* fiVliCHfi
THEODORE FRONT
Musical Literature
1046 S.Holt Avenue
los Angeles, Calif.
90035
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A N
ESSAY
O R
%
| INSTRUCTION for LEARNING &
vg THE 3T
m af
t* CHURCH PLAIN CHANT. %
j|SfyS TO WHICH ARE ADDED, 3T «
\jg VARIOUS HYMNS, ANTHEMS, LITANIES, THE ;f£
j£ TE DEUM, DOMINE FOR THE KING, TANTUM Jf
ERGO, AND MOTETS AT EXPOSITION, T
BENEDICTION OF THE BLESSED 3;
SACRAMENT, &c &c. j ! "% f.
WITH APPROBATION. »
LONDON:
Printed by J. P. Cochlan, No. 37, Duke Street,
Grofvenor Square,
<"«S>'<"«
^yy^ri^ Jm
M.DCC.XCIX.
sf *£$"«? ^H ?^M J 8 ?^ ^S* 1 ? y^SH W^ f^H 5^P4 ?y$-q «fc|^F
THREE SHILLINGS*
H I "" * "" «—' ' "" "'* "•»
APPROBATION.
w,
HEREAS James Peter Coghlan,
Printer in London, hath humbly requeued our
Approbation to a Work he is now printing at his-
own Expence, called, AN ESSAY ON THE
CHURGH PLAIN CHANT, &c.^-We having
perufed it, and finding nothing contrary to the
Doctrine and Difcipline of the Church, do ap-
prove of the fame being printed,.
Given under our Hands,
July 2Q, i78r.
•J* James Birthan, V. A.
Auguft 14, 1 7 8 1 -.
*f. Thomas Aconen, V. Av
July 24, 1781.
*J- Geobge Daulien,V. A,
•J* John Marochien,
Daulienfis Coadjutor*
Digitized by thejnternet Archive
in 2012 with funding from
University of North Carolina at Chapel Hill
http://archive.org/details/essayorinstructiOOIond
*— Q< , ' ' -"■ "* **»«.. .'. ' " " ft"*
CONTENT &
I Page
NTRODUCTION, i
The Ut and Fa Cliff, &
The Stave, .... ibid,
The Changes of Cliffs by Ufe of Four Line
Staves, with Reafons why five are preferable,
and of the Ufe of the Ledger Line, with an
Example to Notes, - - 6
The Names of the Notes and their O&ave, ibid ,
Example l and 2 of the Gamut, y
The Bars, - - - ibftL
The Diamond.Note,,the Square Note, and tbofe
with Tails, - - - 3
The Tyed Notes, with an Example, -> ibid.
The Flat, the Natural, and the Sharp, - ibid.
The Direct or Guide at the End of a Stave, 9
Example of Solfaing, - - ibid,.
Slow Singing recommended,. - - ibid.
The Semitones from mi to fa and from ii to ut
afcending, and from ut to fi and from fa. to
mi defcending, - - ibid.
The b in the Stave, and of the Ufe of za> ibid,
The Alteration in the Semitones, - 30
Example on Thirds, ... ibid.
The Paufe, and of the Breath, - 9 ibid.
a Exercife
CONTENTS;
Page
Exercife on Fourths, and of the taking Breath, n
Exercife on Fifths, - - 12
Exercife on Sixths, and of Fa on the Second
Line, with Examples, - - 13
Exercife on Change of Cliffs, - - Ibid.
Examples where the Names of Notes and the '
Directs are purpofely omitted, . 1^
Of the Eight Tones, ' - ibid.
Table of the Tone Dominant and Final, 16
The Tones of the Pfalms.
Firfl Tone with different Endings, - 16
Second Tone, - - 17
Third Tone, - - ■ - - 18
Fourth Tone, - - - 19
Fifth Tone, - - - - ibid.
Sixth Tone, - - - ibid.
Seventh Tone* - - - 20
Eighth Tone, - - * 21
Observations on Chanting the Pfalms, &c. ibid.
PART SECOND*
Alma Redemptoris, - - - 2j
Ave Regina, - - - 26
Regina Cceli, - - - 27
Salve Regina, - - 28
The fame to other Mufic, - - 30
The Litanies of the B. V. Mary, to Notes with
the Bafs — Firft Tone, - - 32
The Second, Fifth and Sixth Tones, - 33
Two others to the Sixth, Seventh and Eight
Tones, - 34
Continuation of the Litanies, from Chrilie audi
nos, k to*he End, ~ - 35
On
CONTENT*.
Page
On the Nativity of our Lord, Puer nobis naf-
citur, 36
1 , Adefte Fideles, with the Bafs, 37
On the Sundays in Lent, Stabat Mater, with
the Bafs, - - - 38
After Complin in Lent, Miferere mei Deus,
with the Bafs, - - 40
At Eafter, O Filli* with theBafs, - 43
On ^fcenfion Day, O Rex Gloria*, with the
Bafs, - - - 44
At Whitfuntide, Veni Creator Spiritus, - 46
1 — Yeni fan£te Spiritus, with the
Bafs, - - r 48
On Corpus Ghrifti, O Sacrum Convivium, with
the Bafs, - - - 49
On Feafts of the B. V. Mary, Tota Pulchra,
Firft Tone, - - ,51
The fame to the Fifth Tone, with the Bafs, $2
On the Feafts of SS. Peter and'PauI, O Roma
Felix, with the Bafs, - 56
TheTeDeum, - - - 38
At Benediction, Tantum ergo, Fifth Tone, with
the Bafs, - - -6.3
The fame fet by Mr. Paxton, with the Bafs, 64
The fame by the above Gentleman, &c. 65
The fame to the Sixth Tone, with the Bafs, 67
The fame to the Eighth Tone, with the Bafs, 68
At Expofition or Elevation of the Blefled Sacra-
ment, O Salutaris, to the Fifth Tone, with
the Bafs, - - - 69
PART THIRD.
Haec eft Prseclarum, - • - 72
Ave Maria, - - "73
The Domine for the King,. » - 74
Another,
CONTENTS.
Page
Another, with the Bafs, - - 75
Tantum ergo, Sixth Tone, - - yy
Another, the Fifth Tone, ... 78
At Expofition or Elevation* Ave verum,. 79
O quam Suavis, - 80
O Sacrum Convivium, Fifth Tone, - St
O Salutaris Hoflia, Eighth Tone, - 82
St. Thomas of Aquin's Adoro te devote, ibidu.
Panis Angelicus, • -. 84.
O Jefu Deus magne, - - 85
Tu folus Fons amoris, - - 85
Deus Cordis mei, - « 88
O Sacrum, - - - 89
At the Elevation in MaiTes for the Dead, Jefu
Sal va tor Mundi, - - 90
O Meritum Paffionis, « ~ gt
INTRO-
INTRODUCTION
TO THB
GREGORIAN NOTE.
•SB*;
THE pious pra&ice of finging the praifes
of God in temples dedicated to his
worfhip, is of Fuch ancient date, fo univer-
fal, and of fuch excellent ufe in raifing de-
votion ; that little need be faid here by way
of recommendation.
But while we admire the fanQity of the
inftitution, can we forbear regretting the
great neglect in the cultivation of it ? We
obferve, that thofe whom nature has bleft
with a moderate fhare of vocal powers, can
contribute in general to raife fecial mirth
by a fong, yet when every heart and every
voice fhould join in hymning the Deity,
alas they are dumb!
If we confider the great effect that is pro-
duced in divine fervice by a few untutored
voices; how much greater muft the efFe6l
be, if every individual in a congregation,
capable of finging, fhould join in a well
A regulated
INTRODUCTION.
regulated choir, and all united by the power-
ful harmony of a well touched organ * ?
The knowledge of Church Plain Chant,
if properly taught, is very eafy to be ac-
quired; nothing can be more fimple than it
is in itfelf. It feems as if our anceftors,
who firft adopted it to the liturgy, intended
that every one, pofleffing voice and ear,
fhould be able to fing without much ftudy:
not but that the fame piece, fung by diffe-
rent perfons, may greatly change the effeft,
owing to the manner of finging.
Many affect to defpife the Church Plain
Song, loading it with fuch epithets, as too
often belong to the fingers. — It is barbarous !
ruftic ! grotefque! — but perhaps that which
appears to be fo, may have been mutilated,
fpoiled, falfely copied and never corrected
when printing was firft ufed. Who can fay
what may not have been loft ? Who can fay
what may have been fubftituted ? and by
whom ? But admitting this, are there no
beauties left ? Many. For inftance, the
chants or eight tones of the Pfalms, fome of
which may be conjeBured to be as old as
even Chriftianity itfelf; Are not their me-
lodies devout ? Do they not admit of the
raoft elegant harmonies?
* This feems to correfpond to the idea of the Church,
Cum quibus et noftras voces, &c. Pra>f. adMiJf.
Many
INTRODUCTION. 3
Many beauties may be found too in
others of a later date; as, Veni Creator
Spiritus, — Jefu corona Virginum, — Lucis
Creator, — Exultet Orbis, and many others.
But the manner of fmging mould be parti-
cularly attended to; otherwife, What man
pofTefTed of feeling but muft be difgufted to
hear a hoarfe voice bark the pious hymn,
Stabat Mater, Lamentationes Jeremiae, &c. ?
In regard to thofe parts which are bad,
and which we muft fuppofe to have been
greatly changed from what they originally
were, by falfe copying, miftakes in printing,
or caprice of the ignorant; it certainly is
in the power of fuperiors to procure amend-
ment or alteration, wherever neceffary:
and it is to be hoped, for-the honour and
dignity of the Church, as far as regards her
decent difcipline, that fuch n-eceffary amend-
ments and alterations will before long take
place ; and this with good reafon, if we con-
sider that many Introits and Alleluias fung
at Mafs, as alfo Antiphons and Hymns fung.
at Vefpers, where the words convey the
higheft idea of joy and exultation, the Plain
Chant, as it now Hands, is raoft forrowful
wailing and difmal lamentation. The pious
mind would by no means introduce light
fantaftic airs to divine fervice, but why not
fuch as may accompany the fpirit and mean-
ing of the words ? — Alleluia, — Benedica-
nu#s Domino, — O Roma felix!— Are thefe
A 2 expreffions
INTRODUCTION,
expreffions for tones of forrow ? No, but* of
faered joy.
But in the ftate it is even at prefent, it
would appear to much greater advantage, if
well underflood and wejl fung. This little
EiTay is therefore offered for the affiftance
of thofe who wifh to be inftru&ed in the
Church Plain Chant, not that it is poffrble
to acquire the niceties of finging without
an able mafter.
May peace and harmony unite us in bro-
therly love, and perfect charity, and may
all who join in iinging to the praife and
glory of God here, be admitted to join the
Celeitial Choirs, who are praifing him in
everlafiing blifs.
AN
A N
E S S A Y
O R
INSTRUCTION FOR LEARNING
THE
CHURCH PLAIN CHANT.
THE Gregorian Plain Chant is governed^
by two Cliffs, namely Ut Cliff, and
Fa Cliff, which correfpond to the two lower
cliffs in mulie, viz* the Tenor, and Bafs.
