The Continental Harmony [1 ed.] 9780674188310, 9780674188303

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T H E JOHN HARVARD LIBRARY Howard Mumford Jones Editor-in-Chief

THE

Continental Harmonp By

WILLIAM

BILLINGS

Edited by Hans Nathan

THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS 1 9

6

1

· CAMBRIDGE, MASSACHUSETTS

© Copyright ιφι by the President and Fellows of Harvard College All rights reserved

Distributed in Great Britain by Oxford University Press, London

Library of Congress Catalog Card Number 61-13J34

Printed in the United States of America

CONTENTS Introduction by Hans Nathan

vii

THE C O N T I N E N T A L HARMONY Musical Characters Introduction: To the Several Teachers of Music An Anthem for Thanksgiving. Psalm 148. An Anthem for Fast Day. Isaiah I. Great-Plain. Words from Dr. Watts. Rocky-Nook. Words from Dr. Watts. West-Sudbury. Words from Mr. John Peck. Norfolk. Words by Dr. Watts. Creation. Words by Dr. Watts. St. John's. Words by Dr. Watts. Cross-Street. Words from Addison. Invocation. Bellingham. Words by Dr. Watts. Cohasset. Words by Dr. Watts. Egypt. Words by Dr. Watts.

35 42 47 49 50 51 52 55 56 57 58 59 61

3 4

Revelation. Words by Dr. Watts. Washington-Street. Words by Dr. Watts. Thomas-Town. Words by Dr. Biles [Byles]. St. Enoch. For a Thanksgiving after a Victory. Morning Hymn. Words by Dr. Watts. West-Sudbury [Sudbury]. Words by Mr. John Peck. An Anthem for Thanksgiving Day Morning. Weymouth. Words by Dr. Watts. An Anthem. Solomon's Songs 5. Rochester. Words by the Rev. George Whitefield. Gilead. Words by Dr. Watts. South-Boston. Words by Dr. Watts. An Anthem. Psalm 44.

62 64 66 67 68 69 70 74 76 81 82 83 84

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CONTENTS

Dedham. Words by Dr. Watts. Universal Praise, An Anthem for Thanksgiving Day. Taken from Psalm 149, etc. An Anthem for Ordination. Words from Tate and Brady, Scripture, etc. An Anthem for Christmas. Words from Luke 2 and elsewhere. St. Thomas. Words from Dr. Watts. Broad Cove. Words from Dr. Watts. Deliverance, An Anthem. Words from sundry Scriptures, etc. Variety, Without Method, An Anthem. Psalm 60. Hopkinton. Words from George Whitefield. A n Anthem for Fast Day. Some of the words from Scripture. East Sudbury. Words from Dr. Watts.

95 97 105 117 127 129 131 138 144 145 152

Adams. Words by Dr. Watts. Claremont, A Hymn for Easter. Words anonymous. A n Anthem. Solomon's Songs. An Anthem. Psalm 126. The Dying Christian's Last Farewell. New-Plymouth. Words by Tate and Brady. Victory. Words by Dr. Watts. Sublimity, An Anthem. Psalm 19. An Anthem for Thanksgiving Day Morning. Psalm 108. St. Andrew's. Words by Dr. Watts. Cobham. Words by Dr. Watts. A n Anthem Suitable for Fast. Joel, 1,2. Lewis-Town. Words by Tate and Brady. Index

153 154 155 160 164 169 170 171 176 184 185 186 198 201

INTRODUCTION In a readable and informative book, America's Music: from the Pilgrims to the Present (1955), Gilbert Chase distinguishes three phases of musical development in this country — preparation, expansion, fulfillment. Discussing the period of preparation, which for him runs to 1800, he distinguishes among gentlemen amateurs like Franklin and Francis Hopkinson, professional emigrants who came here to earn a livelihood, and native pioneers who, avoiding the dilettante approach, were in a real sense the first American composers. Among them are James Lyon, Andrew Law, Daniel Read, Timothy Swan, Samuel Holyoke, Oliver Holden, Supply Belcher (known as "the Handel of Maine"), Jeremiah Ingalls, and William Billings; and it is remarkable that practically all of them were New England men, a fact that throws an interesting sidelight on the supposed narrowness of the "Puritan" tradition. One name among these worthies that has vitality today is that of William Billings (1746-1800), whose tunes were sung in American churches late in the nineteenth century, whose "Chester" was played in the Revolutionary army, whose "Berlin"

forms the basis of Ross Lee Finney's "Variations, Fugueing and Rondo" (1943), and another of whose hymn tunes is basic to Otto Luening's "Prelude on a Hymn Tune by William Billings." Part of Billings' importance to us is that his music has seemed to contemporary American composers so indigenous and in some ways so close to their own idiom that they have incorporated it into their own works. We know too little about the first important American composer to do more than guess the kind of man he was. He was born in Boston, he had a scanty education, and he was a tanner by trade when he began composing music. He seems also to have been physically unattractive. One arm was withered, one leg was shorter than the other, he was blind in one eye, his voice was loud and harsh, and (possibly because of the tannery) he was said to be slovenly in dress and in appearance. Nevertheless he won the attention of Samuel Adams and other Boston ministers, and he became a recognized singing teacher, much in demand by local churches like the fashionable Brattle Street Church (where he taught briefly), one whose music was often per-

Vili

INTRODUCTION

formed and anthologized. In 1770 he published The NewEngland Psalm-Singer, engraved by no less a person than Paul Revere; and this he revised and, he thought, improved as The Singing-Master's Assistant (1778), a work that went through as many as three editions. After three other books (Music in Miniature, 1779; The Psalm-Singer's Amusement, 1781; and The Suffolk Harmony, 1786) he published in 1794 one of the most charming of early American music books, The Continental Harmony, here reproduced. Although he died poor, it cannot be said that he was a neglected genius for his vogue and influence in New England were wide. Dr. William Bentley of Salem, one of the few sound linguists in America, wrote in his diary that Billings "may justly be considered as the father of our New England music. Many who have imitated have excelled him, but none of them had better original powers." 1 In December 1790, The Massachusetts Magazine in an article on "musick" remarked that: The present, indeed, seems to be an era for improvement in ^The Diary of William Bentley, D.D. (Salem, Mass., 1907), vol. 2, entry of Sept. 28, 1800.

musick as well as in other arts; and makers of (unes as well of poems, and other mental as well as manual manufactures, have been numerous in some of the American states.

This seems to point to an unusual activity in the musical world of Massachusetts at that time, an assumption confirmed by the interest of Isaiah Thomas of Worcester, well known for his publishing ventures in a number of fields, in bringing out music books for churches and for other groups. Thus Thomas published in 1786 The Worcester Collection of Sacred Music, the "advertisement" of which tells us not only that Billings was "the first person we know of that attempted to compose Church Musick, in the New-England states," but also that "several adepts in musick" have followed his example. Not surprisingly, then, we find that Isaiah Thomas and Ebenezer T. Andrews published Billings' The Continental Harmony. American music was of course derivative, but in reference to psalm-tunes the Puritan tradition was rather more independent than is commonly supposed, and music of this sort was popular enough to justify the printing of more than a hundred "tune-books" (that is, if we do not include re-issues and single pieces) between the 1760's and the earlier years of the nineteenth

INTRODUCTION century. The Continental Harmony belongs, then, to a considerable library. Like any other publication of its kind, it is divided into two parts: an exposition of musical theory, and the music itself, which consists of psalm-tunes (some of them "fuges"), a few pieces (possibly covered by the term "chorusses") in the same stylistic category but based on other than versified psalm-texts, as well as several anthems. That all of these compositions were "NEVER BEFORE PUBLISHED," as the frontispiece claims, must be qualified. "Connection,"2 printed at the opening of the book in the form of a circle but as a decorative feature unlisted in the index, appeared in the composer's The Singing-Master's Assistant of 1778 and Music in Miniature of 1779; from the latter publication, too, come "Creation" and "Revelation," though both are expanded and the two upper parts of the first piece modified. Finally, the concluding section of the 2 No author is mentioned for the three stanzas of "Connection." Whoever wrote them, possibly Billings himself, borrowed the words "Great is the Lord our God" from the opening of Watts's text that is associated with the 1778 edition of the music, and the words "Hail! Sacred Music" from the opening of the poem "On Musick," published in Billings' The New-England PsalmSinger (1770).

ix

anthem "O Thou To Whom All Creatures Bow" stems from Billings' anthem "Peace" of c. 1783.3 The eight Lessons date back to 1778; they are a verbatim reprint (except for minor changes) of the larger part of the introduction in The Singing-Master's Assistant, which, in its turn, borrows most sentences in its two chapters on "Characters" from Royal Melody Compleat by the English composer William Tans'ur.4 Lesson II in The Continental Harmony derives from Thomas Walter's The Grounds and Rules of Music\ Explained (Boston, 1723, pp. 15-16). 5 The theoretical introduction of The Continental Harmony was for the use of teachers of the singing-schools organized in the first part of the century in order to raise the musical standard of the divine service in New England churches. These schools had gradually developed into what we now call singing-societies, though marked by a devotion 8 Pointed out by Ralph Th. Daniel, The Anthem In New England Before 1800, doctoral thesis, Harvard University, 1955, p. 190. 4 From the 1767 Boston reprint of the 3rd London edition (sec Irving Lowens, "The Origins Of The American Füging Tune," Journal Of The American Musicological Society, VI, 1 [Spring 1953], 49). Billings forgot to add the heading "Lesson VII" in The Continental Harmony, p. 10, line 3. 5 Also used in The New-England Psalm-Singer, chap, i; the jingle in The Continental Harmony, p. 25, appears here for the first time.

INTRODUCTION to an exclusively American repertoire of sacred music. Billings devotes a great deal of space in his introduction (not merely in the Lessons but also in the appended Dialogue) to two topics: transposition and tonality. His ideas are quite simple, but they are couched in a terminology that needs explaining. For the designation of the tones of our musical system he uses as many as three sets of symbols: ( i ) the traditional letters; (2) fa, sol, la (for C, D, E, and again for F , G , A ) and mi (for the remaining tone B ) ; (3) occasionally, the hexachord names of the Middle Ages and the Renaissance, such as G sol re ut and F fa ut. T w o points must be kept in mind in reading Billings' statements: mi, Β as well as B-mi, used interchangeably, constitute the seventh and frequently the "leading tone" in any major or minor scale and thus refer to a relative pitch; but, confusingly, Β (or B-mi) also refers to a definite pitch, when it is, as the composer says, at its "native place." A sentence such as "Mi is in B, and now the question is where is Β ?" (p. 24) sounds like a riddle, and yet it is merely eighteenth-century jargon for warning the singer that the last interval in the major scale (and often in the minor scale as well) is a minor second.

For example, if "B be flat, mi [the "leading tone" in what is now F major] is in E " (p. 4). Billings attaches paramount importance to an understanding of the major and minor scales (with C major and A minor representing "the two natural primitive keys") without which, he believes, " N o tune can be formed rightly or truly" (p. xi). Again his terminology differs from ours: he speaks of the "sharp" and the "flat" key. Passing up an opportunity to make an etymological point in commenting on the interval of the third in each (p. 2 1 ) , he merely characterizes the minor sixth in the flat key as "a flat and melancholy sound" and the major sixth in the sharp key as "very martial and sprightly" (p. 27). Obsessed by the function of B, he further states (p. 26) that if it is below the "key note" (tonic), it indicates a sharp key (B-C in C major); if above, a flat key (Α-B in A minor). Obviously his previous reference to Β as "the sharpest tone in the whole octave" 6 would have added only confusion to this 6 This happened when he attempted to explain (or rather to make pedagogically attractive) the circle of fifths (p. 2 4 ) . Fancifully he calls F "the flattest tone in the whole octave." T h e "next sharpest" tones are E , A , etc., the next flattest C, G , etc. And then comes the catchy conclusion:" it is a maxim with musicians to flat the sharpest tones first, and sharp the flattest" (i.e., Β flat in F major, E flat in Β flat major, etc.; F sharp in G major, C sharp in D major, etc.).

xi

INTRODUCTION sentence, and he wisely chooses not to repeat it. Since the flat key has a major seventh between its first and penultimate tone, though the latter is to be raised in cadences (p. 27), it is basically Aeolian — an archaic feature in the eighteenth century. Sharp and flat keys, each unambiguous in psychological meaning, seem to him irreconcilable opposites. One is "sublime," "grand," "majestic"; the other "soft," "soothing," "pathetic" (p. 23), and he demands the strictest agreement between music and text, i.e., "flat keyed tunes [to be set] to melancholy words, and sharp keyed tunes to cheerful words" (p. 1 1 ) ; he regrets that he once made the mistake of composing a Hallelujah in a flat key (p. 22). 7 Billings further makes distinctions between specific keys. He considers G minor as "more pensive and melancholy" than A minor, and he indeed confirms this in his music, at least with an appropriate choice of texts. On the other 7

See the end of the anthem "Hear My Prayer O Lord" in The New-England Psalm-Singer. He should have also mentioned the Hallelujah and the preceding "cheerful" section in the anthem "Mourn, Mourn" in The Continental Harmony, pp. 149 to 1 5 1 . It seems though that he merely forgot to add natural signs before "Be glad then America/' since the melodic cadence that uses an F sharp (p. 150, score 2, m.i, counter) is applied only to his C major pieces and the % type of the tenor melody in the Hallelujah (p. 1 5 1 ) always appears in C major also.

hand, his conviction that D major is "much more sprightly and expresses a shout better" than C major remains pure theory (p. 26). From the introduction to The Continental Harmony we obtain valuable information about performance. There are first of all the so-called "moods." They function not merely as time signatures but, still largely obedient to the principle of the Renaissance tactus, they also indicate tempo. From the composer's detailed remarks (Lesson V I ) , we can construct the following table: 8 c Adagio c Largo D Allegro 2

4 3

J = MM. 6σ J = MM. 80 J = MM. 6cr J = MM. ΐ ΐ σ

2

J = MM. 6σ

3 4

J = MM. 80

J. = MM. 53 J. = MM. 80 [MM. 60 in The Sin gin g-Master's Assistant] J. = MM. 80

Any one of these "moods" must be modified if "a quick, "Note Billings' consistent use of "minum" (half note) instead of "minim" (derived from "minima"). To judge by his previous publications, he knew better, but a few misprints in The Singing-Master's Assistant must have struck his fancy and persuaded him to indulge his sense of "originality" even in such a small detail as this one.

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INTRODUCTION

or slow term . . . [is] set over it," though this does not occur in The Continental Harmony except perhaps with such a marking as "Affettuoso." Billings then wants the tempo "one fourth part quicker or slower. . ." (pp. 20-21). Not only were the "moods" and their English models (like Tans'ur) known to earlier American composers but also the specific hand motions with which the singers graphically described the metrical patterns and by which they learned them. Billings explains these motions in Lesson V I but does not consider them mere teaching aids. He demands an emphatically metrical rendition of his music (p. 28), with accents on 1 in triple time and on 1 and 3 in common time (even in fuging tunes, if the "air [apparently the accents of the initial motive] can be preserved"), and he believes he can reinforce the meter by appropriate manual gymnastics: "through the medium of the eye, as well as the ear . . . [the beating of time] conveys the accents into the minds of the audience, and serves to strike the passions in an extraordinary manner . . ." (p. 19)· From. Billings' music alone one could not guess that it should be performed with precision in note values, co-

ordination of the voices (p. 19), and tempo. Particularly the tempo in each "mood" had to be observed literally. The singers did this by guiding themselves by pendulums — home-made contraptions made of "common thread well waxed" and a small, round piece of wood which had been rubbed over with "chalk, paint or white-wash, so that . . . [it] may be seen plainly by candle light" (p. 7). Because of frequent tempo and meter changes in Billings' music, no doubt several pendulums — at least two for The Continental Harmony — had to be kept going at the same time. There are but few dynamic indications. They are suggested by the "cheerful" or "melancholy" character of the text and the appropriate key. Volume is always straight; at only two places does it call for a "swell." Contrary to the concepts of polyphony, the entrance of each voice in fuging music is to be marked with increased strength 8 (P· 28). Like his contemporaries, Billings uses ornamentation but e See also The Singing-Master's Assistant, chap, xi: "and in performing Pieces where your part is sometimes silent [in a note Billings especially refers to "fuging Music"] . . . you must fall in with spirit\ because that gives the Audience to understand another part is added, which perhaps they would not be so sensible of, if you struck in soft."

