IMAGE EVALUATION TEST TARGET (MT-3) // {./ „€^^: . , 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. explaine3^ 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, Afumerator 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,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^. ^'"'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 • 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, «'"'. 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. 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 '- ^° •- - 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." ^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*? 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 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 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 (716) 872-4503 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 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^ .»;«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«ftrmftne .-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^ ^ :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~-• 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 .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?. :f mmm fjgngiBms I id76 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 ;;£;-t ;«:x;p:j^-p: liis^iaia i PUBLIC ARCHIVES 1i M o I f 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 I? i.t .\-.t. 4 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 ■-:t: *'''«n the ~=Jz -*^S'^!^™- &8s. (12, 8, 12, 8: o. w. tmroN,'; ir is I • Ands. t and sccui nons an idpn prayers '^^' "'"o ^^a^V^" !'':'"'-'erMV^ 'S^£ g^ ^ ' more. ::t: 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 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 ■G —o- %^ s ■ •-^^--u^-t-^-. ^;i: ^izi: HI 3iz*Aii: :«izpr maj •|5« i?;!?:;: ■(2;viiz:fB~*i:ri2; -sii:??:^? 2::t:;--t — 1 — I s|:^gi^E=g '—•:;::^=::::--;';;^^^ ""«»« 'r, i S-— r^ — — -^•*i^-3rr^:4-&q:rqr.-zrT— — _^ ^""i J heard a „,- . — ^ ^«^^:p:-fet^-|-_f2^-^-^r^J3?;:*:;^-^ _?• ^nd i heard a -^7^"^-^'=* ^^^^^^ eUSuc ARCHIVES nc ^ ^-^-^^tr^zfi •t* 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 ^-S^^g mmmmmmmto'' aHA-lSTT- No. 1. Double. J. BATTI9HIL1. m- I Ufl ? [■ ! M, I i Wi -(S>- g: 18= 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 ~g2:. -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 — 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 -es^zl^-- home bn ""'^"fr:) ^^^S~r~- home bn ' ""^^'IS) -tiS" i - dfe ■ ^°"'' '^« a?: 'howea-ry ''"^ ^'"' mirth >■ are at ^.3, ^Jl •^^f v: W^ ^w "'1ft^,"'»WW'- mmm m^mm fuses i CI3:-A.3SrT. No. 7. C. M. or 8. M. J1UK3 TURLl. -«>- mM=B. m^M^M] -<9- lilli^==^===|sgiig3E}|E|=|pll tjttzmiz^iir^^i^ =iziL — fi) — x-c«j_i =^ -'■-(5^- es> — -..-'-— o*—'-^— -^- 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. ' _ . ..._.»