C F
uTciiff ~" ~*Fa Cliff
The ufe of thefe is to point out the pro—
greffion of tones and femitones, and there-
by to determine the key, or tone of the
chant, which is commonly contained in four
lines, otherways called a Have in mufic; but
as it very often exceeds that compafs, the
cliffs muft neceffarily change their place to>
give a greater- fcope to the chant,and this is:
A3 a very,
AN ESSAY ON THE
a very great embaraffment to young pupils,
and might be at once removed by ufing a
ftave of five lines inftead of four : for al-
though a piece often exceeds the compafs of
four lines, it feldom exceeds the compafs of
five.
On the Feaft of Corpus Chrifti, in the
Sequence, Lauda Sion Salvatorem, the cliff
changes its place twelve or thirteen times,
owing to the compafs of this hymn fo much
exceeding the extent of four lines : but if
five lines were here ufed, with the addition
of a ledger line in three or four places, the
whole confufion would be avoided.
For example, in the ninth Verfe,
Quod in ccena Chriftus geflit, faciendum hoc
t*£Si
3TB:
#
expreflfk in fui memonam.
nor would it in any part exceed the compafs
of the lines below.
For example, the verfe preceding the former.
=HIjJ
Veluftatem novitas.
There are but feven notes, ut, re, mi, fa,
fol, la, fi; but the oclayes to thefe may be
carried
CHURCH JLAIN CHANT. 7
carried on, above and below, to the full ex-
tent of any voice or inftrument. They al-
ways (land in this order afcending, but muft
be determined by the cliff placed at the be-
ginning of the ftave. For example, if notes
fhould be thus prefented,
— — 1 — - |-M- m — — — — — -——■———— " "
No one could determine what they are,
nor their names for want of a cliff; but the
ut cliff being placed upon the fourth line,
determines that line to be ut, by which they
are all immediately known. Example i.
M . ^M J! ZLg: ^g_E_5
—- lg— W w- .... ■ — I-] ^~ W m - ■ " ' . ■
ut re mi fa fol la fi ut mi fa fol la fi ut re mi
But it is to be obferved, that if the ut cliff
Ihould be placed on the third line, that line,
would then be ut, and the reft ranged ac-
cordingly, Example 2,
Thus upon whatfoever line the ut cliff is
placed, that line is ut, and the fame muft
be obferved with regard to the fa cliff; the
names of the notes changing immediately
with the cliff, as often as it may happen.
See the Exercife on the change of Cliffs,
page 13.
The bars, which nearly crofs the ftave,
are ufed to feparate the notes fung to each
word 5
& AN ESSAY ON THE
word ; the bars, entirely eroding the ftave,
are ufed over fome period in the reading ;
the double bars, which crofs the ftave en-
tirely, are only placed at the end of certain
portions or verfes.
The diamond note is half the length of
the fquare note, and is generally ufed to fhort
fyllables, and in divifions defcending.
The notes, which are longer than the
fquare notes, have one or two tails, but are
feldom ufed; and, here it is neceffary to
caution the learner, not to miftake for thefe,
fuch notes, which having tails, are only
meant to be tied to another note at fome
diftance. Example at 1.
t 2
— ~ fcazzi
-m-m-
— a-*— ■
Gaudea— »mus
A dot after a note makes that note half
as long again ; for example, a fquare note
with a dot, and a diamond note following
it, are equal to two fquare notes, as Exam-
ple 2. But this is only to be found in mo-
dern books.
This mark h makes a natural note flat.
This mark % makes a flat note natural*.
This mark j£ which makes a natural note
fharp, is not ufed in the Gregorian Chant,
* In printed books, by miftake., the one is often put
for the other.
though
CHURCH PLAIN CHANT. <)
though often wanted, as fhall be fhewn here-
after, p. jy-.^
This mark 22 called a guide or direft, is
ufed at the end of the lines to fignify the
note which begins the next ftave: but it
matters not how little they are attended to,
unlefs the printer is exacl:, as they are often
falfe, and lead the finger into an error.
The learner fhould make himfelf perfe£l>
ly acquainted with the names of the notes
in all the lines and fpaces wherever the cliff
fhould happen to be placed, and then pro-
ceed to
Sol fain g.
cdefgab c
ft__ — .-J*~ ui ■ H-t
zrwr m — z ' "" " — m _M~ *i —
*" &W; "" — ' " -■ ■ -y
ut re mi fa fol la fi ut ut fi la fol fa mi re ut
This gamut cannot be fung too often, nor
can the notes be fung too flow, as thereby
the voice is to be formed, and rendered ca-
pable of fuftaining the notes.
The marks from mi to fa, and from fi to
ut, {hew the femitones afcending, — from ut
to fi, and from fa to mi, defcending; but
here the mailer fhould be confulted.
It generally happens in Plain Song, that
when a pafTage rifes but one note above la,
that note is fung flat, being thus marked (b),
and then it is not named fi, as if afcending
tc*
lo AN ESSAY ON THE
to ut, but za, and generally defcends again
immediately. Be careful to obferve, that
in this cafe the femitones are from mi to fa,
and from la to za; but if doubts fhould
arife, confult the mailer.
Exercife on Thirds.
% —
— -«g— JBf— S— w~h—H____- X__jji_S a— *— — -
iry^ - jr
ut re mi ut re mi fa re mi fa re mi fa fol
:sniizic:!5:
:sz*z±mz£
mi fa fol mrfa fol la fol la fi ut re fi ut
ut fi ut la fol fa mi fol mi fa la za la fol
■a-
fol mi fa re mi ut re fi ut mi re fa mi re ut
It is intended, that a fhort paufe mould
be made upon the long notes preceding the
bars, and breath to be taken there, but no
where elfe throughout this example.
It is neceffary here to make an observa-
tion on the management of the breath ; for
upon this very much depends.
The finger fhouldalways keepfome breath
in referve ; that is, he mould never fo exhauft
himfelf, as that it may be perceived he wants
breath. The lungs fhould be well filled, and
the wind gently let forth again, as expreffion
may
CHURCH PLAIN CHANT. 11
may require. He fhould never take breath
in the midft of a word, unlefs there fhould
be many notes to that word, and then he is
to find a long note, where he may replenifh
imperceptibly, and never with violence to
burft upon the notes, like a pavior upon his
rammer, but to fing fmoothly, with eafe to
himfelf, and to exprefs the words clearly and
diftin&ly. It is a common fault for thofe,
who know but little of the matter, to ling
very loud, as if they would fupply the defe6V
of feeling, by forcing us to hear the more ;
but the difference is very great between
linging and noife. The pupil fhould alfo
accuftom himfelf to keep his mouth mode-
rately open, fo as to produce a full, round
tone; but let him alfo avoid imitating thofe
who open their mouth as if they would fwai-
low the book.
Exercife on Fourths,
ft
- • !■*
h
"~V* "
•*V"
" Z'&#*--m---d'*'*-''
1
ut re mi fa re at fa mi fol la fi ut fol mi la foi
■ i V V V
nj n , , . '•■-__.
':■■. ! M m « M .
S|.™„ ,. ••■■ «
. , £, _ _......
1 ■
ut fol la mi fa
ft u
ut re fol fa mireut
fa mi
n ' _, n
1 m I
m
re fol ut
The little v marks fhew where it is moil
proper
3L« AN ESSAY ON THE
proper to take breath. If the learner finds
any difficulty in hitting the diftances, let
him fing the interval privately to himfelf
till he can do it without ; and this he will be
able to do, if the foregoing exercifes are
well pra&ifed, which they fhould be, before
he proceeds farther. It is well known, that
a famenefs of fucceflion retards improve-
ment, therefore it is avoided in thefe fliort
exercifes, where alfo fome intervals and dif-
tances are purpofely omitted, being unnatu-
ral and never fung.
Exercife on Fifths.
h* # x ■ .,..,„
vr
B _-^ . . .- .T. 9. a ^ ■ ,
— , q. * i ^ |< ...... ..
ut re mi fa fol ut ut ft la fol fa ut
*¥ 9 * I - ■
ft X ~+ f J 1 te
p T S I _ ^_ * ♦...*
_. ,.
>/v
1 ^_* j Y'_ ft~ j
re ut fi la fo! re re mi fa fol la re
N , , , , , «
■ i'"*
♦ * * i"'i m -
- T - • ♦ \ -_, 4 * ♦ m ■
■™«v\/
" — ♦ m r ^t
r*~
fol fa mi re ut
fol fa mi r
e ut fi fa
N _,"■■-
' " ■ ■
■ 'nr ■».:::; .
■— '— n 1. ~
r W
mi
fol ut fa fol fol ut
It is fufficient to take breath at the bars
in this example ; and the learner will now be
able to judge for himfelf where to take
breath, from what has been faid.
Exercife
CHURCH PLAIN CHANT.
Exercife on Sixths.
E
- . .M «"
ttd-
# ♦ ■
M
B— —
mmm -S/V
hu.
Ut
""♦-' " """"" "" M.
re mi fa fol la ut
la
fol
fa
KT
m
m
- - -■»♦■«.
-*— J
mi ut re fa mi re fi ut ut
If the fa cliff is placed on the fecond line,
the notes bear the fame names, as when the
ut cliff is on the fourth line. Example.
Fa Cliff,
cdefgabc
ft
*g— M-
ut re mi fa fol la fi ut
<fcfltts3
San&us
immor - ta - - lis
mi fere
re
Wp— WB^-j jjjW*" 81
no - bis. Feria fexta in Parafceve.
The learner mould folfa thefe notes, be.
fore he joins the words to them.
I
Exercife on change of Cliffs.
ft
is
"H "—JBj^"™"^- ■■■..Hi.— B— i^at&^^r^: M
xnc*
-—■ v v
| _J2£J£
ut re mi fa fol la fi ut fol ut fol la za la
B
14
AN ESSAY ON THE
KS
. ;g — _ — ,
h fol fol la ut ut re^ut ut ut fi ut
la fol fa mi fol la fol fa fa fol la fol
*
W
p
LS
"*""" 'J~M
:*"H
W
... H R
W n
-rmiS jy -
m ^r
* ' :
H
(■!■■■■• --
N"
rww
w
fa mi mi
ut
re fa fol fol: fol
- I
P
i\ ut re mi re
: W-
_a ""
W.V/.
m M
N
_«_ pL
%£*<
hi
3L*l^
>/v'
F
fa mi re mi re re
re mi re ut fi ut
SSRif
Sac
■*w — —
ut li la fol
fa mi re ut
. This (hews that it is poffible for high notes
to appear low, and for low notes to appear
high, as they depend entirely on the fitua-
tion of the cliff, as has been before obferved.
When the learner understands this Exer-
cife perfectly, and can ling it well, let him
pfa&ife it from the following Example,
where the names of the notes and the directs
are purpofely omitted.
