-i^
.»<yBwirterroundyewIi«ni.„r.i„_ -^
f :.
ill
l-3^
Ci^l^B^^^^^
a.^i^-
^^S^^
&-=*-*-!.-'? .'--1': S;:\S..»-
Shine, m.ghty ''^ '__-^-;s^;;:-4^:»rf»Wz^4^1t-::cdptp-+-i — ^ __^ — rsrS
133
r^fSgfe
^S^
ffl"-^-irr^
:&'-^r^—
h'v ^'i
i
There is
There « _, — »ii::#-^fcjrr:p^Tr:iC'-+^T# i:?!-- *-' —
_------~3::i::^-»ri:?-?4^rf^i^^3xxi^^^^ — , .•„„ .nrina abides,
S-i:33pqP^r5S?J54^St:±^-t^^^=^^^ 2 There everlastmS spnn? „ .
ife'^^St^i^^Slli^^^^?^^^ '?'-,■■ And never-wtbe»"8^ divides
S$-gbtt_» _.^fl-..".rX.T-^t»rll Death.UVeana.^-^^our.._ ,
==iF*^^^f^J^5^^*--^^''^''**""'d plea - S-- ban.i,bpain.
^i^£i^l^^^^"^^"=*'^^" Iplta -rca ban-ish pain.
-t:t:r^--i*:-^:fj2h pain. And plea, and P^* ___.,^^„
^^^^
jl^d ploa-Bures
banish pain,
^E^ESt
.asurcsbani* pam. And P __ ^^... -,:j:rS-.aM-l
^Thereeverlastm^a?^^^^^^^^^^^
^ And never-witherin»^ ^^^^^
Death.UVeana.^''^^^^^
'"'TfirSord'hesweUinsfloo^
8 Sweet fieWs Dey"« . jeen ;
' Stand dressed m l^v^ s ^^^^
gtiuuld [lis'
r^^w-l
r:i:ath' scold Hood,
the shore-
ia7
Je..u, tfi. name high ovor .11 i 't '^•IS^Crt— ■^--+ ^=^irf ■'mm-^^^=::~r'^ir:i-~t^^^^^^'^^^^^^TZi:. 1 ,
bi?:5:rrr--T=-. •""""-"•""■e.rguiUy.ea™, A'>;«e»and me«'beforeit fall .„77^,T7™^
An-gelsand men before it f.n i„j /Tr7~~"-^'*-*-
K 'ty fears.lt turns their hell to heaven.
-C3
&^5^f333^=^=ttr —r.-^ '''* *'• ^ * 4. (8 6. 8 6. 4.)
¥-4fS-i-a:iiF&:i==^Hl=ri-rr-h-,T « ."«roam, in gnm and m>. . er . '' r'' ,"" "'<"'«»venly train.
'-±=^i~^s=^i^^*r^td^
~-*:t::±:=SIi^£
Ilii
-i— — -^ ' ,. .*■- — * ]|7 i — """'TlX — '* — 'V-rri ^-*--a^ .-A v«ftrmftn<i
the theme.And warmand^ ^^^^^^ ^^ ^^i,,.
T-rr:::HV^-:j:i3l^^ — ntn^—jdt:;.^^^ — » — ^ " tiond«eu» »p ■ inspires it>e .-s^— 1 -T-rrJ-^1
, -r- — XII^-\-~^^\- ^t?~ - ^ " ter - "' ' ^'^^
g,o.r>ousbrigW.»'— - ..
li3ll2:S2§
wondrous grci
t,how
glo-riou9 bri„»<'.
r be; Who
J I— M 1^
• let the dtiiJlinS
dwe\\9 amidst tne
light,
vast -
eS
ps
:f.a:i-
I'C:-
'^V-J»lK,-v^Iq;^_
O. Is/c.
STANmr. 131
Fqz— rrrr'^^ — t — ~ii::it:
rrri^ i=^T _, . . ""^ '"y 'nrone of eraPH . n„,i .<." "«» ry pil - cnm.a<rB. H,=f .n !^^ ^-
— -C' ^Irzlzzfce
^^fc^E-:^=f-^^ir-i —
■^-^-t:^q
r-S» — ^- - ._>^ ^
:r:-
^^"isgii
I
\' ^^
I
iii=i^£^^— ^-^^
i
rM-i5£^-^-tci!
■3^1
•th. There'*
here. A-
''V'ts or
tWl/FA;^
A/OVA
AL S.
SCOTIA
W'
;3n
:fi!i
^^, Do'""'*-
pi,r«i»
t»^,
'!• \
S^Ss'
-•^_ij — — X— -
»-?»-■
3-1
,ofi\leil.
by thee.
^
^ J-dorc.
.ct in prayer.
•est on
-\-
S3-VEH
i-^
^r^^^-
^^i^' :iT-i— :?5^-^P'5:r:#-^«^ ^^That leads me to tM ^^^ .
^„t peaceful hours __^.---::tKx-^^■-i-i4iri:r:•-i— '"'^ . -i--t:^^rat=#i?±r-^
i„, . er w'"' J
E?^^^- _»^n— riP^-^^^^S^&i:^^^^^-' ^* . Of Je-Btt**"* *^ , breast.
S3e:^'
ire-r^^^i^^aS^^^— -"
L^^5-.t::t
5^^^^^^-^'
^f^-'
'»■
i
iii^ii
- - 'ir.'T -
m,
U. 1^ •
amy tteabt.
lE^-
^Efe^^fSEi-l ir-:r:,S::^--.. '^- ^- ^- <« «M 86.)
'«- UNION, 186J. 1^40
%:
»rs.*xiW.
■ „^.4'-^Mf.>f .^
a. :£*- ^^-
(886. 8 80.^
11^*-^ :r-=^^=^:4--B::^-f-fe#— •^r TrrTv bloom bo -low'.
•Tis love tb^tj^. rrr- -i— -jri-#-fEt=::fe££:=P^tiP=-f- — ^
g3L^5S^^3?ife== — .- - ^-:.=g=r3E^S5laipasE|pi
^* ■ -,-----n---r3=:::V-R--=i— 3-^3^-r--i=l-i3-=* earth tbey Aow-
„o TV vcr - "*' _
In eve - ry — ^— t— :;-
1)
-ri-?^^*^
m^Si
m^
(8 8 0,886.)
•M — V-m ^ r-
TCOEER. i.4^
i^^2?^
^-iP '^ ''« f«"''«i your T ' ' '■""• ^° swe nr- ^=-f~H-^-— *::=*-2f-^=:=q=— fl
-zr:: K-I-cz»-*-5— ii^zr: — iw+— izrz-^ 1 i:::tz:rtri — *-
\i
!.l"
H
I'M^^^^
F3?Ha^
S53
i::l:=^^E^?S|Hi!^igE^^i-t:r:-^-*- ^ .^ ^x lb
No foot of und __ _.^ -^::r;^r^-^-p-f|rf-^zz=f ;l^r=:^-i
i
mM-
mcil to
lodge a •
1^
(
. jnurns here.
!a - nnan !?»'"■
___.^ ^^-^-3^. (886.886.)
144
'^^^-i^
aJBUC ARCHIVES
^^z
ii
! !■
■m*.
f-. :'
* .'.
145
j^^33=^l?Ef=S?Ji^=^^-^^^^^
—--^ ^---^ZZr-'-Sa-f^^^^^i^l^^^^ ^ Tr\Tb' expected day bas come;
^■^^-S^^^''' ' a.'T. Gab.eV.t.u.p-tV,„.s t • ^^^^.^^^^^ , ,,„, I long to ^'^ ;^^^,^-
What sound is th.a sa i ^ j thirst, ^ ^ ' ^_-^-H-r5=inf^f5^S^P^jS=«^fe
— r irvzrir— H — ICt'-t-^— Ml'-tJ^-M^fa'-^ii— •— • • • nvilos borne.
Soon su»" ' ■» ■-T--ii:^-P -•-»'!'•" v—'-±'*-i^
,4:=P-i:^-
,Fi3r5^i
5!£2^J=J~:
soar nnd touch the hZ~, ' ^~~^-^^^^^f5rrJg5:£^JH^^gtzNrzKTZ .__
notes „i.n,05t jj _
vine. In nut^.
3 ai-tuoat
nij'
. %i
Wb^Wr
Arr.nH^'y"-^-^'
I
_ o !• \ Arrmu»™ -^
, -jrrrrl^-Cjrii^^^-S^^-^-Z^^i^ *"^- vVUa sf.U your bodies feeU ■^ ,^,3 strong eajie - ^^T.^-gx-jSliX.
^ ^ 3g:.:NC. (868.688.)
0. w. IWTON, 1963."
^- „o. eal. and beau- 1. - f J^ _ ^^^^^ ,,y, '!:Vi^--;dr45B^^^^^^
1 — ^- — "-^ _ . VZZ^~-—\
•£J^-X=^=:
::il:
:i^^=1^*=T-n-d-x~t— ^^^^AMB. Continued.
if:
w
IV m
^fe
liii
I
f ■
>UBIIC ARCI
HAI
■:rsi.
''"Kr'^' "^P^'
^^
^
-«»-
'±32r:
y^UBUC ARCHIVES OF NOVA SCOTIA
HALIFAX, N. S.
, "« ^-^-itbe deeps „„,::::• i-'^rr «'« "^ 4; Je - Tr^T^^^^-^^^^^S
sal King,
id ground
.^H^Rp*.
