4> JL~ JtBVeDRGKLS ';£*) ^____ „ ~-*w~^~« FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY (Ly in* \ A D D r ■ W< SZtt ^.__: _ HVH86HISHKHMDQDP Sift (> i>u-^ vy^NTVRY OF CHANTS FROM J SM Qbrcl) p^almoip'.' i ftuniirrti Suncs'&UnpukfetalJ 0)aim0mpte OF THE LATE V m J)onorart> Ganon of Ulavcstittv. hntl] PrrfanwJnttnw anfc Portrait, &&tt*& bg !jt0 tuauqtitcr, France Kiitlcp fcabmjal LOBDOIi, Robert (Jock* JKEBrto Burlington Street, Bu Special .ftpiuuntmc-nt Qiusic Pub libbers to bcr G)aji&&tg tbi-QiumllRIUhc-Pnnri: of (Zkles arte the- Qmpgror Papolc-cn 111. qd d a a a L- x x i . iL^ Digitized by the Internet Archive in 2013 http://archive.org/details/havmodOOhave TO THE BELOVED, HONOURED, AND CHERISHED MEMORY OF W. H. HAVEFfQAL, WHO, WHILE OX EARTH, Praised the Lord, AND NOW gtt !JLea&jm sfrigs i\t gang of t\t ^onnxtot THIS VOLUME IS AFFECTIONATELY DEDICATED BY HIS WIDOW, C. A. H. INTRODUCTION. <2^ 5TLN issuing the present volume, at the urgent request of friends, I desire (^ to do some measure of justice to the memory of my beloved and lamented husband, whose labours in the cause of Holy Psalmody befitted the reverence due to the Praises of God, and the needs of His Church on earth. The object aimed at throughout this work is to comprise, in a careful selection, such a number of tunes, varied in character and measure, as shall best serve for congregational edification and general use. To these are added Hymn Chants, Kyries, and Glorias, and a Te Deum Service, chiefly as specimens of what was approved by the Composer. Those tunes now first published are taken from manuscripts, jotted down as composed, without revision or, as I believe, thought of publication. The entire arrangement and preparation has devolved on his youngest daughter, to whom the earnest endeavour faithfully to follow her revered father's strict principles and high standard of Church Music has been a delightful employment and labour of love. The friendly advice of the Rev. Sir F. Ouseley, Bart., respecting a few tunes, was requested and most kindly given, for which I beg to offer my sincere thanks. Also to T. Kilner, Esq., and other friends, for general interest in the work. With unfeigned humility, as unworthy of being even instrumental in presenting the sweet strains of my gifted husband to the Church, I now offer them, with the prayer, that all who use them here below may one day unite with the sainted Composer in singing the everlasting melodies of heaven ! C. A. HAVERGAL. Leamington, May, 1871. I. jrjcfatorg jjkmarks ta (flfo <&jntrrij |1sahnotw, 1847. THE DISTINCTIVE CHARACTER OF OLD TUNES Has long been out of common recollection. Simple and easy in their phrases, and always syllabic in their partition, the commonest ears and least cultivated voices could master them. But, simple and easy as they are, they never are vulgar, insipid, or boisterous. Grave, but cJicerfd, dignified and cliaste, they are admirably adapted to meet a great variety of language, and to foster a calm and earnest devotion. One test of their excellence, and of their intrinsic fitness for Church use, is the fact, that, little as flippant and self-willed singers may like them, all persons of sober taste and devout feelings delight in them. Many individuals, too, who, from early initiation, have been accustomed to tunes of a more light and trashy character, gradually come to a right estimate of those which are opposed to that character. The harmony to the old tunes was sometimes of the simplest sort. The first of the Common Metres in this volume,* a tune set by Thomas Tallis, is a beautiful instance of severe but pleasing simplicity. Generally speaking, however, the old harmonists were inclined to a little cleverness in counterpoint. While they studied simplicity for the congregation, they rather aimed at ingenious harmony for the choir.-f But, whether simple or ingenious, their harmony retained the following characteristics: I. Tuncfidness of progression in all the parts. 2. Contrariety, or obliqtcity of motion between the extreme parts. 3. Fulness of combination ; fundamental chords being preferred to half chords. 4. Closeness, or fitting distribution of the parts as to relative distance. 5. Avoidance of certain cJiords and discords. 6. Frequent intcrcliange of major and minor chords. * [No. 44 in " Havergal's Psalmody."] t To say nothing of foreign composers, of whom Claude le Jeune was the most eminent fcr this species of harmony, the oldest English Psalter, yet known, contains truly remarkable specimens of the clever setting of Psalm Tunes. The Harmonized Psalter, published by John Day, 1563, and which perhaps was commonly called " Parson's Psalms," abounds with modest ingenuities. The version of the 44th Psalm, " Another of the same, by R. Brimle," is uncommonly beautiful. The close of it is a clever instance of writing " In Reports/' i. e., briiiging back some part of the tune, and turning it into a short fugue. ii Prefatory Remarks to Old Church Psalmody, From extensive and careful observation, the Editor is confident in saying, that the beau ideal of psalmodic harmony used to be tuneful progression of the