The
CHURCH PLAIN CHANT.
m -m
-H— W-mH*— s— ■
gSy^gbabj^jfcbg
: * = 5-w-KP-W- a -- r -^— B&- - _ . h-MJ*-*-
a §^3 -* J ^gjcs^a
The learner fhould practife folfaing until
he can keep in his mind all relative founds;
for example, relative to ut, re is a fecond,
mi is a third, fa is a fourth, fol a fifth, la a
fixth, fi a feventh, ut an octave. Relative
to re, mi is a fecond, fa a third, &c. Rela-
tive to mi, fa is a fecond, fol a third, and fo
on; a-lfo'to obferve which are whole tones,
and which are femitones. Here the mafter
is necefTary.
The Church Plain Chant has eight tones,
which are known by their refpeftive domi-
nant and final notes, according to the follow-
ing table,
B 2 Tone.
i6
AN ESSAY ON THE
Tone. Dominant, Final.
I ft, la —
2d, fa —
3d, ut —
4th, la —
5th, — ut — ■
6th, la —
7th,— — -re —
8th, ut —
1
re
mi
fa
fol
Some pieces may be found which deviate
from this rule; but Antiphons in general
have their regular Final, or ending note,
and the Pfalms their regular Dominant, or
reigning note.
Tones of the Pfalms, with their moft ufual
Endings,
Firft Tone.
fcE
Dixit Dominus Domino meo
P-*-»-
E=E*iE!t£55e:
&
fede a dextris me - is.
Different Ending.
fede
+ —
dextris raeis.
Different
CHURCH PLAIN CHANT. if
Different Ending
— 4-
fede a dextris meis.
£t* After the intonation of the firft verfe,
the following verfes begin on the Dorainant >
except the Canticles, Magnificat, and Bene-
dicts, which always keep their proper in-
tonation each verfe, and are lung flower
than the Pfalms. There is moreover fome
little difference in the mufic which fhall be
noticed.
In the firft tone the difference is at the
Mediation. .
Example.
— -i-
: &M?!i^:!:iE±z!? : f^5
.B.enediclus Dom'inus De - us lirael, quia
&c. as the Pfalms.
Second Tone.
Dixit Dominiis Domino meo fede
x
—if
K23r*br:
--h
t
a dextris -meis.
The raft note but one, with this mark x
over it,, cuftom has made {harp;, although
in Plain Chant there is no fign to exprefs iaf.
B 3 The.
l8 AN ESSAY ON THE
The fharp is generally wanted in the firft
and fecond tones, upon ut, when re is be-
fore and after it: in the third and fourth
tones upon fol, when la is before and after
it ; and in the feventh and eighth tones upon
fa, when fol is before and after it. Obferve
the mark x as it occurs.
The Canticles, in the fecond tone, are
fung thus.
Et exultavit Spiritus meus, in Deo
&c.
Third Tone.
+-*W-
3r:
— +
Dixit Dominus Domino meo, fede
N M i- M ■ ■ M ■ i
t
R-*"^* m 1 **« .
\ '!«•-■. ■ ■ -pi j* m
a dextris meis.
Different Ending. y
+ i -*•
fede a dextris meis.
The Canticles are fung nearly the fame.
Example.
-■■ w ^..>., 1 • — ■■"■
Nunc dimittis fervum tuum Doraine, fecundum
&c.
Fourth
CHURCH PLAIN CHANT.
Fourth Tone.
*9
fc=
■d±3r£±2tfc£a:
t
— -fr
Dixit Dominus Domino meo, fede
X
i- jg -!•■ ■■-" r §/ • "
■"' ' J " Jl »
a dextris meis.
Different Ending,
ft
t=K
fede
dextris meis.
Canticles the fame.
Fifth Tone.
Antiphons, &c. of the fifth and fixth tones
have commonly a Flat placed immediately
after the cliff, which makes za throughout
the piece inftead of fi.
Ffwr
Dixit Dominus Domino meo, fede
^^S^tt-J-
I
+ — J-lj.
a dextris meis.
Canticles the fame*
Sixth Tone.
Dixit Dominus Domino meo, fede
2o
AN ESSAY ON THE
zfrt^a?rfcci=
£*H
i
dextris meis.
Cant
icles
thus.
fc=
sac
— r*^! ^* -^
Glo
ia Pa - tri et PiJio, et &c-
Seventh Tone.
§3t±ttE!^
.-|n— BH.
.-| — JSL JL
3DCt
Dixit Dominus Domino meo, fecie
BZtfcH
-I — -i
jezp
a dextris meis.
Different Endings
g:i^4cs:i::?it^:i:^s^t^4i^S^J=:
-ttft
lede a dextris meis. fede a dextris meis.
The Canticles differ in the Intonation.
Example,
*V w H - i ■ B-""^t
Quia refpexit, &c. as the Pfalms.
Eighth
CHURCH PLAIN CHANT, 2%
Eighth Tone.
P-M-M-+;
±
■+-
Dixit Dominus Domino meo,
fede
EEi
EEEEi
dextris meis.
DifFerent Ending.
pj-a-w- 1 z*tTziE5=ii?
I^jt
fede a dextris meis.
The Canticles thus.
•jsHj^- i -)»■+«>% - 1 -w^^^ i -w^g- : Vhhjjjh5
Sufcepit lfrael Puerum fuum, recordatus
That which is called the eighth tone irre-
gular Teems to partake more of the firft
tone, having in the firft part the dominant
la, and the final re.
Example.
Domus Jacob de Populo barbaro.
Obfervation.
In chanting the Pfalms, in the fecond,
fourth, fifth and eighth tones, monofyllables*
and
22
AN ESSAY ON THE
and words which are not-declined, make
their mediation upon a riling note.
Example.
Second Tone.
-ES — hi.
sEs
■m-m— *-*- 1 -m-
-a-a-
-W-M-
Si afcendero
Fourth Tone.
m
in Caelum tu ilJic es.
x
I
JO
-m-+-
-H-4-
Quoniam elegit Dominus Sion
Fifth Tone.
B^?-3sHsh£ i 5P i -m-m-m- j ^fejj^
Etenim illuc manus tua deducit me.
Eighth Tone.
I
— =t
Illuc producam cornu David.
Eighth Tone irregular;
-H-B-H-
-E|-«-
I
!-■-♦-*-
Benedixit
Domui
Ifrael.
The fame is obferved in Verfkles and
Refponfes.
Common
CHURCH PLAIN CHANT.
Common Way.
V. Dignare Domine nofte ifta.
-*-*-■-
dtfl
R.
m-m-
-B-W-W-
Sine Peccato nos cuftodire.
Bat ending with Monofyllables thus :
V
■m-0-
#B-S*H-
■m-&- i hwh*-
3
Fiat Mifericordia tua Domine fuper nos.
-m — m-m — h-
-w-w-*-*-
R. Quemadmodum fperavimus in te.
ANTIPHONS of the B. V. MARY.
From the VeTpers of Saturday, before the firft Sunday of
Advent, to the Purification of our B. Lady, inclufive.
xJL L- ma Redemptoris
Ma-ter, quae per- vi a cce- li por- ta
±f5|::
ma- nes, Et ftel- la ma-ris, iuccurre
Bs^l
?fcl~jfi±£
cadenti, Surgere qui cu- rat, populo
&
a:
:&#:
«^f
x?y
I
Tu quae ge- nui- fti, Natu- ra
miran-te! tuum fan&um ge- ni- to-
Uf-tf — — . I -—^Zf-H- [ -, Zfl
rem, Vir- go pri- us ac pofte-rius,
C
Z6 ANTIPHONS OF THE B. V. MARY,
Gabrie- lis ab o- re, Sumens illud
^g B^^*
A- ve Peccatorum mifere- re. 7,
In Advent.
V. Angelus Domini nuntiavit Mariae;
R. Et concepit de Spiritu San£to.
From firft Vefpers of Chriftmas-Day.
V. Poft partum virgo inviolata permanfifti.
R. Dei genitrix intercede pro nobis.
From the End of Complin of the Purification inclufive,
till Maundy-Thurfday exclufive.
A
'-**-*— g&fii
i^fi-ga — I _
Ve Regina cce lo- rum,
■m- 1 ■rn-
rn:
ayy* ^^^
A- ve Domina Angelo-rum : Sal-
f
ve radix, falve porta, Ex qua mun-do
lux eft or- ta: Gaude virgo gloriofa,
fc£
ANTIPHONS OF THE B. V. MARY. 2/
A/%.
W+sE
Super om nes fpecio- fa, Va- le
|ffi£|3£pi
*15
wltel-aW-l*
•tt-
at^^s^j-
|fc
O val- de deco- ra, Et pro no- b
is
=5t
SPSJE
^jg— I
Chriftum ex- o-ra. 6.
V. Dignare me laudare te, Virgo facrata.
R. Da mihi virtmem contra holies tuos.
From Complin of Holy Saturday till firft Vefpers of
Trinity Sunday exclufive.
R
zzsxgzix*
fmiSte
Kgina coeli lasta-
m-m-
r.e,
rtt=^I=s«i=:
al-le-lu-ia. Quia quern me- ru i~ fti
six
fa?^i§^a?igiii^=*a«-a5:B5z:j
per- ta-re, al le- lu ia.
m
Refurrexit iicut dixit, ai- le- hi ia.
Ora
pro
no- bis Deum,
C 2
£8 ANTIPHONS Of THE B. V. MARY,
iSi^^^ii^!
t
al le lu- ia. 6.
V. Gaude & laetare virgo Maria, alleluia.
R, Quia furrexit Dominus vere, alleluia.
Eiom firft Vefpers of Trinity-Sunday till Saturday be-
fore the firft Sunday of Advent excluilve.
** Al-ve Regi- na, mater mi fe-
ricor- diae, Vi- ta, dulce- do,
^T^i^^Si=a=pEi*ja
& fpes noilra fal- ve. Ad te
clama- mus ex u les fi li i Evas.
Ad te fufpira- mus gementes 8c
flentes in hac lacrymarum va- le.
ANTIPHONS OF THE B. V. MARY. 2Q
- W - W »vi
qgggj i Jg^ 1 =t ±«^;^pagi««:
E ia ergo advoca- ta noftra, illos
3>^Es*!*C«B
tu- os mifericor-
des o- culos
s»k
raft
i*S*ij
«-
ad nos conver- te.
^ftpr
Et Jefum,
5to5i^
be nediclum fruclum ventris tu- i,
no- bis poll hoc ex i- lium. o- Itende.
o
clemens,.. O
pi-a ;
O dulcis virgo Mari- a. 1*.
V. Ora pro nobis fan£ia Dei genitrix.
R. Ut digoi efficiarnur promiffionibua
Ghriftu.
g £
q*
30 ANTIFHONS OP THE B. V. MARY.
Or this.
$h:
■mW
=vs7
Alve Re gi na, mater mi fe ri-
— — |ti
f 1
S' '* A Ml
*lV ♦ ■ 1
P^,,n
— £*m*4
=
-w
^u
{• ]
1 — - — +- —
— .
p 1 — ,
eor di ae. Vi- ta, duke- do, Sc fpes
^S
:izii
?zi;
noftra fal-ve. Ad te clamamus exii'
Br-»*— ^y -jT 1 "bT^ 1 c
!3
jf — i~w - ; ■ a w
les fi li i E- vae. Ad te fuf-pi-
i
suj
S=|3R
V57
ramus gementes & flentes in hae
s"0'.
