b CHURCH MUSIC REFORMED; O R T H E ART of PSALMODY Unlverfally explained unto all People. CONTAINING, I. A New Introdu6lIon to the Grounds of Mufic, teaching all the Rudiments thereof, in fuch a plain, familiar, and concife Method, as vAW enable moft People, with a very little Trouble, to learn to fing the PSALM-TUNES coneaiy by Notes, according to Mufic, without the Help of a Mafter ; alfo neceffary Direc- tions for pitching the T-U N E S in their proper Keys ; and a new Mufical Diction- ary. To which is prefixed a prefatory Difcourfe on the prefent Ufe of PS AL- mody ; of the bad Performance of it in the Churches of London and Wefmin' fter, &c. Alfo of the new ludicrous Melodies compofed by obfcure Country Teachers of PSALMODY, which are daily creeping into Country Churches, with Reafons for laying thofe Tunes wholly afide, and for fubftituting a Set of proper Tunes, as have been beft approved of by the beft Mafters of the laft and pre- fent Age, with proper Hints for the general Improvement of Pfalmody in public Worfhip, by one regular and uniform Manner of performing it in all Churches alike, n. Selea Portions of the PSALMS of DAVID, properly adapted to a Set of grave and folemn PSALM-TUNES, both ancient and modern, being thofe Tunes which are now of common Ufe in moft Churches, and were originally fet ferth by Authority, and are proper to be fung in all Churches and Chapels, &c. and of all the People together, with three excellent Hymns, for the three grand Fefti- vals of CHRISTMAS, EASTER, and WHITSUNTIDE. The PS ALM- TUNES are fet in two Parts, Treble and Bafs, and figured for the Organ or Harpfichord, and are principally publiftied for the Ufe of all Organifts, Panfli Clerks, Charity Children, and all other Lovers or Praftifers of Church Mufic whatever. By JOHN ARNOLD, Philo-Mufics, Author of the Complete Pfalmodift, &c. All hallow'd A6ls fhould be perform'd with Awe, And Reverence of Body, Mind, and Heart ; We've Rules to pray ; but thofe who never faw Rules how to fing, how Ihould they bear a Part? T' avoid therefore a difagreeing Noife, This will unite the Organ and the Voice. LONDON: Printed by R. Brown, for the Author, and fold by L. Hawes and Co. at the Red Lion, S. Crowder and Co. at the Looking-Glafs, and J BucKLAND, at the Buck, all in Paternofter-Row. MDCCLXV. Price, neatly bound. Two Shillings j In common Bindings One Shilling and Nine- pence to thofe who give them away to Charity-SchooU, «c. THE PREFACE. DIVINE Mufic commenced with the Creation, and muft be al- lowed, by all thofe who pradife it, to be the Gift of God him- felf, as a true Reprel'entation or Admonition of the fweet Confent and Harmony, which He of his infinite Wifdom made in the Creation and Adminiftration of the World; and given to us as a Temporal Blefling, both for his Service, and alfo for our own Delight and Recreation; but as this noble and delightful Art comes fo well recom.mended to us, by the Teftimony we have of it in Holy Scripture, it would be needlefs for me here to expatiate any further concerning the Antiquity and Excellency thereof; but I fliall make fome few Inquiries concerning the very great Negledt and bad Performance of Pfalmody in our Churches, both in Town and Country; with fome neceflary Hints for a general Improve- ment of the fame, by one regular Performance of it in all Churches alike. In the Churches of London and Wefliyiinjier^ which abound chiefly with large Congregations, it is cuftomary for the People, who chiefly fing by the Ear, to follow the Organ, in thofe Churches that are furnifhed with that mofl excellent Inftrument; but, in Churches where there is no Organ, they generally follow the Clerk, who fings the Melody of the Tune ; and, as moft Clerks are ufed to fing the Tunes by Heart, they by that Means very often lead the People into a great many Errors; but then is it not very eafily fuggefted that this Method of -finging the Pfalms (in the Churches of London and JVfJlmhiJler^ bfc.) is principally owing to the Want of a proper Set of Plalm-Tunes being printed and publifhed, for their better and more regular Performance of it? Now for this Purpofe I havecolledled the following Pfalm-Tunes, and have alfo adapted them to the moft feleft Portions of the Pfalms of David. The great Negled and bad Performance of Pfalmody having long been the Subject of Complaint offeveral eminent Divines, and though an Im- provement of Church Mufic is rather to be wilhed than expedled ; yet, if the following Hints fhould in the leaft contribute to it, it will not only give me the moft fenfible Pleafure, but alfo anfwer my utmoft Wifhes. I fhall therefore addrefs myfelf firft to the Clergy (whofe important Office it is to fee that all Things belonging to the Church be done with Decency and in Order) to importune them (in order for a more regu- lar and better Performance of Pfalmody, in all Churches throughout this Kingdom) to give their Afliftance by encouraging fo noble a "Work ; alfo their Inftru^tions, as may by them be thought neccftary ; for indeed ' A 2 ' nothing iv PREFACE. nothing belonging fo the Service of the Church (hould be done independ- ent of the Minifter thereof. In order for a Reformation of Church Mufic, another very efiential Part thereof will be, for the Organifl and Cleric, always to a£t in Con- jun<5tion together ; and firft I would advife the Clerk (who generally appoints the Pfalms to be fung) to apply to the Church Wardens, for them to procure, at the Charge of the Parifh, two or three large Slates, put into decent Frames ; which Slates, I would advife, to be caufed, by the Churchwardens, to be put up in the moft confpicuous Places in the Church ; for Inftance, fuppofe one is put on the Front of one of the Pillars of the Organ Gallery, juft above the Pews, a Hook or Staple being driven into • the faid Pillar to hang it on ; and one Ditto on one of the middle Pillars of each Side Gallery, in the middle Ifle, alfo juft above the Pews ; for which Purpofe a Spunge and a Piece of Chalk being provided, the Clerk ftiould write, or caufe to be wrote, fair and intelligible (with the Piece of Chalk) the Pfalms he hath chofen to be fung for that Service, likewife the Names of the Tunes they are to be fung in (after the Manner ufed by Foreign Proteftants, as may be feen in the DanifJ) Church in Well-clofe Square^ alfo the Gtrman Lutheran Church in Ayl'iff Street, London ; which will be a Means for the People to know what is to be fung, that they may look out their Pfalms and Tunes in due Time. 1 would advife the Clerk, notwithftanding what is above related, to name the Pfalms, as heretofore ; and I do not fee there would be any Harm in it if he named the Tune al- fo ; for Inftance, viz.. Let us fing, to the Praife and Glory of God, the two firft Staves of the firft Pfalm, Crowle Tune, ^c. I fhall alfo recom- mend it as advifeablefor the Clerk, v.hcn he names the Pfalm, to read the two firft Lines of it, before the People ling, inftead of one, as now prac- tifed, by reafon the Words of the fecond Line, thus read, often make the Senfe of the firft perfect ; for Inftance, Pfalm the firft, Verfe the firft: The Man is blefs'd that hath not lent to wicked Men his Ear. If this Me- thod of reading two Lines, inftead of one, were ufed, it would appear much better Senfe to the People, and more efpecially to the illiterate Part ©f the Congregation. In the next Place, it will be the Duty of the Organift to give out the 'l^une in a very plain Manner with only a few neceflary Graces; by this Means, thofe People who have the Tunes, by looking at the Notes, while they are thus given out, might learn to fing them, in a very fliort Time, correctly by Note, though before they knew nothing of Mu- fic, as the Notes will be a Guide for them either to afcend or defcend, ^c. but thofe who fing altogether