INTRODUCTION limits himself to the "grace of transition" (pp. 21 and 2 7 28). While he previously applied it to thirds, fourths, and, in cadences, even to major seconds, he now allows it only for thirds. The interval is to be filled in with a diatonic tone in the form of an eighth note, while a preceding half note becomes a dotted quarter. This he specifies in The Singing-

Master's Assistant (p. 103), though in The Continental Harmony he merely says that the metrical accents should not be obscured. For this reason, too, he fears that where the notes that constitute the third, take up only a "half beat" (or, we may add, less than that), they, along with the grace, would sound like a triplet. In such cases and where the "mark of distinction" occurs, the notes should be left unornamented and made to sound "distinct and emphatic." Women normally sang only the treble. The rest of the setting was for male voices, including the counter (the modern alto). 10 How many singers were assigned to each part Billings does not say, though in The Singing-Master's Assistant (pp. 14 and 15) he mentions a proportion of "three or four deep voices suitable for the Bass to one for 10

See pp. 4 and 5.

Xlll

the upper parts. . . ." Solo passages in anthems (at least according to The New-England Psalm-Singer, p. 18) are to be sung by two or three voices, and to sound "as Soft as an Echo. . . ." It seems that the enthusiastic lay-member of New England singing-schools did not hesitate to choose any part that pleased him; he simply transferred it to a convenient register. Thus, the tenor and counter were occasionally sung an octave higher and the treble an octave lower. 11 Systematizing these possibilities in his own way, Billings suggests that the female treble double the tenor and the male tenor double the treble, i.e., an octave higher and lower respectively (pp. 15—16). This is preferably done simultaneously; otherwise, the second combination should be avoided. 11 The New-England Psalm-Singer, p. 2 1 : "Treble . . . adapted to Feminine Voices in either Sex. . . ." (repeated in The Singing-Master's Assistant, p. 27); but Billings dislikes the male falsetto: "a Man cannot sing a proper Treble without counterfeiting a Woman's Voice, which is very unnatural, and in the Ears of most Judges very Disagreeable. . (The New-England Psalm-Singer, chap. ii). A report in the magazine The Euterpiad of Aug. 3, 1822 (quoted in Hamilton C. MacDougall, Early New England Psalmody [Brattlcboro, Vt., 1940], p. 1 1 7 ) , in mentioning anachronistic ways of singing in Massachusetts, refers to a female voice which doubles the counter in a high register (i.e., an octave higher).

INTRODUCTION

χίν

The settings sound still fuller when Billings introduces "chusing notes" by dividing a voice part into two (p. 11). Either one may be sung but when both are heard "they add.. . to the variety." Appearing in the treble, the counter, and the bass (here usually at a distance of an octave, thus echoing the baroque effect of frequently doubled basses in The New-England Psalm-Singer), they often broaden a V-I cadence or lend sonority to a powerful image in the text. In passages for less than four voices or in "solos," it seems that their ad libitum character is no longer unrestricted. Early American psalm-tunes were always notated with double bars marking the end of each line of the text. This indicated a brief rest; it also gave the deacon or clerk time for "lining-out," i.e., for reciting the next line so that it could be sung by the congregation. The practice was imported from late sixteenth-century England into the colonies and persisted into the eighteenth century. Billings inserts double bars only into his earliest publication, stating, in 1778,12 that they are "but little esteemed among us." In The Continental Harmony (pp. 17-18) we learn that "lining12

The Singing-Master's Assistant, p. 23.

out" still existed in some New England churches. Billings rejects it emphatically as being "destructive to harmony" and to "the sense of the psalm." Whether or not instrumental accompaniment was used cannot be decided categorically. It no doubt existed but it was entirely optional.13 In The New-England Psalm-Singer (chap, ix) Billings says: "Let all Parts close in a proper Key, and a full Organ. . ."; and in The Continental Harmony (p. 14) he mentions an occasion when vocal pitch has to "conform to an instrument. . . ." However, his reference to the use of the "universally known" pitch-pipe (pp. 25 and 20) suggests an a cappella rendition. This seems to be confirmed, particularly for the present work, by Billings' enthusiasm about vocal music, whereas he considers instrumental music "but sound, and sound without sense",14 and 13 There are specific references to instruments in Billings' music only in two anthems. In "O Thou To Whom All Creatures Bow" in The Continental Harmony, the first of two textless passages is marked "Sym. to introduce Β flat"; for this work, destined for ordination and therefore to be performed in church only, an organ was no doubt used. The other work which includes "symphonies" is "Peace." Here the term is defined as "sounds without words intended for Instruments," but in The Singing-Master's Assistant, p. 27, it is "an air, which is played, or sang [sic] without words, before the song begins, and sometimes such airs are in the middle of a peice [sic], and at the end." " P . 15. This thought is even more forcibly expressed in an article "On Music" in The American Magazine (June 1788).

INTRODUCTION especially by his reference to the mutual doubling of treble and tenor as "sweet and ravishing, and . . . vastly preferable to any instrument whatever, framed by human invention" (p. 15). For purposes of performance it may be useful to mention the following technical points: sections in the music that are to be repeated are enclosed by :S: ; repetition of words is often indicated by :| :; a tie sometimes combines as many as three or four notes into one; the G clef of the tenor is to be read an octave lower; "b key" on page 86 (meaning "flat key") stands in the place of natural signs and thus changes E major to E minor; "Sharp key" on page 191 stands in the place of natural signs and changes G minor to G major. Hardly any of Billings' ideas (or terminology) are novel. They are typical of their time. Nor can this be expected to be otherwise, since the purpose of the introduction was chiefly to set forth commonly recognized data. Nonetheless, all such introductions in American tune-books are of an extraordinary similarity in their wording, since they freely quote from each other, usually without acknowledgment (this was the age of plagiarism on both sides of the

XV

Atlantic), and occasionally from Tans'ur. It must not be assumed that Billings merely repeated what others said, for we know that he had read and given thought to contemporary theory and its application as published by the American Thomas Walter, and by Englishmen like Tans'ur,15 John Arnold, Aaron Williams, and Joseph Stephenson. Already in The Singing-Master's Assistant he had not contented himself with strait-laced textbook material but had lightened it with more fanciful writing. In The Continental Harmony he did the same by casting the greater part of his introduction into the form of a lively dialogue between master and scholar, a unique occurrence in American tune-books. Though it was probably suggested by A New Musical Grammar (first edition published in London in 1746) by William Tans'ur and The Universal Psalmodist (also published in London, first edition 1763) by Aaron Williams, it bears the unmistakable imprint of Billings' " Billings (p. 30) erroneously speaks of Walker. His reference without doubt was to Walter's The Grounds and Rules of Musici, p. 24: "A Fourth is by some accounted a Chord, by others a Discord; but I am inclined to think the former." The statement on p. 16, line 16, refers to Tans'ur's The Royal Melody Compleat, chap, ii; lines 9 and 15, p. 17, are almost literal quotations from the same chapter.

XVI

INTRODUCTION

personality. In turn he appears as the self-assured teacher and critic, eager to inform, and informing to the point of loquaciousness. He is the fervent and, in his own way, philosophizing preacher, and the chatty and clownish entertainer.16 At his pleasure he resorts to any literary device at hand: solemn prose, jingling poetry, anecdotes, the homely phrase, and the contemporary catchword (in the form of military images). And he indulges in footnotes of every size and description, calling them "a glorious privilege, for which bad memories and dull authors cannot be too thankful" (p. 17). They also appear in the musical section of the book, several times to rectify what could have been decided before publication.17 Thus the book (Billings admits to 16 The last line in " A n Ejaculation of Philo F ü g i n g , " p. 28, had better be explained to the modern reader. Billings merely meant to say that the "hostilities" of rivaling voices will be resolved by an authentic cadence (see, for example, the two last chords in measures 4 and 5 , score 1 , p. 104, to which all of Billings' intervals apply, though he forgot to consider the lowest tone in the first chord). 17 P. 42: the suggested transposition to a key a minor second lower is necessary, because the upper limit of the tenor range is exceeded. P. 1 1 7 : the transposition "one note lower" (probably a major second) is necessary because the male counter rides too often on the C above middle C. T h e footnote on p. 48 refers to score 1 , m. 4, which includes too many notes and faulty declamation of the words (the latter is common at this time); the passage can be rectified by shifting the third barline in this score one beat (the time of one half note) to the right.

"broken hints and imperfect ideas" in his introduction, p. 33), has a dashing informality about it which distinguishes it from kindred volumes of its time. The three types of music that Billings presents in The Continental Harmony are in form basically identical with those of contemporary tune-books. In the psalm-tunes the air is always carried by the tenor. Though marked by the composer's characteristic melodic style, it is traditional in its sparse use of melismas and its regard for the specific meter of its text,18 thus also stressing the end of each or every other line. The four voices of the setting are rhythmically synchronized, now strictly, now slightly differentiated. Occasional rests within the tenor, which is ordinarily continuous, and florid passages as well as the appearance of contrasting "moods" within the same piece point to the influence of the anthem. The juging tune, also related to the anthem, is based, like the previous type, on versified psalm-texts. It greatly appealed to Billings (p. 28) ; indeed, stimulated by English music, he was the first American composer to cultivate it.18 It consists of two sections in " C h i e f l y Common Meter which consists of alternating 8- and 6-syllable lines. L o wens. " T h e American Füging T u n e , " p. 44.

INTRODUCTION the "Allegro mood": the first in the style of the ordinary psalm-tune; the second, after a hasty opening with successive entries, maintaining a polyphonic or at least a semipolyphonic texture. The brief motive involved in the initial imitation always appears first in the bass, whence it climbs upwards, so to speak, frequently in the strict order of the voices. As soon as the tenor has entered, it tries to regain its former dominant position, but has to suffer the rivalry of its companion voices. Most fuging tunes in the present volume differ from those popular in the eighties and nineties in various ways: for example, their second section, instead of spurting towards the end in a strong but mechanical motion, spreads itself into a more extensive and somewhat more elaborate setting, involving additional imitations; the initial motive in this section is not restricted to the stereotyped ascending fourth, whose last tone is accented and then several times repeated; they are not always in duple meter or in one meter only. Billings' anthems are long compositions, divided into sections that reinforce their contrast with changes in meter, tempo, and texture; several conclude with a "Hallelujah." Their four voices often split up into smaller groups, even solos. A s a rule no one voice

xvii

predominates but sometimes the style of psalm-tune settings is approached by way of a continuous, self-contained tenor. The texts are generally drawn from psalms of the King James version of the Bible and at times from the Book of Common Prayer,20 but Billings is fond of combining passages from scattered parts of the Bible, modifying them and intermingling them, contrary to the prose character of the genre, with rhymed and metrical lines,21 some of his own make. There is certainly nothing esoteric about his rewriting or his interpolations (see p. 80: "Stay me with flagons, comfort me with apples for I am sick of love"). Poetry serves him not only for literary contrast but to add accents to his music with repeated syllables, as in this example (p. 40): "join creation, preservation, and redemption join in one; no exemption, nor dissention, one invention, and intention etc." 22 Daniel, The Anthem in New England, p. 188. On p. 37 a four-line quotation from the seventeenth-century poet Earl of Roscommon is acknowledged ( " Y e dragons, whose contagious Breath . . . " in A Paraphrase on the CXLVIlIth Psalm). 22 On pp. 97 and 98 he translates the typical opening of a fuging passage into literary terms. Bass: "Let the leading bass inspire etc."; Tenor: "Let the tenor catch the fire etc."; Counter: "Let the counter still be high'r etc."; Treble: "Let the treble join the choir etc." 20

21

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INTRODUCTION

What made Billings' music so attractive to his contemporaries was chiefly its melodic idiom. There is freshness, a naive vigor, about it; and there is above all an admirable appropriateness to the needs of a laymen's choir that considered music a pastime and was fond of the physical exertion in performing it. Often shaped like a secular tune (except, of course, for basses in non-polyphonic settings), each voice part was easy to like and to cling to, and its spirited motion, especially in fuging pieces and anthems, kept everybody meaningfully busy. Moreover, the melodic style had popular appeal since it included familiar elements, while preserving a measure of uniqueness. Thus we hear reminiscences of Irish jigs, English and Scotch folk song, English tunes of fashion, eighteenth-century dance patterns, 23 and even elements of eighteenth-century art music. The 6/4 and 6/8 "moods," which Billings calls "very beautiful movements" (p. 8), inspired him to write cheerful and festive tunes — perhaps his best — that resemble English carols. Among the aspects of Billings' music that are most inSee J. Murray Barbour, The Church Music of William Lansing, Mich., i960), chapter on "Melody."

Billings

(East

triguing to the historian are its archaisms, which date back to the Renaissance or rather to the Renaissance heritage of English seventeenth-century music. In addition to the major scale, our author makes use both of the minor scale and the Aeolian mode within the same composition. Even in authentic cadences the seventh tone is by no means always raised, although, as we know, he favored it theoretically. The major scale is qualified by non-diatonic cadential progressions of voices that descend and then ascend a minor second (for example, G-F sharp-G) — actually a typical feature of sixteenth-century music. In consequence we find F sharp in C major, C sharp in G major, Β natural in F major, A sharp in E major, unsupported by harmonic modulation. Interesting clashes (reminiscent of Purcell) occur when the natural and the sharpened version of a tone appear in two voices simultaneously (e.g., F natural against F sharp); this is resolved (apparently following the composer's "set of rules which I have carved out for myself . . . ," p. 31), by the contrary motion of voices to adjacent tones (F natural to E and F sharp to G). 24 Other archaic elements in his harmony are chords com24

For example, p. 81, score I, m. 3; p. 125, score 2, m. 1 1 .

INTRODUCTION prising only the fifth and the octave (in a variety of spacings). Indeed, he calls the fifth "by far the sweetest" interval and "luscious and fulsome" (p. 31). Time and again he uses parallel fifths and octaves. Fully aware of this highly untraditional procedure (p. 31), he relishes it nevertheless and no doubt was happy to set a precedent for other New England composers. Moreover, in complete disregard of all his fine distinctions between intervals, he places dissonances wherever it pleases him, especially at the end of a measure, as if he no longer cared what happened here. They are striking, no matter on what beat they appear, partly because they are unexpected within a predominantly triadic idiom, partly because they are rarely ever the same. Caused by his dogged insistence on the continuity of each line, they are less keenly felt by his singers than by his listeners. Billings has also the distinction, it seems, of being the first composer to end a composition,25 cast in a major or minor tonality, with a key that strongly " S e e the anthem "O God Thou Hast Been Displeased," called by Billings "Variety, without Method" to justify his attempts at modulation. It begins in G minor and ends in F major.

xix

differs from the one of its opening. Anticipating Charles Ives, another Yankee musician, he simply meant to have his way. "When fancy gets upon the wing," he says, in full and innocent trust in himself, "she seems to despise all form, and scorns to be confined or limited by any formal prescriptions whatsoever . . ." (p. 31). When the first and only edition26 of The Continental Harmony appeared, interest in its type of music was waning. About a decade later a compiler of sacred music27 was proud to have chosen "none of those wild fugues, and rapid and confused movements, which have so long been the disgrace of congregational psalmody. . . ." We have no reason to share his sentiments.28 HANS NATHAN M

A variant copy (possibly one among others) owned by the Library of Congress must be from the earliest printing, since it shows errors corrected in other copies. These are: p. 198 instead of p. 168; p. 183, score 2, m. 5; the first two notes of the treble are D-C instead of C-D; also "Connection" is not included. "Elias Mann, The Massachusetts Collection of Sacred Harmony (Boston, 1807), preface. a Grateful acknowledgment for aid in the preparation of this essay is made to Professor Leo Katz (calculation of pendulum speeds) and Irving Lowens of the Library of Congress.