parts, or the so constructing those parts, especially the Cantus and Medius, that of themselves they would constitute melodies, and, as the phrase is, " sing well." Indeed, the older harmonists seem to have been more ambitious of this sort of pleasing progression than of any other excellence. It is clear that they sacrificed little proprieties in order to secure it. They thought less of fulness and closeness, and even of proper consecutives, than otherwise they might be supposed to think. Not that they were inattentive to them, but everything was made subservient to melodic progression. Their next especial aim was the writing of extreme parts in contrary or oblique motion. Direct motion between those parts certainly is not common. For want of attention to this fact, some editors, by printing new or inverted parts to the literal Basses of old tunes, have made the original harmonists appear guilty of what they are most innocent. Those Basses, upon reference to original copies, will be found set, not to the Tune or Tenor only, but to the Cantus or Treble part above both it and the Medius, or Counter Tenor. Hence, although the Bass may often proceed in direct motion with the Tenor, as an inner part, it goes in contrary motion to the Cantus, as the upper part. In the avoidance of certain chords and discords, few instances, as opposed to modern practice, are more remarkable than what pertains to the f, the 4, and the minor seventh. The 4 is never used ; nor was it employed by either Handel or Corelli. (See page xi.) The 4 followed by I upon the dominant,' before a final close, in the major mode, and where the sixth is the highest note, is not frequently met with. Other forms of that chord are common enough, but this one, now so usual, is not common. Indeed, the old harmonists took pains to avoid it ; and some German harmonizers of old tunes adopt new methods of escaping it. Except as a passing note, on the unaccented part of the measure, a minor seventh on the dominant is of rare occurrence. The ears of our forefathers would have been sadly startled by the secularity of that seventh, as now frequently employed in modern Psalm Tunes, as also by the running of Bass and Treble widuly in thirds, or other " similar motion," by the introduction of, what of old was intolerable, consecutive major thirds between the extreme parts, and by the making the dominant in the Bass to ascend with the leading note in the Treble, to the tonic, which the old masters especially eschewed, except when absolutely unavoidable. Among old tunes were many more in the minor mode than we now use. Nearly Prefatory Remarks to Old Church Psalmody. iii half the tunes in Ravenscroft's Psalter are minors. Double tunes, too, were far more numerous than they now are. Long and short metre single tunes, especially the former, were scarce. Trochaics are not to be found in the Church Psalters. Orlando Gibbons wrote two or three for George Wither's " Hymns and Songs of the Church ;" but we are obliged to search German Choral Books for any stock of old Trochaics. The TIME and PITCH of tunes, in older days, were not exactly as they now are. Singers formerly sang with good speed. A dozen verses, reduced to six by a double tune, formed a very moderate portion for one occasion. The modern drawl, which makes four single verses quite long enough, was, most likely, occasioned by innovations upon the syllabic style, in the early part of the last century.* When crotchets, quavers, flourishing turns, and " part tunes/' as they are called, found admission into Parish Choirs, a slowness of performance necessarily followed. The introduction, also, of tunes in triple measure, where the accented semibreve or minim is divided into two slurred notes, (such as Abridge, Irish, Rockingham, Manchester, &c.) was fatal to the continuance of pure psalmody. All such tunes occasion a slow and languid utterance, and oblige an unwelcome curtailment of the original words. (See page xii.) As to the pitch at which tunes were sung, some of the " Introductions to Singing," published in the last century, leave us in no doubt. They disclose the fact, that the keys, or scales, in which the tunes were set, were no criterion as to the pitch in which they were sung. They were mostly set in only two or three keys, to suit the convenience of the printer, as to leger lines, and accidental sharps or flats : but they were sung at any pitch which best suited the singers. Now that the organ has banished the pitch-pipe, it is very desirable that our organists should be able to transpose at sight, or that they should possess copies of the same tunes in two or more keys. Weather, temperature, health or power of particular singers, difference between morning and evening, character of words, and sundry minor circumstances, frequently render a change of key, higher or lower, very expedient. But, in stating the distinctive character of old tunes, it would be an omission not to mention the constant practice of beginning and ending each strain with a full chord; and the almost constant use of the Tierce de Picardie, or major third, at every close in a minor mode ; -f- as