by the Ear, can have no other Guide than what their Ear affords; but a far greater Progrefs, in order for a regular Performance of this moft delightful Art, might yet be made, provided every one would contribute all the Afliftance in their Power ; for, as I before ob- ferved, the Unskilled in Mulic might, by reading of the Introdudlion, and ftri6l!y adhering to the above Direcliions, be thus brought to a regular Me- thod of Singing ; and it is not in the Icaft to be doubted, the Pfalm-Tuncs being far the ealieft of all Compofitions, but thofe young Gentlemen who have PREFACE. y have learned the Harpfichord and other Mufical Inftruments, might almoft at once become good Proficients in the Art of Pfalmody. How excellent would the fweet Female Trebles lilcewife render the Per- formance, if young Ladies, who learn to fing, and play on the Harpfi- chord, Spinnet, &c. could be perfuaded to join? And nothing can be bet- ter or eafier for their firft Lcflbns, for all Learners of the Harpfichord, ^r. than thefe Pfalm-Tunes ; they would likewife be found the plaineft and cafieft Leflbns for Learners of Thorough Bafs, provided their Mafters write down the Cards, under the Notes of the Melodies. ^- 'N•', E, F, G, A, B, C, D, E, F, G. ^__„_e_.Q_ Sol, La, Fa, Sol, La, Mi, Fa, Sol, La, Fa, Sol. — j-j © - :©:=a: Contra. E, F, G, A, B, C, D, E. F, G, A. :^— :©— :d:: La, Fa, Sol, La, Mi, Fa, Sol, La, Fa, Sol, La. "~ - - -e: — n:zzQ ° Tenor. c, d. e, f, g. a. b, c, d, e, f. :d: Fa, Sol, La, Fa, Sol, La, Mi, Fi, Sol, La, Fa. ' - .D. ^ Bafs. F, G, A, B, C, D, E, F, G, A, B. zir-=e=:c2— ©:=;E~z=rz=z:rz=z=:-=:z=: Fa, Sol, La, Mi, Fa, Sol, La, Fa, Sol, La, Mi. Thus ftands the Scale in ev'ry Part, Which mull be learned off by Heart. £ 2 Tkt X T'i'^ INTRODUCTION. The firft Thing to be done, in order to the right Underllanding of Pfalmod^, is to get the Keys, wh ch arc feven in Number, and are eapretfed by the feven firft Letters of the Alphabet, viz A, B, C, D. E, F, G, perfeftly by Heart, up- wards and downwards, as they Hand on their Lines and Spaces in ihc Gamut, or Scale of Mufic ; which Keys are alio exprefied by I'even different Sounds as they afcend. viz. from A to B, is one whole Tone; from B to C, is a (am (or half) Tone ; from C to D a whole Tone ; from D to E a whole Tone; from E to F a Semitone ; from F to G a whole Tone; from G to A a whole Tone, Sec. with their 0<5taves, which being the fame over again. N. B. That all Notes which afcend above F, which is on the highcfl Line in the Treble, are called in Alt, as G in Alt, Sec. and all Notes, which are below Gamut in the Bafs, are called Double, as F F double F, &c. but thefe Notes are chiefly for the Organ, Harpfichord, &c. ^be Names and Meajure of the Notes^ and their Refts* Notes. Semibreve. 1 Bar. .-UZZ Refts. ..i JiL_ Minim. Crotchet a. Quaver. | Semiquaver. I Demifemiqu. II It __ •? ' T^ I la* -^J ^E-:=I The Semibreve is called the Meafure-Note, and guideth all the reft to a true Meafure of Time ; Refts are Notes of Silence, which fignify :hat you muft reft, or keep Silence, as long as you would be founding one of thofe Notes which ftand above them, and are likewife called by the fame Names, as Semibreve Reft, Minim Reft, &c. But for a better Explanation of the Length and Proper-, tion of the Notes now in ufe, obferve the following Scheme : 4 Scale of Notes and their Proportions^ /|^ \ Common Time, One / O y Semibreve contains ^ / Q \ Two / ^ \ Minims, / ^ \ ©rFour / ff J \ Crotchets, / di \ / ff?f rm \ or Eight / J7U JJJJ \ Quavers, ©r Sixteen / i-M-S- tJJ<,Jn \ Semiquavers, / ffffffffffffffff Fr "^ " 4lTR= 4T \ «rThiity-two/ f^t^!:^:^^ kitViim'iUi \ r>eniiauavers. In ne INTRODUCTION. xi =^::3 In the foregoing Scale, you fee the Semibreve (or Meafure Note) includes all other leffer Notes to its Meafure in Proportion ; it being fet at the Top ; fo that one Minim is -^ of a Semibreve ; one Crotchet but i ; one Quaver but \ ; one Semiquaver but -j? i and one Demifemiquaver is but -j^ Part of a Semibreve. An Example of Pricked Notes, 3 Minims. 3 Crotchets. 3 Quavers. 3 Semiquavers. 3 Demifemiquavers. The Dot, that is fet on the right Side of thefe Notes, is called the Point of Ad- dition, which adds to the Sound of a Note half as much more as it was before ; as yoa may fee, in the above Example, that the pricked Semibreve contains three Minims, Scq. Therefore, unlefs Notes, Times, and Refls, Are perfeft learn'd by Heart, None ever can With Pleafure, fcan ^ True Time in Mufic's Art, Of other Muftcal CharaElers^ and of their Ufe, I. 2. 3. 4. S^ 6 7 • ^ # ^ ^ § — -« .. .. 1 A Flat, Sharp, Natural, Direft, Hold, Single Bar, Double Bar, 8. 9, 10. n. 12, Repeat, Tye, Trill, Clofe. EXPLANATION, 1. A Flat caufeth any Note it is fet before (that rifeth a whole Tone) to rife but half a Tone, that is, to flat or fink it half a Tone lower than it would be without it ; and when it is placed at the Beginning of a Tune, it alters both the Name and Sound of every Note, upon the fame Line or Space where it ftands, through the whole Tune ; it alters the Sound, by making it half a Note lower than it was before (except contradifted by a Natural or a Sharp) and is called Fa. 2. A Shar|)( xii r^<; INTRODUCTION. 2. A Sharp it quite the Revcrfe, or Contrary to a Flat, its Ufe being to ra}fe or (harp any Note it is fet before, Haifa Tone higher ; and, when it is fet at the Beginning of a Tune, it caufes all thofe Notes, on the fame Line and Space where it (lands, to be founded half a i one higher through the whole Tunc, nnlefi contradiiSed by a Natural or flat. N. B. Flats and Sharps are alfo ufed to regulate the Mi, in the Tranfpofi. tion of the Keys, which I (hall treat of more fully hereafter ; and as to iheirEf- fefls in Relation to Sound, may eafily be remembered by thefe Rules, viz. Under each Flat the half Note lies, yind o*er the Sharp the half doth rife. 3. A Natural, fo called, becaufe it ferves to reduce any Note, made either flat or (harp . by governing thofe Flats or Sharps at the Beginning of a Tune) to its natural or primitive Sound, as it (lands in the Gamut ; or as it was before thofe Flats or Sharps were placed ; the Ufe of the Nstural is much more ?or- e^, than contraaiding Flats by Sharps, or Sharps hy Flat*. r N. B. When you find either a Flat. Sharp, or Natural, placed before any par- ticular Note in a Tune, that Flat, Sharp, or Natural, fo placed, denotes that yoo fing or play all the fucceeding Notes in the fame Bar, which are on the fame Line or Space where it (lands (provided there be any) Flat, Sharp, or Natural, &c. notwithflanding it is placed before only one Note in the Bar. 4. A Direft, or Guide, which is fet at the End of the five Lines, when they are broke o(F by Narrownefs of Paper, ferves to direft or Guide upon what Key the firft Note of the fucceeding Line is placed. 5. A Hold, when fet over any Note, that Note muft be held fomewhat lon- ger than its common Meafure. 6. A fingle Bar, ferves to divide the Time in Mufic into equal Portions, according to the Meafure Note. 7. A double Bar, figni(ies the End of a Strain, as a Period does the End of a Sentence; but in Anthems, Songs, or indrumental Mufic, it denotes to fing or play the Part twice over before you proceed. 8. A Repeat, when fet over any Note, (heweth, that from the Note it is fet ever to the double Bar next following, is to be repeated. 9. A Tye, when drawn over two or more Notes, fignifies in Vocal Mufic, t» fing as many Notes as it comprehends to one Syllable, and with one Breath. 