wºº. As ºf 5









ººz. …" 24 Ž,26,
* zº r!" zºº. º
ſ 2. > A.
%. 4, 22 × .

* * * * * * º tº a a Nº. º,
sº. - ** wºw, *\º . . * * * º ***
- - Nº. º º *Nº.
- ~ * * -
* * * * > . . º. º

:
2.
2.
-
-
-
* -
-
-
--T
5.
-
º
-
º









AHIAMIHEWINTUHANGAN;
THE PRAYER SONG,
ARRANGED BY
R.E. W. EUGENE WE TR0 MILE, S. J.
NEW YORK :
PUBLISHED BY EDWARD DUNIGAN & BROTHER,
(JAMES B. KIR KER, )
No. 371 BROADWAY.
1858.
|- |-
|-
|-
|-
|-
|-
|-
|-
|-|-|-
|-|-
|-
|-
|- |
|-


TO THE
RT. R. E.W. DAVID W. BAC ON, D., D.
BISBOP OF PORTLAND,
GI big b c ſ m me
IS M O S T Respectfully D. E. D. I. C. A. T. E. D.
BY HIS MOST OBEDIENT SERVANT,
EUGENE WETROMILE, S. J.
-
-
-
-
-
- - -
-
-
-
- - -
- -

KETCHI PATLIAS,
PIU S N U L I,
s A N G M A N,
MEHQuiquant, wasp'rkikiT, TE MEKKASEwiguour.
KETCHI NIWESK,
R U L A M W I Q U E L UT A N Q U E,
H A to H1 N A N G AM Ess I A H 1 AM. I. Hºw I g AMI kook.
TCHIBATook UGALNEMAN wrºtohitch,
ANDA METRASESIWAN,
H A to III NAN g AM Ess I p A T LIAN s \ k.
KETCHI KIA WIGWAM,
EDotchis ANGLºck wigwam,
kisſ KANBAMISTAMEN MEssi KETUNALUsque.
TCHIBAtook KIA MENHPLAwi KEMEssinºmēN,
waMBANBLALL EGHIMoguoh Ak HATCHI
SKUKTAMOOK.
MEHQUIQUAHNTCHIK MEssi ULLAM woulºuTAHHAök,
PEHINEMooR, NITCHANNAwAK,
NIGwAMNAUwALL,
NATIELwikki NAUw? LL, Ksibumnault Harcuſ
MAquossbºm Nauw ALL.


TO THE GREAT PATRIARCH,
PIU S T H E N IN TH,
OVER THE WHOLE WORLD,
RED FACES, PALE FACES, AND BLACK FACES.
THE GREAT SPIRIT
MAY SMILE UPON YOU, AND THE UNIVERSAL WIGWAM of PRAYER.
MAY HE HOLD THE BAD SPIRIT,
THAT HE MIGHT NOT HARM. YoU, AND ALL OTHER PATRIARCHS.
MAY YOUR GREAT WIGWAM BE STRONG WIGWAM,
TO CONQUER ALL yout Esºmes.
MAY YOU GET AN ABUNDANCE OF WAMPUM, WENISON, AND TRouT.
GIVE A SMILE TO ALL THE RED FACES,
To OUR SQUAWS, TO OUR PAPPOOSES, TO OUR WIGWAMS, TO OUR
HUNTING-GROUNDS, TO OUR RIVERS AND LAKES,












P. R. E. F. A. C. E.
THE design of this volume is, not only to give some
practical instructions on Church-music, in order to aid
the native Americans to sing the praises of the Lord ac-
cording to the different rites of the Catholic Church, but
also to preserve several unwritten national tunes, kept by
them only by tradition. I have endeavored to collect
all the Indian airs, that I could, but, unfortunately, sev-
eral of them are lost; and although I have succeeded in
preserving the words, yet I was obliged to substitute
several new tunes in order to enable the children of the
forests, not only to sing them in the house of the
Almighty and upon the graves of the deceased, but also
to make the dense forests, the lonely wilderness and the
shores of the innumerable rivers and lakes resound with
melodious notes in their hunting and fishing excursions.
The native Americans have a natural disposition to mu-
sic. Their feelings are readily expressed by tones. Fear,
joy, devotion, sorrow, anger, etc., are manifested with pe-
culiar tones, and well understood by them. Their soft,
musical and poetical language enables them admirably to
express these feelings of their hearts. The rules of Har-
mony being too complicated for them, and the strict
mathematical division of time in modern music, retarding
the spontaneous expression of their heart, account for the
preference that they give to melody above harmony, and
to the Gregorian Chant above the Figured Song. The
solemnity of Church-music suits the Indians, who are
generally grave even to sadness, and who have none of
the giddy vivacity peculiar to some nations of Europe,
and who despise it.
For a number of years I have tried to introduce among
them some masses and hymns of modern music, but

V1 PREFACE.
without success. Hence, setting aside the Figured-song,
I resolved to cultivate among them only the Plain-chant,
and something of the Broken-chant, (cantus fractus.)
Their singing school is conducted by three able Indians,
Salomon Swassin, Sapiel Sakalexis and Misel Nicolas, the
first of whom has been, for a number of years, instructor
and leader of the choir of the city of Bangor. Even at
present, in the magnificent Church of St. John the Evan-
gelist, built by Rev. John Bapst, S. J., while the sacred
music of the grand choir, so ably conducted by Prof.
Horace Streeter, make the lofty Gothic vaults of that
Temple echo with harmonious notes, the modest Indian
Salomon Swassin, unnoted in a corner of the Church, and
amazed at its grandeur, will point out with pride the
principal members of that choir, who received the first
Church-music instructions from him. He cannot repress
the joy of his heart in remembering that he first planted
Church-music in Bangor, that he was the first leader
of the choir, and that he first, with other Indians, made
the humble old St. Michael's Chapel resound with sacred
melody. With a grateful heart the poor Penobscot In-
dian will pour out thanks to the Almighty for the pros-
perous success of his labors, and for the increase of Cath-
olicity on the shores of the Penobscot.
The manner of spelling and pronouncing the Indian
words is according to the rules given in the ALNAMBAY
ULI AwſkHIGAN, published by Messrs. Dunigan and
Brother. There is, however, some difference in the
hymns and masses. These, as found in the former work,
are in the Passamaquoddy language which the Penobscot
Indians do not read in the same manner; hence several
modifications have been introduced in order to gratify
the just requests of the Penobscot Tribe, which at present
is committed to our spiritual care.
BANGOR, 1857.

A N A BRIDG MENT
OF
T H E G R E G 0 RIAN C H ANT.
-
--
0 HAPTER I.
SECTION I.-DEFINITIONS IN GENERAL.
SINGING is a modification of tones uttered by the
human voice.
Toni, is a sound modifiable both in the loud and in
the soft, but always firm in one point.
MELODY is the progression of sounds performed by
a single voice; but if several voices contemporane-
ously sing the same melody, it is called singing in uni-
son. Two or more melodies, sung at the same time,
form a Harmony.
SECTION II.
DIVIS I O N OF T H E S IN G IN G.
The Singing is divided into Plain Chant, Broken
Chant, and Figured Song.
The Plain Chant, called also the Gregorian Chant,
is a simple melody, or a Song in Unison, which pro-
ceeds slowly without a strict rigor of time.