well as, on the contrary, the utter abhorrence of everything appoggiatural in the melody. The old tunes contain no instance of that mawkish * Dr. Watts complains of the slow method of singing in his day. He wished for more stanzas than " five or six," and " a greater speed of pronunciation," which would be more agreeable to the psalmody of the ancient churches. t [In this edition the Tierce de Picardie has been generally omitted, as less accordant with modern use. As an instance of its retention see Spires, No. 29.] iv Prefatory Remarks to Old Church Psalmody. hanging upon the sixth or fourth, which now so secularizes most modern tunes. They settle at once, in a firm and masculine style, on the fifth or third. Nor must one other distinctive feature be overlooked, though inconsiderable in its extent, and well nigh forgotten. In old psalmody, whenever a discord was used, it was sung in suspension. The note which formed the discord was sounded to its syllable in preparation, and held till it was resolved. Modern practice discards this elegant custom ; chiefly, it is probable, because it involves some little syncopation to which ordinary singers are not trained. The custom is, however, retained in several tunes in this work (e. g.} Bristol), with as much attention to accentuation as circumstances allowed. The peculiarities which have been enumerated may be advantageously revived and followed ; but there are OTHER PECULIARITIES, which altered times forbid our following. The oldest tunes are remarkable for broken or syncopated rhythm. They are not commonly composed of notes of equal length, in corresponding position ; but comprise semibreves and minims rather capriciously disposed. The tunes in the old Genevan Psalter are famous specimens of this sort of irregularity. Ravenscroft, in 1621, seems to have delighted in it; for he actually printed melodies with more rhythmical syncopations than even older copies contained. It was not till Play ford's era, about 1670, that the old church-tunes began to be written with equalized notation. Another peculiarity, which cannot be adopted in our present use of the old tunes, is the early custom of assigning the tunes themselves to Tenor voices, and setting, for Treble voices, a merely harmonic part above. The custom continued, in lingering use, till the latter part of the last century ; but the present generation is hardly aware of its ever having existed. The origin of the custom may be attributed to the circumstances of the times. Coeval with the Reformation, psalm-singing became so general, that thousands of people singing together in massive unison was a common occurrence. To relieve the sternness and monotony of such singing, skilful musicians, even the best masters of the day, composed parts of the popular tunes in such manner as allowed them to be sung by all the people, without alteration or interruption, and yet with sufficient embellishment to please the lovers of harmony. The effect of such singing, as Bishop Jewel* describes, at Paul's Cross, and as * Zurich Letters, Parker Society, vol. i., p. 77. Prefatory Remarks to Old Church Psalmody, v Master Thomas Mace * descants upon, in York Minster, must have been magnificent and affecting beyond what any modern specimens can boast. This custom of composing ornamental, as well as essential parts, to plain tunes, was grateful to a choir, and encouraging to other singers. It allowed the congregation to sing what they well knew, and yet furnished variety to the choral body. For, as time advanced, the custom expanded ; and the same tune used to be set by sundry masters in sundry ways. Thus, by using old tunes in new dresses, the few became many. THE CONSEQUENCES OF THESE EXCEPTIONS are not inconsiderable. We cannot, conveniently at least, use the old tunes, in their earliest forms, either as to their melodies, or as to the manner in which they were harmonized. The melodies were subject to frequent alterations, both by editors and harmonists. Printers, too, in no trifling degree, originated or copied mistakes. In some instances, so great are the variations, that hardly two copies can be found to correspond. Hence, the utter uselessness of talking of original versions of old tunes. There are no such versions for certainty to be had ; and if we really had them, wTe most likely should decline using them. The origin of our old tunes is covered with the darkest obscurity. Indeed, that origin seems to have been disre- garded. Excepting a few German tunes, nothing is known about the authorship of any. Consequently, we must explode the fallacy of reprinting old tunes with the names of certain old authors, as either the framers of the melody, or the composers of the harmony. The fallacious practice has, of late, become frequent. It is high time to denounce it. It may be taken as an indisputable fact, that in earlier times little or no account was made of the authorship of the tunes themselves. What chiefly was regarded, was the harmonizing of the tunes ; or, as the phrase of the day expressed it, the "composing them into parts /' 'f for writers of the olden times used the term "compose" in