& ^

m

j + n · η · 1 - m · n + m t r n t · t t - m t - m n · m ^ ^ ^ ñ L j Í p t · m m m t m n f + f w n w + m + ^ y i : * ^

feäf

THE

Continental

ϊ Φ £ φ

Number of ANTHEMS, FUGES, and CHORUSSES, in feveral

A

N E V E R

α* j u

COMPOSED

# t

BY

B E F O R E

PARTS.

P U B L I S H E D .

WILLIAM

A U T H O R

BILLINGS,

of various M u s i c

BOOKS.

P f a l m I x x x v i i . 7 . A s well the S i n g e r s as the P l a y e r s on inftruments fliall be there. P f a l m I x v i i i . 1 5 . T h e S i n g e r s went b e f o r e , the P l a y e r s on iniiruments followed a f t e r , a m o n g f t them w e r e the D a m l e l i . L u k e XIX. 4 0 . I tell you that if ihefe Ihould hold their peace, the itones w o u l d immediately c r y o u t . R e v . x i x . . 3 . A n d again they faid A l l e l u i a .

o ,

ίΦ

F r o m e a f t to weft his praife p r o c l a i m , F r o m pole to pole extol his f a m e , T h e (ky diali echo back his praife.

C o m e let us fing unto the L o r d , A n d praife his name with one accord, I n this defign one c h o r u s raiie ;

ir ι 4-'

£φ

Jpublííljco accorDing to aft of Cortgtcfö. —

=

•

-

$ I S A I A H

$-

• P R I N T E D ,

BY ' Φ

^arrnonp

C O N T A I N I N G ,

If

Ζ

Ä

T H O M A S

fyjyearap&íCíH?, and

E

B

E

N

at E

Z

a =

φ :

B O S T O N , E

R

T .

A N D R E W S .

SoW at their Bookflore, No. 45, Newbury Street; by faid THOMAS in W O R C Í S T I I ¡ and by the BOOKSILLIRS in BOSTON,and elfewtiere.—1794.

1J ¿

[3]

Mufical Characters.

mmimËmmmwËËWÊ.

Semibreve. Minum.

Crotchet. Quaver. Semiquaver.Demifemiquaver.Semibreve reft. Minum reft. Crotchet reft.

Demifemiqua- Point of ver reft. Addition.

F Cliff.

G Cliff.

C Cliff.

A Flat.

A Sharp.

Quaver reft. Semiquaver reft.

i

A Repeat, :S:

Slur.

A bar.

DireEt. Natural.

EílEieEiilillElilíllilíMgilll

Mark of DiUinftion. Clofe.

Syncope.

Example

Adagio.

Largo.

lft.

Allegro.

T h e fame.

2 from 4.

6 to 4.

111

6 from 8.

ft: Example 2d.

3 to 2.

-w-

g from 4. 3 !

±

mm 3 from 8.

Syncopation, E x a m . 3 d .

p^íílíilbÉli T h e fame.

T h e fame. I^-L»

T h e f a m e another w a y .

ι

E x a m p l e 6th.

ΛτΛ —

S y n c o p e , E x a m p l e 4th.

r

J-----J

E x a m p l e 5th.

E x a m p l e 7th. 1

1

1

I i :

wmmMwmimmmwmmÊÊmêmÊmM The

fame.

The

fame.

[4]

I

To the lèverai

TEACHERS

of M U S I C, in this and the adjacent States.

M y BRETHREN,

H AVE drawn up the rules of praftical tnufic, as concife as the nature of the thing would admit, and have inferted them in courfe, as they ihould be taught ; I recommend it to you to teach after the manner they are inferted ; it being the bed method I have yet found, from long experience. THE G A M U T . For BASS, COUNTER. For L E S S O N I . FORTENOROTTREBLE. fa Cla. A G fol. : B fol. GF-fa. mi. AF fa. E la. la. G la. D-fol. Efol. Ffol. C fa. D fa. E fa. Β-mi. Cla. DΑ la. B mi. fol. C G-fol. la. fa. AΒF fa. fol. mi. G » Α E-la. fa. Ρia. GD fol. Ε U. fol. F fa. Obferve, that from E to F, and from Β to C, are half notes afcending, and from F to E, and from C to B, defending 5 fo that an oftave conflits of five whole, and two half notes. Likewife be very careful to make a proper diitinftion between the found of Β mi, and C fa ; for many fingers, who have not curious ears, are apt to llrike Β mi, as high as C fa, in lharp keyed tunes, which ruins the compofition. L E S S O Ν

II.

On

TRANSPOSITION.

The natural place for mi is in Β ; but if Β be flat, mi is in E ; if Β and E be flat mi is in A 5 if Β E and A be flat, mi is in D j if Β E A and D be flat, mi is in G. If F be iharp, mi is in F ; if F and C be fliarp, mi is in C 1 if

[ 5] if F C and G be fharp, mi is in G ; if F C G and D be (harp, mi is in D. And when you have found mi in any of thefe variations, the notes above are fa, fol, la, fa fol, la, and then comes mi agaia ; and the notes below mi, are la, fol, fa, la, fol, fa, and then comes mi again. L E S S O N

III.

ON

CLIFFS.

T h e bafs cliff is always fixed on the upper line but one ; it gives the line it (lands upon the name of F . The tenor cliff is fixed in my work on the loweft line but one ; it gives the line it (lands upon the name of G ; and if it be removed to any other line, it removes G with it. T h e counter cliff (lands upon the middle line, in my work, but if it is removed to any other line, it gives the line it (lands upon the name of C. T h e treble cliff is fixed on the lower line but one, and gives the line it (lands upon the name of G . This cliff is never removed, but (lands fixed an oftave above the tenor. N . B . According to thefe cliffs, a note on the middle line in the tenor, is a fixth above a note on the middle line of the bafs ; a note on the middle line of the treble, is a thirteenth above the middle line of the bafs, and an eighth above the middle line of the tenor ; a note on the middle line of the counter, is a feventh above the middle line of the bafs, and one note above the middle line of the tenor, and a feventh below the middle line of the treble. $ 3 " T o find the oftave to any found, add feven to it, viz. T h e o ¿lave to a third, is a tenth, and the o â a v e to * fourth, is an eleventh, & c . & c . L E S S O N

IV.

On

CHARACTERS.

FORTHCMIS,^'FT> d w h a t is moil diverting; is, that Hie always c a m e a » h o u r o r m o r e b e f o r e fchool b r o k e u p , a n d t h a t w a s , as flie faid, t o be t h e r e in fealon b u t her pre.tentions were ίο t h i n , rhey w e r e c.itily leen t h r o u g h , f o r if I am n o t m u c h o u t of my c o n j e i i t u i e s , ihe was as highly e n t e t t a i n e d a s any of t h e a u d i e n c e . A n d yet litis woni in w c u l d n e v e r ü c k n c w l e f l g e tli.it ι> ufic was a n y gratification to h e r , n o r w o u l d (lie allow it to b e praCtifed in h e r h o u l e . A n arch W a g b r o u g h t h e r a fiddle t ' j play o n , Die relented it h i g h l y ; u p o n which h e told h f r t h e f o l l o w i n g (lor y . " O n c e on a lime all t h e bealls m e t t o g e t h e r in o r d e r f o r d i v e i f i o n , they w e r e all for niulic but t h e Devil a n d t h e Afí, chufe w hich y o u w i l l . " •f- Scholar. F a r e w e l l P r e c e p t o r I Mafier. F a r e w e l l ! d e a r p u p i ! , y o u r pertinent i n t e r r o g a t i o n s , h a v e (weeily e x t o r t e d ninny r e m a r k s a r d d i g r e l f i o n * f r o m y o u r l o v i n g p r e c e p t o r ; a n d if y o u a r e as m u c h edified in the r e c e p t i o n , as I was dilip.hted, in t h e c o n v e y a n c e of t h e l e b r o k e n hints a n d i m p e r f e i l ideas, t h e f a t i t b t ì i o n 011 my fide will f u l l y c o m p e n f a t e for all my t r o u b l e ¡ and I l a k e this o p p o r t u n i t y to r e c o m m c i i d y o u r i n q u i l i i n e t u r n o f n u n d to all m y p u p i l s , f o r the a n f w e r s e d i f y ( n o t only t h e i n t e r r o g a t o r , b u t ) all williin h e a r i n g .

xxxiv

[34]

Maßer. I advife y o u to be neither too confident, nor too diffident, that is, do not be too ready to give up your argument, when your caufe may be juft and well grounded, and on the other hand, do not be fwallowed up, in felf-will nor felf-conceit, but let your mind be always open to conviction, diligently enquiring after truth ; for Solomon fays, " inßruEl a wife man and, he will yet be wifer." Therefore you muft never think yourfelf 100 wife * to be taught, nor too old to learn j but be always ready to receive inftru6tion from any one ; and 1 hope you will be able to fay with the Pfalmiß, "J have more underßanding than all my teachers." A t the fame time you m ufi not be fo taken up with the found as to negleft the fubßance, but ilrive to fing in the fpirit as well as with the underilanding : and God grant w e may fo conduft ourfelves here, as to be admitted into that land of Harmony, + where we may in tuneful Hofannahs and eternal Hallelujahs, Shout the R E D E E M E R .

THE

• T h e r e ¡1 a very flriking pafTage recorded ir Ecclefiaflictis, v i z . *' be that h not 1 v i f e luM not be taught," a conclufive argument that ignoranre and conceit are infeparable companions. T o illuflrate this more f u l l y , take oneinOance. I n my mufìcal excurlions through the country, I became acquainted with • fuperannuated old Deacon, w h o had officiated as c h o r i f l : r in his paridi upwards uf thirty years fucceflively. H e frequently told me, that he underftood •he (cale of mufic perfectly : and by clofe application and Tevere ftudy, he had found out that there was no half tones in nature, but that tlicir imaginary exigence was introduced by pedantic tinging mailers to keep people in ignorance in order to fleece them o f their money. T h i s fame gentleman happening to be at fome diftance from home was invited to attend a monthly lcélure : where, wiihcut being defired, he undertook to let the pfalm, which happened to b e long metre. T h e Deacon d r u c k S t . M a r t i n ' s , " that w o r t d o . ' · T h e n N e w - G l o u c e l l e r — " n o r t h a t . " T h e n W a n t a g e — 4 1 never the n e a r e r . " — H e then made an effort to Ting Bangor, but was fagacious enough to difcover hit miftake, bv the time her had ended the fecund line. I n this interval o r ceflationof found one of the congregation fet Buckland, which relieved the poor Deacon for that time.—-After divine fervice was ended, one of his acquaintance interrogates the Deacon in the following manner. · ' How now I Deacon, what a man of your vaft abilities in mufic make fuch intolerable blunders I T o which the Deacon (bv way of refentinent) made the following reply. « D o not blame me, blame the mimfler, for it is vaftly out of character in h i n l o g i v e out » long metre P f a l m , on a L e t t u r e d a y . " + " where they introduce T h e facred fong ; and waken raptures high : K o one exempt, no voice but well could join Melodious p*i t : fuch concord is in h e a v e n . " — M U T O » ,

T

H

E

C O N T I N E N T A L H A R M O N Y &c. An Anthem, for Thanh/giving.

:S:

P f a l m

1 4 8 .

iiËl^^igiiilÉggg^P^PPÊ^i^iii] O

praiíe ι he

Lord

of

heaven,

p r a i f e h i m in t h e

height,

O

praiíe

the

-Lord

of

heaven,

36

Λ

praiie liirn,

•ς» '

Λ

praife h i m all ye

angels,

praiie him all ye

angels,

ÉggfÉÉsìimmmm^gmmmgmm

wmmmmmmmmwmmmiwmm lifehimallye

angels,

praife lvim all ye

p r a i i e h i m all 5e

angels,

praife

him, praife h i m all ye

angels,

praife h i m ,

praife h i m , praiie him all ye

Praife tlie

' praife h i m lun

a n d moon and b l a z

·

ittg c o m e t s ,

angets,

praife h i m ,

praife,

praife J e

. hovah,

praife

Je

-

hovah,

praife,

angels,

Lord,

praife the

Lord,

praife the

Lord,

Let them praife the

37

name o f the ^Lord,

Fur

mire,

adore,

and they were

he ipake the

admire

word

a n d all

were made, he c o m

-

m a n J e d and they were mmmmwm mËmmmmtmmrnmmÊmmm hidings

in

- lo

heav'tily

fongs, A n d

praiff,

your

maker

with

forked

your

llii^liíl^liiílilililll^ilglliii ^ O T r n x i l s t f t o J ^ π u cd¡ Foik-

R-rk

ltio11i kli -_ erA d,

t^ntinnec o n g u e s , wi ^L. ih y u u.r..

forked,

j

t o r k e d .^ ^

tongues, with y o u r

-

-

^

^

^

. ^

ed

ed

^

tcngues, and

torked

-

'

pra;(e

your

^

Maker

.ifpi^iiiiiiiiipíipiii^iii^ β.

'

foiked

¡||7

φ

forked

ψ

39

with

your

for

ked

tongues, Ο

ρ rai fe

the

Luid

of

i

heaven

fire,

h a i l and f'now,

^^¡Miiiiii^iiigi^ii SÉ!

I

wind

and

~ m -/torras,

i^üiiiüiis;]

bea ils te cat t i c , c r e e p i n g i n f c í h , flying f o w l , k i n g s & p r i n c e s , men & a n g e l s praife t h e L o r d , J e w & G e n t i l e , m a l e & f e m a l e , b o n d & f r e e , e a r t h & h e a v r o ,

mmm^mm^^mùì^èìùMMMm l a n d Sc w a r e r , p r a i l e t h e L o r d , y o u n g m e n & m a i d s , old m e n & b a b e s

one ; no e x e m p t i o n , n o r diflention, one invention, a n d

pi aife t h e L o r d ,

join

creation,

i n t e n t i o n , reigns t h r o u g h the wliele, to praife the L o r d ,

prefervation,

jraife

a n d r e d e m p t i o n j u i n in

the

Lord.

42

An Anthem, for

Faft Day.

Ifaiah, Chap. ift.

Set this piece in E.

ί ί Ί Ί — Hear,

hear

O

heav'ns,

and

give

T

ear

t _

i

s

_ „

O earth for t h e Lord hath f p o k e n , for t h e L o r d hath fpolcen,

P i n * η * I'tlflff π * ir rr Hrif i I m b ^lilsÉ^Ífeiíiiíl^liiillliii ^ -1 • ι - ι - ΐΓτΐΥττΓττίΦίίττρ^ι - ι - ifffrr I have nouriíh'd a n d b r o u g h t u p

and they h a v e r e b e l l ' d , and they h a v e r e b e l l ' d , and they have rebell'd

againft m e , a n d they have r e b e l l ' d againft me,

a h finful nation,

all

finful

mmËi^m^^^

aid children,

:izz

43

i l l g l g l ü l i l i i i i ü ü j nation.