8 AN ABRIDGMENT OF
The Broken Chant (cantus fractus) is a melody or
harmony executed with a strict rigor of time. It is
also called Alla Palestrina, from its author, the cele-
brated Giovanni Pietro Aloisio of Palestrina.
The Figured Song is the same as the Broken
Chant so far as it regards the melodies and the rigor
of time, but it is expressed with the modern notes,
and it comprehends the alterations produced by the
addition of musical instruments.
SECTION III.
T H E S T A FF, AND T H E N OTE S.
Four lines drawn over each other form a Staff, or
support for the Notes, thus:
:
The Notes are characters located either on the lines
or in the spaces of the staff.
– H =====C= H
– I I L
l 2 3. 4. Guidon.
* These characters or notes are four. The first is
called Double, as if it were composed of two notes to-
gether; hence it is sung with double duration of voice,
and with slower time than the others. This note is
most commonly found at the commencement of the
text.” The second is called Long, and it has less dura-
* The word Text in this work is taken to express every Canticle, An-
them, Psalm, Kyrie, etc.

-
.
º
-
|
ºº
º
º
-
-- -
--
º -
- - ---
-
--- -
-
Lith by Tºw. FT sº nassau Sº, ºr
(, RAVE OF BROTHER OU THET AND RUINS OF S: SAW10R'S.
ºn the southeast side of Mount Desert Island site of a mission founded A D 1618
--> º --
ºr -º Baº




THE GREgoRIAN CHANT. 9
tion of voice than the first. The third is called Brewe,
and it is sung with less length of voice than the first
or second. The fourth is called Semibreve, and it has
less duration than the third. The ancients had two
other characters; the Oblique, which represents two
semibreves at each point, and the other formed of two
breves, one upon the other. Should this last one be
found in some Church music book, the one below
must be sung first, then the one above, giving that in-
tonation which is marked.
The Guidon is not a note, and it is not sung, but is
used only to guide the singer by showing him in an-
ticipation the situation and the denomination of the
following note. Finally, the vertical line, called by
the Greeks Pneuma, is nothing else but a sign to stop
or to breathe, which in the Gregorian Chant is only
used at the end of a word, but in the Broken Chant,
and in the Figured Song, is employed for the division
of measures, and is then called a bar. The double
bar marks the end of a text.
SECTION IV.
T H E T O N E S A. N. D. C. L. E. F. S.
The Tones are seven, marked by the first seven let-
ters of the alphabet, thus:
H-H ===
E.
B C D F G.
A.
These tones can never be known before the location

10 AN ABRIDGMENT OF
of the Clef, which is a character that marks a certain
tone on a particular line, where it is placed. The
Clef is of two kinds, of F, and of C. The first is also
called Clef of three pieces, because it is formed of three
pieces; the second is also called Clef of two pieces, be-
cause it is made of two pieces, thus:
*
º I
| T
|
is
f
The Clef may be located on any line,” but never on
the spaces; and the note which is opposite to the clef
of F is called F, and the note which is opposite to the
clef of C is called C, thus:
S-e-HS-E H | 1 I
– t-f I *S-e-HSH
Fa, Fa, F8, Fa.
=s===HSH =={ H
+ – +-S---f HS -—T
Do, Do, Do, Do.
SECTION V.
T H E A L T E R A T L V E C H A R A C T E R S.
Every note can be increased, diminished, and re-
stored to its natural sound; hence, three alterative
characters were found, #, b, a. The first is called a
* Some writers are of opinion that the Clef of F is never located on
the two lower lines; but the Missale Romanum, the Rituale Romanum,
the Graduale Romanum, etc., show the contrary.

THE GREGoRIAN CHANT. 11
sharp, and it increases the note by half a tone. The
second is called a flat, and it diminishes the note by
half a tone. The third is called a natural, and it re-
stores the note to its natural tone. The first and third
characters are seldom or never found marked in mod-
ern Church music books.
These alterative characters are either essential or ac-
cidental. They are essential if they are placed at the
beginning of the Staff, after the Clef, and they affect
all the notes of the same letter throughout the text.
They are accidental when they are found before some
particular note, and then they affect that note only
and no other in the text.
ExAMPLE 1.
Invit. Dºrun.
======E======E====EH
I LL
We -ni - te ex-ult - e : mus Do-mi - no,
Esº-E-HE-EEE
ju - bi-le-mus De-o sa - le - ta - ri nostro.
ExAMPLE 2.
ANT.
s bºr
- ------ - – - - -
=======E========E="E====
Es-to-te fortes in bel - - lo, et pu-
s—s -
SEEEEEEEH ==Tºm FITF
T
gna - - - te cum - an - ti - quo ser - pen-te.

12 AN ABRIDGMENT OF
SECTION VI.
T H E H E X A. C. H. O. R. D.
In order to facilitate the modification of tones, the
Ven. Guido, a monk of Arezzo, in Tuscany, about the
year 1022, took from the hymn of St. John the Baptist,
six syllables; Ut, Re, Mi, Fa, Sol, La : and he fixed
the Fa for the key-note, in which was the Clef, and lo-
cating by degrees Fa, Mi, Re, Ut, from the Clef down-
ward, and Fa, Sol, La, from the Clef upward, made
the Heaachord, that is, the succession of six notes;
thus:
The Italians, for the sake of a softer pronunciation,
have changed Utinto Do; and the French (La Maire)
have added the syllable Si, for the seventh, both
which alterations we adopt.
From Do to Re the voice must rise one tone,
From Re to Mi the voice must rise one tone,
From Mi to Fa the voice must rise a semitone,
From Fa to Sol the voice must rise one tone,
From Sol to La the voice must rise one tone.
This forms a perfect Hexachord, because it is com-
posed of four tones, and of one semitone. The same
proportion with a retrograde order must be observed
in descending.
This perfect Hexachord with the above mentioned
syllables is for the Clef of F, because the note oppo-

THE GREGORIAN CHANT. 13
site to it is F, and it must be called by the syllable
Fa; but in the Clef of two pieces the denomination
of syllables must change for two reasons: First, be-
cause the Clef is of C, and the note, which it marks,
is C. Second, because the note, which is opposite to
the Clef must be called Do, for the reason, that be:
tween the Clef Fa and the Clef Do there is the dis-
tance of a Fifth.
C H A P T E R II.
SECTION I.- THE INTERWALS.
MELoDY has, in respect of tone, two distinct mo-
tions; that of Degrees, and that of Skips.
A Melody proceeds by Degrees, when it moves to
the next line or space above or below, thus:
* 1st Tone, 2d Final.
—s------|--|-º-º-Hºº-º-º-H -º-Hº- + --Hº-Hºº-º-º-
=====================
Dixit Dominus Domino meo: Sede a dextris meis.
A Melody proceeds by Skips, when it omits one or
more Degrees, as in the following example.
- - Hxxx roe Lºr,
*SE---------------H
Audi, be-nig - ne conditor, nostras pre-ces cum
issi-I------T-i-º- ---
*S*H ==============
fletibus, In hoc sacrojejunio, Fusas qua-dra-ge-'na - ri-o.
2