-■ ^V"f
lacrymarum val le. Ei a ergo
! ^zszg^ : l zzjtjz j :=5= i =P^
ad vo ca ta noiira iiios tu os
ANTIPHONS OF THE B* V. MARY. gi
FH--y-g|H-
"S55?
mi fe ri cordes o cu los ad nos con-
IE
*E!E£=
brpzjqf
5P^
— r R
verte, Et Je fum, benedi&um fruclum
¥5
afcidE
fe
ventris tu i nobis poft hoc ex i-
Ifcs
z^iSSr
-5^
lium often- de. O clemens ! O
pi a! O dul- cis Virgo Ma ri a* g
LITA-
f 8* ■ >
LITANIES of the B. V. MARY.
AS fuch a variety of words are fung to
thefe little Chants, the bars here are
not put to divide the words, but to fhew the
rneafure of the mufic, having the bafs under
them*
e r
i
~-J Kyri-e e- leifon. Chrifte e- leiion
Vr*
ZS.
¥5f
H-H-
til
Kyri
Another,
e e
leifon. Chrifte e - feifon,
w.
— i *^>
i
ft
m
leifon. Ch rifle e - lei for),
e- leifon. Chr.ift.ee- leifon,
Thefe according to the fcale of mufic, are
fet in D minor; but they are commonly
played and fung in E.
The ufual pitch of each mail be marked
with a letter, as thefe are.
N. B. By E minor is meant E with a leffer
Third, and fo of the reft,.
LITANIES OF THE B. V. MARY, 33
Second Tone. x
GorA
minor. '
Kyrie e • leifon. Chrifte e - lei - fon.
x
&#=sfei^
Kyrie e -leifon* Chrifte e -leifon.
Remember the Obfervation touching the
fharp, page 17.
Fifth Tone, N. B. Za inftead of fi, runs
through this, and the following in the fixth
Tone.
maj
:^^^E|
tg
Kyrie e - leifon* Chrifte e - leifon*
_ lh
Ym* 4 mm'
^f rf ff lS
Kyrie e - leifon. Chrifte e - leifon.
Sixth Tone,
rlbvdflC
w-P*-*
35^
stf
V
Kyrie e - lei fon. Chrifte e - leifon.
maj,
■§-«-
L-
fi tf*
t#
Kyrie e - leifon. Chrifte e - leifon.
Another.
34
LITANIES OF THE B. V. MARY.
Another
r-
*Z±M^+
^Q
J Kyri - e e - leifon. Chrifte e - leifon.
™y ..*_»_,
L ^
Kyri - e e - leifon. Chrifte e - leifon.
Another.
A / Kvri - e e - leifon. Chrifte e - ieifon.
i:
±l
mv oh
m
t
Kyri ~ e e - ieifon. Chrifte e - leifon.
Seventh Tone.
.X_^ ^
ifcjqfj:
" V Kyri • e e - leifon. Chrifte e - leifon
m i- n — (■ — m-
-a-
Kyri - e e - leifon. Chrifte e - leifon
Eighth Tone*
Bb Kyrie e - leifon. Chrifte e - leifon
fia«
maj
^
-■-
+-
ifc
Ifcjj-
Kyrie e - leifon. Chrifte e - ieifon.
LITANIES OF THE B. V. MARY.
35
Chrifle audi nos.
Chrifte exaudi nos.
Pater de coelis Deus,
miferere nobis.
Fili redemptor mundi
Deus, miferere no-
bis.
Spiritus Sanfte Deus,
miferere nobis.
Sancta Trinitas unus
Deus, miferere no-
bis.
SanBa Maria, ora pro
nobis.
Sancta Dei genitrix,
Sancta Virgo Virgi-
num,
Mater Chrifti,
Mater divinas gratise,
Mater puriffima,
Mater caftiffima, C>
Mater inviolata, »
Mater intemerata, ^
Mater amabilis,
Mater admirabilis, 8
Mater Creatons, p;
Mater Salvatoris,
Virgo prudemiffirna,
Virgo veneranda,
Virgo praedicanda,
Virgo potens,
Virgo clemens,
Virgo fidelis,
Speculum juftitise,
Sedes fapientiae,
Caufa i oftrae laetitiae,
Vas fpirituale,
Vas honorabile,
Vas infigne devoti-
onis,
Rofa myftica,
Turris Davidica,
Tunis eburnea,
Domus aurea,
Foederis area,
Janua cceli,
Stella matutina, O
Salus inflrmorum, s*
Refugium peccato-
rum,
Confolatrix afflic- §
torum, £-
Auxiiium chriftia-
norum,
Regina angelorum,
Regina patriarcha-
rum,
Regina propheta-
rum,
Regina apoftolorum,
Regina martyrum,
Regina confeflbrum,
Regina virginum,
Regina fanctorum
omnium,
Agnus
36
PROSE ON THE NATIVITY,
Agnus Dei, qui tollis peccata mundi, pane
nobis Domine.
Agnus Dei, qui tollis peccata mundi, exaudi
nos Domine.
Agnus Dei, qui tollis peccata mundi, mifererc
nobis*
Profe on the Nativity of our Lord,
;,T4t
Uer nobis nafcitur, Re&orque An-
S«
fc!fc**±
mc
=3
f^r
gelorum, in hoc raundo pafcitur Do-
N ID
5 ,'.. i-W " ^ . I
, _ ™ i 1l BM^y..
, -— . — _____
minus dominorum.
In praefepe ponitur,
Sub faeno afinorum,
Cognoverunt Domi-
num
Chriftum regem cofc-
lorum.
Angeli laetati funt,
Incinunt cum Domi-
no :
Cantant vere, gloria
In excelfis Deo.
Tunc Herodes ti-
muit,
Maximo cum livore;
Infantes & pueros,
Occidit cum cruore.
Qui natus ex Maria
In die hodierna, „
Nos conducas 8c in-
ducas
Adregina fempiterna.
O virgo flos virgi-
num !
Dele reos criminum :
Sine fine termino
BenedicamusDomino,
FltOSE FOR THE NATIVITY.
Another Profe for the Nativity of our Lord,
Sixth Tone. G. major.
teal
J- T^-lEE| " ^3Ci|
J A - defte fi - deles, lasti triumphantes ve-
A - defte fi - deles, lasti triumphantes ve-
W
A - defte fi - deles, lasti triumphantes ve-
J nite ve « nite in Beth re - hern : Natum vi-
nite va - nite in Beth le - hem : Natum vi-
J dete regem angelorum : Venite adoremus, ve.
dete regem angelorum: ve-
«<J nite adoremus, venite adoremus Domi - num.
nite adoremus, venite adoremus Domi - num.
Dcum de Deo, lu-|Deum verum, geni-
men de lumine turn non fa&um :
Geftantpuellscvii'cera: J Venite, &c.
X) Cantet
38 A HYMN ON THE SUNDAYS IN UNT,
Cantet nunc io cho-
rus angelorum,
Cantet nunc aula coe-
leftium:
Gloria in excelfisDeo!
Venite, Sec.
Ergo, qqi natus die
hodierna,
jefu tibi fit gloria,
Patris aeterni verbum
caro factum :
Venit-e adoremus,
Venite adoremus,
Venite adoremus
Dominum.
m
A Hymn on the Sundays in Lent.
Sixth Tone. G major.
ifegzgjpt:
m^
+n
■B
J Stabat mater dolorofa juxtacrucem la cry mo fa,
I
»c
m
Stabat mater dolorofa juxtacrucem la cry mo fa #
dum pendebat
a** ...... , , M
fi - Iius.
mrf m
_j _, '
h " .... M
H(' g
■ Ug v> ~ " ^
"
si
dum pendebat fi * Iius.
Cujus animam ,ge-
mentem,
Contriftatam, Sc do-
lentem
Per tranfivit gladius.
O quam triftis & af-
flida,
Fuit ilia benedi£la
Mater unigeniti.
Quae
A HYMN ON THE SUNDAYS IN LENT. 39
Quae mcerebat, 8c
dolebat,
Et tremebat, cum vi-
debat
Nati poenas inclyti.
Quis eft homo, qui
non fleret
Chrifti matrem fi vi-
deret
In tanto fupplicio ?
Quis poflet non
contriftari,
Piam matrem contem-
plari
Dolentem cum filio ?
Pro peccatis fuse
gentis
Vidit Jefum in tor-
mentis,
Et flagellis fubitum.
Vidit fuum dulcem
natum
Mofientem^efolatum
Dum emifu Ipiritum.
Eia mater fons a-
moris,
Me fentire vim doloris
Fac, ut tecum luge am
Fac, ut ardeat cor
me urn..
In amando Chriftum
Deum,
D
Ut fibi complaceam.
San&a mater illud
agas,
Crucifixi figeplagas
Cordi meo valide.
Tui nati vulnerati,
Tarn dignati pro me
pati
Pcenas mecum divide.
Fac me vere tecum
flere
Cruciflxo condolere,
Donee ego vixero.
Juxta cracem te-
cum ft are,
Te libenter fociare
In planclu defidero.
Virgo virginum pra>
clara,
Mihi jam non (is ama-
ra,
Fac me tecum plan-
gere.
Fac ut portem
Chrifti mortem,
Paflionis fac confor-
tem
£t plagas recolere.
fac me plagis vul-
x nerari,
Cruce hac inebriari,
Ob amorem filii.
2 In flam-
4©
PSAL
M 5©,
Inflammatu% & ac-
cenfus,
Per te virgo fim de-
fenfus
In die Judicii.
Fac me cruce cuf-
todiri,
- Morte Chriftipraemu-
niri
Confoveri gratia.
Pfalm 50. After
Sixth Tone.
Quando corpus mo-
rietur,
Fac ut animae donetur
Paradifi gloria. Amen.
V. Tuam ipfius ani-
mam pertranfivit gla-
dius.
R. Ut revelentur ex
muhis cordibus cogi-
tationes.
Complin in Lent.
G. major.
m j«"**
d=3« «b(:|
Mifeiere me - i Deus, * fecundum
m*^:
~b-
+-«« —
-1 — m _j_
Miferere
tr mi ww, 1 ":
me - i Deus, * fecundum
{
*o_
+ s
:uljl * + 3^Z*^±
m 1 ww w r
ma^nam mifericordiam tuam. Et fecundum
si
-u~
»»-£i W - H ,. ., W , EL
-■-♦-*■
+ — ir-H-*- HRRFf
magnam mifericordiam tuam, Et fecundum
multitudinem miferationum tuarum, * dele
iniquitatem meam.
Amplius lava me ab iniquitate mea: * 8c
a peccato meo munda me.
Quoniam
PSALM 50. 41
Quoniam iniquitatem mearn ego cognofco:
* Sc peccatum meum contra me eft Temper.
Tibi foli peccavi, Sc malum coram te feci :
* ut juftificeris in fermonibus tuis, 8c vincas
cum judicaris.
Ecce enim in irtiquitatibus conceptus fum :
* Si in peccatis concepit me mater mea.
Ecce enim veritatem dilexifti : * incerta Sc
occulta fapientiae tuae manifeftafti mihi.