<-. A . . :.l„ t^t. -•_»*If.. ..~ *t._A..»U *\,w ntf^wkA Tn .... ADA - wir liaavt «>a - Slue* 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. _.q xiiJiiid::-!- — i :z2:: M jH II l^llll :3E3:|=:::4Tt:^ eS; ~IS>— if^PriJ H^ -fi^- SzEiSs^ -O"- 1^: i=f=i=iiyi5:ii Thoo that takest away the sins of the world. Have mercy up - on us. A - men. I — s>—- llli^^Pl^illpl^H 1(2.: S^IsIe WMmmw ^ F^ /7s,6s(t8s. J ■^^lUlLUi -fi>- i\ - _^ *- No. 11 y ■■ ■I I ' -" T iw^ria wM i rt - i i ..!rm.:&ic |ii i H'y'iwfliisr cKC-A.]srT. -:l:=:d:jT=i: No. 12. 83 & 6s. 5 lines ^iii ..-j._- -«>- -5*-Z (5" 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. iiiiiiliifl^ll iiilil^a z:zi: i ... g^ 7i;;;^er,whoart^heaven>allowed..... j^^Jyn^^ ._^ _ 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, :i--:T-zp-=i:== i^=^^i{iill[=^^=^ liHl Xbing ■Aeion ■A'aJi ., ^" Sail ■Americj f'osterd ■Arabia . Ariel.. .""re... Ashley ^'"'uni.'.V ^«con... Ueaufort .. ^caut/fui Zf, Benevento^; Jillow.. go'ton... ^" J"oonvi;/e,."" S°»'es.. • u'^l"" Stree't" ^"fe'hton.?'- f/ooklya..— S''oohs... ,^™>vn ^adtio Ca/ni.... ^apiio/a... ^ard/r... Carma.han-; Cassv/zie.. r'h'V""*...:: ^^'.'nc vn/iia .. A - men. Acion.. — Alah..:; •^"Saints ...;■•• ■Jtiity... Amsterdam." ■Arabia .. ■Ariel. ._ j^linfiton': ^"•rold's... ■ ^"axerxes .*.■;■■ Ashlny i*«t>urn;.v;:-- ^«coii.... j^af'ers... ^"eiiu^.v; Jaeaufort. • geulah... billow *""•••. fel-optliorpV. S°'""i... '^ ^oonviJie.' S°«ie8„ So.viston ;; H?,"'« Street' fc'"^" ••.'.■■ ^rooks.., /^^ivn .. ^atloo ... CaJni.... S^n'rij^;'. Capiiola... t^arditr... Carniaihan •;.■■•■ • r'h'V'"" — '.'. I ^'''"Word... iS^poo I i>aiua ... .fil Clinton... ?.J/Co,„„ ..„,,, y„g- r.AV( Contra., t«W w/r. '"on---. .. i^T/Oesert.. ••yJs Pr'''''^-':: ■•••277 nr,""""-". ... 4'/^ '■'"on... -242 n'""P>0-.. ■V^^^Vi^fef !:!«•. .:; ., (^/^■aton.... '•^'^tel>---::::::- .-^i" /?C.-.v.v- ■:: ■'tfer"'-"--::::--: ::;; g/te«;!V"'.n:::::- — -I'-Wi-Vw """"on'.'.'. 5 ••■JW Fa^"" ''"••'^■t- "> •••?w i-"''"^''"'. '""'••••i^-'^ ..,J; ^'••'■CTs -as] f:r" "'■"■• . ■'SO to'/n^^.. "^ - 41.... vJr Aentuft., so... I Ganges.... ffardner... 147 'Wland, Cm 863 Geneva.. ""••••. .aa; ,V''o'-K:eio,vn! "7 V'rmanHy •;•••••• -201 •fWoiv..-*^™" ai4 l»»'ni.;ii_ «.. W'inviKc... -• ,^°WFea, • /fr«<'nvijie .?.•;■ iV.^eenivood * 7a/ •••• 21/ — .16.5 '••• 33/ •••259/ UHl v-uuiicft.... ];(8 fe""'-- ° ''el'i-on..'" Heiinsiey.."' 'gC'don... /;<""-'etta...'. S""'^ Hcnsijury..-.- He8p,ier .' ;•• /jo'lffe.,.../- //"Plfins... ••■ "orton .. •• /.'"urnm. . .■■••• HoHiit... ■••' /""" H-earv jnns... ••-> , /'aliannVmn" "" {»ou/dnoti/?.;'V^---Wl 'f«ekson's?'""^'"'va.v,a8i '/"'"ison. '.'■■■ • ..fit"""--::: '^^■''i-on,.; I •■■■Hi, — :i^ ■•■■307 •■■ 3'J ■•.107 '■ ■•■ lii ■■£S--' ••ai5; f^endaH... (Aentucty.. i.'^'nifston... ^aban... /•"teiinonV." I '-anesboro'. ^aui-cns.. " i/^eeo,... ■••• ffenox....".'