10. A Slur, in vocal Mufic, fignifies a graceful Slurring (or Running) of feve- ral Notes to one Word or Syllable, Sec. n. A Shake, called a Trill, commonly placed over thofe Notes which are to be fhaked or graced, 1 2. A Clofe, is three, four, or more Bars together, always placed after the la(l Note of a Piece of iViufic, which denotes a Conclufion of all Partt in a proper Key. J Table fhe INTRODUCTION. xiii A ^abit of fiveral Moods which are ufed in PSALMODY, and how to heat Time in any of them. Common Time. | Common Time. | Common Time. I. Adagio, Very Slow. | 2. Allegro, quick 3, Retorted Mood, very quick, 1» 2; 3, 4. I I, 2: 3, 4. I I : 2. d, a. d, u. d, n. Triple Time. I Triple Time. [ Triple Time. Three to two. I Three to Four. j Three to Eight. 1, 2: 3. I I, 2: 3. I I, 2: 3. d, tt. d, 0. d, a. This Part of Mufic, called Time, when rightly underftood by the feveral Per- formers, Caufes all the Parts to agree one with the other, according to the De- fign of the Compofer. There are feveral Sorts of Time, yet all are deduced from two, that is, com- mon Time, and triple Time, which are meafured by either an even or odd Num- ber of Notes, as 4 or 3 ; not always fo many Notes in Number, but the Quan- tity of fuch-like Note* to be included in every Bar. Common Time is meafured by even Numbers, as 2, 4, 8, &c. each Bar inclu- ding fuch a Quantity of Notes as will amount to the Length of a Semibreve (which is the Meafure-Note, and guideth all the reft) and is called Whole-Time, or Meafure-Note: But to give every Note its due Meafure of Time, you muft ufe a conftant Motion of the Hand or Foot, once down and once up in every Bar, which is called Beating of Time. The firft Mood which I fhall fpeak of in Common-Time, is a very How Movement, and is the more fo, if the Word Adagio is fet over it : This Sort of Time is generally ufed in Compofuions of plain Counter- Point, fuch as moft of our ancient Pfalm-Tunes, and other grave and folemn Pieces of Church-Mufic, fuch as Diapafon Pieces in Voluntaries, &c. alfo in the graveft Strains in Sona- ta's, &c. Every Semibreve in this Sort of Time (which is one whole Bar of Time) is to be founded as long as one may very diftindtlv and deliberately count 1, 2, 3, 4, according to the flow Motion of the Pendulum of a Clock, which beats seconds ; and your Hand or Foot muft be down while you count i, 2, and take it up while you count 3, 4 ; in which, fee the foregoing Example, where I have placed i, 2, 3, 4, over the Notes, and underneath, d for do.vn, and u for up, fhewing when your Hand (hould fall or rife. The fecond Mood is meafured according to the firft, as you may fee in the Example, and is as quick again as the firft, if the Word Allegro is fet over it, and U generally ufed in Anthems, alfo in Cornet- Pieces, Trumpet-i'ieces &c. in Volun- xiv the INTRODUCTIONS. Voluntaries ; alfo in brifk Strains in Sonata's and Concerto's, &c. which gene< rally follow the Adagio Strains. The third, is called Retorted Time, and is fung or played very quick, Thi« Sort of Time is a very briik and lively Movement, and the Motion of it is once down, and once up in a Bar. There is another Mood in Common-Time, which is marked thus \ and is called Two to Four, every Bar including two Crotchets, one to be beaten with the Hand or Foot down, and one up ; and is fung or played very quick. Triple Time is meafured by odd Numbers, as Three Minims, 1 hree Crotch- ets, or Three Quavers in a Bar ; which Bar muft be divided into three equal Parts, and is meafured by beating the Hand or Foot twice down and once up in every Bar; fo that your Hand or Foot is juft as long again down as up, as you may fee in the foregoing Example, in which the firil Sort of Triple Time is called Three to Two, containing three Minims in a Bar, and performed in the fame Time as Two in Common-Time, two to be fung with the Hand or Foot down, and one up: This Sort of Time is often ufed in Pfalm-Tunes, alfo in Anthems and other Pieces of Mafic. The fecond Sort is called Three to Four, containing three Crotchets in a Bar, and is as quick again at that of Three to Two ; two Crotchets to be fung with the Hand or Foot down, and one up. This Sort of Time is fometimes ufed in Pfalmody, often in Anthems, alfo for Minuets, and other Pieces of inflrumenial Mufic. 7 he third Soit is called Three to Eight, containing three Quavers in a Bar, and is as quick again as that of Three to Four, two Quavers to be fung with the Hand or Foot down, and one up: This Sort of Time is very little ufed ia ChurcU-Mufic, but frequently in InUrumental, and often in Minuets. A Table of Nine Injlrumental Moods, Binary TripkSy Six in a Bar, Three down, and Three up. Six to Four. | Six to Eight, j Six to Sixteen. u. u. u. Triple Time, Nine in a Bar, Six down, and Three up. Nine to Four. j Nine to Eight. j Nine to Sixteen. Bppplppllpi d, d. n. P-P^- it d, up. d, d, u. Binary ri-tf I N T R O D U C T I O N. xvji Binary TripkSy Twelve in a Bar^ Six down, and Six up* Twelve to Four. I'iliiPili Twelve to Eight* Twelve to Sixteen < 'r d. «• a. Ui KSf >^ S>» d. a. Notes ^/SYNCOPATION. EXAMPLE. d, u. d, d. u. d. u< d, n. The fame by Notes* z:zziizQ::tL Ey|feEEfe|EfEiEitE|y:Eft=f;!S d, u. d, u. d. u. d, d, a. Thefe Notes are called Notes of Syncopation, or Driving of Notes, by ReS-^ fon the Bar, or beating of Time, falls in the Middle, or within fome Part of the Semibreve, Minim, &c. or when Notes are driven till the Time falls even again, the Hand or Foot being either put down or up while the Note is founding. Obferve, that in Common-Tim^ the Hand or Foot mull be juft as long down as up ; and in Triple-Time juft as long again down as up ; and thatitmuft fall, in the Beginning of every Bar, in all Sorts of Time whatever. You will often meet, in Triple-Time, Pfalm-Tunes, with a double Bar drawn through between two fingle Bars, when the Time is imperfeft on cither Side of the double Bar, both Bars making but one Bar of Time, as in the following EXAMPLES. Tripk-Tinie. gf-i35r -e- i_t:i e. r-\ d„ u, d. H. d« Q. i, C CofTunifl XVUl Ihe INTRODUCTION. Common Time. d,u. d, u. d, a. d, u. d, u. N. B. When you meet three Quavers, with a Figure of Three over them. thus t^t you ^^^ fing them in the Time of a Crotchet. i Of Tuning the Voiee^ and, of the fever al Graces ufed in Mufic. The firft and moft principal Thing to be done in a vocal Performance, is to have your Voice as clear as poffible, giving every Note a clear and diftinft Sound, alfo pronouncing your Words in the politelt Manner ; having got yoor Voice in good Order, you may at firft attempt the following LefTon (which is the firft i.efTon generally taught by moft Muficians.) The Eight Notes, afcending and defcendingy in the Natural Sharp Key, loth Treble and Bafs. Treble. d=' ; d: ;:q:i:pz: Fa, fol, la, fa, fol, la. Mi, fa. Bafs. d_e- Fa, Mi, la, fol, fa, la, fol, fa. gC:^ _ D igzHI ~D: -e — e- BEii-i Fa, fol, la, fa, fol, la, Mi, fa. Fa, Mi, la, fol, fa, la, fol, fa. The true and exaft Tuning of this Leflbn, is to obferve the two Semitones or half Notes; that is, from La to Fa, and from Mi to Fa, afcending; and from Fa to 'Vli, and from Fa to La, defcending ; all the reft being whole Tones, whofe Order differs according to the Key they are computed from. The Eight Notes, with the true Proof of every Interval in the Kty of G, with afharp Third, and in the G-Cliff. Afcendings. 3ds. J 4ths. | ^ 5ths. F. ^Hlliiiiipilil 5, 1, f, 1; f, 8, 1, f, f, f; f, s, 1, f, s, f, s 6thi. XIX 7ths. The INTRODUCTION. 6ths. I F, 3,1, f, 8,1, f, 1. F, s, I, f, s,l,in, f, m. ^^^ 8ths. I 1, 3, 5, 8. F,s,l, f, s,l,ni,f, f, f. F, I, s, f. Defccndings. 