14 AN ABRIDGMENT OF
In general, Degrees and Skips are intermixed, as
the above example shows.
The Degrees and Skips are both called by the gen-
eral term Interval, which is the distance between two
sounds, or their difference in respect to Pitch.
SECTION II.
T H E E IN A. L. N. O. T E .
The last note, in which every Text finishes, is called
Final note. This note in all the eight tones is the
same Fundamental note. If any Text should termi-
nate in a note different from the Fundamental, that
Text is called irregular. For Fundamental Note we
understand every tone which the composer fixed as a
centre to which all other tones have relation.” In
Plain Chant the Final Notes are four, D, E, F, G.
D is the Final Note for the 1st and 2d tone.
E is the Final Note for the 3d and 4th tone.
F is the Final Note for the 5th and 6th tone.
G is the Final Note for the 7th and 8th tone.
* In modern music, the Fundamental Note is the Tonic, or Key-
Note, and it is that chief sound, upon which all regular melodies
depend.

THE GREGORIAN CHANT. 15
SECTION III.
MANNER OF FINDING THE TONE TO WHICH A TEXT BELONGS.
In order to find the Tone, to which a Text belongs,
it is necessary to know the intonation of Psalms to
perfection, because the intonation leads to the know-
ledge of the Tone in which the Text is written.
The 1st of the eight Tones is in D, minor third;
the 2d is in C; the 3d is in C; the 4th is in A, minor
third; the 5th is in F; the 6th is in G ; the 7th is in
C, minor third ; the 8th is in C.
This is enough only for the antiphonies of the
Psalms, but it is not sufficient for the Tractums,
Graduals, Offertorias, Glorias, Credos, and other
Texts not preceded by a Psalm. We will treat of it
more completely in the 2d Section of the following
Chapter.
C H A P T E R III,
SECTION I. – OF THE EIGHT TONES.
ALL tones are divided into Authentics and Plagals.
Those tones which have the fifth above the Funda-
mental Note, and the fourth above the fifth are Aw-
thentics.
Those tones which have the fifth above the Funda–
mental Note, and the fourth under the same Funda-
mental Note are called Plagals.

16 AN ABRIDGMENT OF
The Plagal tones have in common with the Authen-
tics, the Fundamental and the fifth.
The Dominant, or fifth above the Fundamental, is
that sound, which, from its immediate connection
with the Final, is said to govern it. This is the fifth
in the Authentic tones, and the Octave in the Plagal.
TABLE.
Dominant. Final.
First Tone . . . . . . . . La R
Second Tone . . . . . . . . Fa ! . . tºe.
Third Tone . . . . . . . . Do Mi
Fourth Tone . . . . . . . . La } - - -
Fifth Tone . . . . . . . . Do F.
Sixth Tone . . . . . . . . La } - - lºa.
Seventh Tone . . . . . . . Re Sol
Eighth Tone . . . . . . . . Do - - -
A Medial Cadence is a note distinct from the Funda-
mental, and is used to express an incomplete close.
The first tone, Authentic, in harmonical division,
has the fifth above the Fundamental, and the fourth
above the fifth ; it goes from D to its octave d with
the minor third, Re, Fa, and it is generally written in
the Clef of F. The texts on this tone may commence
from these notes, C, D, E, F, g, a. The Medial Ca-
dences are generally D, F, a, and very seldom, E, c, g.
The second Tone, Plagal, in arithmetical division,
has the fifth above the Fundamental and the fourth
below it; it goes from D to a above, with the minor
third, Re, Fa, and to A below, forming its octave from
A to a. The Clef is supposed to be the same as in

THE GREGORIAN CHANT. 17
the first tone. The texts on this tone may com-
mence from A, C, D, F. The Medial Cadences are
A, D, F, a.
The third tone, Authentic, in harmonical division,
has the fifth above the Fundamental, and the fourth
above the fifth; it goes from E to its octave a with
the minor third Si Re in the Clef of C, and Mi Sol in
the Clef of F. The texts on this tone may commence
from D, E, F, g. The Medial Cadences are generally
in E, g, a, b.”
The fourth tone, Plagal in arithmetical division, has
the fifth above the Fundamental, and the fourth below
it: it goes from E to b above with the minor third Mi
Sol; and to B below, forming the octave B, b. The
texts on this tone may commence from C, E, F, g, a.
The Medial Cadences are B, E, g, b.
The fifth tone, Authentic, in harmonical division,
has the fifth above the Fundamental, and the fourth
above the fifth ; and it goes from F to f with the ma-
jor third Do Mi. The texts on this tone may com-
mence from F, g, a, c. The Medial Cadences are gen-
erally F, a, c, ft. The texts on this tone may proceed
either by b or by a. Those progressing by a are gene-
rally irregular, and its Fundamental, F, is scarcely to
be recognized except in its final note. Those texts
progressing by b are more regular.
* The Fundamental of this tone is E, in the Clef of F. But in the
Clef of C, if the Text marks the third tone, then the Fundamental
must be B. .
+ Bº, although the fourth of F, yet cannot be a Medial Cadence,
otherwise it would require Eb as the fourth of Bh, which would go
beyond the Diatonic Genus, and enter on the Chromatic. The Plain
Chant is strictly in the Diatonic Genus, hence it has no Ep.
2*

18 AN ABRIDGMENT OF
The sixth tone, Plagal, in arithmetical division, has
the fifth above the Fundamental, and the fourth below
it; it goes from C to c with the major third Fa La.
The texts on this tone may commence from C,
D, F, a, c. The Medial Cadences are C, F, a, e, and
the progression can be either by H or by b as in the
fifth tone.
The seventh tone, Authentic, in harmonical division,
has the fifth above the Fundamental, and the fourth
above the fifth; and it goes from g to its octave gg,
with the major third Do Mi, or Sol Si. The texts on
this tone may commence from g, a, bb, c. The Me-
dial Cadences are g, bºa, c, d, gg.
The eighth tone, Plagal, in arithmetical division, has
the fifth above the Fundamental, and the fourth below
it; it goes from D to its octave d with the major third
Do Mi. The texts on this tone may commence from
D, F, g, a, c. The Medial Cadences are g, bº, c, d,
and seldom in D.
Regular tones are those which commence either from
the first, or third, or fifth, or eighth note. Those
commencing otherwise are Irregular.
Perfect is said of every tone that has the exact ex-
tension of its octave.
Imperfect is the designation of every tone that does
not fill the extension of the octave.
Pluperfect is the name of a tone that exceeds an oc-
tave in some note, either in the acute or in the grave.
Maced tone is that which participates of both Au-
thentic and Plagal with the same Fundamental; that
is, it may have a fourth above the fifth, and another
fourth below the Fundamental; so the first tone may