/;^yo the Lord. H^I . J^ . '"'^t p^-^^^-'^'^^^-^^^l'^^^S^^^^f^^Z^^
" "^^^^-jfe^—lr^^^fiSgSE^^^-^-^-^^^^ ;_J"J«b.Prai«e ,e the Lord,
^™-ye the l:^ HrrT'^^ '^-'^^-"*S5fe:::fefe=fSi^=3^^
>-sj
i^k
■■'Si
-I
\1
X'-7::-:Xi'Hi'9=i^-|'p^^±^-fe-^'- Heaven with «.• ««^
-S^$^-^-'*" " ' „,it\v.H echo .haU resound,
^'-Z=i^---'' .,. .ho ec^o .hall re - sound.
Heaven w>**° 123^
::i— --r-lTu* .Uall te.ouad.Heave
Beaten vfitU the
'-~m-\-\ — :a^-* — — '
==^^-7. "aTv ttUearlh .hall hear, .^^-^-ZIZZ^C^^^^^S^M
i^^^^^-^-;:. an thee..h.ha«hea. ^" _^
1 0.e earth shaU hear.^ --T -_.-^
^'thc earthshaUhear.
±=^7.-7-lI'thBhaU hear. A" ^ ^^
Grace first contrWod. way
To tread the heavenly
And new BuppVios each ^ourl
While pressing on to tiod.
Grace alUhe work snail cro-n.
^*S-i^Bervesth, praise.
^S:E
S^ -".bo on ,h, g..rd. Tooth , * ^^--'Ir^^^-'-^^H^-M^-^^^^^
-^^?f£:£^f^
r^-ti&r::
^-3fc::
_ Vim done.
Ph©-
i/
ij
.i-tS^
th re-sound ^bc ao-- ~ .„ ^ - ^J'* ' .^--n
,^do earth ^ ^,^,^d r«c6 From ^^^^^^^^Xi
^, WILMAM9.
i^^^^^
^^^
tuo Lord ;'^^-^5:t:s::^?2^^-^^J
3^
,r . na\ Son.
•- MASO.Y.
159
mm
I T — • -rz — * — o^-ltlziT-r — i-TZd — P*-f
'• C. EVBHETT.
^^^Hii
t^^'-Z:=:Z~Z} IT -----i ^ ■ '■' ' "' ■ '■^'^'' groumi So r";, "'^""""" >W,ere David ,hvcl, n , ^'~*'^-^^- «--^f:*-^~
-^-22:1:5
^^JSS^£3fe
'4'
i
KVBBBTI'
i^
■^
:^-at»
:z.^-i9-
rjPJ^^z^^
^-?^-~~=;*:3:rsJ=^z#^i:q— ^----
-#^*ir?~*-it^J:::rt£rJ^^=^^^^^^ii~ i--T-"^r:-K— ,">^— _ ' '"s thro- j™ „ — ^^— -^:=4ct^-+-^~
■ V tear
^^E?^
be
dry,
^^'w march
i«t our
(OOgi
boaadj
eve
tear
■"* dry, Wewir,..~?^r^tzi^^^«~
! 1 1 :
'3
I
^^^„^ I ° ' • •" '"' " W. tlNTON.tMl
in prayer.
-^l
^>
,sjg^g|f1S=Ei3^
Z.'S—'
t^i%-:iS-z'^-^-'\:^
%^-%-^%-r::.^.
AX-^—'-
ggi3jiH£i
&
^sEi
:E3:
SIg
18(0.
a-OLr)E3sr
k
n
I
:1 :;
DB. UOWAnD
■^-i;p-
fc'^£
-*-- — ^
=t
eUBtIC ARCHIVES
HALIFA)^
'••r.
OF NOVA SCOTIA
N. S.
'm
m.
i'l
%.
t;
ITl
3,ISBOXT. B.^-
ViT.KV.
w
C. irl^-i^i^l
wci-come to — "inx::^-— rrj-t-^"
'>^ Welcome, sN>cot day n-irtt^J-airi::^^— 4-^i::-JVdli-*-*^*-* , r^reastfvnd these^^ T^ Jl
^l^'^S3'3-?:f:tT^^ri£-^=^-*^r- welcome to ^"^^ " " "^L._--T-n-;3-q- Iz^^^^l^i^-'-zJ^S^*
P—- *^,.7:,...me.Bweet»layofre«, rT:^i:iT#-»-f-STr-r— r^t — -•T.t-? rrr'n;. And theso
-^. H-q-r f:i^lp4t-^^-*P^— Welcome to th,9r3-v.unR ^-3— -^-^' V«xS^--5^-iir::=
wVcome,s.eetd.yf-^ _^^_^^^^^^^
J • WKICU"'" ■"
I,, c. BVBRETT.
^ _, . zrM-H-l?:l5J-::::S-4-3^2-^-#:t«;^--*--^--* »^ t want t,c ■ ^'^i"-
ni-es-ft.:::::--—
-•t:S— ?-— --
Wg V,„ - .„_ '•™> And ienr? ~:.l
." from on oigb.
■ng voice is heard.
1
:*—•— itd
fil
' !U
i 1 1
1. B. WOOBBTIB*
^li-m-i rrH— -« — ■TX— 4— +-*ZlT^ — (- — Til--
-*E*=^t^Ei^==ti--
r ^. — afc^ — ^1 I _^3 ^ Ti— ^— — ■ — -— ■*• — —
^-^H^^a^-
gi**-f-^rfr*^=:r-p-^--- ^ ^- ^- ^- (60 8. 668)
s^^^T — ^-r- — :*_i-a»=N — -, — ^ "'* S3 . emrJ I, — » „ "''"- 'bo soul -' ^~~"
u. ' — — ^^=^C^*'~T — ~~1 — «J _W_r2 ^ J— 3_3lr 1——,—
i^i^i^^f ^ J J;| J ;_^P^^^
PUBLIC ARCHIVES OF NOVA SCOTV.
r
III
'* i^
' Si '
f:
i*
HI
i: .
^ff
1
_HAHFAX. N. S.
I ;-
._-r— -^TS-#- — a^
T*"
!£^rtE
^^^
-H^-^— ^ ---^■—-=:=:^==Hl^^=A-^-^^r^ -3"3^*-<^'r,f;rih beholds the
itn:::^-
let
9
~9
^13
1961.
f7ihbelioldB tbe
fnk those stars m
fc«S:
^y - >•"« here. Tn,„,.,«t - «,! T^^u =^~*-*^-** W #-fcfe^3-q==?l^^-7=^
^"'P-'y night. But hid i,.r """ Slo-riou« ,phore. W^~^ '•-^■^-^^^-'S^^
bjrT*--3j^^- ^ A '"'"■'"''^'""n heaven's own hV; /' ^«'""'i'' tho cf- ,• **-*'^^^^:3i'-f 2^3=3
ar, ro realn» of < nd - le^ .^ ' . J? . "« ""-chor of hl« ....,». >:? * ~^^^~,
II
h2-#— ,---^ "-"-"ngtrom a - far, To
:tfc5g;:}J±^J^
1.1 ,
"* I",
til i!
0. W. UNTON. 1884.
0. W.UHTON 1883.
*8* __-^-
^^^
w» i«*i« T rAAt.Iti the
i
°^^*ii*r-^
mg. er roam,
liy longer roam.
MM
^■TZM
m
1863.
green grassy grave.
„d from the grave.
^^S^S-^J— .r^ ^^^^^^- S3&7S ,5,.
^557, 557.)
It*-
"•"••n.vrav.isez. f^g
'^Mmm
«-p„ ,/.:l;_ h, Lore, «„,, ,.„ . c,r -fe^-*^fef#^5|-^=^^^qS^f rq ,-^ -^^i^i~
mmm
Wi
'iir
'ynr
''■•'.t
)',,i,
:: ' I
ill
■ I
'-,'"rimmm, ■
188
LATJREN-S. 68, or 78 & 68.
a rr. lwtoh, m6*.
^gJssiiiSiiiassisiis
0. W. LINTON, 18M-
.MiT^ . •,
,lMt.
ess to cheer.
iBst-ing love.
^4-
^^^
HON, 1884.
^«
sad look is given.
ly hand re-lievei.
a Snvlour's love.
^oi>OEs. e.
*4«- ^64,64.66,4.)
-fc
^^"toi by 0. ir. t.
There let
Uly
God. to ^e V ^ «^-^*^-:Si?^-^t53^f =rf--^^::;rqT3-~H^ ^~~~~'^^=fc::t:*fc
*5-"::3rzrt-T»-i:airfr- — ,__ "' "o". 'o t.
e"«UC.RCH,VESO,,ov.'scorr
193
63&4S. (6 6.4.6.66.4.)
Mv native '!'>«n'7'.''"''' '^''„ thor of l,b-er-ly, 10"'^ „,«,«l(«4.
Our fuUier's Ood to tnee.
My""""-Jl,.!..°. hee.Un.lof t
. LINTON,
ni,
'ght,
'^^^zz^=^
'"■•'
i
li;
4'
1
^^H^
. *'^
^H
1 -,
^^■i
':!
■
■ -'i ■
il .
1»5
SWEET SFE.INC3 ^:^j=4r^g^353^^^
• •„ tum-inz She breathes, on the P'»'"= ^^ "L i„ g„en pas- tures.safe fold-ed I rest, Ha __,_h 1-— TZqZiqrrn
6S&5S. Sweet9prmg.sre-tura ng i^^^,, I k„o„jI feeding V ,__,__, J— :i::^T:::=F=FTEj3^=W^--3=3i
' llB. The Lord .3 my Shepherd, wo ^^__^ nT—trS^^^XJqrnjZjtlpg^rqziriZq^^
iscos. i3wcev»e""B- - cv,„„i,prd No want shall » »"""■ , , _.