3ds. | 4ths. | 5ths. ^. tziLi£zoli:tztZEZi.l[ F, m, 1, f, 1. F, m, 1, i, f, s. F, m,l, s, f, f, f. 7 th 8. F, m, 1, s, f, 1, f, 1. F, m, 1, s, f, 1, s, f, s ; 8ths. I I, 4, 6, 8. F,m,I,s, f, ],s,f, f, fj f, s, 1, f. Skipping Notes, moving by heaps, 3d, 4th. jth, 6th. 7th. 8th. gii3 F, 1, f, f, f, s, f, 1, f, m, f, f. 3d. 4th. 5th. 6th. 7tb. 8th. ^i.z9z-nz\-^^ F. 1. f. s, f, f. f, 1, f, 5, f, f, C 2 Wljei 1CX the INTRODUCTION. When you'have learned thefe Lefibns, you may, for your next, proceed to fome plain and eafy Pfalm-Tune, which is as eafy as any Leflbn thsr can be fet you, always obferving the Places of the Semitones, &c. It is alfo neceflary for you to learn the Letters your Notes are on, as well as Sol fa, &c. which will greatly improve your Knowledge in Mufic. Of the fever al Graces ufed in Mufic. The firft and moll principal Grace, necefTary to be learned, is the Trill or Shake ; that is to move or Shake your Voice diftindlly, on one Syllable, the Dif- tance of either a whole Tone or a Semitone, always beginning with the Note or half Note above. EXAMPLE. Trill upon the whole Note. Plain. P prai fe the Lord; O praife the Lord. Trill upon the half Note. | Plain. — ff-P— fLe-t-ilf* iL O prai — ■fe the Lord; O praife the Lord. The Method of learning this Trill, is firft (o move flow, then fader by De- grees ; and by a little diligent Pra(^ice you will foon gain the Perfeftion of it. The Trill is to be ufed on al! defcendmg pricked Notes, and always juft be- fore a clofe J alfo on all defcendmg Semitones ; but (io Pfalmody) none fhor- ter than Crotchets ; and, for the more Eafe of the Learner, I have placed tr. over the Notes in the Pfalm-Tunes (in this Book) where it is to be ufed. There is another Grace ufed in Mufic, called the Grace of Tranfition, that is, to flur or break a Note, to fweeten the Roughnefs of a Leap, &c. Of the fever al Keys in Mufic -, and So tranfpofe any 'Tune out of the two Natural or Primitive Keys into any ether Key, by Flats or Sharps. In Mufic there are but two natural, or primitive Keys ; viz. C, the fharp and chearful Key, and A, the flat and melancholy Key ; and, to diftinguifh thcfe two Keys one from the other, is in refpcft to the third, fixth, and feventh above its Key, which is always the lail Note of the B f. Key of D, flat 3d, Mi in E. .. Key of F, Sharp 3d, Mi in E. E'»z§jE=a:FrHr:r_| L, m, f, s, 1, f, s, 1. Key of G, flat 3d, Mi i.'i A. F, s, I, f. 1, m, f. Key of B, flat, fharp 3d. Mi in A. L, m, i, s, 1, f, s, 1 4 ♦-?-T»4 z=^ I WSE\ \z\:-\\ ^5r§}9zz:t:t:=tt:brzt:=t 5-0 ,-r^« Q ff Key of C, fiat 3d, Mi in D. F, s, 1, f. 8, 1, M,'f. Key of E, flat, iharp 3d, Mi in D. L, m, f, 9, 1, f, 5, I. F. s» l> f> s* J* n^. ^' XXll Tht IKTRODUCTION. Jf that by Flats your Mi you do rcmore. Set it a 5th below, or 4th above. Hou) to Tranfpofe any Tune out of the two Natural Keys, into any other Keyy by Sharps. Key of A, Natural, flat 3d, Mi in B. Key of C, Natural, fliarp 3d, Mi in B. L, m, f, 8. 1, f, s, 1. Key of E, flat 3d, Mi in F. F, s, 1, f, s, I, m, f. Key of G, ftiarp 3d, Mi in F, L, m, f, s, 1, f, s, 1. Key of B, flat 3d, Mi in C. ■^iSl^l iiEE|gE3 l3=a:l:pEi}-°i F, », I. f, », I, m, f. Key of D, (harp 3d, Mi in C.^ S:f=e. ^:i pfl FS rjl p*Eij .pEg|ES|Ei"E L, m, f, s, 1, f, s, 1. Key of F, fliarp, flat 3d, Mi in G. L, m, f, s, I, f, s, I ■0 F, s, 1, f, s, I, m, f. Key of A, fliarp 3d, Mi in G. -;^i^- ;)=; -t^-H i — !EaI3E?.f^EffEEE!:El F, s, 1, f, s, 1, m, f. When that by Sharps you do remove your Mi, A 4th above or 5th below niuft be. By the foregoing Examples, you fee how any Tune may be tranfpofed into any of the artificial Keys, by cither Mats or Sharps, whofe Progreffions. by the Help of thofe Flats and Sharps, are made to the fame ElTeft as the two natural Keys ; but you are not confined to the Sol-faing of them all, fo that you do h\x\ obferve the Places of the Semitones or half Notes : When you have fonnd youy Mi, they may eafily be remembered by thcfe Rules : In ev'ry 0£lavc Two half Nojes we have, Both rifing to Fa, From Ml, and from La. The INTRODUCTION. xxtn 0/ I N T O N A T I O N, or Dire^ions for ptching the Tunes in their proper Keys. Unlefi a Tune is pitched on its Proper, that all the Voices may perform their Parts clear and ftrong, that is, neither too high, nor yci too low, for the Com- pafs of the Voices, it never can give Delight to the Performers or Audience; which cannot regularly be done (in thofe Churches that are not furniflied with Organs) without a Concert Pitch- Pipe, or fome Concert Inftrument of Mufic, fuch as Concert- Flute, German- Flute, &c. but as there are Pit<;h-Pipes made for thi« Purpofe, which may be bought at any of the Mufic-Shops in London, for about 2S. and 6d. each, I recommend one of them as molt ufeful for the Purpofe, and as all Tunes, which being fet in their proper or Concert Keys (at are all in this Book) are always played on the Organ, Harplichord, and all other Inftruments, in the fame Keys they are fet in ; fo it is likewife necefTary that they are fung in the fame Keys they are fet in, when fet in their proper Keys, as are all in this Book ; but I will here give you An Example of fuch Keys as are neceffary to be ufed ; all the others being fuperfluous., and are feldam ufed. ift. Key of A, Natural, flat 3d. Mi in B. Mi in E. 2d. Key of D, flat 3d. :o=z±--^^ 3d. Key of G, flat 3d. 4th. Key of C, flat 3d. -^ f^ f) Q — ■ ■ Mi in A. Mi in D, Mi in F. 5th, Key of E, flat 3d. I ft. KeyofC,N. Iharp 3d. 2d. Key of F, fliarp3d. 3d. Key of B flat, (harp 3d Mi in B. Mi in E. 4th. Key of G, ftiarp 3d. 5th. Key of D, fliarp 3d. zzz:lztz§zzttzz-zl 6th. Key of A, ftiarp 3d, Mi in A. Mi in F. Mi in C. MiinG. Having procured one of thofe Pitch- Pipes, before mentioned, you will find marked upon Pewter, on the Regifter or Slider belonging to it, all the feveral Semitones included in an O^ave. As XXIV ne INTRODUCTION. m V^ — ^ d^ A: As for Example. By fetting the Regifter, that is, by drawing that Letter which your Tune is tranfpofed in, To as the Line or Stroke where it Hands (which is drawn acrofsthe Regifter) correfponds with the Foot of the Pipe, then blow gently and you will have the true Sound of the Key which yoo have fet in order to pitch ; as for Example ; fuppofe your Tune is in the Key of G, then draw out the 1 etter G; if in A, then draw out A, &'C. and blow as above direfted. N. B. Whereas feveral Tunes which are in G, C, D, &c. in which the Trebles begin a fourth below the Key, in fuch Caies the Key-Note of the Tune muft be pitched on the Pipe, and the Treble and Bafs are to take their Pitches from the faid Key-Note, that is to fall a fourth, &c. from the faid Key-Note, fo given on the Pipe. I prefume there are not now many Choirs of Singer* in Country Churches (where there is no Organ) but what are furnilhed with Pitch-Pipes; which I recommend as equally ufeful to Parifh- Clerks (in thofe Churches that have no Organ or Choir of Singers) alfo in all Charity. Schools, &c. It will likewife be found equally advanta- geous 10 all Learners and Pradifers of Pfalmody whatever, to have their Tunes at all Times thus regularly pitched in their prftper Keys, which will not only give them the true Sound of a Key, but will likewife let them into the Air of the Tune, and greatly forward their Learning. A New MUSICAL DICTIONARY. ADAGIO, flow. AfFetuofo, very ten- derly. Allegro, very quick. Andante, diftinftly. Bene Placito, at Pleafure. Canto, the Treble. Canzonctta. a Song. Da Capo, End with the Arft Strain. Forte, loud. Galliarda, gay, brifk, Sec. Largo, flow. Minuet, a Kind of Dance, always in Triple-Time. Nonupla, a Jigg. Organo, an Organ, but when wrote over a Piece of Mufic, fignifies the Thorough Bafs. Piano, very Soft. Prelude, an Extempore Air, played before, in the Mid- dle, or at the End of a Piece of Mufic. Quarta, four Parts. Quinque, five Parts. Recitativo, Expreffive. Solo, fingly, alone. Tutti, all. or Chorus. Tacet, filent, reft. Vivace, brifk. Volti Subito, turn over quick. PSALM- PSALM-TUNES, in Two Parts. PSALM I. Crowle Tune. Treble and Bafs. n -.: JiiliE -ezti-isiilslieiiEeieE; \—-\ !i f 4 -\ — I J. :J:n:U The Man is bleft that hath not lent, to wick-ed Men his Ear : 6 J 6 4^ ''^ '^^ 6 \3 12 JZ'. ^^p:f_. ZTZ-:l-:l|:g:}-^zp:}:ep=9.