Ttie

ox knows his o w n e r , t h e

I S j I · : 1. - Ί

know,

my

S

people d o t h

g

j

g

afs his matter's c r i b ,

" - Γ

not

f

-

confider,

e

^

b u t Ifir'el d o t h not k n o w ,

I f r ' e r d o t h not k n o w ,

|-|T|f f p f l - ^ l f f

A h finful nation, a h

H

but

i

P

r

t

finful

l

but

I f r ' e l doth n o t

r f l ' l T i M ^

nation.

j J H

- g = F

A people

laden with

1

~

iniquity,

E

a feed o í

evil

44 pro

Children, that are corruptors, they hare for

- lak -

vokcd,

en the Lord, they have provoked, provoked,

I

pro

·

vok

pro

provoked,

- vok

ed the

holy

- ed,

rnmmBmmMmm^mm^m^É g Û Î Ë S mimmm iranís Ê provoked

pa:: tre::

one of

Ifr'el

unto

angar.

Ah

finful

nation,

all

finlul

nation,

Walh

ye

make

ye clean, put away

th;

llllliiiilliilliiiili

evil

of y o u r d o i n g s from b e f o r e

mine

eyes,

learn

i

I p p i

to

do

w e l l , leek j u d g m e n t , r e l i e v e i h e oppretTed, j u d g e t h e

O i i i i i i ü i iceafeeto uio pe v i l , i plead,

for the w i d o w ,

m

? · > ι plead,

plead,

íetlierleís,

judge the

p l e a d for

the

for

widow,

the

ü i l i

^ widow,

plead,

""

fer the w i í o w ,

c plead,

=pr

" F H

FrΜ α ·• Ih

for

the w i d o w d u

:||.

plead,

^

^^^îèad,

-μ-Η - I - 1-ΗΓΤΓΐΐττΓτττπτίΐΓη^ΓΓϊ juftice, l o v e mercy, walk

I

though

your

fins

they

humbly

be

before

as

fcarlet

God,

they

Come now let us

(halt

be

as

reafon

together,

wool, though they

be

reafon

read

together,

like

faith

the L o r d ,

crimfon, like crimfun, like

:S:

fnow

ilitÉlf fnow

Great-Plain. ï = =

Ye

flumb'ping

-l-l

i—Λ-J-i—

faints

a

W o r d s from D r . Watts.

—--1!—I*·—)

heav'nly hoft, tíands waiting

at

your

-l._|_-4—=-1

1

gaping tombs, let

——(— M -

ev'ry

1

1 — 1 —k»H

(acred

fleeping

1

fi

- Θ - Θ 4 — Ρ —

Ulli

ρ - Τ * θ -Η-

1et - e -

ß - e - τ duit, leap

into

life

for

Je

- fus

let

comes,

e P P - e - P - e .—ι 4-

ev*

- rv

(acred

ev' P-l —I 4 fleepirtg

m ÍES I g i l i l i i l i ® l l llliiilieglîSîsgiiiiiSiiilgî ^Mir'tmiTfiTr ¿τ TI ΓΤΜΤΓΓ rwaii^i h

» I »

- - P -

ev'ry

let

facred

ev'ry

facred

flíépÍDg

fleeping

ouft

duft

ry

let

leap

lacred

:S:

rv

facred

d u l i , let e v ' r y f a c r e d

into ^

life, ^

fleeping

fleeping

for

· r ir r r n r r r r ι

H o w came they

J U L

ϊ

to

-

py

feati

ofi

everlafting:

the

m

ß

happy

feats

l

— to M tile g i l i l

to

the

happy,

happy.

:S:

of

-

H o w c a m s they

^ H o w came they

hap

the

Γ ΐ α ^ χ ζ Ξ Ξ ^ ^ ι π η τ η - η π ^

T h o f e g ì o r ' o u s m i n d * how bright they fhine, W h e n c e all their white a r r a y ,

. u l _ L

to

happy

í

!

feats

day.

mimi^mmïïMw^^^M^mÉim mmm^mmMmmmmmmBmm cv-erlartiiig

feats,

Hew

c a m e tliey

day..

How·

i

i

H o w c a m e , Stc.

to

c a m e , See.

l

the G -

^

i

happy

e

g

ícats,

i

How

Ê

i

i

came,

fcc.

^

i

i

i

i

l

S

l

I

l

l

5°

Weß-Sudbury.

:S:

W o r d s from M r . John Peck

gggil^il^liillliieil^glliilii Here is a f o n g , which dolh belong, T o all the human race, Concerningdeath, who (leali (he breath, A n d b l a d s the comely face. Come liften all im-

^ a iiiiPOiËii^iSiigliÊliglie sSiiS^ÉÉ

^fetfgroffiJl r ι f f r r ι f τγ Mt^ifrnrr and

to the call, Which I do make to day, For you muft die, as well as I , Anr! pals from heure a • way,

pa

Í

"

^ ^

"" ^ ^

"

^

-

-

·

pafsTrom hence away,

.

fs,

^

a ^

pal's from

hence

away.

&c. Sec.

j>als, &c.

®

N o r f o l k .

W o r d s by D r . W a r t s .

5 1

li l Ê i i i l i i i i i Ê g È i i l i i i i i l l I ^ I l i l ] L e t the old

heathen

tune their fong,

Of

great Di

·

ana

and of Jove, But the fweet theme that moves my tongue, Is the R e -

^^siliiseeiill^iliiili· :S:

liliiliiiiliiiilîIiÉl^iiliÉiglIIl^ deemer

and

his

love,

But the fw»et

theme

that moves my

tongue,

Is

the

Re

-

deemer

and his

love.

mmmmmmMËÈmmmmmwm

S S l i ^ ^ i i i S i e ï ^ i i l î ^ l

Creation.

When

I

with

pleaftng

wonder

ftand, A n d

W o r d s by D r . W a t t s .

all

my

frame

f u r v e y , L o r d , tis thy

work

L

own thy hand, T h u s

• .1 fr ΙΊ> ι- -r ι · Γγ i ^ W r î l f f R ^ ^ fiieïllilliÊïgiiiiiïiiiiïiiiiilI -Jlii

mimmimmmmMwmmmmmr J

built

my

humble

clay,

L o r d , tis thy w o r k , I

own

thy

hand, T h u s

built

my

humble

clay.

Our

life

con-

I-«*·

SpliliîLielil^imiiiiiili]

|^ j

^

^ '

"

i-

pjTpTTi'

t-

^ ^

theufand

t-

f p r i n g s , and

-v.

dies

'

^

if

H-

one

^

~~

be

_ ^ 53

S t r a f e t h a t " ! h a r p of t í i o u f a n d

—

gone

i-rf r i r r ^ l S t r a n g e that a

- h a r p of t h o u f a n d

S t r a n g e that a h a r p of t h o u f a n d f i r i n g s i h o u l d

S t r a n g e that a l i a r p of t h o u f a n d f i r i n g s , S h o u l d k e e p in t u n e (o

ΖΖΏΖ ftringSjSliould

keep in t u n e

fo

i t r i n g i , S h o u l d k e e p in t u n e fo

. k e e p in t u n e

long,

fo^ "

long,

l o n g , fliould k e e p in t u n e , l h o « l d k e e p in t u n e fo

long,

S t r a n g e that a h a r p of t h o u f a n d

fhould k e e p in t u n e fo

S t r i n g e that a h a r p of t h o u f a n d f i r i n g s , S h o u l d k e e p in t u n c fo l o n g ,

long,

firings,Should

long,

i h o u l d k e e p in t u n e fo

long, fhould

k e e p in t u n e , f h o u l d keep in t u n e (o l o

f h o u l d keep in t u n s fo

fliould k e e p in

tune

fo

lona,

lôiig^

fliould

ihould

J+ keep in tune fo

e

l o n g , Strange that a h a r p of thoufand firings, Should keep in t u n e f e long,

ÌÉIÌÌÌÌÈÌlÈÌ^Ì!ÌÌ?lIP -

O O uu rr

ng,

life life

fo

fo

:ri

contains contains m M tlioufand tlioufand fprings fprings and and dies dies if if one one be

keep in t u n e lo long, Strange that a h a r p of thoufand firings,Should keep in tune io

l o>ng, ng,

gone,

X Strange that a h a r p of

lo

Éeiililliliiill^lilil^iiílii^li^lí liPSiií^iiiiEÍÉli^llíili^l liSIiiifll ¿s·

->. long,

long,

thoufand

firing?,Should

fhould k e e p

Strange that a

in tune lo

h a r p of

long, Ihould

thoufarfä f t r i n g s, Shoiildkeep i n t u n e lo

long

keep in tune fo long, &c.

keep in t u n e fo long,(hould keep in tune fa long, lo long,Strange that a h a r p of thoufand

Strang« that a harp ot thoufand firing·, Should keep in tunc.fiiould keep in tune fo long,

firings,Should

keep in t u n e fo l o n g .

St.

W o r d , by D r . W a t » .

5 5

Ξ- 1H— L - l — — 5 ==ds=3 f 1 : : T T — — — P-—¡F—:=s— FB-T* 1™"»—Ρ——pr—f—pp— ?-:-·Γ |·Γ t - ' l·—p· "--^ΪΞΪ :H=rWhere are lhe mourners, árc, r~f~l*'F ñ ~ h ' — 1 à •Z—3—1—-- r l - ' Í ^ F - f - ' H ΕΕΕ=δ

w fez-

Johns.

-

:-4

r*=3=

f~L -5-t:

p i l i Ê i l ^ i ^ i ^ Ê i i i i i i i i i i i i i i i ï i g i l E i l l ' i l l i í i i l l i l l E l l i i i l É i i i m É í i i í

56

Crojs-Street.

W i r f d s f r o m AAclifo:».

¡p-l -1 -1 - - C T ^ I f T m ^ ^ ^ î ^ ^ g ^ T h e L o r d my pafture (hall p r e p a r e , A n d t i e d m e » ith a ftepherd's care, His p r e f e n c e 111 all my wants f u p p l y , A n d g u a r d m e with a w a t c h f u l

eye.

Illiliiiálillii&eii^íil piÊi^^iiiÉggiiËgiiiiipIlgÊëaî - h + 4

My

noonday

walk he*

Siali

attend,.

And

ail.

my

midnight

hours

defend,

A n d all

m y , Sic.

liëi^P^i^iiSiMMIiïeieii

I

Invocation.

SiiíSiiilEiEEi

57

mmmwmmmmm g

t=A= Majeftic

God orr

mule

infpire,

A n d fill u s

with

fe -

rapliic

fire,

Augment our fwells, our

IliliiiSIIillll :S:

^mmimm^i n¡i\rr\rr\±3\r ? S

tones

le -

fine,

Per

- formance

ours, th-

I I B ' I D I

H

g'ory

I

thine.

mm

Aug-

rtl-^rttf ff Klr Augment our fwells, our

tones refine, P e r -

Pill

Augment our fwellt, «tue

S»

:S:

ment our fwells our

tones

retine,

performance

ours the

glory

mmm

thine, & c .

i S M I ^ ^ Ä ^ t a i formance ours the

glory

thine, the

tones refine, Performance ours, & c .

my

—

- formance

ours

the

glory

thine.

ir^rprsirozrÖS rriri ξ! ügSil

W o r d s by D r . W a t t s

tongue fome heav'nly theme, A n d fpeak lome —

mi

glory thine, P e r

thine, the

Bellinghanl.

i Begin

glory

boundlefi t i l i n g , T h e τ

^

-

τ

θ

-

1

mighty

work«

or

mighty

nxme, O f

£

•• rfiriii*!* r ^ f f i r f n»

59

Life

is

the

time

te

ferve

tlie

Lord, T h e

time

t'in

-

(ure

the

great

re.

6o

3

n,

ssFrg P7 f r TW 1 r ittTTïrfL· n g o ^ wïfd, And

while

the

lamp

holds

ta

burn, T h e

vil

. eli

may

Inner

return.

IMIíliilllil^i^lp^peiiiiíg^l IBiiilIglilSliiillil^ÊllIglI^I :S:

:S:

And

And

And

while the

la ϊ ψ , & c .

while t h e

while (he lamp holds

lamp, & e .

out

to

burn, T h e

vilelt

(inner

may

return.

giíilliii^íiiíiiliieiiilíiPLiiii^ü A n d while the lamp, fire.

Egypt.

Words by D r . Watts.

6 ι

: $ :

¡üü In Mofes

C o m e fee the w o n d e r / , fee the wonders» fee the w o n d e r s of o u r G o d , H o w g l o r ' o u s are his ways,

h a n d he

— -

In Mofes hand he

iilipeiSiil^liiil In

puts

his

p u t s his rod and

Mofts

h a n d he p u t s his r o d , A n d cleaves the f r i g h t e d

r o d , A n d Cleaves

cleaves t h e

the

frighted

frighted ieas, and cleaves t h e

feas, and

clca-ves

the

feas,

A n d cleaves t h e f r i g h t e d

frighted

tiighted

feas,

feas,

a n d cleaves t h t f r i g h t e d

and cleaves the frighted feas, a n d

:||:

feas,

il^ie^^lliiiiieeiiil dearea '

che

frighted

feas, and' '

cleaves

f'r i g h*•"* ted

feas,

ar.d cleave·

atnl

62

:S:

Teas,

cleaves,

cleaves t h e

frighted

-ι—J~

feas,and

and

cleaves,

and

cleavts,

and

cleaves, a n d cleaves t h e frighted leas,

and

cleaves,

&c.

cleaves t h e f r i g h t e d feas, and cleaves ths frighted, feas

ptifff irutifffri r r jB^Bfnfjfrñfrnai ^feïiliïSiiiliieœilÊiÎiiÎiil come fee t h e Wonders of 9 « r

cleaves, a n d

God,

H o w g l o r ' o u s are his ways,

cleaves

frighted

feas,

Revelation.

Let all t h e h e a t h e n w r i t e r s

join,

fo

f o r m one

In

M u l e s h a n d he p u t s his r o d , A n d

and

cleaves, and cieaves,

and

cleaves, & c .

cleaves

the,

&c.

W o r d s by D r . W a t t s .

p e r f e i t book. ; G r e a t G o d if once

compar'd

vrith

thine,

How mean

their

writings

63 Eïâillïi^EgEEh^l^lMS^lBîEEi^î I

^

look.

0

^

Great God if

mean

Q

once compar'd wiih

ihinr,

,he r

'

writing^ l o o k . ^ j e a t

Great

God

it

once

Gcd

compar'd

if

with

i i ïs^i i i g^ i oi iiiiiiii^^iiiiiiiîi^^pî i^gl li i i i l^iifi How

once

thine,

how

mean,

how

mean,

mean

hoiv

their

mean,

How mean their

compar'd with

their

writings

writings'

kxjk, how

ïncjn, how writings

mean their look, how

writings look, mean, how mean their

how writings

thine, &c

look,

how

mean,

¿te.

mean,

how

~mea:i

theL

writings

lock

immmmMMmwmmmSmmMM l o c k , how

mean

their

wtii'Usa

lock,

ft

c.

64 Í^üeIIÍÍ

Waß)ington-Street.

lii^ialllililli^^iglpili]

.tzm

Now /hall my inward joys a

word» by Dr. waws.

-

rife,

And burft into

a

fong,

Almighty

love infpires my heart, And

pleafure tunes my

iimiiiesii ^âSiPieiliHPilieisiMi-liill ^iiiiPieitaiiiiiiiiíiiiiiiiiiiii tongue,

and

pleafure tnnes my tongue.