Afperges me hyffopo, Sc mundabor: * la*
vabis me, Sc fuper nivem dealbabor.
Auditui meo dabis gaudium & laetniam : *
Sc exultabunt ofTa humiliata,
Averte faciem tuam a peceatis meis: * Sc
omnes iniquitates meas dele.
Cor mundum crea in me-Deus : * Sc fpiriu-
turn rectum in nova in vifceribus meis.
N.e projicias me a facie tua :, * St fpiritumi
fanclum. tuu-m ne auferas a me.
Redde mihi lastiiiam falutaris iui: * Sc fpi-
ritu principali confima me.
Docebo iniquos vias tuas: * Sc irfipii adte
converterttur.
Libera me de fanguinrbus Deus, Deus falutis
uaeae: * &exultabit lingua mea juftitiam tuam..
Domine, labia mea aperies : Sc os meumi
annuntiabit laudem tuam.
Quoniam fi voluiffes facrificium, dediflem
utique : * holocauftis non deleelaberis.
Sacrificium.Deo fpiritus contribulatus: ^cbc
coniritum Sc humiliatum Deus non delpicies.
Benigne fac Domine in bona^voluotaie tua»
Sion : * utsedificentur mud .Jer.ufaleim
D g : Tuna
42
THE HYMN AT EASTER,
Tunc acceptabis facrificium juftitiae obla-
tiones, & holocaufta: * tunc imponent fuper
altare tuum vitu'los. — Gloria Patri, &c.
V. Domine non fecundum peccata noftra
facias nobis.
R. Ncque fecundum iniquitates noftras
retribuas nobis.
Ant. Juftificeris Domine, in fermonibus
tuis> & vincas cum judicaris.
Ant. Dominus tamquam ovis ad vi6limam
duel us eft> 8c non aperuit os fuum,
The Hymn at Eafter. Second Tone. G minor.
gf-=|z£c jz^ :^?
Al « lelu - ia > Al le - lu - ia,
"*" it
(
Al - lelu - ia, Al - le-lu - ia,
Al
le
- lu -
ia.
f
ra^
1
P
__*'
: m:
— —
k
■ , *
lu - ia.
f **
m
O Fili « i, & fi ii - ae, rex cceleliis, rex
O Fill - i, & fili - <e, rex ccelefti.% ?ex
THE HYMN AT EASTER.
43
{
jaffiste^i l ?»» * 4— 4
glori se morte fur rexit ho - di - e.
glori - ae morte fur
rexit ho -di - e,
x
Ai
tt
5J3C
le - Ju - ia, Al • ieiu - ia, Al-
it^^^afcf^^^^S
Al
le * Iu -
Al letu - ia, Al-
lelu - ia, Al - le - lu - ia.
lelu - ia &
Al
le
iu
Et mane prima Sab-
bati
Ad oilium monumenti
Accefferunt Difcipu-
li, Alleluia.
Et Maria Magda-
lena
Et Jacobi 8c Salome.
Venerunt Corpus un~
gere^ Alleluia.
In albis fedens An-
gel us,
Praedixit Mulieribus,
In Galilaea eft Domi-
nus, Alleluia.
Et Joannes Apos-
tolus
Concurrit Petro citius
Monumento venitpri-
us, Alleluia.
Difcipulis
44 THE ANTHEM ON A SC E N S ION-D Ay.
Difcipulis aftantibu*,
In medio ft e tit Chiif-
tus
Dicens, Pax vobi om-
nibus, Alleluia.
Ut intellexit Didy-
mus
Quia furrexerat Jefus,
Reman fit fere dubius,
Alleluia.
Vide Thoma vide
latus,
Vide pedes, vide ma-
il us,
Noli efle incredulus,
Alleluia.
Quando Thomas
vidit Chriftum,
Pedes, man us, latus
luum
Dixit, Tu es Deus
meus, Alleluia.
Beati qui non vide*
runt,
£t firmiter credide-
runt
Vitam aeternam habe-
bunt, Alleluia.
In hoc fefto fane-
tiffimo,
Sit laus & jubilatio.
BenedicamusDomino,
Alleluia.
Ex quibus nos hu-
millimas,
Devotasatquedebhas
Deo dicamus gratias,
Alleluia.
Allleluia, Alleluia,.
Alleluia.
The Anthem on Afcenfion-Day, and during the O&ave.,
Eight Tone. Bb major.
±3E
aoc
5p
O Rex gl« j ri - as Domine virtutum qui
O Rex glori - ae Domine virtutum qui
triumph at or.
THE ANTHEM ON ASCENSION-DAY. 45
£
!^5i|g»*jBggf3gEf
triumphator hodi - e fuoer omnes ccelos
!|§=S=s:
pcSi
1UD<
nzm:
X&Z
triumphator hodi - e fuper omnes coelos
lE^l^fiS^^fe^i
afcen - difti, ne derelinquas nos orphanos
afcen - difti, ne derelinquas nos orphanos
fed mitte promiflum patris in nos fpiritura
{:
fed mitte promiffum patris in nos fpiritura
fE^Et??
I
fltrfxcaa:
tit
ta - tis. Alle - lu - ia.
t
9
it*
'■W-
tfi
:^4_^ — JtJ^t-
ven . u - tis. Alle - lu - ia.
The
( 46 )
The Hymn for Whitfunday, Sec,
S
i~ « g a~r-g- f
Veni Creator Spiritus, mentes
I
aftBJE
e*=
5s
m *
•v^
tuorum vi- fita, imple fuperna grati a,
:sz^:si1i
quae tu creafti, peciora.
Qui diceris Para-
clitus
Altiffimi donum Dei,
Fonsvivus, ignis, cha-
ritas,
Et fpiritalis unctio.
Tu feptiformis mu-
nere,
Digitus paternae dex-
teras,
Tu rite promifTum
Patris,
Serrhone ditans gut-
tura.
Accende lumen fen-
fib us,
Infunde amorem cor-
dibus,
Inrirma noftri cor-
poris
Virtute firmans per-
peti.
Hoftem repellasloo-
gius,
Pacernque dones pra-
iinus ;
Du&ore fie te pras-
vio
Vitemus omne noxi-
um«
Per te fciamus da
Patrem,
Nofcamus atque Fill—
um j
Teque utriufque Spi*.
ritum
Credamus omni tem-
pore.
Deo
THE HYMN FOR WHITSUNDAY, &C. 47
Deo Patri fit gloria,
£t Filio, qui a mor-
tuis
Surrexit, ac Paraclito,
In fascuiorum faecula.
Amen.
In flrft Vefpers.
V. Repleti funt omnes Spiritu San&o, al-
leluia.
R. Et caeperunt loqui, alleluia.
In fecond Vefyers.
V. Loquebantur variis linguis apoftoli,
alleluia.
R. Magnalia Dei, alleluia.
The Sequence.
i ff M * i"r3i
-i
h- s w-
■^=t±
Veni fancle Spiritus, 8c emitte
m
coeliius, lucis tuae radium. Veni pater
"-»*~r~tt~
fr a*
t-tt-
-*-+
$
pauperum, veni dator munerurn, veni
l c l^ — spgzgs — 11 % . , , 1 r
lumen cordium.
-Confolatur optime, &c. page 4B.
The
48 THE HYMN FOR WHITSUNDAY, «&C.
The fame. Fifth Tone. F major.
:
Veni fan&e Spiritus, & emitte coe - litus,
sx:c
Veni fancle Spiritus, & emitte cce- litus,
(
5i^
it
Sfr
■X=OL
3&A
*
lucis tuae radium. Veni pater pauperum,
*Jl
B^^ErjfcHibc
lucis tuze radium. Veni pater pauperum,
§E
§§P311Si|i
1
^itf
veni dator munerum, veni lumen cor di um.
veni dator munerum, veni lumen cor di um.
Confolatur optime,
Dulcishofpes animae,
Dulce refrigerium.
In labore requies,
In seftu temperies,
In fletu folatium.
O lux beatiffima,
Reple cordis intima
Tuorum fideliurti.
Sine tuo numine,
Nihil eft in homine,
Nihil eft innoxium.
Lava quod eft fordi-
dum,
Riga
ANTHE& ON CORPUS CHRISTI.
49
Riga quod eft aridum,
Sana quod eft fau-
cium.
Flefte quod eft rigi-
dum,
Fove quod eft frigi-
dutn,
Rege quod eft de-
vium.
Da tuis fidelibus,
In te confidentibus,
Sacrum feptennari-
um.
Da virtutis meritum,
Da falutis exitum,
Da perenne gaudi-
um. Amen.
The Anthem on the Feaft of Corpus Chrifti.
Alfo foraetimes fung at Benediclion of the B. Sacrament,
Sixth Tone. G major.
fern
W^^ ^ ^S ^ i
O facn
j w lacrum, O facrum, O facrum con vi vium,0
Q facrum, O facrum, O facrum con vi vium,0
ES^j ^^ g ^^g f
r
j facrum con vi - vium in quo Chriftus fu mi tur,
facrum con vi vium in quo Chriftus fu- mi tut,
E " recolitur
50 ANTHEM ON CORPUS CHRISTI.
Bir—
sfe^{=gg*i
re co li tur me mo ria
if - fi-
-*-=—♦-
M*.A<W\
zzdrbcd
p-tr
re co litur me mo ri a paf - fi
jfctf
£***»$
o -.nis
e - ius.
t
■"PC
«=$
o - nis
jus.
gfc
»
■ gjCT
f
30C
S-3C
Chorus. Mens impletur gratia, & future glo ri as
1 ■2- = z=r=±=-«ttr.Hai:
4i=E*=?*iz|i£^|?;
xxxs
Chorus. Mens impletur gratia, & future glo ri as
i
R
fo* ! ?]^
o__
nobis pignus da - tur.
^g^ggsi
we?
nobis pignus da - tur.
gin^r*:
In Pafchal Time and f - ~ . . .
duringtheOaaveofJ Alleluia.
Corpus Chrifti. [^_^ £
; L
■mr
Al le lu i?«
( 5* )
A Profe on the Feafts of the B. V. Mary.
Firft Tone.
ZZJJIh J2JfcSJ|?Z tt — "t""*"! — ^ ~~ — ff
Tota pulchra es Mari a, Tota pulchra es Mari-a f
x x
pr — f ^^SB-ib-.
xfc
S=Jt
Et macula o ri gi na lis non eft in te,
p^_ ,
&H*--fSSIJZZZ5Z — ~ +~*h+-*f^ H ~+-»g-
+ P^^n^M-n y , ■ ! ■ — + — + -H_ + —
Et, macula originalis non eii in te,
+-H-* — f 4 - — . «-+--«-* —
,_ «»— j« t ' ■ — tr- — — ■ — W " ■— ■
;t
Tu gloria Jerufalem, Tu las ti ti a Ifrael,
fc=
Tu bono ri fi. cen ti a populi noftri,
fc&$
*.
Z?Z ZE
ijjr^iid^ijj:
Tu advocata peccatorum. O Mari a,
t
P^BHt
|=«SrB5:
^ tr f ' B ut^sfcj
t
O Man - a, Virgo prudentiflima, Virgo
x
jy — »-■-•-
"I r-4- ■ ■ W ' M - "
j ....... m , ,i
._.,! ,._-t- m _^- r . Hy ■"-J J.