THE GREGORIAN CHANT. 19
be mixed with the second in the grave; and the sec-
ond with the first in the acute.
Commized is the name of an Authentic tone, which
exceeding its octave, participates of a third of another
Authentic tone of different Fundamental; or a Plagal
tone that participates of a third of another Plagal of
different Fundamental. So the first tone may be com-
mixed with the fifth, if progressing above its octave
d, it ascends to f. The second tone may be commixed
with the sixth, if exceeding its octave a, it ascends to
C. It is to be observed that in the Plain Chant there are
texts, which are transposed. When the transposition
is made in one of these four Fundamentals, D, E, F, g,
such a text is said simply to be transposed; but if the
text is transposed in other notes, it is irregular.
SECTION II.
FURTHER DIRECTIONS FOR FINDING THE TONE TO WHICH
A TEXT BELONGS.
In the Roman Choral books, to the final note of
every Antiphony there is marked the conclusion of
the Psalm or other text corresponding to the tone of
the said Antiphony, and to this conclusion there are
set the vowels, Evo v ae, taken from the vowels of
the words “seculorum Amen.” Thus the Antipho.
nies of the first and second tones terminate in the
final Re; if the first note of the evovae is Laº the An-
* The first note of the evova e is the Dominant.

20 THE GREGORIAN CHIANT.
tiphony is of the first tone; if the first note is Fa, the
Antiphony is of the second tone, and so forth. See
Table, page 16.
The same rule is to be followed in regard to Gra-
duals, Responses and Introits, in which the Dominant
is easily found from the verse or Psalm that follows.
The tone of the Invitatories will be found by the
same rule, by observing their final, and the first note
of the Venºte.
The tone of Responsories will be found by the last
note of the repetition and from the first of the verse.
The tone of Graduals and Tractums will be found
by the final, and by the first note of the verse that fol-
lows. The verse, however, does not always follow
this rule.
In order to find to what tone an Imperfect text be-
longs, which does not pass over the fifth or sixth, it is
necessary to observe the common note; that is, the third
above the final. If the text frequents more often the
third above the common note, then the text is Authen-
tic; but the text will be Plagal, if it more often fre-
quents the third below the common note. For in-
stance, the first and second tone terminate in D, the
common note is F.; if the text more often frequents
A, the text belongs to the first tone; but if the text
more often frequents D, it is of the second tone, and
so in other cases.
With these rules and with practice it will not be
difficult to find the tone of the Kyries, Glorias, Credos,
and of other texts having no Psalm or Verse.

EXERCISES. 21
SECTION VII.
SCALE FOR THE CLEF OF THREE PIECES.
—======"—T-º-º-º-E-----
F============={
Do, re, mi, fa, sol, la, si, Si, la, sol, fa, mi, re, do.
Progression of 3d by Degrees.
*E===H---- H======
ESE====E====E====E===E=EH
s===E==E={== H=
Progression of 4th by Degrees.
*H --- ====E=======
sº-º-º-º-HEEEEEsH
Progression of 4th by Skips.
m_m .
FF- ==== --- == *E ====

22 EXERCISES.
Progression of 5th by Degrees.
SE=====E=====E=====
__
S==== ============ ---
Progression of 5th by Skips.
- __________ --
I H===
Progression of 6th by Degrees.
—- —s º-
=========E======
IIT L f =Lº I
-
=s-º-º-º-º- L-º-º: I
- s———--- ---
s ==EH *–E–F–F–F–F–F–H
ſ
Progression of 6th by Skips.
º --I *—r—- I-A
=== H. --H
H
Progression of 7th by Degrees.
-- —m º ºſ- -----
HSE===== =="Tºº-º-º-º: T - C
========E=======E=E
Progression of 7th by Skips.
Lºs + L
F-ºn --H - HE

EXERCISES. 23
Progression of Octave by Degrees.
–––. Frºpºſe.
$H == E**====FE
Progression of Octave by Skips.
H --L-- T
I T
*SH I =[-º-º-º-
-
SECTION VIII.
SCALE FOR THE CLEF OF TWO PIECES.
======H
S== L T_L
Sol, la, si, do, re, mi, fa, Fa, mi, re, do, si, la, sol.
Progression of 3d by Degrees.
S== ====E=E===Hºº- *===
----
SH
Progression of 3d by Skips.
--- E=E===E=E=E.
=== ==E= H - I T
- T-I-T II T
s=== H- == Ełº-H
Progression of 4th by Degrees.
SH--------Hºº-ºº:
L I

24 EXERCISES.
S================ sº-
Progression of 4th by Skips.
SEFE*E****==========
Progression of 5th by Degrees.
SH-E-----E-F----
Hº- I
Progression of 5th by Skips.
==E===T-º-Tº-Hº-Tº-T-
H-Hº-Hº-
Progression of 6th by Degrees.
SH
- __
––s
SE=mEºs: *† ==
|- *Tsim f ===HE
Progression of 6th by Skips.
S===E==E====== .
*-a-FEE-F#–E–F#–E–F–F
Progression of 7th by Degrees.
SH*H

EXERCISES. 25
—º- ---
S===#EEEEE -º-º-º:H
Progression of 7th by Skips.
Hº-Hºº-º-EF
º L º ==T-º-º-º-º:
S=
Progression of Octave by Degrees.
SH-------- ** ===== -
f ===Tºtº-" —t-L ====Tº-ºn-
Progression of Octave by Skips.
s —º-T-Fº H
|-- º I s—º-º-º-
E
SECTION IX.
INTONATION OF THE PSALMS.
Intonation of the 3d above the Final of the Antiphony.
TONE I. .
ES-HE"H
Fin, of the Ant. T-
Dix-it Do-mi-nus Do-mi-no me-o,
--
--s-s-ſ-s-ſ-ſ-s----g-g-g----—H·
se - de a dex-tris me - - - - - is.

26 EXERCISES.
Intonation, the 2d below the Final. -
TONE II.
- SLT-E-o-º-º-º-º-º-º-T—º.
His–E–F–Fs f º
Fin. of the Amt. - - - -
Dix-it Do-mi-nus Do-mi-no me -o,
Es-E============
se - de a dex - tris me - is.
Intonation, the 3d above the Final.
TONE III.
--—r-—º-o-º-º-o-º--—m-r—
ESE=E== ====EH
F. of the Amt.
Dix-it Do-mi-nus Do-mi-no me-o,
—º-º-º-º-º-
ISE=E=E=EH == –E–F––––––
ºs º
se - de a dex - tris me - is.
Intonation, the 4th above the Final.
TONE IV. -
Es–E–F–F–F–C–F–F–F–F–F–F–
sº - T +
l_
F. of the Ant. - - - . T
Dix-it Do-mi-nus Do-mi-no me - o,
I-Tº-º-º-º-F-
SE= –º- f
t
se - de a dex - tris me - is.
Intonation, the Final.
TONE V.
S-B-E-º-º-º-º-º-º-º-º-E-
º TL
–s ºil ºn -
F. of º Amt.
Dix-it Do-mi-nus Do-mi-no me-o,
SEE---------- H
E º–E
se - de a dex-tris me - is.