*"" (Wndsey.. •• if'sbon... /-'seller.. ' f/^omax..." /-""sdale..'. /-ydia... J-yons fS^dan ..V /f/ajesiv.. /f/a'"ifleld..'. i^lianiv. '^'arian.;.' I Wariiier'. m,,' ' Marsh "■ymn... ?f'»«J'n.".V ,&""«''i"::::.-.v ,^'-'"'l""« ?'.••• • ,''«eiidon '^T'""-.. C;."''-''i*um ?/«'ful Wv..-/' I ™"rniW H,/ ■*Jountu. ■"""•••. ^'-""fe"" (f^areil, ^''"POils AJ'-'Wfoiirt...: •iwfe Jerusalem.., :.^-;62a«»ndre,..;;.. ••■ s^'f^pwo...-; — 205/ oj'i,?''''"* ••'•".■; -2(;i/&"ne.:;::.-- .162/ ^"'•,'na'ee.'. •.•.'. •"2/p"r''"ffHour.. ••• ais/iv,"'/ ■•• m ^'''o. ::. •:-:£'^»---:- :::dlm.T.. •••- -i^/'l^^"'"^'- •••234 iS'^'-'n ...2«L''""'-'au.:V ••I77s''''?""an.. V (:,, / .''"'Hanri, ■i'.'W'o''^'''-... .1,4 tp»i«on., .•• •v:.?i?Ko?r -^v, •••251 vJ.°odbory'8.". 9 •••'2'l/v;°odlflnd.!.: 179 ...13,,/ wonder is oiyil---- 70 ••.210/ ■^ ""We... 831 •• ''^/ .dn^K • 87l/H°«o'o«y...-; 300 ■■« T.-'l«fe.>"'''"'" •1; 'SMjss-a-' .2R7/i'.';"'^ ■.. ••^te''""""^--: •• pj/vv'""''<'k--. •252/ UW^.'»an, 7s .?;••• •«2 i&" ' "<-'ieoine. • 97; -.245/ •'^^/con,;,,„°^*"'s. • 4i Z*"* happy tJ** "•"<'. ,10 '•'■i/i'h^";""' Cd 5 t m L.M. Alftli 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 )23 .20 > 38 ,.4y .. 7 ..24 ..13 .. 2 .. 4 ..32 ..28 ..29 . 21 ..33 .. 8 ..4J ..40 ..26 ,..14 ..37 ..36 . 11 ...16 .. 3 ..33 ...27 , . .3'J ...10 ...2-2 ...45 ...34 ...12 . . .2.') ... 5 ... 6i ...48 ...30 ..24't ...lU ...1') ,...47 ,...42 ....41 ....43 ....31 .... I 17 .... U L. H. 5 lines. 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 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 ics. ..2.57 ..265 '..261 ,..266 . . .268 ...269 ...267 ...263 a1^,° "•«' :?'"' wilJ th( XsTn'ysou Aln°'""nt Asn^''"'ep Ko and 1,1 "'°''n • »'nohoiEP-'''''iil.s... ""<"etu,^':'""«v'n ,Wie h, ,, ""eii- , K''etu"V:?'*"'l--.2 r'«"»j-o!;: "'"■■■" 1, i/ O'er the pi'"^""--'^" i PantstfiPi, '™>••r■• tryAi'iir"''!''^ f"-"*tian, (,'"" Sjfi Be 1 -^ A ^-v,V,^<:.■■i.'it«^>.-J, .xr^^/-^ ^^,^ ^^^ //<^^ ^ L-.^^-s*^~a^--Ti^2^_ A A. --'^-/1^«./f-^ ; / 1 £ «; ?' 4 //j.ii^'*1/PULAR MUSIC at the Pans 3 tin .iicir '^mlk TEINWAY & SONS SO.N^j. New (ifMIng whoro the p.irplC SSste?;: ^L ce - iT: tot '*?'^ "' "< UCIHR. -1 .-T— >« ^___ ,_, vin -tage It t .'ion of ir nioii LnT _, ' instriiiiiciU'5 lluii'' ISG", thus head : -"'iscribcis 'ill l'iaiio-F,,r(c"8. """""" ^Tl?;S|-|.-i;^^i«|;0« t,B.. n„.s. ■ UaS. ■ ''-^--^™— ii=f^l-t=t:;^. -J-itz^^^^ Uesfi ' eve; 1. 'raomg 43 dliTertnt Uig, uud tht usu of the -eml use. uudi ling- ^ "-.«.,...:..,„„..,.^__^^___^^^ 130 .VEWJunet Mur -mup-tog «-horo the floWret, blo.som,Elo58om ^^77^"^ "™ra;:f tei^J!,i"2? '?.^r'» "Tl.? trnlou Chtac, alimicliuiUy ir'u'fi,'.:;';! n.':"lieuHic^ Me.'tir . , '"'",. *» Missiouary Mectlo K lunta aro arranged with ue four jj^"^"""™ "" LINTON'S IlVr TJOXIVE METHOD. O i Ano„v»ltl, „.,f il,„!S,\?,". ^^ ANALYSIS AN,1 TEACHER'S MANt ".'i 111 J, Choir I, ..ji'ers. and D»y Hohoo! Tt^icht—