_* — w>. w ;J
_-f . .,jj . m j^ .-» |«
dementi fli ma, Ora pro nobis, Intercede
E 2 pro
52 PROSE ON THE I EASTS Of B.V# MARY,
I—
E!"^t^
:rtt
-Mta- **>
fc*
i==«i
pro no bis ad Dominum Jefum Chriflum.
The fame to the Fifth Tone. E major.
iSo/z.
~*TcTta
J So/:.
=d=i=
^a=
pulchra es Ma ri a,
• — 'O ■
=5
3fcUt
itt
* v To ta pulchra es Ma ri a,
Ckdms*
Soli.
fc— ?t . — !!E ="zte zi=qzitEtf
f — -si— 1 i ~ 1 -=-3-4 1
Tota pulchra es Ma ri a, El
1 Chorus. ■ Soli.
Tota pulchra es Ma ri a, Et
•Bhfcat
:tij:
-*-*-«-
macu la o ri gi na lis non eft in
•
: 3-
xnacu la
=5=5:
o ri gi na lis non ell in
Chorus
PROSE ON THE FEASTS OF B. V. MARY, ggj
Choyus.
I
— m - H"
5W
iBot:
#
r — "-1+ — t
J te non
; Choru
te non eft in te non eft in te.
C/iorws.
f
s^^^^
te non eft in te non eft in te.
SolL
{
Tu gloria J.erufalem, Tu lse tiui a
«So/? - Chorus.
aEstz:
»5M-
Tu glo ri a Je rufalem, Tu las ti ti &
Chorus*
IfaEfcHs:
Jd£
-EHg~H~g-
i
Ifra - el, Tu honorifi cen ti a
Chorus.
:tt:
Tu honorifi-
Chorus**
m.
lira - el,
E 3
54 PROSE ON THE FEASTS Of B. V. MARY.
Chorus.
fa»»-
P
^^jl^f ^fel
popu li nof - tri> Tu advocata pecca-
Chorus*
^ ^^ ^ ^^ E
eentia uopuli noftri, Tu advocata pecca
Soli.
Chorus.
to rum. O Ma ria, O Ma ria,
Soli. Chorus.
#
m
At
33
"W
XOE
3s
to rum. O Ma ri a, O Ma ri a,
Soli*
Chorus.
fc*
B3J*
=5=2
■zz
i +
\
i
(
Virgo pruden tif (i ma, Virgo clemen-
Soli. Chorus.
Virgo clemen-
SolL
PROSE ON THE FEASTS OF B. V. MARY. 55
Soli. '
aw
t
m
tif fi ma, O ra pro no bis,
Soli.
+ 1
f-^--- — t ■....■■.■! _
-t- 1- +
I
ibS
s*
:b
&SZX
StaS ^^ ^m
tif (i ma, O ra pro no bis,
Chorus.
^S
rpprg
{
Inter - ce - de pro no bis ad
Chorus.
JQPZM~IM±
*i
xzxroc
-PHHfc
Inter ce de pro no bis ad
£^*J
-«-^~*-
t
M±3S
Dominum Je fum Chrii'-tum.
Dominum Je fum Chrif-tum.
On
( 56 )
On the Feaft of SS. Peter and Paul.
Sixth Tone. G major.
Sp*S
*
i
±M
O Roma felix, quae duorum Principum
I
— b-
I
O Roma felix, quae duorum Principum
&e=*
m
i=::=5i=
■H-tPtjl
♦Hi-
es confecrata giori o fo fanguine :
-H>-
azz$:
es confecrata glori o fo fanguine;
m
apspc
=4
3=Ctt
Horum cruore purpurata casteras
Horum cruore purpurata caete ras
Ex.
ON SS, PETER AND PAUL. 57
£
+~W-
-M E
Ex cellis orbis una pulchri tudines,
zz^zz: - -w-b- 811 — I
Ex cellis orbis una pulchri tudines.
f?fa:
irferrgirl z ar r^—ft
Sit Trinata ti fern - piterna giori a,
ft j{ — ft— +~ ft— ft— BT— — l
t
m=m.
£
Sit Trinata ti fern - piterna glori a,
~|±!=i^=fzs=«=?^f^^fi
Ho nor, poteftas, atque jubi - latio,
riff*
1
. te —
zz?t"za:
xxx
Ho nor, poteitas, atque jubi - latio,
1
Pipi-trW
gj TW _g=i- w 4^ : ^-^t-_
230C|j;
In u-nita te, qu«e gubernat omnia,
ft2~W-+-ft- : - : -a-»-+-ft r
I
1^23
~b-
In u-nita - te, quae gubernat omnia,
Per
5»
THE TE DEUM
pi) H" ^ , ,7'i'";
M U u
:-*-«■
1 . . m :r w ■ :
- ■" w -
*■• ♦ W tl'
3 Per
l H . , , ; m ;
»
univer fa
faecu lorum
fae cu Ja.
V P;^ - .
^ i?"~ —~ ST' *
.. .11.
z'-^:h:
w • ♦. . Ti -
- W — IB! ==>—*=■ |
-
L. 11
Per univer fa faecu lorum fae cu la.
The Te Deum.
^zic:
HI
£HB=£S
Te Deum laudamus: Te Dominum
Efcs
— -— J^tt-*—* —
W=m
confitemur. Te aeternum Patrem :
Ei=gEg§zi^zgj=|=
omnis terra veneratur.
Tibi
P— ^— Br t-B B *<- > -a -
zzzrza
; l * p 1 * H
omnis Angeli, tibi caeli, &
fc
:51a.— atai
g*-g-
j^
univerfae poteftates. Tibi Che-
rubim & Seraphim, lnceffabili
■-* ■-4~J H H-W" H-ot
voce proclamant: San&us, Sanftus,
Sanclus,
THE TE DEUM.
59
fc" H * ^ 4 ^ Vj»; | SJ
ft
San£tus, Dominus Deus Sabaoth.
» I., i i ■
B — " vv
Pleni fiint caeli & terra, Majef-
P-MHi - t-Wy-^-M^ t - 8 !?
zJtaSPtfti:
■jgnt-
tatis gloriae tuae. Te glori-
ofus Apoftolorum Chorus, Te
fee
P— jj ^iJBZi|±^
Prophetarum laudabilis numerus.
JE
-W-lBl-* 1
I
M — a -w
Te Martyrurn candidatus laudat
exercitus. Te per orbem terrarum,
fan£ta confitetur iixclefia, Patrem
ld**E*J ^^^ feg
*rci
immenfae Majerla'tis, Venerandum
ft*5
JE*fajJ c»iEfc!^ jJ5g
mum verum, & unicum Filium,
San Sum
THE TE DEUM,
- w W4h* w -w := :
^M-yyff^
Sanftum quoqui Paraclitum fpiritum.
ft
Tu Rex gloriae Chriiie. Tu Patris
•h-
■+^»r—
EJDfcJC
=3nzfc=:
iempiternus es Filius. Tu ad
liberandum fufcepturus hominem, non
^^^eeesIeS
=wv?
horruifti Virginis uterum. Tu
devi&o mortis aculeo, aperuifti
I
credentibkis regna caelorum. Tu
m
i
-t"^* 4
ad dexteram Dei fedes, in
I
|:?k5£
%^ - zjc=rtifit*
El
gloria Patris, judex crederis efle
■doe
4H$ -W- : « : -«^~«-W -|w
Venturis, Te ergo quaeiumus, tuis
famulis
p.
THE Til DEt'M.
61
famulis iubveni, quos pretioio
fanguine redemifti. Sterna fac
cum fancris
i
tuis, in gloria nurae-
~!^riz}t="j^=|=»^r^iz5r{=?riir|:
rari, Salvum fac populum tuum
Domine, & benedic . haereditati
E?±:i=Erfc?=ti?i=i
tu- ae.
£t
ZZ^?Z?iZ
rege
eos,
&
mac
J^e|s
-m-
3iZS
extolle illos ufque in aeter-
-la — 1 — k» g£, — 1 —
3 i:
•^
num. Per fingulos dies, benedi-
ft
■MZMZ
cimus te. Et laudamus nomen tuum
in
iicculum, Sc
F
(kculum
facculi.
62
THE TE DEUM.
3EX
-B-W-J-B-+-B-
.jBjBin:
fseculi. Dignare Domine Dei ifto,
=z:fs
s=?z*
^e^^3£
line peccato nos cuftodire. Mife-
jjl_: LJfjg.
fc
-*-■-
H*HBtgH*-y
rere noftri Domine, miferere
+
"=^7
no(tri. Fiat mifericordia tua Do-
^ >ff|fw M |^
:s*z±r*:
ft
mine luper nos: quemadmodum fpera-
it
vimus in te. In te Domine
-<*?
:«i«£
itacHi
■r
-5C?
fpera - vi, non confundar in
bj§»
an:
aeter - num.
V, Benedicamus Patrem et Filium cum
Sanfto Spiritu.
R. Laudamus et fuperexaltemus eum in
faecula.
The Domine falvum fac after Mafs and Vefpers is gene-
rally fung to the 6th Tone, as in the Pfalms, page 19;
or like the Miferere mei Deus, page 40.
Tantum
( 6 3 )
fa's/tut ergo at Benediftion.
Fifth Tone. D major.
:fiE-
□E2,
ft
E!=*=f
Tantum ergo facramentum, veneremur
m
!Sr*~
-@|— H —
tXE
f-
I
m
Tantum ergo facramentum, veneremur
LL-JH — H _H™_
cernu i: Et antiquum do cumentu
3SE
#
-H-
jttt
cernu i: Et antiquum do cumentum
:e
i
Btr
-2_+
novo cedat ri-tu-i, prae (let fides
rrtezszr:
■PHW-
novo cedat ri-tu-i, prseftet fides
m
- g-H- «-B-
-H-
>t
♦HffS
fupplementum fenfuum de fee - tu i
•ft'
—®-
t
:it
zm
fupplementum fenfuum de fee - tu i.
F 2 GenitonY
64
THE HYMN" AT BENEDICTION,
Genitori, genitoque
Laus, & jubilatio,
Salus, honor, virtus
quoque.
Sit & benediclio,
Procedentiab utroque
Compar fit laudatio.
Amen.
Another. Fifth Tone. D major. Set by Tvlr. Paxton,
HP
e — t— ^— 5Z5Z^_ __ — ft
%— ^ B — ♦-£
Tantum er go fa era men turn,
g . + _ Z^_ LL
j»D. '
A5 rs W Si
" « • ri H ;l
Tantum er go fa era men turn,
fr
-B-tfi-
I >. :♦-..■ )•
*-*-=-
+— m-
vene re mur cer nu i: Et an tiquum
j- — -, — —ft
RE 1 » ■ a-ar
:j _,_
vene re mur cernui: Et antiquum
±
1 " ' Ti " — — — — -
< documen turn novo ce dat ri tu i,
Is
■jsroszp!