1„. The Lord .s my Shepherd, No ^^^ nT-^=5:^=ST.i:prl=H-
196
^ SH^X^X. WE ^EET ^O^X^- 6 & 5. (35.05^^)
:=dn:
:2d:r^;
i, the shower that falWrc-m a b^^^
nie when wauderiug, redeems when opv
VVhen shall we meet
When shall love free - ly
rp to that world ot
Soon shall we meet
eSn.Meet ne'er to
fiow.Pure as hfe s
lillht.rnke us dear
, gain.Meet ne'er to
peace wreath ber
sweet friendship
all there v
peace wreath her
Soon shall we rac" - =" ' rmr
!;:;, mewhenwauaerlng. redeems wu.. ... L.^-—Z^,-::^'Z---^-E^EfBwzll^-
^tk^:^^^^^-^--
II peace wreath her
U sweet friendship
e all there w
H peace wreatu her
«'''|"n. Round u*~75"
fe^^:
Nov-p,
^ev . e-'
— 1-+--
— I.J
"o nev
no nev
"0 npi-
"o nev.
■ er.
•er.
■er.
er.
i^^^
'«1;
'■ j^^^l'Vr
m
•i
I'
m
0. W. UNION. ISO*-
* Down from the wA - »°" » ^^ ■--r-Zl-'^T=^=^'Z=:^-^'^l^^-^i^^
'^^ \-^^^■-:zzT--T-^-~^.-^:zf:zt-^zi-m\^--r-•z:z^ ^^^=^
-, oa «r 7a (066,677) Jl"' '1_^ ^
^ > ,— H-T:r=:=tf=^ ^"?—*-t--22=^—^i''^-— -=-"-■- u'^'.rV wake, Peaccfi
f-3Etei:-|:^s3^==:^=,^==f-^7-'e^^^^^^^^ - ^--'^ themes a wak_.__
^=---:-,-TT:„wn I'll take-, Ai.db.d .ts — rriq=:;^r:i--rl,i=
Down from the wu ^ nZl^-V^'^--~^'Z'i:^^0^^z:Z*-
!-=^-
ilumo niig "-• r j_-j
£=t=i-- _ s,ft and soothing bar - mo - ny.
V .be Soft and soothing har - mo - ny,
breathings be, Wh a ^ -jIT-rr:::^^ 1^^-41
-=^-^-'^ . .0 ny. so. and soothing bar-mo-ny
.. 1,. Soft and soothing har-mo-ny,
breathings be, bott an ^ t-T— =»:::•— it:T;-:;5t
2Ix,ve,lovedivineIsing^
() ! for a seraph s lyre,
T».thed in Siloa's stream,
^S touched with livnefi^,
1 hear the voioeoflove,
He^omestosoothemyfcaw,
AnTdraw my soul above.
^_°lt.ow the strains shall be,
o.\' . " , .:„„ nf Calvary.
Joy
\V'hen I Bing
1 sing of Calvary.
, Peaceful
le, Peaceful
a::^:--
B.
■inji "'* »
iiould be,
ary-
>ear8l
ricf,
IS away.
ain sliouW Mt
,p to thee.
ed,
lie,
ncd to death,
liph- , L^
rains shonW DO,
ve to me.
ves !
love ;
nay fcaw,
1 above,
na shall bBi
alvaty.
^siti
=^^?ps^— "" *****
^^^^I
^^*-:*S
-*:;*ZT-.-,
*^*-
^^^^^^^^^S^
■£s£^^^£
w
r'l
I
m
GhEORca-ETO-wisr.
68. 78 & 88. (67.87.67.87.)
0. W. LWrON. !««•
;:::;;iipzpl?:-^=^it:p.
EIpP^*^^^"^"'' ' — __ T=^-i^
"eu..uc.BCHweso..ov.scoT.
^ HALIFAX, N. S.
'trd
"^S^P*""**'"-
««.
SS
m
ilam - !••«•.
11^
Si^sfe^g
mot -^jsr^~~ ~;s/.— ■«
""»' toraaeh
■h^sShe^s*^^*-*-^ ' """ ' *"'
J07«-
/I/:
"'mr
I- 1
^^^r 68fe8s.•(0C6.088.)orB:-:^^
^r> .CN— ^^T^ z^ ^'ii-i^^^t ^i
eve- ry stnng. ^'' ___-x-;;5-— I-iq-^^T— 11
Z^lZl — ■- ^, ... anlemn sound, Lie'' »"
'fe^^t^^^ES-4^rf:t---::P^^*^-'^' "' t,, „,tio.» know. To
flight in
I men wake
ii^
:. :m:.
nations know, To
I'Basrox.
-•UTi — •-.-— '» come Th» • TZT — • — ^— Zr\f"d — -J^J — ++^ — ""i-T.*^
'«« « come, R«.,~~ — ~-'- ^
■Tssr.;*^!
-'«> "•cooe.Be-tu,--
'"ir"-+-f - ^^!^"^— TT— I— ^^^ ray hearf .. • ^'^~~gd~^isZi
^^^ — ^ — T — ^^Ziix — — •-:S"r-+-+- ^^^S"""^— TT— .1- "^e mr heaw . ^^~?!J~-f^~-
m
v
- iiH
a. W. UNTON, 18M-
"ti;t:/rTi;wl Pea-e ana plenty M.t^l».__^^___^^^^
0. w. LnraoN, iMt-
.v-crr-BD 68&88. (068. 86«)
-i--^^^ r W soft be thy ro -P0-. ^^^^^ ,,„„ „t nov, a-
''
^fesl
r '
I
I 'y
I
ear.
^ri::f^^— t^^^^rziT''^ .„ fills the »«. °°" '^
tz?::i^^=^— "T, .„,:;sr What mu-sic fills ^^^__
_H t:_-^-— -»!. P^-^-rr:— --+- — --' - It striko* up - on the ear.
-*^i5*^-_^i-^-'='^ Soft .-avbUng to the morn. It
Hark '.what ce - les » ^^^ riirtr^^rS^^SE^::^^^^^:^*— ^- irp--^^-^-
____ _,-^^^^_^^^^^^^^^^fe^if r. .wel^ jSii^ '
sweet and shrill.
::$*-M^fc— rj-did-*-**-*'* -•-•- t tune --_jlJ^1^. ^-^^--::a::t-P-f-«i?--pn:f-+-'°^^r=^-V^--^
-H-P=^— ^— — '. . fui notes * -#— •-nirrrrr^i^r-fl
■t' '"• ■ gufluc ARCHIVES OF NOVA SCOTI«
-^ HALIFAX, a S.
,0 ear.
1^
^=:zr-^-\
the ear,
^Pg
and shrill,
aetand shnll.
eet and shrill-
— I'^TUJ .HrtU.
awny to the ski-g ., , ~ ^\-0 — >-^^i3^T-~l^dj" — -i^^itz; — r-i?^^^^#Iir — ~~- — ■■r- — ~*^ / ") T^j
5^i
r7»f^:*it«-^:p5r-r: — — ,^ '' '^'"' "e . ,„ L?' '; "'.From thv^ ■^-«=^J'ra^i
^-
m
^^^^m
•SffHT-*--
S-
.MMait
!4
4
I r.
la
IIBXTUOI^-
78. (77.77)
Di. UtAKS'
|#t-i^-
t-—; .^t-^r-fi>-^^-» ^ _. ,_,( my coHch Witt
m^ en 11.^ pLwnn..
... Sl^l^^^^^
-jiZ-iiiih^-ts-
m
m
, prepare.
,dow» flo"'
-^^?F£J5;
^SElg-.
f-^^fefclaSfcS^i
ai5
-*-Sf53
3^l%3^-^
?^li
'^^^iHr.ft--i
:t-:
-T— - "'"Win a sm;/in<» kJ • ^'""ous in^t^^~"^~*'=#-I
-^^ii§?§t
9
WAKTRNBM-
lit' »■
' . rra flq fe 78 (7G. 76, 77, 77.) l. c. everett.
S-iT-
(y-\-
nrra « -p-i
•-•
£^EE_EE:t:p:p:^-ll-F^^=
- '-&Jgf-^ ^
fer-n--.-.^'"'* '*'•. ,^,, . ^'Lord, we would p3i.« " '^ . -^-«-er:*-f;^-vd:tJ----^-tT--^---'rr~-T -^ d.c.
mS°r°^
i('!
,l^i
: :
flH
: i .;
l|[
i
H
I,
[. DOUBLB.
-9-J— ^- .
BR. L. MASON.
-'— . "tw ho som fly, While the near -er wa-
7 rM";:." -p-£-» .^-..*;;— -:
I none, Hangs my help -less. ou.. ^-^ .-H— XI:^
-^:i:!:::"U=^^-i-^ — 1?— .^— /--^
pest BViU is t.gh.
and com-fort me.
tcrs roll, While the tern
o - lone, Still Bup-port
" «-T-a-+-»
iig^E^^
h^"-45i"=l^===^^-TS=g-— =^P— ?'-=*-'^---^--«-^^^^ '•, nhlre-ceive my soul at last.
18 Ugh.
i-fort me.
a.
if
ul at last.
• thy wing.
^^EasTE-^T^:
7s. Don,
'BM.