EXERCISES. 27
Intonation, the Final.
TONE VI.
H - T = E_2 = . .
ESEE=====< * **** ====HE
Fºr the Anº. - T
* * * * Dixit Do-minus Do mino me -o,
L I
–––. --——-a-º-
s º-º H----E---—
I se - de a dex-tris me -is.
Intonation, the 4th above the Final.
TONE VII.
H ----- Tº 2- Tº IT-
- -º-º-º-º-º-s—-
SE=============H
sº e Ant.
t
Dix - it Do-minus Do - - mi-no me-0,
IºIRIº-º-º-º:
F Iº-E
se - de a dex-tris me - is.”
H
Intonation, the Final.
TONE VIII.
* º
–––––E–C–E–F–C–F–A–º-H
s== -º-º: TTT
F. of the Ant. - - - -
Dix-it Do-mi-nus Do-mi-no me-o,
-
S-E-F-Tº-F –
º º-º-º:
se - de a dex-tris me - is.
|-
Irregular, or Maced Tone.
s==E======================= -
T
Antiphony.
In ex-i-tu Is-ra-el de AE - gypto,
do-mus Ja-cob de populſo bar II.I.º- -
* Notº-If this Psalm is transposed to D, it will always com-
mence from the 4th above the Final, that is, from G.

SANGMANwſ MALIAL quEssios-Kwſ.
LIDGIL, LITANIAIHANGAN.
s========**======"=========
T CT I " ' T
-T-
Jesus, K'temanguelminé, Nixkam K'temanguelminé,
Jesus, K'temanguelminé, Nixkam tehiksdaweminè,
Nixkam, tehiksdaweminè, eli welikudmolek.
======–e—s—s—u—s—bº-s-s-ſ-s
º–E– ICT
Ke-tchi Ni - we-skum spomkik we - kus-sit,
Ke-tchi Ni - we-skum weniktankussit kikaholak,
Ke-tchi
Ni - we-skum wetchi-uli Niweskuit,
Wewessi Ntloak pesekoon ketchi Niwesskohanganohan
K’temanguelminè.
K’temanguelminè.
K’temanguelminè.
K’temanguelminè.
LIT. N. 1.- For common Festivals.
s===E=====E== **====E
ſ Hº- L
Sang- ma-wi Ma-li-e, Pambaktamawewiné.
LIT, N. 2. For Advent and Christmas.
Choir.
Sºº-o-º-º-º-º-T- l I -
Shº-º-º-º-º-º-Hºº-º-º-º-º-H T
Sangmanwi Ma-lie, Sangmanwi U-ne-mani-an,
SEF=====E=======HE
Ketchi Niwesku, Pambakta-ma - we - wi-nē.

LITANIES. 29
All Indians.
SEE---Hº-Hºº-ºº::=H
Pambaktama, Pambaktama, Pambakta-ma-we-wi-nē.
LIT. N. 3.- For Lent.
<>
Sºº-º-º-º-Fºs+= *-**-*-*-m-s-s-ſ-s
ºs t T - ––H-E
| T L.
Sangmanwi Malie, Sangmanwi u-ne-ma-ni-an
b __a_su_s_-_&_s__
ES-º-o-º-º-º-º-º: + º —º º º * º + f
T F--f I -
Ke - tehi Ni-wes ku, Pambaktamawewiné,
– b –s-------------------——
Lºs T-TºI. TITTs TºTSTI = Tº Tº I Tºº LTTI
#SE==E=========EH
Pambaktama Pambaktama Pambaktamawewine.
LIT, N. 4–For the Great Festivals.
. __
—- -º-º-º-ºs--H = Hº-º-as--———
ES-H-I-Hº-Hº- =============
Sangman - wilºſa-lie, sangman - wi ul - Ile-Ima-
I-IIIs bººm a FT-º-º-º-
is-n-Hº-seº == ={ *===== H
nian, Ketchi Niwes - ku Pambakta-ma-we-wine.
-
Sangmanwi Malie.
Sangmānwi Unemāniān Ketchi Niwessk.
Sangmanwi kissianak Kussian.
Nixkam Wénemanian.
Spomkik widjoketohangan Unemāniān.
Kigaus banqui.
Kigaus ngodali. >
Kigaus qxhitisque.
Kigaus mêsmaåwenwussänmenawial.
Kigaus messiawenamóxandjin.
Kigaus Ktchitamitāhamma.
Kigaus kisi hihëk
-

30 - GLORIA.
Kigaus kigahihèk. |
Pêminakūssian ulikënketóp.
Pêminakūssian ketchidbussian.
Pêmintehètohôkūssian.
Pêminakūssian elsanian.
Pêminakūssian kiabèsnsanian.
Pêminakūssian ksanbitahamoquêssi.
Pekkanbamoquêque.
Pêmiwewitahasuwin wit.
Olitahanskägón.
Kºtchekāqueétawapit.
Ulitawapit.
Ettawapit ahiamihëwangan.
Pesquasawęshikiktitchitchiàque.
Pitahassó David.
Wambibitasso. - |
Wisamimänikamique.
Ktolâquealanquëtin.
Spomkik clangan.
Spånswi wattawéssu.
Sanglåmassi pemalökemook.
Knatchiwitchitikemälsakamikswanganal.
Nalilito equambāmālsia.
Nuitchiokéma Pambaktamoinohak.
Kindgèmussisque Anzèliak.
Kindgèmussisque Patliansâk.
Kindgèmussisque Ktchikpusswinwäk.
Kindgèmussisque Utúkkanah.
Kindgèmussisque Nehlotchik.
Kindgèmussisque Kinomassohinohäk.
Kindgèmussisque Wewandam winohak.
Kindgèmussisque messi Wewessitahansuhanganall.
Kindgèmussisque Wewesinamikússo.
------------ - & a --
Es-º-º-º-º-º-º-º-º-º-º-º-º-º-º-º- •-s-
*SE - H
Zezus ay - mata watta uskitchinwak uneyotiwall.
Zezus ay - mata watta uskitchinwak uneyotiwall.
Zezus ay - mata watta uskitchinwak uneyotiwall.