| :^z:a::;=: :pz:z:t:a F- t:^: ;:-b-t:t:-:tt Nor led his Life as Sin--ners do, nor fat in Scorn-ers Chair. :;Ci3^|:: ^\m zz:p. t^f p- 2:|:""4}- ^-l:"z:^ zbiz t--4l::z:t zz.l 6 s 6 4j^ — ^t — f II. But in the Law of God the Lord Doth fet his whole Delight, And in the iame doth exerciie Himfelf both Day and Night. IIL He Ihall be like a Tree that is Planted the Rivers nigh, "Which in due feafon bringeth forth Its Fruit abundantly. IV. Whofe Leaf fhall never fade nor fall. But fiourifhing fhall ftand ; Ev'n fo all Things (hall profper Wtll, That this Man takes in Hand. D PSALM n. 26 P S ALM-rUN ES. P S A L M II. Cambridge Tune. Treble and Bafs. ^3 V2 r-"- :D:_uie-, t6i2 ;q -Q- H e^- e, Why did the Gen-tiles Tumults raife? What Rage was in their Brain ? 6 2 f. rr. r^-^= _.U X-©. j-- tr. ::: i_p: r^^: — 1| \~\, — :t '1 -^0 :d: Why do the Peo-ple flill con -trive a Thing that it but vain ? The Kings and Rulers of the Earth, Confpire, and are all bent, Againft the Lord, and Chrift his Son, Whom he among us fent. III. Shall we be bound to them ? Say they. Let all their Bonds be broke, And of their Dodlrinc and their Law Let us rejed the Yoke. IV. But he that in the Heav'n doth dwell, Their Doings will deride. And make them all as Mocking-Stocks, Throughout the World lb wide. PSALM VIII. P SALM-rUNES. 2; PSALM VIII. Stamford Tunc. Treble ud Bafs. EEcz: e- Ue- O God our Lord, how won- Jl 6^_ 6 _^ iilil O God our Lord, how won-der -ful, are thy Works cv'ry where ! 6 6 « ;_t-:{ * - - ^ pW^lfiM '""■"*> tr. 6 6 ;z;f: } _Z£j \ zijizp irpzbrti-izzzrreilt Thy Fame furmounts in Dig-ni — ty, the higheft Heav'ns that are. 6 6 6 6 II. Ev'n by the Mouth of Sucking Babea Thou wilt confound thy Foes ; For in thofe Babes thy might is feen. Thy Graces they difclofe. III. And when I fee the Heav'ns above, 1 he Works of thine own Hand, The Sun, the Moon, and all the Stars, In Order as they ftand. IV. Lord ! what is Man, that thou of him Tak'ft fuch abundant Care ! Or what the Son of Man, whom thcu To vifit doft not Spare ! D 2 P S A L M IX. 28 PSJIM'TUNES. PSALM IX. Verfes 7, 8, 9, 10. St. James's Tunc. Treble and Bafs. Know thou that he who is a-bove, for c— ver-more fhall reign. tC-: — p-i6 — P ♦ — li ^P=-n:?|E:p:j-^ztt{:,:fc4 And in the Seat of E--qui--.ty, true Judgment will maintain. z6:i:a: 6 7 VIII. With Juftice he will keep and guide The World and ev'ry Wight ; And fo will yield with Equity To ev'ry Man his Right. IX. lie is Proteclor of the Poor, What Time they be opprefl ; He is in all Adverfity, Their Refuge and their Reft. X. And they that know thy holy Name, Therefore fhall trull in thee ; For thou forfakeft not their Suit In their Neceffitv. PSALM xxm. PSALM-TUNES. «» PSALM XXIII. Canterbury Tune. Treble and Bafs. II 0- e The Lord is on--ly my fup-port, and he that doth me feed ; ?*?C:^^zj-^= e- q: lt>=i=l:E=t:ll:=- ■^ tr. ti t tr— :au?e%Hgp|a; How can I then lack a — ny thing, whereof I ftand in need? 6 6 6 II. In Paftures green he feedeth me. Where I do fafely lie ; And after leads me to the Streams Which run moft pleafantly. III. And when I find myfelf near loft. Then doth he me home take. Conducting me in his right Paths, E'en for his own Name's S^ke. IV. And though I were e'en at Death's Door, Yet would I fear no ill ; For both thy Rod and Shepherd's Crook Afford me Comfort ftill. PSALM XXV. 30 PSALM-TUNES. PSALM XXV. Southwell Tune. Treble and Bafs. tr. I lift my Heart to thee, my God and Guide moft Juft ; ii^zzb 11-^: z^=E:r:r-|hfc :: :d -d: SaTIS31^ dz^li lIIZ \~.. ^ZI.( *e- ziyz^irEEzPil-Q;" Now fuf-fcr ine to take no Shame, for in thee do I truft. >-Di--1- d: II. Let not my Foes rejoice, Nor make a Scorn of me ; And Jet them not be overthrown That put their Truft in Thee. III. But Shame fhall them befal. Who harm them wrongfully : Therefore thy Paths and thy right Ways Unto me, Lord, defcry. IV. Dired me in thy Truth, And teach me, I thee pray ; Thou art my Saviour and my God, Un thee 1 wait alway. PSALM XXVI. PSAL M-rUNES. 3» PSALM XXVI. Windfor Tune. Treble and Bafs. ^ - ! mmmmmm my Paths be right and plain ; Lord, be my Judge, and thou (halt fee, my Paths be right and plain ; 4 ir. -^ ^ I trull in God, and hope that he, with Strength will nie fuf-tain. Q q; II. Prove me, my God, I thee defire. My Ways to fearch and try ; As Men do prove their Gold with Fire, My Heart and Reins efpy, III. Thy loving Kindnefs in my Sight, I do behold always ; I ever walked in thy Truth, And will do all my Days. IV. I do not love to haunt or ufe, "With Men whofe Deeds arc vain ; To come in Houfe, I do refufe With the deceitful Train. PSALM XXVIII. 32 PS^LM -TUNES, PSALM XXVIII. Verfes 6, 7, 8, 9. York Tune. Treble and Bafs. gft-£i-H=E- To render Thanks unto the Lord, how great a Caufe have I; "' ■—— f : i — — — — f 1 — i — t--t — 1 i ♦ ::q ♦ H 1 4 U zd::^r;; e t — t My Voice, my Pray'r, and my Complaint, that heard (o wil-ling.-ly. 6 6 6 6 S ^ VII. He is my Shield and Fortitude, My Buckler in diftrefs ; My Heart rejoiceth greatly, and My Song fhall him conteis. VIII. He is our Strength and our Defence, Our Foes for to refift j The Health and the Salvation of His own Eled by Chrift. IX. Thy People and thy Heritage, Lord, blefs, guide, and preferve ; Increafe them, Lord, and rule their Hearts, That they may never fwerve. PSALM XXX. P SALM-rUN ES, U PSALM XXX. Uxbridge Tune/' Treble and Bafi. " ' IX3~^ Eerp: i=i!liiilHii All laud and praife with Heart and Voice, O Lord, I give to thee, -— V 6 _ _ _ ^-^ 6 tr. Who didft not make my Foes re-joice, but haft ex-alt — ed mei 6 6 a: :u~. 6 S 6 4# f f ! r — II. O Lord, my God, to thee I cry'd In all my Pain and Grief: Thou gav'ft an Ear and didft provide. To eafe me with Relief. III. Thou, Lord, haft brought my Soul from Hell, And thou the fame didft fave •, From them that in the Pit doft dwell. And kep'ft me from the Grave. - , Sing Praife, ye Saints, that prove and fee ., The Goodnefs of the Lord, In honour of his Majefty, Rejoice with one Accord. PSALM XXXlII^ 14^ P S ALM-TUN ES. PSALM XXXIII. St. Matthew's Tune. Treble and Baft. :dz:_ e— F l-e— n e ±:::-zd:rMz^Q: a: — t Ye Righteous, in the Lord re--joice j it is a fcem— ly Sight, 6 p3:1zl:z: 1 6 5 ft 6 5 # e— —pie 6 6 J i. rr- :az: e— nz: :dz : -e- ±a::ez That up-right Men with thankful Voice, fhould praife the Lord of Might. p5"?:j;iE:g-{-iEi, _ g ^ zziti izzi^ii.nzi _ — :-P: =ez:-:l:pze. e- az_:: tn=^':{i|:f ztn: e * e'-i " -rff{:^*al a Praife ye the Lord with Harp, and fing to him with Pfal-te — ry, 6 ' ~ -Qz3: E-f: 6 6 6 6 6 JZD aii::t::e ^..,.=t,si^iiiiii:iiPiii With ten-ftring'd In-flruments founding, praife ye the Lord moft high. 6 6 e-' mr-i i=-~-} azpttQ --:}.©- ^^"^■P=?:|i1'l 3 Sing to the lord a Song moll new, with Courage give him Praife; For why ? his Word is ever true, his Works and all his VVayj : 4 Both Judgment Equity, and Right, he crer lov'd and will. And with his Gifts he doth ddight the earth thiouphovu ro fill PSALM XXXiV. PSJLM'TUNES. IS PSALM XXXIV. Workfop Tune. TreWc and Bafs. tr. tr. ^^"^^ tr. I will give Laad and Honour both un-- to the Lord always, EEBEEEEiiriBEgittarf -e-H-i-=5^i; :d: : My Mouth al-»^fo for e— ver-more Ihall fpeak un-— to his Praifc. _ * * -e— 9- -DJ II. I do delight to laud the Lord, In Sou], in Heart, and Voice, That humble Men may hear thereof. And heartily rejoice, III. Therefore fee that ye magnify. With me the living Lord i Let us exalt his holy Name, Always with one Accord. IV. For I myfclf befought the Lord, He anfwer'd me again ; And me deliver'd fpeedily from all my Fear and Pain. £ 2 PSALM XXXIX. 