-,-^ ~-^-^-<^F^-^z^^4'i»QF-i~0^:i:»~-i~-i-,. """"•-tern, •— -^*--i5J.'
IV
k
mk«(<^*
.^
i! '
:' 'Air
I
7g, 6 Lines.
i?iiii'i!?ili
o. w. uirroi*. 1B8B.
TEH:^.^ H:ILL. 7s. e Lines.
P4^^E~i:^i:^r=i^^'-^-^-^'-^-^' '^ i' . bicss-ing B^. Wait.ing in hU courts to day.
„.c.Duy of all the .eek the best, b.n Wem J--T---«q-ll:Trq=q=i=I^!5--*~?:|rG.X*^^^^
:F-a^
— I — +i C u I T.i=. i 1 — ■'-*
^m
Siai==f;fc~
In this ca, -^ — " — ■■^^^-::rr~— "^i~-»— +-':j"~:d:f--^~^^^^^r~^^ — -^-^tz^
=-»^p«l-M-».f»««"!p*'?*<|(B®Slr^^
7b. 6 Lines.
^ SPAXTISH CKAISTT.
DR. MALAN
IIOSEFIEI.I3. 78. 6 Lines-
*^^ HAUFAX. M.S.
juilt and pow'r,
iiil
tiun
ESt
33
m
-G>-'-z^
in • ner, como.
p
-+-
3^^:*y
:-i:^
'. -'
■ t
»"•
*-«
■"■■:..:;...-LJiA' '■" " ■
j^^ir'f^i
1^
■
■■
— -—
•V^rr
■^^
rr' - ,BWKmjiL..
"''':^^.
;^
=j:
MM
ina
ISmm
HifaliiNKtt
tfiM
331
Y03SriDE3.'S 3^^ HOIb^E.
7S&4S: (74.74.74,74.)
N. BILUNOB.
.-'LB — ^ — X ■Zzt-t-— -^ ' —■•'•- — ^ _
&litil^ ^-RBERS. 78 & 58. (75. 75. 75. 75.)
^^siiisj
you to stay. Yondcr'9 my borne.
. . C-erlive, I cannot stay.
is for all, And all are glad.
-^- *: ." f,;„ l,i„l.tBv thv standiiPi \ im^'d,
._ ._, ly-| j — T
Onward speed thy conqu ring ll.gl.t,Ang.. i- ^ -•"»-L ^- tH — ^-"rllr. f.
m
f-"/i-fr
:=^f■
s>-f-7
r^~M,m
Sg-5^1^53?
!?•-•-
— =i
m~
s'v— :xz- —
*+-;f:-:::
f-:^i*=*>
■^=:?:^i]
a^
tr^ — ,
-i~^.
--i^^SSL
:r
Iambic.
t. HASOR'
^ -H-a-MN. 7sa68. 00, 76,76,™.)
t^i^tt-- ^-^- r------n::::rrz:z:r-^--:j43H»5f--liS^^^
0. J. WBBBB.
7 . _ ii-i,» ta breaklnir
_. ......h .r. *«k-ln« To J":'-'*."™ l>oar.E»e
-:i:i:lit^-i-t-t5'-i-*^-"-", ,„ _ ,h. .o„.of.»rth.r. wj*.ln, T« rp."n,U e«ry hour. K«U
teg^
»-'ssg:.s;,ja;r--
(9
ny plain, They
,r««ttown, The
^^:
w
I. 0. BTinnrrT, 1886.
lPf=^^^=Hf'^^^::i^::t^-'^:iS^ .ofpra-.e hUn forbid noble4eeds.Pra^ h m ; ^^^^^^^^,y
art,
i
coitti^-A-st-
Ip'^Ci^;
. ,or78&88. (T8. 78. 88. 88.)
bti:^*^! V=i-*'C?'^e«eet flowerB,Have aU bet I
_ __„^nt,. sweet bu^3-andBweew . . t^^;i3 ai
ipj-u. __-—,- — ^-Tr::^^^^— P-d— ^ — ^--t-'fcr'j-t^^^^^ — f^w^i-J — ^" ^ ni^Rt their sweetness to
,, t 8S. They .ho d.e m _^J;^_ ---T---£i3-.^^|irrqr|^^
--■trqzrj:K--^SZj*CII5_,--5_H'j_»£Zr--i-^ ^- , gee, Sweet prospeci», =■■— ^t, AU ui»" _,_h,—
4 8S. They^hodve^m _^^_j^---T:^--£i3^.^^|i^r|^irr^i^^
;Sg3a~'S«r&:te:-— -j.^ " *»• « lines.
*.'><> wa, slain" °" ''""' a C^"
''•"'""- '•"'gate. Of pe,, . ,
lr-l«=;;riJI_Tar« P«-rect
''«iie.
choir.
there.
P«*!e,
I
Mil
O. W. LINTON, 1864.
'-&-»-
^-S4i^^i£^&""-^"-^f^-^ — — — ^
1*^^ All « well All w wel'- 1
glo - ry see, All is wen,
844 SONWET. 8S»4. (88,88.88^4) ^
l-;-c*'
A-- ig.:=y::j— ^f^-^iii^-i^:^"
ll^^&fcEEi----
An.i faith in live - \_'±:2lL ^'^^X -d^rr^I:=l =rnz=^H^l:--il
-#T-
7v^
ii:i£:=c:-±-si-» "— ^--^-^
feif
E^-4::i?-^te4r-J-#~*:i:« — r — _ ^ — ~^^fft-^fP:S^^h-i?I^^tr: — 7— "<>- creasing.
f':
'ipk.r-FT^
J6. 85.86. 8 5.
. tINTON,
„„«v 0. W. UNTON, 18».
347
EX.01.^. ..% as. (86.88.6.) ^,_^^,^
And false the light on gio -ry p'" __^ :J^sz^^^:^mlsh-----^_:i-i^^ ■«^-J-*?::StffiX2z:«
-r="T??=^=»"^
T^^^
^?^?S^l^fe:
^^SfSE^-
IMAGE EVALUATION
TEST TARGET (MT-3)
1.0
I.I
11.25
■ 30 '■^"
I—
2.0
U il.6
'^^^' .%..
Hiotographic
Sciences
Corporation
23 WEST MAIN STREET
WEBSTER, N.Y. 14580
(716) 872-4503
\
V
■1>^
\\
^9)
V
^^
6^
■•■^■■■mK\
8s & t'-
#^-S-*Xl*=li=?-l-"-==*^— • ^ '^ , b .n„ ho-lv I V.U dwell and reign wth-.n.
c:#rrit«cd5T5-J^-3!^
1 -_.-..---,=:.rT:ri^=--»=«=f-*-;=:i^i!-t^=i^j
•^-■- r_-=:-— ii— !^
•~^?"«!SBES
®^X-Le;
'^^s.
®8&7s.
f
l.lUS01f.
S54
8s & 78- DooB''*-
' B. H. STBBKR.
Come, thou fount of evo - ry Dieting, xu.>. -, ---^ ^ ^j. ■„«. ^ aeac. m« = ^ ^
ig the trees.
8 shalt know
tfe^^i^
T>1
■A"'! whilst thou .fc u ""'■'"■-'ion AJM-*""*--*^*^— ^^^I^^^^air-T-'P;:^:--. ~ **'f~-<tqi
sir* • '^-^-t^i^tP=^::=^-^^^=^=i-i ~-^ "'""'% f^oe .,0/ ., ""^ «»»
— t=^i
r
I. It
8s & 78. Double.
I^ C. EVEUBTT.
#:r:*:^i*:t-=:^
D.C.
'■ • "• Chant Ho. a.
3:
•-— (3-,
i*!
%
^^« IIO-U-SSEAXJ, or ORBBlsrvix- ^jrCzFC-^z^rf-l
fe^|zjld=5=^JgEid^J-4-*-*£*Zi-*-i^ ■ , ,,„„ ud to th.. onrhetruw. rHi.e,
0. W. UNTON, 1888.
S60
SPALMN-O. 88*78, Do-,* ^,H--!rn<t--
\-r-±=Z!!liti^'-iX--\^-:J-ZI^^ . wh.n the tho'toare fixed a - bove.
^ES*r3St^-^e-,r*?.o,,e«n, an. tt™ ..^^ U ho..wc.t.. that de - vo-t.on.When
p-%CT3^=^J^t*-^*:^iI*— •-**^^*^* ,; i . .-nn When the tho'toare fixed a - bove.
t*r2j=#t-V'!rii;;7kTthr sol-emn. an. t^em •«;'>• yU hovr.we.ti. that de - vo-t.on.When
c;rp"rr.v:'--'t^^. sup_- P-a._^ "-iX — ^^H^---x^=^i^==^^TiE.5xp^3j
D.C.
t^f^ra
r.!
;0V8SUn.
m5!
i
• M
A. B. KVEWW, 1«8-
— — — T«
f— ^m —9 — r
SVBWN, 1*8-
^ ft . way.
,ome to th«-
irn:
:^1
f
■f ii
■m
hi
88, 78 & 4*
t. OLABK-
1
)l
gggiE^^ijE----^^ ,;:;„ . ....•--.••••■"•"r;::i:Xf:x
i^S^™-%-r!^'!!S':^
Tiding, of the SaTiour'.wortl..
^^^^
dingsoftheSaviour-.wor.h,Tiamg,o> v...^
=rtrT^;^SS^th. Tldiupotth. saviour-, worth.
,»rthe tiding*!
ftheSa-riour'swortli.