Al

iiyiigiim^ Almighty

Almighty

love

infpiret my

love

- migli - ty lore i n f p i r « my heart, Α Ι .

iníptres

»y heart, and'pleafure and pleafure lt nu nne«í r-r»y

my heart and pleafure tunes, and

tongue,

Al-

65 i^gillgill^illi^^iiiii^i^illiil'lil^i mighty

pleafure

ghty

love

infpires

tunes, and1

leve

my

heart,

pleafure

pleafure

And

tunes, and

tunes, and

pleafure tunes, and

pleafure

pleafure

tunes my t o n g u e ,

tunes my

Al

my

heart, And

pleafure

mighty

love

in-

tungue,

Éggiiii^iiíiiiiiíí infpires

-

» C L - - - » - ,

tongue.

tunes my

:S:

ülif l i i i l i ïillllllliûiliiiillîi; fpir«s

my

heart,

And

pleafure

tunes,

and

pleafure

tunes

my

tonpue.

mêmwrnmmmmmmwÊË

66

Thomas-Town.

Word» by D r . Bile«. ©d

Great G o d how f r a i l a thing il man, How fwifit

bit

minutes

pafs,

His age contrails within

a fpan, He blooms and dies like grafs.

Isliifllpsii^i^iiilììi^ii^ jfcSr rTrHiilHf γ Γ [fi tr ΠΤίΤϊΤΓΙ :S:

mmmëmmÊMËÊmmmmÊmm And

mutt toymoroents

thus decline, A u d m u d

I fink to

death»

To

thee my fplrit

I

refigπ,

Τ heu

maker

of

my

breath.

iüiiii^miiie

St. Enoch.

For a fhanhjgbiftg,

67

after aViSiory.

"IliilplilfgiiliSii wm& lÉliÉÉlËliËËS ¡IHÉÉüilüf mïm^^m^mï^mmâimmimmim mmw^mwmm^mmmmmwëmM Sing, Sing to the Lord a new made long, W h o wond'rous ihings has donf, who wond'rous things has done, who wond'rous wond'rous things Has done,

Sing,

Sing

Lord a new made long,

W h o wond rous, who wond'rous things hai dene, who woud'rous, wond'rous things has done»

^g)

6?ng,

:S:Sing,

to the

Sing,

tv

fing

the

Lord

a

new made

who wond'rous, who wond'rous, who wondYouj things has done*

W h o weod'rous, who wond'rous tilings has d a n t , w ' > ° wpnd'reui tilings has dori«. :S:

long,

with his right hand and holy arm, the conqueft

with his right

with his right

SSiH

I With 1MS right' h*«d and

hoi}

arm

hand and

the canqueß,

hand

ho

-

and

ly

th« can que ft, the

holy

arm

—

he has

I

ιon. w w the conquefi he has won.

mmm

aim the conqtwft he has won, &c.

the conqueft, the conquett, the conqueft theconqueft, &c.

liPiSiiiiiii

conqueft, the

conqueft

he has

»·*,

6S

Morning

Hymn.

:S: words by Dr. Watts.

ÉÜillIÉÉíÜÉÉfglIi ¡iäii ilgìilililSiliiliillliiiiilS O n c e m o r e m y v o i c e thy

O s e e m o r e m y f o u l the

rifing

day

(alutes

thy

waking

eyei.

O n c e more m y voice thy t r i b u t e pay to him that O

O n c e more m y voice thy tribute p a y to him that

ro-

i^eii^iiii^iillilÈ^^I&^iPiii O n c e m o r e my voice thy t r i b u t e p » y , T o him that

tribute

pay

to him that

rolls

"

t·

hint Λ «

rolls

the

rolls,

(ki»

t h e ikie«,

" -& c * . t-k·e flties,

lis that

the

roll»

(kies.

'·

"

's

the Ikies,

Í Ü Í É !

Weß-Sudbury.

What if the faint muft

W o r d s by M r . John Peck.

die, And lodge among the tombs ; He need not mourn he (hall return,

Rejoicing

6 9

as

he

cpmes.

Theugh

7o

:S:

Sing

An Anthem.

p r a i f e s , fing

praifes, fing

praifes

For Thankfgvotng Day Morning.

to the

Lord

O

ye

faints

of

his,

li^iÎigiiiiilliilillIiiiÉiÊiilc^iÉPii I

1

tor his w r a t h e n d u r e »

but a m o m e n t ,

ΤΊΠΓΤΓΓΓΤΙΓΓΓΓ If f M f f F ë ^ lilliliiiilIiilieilÈiilglli life

a n d in h i s

favour,

in his

fa-vcrar, in his

favour

forever

-

more,

is

is

^^t^mmmmmm^^iË^mm t « r ^ » s w r a t h endures b u t

a

moment,

life

forevcrmore,

is

life

for -

ever,

U

and in bis

g

is

for

favour

liiii! is

life,

life

life

e v . t r

-

is

for U110 -

life

more.

forevermore.

ev

.

S i n g prjifes,

Sini^ praifes,

ermore. Β — 1 r s r :

z - : Sing prailes,

mMmwmmmmmrnimmm Wi life,

is

life

for

-

tv

ermore,

is

life

I

p r a i l e s , ling

pcaifes,

fing

prarfes,

£ng

prailes to the

Lord O ye

faints o f

S:

his, ι

1 Si

a

f e r his wrath endurci but a moment and in Iiis

ËËÎëaÈl Hit

s

72

n m^mtmMmmm

a n d in his

favour,

in his

favour

f a v o u r , in his

is

life

favour

forevermore

for

is

A

-

e

-

life, J s

-

life forevermore,

m e n , is

»ermore,

life

is

forevermore,

life,

life,

life,

and

in

is

his

l i l e for

favour

is

·

ev

life

- er - more.

For

I

fe,

life

is

life,

for

for

·

-

forevermore.

er

ev

-

-

ermore.

er

-

more

in h i s

life

forevermore,

is

favour,

his

life,

is

life,

is

favour

is

life,

his w r a t h e n d u r e s b u t a ^ m o m e n t ,

Iliiiiiiii^iiii -

is

and

li-

is

lile

is

and

i»

his

favour

is

is

is

β

life, is

life

is

life,

is

-^mmim

73 life,

lite,

is

is

life,

life,

is

13 is

lile,

is

life

forevermore,

is

life ^ forever

life

forevermore

and

in

for

-

ever

-

more,

his

-

^muur ee, ^ ^

favour,

and

his

in

his f a v o u r ,

f.ivonr

is

is

life,

lif«,

in his Η^

favour

in his

favour

is

li

is

i»

-

ï l ï p i i i i s i i i l i i t a l ^ l p l i i ^ life,

is

life

for

mmmmm^mmËimmmmMmm

life,

is

life,

life

is life

is

life

Heavinefs may e n d u r e

fbrevermore,

foievermore, _

^forevermori. ι r

for a n i g h t

but

joy

but

may i n d u r e for a night

but

»

fe, See.

^

^

^Tnay e n d u r e for

a

night but^ joy

i i - i l E i i l l i l i i l i l l i i i Ê i e i g p ï i i ^ l i i more, is

life,

&ς.

Heavinefs Κ

may endure

for

a night,

blit

74

:S:

ifeìiilÉIflli

joy, but joy comcth in

jo y

the morning, but jo_v cometh in the morning, hut joy, hut

couieth in the morning, &c.

j a y , hut j o y , hut joy

mBM^mmmrnim joy, but joy,

but joy,

but

joy, 4 c .

Weymouth.

Word» by D r . Watts

ΙΙΙββΙΙΙϋβϋϊ ililillÉïliiSI

comeih in the morning.

r §Ξ

mg m u m œ ^liililíillisliiiiíesiiil Or

roxi; wounds.

Or

- Θ Η

Or

1

·

wounds.

rv-_ O r

Or

cΛ..r u

-

.. ci - rfy

î

crucify

cru

•

the

Cl

the_

t L o r dι

Lord

era

again,

again

and

- ci

cruci

-

Λ _ O r

fy

cru

open

cru

-

the

·

all

ci

fy

ci

-

fy

the

Lord

s

of

the nighi.

^liplílli^ipiiiiiioiiiiiiíiiiiii

mm^ËËmwmWÊmrnmmmmi and

he

*h

gone,

I

fought

himr I

fought t u m

but

I c o u l 4 not find h i m ,

I c a l l ' d h i m , I oil I'd h i m , I

^mm^mmmw^^mmimm^ «ed be «M

g 0 1 »·»

w

S t a y me with

call'd him, I

call'd him but he gave

me n ^

flagons,

comfort me

with

apples for

I

am

anfwer.

Vigorofo.

fick

of

love.

^

M a k e hade my

^

^ ^^

beloved, m a k e

^

^

hafte my

^^

beloved,

^ and

^

^

be like a

roe,

^ ^

and

be like a

roe

lli^iiiiiiliiiliigiillliilrlÜH ilililiiil^iiililii^piil

belike

a

ree

or

β y o u n g h a r t u p o n the m o u n t a i n s , t h e m o u n t a i n s ^ t h e m o u n t a i n s , tl»e m o u n t a i n s t h e m o u n t a i n s t h e m o u n t a i n s o f f p i c e s .

l i l i j i i p i Rocheßer.

ΕδΞΞ H i

. g .

W o r d s ty t h e R e v . G e o r g e W h i t e 6 e l d .

l i i É É i Í i l f í ü i I Í I . Í Í

f u g g i i

Y « fervantt of G o d , your Malier proclaim, And publish i b r o i d , h i · wiiiiderftil n i m r ) T h e nimc til »¡¿tor'oui, o f Jefus extol, H I kingdom il glor'ous, and rule» over all.

i î i e i i l i i f l I l i e i i É i e •

Gtlead.

8 2

η :S:

Words by D r . Watts

i^lilliíiiiiÜii

A

mmm

fov'reign balm for ev'ry wound, A -A

Salvation,

oh

the

joyful found, 'Tis pleafure to

our

ears,

A

A

ev'ry wound, A

ev'ry wound, A

A fov.'réign balm for ev'ry wound, A

mm

cordial for our

fov'reign balm tor

fears,

A

cordial for our

fov'reign balm for I p

tears,

A

ev'iy wound, A

fov'reign balm for

cordial

dial,

cor

ev'ry wound, A

iov'reign balm for

cordial

for our

cordial

fears, I

A 2

Sic.

for

our

fears. ι

ζ

m^mmMMmmmiMmmmmm for

our

fear«,

A

iAv'icign balm for ev'ry wound, A

fov'reign balm for

cer

-

dial

ev'ry wound, A

l'or

our

dia),

cor

fears,

A

cor

-

dial

&c.

&c.

Soutb-Boßon.

W o r d s by D r . W a t t s .

8 3

fPlîili^îlliigilsliiiiieiilI

- τ — Ρ

Join

all the glorious names, O f

wifdoni love and

pow'r, That

ever

mortals

knew, T h a t

-β

ever

angels

îliiiigeEEiïEmiiÂlilll ÉiÈBÎ ^mmmmmmm^mmmm bere.

AU

are

too mean

to

fpeak h.s wor.li, T o o

mean

to

fet my

forth.

Sa

μζΓ-T

T

Ί Ί

84

Λη Anthem.

Pfalm 44th.

Suitable to be f a n g on the anniverfary o f our Fore-fathers' landing, and for Thanltfgiving.

W e have beard with our ears, and our fathers have told us, W e have heard with our ear«, and our fathers have told us, have told us, our

ÉllÍÉáilÉf^

Huw thou didíí drive out the licatiwn bcl«re them, and pleated thein, and planted thtni|

«5 = t =

FR =B Iwof d =

nor

i

by

-"-I

their

=

bow,

1Ξ^ΖΪΞΕΣΣΞΪΞΙΣΣΣΡΞΕ »Ε0?ΞΕΞϊΣΣίΞ But

:•

Í—

thy right hand and

holy arm, and the

light o f thy

countenance,

f-^'-T

¿Ssiüiiiííiliiili láliiii] bccaufe thou

had(í

a

fítour

unto

them,

be

thou o u r

king O

C o d , command

de -

liv - erance,

com·

86

b key.

2:

mand

de

-

Iterance

for

Jacob, be

thou our king,

O

God command deliverance

for Jacob,

Awake,

ll^iilllilililililMÉÍíilili^p E

' p z g j g r p — g - : : s g s : a j g z ^ r g g :

iil^iiïiÛEiêlIiÊlllII^ii fleeptft Ihou O Lord

arife

arife

call

lis not off

forever

call

us not off

·

why h

5 = Ξ ρ ι ~

1

:

ES

forever.

11

eiüi^iÜ for

I»

the wicked bave

87

lililí To

Λ » ihoot,

» „ ηíhoot, * to

η t o íhoot at

·.». _ righteous (he

·ι . privily»

η. a... .._ _ rightcou* • ι t o fhoot t the

' privily,

ÄlliililpspSi^iiiiiieili^ beat hpiit

their

their :S:

bow how

O

O

Lord

L o r d we

~

we

a : k n o w l e d g e we have

acknowledge we haYe

finned,

finned,

we

O Lord

we acknowledge

¿ k n o w l e d g e we have

we have

we

finned,

finned,

acknowledge ackn

O

we have

finned,

mämnmm^MmmMmwmfM O

Lord we acknowlfdμe, we have

O

finned,

L o r d we acknowledge we have

we

finned,

acknowledge» we have

finned,

we acknowledge w t have

we acknowledge

finned,

we

we h a v e

acknowledge

linnetl,

w e have

before

finned,

88

:S:_

lliiiiiliiilliiPiillâllliPilïiiil f e .i, i=tln-f l L ϊ wmmÊmmmîm Èssili ΞlΞl3Ξ íΕ PiflP^lislliiigill^gilllilÉlI Ürle IIÈIIÌ "I;IÉlÌIÌIiìÌliifÈl L o r d we acknowledge we have

finned

we acknowledge we have

before

finned,

thee and are not worthy, are not worthy, we are drc.

we are not worthy, we are not worthy, we are not worthy, not worthy to be

Jhee and are not worthy, are not worthy, Are not worthy to be

we acknowledge we have

fioned>

called

w e are n«t worthy we mre not

A - b

e - e

hear u s ,

hear u s ,

thy

children,

worthy,

we

we

are not worthy

calle«)

thy

children

&c

are, & c .

e - e ·

Β - θ

Α.

hear u s ,

hear 11»

from heav'n, and when thou hear'ft forgive and when thou h e a r ' i forgive. -e+e. -J——h-

mm

-«a—1

lisiìlMIIlPiliiilliiiiiiSlli

3Σ.:

«9

Father of

mercy,

God of

E f e E g l i S !

confo

-

lation

hear us,

hear from heav'n thy

l

i

i ~

m -β

o

i

i

place,

and

when thou hear'ft for-

Ϊ-Ψ-Ψ-Ψ

i i l i l i i l l

dwelling

l

S

i

i

l

i

E

3 Ê

S S ΠE r

i

~

I M l i i i í l i í i i I l i l i l i i f l I I í i í í i . give,

and when thou hear'ft, fotgivs.