3^ PSALM-TUNES. PSALM XXXIX. . VbrFes 5, 6, 7, 8. St. Thomas's Tune. Treble and Bafs. psiipppiiipiiii Lord, number ont my Life and Days, which yet I have not paft, |Pllp;iilplillliilpil:il So that I may be cer-ti — fy'd, how long my Life (hall laft. iiiiniiilii II .Iv. NL For thou haH: pbiHted out my Life, In Length much like a Span •, My Age is nothing unto Thee, So vain is ev'ry Man. ,. VII. Man walketh in a Shade, and doth, In vain himfelf annoy, In getting Goods, and cannot tell Who fhaU the fame enjoy. VIII. Therefore, O i^ord^, w^at wait I for ? What Help do I defire ? Truly my Hope is ev'n in thee, I nothing elfe require. PSALM XL» PSALM -TUNES. tJ PSALM XL. Weflminfttr Tune. Treble and Bafs. nrCr IT, I wait--ed long and fought the Lord, and pa-tient--ly did bear; 6 6 " ■ " " " ■•^q' —» r^ At length to me he did ac--cord, my Voice and Cry to hear. \ 11. He brought me from the dreadful Pit> Out of the Mire and Clay \ Upon a Rock he fet my Feet, And he did guide my Way. m. To me he taught a Pfalm of Praife, Which I muft.fhew abroad ; And fing new Songs of Thanks always. Unto the Lord our God. JV. When all the Folk thefe Things Ihall fee. As People much afraid, Then they unto the Lord will flee, And truft upon his Aid. \ ^e \ PSALM XLI. PSALM- TUNES. P S A >L M XLI. Daventry Tunc. Treble and Bafs. The Man is bled that doth pro-vide for fuch ai aee— dy be ; For in the Sea-fon pe — ri — lous, the Lord will fet him free. IL And he will keep him fafe, and make Him happy in the Land ; And not dehver him into The Enemies ftrong Hand. III. And from his Bed of Languifhing The Lord will him reflore ; For thoUjO Lord, wilt turn to Health, His Sicknel's and his Sore. .IV. Then in my Sicknefs thus faid I, Have Mercy, Lord, on me : And heal my Soul which grieved is That I offended thee. PSALM XLIL t» PSALM-TUNES. PSALM XLII. Leighton Tunc. Treble and Bafs. iiiiiiipiliiipiiiiaii Like as the Hart doth pant and bray, the well.fprings to ob-tain, 6 5 6 6 6 Piiiifiiiiiipiiii So doth my Soul de— fire al--way, with thee. Lord, to re-main. — t-*^-rl II. My Soul doth Thirft, and would draw near The living God of Might : Oh, when fhall I come and appear. In Prefence of his Sight ? III. The Tears all Times are my Repaft, Which from my Eyes do Aide j Whilft wicked Men cry out fo faft. Where now is God thy Guide ? IV. Alas, what Grief it is to think, The Freedom once I had ! Therefore my Soul, as at Pit's Brink, Moft heavy is and fad. -r; 1 PSALM XLIV. 4Q P S ALM-rUN ES. PSALM XLIV. Peterborough Tune. Treble and Bafs. — * »-l : 4 — 4 4 g^tr^ll;?—" Q- M^^i =p 1# !tp::;§. Oar Ears have htard our Fathers tell, and rev'rent-Iy re -cord ; *cl| 6 J 6 S i> —\ H-d *r s- V F-H — ) — "^-t ♦ ©tI 1 t-t ''-'4 — H ,_._ , ^_ er| Q T izCT---" ^ 1 ;Xhe wpndjous Works that thou haft done, in antient Tiine, O Lord. _ _6 6 6 Jub ^ 5 _ 5 ^ _ II. How thou didfl: drive the Heathen out With a moft poAf^erful Hand, Planting our Fathers in their, Place, And gav'fl to l^hem the;ir l^and. III. They conquer'd not by their own Sword, , The Land w.herein they .dwell j But by thy Hand, thy Arm, and Grace, Becaufe thou lov'dfl them well. IV. Thou art my King, O God, who fav'ft Jacob in fundry wife ; Led by thy Pow'r, we threw down fuch As did againft us rife. PSALM XLV. PSJLM-rUNES. '4t ? S A L M XLV. Graye's Tune. Treble and Bafs. tr. nrC'Hzl:-!— ^« } P'*n1 e"* p-±^=| 5-f f { bit 1 -=lt-E :r rf:{|F^:H| My Heart doth take in hand, fome god — ly Song to fing ; 664^ 6 P= pEE iig :H||ifKspa — U-. 0- The Praife that I (hall (hew there in, per-tain-eth to the King. 6 6^ 6 11. My Tongue fliall be as quick' His Honour xo indite, As is the Pen of any Scribe That ufeth faft to write. III. O faireft of all Men ! Thy Lips with Grace are pure ; For God hath bleffed thee with Gifcj For ever to endure. IV. About thee gird thy Sword, O Prince of might elect : With Honour, Glory, and Renown, Thou art moft richly deck'd. - F PSALM LI. 42 PSJLM'TUNES. PSALM LI. St. George's Tune. Treble and Bafs. ppipitiii tr. 3aE?i=^^tfE:-j 3: ^^W^ ^FFt- O Lord,con--fi--dermy Diftrefs, and now with Speed fomc pi--tytake; 6 6 6 11 iillilili iiilii piiiii|p;l||lpl|§ 6 roi m tn" =3- 3 My Sins forgive, my Faults redicfs, good Lord, for thy great Mercies Sake. 6 6 ^ A>£ 6 iilpeiiliiplrii; 6 J 4 * IL Wafli me, O Lord, and make me clean. From this unjuft and finful A(fl ; And purify me once again, From this foul Crime and bloody Fadl. in. Remorfe and Sorrow do conftrain. Me to acknowledge my excefs ; Becaufe my Sin doth ftill remain. Before my Face without releafe. IV. Againft thee only have I fm'd, And done this Evil in thy Sight, And if I fhould no Mercy find, Yet were thy Judgments juft and right. PSALM LXa PSALM-TUNES, 41 PSALM LXII. Verfes 7, 8. St. Ann's Tune. Treble and Bafs. $C;i{H-?} =!--^=l-P-n-t-e ' JJ_'Ii _ M/ Glo-ry and Sal -va-tion doth a-lone on him de-pend| 665 :i--^ ziAzzzn , 6 Q 4 _5 - — ^ -e 6 _6 ^ _ Q{ g^t^l He is my Strength, my Stay, my Wealth, and ftill doth me de-fend. 6 6 6 "-I :!Ez!£Eb: VIII. O put your Truft in him alway, Ye folk with one Accord ; Pour out your Hearts to him, and fay, Our truft is in the Lord. F 2 PSALM LXV'II. 44 F SALM-rUNES. PSALM LXVII. GuUdford Tunc Treble and Bafs. tr. ezl=azlt-'-^^=-=-^^--^-^-'''" Have Mer--cy en us. Lord, and grant to us, thy Grace; tr. ^ ^ ^ 6 - |-e — Q~l--~| -0-\-(P> -^.i p^.q —KJ—r-Y~' ^Q IB ZlZZZtl Q-U F *"D g^: ;,.lp..^:^,H-ota.-:l+ ^zE': z:[:zL:i:©z.d-:-ZZ ;f :©. :2 p:prt::L:zQ :; ::s::::Qr To fhcw to us, do thou ac -cord, the Brightnefs of thy Face. i-e- B- 6 ^ 11. That all the Earth may know The Way to godly Wealth : And all the Nations here below. May fee thy faving Health. III. Let all the World, O God, Give Praife unto thy Name : And let the People all abroad Extol and laud the fame. IV. Throughout the World fo wide, Let all rejoice with Mirth : Fcr thou with l ruth and Right doth guide The Nations of the Earth. PSALM LXXXr. PSALM-'TUNES. PSALM LXXXI. Proper Tunc. Treble and Bafs. 45 D_: zz^^ d -zi^rjiorp: :§zg: :q: t p4 ©z i:?: — -Ji ,—-4 — DZtZ a: Be light and glad in God re-joice, who is our Strength and Stay ; 6 m , — -♦ -- * 0- e -rv- e -3-:} Q .„l|;=lil!ii Be joy — ful ajjd lift up your Voice, to Ja-cob's God al—wayj 6 g; * ? 4 e- ■\-^- 0--7 Pre pare your In-flruments moft meet, fome joy- -ful Pfalm to fmg; — .^ t— 4 e"" O ^ _ ^ "e-- ©-[ rr** Strike up with Harp and Lute fo fweet, on ev'- -ry plea-fant String. 6 5 tz : ®Z — H -e Dz;^:: d ^t 5 tf {5i:l:i:E 4 G \\\ :ZDZl:z o 3 Blow as it were in the new Moon, with Trumpets of the bed; As it was ufcd to be done, at any foitmn Fea(t. 4 For this is unto Ifrael, a Statu-e which was made. By Jacob's God, and muft full well, be evermore ohey'd. PSALM LXXXIV. 46 PSALM-TUNES. P S A L i\r LXXXIV. Verfes i, 2, 5, 6. Colchefter Tune. Treble and Bafi. a5 — z — 1 — zidt'iml How picafant is thy Dwelling place, O Lord, of Hofts, to me f ic*± P- n: The Ta-ber-.na cles of thy Grace, how pleefant. Lord, they be I ^5Tp:|:ji±|:rzit.rz ::*' .^. p:l:z:nzz -f-e t-- _tl-t-t:t W-e- II. My Soul doth long full fore to g« Into thy Courts abroad ; My Heart and Fiefh cry out alfo "For thee the living God. III. O, they be blefled that may dwelt, Within thy Houfe always ! For they all times the Fadls do tell. And ever give thee Praife. IV. Yea, happy fure likewife are they, Whofe Stay and Strength thou art -, Who to thy Houfe do mind the Way, And feek it in their Heart. PSALM XCIR PSALM-TUNES. PSALM XCII. Bedford Tune. 47 Treble and Bafs. pilftiSE -e — n- -e— : It is a thing both good and meet, to praife the high- eft Lord ; 6 6 6 6 ^^-^'I'e-' •■'-« And to thy Name, O thou mod high, to fing with one ac -cord. 6 6 6 6 — itrj.z — [ — , \ C-i — 1{ — I DZ-C-t f-Q m II. To Ihew the Klndnefs of the Lord, Before the Day be light. And to declare thy Truth abroad. When it doth draw to night. III. Upon ten-ftringed Inftrument, On Lute and Harp fo fweet ; With all the Mirth you can invent. Of Inftruments moft meet. IV. For thou haft made me to rejoifc In Things fo wrought by Thee, That I have Joy in Heart and Voice Thy handy Works to fee. rSAl^M XCV. 48 PSJLM'TUNES. PSALM XCV. St, David's Tune. Treble and Bafs. n^czdMCz p::::?z: e -'#il :=-d O come, let us lift up our Voice, and fing un — to the Lord ; 6 6 6 6 6 a =:tt :p: rrt^-» •-e C-: D : In him our rock of Health re-joice, let ds with one ac— cord. I \-* ; ♦ < — e-f-d— d: ^-Ht-^--,"t i]z=I !"