•- — r — 1
need
^^^t
— - r^xZ^'j ptJ — •— L "r — ~i — -Zir — — — — _j_^T' — — ■ _ — ——..». 7"-=-^ -J — ^ — ^ ^^ J i~— ~— .-_
•"^ power; Ho~^i, " "'='~^^^^-^f3^Sf^^^J-~^^^=^r-^ " "^"■^^^^^^^"f^S:^£;
.ZTtt^ — -i;:3~T— *r^ Jnon-op "r- . '" - ina j . ---f2a'---jjnt — ^--~rTr~--f^3Z~^ — I— ~__
&m^3=f&^l-Zi-^~^'' '" ">« «P.> - 2' t"'. """•-«. Ho .^^^^^^^
:;s-f^rzri
rrrt-
r^^^fite::
"PHMBBfe
C;OIjXT:M:B"CrS. Sa, 78 fc 4. (87, 87, 47 ) j b. wooDBnnv. Died i86».
»t>c> -
???•— -^— '■-^ = '^ ^ _ . .. „ . , .:__, ,. „.,m.fr«!f!,vnl bid vou all faTO - well ?
:„i:zji — i^ — iS^it- — ^ — *^ — ^—^ —
:35^S5^ *
-^-^.
Can 1
-t-« i-
-•-+-•—-—:
mt- — i — '
111
I leave you, Far in heath - en lands to dwell?
leave you, Can
-0
Can I
U^tr
leave
you. Can
.^r?
leave you, Far in heath -en lands to dwell?
-^-
:5ziiz-=—
2 ILime, thy iovs are passinz lovely—
.Toys MO srranai'r-Vipnrt can tell,
Happy Iiomo, indeed I love thee :
Caii I, ran I say, " Farewell?'
Can T leave thee,
Far in heathen tanOH to dwell ?
3 Scenes of sacred pea'-e and pleasure,
Uolv <lavs and Sabbath bell,
Riihest, briLditesf, sweetest treasure,
Can I pay a last farewell ?
Can I leave you.
Far in heathen lands to dwell ?
4 Yes, I hasten from von gladly —
From the scenes I loved so well :
Far away, ye billows, bear me :
jyively. native land. Farewell:
Pleased I leave thee,
Far in heathen lands to dwell.
ti 1860.
all fare - well ?
lu all fare - well ?
2 lovely-
can tell,
vc thee :
rcwell?"
) 'dwell?
;ifl pleasure,
1 hell,
St treasure,
II?
II,
9 dwell ?
ladly-
1(1 so well :
\r me :
arcwell :
thee,
to dwell.
fi:^SlS0==rrN,
^SX.1^;
SiilEj-^
Ss, 7s
&4.
(87. 87
^^£^^
;?^:?:5i:
::z -Jfa i L .. .
"■*BS*ti^-j^-:s:jjji5gSHS*e:r-
'\
ajl THE CliEUISTI AIT'S "WELCOME HOME. 9S, 88 & 78. (W, 87.) , „„.u>.t»»,u»
Hark I 'lis the trum- pet's joy- fulsound.See the Al-m.gh-ly Je - suscrown a, «^_.,-*,^ ^_f^— (•»-,
Harkl'listhe trum- pet's joy. lui60unQ,aeotn» „.-... B".. - ^^__^, -f-f^— i^T~T
,.l
CHORUS. U»«iy
Then haste, let US work till pro- bs-tion 19 oer, «o g" ^ „^_.j-# ^-j- ZIinqi__-l|
EUBUIC ARCHIVES OF NOVA SCOTIA
HALIFAX, N. S.
^
W. UNION, UM.
mm
lith - ful eonl.
rom the skie§.
ill
izi
n's welcome home.
in'8 welcome home.
t5?3--^
^m-D-j
lOa.
u,
""A.
'• "Bnnm.
«r«
Si I ^^
mei.o. ,y ,„„ ^^ oe .0,^ Soon ,„ „„ V^* '^ •-^?-f^F^:q?Jr>rf ^^Tj^^qVpT rr-^,— ^^-^'-^i^^tzri^fl
'^^kimi
■HMM- „,
..^^s^B
a. W. LINTON. 1983.
ajft Ti^oT^Bmr>a-B. lOs, or lis & 5. ^
274
COISESBXJR.'Sr. 10s, 5s & Us. (10. 5, 11. 10. 5, 11.)
O. W. LINTON, 188S.
tJ?3>:/-»,i
— -^ — -^—
::t='
T-^^
1
*• O • • — ' _^»^ . .^TT^j „o„„,.=(,,nrl .till, till the Master nn-pearl Hh a - el.
Come, let us a - new
that each in the day
ij— ::;::=f[=^i":::^^^,,=5Srtr.r
a-blewill let us glad-ly ful- ,
from his Lonl.Mny receive the glad
^^thed^oTMseo^^a^n^ug^^
r — I--; r
ii§iiliilli^^i?^Spii^ili^«Si
cqr=^:qzqHifsi:Ji^q
,^— w j^.^ i .Jj.fJt. ' SH-'Jl'M tJ i l' I ^ Wg
19— ■~^^-cirt----^rir-H-rj-^--v/^ir -— -ac?.
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HAYDS.
Xj'^srOlTS- 108 & Us, or 5s & 68.
gS3jiilJiS"^iiii^^?ife^i-
^«HiHsiSS5:riS^^""r;;^5^^
r, k 6S. Begone;n.be.Uef,My Saviour is near.And for my relief. W.ll sure..yj|ppean «y pra^--" ™.".-j;;;__- i IPXi-.-rf-ltM
^m^^^^i^^^^^^^^^^^^^^^^
^^^ :BlDTnL.TaTJl^. 10, 7s & 9. (10. 77. 79.)
•JX7 ^
Ilall, migh ty Sav . iour ! hail, mighty "t lour . rn ^^ ^ _^ ,-— ) ^j- -,j
id in their King,
mile at tlie storm
s
ir-don »llh blood.
laDflloDB of bltffs.
^*=£SfS
'diSiKi.
S:i:
"^fflL,
lis.
SICILIAN AIB.
TUB SAinSTT'S a-WBBT KOlSdlB.
" -Mid scenes of con - fu-s.on ana "«''-™;7'"°'-^ "" b,;„^ for a soa-son. but soon tl>oy d« - cay. But pleasure, more .as^.ng ... u. =--
The pleasures of earth 1 have seen fade a - way, They bloom ^ ^ ^ _^_ . _^ ^^-,- ^-^a.-Vi--,*-:^.— r
l^^ii^ii^l^feii
BES^iSSp
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liis^iaia
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PUBLIC ARCHIVES
1i
M o
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1 ;:
ii
1 wouianot ii»o -• ■— ^' f_^„, .-^ God. a - way irom jru" - ^ . _
Who, who would live al-way, a - way from h^ Ood. ' _^ 1=!;q-^=J='=TF-H-=j5Ef
P^^."*— ."^y—l-XT dawn on^ bere, Are e - nough or 1 f s wc.s._ full ^ _ J . „,1 . ,y reign.
few lu - rid mom-ings that
the rivers of plea- sure flow
' h^e Are e - nough for life's woes, full
I WOTJLID NOT I.IVE AI.W^^- "«•
^*— "^ =4 -•- -r »,k not to Btav. Where Btorm af ■ tor f "> " ' "f ' b,,^, . ,.,i ,. bode, Where U'
I would not live a way, F a^k not m ^^^ ^ ^^^ ^^^^ ^^^ ,,,^,.e„ that Urns tui |
fe
ii
002iAE YE r>IS0O3SrSO3L.ATB
lis & 108. Cll. 10, 11. 10 .) a. wiBBE
'iji.ji'nr -i^- 0~^ -'^-> ' — ' ~ . _ _ _ \-\ rTTi" I" ~^^^T"1 1
ggfe
ii*g^i3iPP
HAIL TO THE BMCa-HTN-ESS
llB & 108. (H, 10, 11, 10 ) I. MASON
285 HAIL TO 'i.M.J=> ja^^v^--- — —- -— Tq=^"1^5^=~'e^^aE^='3^^"
11
Hail to the brighTnen, of Zion'. glad n,orning,Toy to ''>« '""'|' "f ;^ ' uUh'g a'on"!;' °Loud from the moun.aln-top,
Lol in the desert rich flowers are springinF,Mr.ams ever copiou. are. ua.ng a g, ^ ^
Hai to the Dngnmess ">«.■""• h'"""- r,-— , „t„„. nr« i.diiiBalongi Loud from ine niouiii»i..-.-'i'" _ « _w. r — — ■"•
Lol in the desert rich flower, are springing, Stream, ever copiou. are .uU.ngaio g, rmm-^Ti Ji?:»i*3rf::q3ltl«-»-j{_— r1|
EBBB.
:-:fi
■-^^P
m
0-'
encniinot h«iil,
cannot euro.
m\
BON
?iii
1 her mild reign.
mingle in song.
m
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n Timrnitummtmiimiimism
3S7
SOOTL-A^N-r). 128.
DR. J, CLARKB.
Wf-^^Z: : rr ....... *» *i,„ „„,.„►,;«" p^,. AH-am'a Inst race Chrlst hath opened a fountain, For sin and un-
't^ ^cT'oHr^ grace ;ri03";;-caprto the'mountai'n," For Ad-am's lost" race Christ hath opened a founta^, For sin and un-
f If - 0- -& • • — . .. ,, ., ,_ 1... r>i,,:=. i,,.»> nrionoil a fountain. For sin and un-
V#^~=5=-T7r-^:-?--±" n. H^^ bb^dfc m^st froelvX str'eam, of ,al - va-tion. His blood flows ..o.t freely, in stream, of sal - va-tion.