Arife,

ι||:

O Lord, gird on thy (word, m o l mighty prince, put on thy ftrength raoft

P ^ I I I ^ i i i i i Ë t i l i S i i â i i i i l i

9

0

Vlgorofo.

mighty

Lord,

Ride upon die

f.

heavens for our help, and

in

thy

majefly

upon

the

ikies ride

upon

the heavens

e^iiiiiíiiiJiiriiiii^^iifc"; e s i i e i l i i e i e i for our

help,

and in thy

majefly

upon

the Ikies, then the heathen will acknowledge that the Lord he is

S Ü

God then the heathen will ac-

91 Ili ü

k n o w l e d g e i h a t t h e L o r d h e is G o d .

i

e

m

m

u

i i i i i i l ü i p ü i ^ ü ü e i The

enemy

(aid

1 will

bran

dilh m y f w o r d , I w i l l

ifti

flour

my

s s

il; ^

r

fword, m y

r

m

h a n d ih »II

ΞΞΞΞΕ

g

^

demolito then m y

^

^

h a n d (hall

r

devour

a

then

t h o u didft

^

·

blow,

^

Sì

lili τ

:

ι· r

thou didft

r i n m ^ blow,

BU

92

mei; ^ËlSïÊSglfs thoudidft

blow

with thy wi: *

li;

:S:

mwmmiÊmmmm Foriiflimo·

Ι ^ ϋ ϋ ϋ ϋ β _

the

xs-s

_

_

„ . - e - e

L o r d (hall reign for

ever

and

íriiliiig^íllsliiiiiliii they funk like lead in the mighty

¡ |j:

waters,

mmwmrnmM§m§mmwmwM ever fhall

reign

for

ever,

f o r - ever

and

ever,

for this canje I will give

TTTTrrMifffinrR^fr -1 -

a s

ί ο ι this c iule I will give

-e-

β~—βthanks,

and

r - z - r — x r a

tot ibis caufe I will g i v ·

thank»,

for this caufe I will g i v e

:S:

for

tfianks

gpíeiipiipiíieiiiiieiip

fhis

caufe au fe 1 will give thanks, and

and

praiie his

holy

name,

praife

and

hi»

holy

his

praiie

nam«,

holy

pi «Ut. praiie

his

holy name, ana

praife

his

praife ye it

name,

rtfflttd r m f f i g B T fJ ^ T f r F c í ρ U ITI"¡

I

93

occ.

praiie ye the

S p

praue thou thel^

rnummmimmmmMwmMmñ thank«, and

Lord

the

pratile his holy

Lord's name be

O

Lord, the

Lord and

name,

praifed,

ray

Lord i neme be

a l l that is

within

and

praife

praifed, tlie

Lord,

the

Hall

foul,

praife ye

the

Lord

praifed

praife ye

the

Lord

the

praiie ye the

Lord,

the

me,

his

L o r d ' s name be

I ord's na;¿ie be

L o r d ' s n u n e be

praife ye the the

&c.

praifed,

and let all the

jah,

for this caufe I

will gi»e

Hallelu

jah, halle

praifed

praifed,

-

people

for this caufe 1 will give

lay

ame-

thanks

-

lu - j a h ,

thanks,

and praife his

holy

name,

and let

all the

people

fay

a

-

men,

a · meni and let all the

iiüiiiiiiüpi! j u i ι r γ m r r rlELe ΓΤ a

-

amen, ecc.

men,

and praife his

a

holy

-

name, &c.

:S:

lay

a

·

-

men

amen,

men. See.

I i i l >

-

and iet

a

fay

all the people

.

men,

amen,

fay, and let

amen,

men, &c.

a

all the people

people

men,

01'·

Φ

^praife

" ye

the Lord a

-

men,^ ameií.

á ? H

— ι d~M— cs-sriöEFÖ^ΗΕΪΞΕ^Ξ^-ΕΞΕΓΤ^ rT-i-f-j-i ,

:=fc=£r FSfFP=

-

: -r M _ £

Rejoice i

£~fp

ye 1117.

fhining worlds

en

high.

Behold

the

king

of

ligh.

glory

Who

r n - e

í f a

:S:

^^g^j^rrrrri p f r r ι r f mmmmmmlüüiii ÌIÌÉÉII^ìììiiììèìii üiiiüiiepi can

this

king

of

glo

ry

be,

The

mighty

Lord

~p

zza

and

Sa

ι f f TP" ·

viour's

£ í — p r

he

Who Who

Wm

96 τ — r a Who

can

this

king

glo

of

-

£ be,

ry

The

mighty, mighty

Éìlfil I HI i^iiiillliliigrillgge S ÉÊjggiÉÉEii i ^ ü i ü ^ S P ü i í É Who

can

this

king

Who

cui can

of

glo

·

this

kint:, kini:,

ry

be,

this

king

of glory

be,

The

mighty

The

mighty

mmïïmmiWMwËmmm imm m wmmmmmmmsmmiM ii^lsiïll^iplilieplil m this

Lord,

the

king

of

mighty, mighty,

glo

-

ry

be.

mighty Lord and

The

jnighty

mighiy,

Lord

and

e

Sa

he, See.

Saviour's

p — r p

m i g h " ' , mighty

mighty Lord and

be,

the

Lord,

the

Saviour's

w.ighiy, mighty,

mighty, :|| lity, :||¡

he,

Thé

mighty Lord and

s;Js Its

:((: : U:

mighty

Sa

:)):

.

Lord Lord

ψ

vwur's

and and

Lord and, &c.

lie, Jcc

S Saviour's aviours

ne. he.

97 l!ïntt)Crfal l&ratfe : An Anthem, for 7hankfgivingDay> taken from Pfalm 149, &c. ¡i

Θ · -Η -Θ

mm^mwm^mmmwmi^mi

-Θ-

Ο praife God, Ο praife G o d , O praife God, praife him in his

holinefs,

praire him propagation, praife him vegetation,and let your voice,pro·

iisiiiliiiiiiiPiyeig liÜÉÉil isimÊmm^ËmwmÊÊlm^^ ÉËÊl iiil^iiiËiillÊiîi'iiilÊiÉllIËilÎillii ÄfeEg:,

mm

P-P:

claim your choice,& tertify.to (lander j by,with ardent

mmmm

fire,

your firm aeíire, to praife, praife, praire, praife, praife the

Lord.

L e t the leading befe in-

Anthem.

98

Continued.

wmÊÊmmmmmm Let

the

treble join the choir.

L e t the c o u n t e r dill be ltigh'r, until all the p a r t s have j o i n ' d the c h o i r , L e t all agree and j o i n with m e , to praife,

praife,

• T W r r irtrffr r r r i r t t t p g p d i r rr Γ ί Γ Τ Έ Β ϋ Let the

fpire, a n d

tenor catch the fire, a n d Ipecify their firm d c f i r e , u n t i l all the parts h a v e j o i n ' d thè c h o i r ,

ftimulate

with

ardent

fire,

A r d e n ' , ardent fire, until all the parts have j o i n ' d t h e choir,

Iii! praife, praife, praife t h e L o r d .

Shout ye hills and

ling

ye plains, tell the e a r t h J e h o v a h reigns, f o u n d t h e t r u m p e t s , beat the d r u m s ,

tell the

WMmmÉMmê mimmÊmmmmmmmwiWêm

Anthem

Continued.

99

mMmBmmm^mmrnm m Pliliiii^lilieiil gm «Tirs

-β-

'θ-

ru 11

roll

the drums, found the

trumpets,

roll

the

drums,

^liilË^iilliieiiiliiei

earlh Jehovah comes. Sound the trumpets,

4

the drums,

roll

trum

roll

the drums, fouad the

-

pets

trumpets,

» found the trumpets,

the drums, found the

trumpets,-

beat

the

lrum

beat

drums,

pets,

the

drums,

beat, beat,beat, the

roll

the

beat, beat, beat the

drum,

drums,

drams.

mmmmMmmt^^immmmm m^mmmmm O

found the

trumpets, beat the drums, (uund the trumpets

ro

11 the drums,

tell

the earth

Anthem.

i o o

C o n t i n u e d .

-A-gz:r s r i r : H 1 hpr

1W Τ I I I .1 CLLL II III Je -

m= :

ho

-

μ

vah comes, to

felEsiìi] - H I

τ

m —U

zzirrrt

_

_:

i

judge the world in righteoufnefs, and

>--i ev'ry

ÌHjiu'd

P =

:

faint

Ί

edrets,

— *

— κ — ι — κ — ——ι

let

all

agree,

—

and

4 = 3

ψ—

9— fef

-

S

:

{

mÈÈmm^mmmmmimmmmm join with me to

g

t

praile,

praife,

l

praife, praife, praife

ü

l

p

tlie

Lord.

l

O

Praife the

Lord with

one content, and

I

K

^

H

in this grand de-

^

Anthem.

Continued.

Ι Ο Ι

mmwmwïâmmmï^^mwwmm fign, y o u n g raen and maids, old

men

a n d babes, u

-

nanimoufiy

join,

let

all

a g r e e , and join with me, to praifc, ρ ra ¡fe,

r f J l r r p H ' ' ' JI rT Γ Γ Τ Τ Τ Τ Τ ^ τ τ ϊ Γ Τ Τ Γ Τ Τ Τ Τ Γ : ^

praife,

praife praife

the

Lord,

Let

the

organ

firike

a

c h o r d , and found the praife of

Tubal's G o d , let the

organ ftrike a

i - r l J 51 " T ^ f r l r f f ì f ? B t r r ι r Cjr \\Λ\ r | r 3 7 ^

I02

Anthem.

Continued.

mgÊmmmmmmmmMMiW Ό

chord and found the

praife

ot J u b a l ' s

God,

Praife

him or. the

harp and lute and

let not

^

a - ny

firing be mute

but

£ i S í 11? tr if π^ρτγ Π nTTrrircr'trcr-ixLi^

mÊmÊmmmwmÊmwrn

all agree and

join with me to praife

praife,

praife,

praife, praife

the

Lord,

Hark

hear the

fheep

how

they

Anthem. Continued.

103

iFJÍMiiiliililSll^epiie] b l e a t , and

irai fe,

found,

ρ rai f e ,

found,

praiíe,

found,

praife,

f o u n d and f o u n d their m a k e r ' s praile, their

praife

tl:e

Lord,

voice f o r filarne and catch the flame o f

L e t the hearers fili tlieir p a r t ,

tho"

m u t e in v o i c e j e t

u

·

ni

- ver . fai

j o i n in heart and

praife

:S:

104·

Anthem.

Continued.

^ H a ú l e •• lujah, halle - lo - j a h , halle-

lili praife,

praife, praile, praife '' """·

't hL e·

T

Lord,

X

.

men,

a -

meo,

a

-

men.

Halle

- Uijah praife,

praife

tiie

lUiiÉMl! Amen,

Halle - lu . j a h ,

TTpi 3 lujah

Lord

a - Inen,

a - men,

halle · l u j a h ,

a - men,

lujah

liijah, halle-i· 2

rTTg^PIIiiaii p r a i f e , praife t h e

Halle - lujah,

halle

i

ΙΓ ρ a - men

Hal - le -

A - men, a - m è " ^ ^

Lord,

a - men,

a - men,

a - m e n , "Halle - ^ l u j a h , halle - l u j a h

a - ro^n,

iiiilÉi^illllllíiifigliiiPillillÉK men,

a - men,

lujah λ - men,

a-men,

^

^

^

An

O

thou

to

Anthem for Ordination.

whom

all

crcatiires

bow,

W o r d s from T a t e & B r a d y , S c r i p t u r e , & c .

Within

this

earthly

1 0

f r a m e , T h r o * all t h e

w o r l d how

Ç

fel^tíiiiiSllÉilÍpfclftfííi -θ:·-·)

feLT

great

art

" 1' I p L £ f c ~ f î T 7 T

thou,

How

glorious

is

thy

Thio'

name.

all

th«

is: Thro'

o

Thro'

all

the

wortt

how

ι ο 6

world

Thro'

aÏÏt

hoiv

MMn» great

the

world

a»» art

how

»1.»·^ thoST

!.. ·"

great

art

1 all,

1

thou,

_ll all,

in

all, &c.

Ii n

rt

ill

tills

_

earth

-

I·· ly

frame.

Ilig^Sii^iiiiiliiMÎiiS^ËÏspË^I -t»1

alt

•the u.

great art

υ

thou,

jj 0 W

great

art

all.*

in

thou

in

all,

in

all, Ac.

^Éplifll^S&ipieillÉl^j in in

all."

in

all.

in

i That

they

ΈΕ^ψ^Ι

II Λα4

be Aatl

purify

I he

fans

of

Levi, and

purge them a»

gold

1— aud

filter.

may

toy ».

offer

un

-

to

the

Lord

I will

an

ofT'iing,

an

olF'riug

in

deck

her

p r i e l h with

iiglileoufnels.

il^ï^^llÊ^^iîgpîiii^iiëii^î wî

—-

T1

jS

•4-4-i-

"L-l—1

mmËËmwMw^i^m^wwmw. (hont

health.

Ihout

(hall

iegpip^iiiiip^i^ii^i^ippi^ I

health,

will

deck

her

prtils

with health and

her

laints

diali

(hont

(hall

mmïiÊmmmmmmmm ih ou t .

(hail

(hou

-

ί 0 9

— j her ι.__ faints Diali n_.ii and

fhout, I *

. . . j her L — /faints · - : - . . (hall11 and

n....· fhout,

and lier &C.

iigHiHi ü i i l ^ i i p g • minili ¿JUTOÌB |=E53 m mmMMmι mm luigi: ¡ΙΙβΙΙ; i 1 , "etcrr ji ο ι ι r i inm a:

I will deck her prierts

with

health, and her faints fli >11

fhout,

and her faints

and her faint» fhall

(hont

and

fing,

fhout,

"(hall

and her lainti (hall

Ihout.

(hook

filali

fhout,

and h e r faints ihlll

and h e r faints (hall fhout

atiiì

and

ling, aii4 her laints fhall

fhout,

fhakl

fing,

lko

-

n

o

Ili H H Û iPliiliiliPiie^iiliiiì^ ill,

(h ill

(hout

and

Ting,

then the

eyes of tl

goodwill

to

men

Halle

&c.

-

:S:

f I fi .r glory

Halli

to

G cd,

jgeace,

good will

to

men

glory

to

cî

God.

lujah,

Α?ι Anthem for Chrißmas.

HarKlhaikl

hear yuu

not,

l u i k ! haik. 1

w o r d s from L u t e »d. and t i f t w h e w ,

H 7

hear you n o i , hear you not a cheerful noiie, & r . m a k e ( h e

heavens

ring

»Uli

^^îiiillii^liliiiiiill .β.

a

cf.eerfiil

noife which, &c

-β.

fee » h e r e li^ht )Urs bright angels

tVe where li^ht. fhiri

juy.»

fee

bright bright a n g e l s f l v "

wliere li;· In1 If I s bright »ngels

f^FPttcSá^lgg^BsilSB lee where light N, B . Set this piece one note lower.

Itars

bright

angels

8y

Hy,

By

Scc.

Ac.

a

bright angelí

fly

bright angels

f

dcu.

ι ι 8

thoufand, a

thoufand, a

thculand

-pir-o-r-i

tiding·, glad

tidings, I

tidings, I

liMv'nly

echos

rchoa

echo·

Ciy,

be - hold

I

bring you glad

mmmmmîÊmmÊm ïmmÊmm Behold

bring you glad tidings

bring you glad tiding-, glad

pf

tidings of

1

bring you

joy, &c.

joy,

unto

you,

unto

you

and

to

all

people,

glad tidings glad

1 1 9

Fer

unto you this

day

it

born

a

β ι β !§iü i l i i i s n For

For

unto you this

unto

j o u this

fign

unto

day

yen,

is

day

born

is

born

a

you (hall find the babe

mm

a

Saviour, a

meanly

unto

vou

Saviour

this

a

Saviour,

a Saviour «liich is, &c.

β m m

and this (hall be a

£ i r = = x = = = = = i

day is born a

Saviour which it, Sec.