GLORIA. 31
= a, ſº *—s—
==S º-Kº º & Fº
T
A - he hel-da-ma-wi-nē.
Tchiksdaweminè eliwilikudmolek.
Kºte - man-gu - el-mi- në.
MASS ALLA PANTORALE–FOR CHRISTMAS NIGHT.
Kyrie.
s - - L_m
I --------------|-----------H
Zezus Ketemanghelminé, Zezus Ketemanghelmine,
s .
S. s. A IO –––––– -
* * *TTFIIs a HI& E- H
He->======Hºº-º-º-º-Hi
Zezus Ketemanghelminè, Ke - te-manghelmine.
–––––. I
II. L | – I
Nixkam, Nixkam, Nixkam, Ke-te-manghelmi-nē,
She is E-si-a-Ibas-Hº-º-º-Hi
*
s I ºf-zº-º-
Es---> Hº-s-s-E-º-º-º-H-
E===Le e-º-º-º: I L -
Zezus Kete - manghelminé, Kete - manghelminé,
º -
–––– _
Ke - te - man-ghel-mi-nē.
H
Gloria.
Chorus.
-
S====== Hit-s-s-I
Tº º º I H ==
Aghim, aghim, aghim, K'tankam-i-kook u - le.

32 GLORIA.
º —-r-º-º-z--——-I--º-º-º-º-º-º:
S+H===H H
joltidjik kessit seyaltidjik Kemamptchimulpena,
ſ
s—sº-T-º-º-º-º-º-º-T—Z------
s–C–E *Hºs sº-H He–a– ==#
Kuli-mul-pena K'talaso-mul-pena, Kuli-mul-pena.
* Chorus, -
- D. L.
Hº-s- ============ ===
:S: Aghim, aghim, K'tankamikook, u-le-jol - tid-jik.
s -
I-III-I-I-II**E****, I
==========Hºº -*-º-º-
Aghim, aghim K'tankamikook u - le -jol - tidjik.
s L __
TTE Tº Tº Tº Tº Tº Tº T3TºTTTTTTL Tº TITEL
|- H ITC a sº-º-º: ---
K’tchi-tamite-hel-mu-pena ndwe-tchi moy walteque,
S—º-º-º-º: H_º *
TºllTTTTT ====E="F-FEEE
K’tchi Sangman-wi tehelmo-kus-sian Anixkam
Sbº-s-s-s----- —o-º-º-º-o-º-º-
TT. Tº KSTITIE, E.
Esº-hº
L T
Wesangmanmièque spe-mook e - yan Anixkam
Shºst-in-a- T L---
*******E=E.---------------H
we - kus - sian messiu kegus nit-ta-wit-ta-wan,
s
- º
=============F
mes-siu kegus nit-ta - wit-ta-wan. S. Aghim, &c.

GLORIA. 33
- __
s- IITT --> -- F--------
*E===E===== His e-º-º-º: E*-ā-
Nixkamièque Ze-zus nilon mºdwetchiu-ju- sowel-
º
I 4–ºn-e-- ---
7 H-º-º-º-º-e I
E-S-E-R-E-s-s-s-s-s L–- ===H
si- a -sa, Anixkam wenikan- kus - sian,
* . .
IºITT. TTL 2 - T ----|--|-
*== <= H Fºfº = ==Hºssa. º
a -yn-a-ta wa - ta us - kitchi - nwak
* + I +a _
- –G– <>– --- -----
Is & F & E-i º HEE o-º-º: H-s—º
u-ne-yo-ti-wal Ke-te-man-ghel-mi-nē, Keteman-
SIºIºsiº B-I-Is H º
I Hºs * & s º E
ghel - mi-nē, Ke-te - manghelmine. S: Aghim, &c.
s I - bº
E- º–º-ºº-ºººº- -
E--->===============º ºff
A - yna-ta wa - ta us - kitchinwak
* º
s—s - Hº-º-º-º-º-Hºº-º-º:
============ Hº-º-º-º-º-Hº-º-º:
u - ne - yo-tiwal we -u-lit-chel-mi-nē, u-li-
º bas-
------------------ 6-ac-ºs-
****E=====E------ *===
nankana-ghe-pit-ta-wan Kemiktangus well - lis-ta-
H
wi-ne, weu-lis-ta-wi-nē. S. Aghim, &c.

34 GLORIA.
º – ---
Sºº-º-º-º-º-Hº-
Kil ku-tok - ka-hi-u Sangman - win, Ril kutok-
S-ºoº-ºº---Thº-º-º-º-T-E-------
****= H *H*E***
ka - hi- u kes - sis-sey - an kil ku-tok-ka-
s º_º
s=3–E–F–F–F–C–F–C–C–F–F–F
L–g ºf L–L
hi - u Kºtchi - ta-mi-te-hel - mo-kus - si - an
*
ST=Tam Tº T-I-
º ---
[T ºf Hº-Hº-H
Ze - zu-kli te - de - biu Sang - man - wi
S== I ----
Hº-Hºº-º-º-º-Hi-Es-E-F-H
te - hel-mo-kus-sit we-tchi u - leyt Nix-kam-wit.
s
S = e−e TTT = e− an 8 FTE st
=============<===E==
Te e - le - - - yt, Te e-le - - - yt, Te e -
C. R. E. D. O.
ALLA PALESTRINA. P. 36.
Sanctus.
* -
==========E=======E===
Kes-sis-sey - an, Kes-sis-sey - an, Kes- -

GLORIA. 35
º L
Pi—su-º Hº-H
- --- I - —º - - -
H-s-s-s-Hºº-º-º-tº-º-º:
sis - se - yam we-sang-man-mi-ek ya-la - so-
[b+ º-ET:
s
===========H
man An-ze - li-ak us - kit-chin-wak, Ketchi sang-
s
- - - º–
====E-ED-E-o-º-º-º-º-º-º-º-E----
---T I I
man - wi te - hel - mo - kus-sit spe-mook ak
–––––a–s-º-o-º-º--------
S-s-s-s T &_- If
I s—E-HH
Ktan-kam-i-kook tchi-ba-took u - - lim'sk. S:
*
- - _ HITs Tif
==========HE EIF
Nixkam, Ze-zus spe-mook u-tchi nant - si
S H
H-Hº-º-o-º: º
u - la - sou - yan, S. (Nisda.)
Agnus.
s
Cº-CT Tº Tº Tº TE TI-Lº-Tº-T
E*-*=========E=- =====H
Ze-zus a -ym - a - ta us - ki - to him - wak
s -
s—º-e –––
------->--—
u - me - yo - ti - wal Ke - te - manghel-mi-nē.
| – i
=========E=====*======= If

36 CREDO.
* 1– -
*E*=====E====HE = *H
Ze-zus a -yma-ta us-ki-tchin-wak u - neyo-ti-wal
S-E- <> I - ºf E-
=========E=======H
Ke-te-man - ghel-mi-nē. Ze-zus a-y-ma - ta
S– I
E*** ====== ========EH
u - ski - tehin-wak u - me - jo - ti - wal
s I º
=====Hº-Hº-H
K’mil-go-ne - na Kbels-gwi - ne - na.
CRED0, in Broken Chant,
ALLA PALESTRINA.
Seii:##########EE- º
t H-H º H i <> º ---
1. Patrem om-ni-potentem omni - potent - em,
3. Et ex pa -tre natum, ex pa - tre na - tum,
5. Ge - ni-tum non factum, genitum non fac-tum,
7. Et incarnatus est, incarna - - tus est,
9. Et re - surrexit, et re - - - - surrex - it,
11. Et iterum venturus et i-te - rum venturus est,
13. Qui cum Patre et Filio, cum Patre et Fi - lio,
15. Confiteor u-num bap - - - - - tis - - ma,
17. Et vi-tam ven-turi, ventu - - - - - - ri,