'■ !Ss;"'^?^^"^^'"^B;;;;ro^.=Si; bdE^;st^rreei;:'ir-st;e-a;; o7sal-- va^^ion, iFs bl^od <^™st7;^;, in ..ea., ofsal. va-tio.
^_f ^^ .^ - - m .^.,;^,,s^ pfss o - ver Jordan, We'll praisehim a - gain, when we pass o - ver Jordan.
^^=:
irbTh'Srbo^.htur a' prr.don,We'llp;ise'hin.;.^'.Tl^w'epf^ o-ver Jordan, We'll prais^in. a - ^, when we pass o ^ver Jordan.
^=^=l3^raEfiSE>E?:i?Efir:
^::^:
i^^s
^^!^:^^^^^^^ His blood flows .ost^-iy, in streams of sal - va-tion .
l^Hiijj^iilil^^'Sigi
iig^mf?^
1 '
i - ver Jordan.
09 of sal - va-tion.
^O^VV-1,3
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8, 12, 8:
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idpn
prayers
'^^' "'"o ^^a^V^" !'':'"'-'erMV^
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PUBLIC ARCHIVES OF .OV. SCOT,,
=.^, _ HALIFAX. N. s. '^
T^
"'sm^fe.
-_^.%.y^'ia^i^pp^CTjag:yrll^l|JggWjW
mmr-- - ---■''--■-
^
O. W. LINTON. 1B68
^^ C-A.IDI30. 13s & lis, -or Us.
f*
: jf^3 »' ■hC 1 — 1 --p- IF- — S ^"^^
tomb; Tbo Sav-iour has
free : From the claiiis that have
free : Fro.n the chains that have bouna <nee my Bru.^=.u^_.^_^_: ^_ _--_— j:^— -
j
m - pass the
ul I will
^•^^"-ri'-w---"- ' 'triiiii
't
29«
WHElSr TKE LOIiX> SHALI. BXJII.3D TJF ZIOIST. J^-%.
f_31^_^#-I*-^-" -^--^ _ ^^;';; —-^.^^ InhiB glo - ry, He shall ap-pear m
jy^ In hiB glo - ry, He shall ap-pear in his / ■ i
When the Lord .-all build up Zi-on. „«...„.,„...- . j-— I==ln=:=I— i^prii:
f-:a-i;^i*-^-*--.--±±------^- ^,,_^^__^,_^,,„^^^„,„^ ^,„ . ,,, He Shall ap-pear in hU «lo - ry. He shall ap
He .hall ap - pear, shall appear iu his glo - ry, He shall ap-pear in his glo
When the Lord shall build up Zi - on, i^sna,^, - h-, =.."^".- = ,
Iz*:^;
•Wh*^hetr"r3hairbuiiaup Zi-on. lie shall ap-pcar in his glo - ry.
^Ssfe
He shall appear in his glo - ry,
0^a7r; .he p7aee,rhepe:;;7La.s,^n..They shall P^sper^^ ^ve^ th^ Peaeehe^th-.o^t^
., ^ rv ' OprByforthepeace,.hel;raeeofJe.ru-sa.lon.,Theyshallprosperthat love .hee;Peace^withm__.by _wall^
*:=t:=:l— -'— tiP-P-^— ^^--^— - _. ^^ ,w„..„.,„™Thev,hannros»erthat love thee; Peace be with -in thy
0, pray forthe peace, the peace of Je-ra-sa-lem, They shall prosper that love thee;
s^T :---:xfrf:
. . pear in his file - ry. u, pray .u. ... r ^- X^X=.-—-===-\-V-^^'=^^-
He BhoU ap-pear in his glo - ry.
i
I'i
i
^•^F- P"' ^WJIk;
wm!^t..
BWArVItU).
r;i:=:::t^=:::± 1:. I--I- V--Tr7--T cTT:~r'iw„.n and e^th. Ileaven and earth, Heaven and earth are full of the
IIo - ly,
Ho - ly, uo - ly, MO - 'y. ""• -M-i—l t \—^-l
IIo . ly, Ho - ly,
-iz'\:.i.zzi'.>.'Z2Z.\
yZ_.-V -^—~ -— ■- ^,, . ,^ ._^ „. .^^ . ^ the- Glo-ry be to thee, Lord, Moi
a
maj-es-ty of thy glo - ry. GIo - ry be to theo.
Glo - ry be to thee,
E33
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— 1 — I
s|:^gi^E=g
'—•:;::^=::::<i2:
t'8 - ty of thy
r;lo - ry. Glo - ry
be to thee, Glo • ry
■zX---
be to thee, Glo - ry
-O-^-^'
bo to
thee, O Lord, Most High.
31
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full of the
~ ■ ^^^^^§E?^^^§^^-'^^CS— ■— -_ '^''-"'»^' I have .in. ^7^
•'■o" thee,
•-4
pSnd am
no
""O's wor.
th
""■' — ^A -r—r-- J-Cri — 0^ZJ_
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t ' A JTl X4_ 1 — LJ 1 — 1^— ^-^ Thousands of Ihouiands, and
f-"" - • . • . -lid number,
I be.held.and lo, a great mul - ti - tnde which no raan could number,
^ii^^gyi^iSSi^s^
.:::l3:ir.:~=l— -
-tS-Gh — •-
Thousands of
vjLiS.^ P^-*- "*~" ,. ,._ Thousands of thousands, and ten times
lo,.
a great mul-tl ■ tuda which no man could number,
^^m
I be-held, and io,
;SuT-^^WwI^cK^m^nS^^.^h«u^lK^^^^^^^
^ff-^— ~~~„~ . sands. thousand, of thousand,, nnd ten time, thousands, thousand, of thousands^*.
^=?^^^=1
thousand, of thou,ands, and ten times thou - sands.
thousand,, and ten time, thou-sand,, thousands of thousand,, and ten times U,ou
ten Ume. thou - - - "nds, tnousanu, u .=.^-- ^ k~*eT— l"" JK-ZS-I]— 3"!
*-*-■==* me, thou .-. sands, thousand, of thou,and,, and ten^^me.
''' . ., __j. -r .i,n«<.onri9 and ten times thou - - I
sands. thou',anarof thousand,, and ten times thou-sand,, thousands of thousands, and
thou-sand,, thousand, of thousand,, ana ten t.mes v...u _;__ ^ _, »— »-Tr— ^"ZZ— ==1==1—
-Sl£.7-"tiruW"thWa:d-,of-ti.ou.,andl.aad ten "- »'">--;';;^^^
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i
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^^^^^^ eUSuc ARCHIVES nc ^ ^-^-^^tr^zfi
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u
I3:E-A.VB3Sri.Y -VTISIOlSr. Continued^^
;= J^J - " U ^3 -^- .._.....^w,.>nf h.av.n.cryiugv,Ith. lo»d vo.ce. ^Voe, woe, --— ^b- -.. " — — .--^
^ ^ " ^ " . " ^ ^:g.Wt.e.id.tor ..a,.n.cry.|uKwU. a >c.d vo^. "». • _ Cl^. ^.. 4,,_.^p-^p^,„
lg^E4£-£-:t:r.l:?E^5:^-tt-^±-*- ^ ^- ^he -reat men and nobles, rich ».n and poor, bond and
'earth by rea-son of the trumpet .hich is yet to sound^ I--r==lI"--R--=l^i=«Hi^rp3=§|
pi-^'»±==-=^=t=^*--'-— ^ "^^ The greatmen and noble., rich men and poor, bond and
=--t^^i— S--!^-^--'-^--^""'^^^ ^:i^ And when the last trumpet sounded,
[3d pagcl
>« — - — ■ — -i::r~-— •iri-f-^:::rr/— ^^d\T— °'^ <«> stand? 4^ . ^ -*t:::£E^i-4:^-i1
— . ^ — — — --i~*— i^^rJ— ^-fa— ^::rr~- - — ^ 4^ '^"'^ ^^o shall u — '-^^-ij
"" tftroDe; Pn,. .1 — lur — 1~ — C^:i!T*-+^Zr~'^---^~~" ^ k_ '^ g~-:-* — ^i_— — M
^ ^ ■---— :=*rH*^jS^=^S-->-^— nv- ^"'' '^"'^^ho shall b, —~~~-^d:
^^:^-2^=?ri;t:i:/r:::^-:*rT:,~-^,_^^ "'« '« stand ? And -h. ^ -7" ^^^^"te
/
^1
rORTUOUBSI.
^j,g • THE LAST BEAM IS SKININO ^^ ^
^*— 1 !•,«= It^^T
,a!epi5-*W*rss|iSi#iiili]St^^^
wltbtbtnlfhl,
mu
I wtib th» nl»M,
iSI
P
pii
•Lord, Amem.
ill
^
(t
I
a98
TilB LORD'S raA-^hTEl^.
0. W. UNTON, WA.
thy namejhy Kingdom come.tby will be done, on earth, as .t .s
Our Father, who art in hcav'n, hal- lowed be
PP^
W
OurFathei, whoart in heav'n, tal - lowed bo
iiS^^^iii^
thy name,Thy Kingdom come.thy will be done, on earth, as it is
in heav'n, Give us this day our
iiiiflp
in heav'n, Give us this day our
ESEiEjEggzgiag
l^i
1 dav our
lis day our
*«l — 1 \-T
le - liv - er
:X
m
de - Uv - er
iisttMstmsasatm
D02S10LOa-'5r, Continued.