its Latin sense, not as meaning to make or frame a melody, but to "put together" certain parts which would harmonize with that melody. To all such labours the harmonists carefully put their names, and editors as carefully published * Musick's Monument, pp. 18, 19. f Oversight of this fact has occasioned a mass of error, in recent publications, which will not easily be removed. Editors, in their desire to give some information respecting the authorship of tunes, have superscribed the names of individuals, who, in a very different manner, may have harmonized those tunes, but who did not frame those tunes themselves.' Tunes have, consequently, been assigned to Douland, Ravenscroft, and others, which were in existence before their birth. vi Prefatory Remarks to Old Church Psalmody. them * But, as the same tune was harmonized by many individuals, it is idle to put to it the name of any one, as though he were the sole harmonist of that tune. Besides, if he were the sole harmonist, we can no longer use his harmony precisely as he arranged it. We are obliged, to turn his Tenor into a Treble, and make corresponding alterations in the other parts. Our conclusion, therefore, is this : — Whoever undertakes to reharmonize old tunes, must be independent of everything but their style. That style has been lamentably neglected. The present work is an effort to restore it. MODERN COLLECTIONS of Psalm tunes differ greatly from old collections. The efforts of editors in the last century, and in the early part of the present, tended to discard what was old and good, and to introduce what was new and bad. These tendencies gradually increased. Until Dissenting bodies began to publish collections of tunes, the many local collec- tions by country churchmen generally contained a majority of the old and good. But the plague of sing-song, glee-like productions then spread into almost every part of the Established Church. It has long been complained that collections of tunes are too numerous. The real grievance is, they are too faulty. Some are vicious and injurious ; others, from the medley they contain, are of little value. Even the few which profess better taste, fall into incongruities, or afford dangerous precedents under hope of alluring to a higher standard. [N.B. — Written in 1847.] The chief fault of this class is not merely the introduction of questionable tunes, but the spoiling of good tunes by inconsistent harmonization. Modern harmonies are set to ancient melodies. The harmonies are such as were purposely avoided when the melodies were composed. This fault paves the way for, or perpetuates, other faults ; especially that of not preserving a distinction between what is secular and what is ecclesiastical in style. THE INTENTION OF THE PRESENT WORK is to supply a desideratum : for the editor is not aware of any volume which contains only such tunes and such harmonies as strictly accord with the style of * " Honest John Playford" put his name to every psalm tune, new and old, in his folio of 167 1 ; but he never imagined that he could be supposed to claim the authorship of the tunes themselves. His "Solemn Music" was the harmony " On the Common Tunes to the Psalms." Este and Ravenscroft had done the like long before. Prefatory Remarks to Old Church Psalmody. vii those times, when psalmody seems to have been best understood. The date of Thomas Ravenscroft's Psalter, 162 1, may be reckoned the zenith of those times. In compiling " Old Church Psalmody," anxious attention has been paid to the rules and taste of the times alluded to. No composition of any living author is introduced ; nor any of a later date, which does not accord with the style of an earlier age. THE TUNES IN THIS VOLUME have been selected with an eye to utility, and not to curiosity or learned excellence. Many a tune has been omitted, because, though heartily liked by the editor, it would not interest most persons. For this reason, he has not adopted more of the oldest tunes in double measure, and in a minor key. Those tunes are not lost* They can easily be obtained ; and where they are admired, ability will not be wanting to prepare them for use. Other tunes, also, are omitted, because of their similarity to some which have been inserted. So similar, indeed, are not a few old tunes, that the probability is, they are merely varied versions of certain originals. There are also, among psalmists, as among other classes of composers, certain stock phrases, which are regarded as common property. In the present selection, it has been impossible to avoid them. They would have been more numerous, but for the omissions alluded to. When they occur, or whenever part of a tune is repeated, old practice has been followed by harmonizing them in a varied manner. For the harmony of the following tunes, with two exceptions only, (Tallis's Common Metre, and Alison's Winchester,) the editor is entirely responsible. In a few instances, and wherever he could, he has literally followed parts of certain tunes as harmonized by certain persons ; but generally he has practised that independence which he has recommended to others. THE RHYTHMICAL