CREDO. 37
s—h-i-º-º-º-º: --a--tº-2-a-sn-HIs.
sº-ºº::::H #########
1. Factorem coe - li et ter - rae vi-si-bi-lium om-
3. Ante omnia saecula an-te Om - na
5. Consubstanti-alem Pa - tri, Per quem omnia
7. De Spi-ri-tu Sancto ex Maria
9. Resurrexit tertia di - e, tertia
11. Venturus est cum gloria judicare vivos et
13. Simula . . do - ra - tur, et conglo ri-fi-
15. In re - - missi – o – nem re - missi - 0-
17. Venturi sae - - - culi ven - tu - ri
-b- === == CH_ ––––– ======
*H*if sº-H: Hi-Fi-f
T-I-I-T- T-I-T O T Ed.
1. ni - um. et - in -vi-si- bi - - - - lium.
3. sae - cula ante omnia sae - cula.
5. facta sunt Per quem omnia facta sunt.
7. virgine et homo et ho - mo factus est.
9. di – e se - cun - dum scriptu - ras.
11. mortuos cujus regni none - rit fi - nis.
13. ca - tur quilo-cutu est per prophe – tas.
15. mem. pec - - - ca - to - - rum.
17. saeculi. A - - - - - - - - men.
º =============== =======EH
2. Et in unum Do - minum Jesum Christum
* }} }. de De - o
Lu men de lu - mine, Deum verum
6. Qui propter nos ho - mines, et propter nostram
8. Crucifixus etiam pro nobis, sub Pontio Pilato,
10. Et ascen - - - dit in Coe - lum,
12. Et in Spiritum Sanctum Dominum et vivificantem,
14. Et unam sanctam, Ca - tho-li-cam,
16. Et expec - - - to re - Sur - rec-

38 MAGNIFICAT.
STTL*Tº TE TITL T
*s-- Le Lº s Lº f = E-º-E-R-E---EEE
2. fi - li – um De - i. u - ni-ge - - nitum.
4. de De - o We - - - - - - ro.
6. salutem descendit de coelis.
8, pas - sus et se - pul - - - - tus est.
10. se - - det ad dex - te - ram Pa - tris.
12. qui ex Pa - tre Fi - li-o-que pro-ce-dit.
14. et A-postolicam Ec - cle - si - am.
16. ti - o - - nem mor - tu – o – rum.
MAGNIFICAT, in Broken Chant.
| |
--- |→
S=b+e−EEE==========EH
ELL TH-5THIFT –s—º-º-º:
1. Mag - - - ni - - fi - - cat “
5. Et misericordia ejus a progenie in progenies,”
10. Sicut locutus est ad patres nos - tros,”
12. Sicut erat in principio, et nunc, et semper,”
* | _r __
Stb-º-º-TuTFTTH =======E=
FE----------f-º-º-º-H TTI
1. a - ni - ma me - a Do-mi-num.
5. ti - men – ti - bus e - und.
10. A - bra - ham et se-mi-ni ejus in saccula.
12. et in saecula sæculorum. Amen.
SººHº +++H:
T- -
2. Et ex-ul - ta - vit spi-ri-tus meus *
6. Fe-cit po - tentiam in bra - chio suo; *
8. E - su - ri - en - tes im-ple-vit boºnis, *
11. Glo - ri - a Pa - tri et Fi-li-o,”

MAGNIFICAT. 39
SHHHHH
- ------- -
2. in De - o sa - lu - ta - ri me - 0.
6. dis-per-sit su-per-bos men - te cor-dis sui.
8. et di - vi - tes dimisit i – na - nes.
11. et Spi-ri - tu - i Sanc - - - - - - to:
Sºi sã is HR = Hi-Hº
3. Quia respexit hu-mi-li-tatem, hu-mi-li-ta-
4. Quia fe - cit mi-hi mag-na qui po-
7. De - po - suit po - ten - tes, po - ten-
9. Sus - cep - it Is - ra - el, Is-ra-el pu-
s_i º ºn as -——
Sºº-H HHHHHHH.
3. tem an-cil-lae su - ae, * ec - ce e-nim ex
4. tens est * et Sanctum
7. tes de se - de.” et ex - al - ta-
9, e - rum su - um.” re-cor - da - tus
| I
S-b- — — — . ====== --------- --
F-º-º-º-º-º-º-Hºº-ºº---º-Hº-Hº-g–3–g H------
HHHHHHHHHHHHHHH-E
3. hoc beatam me dicent omnes gene -ra-ti- o - nes.
4. no - - men e-jus.
7. vit hu - miles.
9, misericordiae Suae.

BAMOSSEY MIHAMOK.
For Corpus Christi.
*_1
º --
**==========EH = <======
--—º t I º––––
E-tu - ta-pin Zè - sus E-samiè uhaghè,
* . . .
*-D------------|--|--|--|--|--|--|--|--|--|--
* = a-º-º-º-º-º-It-º-º-º-º- is:
E. º º: H º º– ==T
Sangmānwi ke-ba-kanoêm E - wikwamu - lièk.
*_1 - --
Sib-º-º-º-º-E. FFF-a-FEE----H
| |- I |- —i-º-
E-tūt-chi mosan-lièk Un-èy - ul- tièk.
S-b º j :
-14––– =-º-º-ºs-- i
H *E*====s====E
Mètch we-kay-o - - lek.
Eli ampsélsian.
Elänmi Ostiwin
Kētawi ksahayan
Elammi neméssun
Wissèkelessian
Uskitchi pipemakän
Anixkam witélmulpena.
Månwiu messiu uhaghè
Petchiliu mosanlièk
Kessiakussian Zēzus
Metsamièk khaghè; - -
Kemillen nēmēssun
Kemillen ntchetchahque
Kemillen messivi m'haghè.
Melkitahansian an’sma
Ketawi mãmptchimook
Kētawi kessaktool
Kwéniuskitchinuyèk
Kil pukt metchèpian
|-
|-
|-
|-|-
|- |- |-
|-
|-
|-
|- |-
|-
|- |-
|-
|-|-
|--
|-
|-|-
|-
|-|-
|-|-
|-
|-|-| |- |-
|-






|-
|-
|-
|-|- |-|- |-
|-|- |-
|-|--|-|-
|-
|-
|-
|- |-
|- |-|-|-
|-|-
|-|-|-|--
|- |-|-
|-
|-|-|-
|- |-|-
|-|- |- |-
|-|- |-
|-
-
|-|-|-
|-|- |- |-|-|-
|-|-
|-|- |-
|-|-
|-
|-|- |- -
|- |- |-
|-|-|-|-|-|-|-|-|-
|-|-
- |-
|- |-
|-|-
|- -
|-
|-|-|-|-
|-
|-|-
|-|- |-
|-
|-
|-|-|-
|-
|- |-|- |-|--|-
|-|-
|-|-
|-|-|--|-
|- |-
|-|-|- |-|-
|-
|- |-
|-|-
|-|-|-|- |-
|-|-
|- |-
|-
|- |-
|-
|- |-
|- |-
|- |-
|- |- -
|- - |-
|-
|-|-|-
|-
|-
|-|-
|-|-|- |-|- |-
|-|-
|-
|-|-