PraUohima- bove. Praise him a - bove, yo ncaven-.y ..... ...^-^ , , ,_^..,_-._^ 3— Tli 1
ff-*+ , T^*' r^„ PraisP him a - bove, Praise him above, ye heavenly host,
^' Praise him a - bove, Praibe mm a dovl, r-«5-#-#-T-fi? — T"?^ = iZ'iS '•^I
Praise him a - bove,
^^mTseTima-bove. Praise him a - bove. Praise him a - b^e, ye neavc,..x^ ___ -f.-^^-r 0-r -rg-f— ^^r^^Iipf ZI
I 2 :^-7Zrr.-^y:Z- p"7»L'him a '. bove. Praise him above, ye heav'nly host,
-pi^^a - b7vr"rraise-bi-m-t". bove, Praise him-above, ye heav'nly host.
:±T::j=:±p4ri:1:i=d::
:z^i-2^_i;
T ■ • _ _, TT„ ^„ flVinat
and Holy Gliost,
Praise Father, Son, ana iioiy M..u>h ^ ^ T-'^=«-i«-T-^-^r--'^^^^ Si:]^^ 'A
■-.in
s
and Ho - ly Ghost.
~+^ h7a;'nry host.pTaiseFa - thcr. Son. ana Ho - ly Ghost. Praise Fa-ther. »on^ » -.r--^-f-^r---i~hr:n'^-t±0^=^;^~A
--ft--tZ^E3t"-:l-^--'t-i--— • '— ---W =[:2nd page.]
—'^^—\—'\—^-\ Pfc^.v. father. Son, and Ho-ly Ghost, L f s J -
L-
- 5^- -^
^
t-fts'
M A
^4 1
men.
n
le.
frrtr
•"'f, Hal
[3r
fe£
r-^^
■::^i:
jah,
''". Hal-
PageJ
^S^^i^r
:Jsr--^r^---
a=
■ • Bien.
*:i
fa
!uui.i!iiiii>ii>iiailTOni i ii '-^^"- a'v "'ijM
'*
nQQ I3ISIwfl:iSSI03Sr-
Lorddi,-n,U, us with thy Mess- i„g, ' Bid u. ali de-part- in peace. Still on go.-pel man • na f ced-ing, Pnre^.e^- -P^^i", '"' "'""""'
iiiiliPiiiiiiiiiSSSi§^iSii.iiii^
^"''";fd~dis.S:r us withthy'^^Ieos-mg. bid us all de-part in peace, StiU on gos-pe, m,vn - „a feed.i-,g. Pu.o »er . aph^- ic lo^ .n - crease.
C "-I 1 — '—I 1 ' "" • 1 .>_.i_i- r..i..„.i ri.^.. iio'ii rrSva ihnp nn - bier oraine.
Fill each breast with con •■ so - la - tion, Up to thee ou. vol - ce.
raise; When wo reach that blissful station.Then we'll give thee no - bier praise.
Fill each breast witn con •■ bo - i» - v.v„, ^^ - -,- ^ — H — — -r-
^-— — -t — i -L >— ' > *■ ~ — ' ,.....» v,i!. .<•.,! ..„t!«„ Ti.nn i»A'll oivft thea no - bier praise.
•j;j2_t,.-a_ .-. -
" , .nn T!„ to thee our vol . ces raise; Whto -e reach that blissful station.Then we'll give thee no- bier praise.
Fill each breast with con -so - la - tion. Up to thee our
Jtt
■fsr: --fas.
S
;pMiiilfeEI^Sli=^ii5i^^
:p=:i=i:rp:
:tirr:3!:!=|z:
iji-
—fi£::
jn - crease.
I . bier praiM,
10 -bier praise,
MS9%7?iSSr 1 "■ "■'■'•■'■■M;r.*-^^t^i7£-«^|•5r3:=|_^r3r-:,---, ^
I i^ — — ^~^ — ^~-ZI ~^~Tm~t~~^ 1 — — ^^ S'-^-iw — ~ T — +^r^ — T Z — IT-— , * - men
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aHA-lSTT- No. 1. Double.
J. BATTI9HIL1.
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M,
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Praise the Lord,
{ O, speak good of the Lord, all
\ ye works of his, in all places of
^?S
12?::
S^
•EE
:t:it=i
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-iS?--
-6»— (S'— •■^-•fei—
:t:=it:z-ft=^~:
-(S>-
J
■ —ri — A-d- ■
z^-^-ji
-G>-
O my
his do
-^
soul, And all that is within me
minions, Praise thou the Lord
I
:<2:
t.s-tJ-t-s-r2.-^—a
praise his ho - ly name.
• Lord O my soul,
;F3ESg=1:SEJ==f
m^
j^zzzLz
— &-
i
-fi>-
:it=t=
iH:
zzz=|:fezJ-:^E^^|zz^^igzf::^|
-lG>-
z:n:zznztij—=z[
ist-ljzizi^-l
"Z?"
Praise the Lord,'
( Glory be fo the Father, and }
I to the Son, and to the- • • ^
1^5
rsr;
my
IIo - ly
soul. And for ------- -
As it was in the beginning, is now.
~-^—'is> '- ~'
Gliost, (
and ever ahall be, world •
'<&-
if:
:'js>:—.
get not m his
J with - out end, A
-W3^^
mm\
benefits,
men, A
-&—•
men.
m^^m^^
7<a.
iOii^ll^l
TTI.l.
-&-
name,
soul,
&-
I
'T-^-G-
I - men.
2z:i
-&-■
li
■!.--.iv,
i'SiessaJBC:---
. -■i'M^MntiiiJTii'ririiiii n
Ml I
V
sf* —
:»":
iiz:*-
No. 8. DouiiLB,
RICIIABl) LANODON.
-^-— —
i^=i=psEEliii
jz;:
c^-
, . ~'^~ .... of the a - postles, Praise-
The glonouB company ^^"^.^ ^^^^^^ I^^^ ^^^^ ,„, ^, ,„„ .
Let the people.
m=
-&-
isz:'
i=^liill
(S> —
Thee,
peo - pie praise '^^^^'
— &--
J
e>-
e111P11^[=
-fi).
^r
-(i?-
~hi:ii^-:=I=^— 1=^^==*=^^
The goodly fellowahip
of "the prophets, Praise-
Thee.
Then shall the
J^ir\r,. forth her increase, And God, even our
• own God, shall give us his blessing, A • men
===ii=l!^l^==iil;
'^^^^E^h^lszli^
m
;l^=iiii^llii^=^i^i^^^l
iiiiiiil^l I fe
n.
Tk. - ... L- ■ ^f-
__ ■&■ ___
■ pasture,
S3
3fc;ri
i
iS
Ot3:.A.3STT- No. 5. Sa & Cs, or C. H. M.
a. W. LINTON. UGi.
1
iicLi:
— s>-
zzsr:
Oh I what is
Oh 1 what is
Lord, what \a
lil'e ? 'Tis like a flower That blossoms and is • • •
life? 'Tis like the bow That glistens in the • •
life ? If spent with thee In humble praiso and
_(5i
gone,
sky,
pmjcr.
-G>-
It flourishes its little hour With
We love to see its colors glow But
How long or short this life may be We ■
y 'i
-(&-
z:-a-zz(z:z±zzs—]
:az;:
^^^^^^^
rA
-G-
::=:3:-r^3]— srzi
all its beau-ty
while we look thoj
feel no anxious
on. Death comes and like a
die. Life fails as soon to - -
care. Though life depart our
wint 'ry
day 'tis
joys shall
E^£liEiE3ifE=^^yi
day,
here,
last.
Itcutsthe love-lyflow'r a - way.
To-morrow it may dis-ap- pear.
When life and all its joys are past.
men.
E=iE3El3
lil&lli
-&-
z-Xr-zxzz
:sz:'
=^i
:znji—
EUaUC ARCHIVES OF NOVA SCOTI«
HALIFAX. N. S,
mm
^^f3:^jvg-T.
•• ^- tWTOJf. 1881
*"''» of j-T — - — -zzrrr— ^~"~~~— ~
'"''" on- Ur ^«"''^-. hei "' Ja;r:r-
§s|^^g
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home bn ""'^"fr:) ^^^S~r~-
home bn ' ""^^'IS) -tiS"
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C. aLUow happy ev'ry child of grace.Who knows his BinB, lor - given, This earth, he cries is not my place, I- ... seek my place in heaven.
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S M. Come, Spirit of tho Lord, Our Comfort - cr. our guide. Oh, sanctify us through thy word, In. •■ • eve - ry heart i
I!|S^|S|:
OHA.1TT. No. 8. RESPONSES.
a. W. U!JTON,1804.
CH-A-nSTT.
No. 9.
Lord have mercy upon >
us, and incline our (hearts to keep this law.
Lord have mercy upon us,and )
write all these thy laws in our ^ hearts we bo - seech thee.
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Thoo that takest away the sins of the world. Have mercy up - on us. A - men.
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Therei,anhourof peaceful rest. To J ^^„,,^;„ ^^^-.J ^tt :Sy''':.r.^''^^'""^^^^ ! wounded brea.r,V.B found a- lone i. heaVn.
mrT^'abo^e for weary soul. By J ^^ ._,,,,„, {^^/^fh^l:™ ( o - cean roUs.and all is drear, but heav'n. A • men.
mourning
There is
sins and
THE LORD'S PRAYER.