FORM, which, out of many, the editor has adopted for most of the tunes, may be objected to ; but it is generically the old form, the traditional form, and the only one which all * Este's Collection, 1592, has been edited by Dr. Rimbault, for the Musical Antiquarian Society : and Ravenscroft's, 1621, by the editor of the present work. To the Preface of the latter publication, readers are referred for a fuller account of old tunes ; also, to Hackett's " National Psalmist," and the Rev. J. Fawcett's " Lyra Ecclesiastica ;" the Prefaces to which are by the writer of these remarks. viii Prefatory Remarks to Old Church Psalmody. singers feel to be natural. To make the first and last note of every strain a semibreve, may appear somewhat untheoretical; but the appearance is confined to the music- paper, without any strangeness affecting the ear. In addition to Mr. YluMztis practical and proper remarks upon the subject, ("The Psalter," p. xviii.) the following suggestions may still further " tend to settle difference of opinion." Old psalmists do not always assign a semibreve to all the parts at once, in the commencement of a strain. Frequently, the Bass sounds the fundamental note as a semibreve, and other parts follow a minim after. Hence, the commencement- notes may be regarded, as in Chants, the precursors, ad libitum, of the rest. They may be considered variable in their rhythmical use, affording liberty of extemporaneous adaptation to long or short syllables. Terminal notes are always allowed to be elastic, and why may not the initial ? In measuring or barring the Trochaic tunes, the editor ventures to be singular ; because he fully believes the universal practice to be wrong. Hitherto, Trochaic Tunes, when written with four minims in a bar, have been made to commence, in every strain, with a full bar. The consequence is, that the final note of every strain, instead of falling on what carries the appearance of the fully accented part of the bar, falls on the seemingly weaker division of it. By a very simple process, this common defect is now remedied. After all, it must be allowed that little exceptions may be made against even the best rhythmical arrangements ; for, whether we write tunes precisely as they should be sung, filling up spaces with rests, or occupying them with notes of entire quantity, or whether we depend on double bars, and allow conventional usage — there will probably remain some little hesitation on the minds of some persons. Good sense, however, and steady practice, will render all difficulties very little discernible. CONCLUSION. The old tunes of the Church of England ought not to be otherwise than interesting to every English churchman. If it be remarked, that in the present collection, there are many of German or Genevan derivation, it should be recollected that, between the old psalm tunes of England and the Continent, there is no essential difference. They have a common origin. Many even of our oldest psalter tunes were imported, by exiled Confessors, from Germany or Holland. The tunes of the Reformation, or of the age immediately following it, are like the doctrines of the Reformation — the same in character and tendency, whatever may be the quarter from whence they sprang. To have these tunes arranged for our use, will be accounted no mean privilege by Prefatory Remarks to Old Church Psalmody. ix those who value what should be the daily solace of our own hearts, and what cost many who sang them, their lives. If, however, we would have these old tunes to perfection, we must attain more of the old fashioned piety with which they were formerly sung. Were it the motto of every choir, "Let the word of Christ dwell in you richly in all wisdom',' our congrega- tions would more efficiently " teach and admonish one another, in psalms and hymns and spiritual songs." But, if music be substituted for religion, and singing for devotion, the best tunes and the best voices will neither increase religion nor aid devotion. It is much to be lamented, that display bears rule where it is most out of place. Few choirs are exempt from its withering influence ; while it is generally found that those individuals who encourage it, by most indulging in it, are the first to give trouble by their conceit and self-will. A good, but humble-minded singer, is a singer of great value. By his good singing he may edify or encourage others ; while, by his becoming modesty, he can hardly fail to check, in his companions, those risings of arrogance which spoil many a choir. Simple as the following remedy may appear, when proposed as a panacea for all the ills of all choral bodies in our parish churches, it nevertheless is confidently prescribed ; — When the minister or the clerk says, " Let us sing to the praise and glory of God /" let all the choir in heart say, AMEN ! " The glorious Majesty of the Lord our God be upon us ! Prosper Thou the work of our hands upon us ; O prosper Thou our handy zvork /" — Ps. xc. 17. W. H. HAVERGAL. St. Nicholas Rectory, Worcester. First Edition Nov. 1847. Second Edition April, 1850. Third Edition ». „ 1853. Fourth Edition Feb., i860. Fifth