:^jz«zv|
- a -r, — ^— i- pr
documen turn novo ce dat ii tu i,
praeftet
THE HYMN AT BENEDICTION. 6$
=fc
*> * ■',._ * * 'M x pHu* ■■».p r~"
Z=K+
I
pneflet fides fupplementum fenfuum de-
iiii=Bz:*:!!btt — *-?zw±
■m
prasitet fides fupplementum fenfuum de-
feclu i, fenfu-um de - feclu
#
:snr
■*..■•■- »
:S=
4:
£e£tu i, fenfu - urn de - fe£lu i-.>
Genitori,.g,enitoque^ &e. — See page 64,
Another. The Fifih Tone. F. major. By the fame:
Gentleman..
§5=^
rn^rn
Tantum ergo fa era - mentum vene-
Tantum ergo facra - mentum: vene-
F 3 lemuE
66 THE HYMB AT BENEDICTION.
.
5K
-'♦
— / -^".,.
..r^_ ..
— — ■ -
Nh>
♦
M ■•
♦
m
A
■ ♦
^>—
m —
MM —
■ •'*'- .
f
-f
re - rnur cernu - i, & an ti quum
a —
■♦-♦ — a — «-
3G3TI
i
re - mur . cernu i, & an ti quum
!
i
*-♦-
:*il*
S=*»=
— b
docu mentura novo cedat ritu - i, prasftet
Mszzrm:,
docu mentum novo cedat ritu - i, praeftet
i
l_, j — - — + ^i~irnjt
fides fupple mentum fenfu um de fec-tu
29 'i" 1
r j ~j
r — ff
■l-^psrz*::
H_M ip ' m ± m W ■* £■
W
— U
• ■ ■*-■ — — |
fides fuppie mentum fenfu um de fee - tu - l,
Genitori, genitoque, &c. — See page 64.
Another,
THE HYMN AT BENEDICTION.
67
Another. The Sixth Tone. A major.
H-
5PC
i^^Et^*fcf
Tantum ergo facramentum veneie mur
■B-
■Ez§r i ^EEEEtEE==Ei-z?Eii= s= i
Tantum ergo facramentum venere mur
Hzsz*:
S=*3E
i
cer nu i, & antiquum documentum
a gj— + — k — jg) — i~^>— * +
cer nu i, & antiquum do cumentum
32
novo cedat
-m-
E^3E^5
ritu - 1,
>raeftet fides
novo cedat
*HS — H"T£"
nu - i,
n
prseltet fides
,=-**-*.
Mm
tt
5^tt
fupplementum
fen fu um de
fee tu i.
11.
mm ■
\:
1 b- B J*
« ri .'K t
t) ^-- - ■•■-*-■ s-v- -
- — ■ ■ y n> ^ •
■-- • ■ up •
■ at ' H "
f ■ - m If
fupplementum fen fu um de fee tu i.
Genitori, genitoque, &c— See page 64.
Another,
68 THE HYMN AT BENEDICTION-.
Another. The Eighth Tone. C major..
grzztar*
I
izpEz^zsr*
Tanfum ergo facrdmemum vene reraur
SESi^
-a-
i
Tantum ergo facramemum vene remur
~d!LzE:
B=±*±|:
cemu i: Et anti quum docu mentum
^^&
'Mim.
M—m —
cemu i: Et antiquum docu men tu
?ee|
I
:mz:m:
M
.._■_♦.
E*
novo cedat ri tu i, piaefiet fides
•5—
«H , HL-
IPC
■ JSJ.
sr.:
novo
cedat
:~ £jt
SE*
ri tu i, praeftet fides
-:r*=i:
a
:*
' fupple mentum
fenfuum de
fee
tu i.
, , . , i- ... i
h g .
♦ ...' 1
*r ""h ■ •■
' * u _, ■
. ' — m
£ y
E_L.
.1 — . ■ 1 ■" i i— ►
■ ' ■
fupple mentum fenfuum de fee tu i.
Geaitoii, genitoque, &c. — See page 64-
At-
C 69. )
At Expoiition, Elevation, or Benediclion of the BIcfl'ed
Sacrament.
Fifth Tone. F major.
<
J O falu ta ris hofti a quse coeli pandis
I
O falu ta ris bo Hi a qua cosli pandis
=r=tt
4ar*9S^S!iE5
JE±
o ili um, bel Ja premunt huitili a,
Pr-»
-Vfe
l:c±iE
o fti um, bel la premunt hoflili a,
Ktr~
-ff-|-= **-
■"*■"
L ^i
te
. J ii i' «■«
rP- —
s 4 * ®~~=
f*3=* ,-
t :
da robur fer aux i li um, U- ni trie
— -b-J-+ — sr^-i^f.
-W-H-M-
HZZE
P
da robur fer aux i Ii um, U ni tri-
noque
yo AT EXPOSITION, &C.
noque Do mino, fit fempiterna
<
Us— S
-sz|=»zri-r41
i
noque Do mi no, fit fempiterna
j5r^i=lz^}^:^ifE^=
ft
glo ri a, qui vitam fi ne ter mino
■ ft -v.?'.*: Hf ■ « j V»* »l y ; :jgJctt
?F".:.. \*1 "1 .:""■-, 't - ; "11-
glo ri a, qui vitam fi ne ter mino
m
J fib *
B
s^rjj
no bis donet in pa tri a.
t
**
—jg — H — I— *
no bis donet in pa tri a.
VARIOUS
( n )
:£>•••*
VARIOUS HYMNS and ANTHEMS,
SUNG AT
ELEVATION OR BENEDICTION.
A Profe on the Feafts of the B. V. Mary.
■+ * -J 4-
H JUL C eft praeclarum vas Pa ra cli<
.-p if + +.
zzm
:z^3T-:t:j^:s^-c|^5~^^t^
ti Spiritus fan£H. Hsec eft glorio fa ci-
-I-.
ZJCgsp.
vitas Dei. Haec eft mu li er virtutis, quae .
i
1:
Sbi±rd9E
— 4hg-+'
zafccjzi}^z:_ign:|
i—
;:^i:t:j:
=vv*
contrivit caput ferpen tis. Hsec eft fole
fpeciofor,
7 2 PROSE ON THE FEASTS OF B. V. MARY
m
5c
fpeciofor, luna pulchnor, aurora ruti-
.+ 5, -^ -fl 1
m
*znm:::x.VM
Izct—iS^i^zttz^ .
test
lan-lior, & ftellis praecla - rior. Hanc pec-
ca - tores devote ad - eamus, rea pec<
r^EiEfe ftf.w ^tv H^^ic±r ffi^$iS
Jppss
tor a tunda-mus; di
centes : Sane-
P-^teH-W ^— — ■ t TJ-«-B -H-+- B -jgM-|^
ta.
Sanctg, San£ta Maria. Clemens
W?z
^=r±-
H-
& pia Domina nof - tra. Fac nos tu-
is pre- cibus confortes cae - leflis glo-
--!'♦*' — m m^+w — I — d — tP
n«.
Or
PROSE ON THE FEASTS OF B. V. MARY* 73
Or this.
rtepc
m
*a*=t
■W"*"~~~"t"
•**»
m f m m
Ave Mari - a, gratia plena, Domi.
« ^ir^ >_r\—
1 ' ' ■ "W 1 1 — ■ —w , -—» .■■ m& m^pbm H^w
nus tecum, benedi&a tu -in muli-eribus.
-4. — JL4
■^BV
-+—-«-*-»
*HM
& benediclus fiu£lus ventris tu - i Jefus.
Sanfta Mari - a, mater JDe i, ora pro
w
nobis
tft^piaeE^scfii
■w-
pec - ca . to - ribus, nunc, &
in
IISl
Hit*
hora mortis noflrae: A
men.
^M-M^-n-^-iH*'
las
/» Pqfchql Time, Amen, alle • luia,
FOR
( n )
FOR THE KING.
T.6.
D
i
K
o
S^^^eN:
mi ne
^Hc J -H-NU * t4
fal vum fac Regem noftrum Ge or
wmmm
m
urn Et ex an - di ex
Pi
au di nos in di e qua in vo- ca-
I
? 1 ^ MJ Z>
t^r^T^-F- l ' l ">^
+7-^+
ve-
MitekUkgt
i
rimus te, G
— +-
5zi4?iti^
-+ — -i i-Tf-i t
ri - a, glo ri a Pa tri &: Fi li o,
jfeEJgg^^ip
Sc Spi ri - tu i Sane - to. Siciit
erat,
FOR THE KING.
g^E^JE^Ep
jets:
e rat, ficut e rat in prin cipi
-4 — -t— -t—
et nunc, et iem
75
i
o,
|5£ii|
S535 -
■*-«-
'$!£
:iza:
-*— •+•■
p*
:r: e
tin fse eu la
fsecu - lo rum,
feU'
r ^ *~
,
B**J
: n !
h 1 -
«»——._, ■ ... „,.. . . ,., .
A - men.
Piano
Another.
S
-<( Do - mine falvum fac Regem noftrum
PL
t +
m
—+-=>-.
ac:
— r
.190 "
s
Do - mine falvum fac Regem noftrum
Jd
r^t
JC»
©£S
-^ Geor gi um, et ex au di nos in di e
i-tr- % —
-————'
^-«n ^tJiz ,
*— 1
..wrr
—■(-B- •
■w * ♦
L HZ
:"«■*".
— T-] .«■..
~-fe
h H
t -f
Geor gi um, et ex au di nos in di e
G 2 qua
7 6
FOR THE KING;.
fi
m
am
S
5*
qua in voca verinius te. Glo - ria
— fa — - t f -*
ftSSEl
qua in voca verimus te. Glo - ria
r«vy;tj — 5-h
urf-jLJii:
i — * | rj g g
„ ,_ — ^ — ^. — ^
l
— -
i-te
Pa tri et Fi li o et Spi ri tu i
Ef sS^gp Egf
Pa tri et Fi li o et Spi ri tu i
forte
Sane - to : Si cut e rat m prin ci pi o
***m
h— — ~ wt K m - m i*
-+**-'*
Sane -to: Si cut e rat inprincipio
=b=t=K
I
iSE±
m~:
±-+
w
et nunc et fem per et in fse cu la
rrsr£
w.
lizizsrzifco
w-4
— +
et nunc et fem per et in l'se cu la
faeculorum.
THE HYMN AT BENEDICTION.
17
fae cu l'o rum. A
Piano ^-x forte
m:
I
l
1
t-
■t — +
men, A - men* A - men.
men, A - men^ A - men,
Tantum ergo at Benediftion.
T.6.
gb-W— f m — fc-r-1 '
* a =rr = *-« ■— a *- '
— +- 31 - r — i — i ■?
Antum er go fa era men turn ve ne~
Ge ni - to ri ge ni to que laus Sc
pb -8 "
mm
3=a:
-*ZK
-i— -M — mi — tr
re mur cernu - i
ju bi - la - tio,
IB
m — Br
Et an - ti quam
ZC
fa lus, ho nor,,
— +■
-r
docu mentunv no vo ce - dar. n-
virlus quoque, fit Sc be-ne *■ die-
*} 8 THE HTMW AT B^NED I CTI ON.