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Sd Clt '„^orinto"tcn.p;a;i;n; but d;iiVcr. . t fL^vil Fo^U^the kingdo^and^bn-^^
earth, as It is in heaven,
those that trespass a-gainst us,
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All Saints
Artors
Bucou
Btauf'ort, (Double,
Uoonville,
llriilt'ewaler .■••'
Cnssville
China
Colesville
Crucitixlon
Derby
Devotion
DuUe Street
Evening Hymn--
Kverett
GlcnTillc
Gospel Feast
Hamburg
Hebron
Henrietta
Hespeler •
Invitation
Job
John Street
JuJar
Juatilication ...••
Mendon
Moniepo
Morninx Hymn.
Ncupolis
New Sabl)ath...
Old Hundred...
Olivet
I'iirrepont
I'lanto
rortu;;al
Prospect Hill ■■.
Riunugate
Koma
Sionctield
St. Petersburg • .
Tatem
Tranquility
Truro
Ward
Ware
Wareham
Watson
Welton
Whitfield,,.,.-
WiDdbam
.50
.43
.18
.46
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.20
> 38
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.. 2
.. 4
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..29
. 21
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Llndsey
L. M. lines.
Brighton
Broolslyn
Cardiff
Katon
Foundline
Hoinerton
Hoplsins
Newcourt
Now Creation
Kife ••
The Missionary's
Farewell. .
51
(887,897.)
61
L.C. M.
Hopkins.
C. M.
Ahington ...
America
\ntioeh
Arabia
Arlington
Avnold's
Artaxerxes. ..
Ashley
Auburn '■^"
Bislioptliorp 68
HolKin 11''
liratile Street 130
iCanibridge l'^^-^
1 Chelmsford ''6
1 Clinton °*
! Conway w
I Coronation t"
! Coventry *j^
i Desert '6(J
i Devines o';
1 Dundee 10=
Kmmons 1£'
Kxhortaiion IK
Fenaru 1;'
■ Fountain t'
Frencli '">,
1 tiainsboro' '
Garland f
Geneva !■'
iGUiRKOW.. /.
Greenwood '■>
Uiucbek 9
[Henry "
ME
Hensbury
Hephzibah
ilouram
Irish
Irons
.laekson's
Jerusalem
Jude's Doxology
Kendall
Lanes boro'
l.cee !
homax
Ly<ha
Majesty
Manly
Mariyrdom
McDonnald
Mear
Melbourne
Memphis
Morton
Mid<llemis8
Mount Hope....
Nativity
NazarciU
New Jerusalem .
Nortlitield
Oporto
Orlonvillo
Palestine
Parker
IVterboro'
Piety ••••
Rel'ugo
1 Sabado
! Scott
! Sherburne
! Siloam
I Sprini:
1 Sprowston
I St. Asaph
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THICA.!!. II^DEX.
. 83{
.126 I
. 79
.111
lOi'i
.132
.119
.107
. 6(i
,. 62
. R9
.. 73
.102
..103
.118
..12.)
..112
.. 76
..127
.. 96
..124
. 92
..101
...100
.. 69
..114
..121
.. 67
,..128
.. 87
,..1.')4
... 71
,...98
,..117
...113
...136
... 91 '
... 81'
... 90 :
... 78'
...101
... 77
...123
... 9.')
,...126
... 97
...10.)
... 99
... 93
....131
....133
.... 70
C. P. M. I" 886,880.)
Ariel '^i>
Beulah 14'
Cntbbert WO
Gabriel ''•'
Ganges W
Praise. I'-i
Westbury Leigh -.142
Wil'.owby ■•Ill
C. H. M, (868,688.)
Dickson 110
Parmalee 1''
Whitworth l.)0
S.M. I
Bovlston l'>8|
Brooks l"'
Concord Ib-J
Craiibrook IM
Kraiiiosa 161
Kali on Street 1,)2
Ferneysiile
Golden Hill
Hampton
Kentuck>'. ......
Luban
LakcEnou
Lisbon
Lonsdale
Mansfield
; Marian
Mathais
McCoy
Mount Kphraim.
O/.reni
Paul
Sanders
Schumnn
Sliirland ■
Silver Street ••,
S' Mride's
St . ihomaa. ...
I Yarietv Grove.
Watchman, ...
i Woodbury's. ••
170
.165
.161
.173
.l.Vi
.178
.171
,.162
.l.'il
.161
. 176
.1118
.177
..17'i
..liiO
..166
..172
..l.',6
. . l.')2
. .Iii7
..l:'i7
. .159
..171
..179
4a & 8s, I
Williamsion 184
5s.
Rockwood 185
Os & 6s.
Lyons 276
5s & 78.
Keachi 1*)
5s & 83.
Rapture 209
.-Js&Us.
Calm 187
6s.
Laurens 1S8
6s & 4s.
Farewell '....189
Hodges I'O
Ilaiiin Hvmn 191
National Antlie»..192
Rodden 193
6s & Ss.
Night Song 194
Pascoag 197
Sweet Spring 19.')
When shall we meet
again 196
6s, Tis & 8s.
Ciipiiola 283
Os & 7s.
Chevne .....198
Feii'us .'.....200
RuckinghBin 199
6s, 7s & 8s.
Georgeiowu 201
6s & 10s.
Abbeville 212
73.
Benevento 2.« China
German Hymn. ...214 Kverett
8s&3a.
All is well
8s & 4s.
..243
Harts
Hendon
Horton
Keenan
Madan
Martvn
Plevel's Hymn-
Watchman
Welcome
7s. 6 lines
.216
....213
217
....215
218
....220
..214
.,':2i
..219
Merton
Sonnet
Twerton
8s li ."is.
Howat
8s & 6s.
Conway
Flora
Lanesboro' . . . .
St. Petersburg.
Acton .'. 2231 faft
^'um 226|Woodland ...-
pf Hil ■ 225| 8s, 6s & 43
Forl^c" 230Ortonv,lle.....
I'arting Hour 2241 , 8s & 7s.
Resurrection 229, Disciple
KoseHeld 2-28 Knee .
.. 7
.. 29
..124
..244
..240
..240
.. 65
..217
.. 62
. .249
..248
.. 70
...232
...210
i S. P. M. (6l'.8,668.)
I Charlton ISO
I Dalstoii 1»'
! S. H. M. (668,688.)
I Brown 1^'
j Uow -.- 182
6s & 8s, or H. M.
\iniiy 206
Carnathan 202
ChiIH 201
Departed 20S
Lenox '-'O.)
Li-clier 203
Symbia 210
Os. 8s & 4s.
Johnson 207
6s &, 9s.
Rapture
Wesley
.209
..2U
Farewell Brother.
Gardner
Greenville
1 am weary
Mariner's Hymn
Marsh
Mount Vernon...
Oswego
Rosseau ....
...2,36: Sicily
....237 Spalding ....
...233 St. Ambrose
...188 Sullins
,...2391 Wilmot
_^ Ss ^Sc 73. I'ecul
235 (jii^nslioro'
Sullins ...
..218' 6s &79. 6lln
I Knee
(j,j: Mortal Weary.,
'.!ll2i 8s, '.'3 & 4s
lUillow
JCalcutta ......
,..210 (j,iii,„|iius
|Helinslcy
2|o,Montreal.......
K;;ain;;ofthebi;;t238! JJ^^^ff,^-
Rest ■'41
8s lines. | «s&83.
Beautiful Zion ...24a!Smellio •
Spanish Chant ■ . .227
73 & 43.
Fortson 230
Yondor'smy home231
7s & 5s,
Barbers
Harts
78 &6s
Amsterilam...
Garland
Kingston
Laurens
.Millennium- •
Missionary Hymii,234
Webb ■"'■
7s, 6s & 73
Madan
7a, 6s & 8<
Hensbury
McDonnald ...
7s & 83.
Contrast
8s.
Contrast
99 & 7s.
The Christian's
welcome home. 271
IDs.
Triumph 272
Troworidse 273
10s, 5s & lis.
Cokesbury 874
lOs, 73 & 9s.
Bdellnm 277
IDs & Us.
Lyons 276
10s, lis & 123.
Trumpet 273
lis.
Caddo 290
Edinburg 280
I would not live
alwav 281
Kcdroii 282
Portuguese Hymn,278
Sweet Spring". ....195
The Saints' sweet
home 579
lis & 5s.
Trowbridge 273
11S&83.
Capitola 283
Us&ys.
Capitola 283
Rapture 209
Wesley 211
lis & 10s.
Come, ve discon-
solate 284
Hail, to the bright-
ness 283
lis & 12s.
The Church's wel-
come 286
123.
Scotland 28T
12s & 83.
Bowles 288
12s&ll».
Flurnoy 289
13s.
Millennium 239
13s & Us.
Caddo 290
13s & 14s.
,..270 Kingston 833
.127
.255
.257
, .2.56
..263 I
,.2.59'
,.258
..252
. .2.53
..261
. .259
..2.52
..260
..254
..251
. .262
iiar.
.. 77
..251
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..2.57
..265
'..261
,..266
. . .268
...269
...267
...263
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EUBLIC ARCHIVES OF NOVA SCOTIA
HALIFAX, N. S.
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7?*^...
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NEW /^Aii3
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>'*1/PULAR MUSIC
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. , '"'",. *» Missiouary Mectlo
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LINTON'S IlVr TJOXIVE METHOD.
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Ano„v»ltl, „.,f il,„!S,\?,". ^^ ANALYSIS AN,1 TEACHER'S MANt
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