Edition „ 1864. II. 1859 In the year 1847, the Composer of these Tunes published his "Old Church Psalmody." The sale of that work fully realized the expectations of the publisher, to whom alone its pecuniary interest pertained. No sort of effort was made to bring the work into notice. Little more than a sovereign was expended in advertising it ; and no review was invited to recommend it. Its circulation, nevertheless, has been very extensive, and its practical influence confessedly great. Its editor takes no credit to himself for these facts, but gratefully attributes them to the growing readiness of thoughtful persons to acknowledge right principles and to follow correct taste, when brought out of the oblivion into which they had been so long cast. Testimonies to this effect from America and Scotland, as well as from every part of England, have crowded the editor's desk. Till the publication of " Old CHURCH PSALMODY," including its Preface, the principles on which it was compiled had long been comparatively dormant. By its circulation, however, those principles have been so far revived as to be generally acknowledged ; while most editors of subsequent compilations have either culled its contents or made them the basis of their own works. Still it remains, as far as the editor knows, the only publication which fully and consistently adheres to that style of melody and harmony which is as classical as it is ecclesiastical, namely, the style of the Reformation age. Long trial has proved it to be the best for popular use. It is still the only style of the Protestant Churches of Germany, and the prevailing one in other parts of the Continent.* To the statements and opinions advanced in the preface of the " Old Church Psalmody " the writer of them most firmly adheres, because he believes them to be grounded on indisputable truth. Upon a few points, however, about which inquiry has been made, it may be desirable at the present opportunity to offer some explanation. * As a corroboration of what is here asserted respecting the Reformation style, the following ex- tract is both opportune and interesting. It is from " Bishop Coverdale's Fruitful Lessons," &c, (p. 471, Parker Society,) respecting " The Order of the Church in Denmark for the Lord's Supper :" — "And at the quire door beside the table of the Lord, stand two good sober singing men, which {commonly a quarter of an hour afore the sermon,) begin a psalm; and all the people, both old and young, with one voice do sing with them, after such a fashion that eve7y note answereth to a syllable, and every syllable to one note co?nmonly, and no more, so that a man 7nay well understand what they sing.'" Prefatory Remarks to "A Hundred Psalm and Hymn Tunes" xi I, — It has been asked, " Why may not the chord of \ be used in psalmody, seeing that the greatest modem composers use it in their sacred music?" The answer is — Such composers overlook certain facts: — I. That Handel, and all masters before him, sedulously avoided the chord,* as being inconsistent with the rule of the discordant character of the fourth, and the consequent necessity of its resolution. 2. That them- selves habitually treat the fourth as a discord in all other combinations, and thus incur the charge of inconsistency. 3. That sheer indolence in facing a difficulty is often the evident reason of their condescending to use the chord. 4. That, as the use of 3 instead of £ is one of the characteristics of the best age of psalmody (Ravenscroft, 1 621) the disuse of the chord in question is requisite for keeping up the purity of psalmodic harmony. II. — It has also been asked, "What sort of ' little pi'opricties' are they which older harmonists were wont to ' sacrifice for the sake of a tuneful progression of 'the parts V ' They were chiefly of this sort : consecutive fifths and eighths by contrary motion, and even by direct motion, when that motion lay between the end of one strain and the beginning of another, or on the change of one mode or scale for some other. But of all the essential rules of counterpoint they were very observant. Certainly, how- ever, they avoided that class of licenses by which discords of any kind, without regard to preparation or resolution, are even studiously introduced. This sort of licentious counterpoint is almost a characteristic, and assuredly the blemish and bane, of several well-intended tune-books of recent date. They originate, apparently, in their compilers failing to distinguish things which differ, such, for instance, as, that a psalm tune does not admit what a glee may invite, or in venturing to introduce peculiar harmonies, which have been met with in some modern oratorio or concerto. III. — It has, further, been asked, " Can any popular rule be laid down fur determining the 'greater speed,' or quicker time, recommended in the 'OLD CHURCH Psalmody ?'" As a general rule, and in an ordinary congregation, a pendulum -f- of twenty inches will give, by each stroke right and left, about the fitting time for a minim. In tunes * " Mattheson (Orch. I., 17 13, p. 128) rejects the fourth from among the concords and asserts its