üíhini

Ρ — β Saviour

who

is

Cht.rt ihe

Lord.

¿te,

wrap'd in

Twadling band) >nd

tying

in

·

manger.

And

I 20

mm^^mwmi^mmmm l û m iiliiiiiilipliplliilliiliilli And

fuddenly there was with the

angels

a

multitude

I— 1

And

And

fuddenly there

waswiihthe

was with the

fuddenly there

angels

a

>vas with the

multitude

a

fuddenly

angels

there was with the

a

multitude

multitude,

a

and

1>—-ta

angels

a

multitude, a

o f the heav'nly h o f h ,

fuddenly there

the

rmiltiuide,

multitude

heavn'ly heavn'ly

a

multitude

of the

heavn'ly

ho-

angels, 4 c .

ÊpÊÊpÊppIpii ot the heav'nly h e f l s ,

a

multitude

a

llppilEii^Ii^S

raultitiide

of the h e a v ' n l y

hoflt,

and they were prailuig

God,

and ibey were praifmg

121

pratf

-

-

-

praif

íng,

-

mg, &c. .

iog, &c.

prsiling God, and

ÜlsMI faying

glory

to

ing. &c.

glory

to

God,

glory

lo

G o d in the

higheft,

glory

to

G o d in the

highlit,

O

how

can

mjmmm^wmmmmimmmwÈM

I 22

meo forbear t o

fing

when earth with

angelt notes do

ring,

ring,

ring, when earth with

angels

notes do

Éil^lfJiSiil joins'.) your voices

one

c l i o r u j t o raife

afcribtng

atl honour

all

glory and praife,

What

riog,

Then

±

greater

love what

greater

:S:

123

:S:

siiiiiiiÊeiiiiiiiiyipi^iiiii'iiiii I

g i f t , can

G o d , on m m bellow,

'Tis

half the angel's heav'n a b o v e , A n d

all o u r h e a v ' n below.

»

Then ΛΝ

j o i n all y o u r voices,

oae

iililiPIlIllIlêligiïllIPiiililili^Il iiliiiiiÉiÂE^iigiiÉÉyiplillP Iliilì^MiiiiillÈliÉfi^l^iiliiiiì g

chora»

to raife, afcribing

all honour all

glory

and praife

Lord,

ι

»

and fliall angtl»

have their fo;gs, and

1 2 4

mgirrirfrrif^.riffrfirvH^ir men no tunes to

ra ¡fe, O

may we lofe thefe ufelefs tongues when they forget to

tíE&BÉfemrlttrr to

G o d w h o reigns

praife,

praife, W h e n

they

r ΐ'ί"irgt* f

praife, T h e n join, See, Glory See Chorus.

praife,

ΓΙΓΤΓΓΊ

ift:

a - bove, th^t

i i ì i l ì e i i i r ^ " "

forget

to

*irtŒ

l i i l i l g l i ü pitied

ui

tor

-

lorn

we

join

to

fing o u r

m

125 ¡¡eiliillilliiSiiiiî li^iliiliililpiliiiillilíiiii

cfìT::

maker's

lo»e for M·

there's a

Saviour

bom.

Halle

-

lujah, Halle -

lujah,

Halle -

lujah,

Hofannah,

in »lie

fcliiiilliill^iiM^^ilii^i 'lÉgiiiíiililÉii^llÉí^eS^ii HigheR, Halle -

lujah,

Holannah

in

the higheft,

^ïiïûliiîlf

Hofannah

in t h e

highefi.

ï 26

!ÍSÉ®ieiiÉ!^!É

umËÊmmwmÊmmmËÈmÊm

- e - * -

• low "tía

half

I he

¡ΡϋΙϋΙΒΙ s p ^ j f r r i "ί ι r ff ι Ρ Γ r ι r rrfnTfrfrff St.

Thomas.,

W o r d s from D r . W a t t s .

/ • — s

Mtthink·

I

fée

my Saviour d e a r , On

»lie

accu r led tree, M e t h i n k s î

fee his bleeding w o u n d s , which h e r e c e i v ' d for m e .

/-ν

ι - ι — φ ^ heard my

fOl(f oe(

of

hit

teiepTr,

and my

$ry

re»shcd the

Ξ Ξ 4 ™

car

of my

Cad,

I wilt

1 3 2

^Isl^iiililiiílilü

T h e n the earth did

(ha

ke

and

tremble.

love thee,will lovt thee,will love thee, t h j r e f o r e I will love thee O L o r d my (Irength.

Ëmmmmmwâwmrnmimiw he b o w ' d t h e h e . i v ' n ' j a l

of the I j l l a weic removed « n d

(Va

k e n , becaufe he was w r o t h ,

-

Γο and came d o w n , and d a r k i efs wa»

χ

33

Ai

he did

y

Ο

By

did

ffy

up

-

Chorus.

on the « ¡ n g s o f the wind, J ' h e r e f o r e , Sec

the L u i d «Ι.Γα t U i i n d i f ' d out o l h f u v ' n and Hie h ghr il t *ave h,*

mmmmmmmÊmimmmiW: T h e L o r d a l f o t h u n d e r ' d s u t o f h c a v ' n a n d i h e h i g h e f t g a v e his thunder hail ftonct and c o a l s ot fire, a n d the higheli g a v e his

_!

Jl

i î ï "

_

'

See _

ChoyUS.

!üSüH¡É

He detiver'd me

0 f r o m my

e n t m i e s , a n d f r o m them which hate m e ,

for hf1^-

t h u n d n hail (tunes and coal» o f J I

ι

ι

fire.

!¿g=pí¿ Ï-1-.

Therefore,

kc.

for

-3—1 4 , - g - - — — r „ . F o r ihey w e r e t e e d r a n g , tur

hey were too ftrong for me, Then I wounded them,

Then I wounded them that they were not able to rile,ihen they cry'd,then they cry'd,then they

cry'd.then the y cry'd,but there was none to hear ihem.they cry'd unto the Loid,lhey cry'd unto the Lord but be gave them no anfwer.

Then I

I

\β

ilÉliiei^P^Sii^iiÎiiiiiiiiliiïi t r a m p l ' d t h e m down,then I t r a m p l ' d them d u w n . t h e n I t r a m p l ' d t h e m u n d e r m y feet.

W h a t (hall I r e n d e r

10 my G o d for all his

kindnefs

iisliiíiiilPsii^iíliiíl^liii illli iiiliïllili^illllii^ Hal

(hown my

jeet (lull

vifit

Iiis

abode

mv

fongs addrefs his

f

"

le

-

lu

-

ie . hi

-

JJI),

hai

- le

throne.

Hai

^

·

-

-

.π!',

^

hai

IBÎH·,

.

le -

U7

Swell.

liiíiiiilliíiiliieslliiiiiillíiiiii -mH-r^^-t^ι"ι• Ji"! ' iTrirnrrrn" - lujah,

Hal

-

a

- le

-

men,

lujali,

praife the

amen,

Lord,

Amen,

a - men,

aiticn,

Halle - l u j a h ,

Halle - l u j i h ,

praife

the L o r d ,

üallcliijah,

mmimm&m&mrnm^^Mmm - jujaii, - lujah,

I

halle

a

-

-

men,

lujah,

praife the L o r d ,

amen,

a - men,

a * iren,

amen»

fcal-le-lujah,

hal-le-lu-jah,

g

Forte.

g^cffrp-H^i -i.r ¡Tin rr ι 'M^rrrm wmwmwmi^^mma s iiilÈigiiliiliiiîilÊiÊiiiii iS praife, praife the

hallelujah,

hallelujah,

praife

the

Lord,

praife,

praife,

Lord,

praife,

praife,

praife,

praile,

praile, praife, praife,

S

the

Lord.

p r a i f e , p r a i f e , praife (he L o r d ,

praife,

praife

ί - ά - β -

Hallelujah

praife

praiCe

the

Lord,

praifr, praile the

Loid.

i

3

Variety., without Method.

8

.fer

O G o d thou hail been difpkafed,

O God

An Anthem.

thou haft been diípleafed,

O God

P i a l r n

6 0 .

thou haft been diT-pleaf-ed,

O turn thee, O turn thee, O

- β - Β - β -

ÊiSÊpiÊiiâ

nmmmmiwmm^mmïmmmm mMMmwsMMiMmmm^wm O G o d thou haft been difpleafed, O G o d

turn iliec unto

u s again,

ÜÜÜÜ

O turn thee unto

t ¿rf i^ii'Hf

fre-

u s »gaio,

thou haft

niov'd

t h e l a n d , and disturbed

it,

thou haft m o v ' d the

π rrif'-fc^s^

139

ΜΊΤίΤίτΙ ^I^MyfW^-I'rrirCf'ftFfcgaÎëfeÎ heal the

land and

diRurbed

it,

lores,

heal the

heal the

lores,

fores, heal the fores there - of,

heal the

fores,

heal the

fores thereof, for it

^^^mmmmmmrn heal the

fores,

heal the

fores,

fliak

eih,

for it

Q_

BE :t=tl

heal the foics there

-

of.

MHlpI^liiiillp eth,

thou had gi»'n a token tor

fuch

as

fear thee, that they may

tri _

unipli becaule of thy HuUi.may

iSPfiii^MiSi^gSIieiÜililÜi

imwmi

1 4 0

t r i u m p h , may t r i u m p h , may t r i u m p h becaufe

liear us, lie.tr us,

Of

thy t r u t h ,

therefore « e r e thy

be.

lov-cd

hear us, O help us, O help us, O help u < with thy right hand a n d h e a r us, h e a r us,

de-liv-er-ed,

help u i

with thy right

liear us h e a r u s

h a n d , and

hear us,

Who will leid m«, » h o will lejd me into the it rung tity, who will bring me imo lEdom, wilt not

iliou O God go forth with o u r h o i h , wilt not thou O

1 4 2

h e l p of

min,

t h r o u g h G o d we (hall d o

valiantly,

tve filali d o

valiantly,

vrt fhall d o

raliantly

for

it

is

hethatfhal|

mmmmmmmmmmiÊÊÊmm

t r e a d d o w n , tread d o w n

o u r enemies, t h r o u g h G o d we (hall do valiantly, we (hall

do

valiantly, we (hall d o

valiantly for

it

i»

h e that diali

tread down,tread down our

enemies.

Halleiujah,

hallelujah,

hallelujah

praife ye the

Lord

liai -

le · lujah

hai - lei.

ilíiiiiiliiiiisígiilllliililliiiíl^ilii Swell.

lu - iah,

balle

-

lujab,

O

praire,

O

praife, O

praife

thé t o r d ,

praife,

praWe,

the

tord.

lEeiiiii^lliilllltei^l^^

Hopkintort.

« 4 4

L a h e cornel h

countlefs

trumpets blow before the O ι—

W o r d s from George Whitefield.

bloody fign, midil ten thou fand Taints and angel«

fee

the

cru - t i - fi - ed — —

lllEilEEiSEil liiilSiepliSiPe-iiiili •SÌ

m IUI Eeüüiüi mim^mmmmmimimmm lieiHHll Halle

-

Aline.

lujah,

Halle

h»lk

-

-

lujah,

lujah,

halle

balle

-

lujah,

-

lujah,

halle

Welcome,

Halk

-

lujah,

ball«

.

lujah,

lniah,

Welcome, Welcome

.

ItijAh

Welcome

Welcome

bleeding

welcome,

welcome

bleeding

bleeding

Lamb.

Lamk, welcome

Lamb, Welceme

"bleeding L a m k ,

bleeding

Lamb.

An Anthem, for Fafl Day.

Some of the word! from fcripture.

Mourn, mourn, mourn, mourn,

mourn, mourn, mourn, mourn,

Phar'oh and Ahab prevail in our land, J t ^ L

I.Q

Achans abound and

sill 9 ¡ΐίΞϊΐϊ^ϊΕ^εΐΞ^*- m 11

Λ..Ϊ.

1

~ n : í r r r :

ill trouble (he

1

::~:r::

1:

μ lit" ' Γ - Φ ΓΊΊ'ΐ l'i ' • land,

mourn,

mourn,

mourn,

mourn,

mourn,

mourn,

darknefs and

clouds of

awful

Ihsde, hang pendant

lâiilîilillli^llleiilli^eiiliis ÉilSESIliìSeiilBrSiliEiE

1

1 4 6

Í FΓΓ11"Π, U ültoMf r rtë^t-rWM#43· -9-

-e-i

33ΞΞ3ΕΙ by

a

β end«·

thread, wailing cemmiftion from God the upholder to

..r,f ' 1. r.

fall

(all,

'

fall, -and

diftrefs

us,

:S:

God avert th'impeiiding doom,we ple»d no

merit

of our own, for mercy Lord we cry, bow down thine ear to our complaints,

"^mmmm^MmMMm

aud hear troni

T h e n will the L o r d

be

j e a l o u s f o r his

land

and

ïïmmwmËmmiwmmmwww mmmmmmmmmmrnmmm heav'iWhou king

of

fan^ts,

O

let

lhii:È

aid

be

nigh.

T h e n will the

T h e n w i l l the L o r d

be

jealous for

Ί hen will the L o r d

piry

his

land, and

people, and

pity

hi«

people, j n d

ρ ty

lay

his

fay

btlioKI

p e o p l e , and fav behold

Sehold

people, and

behold,

fay,

be

- hold,

behottt

behold

behold,

"

be

Lord

his

land,

jealous

be

j e a l o u s ( o r his

and

f o r his

pity

land,

his

and

no m o r e , no m o r e , no m o r e ,

β

y o u r P h a r ' o l n and A c h a n s and A h a b s are no m o r e , no m o r e no

^

m

more,'

more

n o m o r e , no m o r e ,

l i a m o r e no m o r e .

Υ«»

Λις

m β ϋ β behold,

m

Lord

wi J

anfwTr and

fay

unto his

behold

1 will fend you c o r n , and wine, and oil, and

*

ye

ihall be

*

fliall

be

fatisfy'd,

And

fati-fy'd, fati-fy'd,

latisfy'd,

^

Illil'Pilllgiiii militiίιΐϊρΐϋΡϋ be

ye

/hall b e

wmmmmimwmm^

people,

Ai d

And

ye

fatisfy'd,

be

(atisfy'd,

be

fatisfy'd therewith, b e

mmmi&^Mw^^^mmwm^m mmmmï^MMmmwmmMËm . .

Be glad

fatisfy'd, t>e

fa'jsfy'd,

be

(atisiy'd

therewith.

ihout,

(hour,

mmm^^ "

ca,

(hour,

£

:|j: f h o n t j Ihout

^

and rejoice,

_

B e glad l l i e n ^ m é r i c a .

be glad then A m e r i c a .

(hoAmer - i .

ca,

(hout, Ihout, and rejoice,

Λ 111 1 mtüüi* ι-' ffmfez ^ T - r s - i r r -

(hout, out,

ihout,

ut, be glad then America, ihout and rrjoice, -ihout, Ihout, lhout, (hout,

(hout,(hour,and rejoice, lhout, (liout and rejoice,

^(li^iT,^^^

(hoiit,

(hou*

fhou , (hout,

(hour,

(hout,

^

a joice, t c glidlhen A m t r i c · , (hout, and rejoice,

+ 9

then A m e r i c a ,

_

ß e glad then

x

lhout,

fhout,

(hout and rejoice,

(hout,

(hoot anu ι

ISO

igiiiifííiiíiii^iimÊÈrnMwmmm ihüut,

íhuut,

ihout,

ihout a n d

Ihout,

rejoice,

a n d rejoice,

flioiif,

rejoice,

flioiit,

(hput, fhoiit and

joice,

land

be

giad and

(hour, Ihout,

ihout,

ihout, f h o u t ,

glad

re

lear not O

j l a d and r e

be

-

land

fhout, (hout, fhout^jnd r t j n i ^ ^ ^

glad and

re

joice,

be

f h o u t , ihout,

rejoice,

gtad and re

joiee

-

f e a r net O

Fear Fear

not

O

mmmwmwm mmmmm

(hour,

and

Ρ

ut,

rejoice,

Ihoui,

and

ζ^Γι,

rejoice,

F e a r not Ü

ice. rejoice.