© * i-tz: e-^ 11. Yea, let us come before his Face To give him Thanks and Praife ; In finging Pfalms unto his Grace Let us be glad always. IIL For why ? The Lord he is no doubt, A great and mighty God ; A King above all gods throughout. In all the World abroad. IV. The Secrets of the Earth fo deep, /\nd Corners of the Land, The Tops of Hills that are molt lleep. He hath them in his Hand. I PSALM XCVI. PS ALM-rUNES. 4^ PSALM XCVI. St. Alban's Tunc; Treble and Bafs. g^|=:C=i:lErff|:3zi:{:B:iJ^^^ Sing ye with Praife un— to the Lord, new Songs with Joy and Mirth, li5!C^ei:tQl:<5-=i:lofl^tl:e: 1 1 "-^ tr. Sing un — to him with one ac—cord, all Peo--ple on the Eartht j::u4fe- -I ::p_iQ-. :zj_" m 9 A^ -J— I--;: s 1 11. Yea, fing unto the Lord always, Praife ye his holy Name ; Declare, and fhew from Day to Day Salvation by the fame. IIL Among the Heathen all declare His Honour round about ; To fhew his Wonders do not fpare In all the World throughout. IV. For why ? The Lord is much of Mighty And worthy of all Praife : And he is to be Dread of right, Above all Gods always. G PSALM XCvm, 5^ PSALM -rUNES, PSALM XCVIII. Slg|)ton Tunc. Treble and Bufs. p||||i|sil||iipi;iilj O fing ye now un — to the Lord, a new and plea- fant Sjng j For he hath wrought thro' out the World, his Wonders great and ftrong. 6 5 6 S 3p -3 t:=-^» With his right Hand full wor--thi— ly, he doth his Foes de—vour, 6 6 5 -R-g-S- -and: :z:: izz^il^Efflr-^'' ^*-*;>f H— ;3 ^_j__.p \- 1 1 — 1-- e D ^tt5f:roz P-a- - lz:=l X^it^X t^l-pii:l:E:EE}:--tl-:5fbfct[i{:tzt::}zzzt! :d Iizid Xttttl Czf::; z9z 1 And gets him felf the Vic to — ry, with his own Arm and Pow'r ''^ 6 5 6 6 4 ^ p_q -G- m Ui J.J 3 The Lord do mslce the People know his faving Health and M'ght ; And alio doth his Jullicc (hew in all the Heathens Sighr. 4 His Grace and Truth to ?frael in Mind he doth record : And all the Karth hath fcen right wjil the Goodnefj of the Lord, 3 P S A L M C. PS^LM -TUNES. 51 PSALM C. Proper Tune. Treble and Bafs. ^^^BS^zi I ?r!:{ztbEt t-p}--r5 {£ f ( ? }{ All Peo-plc that on Earth do dwell, fing to the Lord with chearful Voice, ^Uc--lilz-i:'^z^^^^^ -Zo4 i-ql 5-1} rfe- IZgno [2 t Q Him fervc with fear, his Praife forth tell, come ye before him and rejoice. 6 6 ' — «> :izzt:J:^_ "zii j:~:z:~:}z; ;, zijl:':^:^ 1~ -P r p :z: II. The Lord ye know is God indeed. Without our Aid he did us make : We are his Flock, he doth us feed. And for his Sheep he doth us take. III. O enter then his Gates with Praife, Approach with Joy his Courts unto : Praife, laud, and blefs his Name always, For it is feemly fo to do. IV, For why ? The Lord our God is good, His Mercy is for ever fure : His Truth at all Times firmly ftood. And jfhall from Age to Age endure. G 2 PSALM cm ■$^. PSJLM'TUNES. PSALM cm. Fyry Tunc. Treble and Bafs. p-^:t:dz:^zt:E^-_fc 1 till ? !j=f f {feUff E^ | l.jl My Soul give Laud un — to tlie Lord, my Spirit do the famej 6 6 '— ^ ac:54iiEPEJ^^- — Ad-I t— t-f — -4 — t-i— It— t-t P"p p[ t-e-i -ilz — *■&- -^- ^ ' " •" ' e- 5|z^Ei:aEi;pE? ' And all the Secrets of my SquI, praife ye his ho— ly Name. 6 ' — ^ 6 f.* ,-x — 6- f :::DI "*0 ID l__l: J I — H^f^j ©. zijz :^zP:?:{:dz:^-+ — f e-UI 11. Praife thou the Lord, my Soul, who hath To thee been very kind ; And fuffer not his Benefits To Qip out ot* thy Mind, in. That gave thee Pardon for thy Faults, And thee reftor'd again. From all thy v/eak and frail Difcafe, And heal'd thee of thy Pain. IV. That did redeem thy Life from Death, From which thou could'ft not flee ; Hi3 Mercy and Compaffion both. He did extend to thee. PSALM CIV, F S ALM-rUNES. 5i PSALM CIV. Hanover Tune. Treble and Bjfs. — ^- ~Dn: My Soul, praife the Lord, fpeak good of his Name ; 6 6 6 Eziiidzra — ( — » ^t :P- O lord our great God, how doll thou ap — pearF So paf--fing in Glo — ry, that great is thy Fame, 6 6 -I— I — 3l*=3 }:2r:p=:: /qi4t*_ii:::' _:^_ Jlonour and Ma-jefT-rty in thee fhine moft clear. 6 _ 6 4 6 2 With light as a Robe thou hall thyfelf clad. Whereby all the Earth thy Greatnefs may fee : The Heav'ns in fuch fort Thou alfo haft fpread. That they to a Curtain compared may be. 3 His Chamber-beams lie in the Clouds full fure, Which as his Chariots are made him to bear : And there with much Swiftnefs his Courfe doth endure, Upon the Wings riding of Winds in the Air. PSALM CVIII, '54 P S^LM-TUN ES. PSALM CVIII. Ely Tunc. Treble and Bafs. pi — t--t-l — :l-b_F_p:l G — I ** O God, my Heart pre--pa red is, my Tongue is likewifc fo Di :zdz=:^~:Q-^ zi~z£lF=a:i rSr^rl :Di: I will ad-vance my Voice in Song, that I thy Praife may iliovr. 4-0 ^-q I Ij- ;| 1 1 A-wake my Vi — ol and my Harp, fweet Me — Ic-r- dy to make ; ^=l3:§:>] Ij 1 — i"D~"3 { — if O'f ' "iH 11 ff And in the Morn- ing I my--felf, right ear— ly will a-wake 6 6 t ■} »-f!f 3 By mc among the People, Lord, ftill praifed fhalt Thou be : And I, among tbe Heathen Folk, will Praifes ilng to Thee. 4 Cecaulc thy Mercy doth afcend, above the Heav'ns moft high : Alfo thy ^Jruih doth reach the Clouds within the lofty Sky. PSALM CXH, P SALM-rUNES. 5^ PSALM CXII. Selfoe Tune. Treble and Bafs. The Man is bleft that God doth fear. l=c:ffcE=?:< ' i-ElEfeflSEllffEfelEl And that his Law doth love in — deed ? •kk His Seed on Earth God will up — rear. fcaifefEiSiflEffEfel; And blefs fuch as from him pro — ceed ; Continued^ 5« PSALM-TUNES. Continued. Treble and Bafs. p -mm^:m r-i- -— # — — His Houfe with Riches he will fill> -p— 6 __r-*-^ -. 4_ zp:~_ |_4 ———41 His Righte — ouf-^-nefs en — dure Ihall flill. ZQ-i: IL Unto the Righteous doth arife In Trouble Joy, in Darknefs Light : Cprnpaflion great is in his Eyes, And Mercy always in his Sight, Yea, Pity moveth him to lend, He doth with Judgment Things expend. PSALM cxm. P SALM-rUNES, 57 PSALM CXni. Proper Tune. Treble and Bafs. i!ziilili5 41 H^( : ;:q: :d:: Ye Children which do ferve the Lord, praife ye his Name with one ac— cord j LzC^&igrp ♦ 4-H— -4 o:„xa:na=.:,rEi|iili Yea, bleffed be always his Name, who from the rl-fing of the Sun, 6 s J 6 -^6 — -^- 3=g;i;E3:{:5WL3l"°-H3 p-_H;gE5:i3:E3:f^^!p1r;HEE|E=^.{5E r.z.^zi'u'\ Till it return where it be-gun, is to be praifed with great Fame. 6 6 s J ^ _ __ ._7Zl I_^_ — — :q ziijg l:2zPJ"pz"~f:5Z0: _ _ - . _ _ _ _ ^ \ 1 pf-tI_Ll } — If — \ 1 Ll_pt EI-lI-I The Lord all People do furmount, as for his Glo-ry we may count, ■^6 6 ^6 6 H Con- 5« P S AL M-TUNES, Continued. -^— :d:: ._Ct p »4^-t-J — U-^l A — bove the Kigheft Heav'ns to be. With God the Lotd who may coiB->pare, 6 6 6 6 6 iililii:|i;liil :— ■■? )-9- :zp:i Whofe Dwellings in the Hca-vcns are ? ef fuch great Po\v'r and Force ii be. rzd.D. -^ tt^: 9-" ^_ ^ 6 $ 5 J. zj t:o-it P="} ~1te}-7=-=i-t-:^-QlH- — fH II. He doth abafe hlmreif we know» Things to behold on Earth below. And alfo in the Heav'n above : The Needy out of Dull to draw, Alfo the Poor which Help none faw, His Mercy only did him move ; And fo did fet him up on high. With Princes of great Dignity, That rule his People with great Fame. The barren he doth make to bear. And with great Joy her Fruit to rear ; Therefore praife ye his holy Name. PSALM CXIX. PSALM-TUNES. 59 PSALM CXIX. Proper Tune, Treble and Bafs. ^tz:i|-}:-r? J '^ --— H -6J 4- :^::- ^ . -r- -' BIef--fed are they that per—fefl are, and pure in Mind and Heart; 6 Mcii 6 65 6 - — j- :73- *ci--M — ^ -..---. - z:a:-H -e T io: ^*P- zor tr, tr. m-m — -»0-{— t — Ft •r-9i-t-*tf ■© -t- *c — ?-i sftH ■ -s- pzg-t:zE:z:E|zt=F{:E:=Ei-:lt=E:l-E=:t:t:^°;}::::| Whofe Lives and Con-ver—fa-tions do, from God's Laws ne-ver Hart. Z5ZP * 'o\- " "'* .A.