dissonant nature. Handel, Corelli, &c, have uniformly omitted it in the harmony of g . The theory of the one and the practice of the other seem to be, in this instance, justified by the want of melody in the intermediate parts, when the fourth is inserted." — Dr. Callcotfs Mus. Gram.. 2nd Ed., p. 172. t An extempore pendulum can be easily formed by the plainest performer. A piece of string or tape tied to a pocket-knife, or any such article, will furnish the instrument. xii Prefatory Remarks to " A Hundred Psalm and Hymn Tunes" of triple time, Trochaic measure, or any sort of mixed measure, a line of fifteen inches will be expedient. This rule, however, must be taken not absolutely, but elastically ; because massive congregations and resonant churches require a slower time than their opposites. Precentors, also, and organists, should devoutly study the character of the psalm or hymn to be sung, and regulate the time of the tune accordingly, especially if the tune be one of a solemn character. The writer of these pages is well assured that his recommendation of a return to the speedier time of our Protestant forefathers has, in many places, been most beneficially followed. But he has reason to fear that, in some quarters, his recom- mendation has been carried beyond due bounds. Too great rapidity is as objectionable as too great slowness. The one is as liable to run into irreverence as the other is to sink into dulness. Devout consideration will always fix the true medium. (See page iii.) IV. — As an apology for the continuance of modern secularities in melody and harmony, some stra?ige things have been deliberately said to the Author of the present work. I. It has been said that, " Such harmonies are more acceptable to modern ears, and more familiar to modern singers, especially unlearned singers." That such harmonies are " more familiar' to modern ears is the only reason why they are " more acceptable"' Modern ears are, in too many instances, vitiated ears. They have been accustomed to trashy melodies and illiterate harmonies, or to adaptations of popular airs.* This accounts for their acceptableness, and, at the same time, furnishes a strong argument for their banishment. Progressing experience proves that, where the good in congregational psalmody is properly substituted for the bad, the former is heartily approved. If, however, by the language used, with regard to " unlearned singers," it is meant that modern harmonies are more easy to such singers, then the rejoinder must be — This is a great mistake ! Taking the harmonies of the " Old Church Psalmody " as essentially representing those of the Ravenscroftian age, it may be confidently asserted that they are more easy than those of many a modern publication, inasmuch as they are less "stuffed with discords," less chromatic, less extreme in pitch, and, what is of prime consequence, far more tuneful, and therefore, far more easy to be attained and retained by " unlearned singers." The Author has been repeatedly certified of the validity of * On this topic abundant attestation may be found in Dr. Crotch's Lectures, pp. 77, 78, 81, 82. Prefatory Remarks to " A Hundred Psalm and Hymn Tunes." xiii these facts by competent precentors, and other teachers of choirs. On one occasion it was stated thus in a letter : — " The parts of the tunes seem like tunes themselves. Our men say they are so melodious that they can whistle them as they go home." 2. It has been said that " The rules of older harmonists can hardly be called exclusively ecclesiastical, inasmuch as they adopted precisely the same laws of harmony in the composition of their madrigals, and other secular productions." It is, indeed, most true, that psalm-tunes and madrigals were harmonized on the same principles ; but it is equally true that the principles themselves originated with the psalmodists, and not with the madrigalists. It is certain that the world used to borrow its style of music from the Church. This fact is no argument for the Church now to borrow her music from the altered style of the world. Because the world has waxed wild and wanton in musical taste, the Church has greater need sedulously to adhere to her own pure, sober, and decorous style of both melody and harmony. It is as becoming for her to have a musical style of her own * as it is for her to retain her peculiar dialect, dress, and architecture. It may be added, as already adverted to, that the Ravenscroftian style, once so extremely popular, either constitutes, or very nearly approximates, the true "via media" between modern secularities \ and those semi-barbarian antiques of " THE HYMNAL Noted," which never were, and never can be, popular. 