CORPUS CHRISTI'S DAY AT
- OLD-TOWN INDIAN VILLAGE,
ON THE PEN ORS CUT RIVER,






WASIS METCHINET 41
Elamminemèssun
Mètch néktekëyuhièk
Tchêna mantchultinëtch
Spemkik Anzèlitók
Tchilskanwinank
Messiu manwianètch
Nixkam mamptchimanètch
Mètch ulasikwanötch
Mètch nektekyuwanötch.
Mosanlekussian Zēzus
Mitswang'nelsian
Metsamièk khaghè
Mètchi uskitchinuyè
Mètch ikansomine
Aüktam kenantchinegun
Aghim Spemook mantchépine.
Tè eleyt.
~~
WASIS METCHINET.
For the Death of an Infant.
ES-H- =========E== ===== Fi
º-g-H
An-zè-li-tūk ne-ma-welminé, ik-ka-li-me mami-
- kaka-hi-e wetchi an-ta-nēpuhèk sek-pa-ta-pe-lo-tinëk
i
l_
- I
__º -- I-
Cº-º *Tº FIf
ta-li. An-zè-litók, etc.

HYMN,
In Micmac Language.
L -- l
s====Hºº-Hº F.
is ---Hºº-º-Hi E
– mieks, we - tº -li te-helminè.
sº-º-º-º-º-Hº-H
*S-a-H-s-ºn-Sºf EEIf
Kil, Nixkam, Spemočk wétchi a-hinëk, natsi kasswil-
Esº-c = H * ====E=====H
His-–"-----º-º-º-º-º-º-Hº-º-º---
T • * ºn * = a-a-
kamuyèk n'telkemikswaghehuhool, we - u-li te -
s |-
-Es- -
its-a-º-º-º: -
– hel-mi-nē.
Ketelitahazoltipa, nidzantočk, alammkikskat metwehinok;
wéne skat utepitahama kisiholegwil mêtsimilts alanmkiktli
ketemaghèyo; welli tehèlmine.
Wéne idak: Nil, nidzan nemussantzine kegwětchi skat
munsaghèkimahūte; ketemagheyots wene skat ulighèkima-
ku unitzannel, metzimititsalammkiktli ketemaghèyul, wēili
tehelmine.
Tannts wºme utlèssine némat wene Spemočk pèkissit, kisi-
holegwil tipabetsimet, uli pabetsimegolts: kuli ghèkim-
kohossebenik kenighikočkuskitkemiku bemahussihine? U-
tidmen: Skat nºulighekim'kowibenik, male nil teketch wet-
chi ketemaghèhi. Welli tehelmine.
Kil, nidzam, nº not mones skitkemiku bemahussibine. Nil
Spemočk emseta tepēltam. Welli tehelmine.
Kil, nidzam, kêgu kºmesohonek igahak mêtwehik, nil
ketepitahaminia.
Nil kisiholēkpan. Welli tehèlmine.

HYMN,
For Christmas Eve.
------ - —s-as-as-ma-sa-º-º-T-ºn-as- --
is ========E*****H
E-ghe-ta-kawekasim'ghè Spemoºk pantè-ta - zo
FSIEIHTº-Tº-º-º-º-FIT
=============EH == H
evaptchiwi e - hita-pan taketch us kitchinuh-wi-hu.
yap p
-º-º-º-º-º-º-º- ======== H
Awansis kehèlamokuso musantsin-ètch-ta-ni kºtchi-
IsI-Is-ºn-s-s-s-s-------Tº:
*S*E=== ----- - Fºº Fisii
-tchitunétch é-tu-tan-watik kemusan-le-ku-menussa.
(Nisda.
--~~~~~II*-*T*Is His Is IT
ES--> --> H •-g *-E-si-
T -º-º-
Kemusanle-ku-menussa Ke-mu-sanle-ku-ne-nus - sa.
Wetchi taketch elikanwatchit wetchi saskatēmit, keman-
imeguna taki eli uneyultiaque.
Skat anelsiyakwe nºsekasinépatanik kesamsayaki tepel-
omegunatchi Zēzus mêwimelakwe. (Nisda.)

PRAYERS,
Which the Indians are accustomed to sing for the Repose
of the Souls of the Dead.
S-b-a-----—T------------
**========EH =========
sº <>—-
Ke - mos-santswan-ganal san - - - we Zé - - -
* ,
H========Fºº-H
- Zus kes - San - syān sa - ghit - - tutich
* ,
D º: º º -
-----uº" ºn “ºn-a-t--------
u - li - - - - nu - di.
Ketemanghèlmwawa ussighinānque panpayèmi wensanmi
kwankwilomók.
Kemèlkemelpena welighian Zēzus wenitzannian mozak
ketchawittawighèk winukånmelēk, ketemanghèssessian.
(Nisda.)
Kighehine, kanghèssi metchi litweghil wewelmokūssian
kanghessänssian. -
Wesängmanwi tehèlman Zēzus Anixkam, Malie Naxkwet
ewigahussian; n'dwetchi klotchi'itolkëssa, nilon katawi kig-
hèhipenässa, kil kwine teli tulêkpsa kebäkkanoêm samagwan
yalidzwanössa,
Nesughenighiskak kemina hotchwimèssa aghim Spemočk
ketelianèssa aptchitch wetchi pakatchiayan ketawiaben'ked-
wčwipanassa, wigwamkamine Zézus Nixkam ekkwi uskitch-
inuyèku, -
Zè Zēzus, uzanmiumětch weulitehelminè. Ze Zēzus sak-
tawine wetlistawine, Zēzus, Nixkam, weniktankūsit Spe
mook wikkwehline. Tê elehit.

KETE K.
L
T
sº--------- ***{========E
Ketchi Niweskwal unémannál Kisi Alenanbahihwal,
º
º *T º L
is " " ------------Hºº-º-Hi
Kisi Spemkik alangotwak Teka tê ki-si wehulahtal.
Alamiswantamo tannawa
Kwansipohatwākalanmkik
Tcheneva kighewélmesita
Kussihuskwe wenidjannit
Téka tê nahnūsahit
Eli pangwěssihuskwahit,
Te Zozèpal hatchi malial
Nannenanwëlmit.





-
|- -
|-
-. . . . .
| –
|-
| .
） {
|- | ||
| |--
，
（ ）