+—. §mi -r ^ —
m
+-feH
m
tu i praeftet fides f up pie men turn
ti - o, pro ce den ti ab u tro que
ln*L H z
4
m
ft
fen fu urn de fee tui.
compar fit lau da - ti o.
Another. The Fifth Tone.
■m
*
a:-i?=3d:
SET
m
~r
Tantum ergo facra men turn veneremur
Geni - tori ge ni to que,.lau& & ju.
ii^lNI
SZI —
H*-4
cernu i. Et an ti quum docu mentum
bila - ti o, fa lus, honor, virtus quoque
« — m* ..♦■■i-— — j
— s*_. . — . .
g
— — — -
rP — ■H* r 3*
no vo cedat
fit & bene
n - tu - 1 praeftet
die - ti - o, proce-
^m
Staoc
fides lupplementum fenfuum de fee 'tui.
denti abutroque corapar fit lau da ti o.
An
( 79 )
An Anthem at the Elevation or Benediclion, &c,
A
acz!t::a::
Ve verum corpus na turn de
gir
Mari a vir gi ne, Ve re paflum
I
immo la turn in cruce pro homi ne,
tepH^ftjfcpjcjp
««=
Ircap
*■!
Cu jus la tus perfo ra turn unda flux
&&*!»
.4. Pflg-
-™— w —
it & fangui ne, Efto no bis prae-
gufta turn mor tis in ex ami ne.
O cle mens, O pi a O
ggg^ jp ^Ss^cpp^qqff
Je fu fi li Ma ri ee. A men
Another*
80 ANTHEMS SUNG DURING THE
Another.
T. 6.gn
o
is^iWP,
«-»
s^EEl^^f
uam fua vis eft Do-
Jk^^^gg^lS^ lBJ^
mine fpi ri tus tu us qui
fr
#3
*£■:
•♦—•a-i
-^
ut dulcae di nem tuam in
fili os
gfc
B-^^fi p'T T* |»l i « j 55i=|
demon ftra res, pa ne fua vif fi
lb
mo d
'■q ^gfe^ j:
m
m
coslo praefti to
e fu ri entes re pies bo nis fa fti
*
-2CZi
I
di o fos di
vi tes: di rait tens
k}- a~ nes«
Another*
ELEVATION, OR BENEDICTION, &C. 8l
Another.
^I^ii^^ll^fel
fa - crum convi. vi, um in
— ". ' " "" " "' ' " ' — T ' ■ ' . * '
quo Chrif tus fu - mi tur: "; re co-
1 ' ■ — *ia—" ■ " ■ " ————4 JBjS5_J_2.-jg5!a W ,
m±s
li tur memo
ri a paf fi onis
I
E=t=Eh*5tes:
ejus
; mens im pie tur gra - da
r *" '
,,,, flTHT
Seng
tagB a, «^
1»F 1
■r-w-" 1 " a ■ rH 4,1
-«s5ft^fr| _|
•Jgp ■$>• -f— " t-v^'-
& fu tu
rse glo rise no bis
|E=!±i™E =^!S=^=
pig - nus da tur
Alie
-
■
tti
fb.... . ~ ..
; aJKj-jr^ w _4 „ , — .
lu ia #
Another,
82
ANTHEMS SUNG DURING THE
Another.
Sa- lu ta-ris hofti- a
IS P^l " : Hr» ^[st
a
ft
■4
quae cae-li pan dis oft i-um bella premunt
§
S
rs^g^azjziz i ffcai
Si:Sr
4
ho-fti-li a, da ro bur fer auxi- Hum,
j n — "5~~t — ft
Uni tri- no- que Domino,
e
1
v*
-fr*~.
m
fit fempi- ter- na glo-ri-a: qui vitam
fine ter-mino: no-bis do- net in
I
=fc
patri a, A- men.
Another, by St. Thomas of Aqum.
A
ft b*»
»«-!-*-!■-
m
Doro te devote latens Deitas, quae
fuh
ELEVATION, OR. BENEDICTON, &C. 83
iSk^TiT* 5 *
►«g#
■mm-
m
fub his figuris vere la-titas. Tibi fe cor
meum totum fubjicit, quia te contemplans
Sac*.
: ^**-W4f
j^Etsj
totum de-ficit. Ave Jefu Paftor fide Hum,
adauge fidem omnium in te creden ti urn.
Vifus, ta&us, guftus in te falli- tur, fed au.
Six
*lhi-^F?5
-w-w - 1 ■
ditu folo tuto creditur. Credo quid quid
dixit Dei Fi-li-us, nil hoc verbo
SZ^K
±jc
*m
-*~m-
m
ve- ritatis verius. Ave Je fu, &c
S5t*±?Ki±^ar S :
In cruce latebat fola Deltas, at hie
latet
84 ANTHEMS SUNG DURING THE
H*-**-*H*
i
latet fimul 8c humanitas. Ambo tamen
credens atque conrkens, peto quod petivit
, e — , p
~"~i M M ti
m a w +-, U
■■ ,■■1 -"•:.
latro poe nitens. Ave Jefu, <&c.
Another,
Anis angelicus fit panis hominum
dat panis ccelicus figuris terminum.
jgt-^— g — HI— J
O res mi ra bi lis manducat Dominum
!§zsr*z£!Ez= (I — H Ehj
pauper fervus 8c humilis. Te Trina
Deitas unaque pofcimus, fie nos tu
vifita
«!-
ELEVATION, OR BENEDICTION, &C. 85
- *-w-t — -— te£k55
+-*-
. w JB~p^ipat
*t
i
vi fita ficut te colimus, per tu as
3
^Vl fl ffi f
fcart^tjctac
-+ — i* i
1
»^Bm«-^— xgj& *f~>— •!(i — — iS»
femitas due nos quo tendimus ad lucem
quam in-habitas. A- men.
The four following Antiphons are {\mg whUft the BleiTed
Sacrament is expofed in the Church cf the Englifli
Dames of St. Clare, at Aire in Artois.
&
6 Toni
itmmm
M-+
— +.
:t~
O Jefu Deus magne Paftor bone O
fedg :
**-
>-Br
:i^zi?±$?is5!i|:
dul cis dulcis agne O
!:|s
manna O Je fu Paftor bone O
^ti5Plf±ijjc
*"+-=*-+
-1
^r
■C|jLhh- —
Pa nis Salu taris O manna O Panis
H O'agnc
Vv
86
ANTHEMS SUNG DURING THE
i&KfKj:
^ Ir c^^ igfcgf^g
O agne O Jefu O Je fu Je fu mi
w -f *
m
O Poteftas quid non praeftas. quid non
Be^sW
-H>M
X
+* -F-
**-+■
prseftas homini O Poteftas quid non
&
-*
>--*-
praeftas quid non praeftas homini
fe
JR#.- O ' Jefu r Sec. ,
Another.
6 Toni
Nsr=r:r=r:r=rrrrr—
m-*hf
±Z%^.
Tu folus fons amoris fummae que
S
r-l-BI-
I
-»-*-
h-H"l-t
ir*iB — ■•*-*-
bonitatis tu folus fons amoris fummae
^gjffS^{ 5
que bonitatis Laudestuasfaccantemus cante-
ID-US-
ELEVATION, 0R BENEDICTION, ScC. Bj
- mus cante
mus
k
iElrEi?:
-■♦— 1-
rW
=CV
cantemus in seternum in aeternum
gfea:|qjri^r|z^zj:^itr^^;:
in
aeternum O Jefu difecle O
k=»ci=a!bsE±
-W
£
Jefu dile&e amor Jefu amor fac
zzm:
*z=±±±~i
cante
mus cantemus in
^^a
: za^j-fw^jx:.:^.
seternum. Laudes tuas fac cantemus
j w^ , . 8 , t .
mm
cante
mus cantemus cantemus
-te
— — t--i-w-
in aeternum. Repeat Tu • folus, Sec.
H *
Another,
88 ANTHEMS SUNG DURING THB
Another.
6Toni
m
z+zjfcm
Deus Cordis me i Sc animae
K?V
n
-+*
**■
*$5s:
W=
meae De us Cordis me i 8c animse
SS
*"nr*+
♦t^h»
±^ttc±3
infc^3
>**
me se in te con fi do in te fperabo
fcr*-t
at
i
i . a
*±^g
i
, ^K
tu panis vitas tu vit»is vera
l^i^^^Hfe^l
Domine feftina - - ut e - nutri as
. me. Veni O Veni O dulcis a mor
ggggj
veni O veni O dulcis amor ad
te
ELEVATION, OR B EN E B ICTI ON, &C. 8^
te fufpirat Cor meum veni veni
veni veni veni vivifica me.
fc
^E^S
Rep. Deus Cordis, &c.
Another.
!EE| E^ Bg-^l=|g|^
O Sa
crum O Sa-
3GBK
9PHr
^*S£
-M5ZZ5.
h**
r^_.
crum Convi
"=v>7
vium O Sa
pZZql^SBZBZl IZH
r.z$2i
-**♦
i
35
•*» T +•
$zs
Jfcfi;
b*
- crum Convi - vium in quo -
Chriftus
9°
ANTHEMS SUNG DURING THE
Chriftus fu - mitur reco
litur memo
ria
paffio
♦-*•?♦♦* —
"S^**^
3**.
-V* 1
ms e
fc- -■ ■}
f3
13
*
A
- (fv
.... . ♦♦
: m ._»♦■♦ # *-; " ^
.,. V" n
'— "m m -
,.. ^ .. ± 4^
I
jus. Mens impletur gra
— m+ m -.,
*hm
m
:s=E^i
tia et futurae gloria
nobis
-m T ■ I B — BguT-u^— a — * — * " — -
Tg
pignus da - — tur. Rep. O Sa-
At the Elevation in Mattes for the Dead.
—b-
MSB*±M
$
-+-
*:a:
E fu Salva- tor mundi exau di preces
fispplicum..
ELEVATION, OR BENEDICTION, &CC. 91
■-gig y-y| : W-W-|-^Hp»^w4
fupplicum. IT Miferemini mei, miferemini
«s
me i, faltem vos ami ci mei, quia manus
i
— b«-+-
lagaE
i
Domini te- tigit me* Pelli measconfumptis
~~,S
■i=?±
5SPCk!!S$^2
!fet.j!!i^i±tixi?^3
carnibus adhaeGt os meum. H Miferemini,
Quare perfequimini me fi- cut Deus, 8c
s
WHs*
|tfi
ZOttOC
carnibus meis fa-tura- mini? 1 Miferemini,
Another.
T.i
o
IfeU;
:$~5:
sr:
r — «+
Meritum paffi-onis! Summae mife-
rationis: medicina defun&orum: O paflionis
meritum
r ^
92 AT THE ELEVATION, &C.
=^z5^ttSfi;
§£
meritum*0 paffionis meritum! Umbram
4 + + . + _
f
KH-K
~WT*
JOL
praebens contra seftum divinalis ultionis
*
m
eI
:irr=
*-♦-*»-*
O meritum paffi- onis. O paffionis
3tr
S
meritum.
Or the Be profundis, which is fung like the Mjferere,
page 40.
FINIS.
JS
•""M
-■.-'■'■'
IHIi
IP