F t a r not O

rejoice,

¡iliglBilllili^ land be

fear n o t , & c .

hnd,

fe«r n o t , Stc,

be

glad,

glad,

be

glid.

be

elad,

be

rejoice,

fear not O

land

land

joice,

joice>

f e a r not O

l a n d , be

be

be

:S:

:S: Soft.

L nid.

0

i^^f-rf-p^^f- — ¡ - ρ - Ε- ^ - ¿ Ξ — F — E — — r ; — τ-4—=rr: ~ :— r+rrrp~ :r —a— ^ΞϊΞΡ—ΡΞΐ—Ë—: : — s - i - í — L —b—kr:—z-í : —±~z—± glad

and

rejoice,

re - joice.

= = Hal

— ~ r=t--H—h

-

le

-

ha 1

-

le ·

lu

-

1 1 —fr ~trL·—t-b-^rl-h:: — —

—4

jali,

:S:

—E—P^—!

WLM

e l i

liai · le - lu - jah.

t r i - r-L·-1—Lrb-f=r±

Loud.

— ρ —

p^-r

E EE Ρ ±

—: — lu - jah,

Soft.

- 1 1 4 Ρ γ

t HLfcE

e

H-m-mm-

——E—Er-C-Í-F—F—-ΞΗ!\

praife

the Lord,

tr1—h

Hal

-

—1

le

-

1—1

1« jah,

1—-{

hai

-

le

1

.

lu

1—I-

-

jah,

hai

-f-

-

le

-

lu

-

jih,

praife

the Lord.

1^2

E aß Sudbury.

W o r d s from D r . Watts.

pi» * j ι j f μ ι jgTrrrmrrrrrrf^ JJ^T

wmmmMmm^wmmm^iMiw mmÊmÊmmwmmWMmÊÊ Ye

tribes of adam

join,

With heav'n, and earth, and feas,

And

cffer

notée divine,

To

your Creator's

llIlillillîlËlëiiiiiliiigiiiliÎiiliii liílllfllPíilllIíiillllljiiiiiiiiaill praife,

Ye

holy

throng

Of

Angels

bright,

I n worlds

of

light

Be - gin

the

fong.

mmiMmmmmMm^tmmwmÉ

m m

Adams.

*53

Word» by D r . W a l l s .

1—

To

fpend one

(àcred

day, Where

God

and

faints

a

-

bide,

Af

-

fords

di

-

viner

joys, T h a n

I l i l i E i i l l i i l i i l p e ^ s

3

tizrî

i i e m ^ i i ^ i f i e l i i í i l i f i i l É i l i l É l S e i l i

lliouían
ys that never

fade,

J r Γ r e Ij & i M l r f - H ^ r r r 0 J D I p l e a f u r e s dwell for-ev - e r more and

never

never,

that

never,

never

never

fade,

where

m^mmmnwfmmmmwmmmn p ^ T ^ n r m n ' i n f f f f f é - m r iffrr irrcci mmm^mm^^^^^mmmm mmmmmmmmmmËmmMm ioys

that

r e v e r , never

fade, where pleafures

fade,

and

joys that never

fade,

Where

fad ,

that

n f v e r , never

fade,

and

pleafures dwell forever

more a n d

joys that never

dwell

forever more and

pleafures dwell forever

j o y s that

m o r e and joys t h a t

joys

fat^e,

never

that

that

never,

never

fade,

never

that

never fade, where pleafiires

never, never

fade,

never, never

that

fade,

never,

tliat that

never

wmmimmmMMwmmm^wm Mmmgmmwmmmmwm. 167

fade,

dwell

and

joys that never

forevcrmure,

never,

never

fade,

and joys that

iade,

where

never

tkat

ψ

never, never

ΞΒ-rtrri r r

pleafurrs dwell

fade

and

fade,

that

forevermore,

and

joys that

never

never, never

— P J

fide,

and ... 1

de,

and

jx)vs mat never

j o y s that never

fade,

and --J

joys that : ·...

never

:S:

„

joys that never

fade, where

fade, tade,

and «

fa

pleafure« dwell foievermore,

and

jo

ffrULdhmTtrfTrT ,.

fade where pleafures dwell· forevermore,

and joys that

iüüüü!

mmwñmfMmmmm joys

fade,

oy

that

never fade, that

and

joy that

that

never

never,

:[:

never

fade,

never

fede».

friends I am futnnion'd to appear

at

the great tribunal,

ι68

m

Affett-nofo.^·

SES Pare you

well my

friend,

3ΕΞΞ5

Fare yon well my friend,

ρ-—Ρ

Languiftiing.

and

God grant

we may meet

in

β

that land

of

ii^iliMiiyiii^í^ipliMíiíillÉi^I Fare

z±z

you well my friend,

Fare you well my friend Affettuofb.

M i n u m beating.

^ • p f i T f f T f f f. ι C i n i f r - f γ Τ Ρ Μ τ 4

^mmmmmw^mmi^^^Mim wmm . Harmon}',

where the

wicked ceafe from troubling and

where the weary are at

reft.

â p î i i i i i î ^ l i É l ê Ê S â Ê i É i i

farewell,

farewell,

farewell,

New-Plymouth.

W o r d s by Τ · « and Brady.

I 6 9

Suitable to be Tung on the Anniverfary of our Forefather»' landing in New England, Nov. 10th. A n n o Domini 1610.

O Lord our fathers

Œ

i

theirs.

^

i

l

i

oft have told, In

i

^

i

i

our

i

attentive

l

I

l

ears, T h e

l

i

l

wonders in their days perform'd, A n d

l

i

^

mmmmmmmÈm How

thou

to plant them here didft drive T h e

heathen from this

land.

i

i

^

O

i

tíl

^

. der timet t h a ·

i

1

m Dit

:azj Uif · peopl'd by re - peated fl rotee», O í t Y Roufe ye Yanlciesaad « l i b r a t e this A n n i w f a r y , and do n e t &f on the s i f t day cf November, Ί forgot w h a t day it w»» y e f o r i « / . · X

ιηο

mâÊmmmmâmmÊmÉÊ Dif - ^ e o p l ' d

Dif

peopl'd

Π thy

by

f, avenging

.

re

peopl'd

-

n

by

repeated

ftrckes,

peated flrokes of

thy

n hjiiid,

T W peopl'd by

^ Dif

S -

by

Of

re -

firokes,

thy avenging

a - venging

^

repealed

hand, D i f

g

Ofihy

haed,

- peopl'd

avenging

of

by

^ T j T f peated rtrok.es of thy avenging

hand, of t h y , & c .

thy

repeated

L

a

rtrukes

t liand,

of

-

veng -

ing hand.

_

thy, & c .

x l c of t h y , & c ,

i

r

^

^

'^mm^&wmmmwmmm V i & O r y .

W o r d s by D r . W a t t s .

confound the foe, & c .

T o thine aïlmightv ^ a r m ,

#

W^

o^^the

triumphs of the

d.iy,

irtttr

T h y t e r r o r ^ ^ n d confound the foe and melt thei'r iirength'a..

confound the f o e , See.

* St ΓΛ

^

^

ξ^^ΪΙΙΞΕΙΕ^ΞΕγ ^ i i i ^ i i ^ i i i i h i i i i i i e i ^ way.

Tis

by thine aid our troops prevail, A n d break

united

pow'rs, Or burn their boaited fleets, O r fcale the proudeft of their

towers,

il ' JI.JJ J JfnTUÏÏ Γ eitiataygiiliWN^E Sublimity, an Anthem. Pfalm

19,

T h i s fiihjeft it both Prail'e and Prayer, it may anfwer for Thankfgiving or Fall.

isiiËpp^^iiB^^iëiiiEiypi^iiiiÊii a·:

¡T.

The

heavens

declare

the

glory

of

God, and the

firmament

(heweili his

handy

work.

One day

isnsimmëWmmÈÊmwm e IHil ΐϋΐΐ i l ì l l S S glfiiiÜÜ! telleth

a -

nother,

and one

night d o t h

certify,

doth

certify, dqth

certify, doth

certify

a -

nother. p r e

His h a n w o r k ,

And the

firmament

ihcweth his. #fc.

for there it neither

esirsipipiiiliiliii^? The

heavens

declare

tfia

glory

of

Gp¿,

^ ^

^ ^

^ ^ _p

ρ

fpeech nor language wh;re their voice is

Their found is gone into

not heard.

all

la^Js,

^ e i r ^ o u n d is gone

Their found is gene out, their found is gone out

T h e i r found is gone

out, their

found is gone o u t , t h e i r i o u n d is gone

in

cut

in-

iill^iiililiiiill^i^ii^Êllilie iifllllillMiiii Their found is gone

out,

their

found is gene out, is gene out in -

to

alt

lands, in-

iïzftzerîzirpziiî

mm^mmmmm^mmmmmmm m »e

all

lamis, ι

ax

The

ftatutes

of

the

Lord are right and

rejoice the

heart,

and rejoice the!

t

HUÊpPJi

heart, heart,

and rejoice the

:S:

1 7 4

:S:

iiiiiiririü

ililippippüiiüi

mmmÊmm^mimmi e r r heart,

and

rejoice,

and

rejoice,

and

Let the words of my

1 Ξ Ξ - :

Rejoice the heart

Let the

liïpÉiiPIpgiliieÊil^iiiiïÉiiÊi ^

Τ «frthe Let

i mouth and the meditation

ot my

heart be

all - way«

accept

-

iwnpflc of At my nur words

ed

in

thy

mΛΙΙ»Κ and Ofi/4 the till· mouth

fight

O

Lord

mAiliHtmΠ meditation

my

ftrength

Λ* of

and

mu my

my

Re·

pgiÊimms^mme^m^gm

Let

the

words

óf

my

mouth and the meditation

of my heart be

allways

accepted,

be

allways

accepted

in

i^iifi&iiliiimiiSlilgPililigi IMÌOeIsIÌÌ WËm words

of

my mouth and the meditation

of my heart, and the meditation

of

my heart be alJways

accepted

in

thy

fight

my

ftrength,

a z r a

heart be

«11 way»

accept

·

ed

in

thy

fight,

O

Lord

my

fcength,

O Loid

*7S

iiiìiliiilliillliiie^Hil ileemer,

thy light

O tord

O

O Lord

Lord

mv

my flrength

flrength

myftrenglh and my

and

and my

Redeemer

my Redeemer,

Redeemer,

te

allways

be

.

allways

accepted,

•iEiEiEEElil O Lord

my ilrengtli and roy Redeemer,

accept

be

.

ed —

allways

in

O

thy

accepted,

be

Tight

Lord

my

O Lordrayflrengtha n d

ülilíli

allways

accepted

in thy

piss-:

Let the words of my mouth and the meditations of my heart be, &c. • S· · s*

mmmmmwmmmmwmrnmm mmm&zmEmmmmmmimm = i ÎÊ = Ê = 3 i is mmmmmnimmmmmmwmw (Irength, O Lord niy

my

fight

Redeemer

flrength

a n d my

Redeemer.

O Lord mv njv flrength and my Redeemer. Redeemer.

O Lord My

flrength and

my

Λ

Hillelujah,

hallelujah,

hallelujah,

_

Ilal

. le.

Redeemer

Amen,

τγβ

J

r

PTHTflltf , j j JI fULl J Γ If ï f T F l ' W l M"IK

Amen,

lujali,

Hallelujah.

:||:

ι ti:

Amen.

Hallelujah,

Amen,

Amen,

Amen

Amen.

^ËEFFFFTOrrr irrrrrm^mE ïiï^iiii^iii^g^eiÊîiiii^iiiïgi

ALmen, men,

Hal Hai

-

le

-

lu

An Anthem.

WM O

God my heart is

Jfxed

-

iah, jah,

Ρ faim i o S .

I will

iing and give

"φ

For 11·ankfgiving Day Morning.

praifc,

EE O Gad my heart it

fixed

I Kill

fing

and give

práí^

177 E=Jt

wmmmmmgmMmmmMmmi

G o d « y heart is

fixed,

I will

fing

and give

praife,

O God my

heart

is

fixed

I

will

fing

and g i r e

ρ rai fe

i—

Even

with my

glcfy.

yidÉÉâÊEEill í i i i i J i i S i l l i i i e i i

r

Even with my

ΛΖΛ-βΖI E v e n with my ^

glory,

glory»

m

M

even with mv

i

glory,

even vfith my

i ü SE

:S:

1 7 8

S

iiìiiÉiiimmmrn Awake lute and

A

Awake,

-

wake

lute

and

Ss^BIÈ^IÉ^ISIÊIIIeê: mm. ÜI1 Sí ^^^ïiiieiiiiliiiliiii^ ^m^SMEiilEilEliiiliBeii mmmimmê&mmmm^mmmmËi mmimWê, llüliülüü - θ — θ

glory,

even with my

even with my

glory»

-IAwake,

glory»

Awake,

lute

and

har·

P — I

Awake,

ke,

harp,

P>

I

my

1

-

I

myfelf

felf

will

myielf will

wUl

awake,

awake,

awake,

I

I

I

myfelf

myfelf

will

myfelf

will

awake,

will

A

A -

-

wake

Awake,

1

my

wake,

frlf

lute

will A - wa

will awake,

-

Awake

I

will awake,

and

ke, I my-

myfelf

will

awake,

wUl awake

1 3 : : :

harp,

I

jnyftlf

will

awake,

J

myfelf

will awake,

1

myfelf

wilt awake,

I

myfelf

tyg

mm m

liÉe^feiûÊgï® felf will awake,

I myfelf will

awake,

I myfelf

will awake

right

early.

J i n n : —I will

—U

·•—J

awake,

I

1

—

myfelf

will

*•

awake

right

early.

ly»

right

early.

HI iiiiiieSaiHIiliilHI ιρριριββΐ ÍÜÍÍ $ iìioìéìéèì ΙββΙΐΒβΙ wake

right

will awake,

ear

I

myfelf

-

will

awake, Sec.

• e — --Η-Θ-·

thee

i^mmm^m^ moog

th*

nations.

a

-

mong the

- e - a -

nation·

Be

thou

exalted

liiliiiîlippi

ι 8 ο

wmmimmÊËmmêmmmmi ípilI^l^ií^^íggÉlílil m iiieeillililíllll -.rTrfTf t c ι ím¡ j φ » * -1 j j j ι^βι high, b e

thou

exalted

high

O

God

a b o v e the h e a v ' n s ,

- A .

and thy

glo

-

ry above

all

*—».

ft.

the earth, t h y

'

—

:S:

^

glo

r y , thy

"" ^

I«

ÍEI:

ry

a

-

bove

all

the

eartli.

Give

us

help f r o m

trouble,

Gir«

ut help from

trt^-prf——rj— Give i n help from trouble,

m Give

il!

us help from

trouble,

glilkí fÜHüfü

Give

us

help from

trouble,

for

trouble, f o r

for .Μ. vain,

for

ι 8 ι

va-

va

-ft. for

vain, &c.

iiliiieiiiiiiieiii^îîig^iiiiiiifiM:: for

for

vain

is

the

help

of

man.

in, &c.

in, 1er

I* vein,

Cur

V