^ b:^:: III. Doubtlefs fuch Men go not aftray, Nor do a wicked Thing ; But ftedfaftly walk in his Way, "Without any wand'ring. H X C©a- 6(^ P SALM'TUN ES, Continued. " *D J— z2r- m^ ~id:t;§; Blef — fed are they that give themfelves, his Statutes to ob-fenre, ■ Pre 1 r~E:|zg=i _:}:-: ^^- -9- tr a re =o-"rai3-re-ltt Seek—ing the Lord with all their Heart, and ne— ver from him fvverve. - — ^ e tr. ' ^:^:p=^: :q: 4^j_::i |. — jf -- P*i' >;zd=:Q: IV. 'Tis thy Commandment, and thy will. That with attentive Heed, Thy Precepts, which are mofl divine. We learn and keep indeed, " 'i''" PSALM CXXV. PSALM-TUNES, PSALM GXXV. Second Metre. $1, Treble and Bafs. piillpplliililllpllilEilii Thofe that do place their Confidence, upon the Lord our God on— If , And flee to him for their Defence, in all their Need and MI— fe-^ry. i^ii: «. 1-— :: — -^ ( n f II. Their Faith is fure, flill to endure. Grounded on Chrift the Corner-stone ^«t -^y- "^ Mov'd with no 111, but ftandeth fure, Stedfaft like to the Mount Sion. III. And as about Jerufalem, ' The mighty Hills do it compafs. So that no Foes can come to them. To hurt that Town in any Cafe. IV. So God indeed, in ev'ry Need, His faithful People doth defend, Standing them by, affuredly. From this Time forth, World without End. PSALM CXXXIV. €z PSJLM'TUNES. PSALM CXXXIV. Gainfborough Tune; Treble and Bafs. tr. ^ giz3? Be — hold and have Re — gard, ye Ser-vants of the Lord, itf -UZ] Which in his Houfe by Night do watch, praife him with one ac— cord. 6 J 4 # gE:izj;t:Ezp:z:~:l:^:fi:r::p::lz~zll.~:zz:zr:J:~"z:~zt:z:t II. Lift up your Hands on high. Unco his holy Place, And give the Lord his Praifes due. His Benefits embrace. III. For why ? the Lord our God, Who Heav'n and Earth did frame. Doth Sion blefs, and will preferve. For evermore the fame. PSALM CXXXV, PS ALM'TUNES. H PSALM CXXXV. Knottlngley Tune. Treble and Bafs. pil|i=ili=l|iEl|i|li";s^ O praife the Lord, praife ye his Name, Praife him with one ac-cord, 6 6 :=5:|:Dzr:l:=:;:t: — #1 -TT-F-l-e ii z3:: ::dz: -e— llijsaiil-g id: : ::b:. :: -^e-H-f e O praife hitn ftill all ye that be, the Ser-vants of the Lord. t™2_J-I— — — Q ^-. .-__ -e-i II. O praife him ye, that ftand and be In the Houfe of the Lord, Ye of his Courts, and of his Houfe, Praife him with one accord ! III. O praife the Lord, for he is good. Sing Praifes to his Name ; It is a good and pleafant Thing Always to do the fame. IV. For why ? the Lord hath Jacob chofe, His very own ye fee ; So hath he chofen Ifrael His Treafure for to be. PSALM CXLVHI. €^ PSALM-TUNES. PSALM CXLVIII. Proper Tune. •Treble and Bafs. =tCzq= — 'Sl't Give Laud un — to the Lord, from Heav'n that is fo high ; 6 s 6 6 4 2to 6 Ei^-jp=; m ~:e::d:iZ' dkp--B^4- '-n e :l-l G- Praife him in Deed and Word, a-bovethe ftar-ry Sky ; and al--fo ye, 6 6 "-"^ piTp:j:-zp t p= p:j =:j|rc^^^^ e u — »i — — (d — :i]_t-s_^_J_ t His An-.gels all, Ar--mics roy — al, praife joy-ful ly. 6 6 6 6 His An-.gels all, Ar--m 6 6 n. Praife him both Sun and Moon, which are fo clear and bright ; . The fame of you be done, ye glittering Stars of Light. And you no lefs, ye Heavens fair. Clouds of the Air, his Laud exprefs, iir. For at his Word theywere all formed as we fee. At his \ oice did appear all Things in their Degree, Which he fet fail ; lo them he made a Law and Trade, always to laft. PSALM CL. P S ALM-rUNES. ^5 PSALM CL. London New Tune. Treble and Bafs. ?rl:n:}t--jz^z: rr^Cz: g^ZZI( Yield un--to God the migh-ty Lord, praife in his Ho — \i — ♦» D 1 — nefs. 6 6 g^zC^.^ ;pz2 rr:^ tepM -h - And in the Firmament of his great Pow'r praife him no 6 ^^-f A ^ * 6 5 4 :zQ-rz:ttAr-^ *-- mm&mm lefs. D" IL Advance his Name, and praife him in His mighty a61s always, According to his Excellence And Greatnels give him Praife. IIL His Praifes with the Princely Noife Of founding Trumpets blow ; Praife him upon the Viol, and Upon the Harp alfo. IV. Praife him with Timbrel, and with Flute, Organs and Virginals, With founding Cymbals praife ye him, Praife him with loud Cymbals. V. Whatever hath the Benefit Of Breathing, praife the Lord : To praile his great and holy Name, Agree with one Accord. An 66 H r M N S. An HYMN for CHRISTMAS DAY. iHligliiifiijiilllitl Whllft Shepherds watch'd their Flocks by Night, all feat-cd on the 6 6 ^6 6 EE5-3 6 6^6 6 6 41 ll^iflifliflii Sym. GrouftJ, The An — gel of the Lord came .A Sym. , down, and Glo— ry fhone a — round. 6 6 $ ^5 _t^_ X 6 6 J_L*_ • _ mtZU I- -»♦! ii^iliilf^iiliiipiii Con- H r M N S. Cy Continued. II. Fear aQt faid he, for mighty Dread Had feiz'd their troubled Mind, Glad Tidings of great Joy, I bring To you and all Mankind. III. To you in David's Town this Day, Is born, of his own Line, A Saviour which is Chrift the Lord, And this (hall be the Sign. IV. The Heav'nly Babe, you there ihall find, To human View difplay'd. All meanly wrapt in fwaddling Bands, And in a Manger laid. V. Thus fpake the Seraph, and forthwith Appear'd a fhining Throng Of Angels praifing God, and thus Addrels'd their joyful Song: DOXOLOGY. All Glory be to God on high. And on the Earth be Peace : Good- will henceforth from Hcav'n to Men, Begin and never ceafe. I 2 Aa 68 H r M N S. An HYMN for EASTER DAY. Je- fus Chrift is ris'n to Day, Ha 1 Ic lu— jah. A " 6 6 6y 43 ♦ III Our tri--um-phant Ho li- 6 6 6 6 'day. 6 i Hal 6 6 -le— — lu—- jah. 6s S|Ei~E:Et:EEEiEf;=E[ '1 ^-Jl PI- 4 3 * ^ W 1 * i iiliiiiliiii Who did once up -on the Crofs. Hal —-le — lu — jah. 6 6 6 -•»-— 6 J 4 3 Suf — fer to re-deem our lofs. Hal le lu — jA. 6 67 4 ^ 4 J 6 J % o X] 66664} liii|jppil||gplil "^ Con- HZ MN ^. f 9 Continued. II. Hymns of Praifes let us fing. Hallelujah, Unto Chrift, our heav'nly King, Hallelujah, Who endur'd the Crofs and Grave, Hallelujah, Sinners to redeem and fave. Hallelujah. III. But the Pain that he endur'd, Hallelujah, Our Salvation hath procured. Hallelujah, Now above the Sky he*s King, Hallelujah, Where the Angels ever fing, Hallelujah. Att r^ II r M N s. An HYMN for WHITSUNDAY. He's come, let ev' — ry Knee be bent, all Hearts new Joys re— •■ ■ ■ fume ; Let Nations fing with one Con-fent, the Comfor-ter is come, the Com-for— -ter is come. II. What greater Gifts, what greater Love, Can God on Man beftow : fTis halt the Angels Heav'n above. And all our Heav'n below. Con- H r M N $J Yt Continued, III: Hail, blefTed Spirit ! no not one Soul, But doth thy Influence feel ; Thou doft our darling Sins controul. And fix our wavering Zeal, IV. As Pilots by their Compafs fteer. Till they their Harbour find. So doth thy facred Breathings here Guide ev'ry wandering Mind. V. Thou to the Confcience doft convey The Checks that all muft know ; Thy Motion firft doth point the Way, Then gives us Strength to go. VI. But thou, O Lord, our Sins impeach j The World's rough Billows roar ; But following thee we're fure to reach. The fafe eternal Shore. A TABI^E 'A TABLE of the PSALM-TUNES. U N E S. St. Allans Tune St. Ann's Tune - Bedford Tune — Crowle Tune — Cambridge Tune Colchefter Tune Canterbury Tune Daventry Tune St. David's Tune Ely Tune — Ferry Tune — Gainfborough Tune Sr. George's Tune Grayes Tune — Guildford Tune Hanover Tune - St. James's Tune Xnottingley Tune Leigh ton Tune London new Tune St. Matthew's Tune Peterborough Tune Proper Tune — - Tune — - Tune — ■ ' Tune Tune ■ ■■ Tune Selfoe Tune Skipton Tune — Stamford Tune Southwell Tune St. Thomas's Tune Uxbridge Tunc Weftminfter Tune Windfor Tune — Work fop Tune - York Tune — PSALMS fet to. Verfes i, z, 5, 6 ■ ■ — — 96 ■ 62, Vexfes 7 and 8 92 1 2 84 2j -_ 41 9- 108 ■ 103 - • 134 51 ^— 45 104 ■ 9 Verfes 7, 8, 9, and 10 »35 33 4.4 100 — — — ,,3 — — »_ ng 148 112 95 j9 Verfes 5,6, 7, and 8 40 34 28 Verfes 6, Second Metre — — 8, and 9 /^ T A B L E ^/ Z/?;^ H Y M N S. For Chriftmas Day — For Ea.ier Day . . For WhitTunday -While Shepherds watch'd "efus Chrifl is rifen — ie's co.TiC let ev ry — I 66 ! 68 i 7c