3. It has been said that " It was always an allowed practice to clothe older melodies, from time to time, in newer harmonies, according to the altered usages and tastes of the age." Again it may be said, It is most true that such practice was allowed. But again, also, an omission must be supplied, because the circumstances under which the practice was allowed do not seem to be duly considered. The allowance was made only within consistent limitations. The laws of harmony observed by Thomas TallisJ and William Parsons, differed in no essential principle * " Church music has a proper character of its own, which is more excellent than that of secular or profane music, and should always be preserved" — Rev. JV. Jones, af'N'ayland. t It has recently been ascertained that the very popular tune, '• Helmsley," so generally sung to " Lo ! He comes, with clouds descending," is an adaptation from Miss. Catleys Hornpipe, in the " Golden Pippin? performed at Covent Garden Theatre, and published by Thompson in 1744. A copy from the original is in the possession of C. E. Stephens, Esq., Organist of the Parish Church of Hampstead, Middlesex. X A tune in the key of G, of a rather sing-song sort, but containing a little double counterpoint, has been going the round of several recent publications, and assigned to Thomas Tallis. It has, at length, been proved to be merely an off-hand enlargement of an old chant, by a modern Organist of some talent. The Author is indebted for this fact to its indefatigable discoverer, and his worthy correspondent, Mr. J. C. Ward, Organist of Eaton Chapel. b xiv Prefatory Remarks to "A Hundred Psalm and Hymn Tunes." from those of Orlando Gibbons and Thomas Ravenscroft, three-quarters of a century later. The chief difference between the two sets of composers was, that the latter was more graceful and fluent than the former. For full a century afterwards, the system and style which Ravenscroft substantiated was paramount in all the parochial choirs of our land. * As fast as new composers, harmonists, and publishers of psalm tunes sprang up, the utmost homage was paid to the labours of " Master Thomas Ravenscroft." Hence, so far as psalm tunes are concerned, no such clothing of old melodies with new harmonies was extant, as that which has been too common in recent days. Unless, therefore, some proper limit be defined, and some consistent stand be made, the practice in question will take some new start on the inclined plane of extravagance. The tunes in the present volume are selected from a much larger number composed by the Author during a rather long series of years. Hence, as he has not been in haste with those now published, and is quite content to keep out of sight more than double their number, he trusts he will be pardoned by younger composers for venturing to give them a hint or two. Let them, then, adhere to the best models, and eschew everything which tends to vitiate ecclesiastical style. Let them not be tempted to copy what may seem pretty or novel in an oratorio or semi-sacred composition. Prettiness and novelty, as generally understood, are out of place in psalmody. When they have composed a few tunes, let them be slow to give them publicity, but most ready to submit them to the severest tests. Delay in such cases will save from many regrets, and prove the most stringent critic to have been the best friend. Above all, let them regard the composition of a church tune as " a holy thing" seeing that it should be, as Jeremy Collier said, "fit for a martyr to sing and an angel to hear," and that it is intended to be the medium of the praise of many hearts at once before that Divine Mediator, who alone can render our music acceptable to the Triune God. From what has been stated, it will be inferred, almost as a matter of course, that the tunes now published are framed after the model of those in the " Old CHURCH PSALMODY." Such, indeed, has been the aim of the Composer, though it is proper to confess that the later, rather than the earlier models, have been chiefly followed. In accordance with the stand which is avowedly taken, melodious progression of the * " It has been rightly observed that the music from the Reformation to the Restoration was more plain and solemn in its style than that which succeeded, though it still preserved great excellence." — Rev. W. Jones, of Nay land. Prefatory Remarks to "A Hundred Psalm and Hymn Tunes." xv parts* has been studiously attempted. To further this desirable purpose, most of the tunes have been composed " on a subject," i.e., some other part, besides the treble, but generally the bass, repeats the melodic phrase which characterizes the tune. This repetition is not always in the octave, but frequently in the fifth. Devices of this sort were formerly in much repute, but in psalmody they are of no practical value, unless they are really pleasing. The ear, and not the eye, must be the sole arbiter. In the instances at hand, no sign of the subject, or mark of its repetition, has been inserted. It may interest the student to discover the idea, while the unlearned singer or per- former is neither J:he wiser nor the worse for it. Only, it may not be inopportune to remark, that some of the most artificial tunes in this volume have been decidedly the most popular. To some of the shorter Trochaic measures a Hallelujah has been appended. In each instance it is so constructed as to be perfectly easy for the trebles and the congregation to sing ; and, in each instance, also, it is quite independent of the tune itself, and so may be adopted or omitted at pleasure. The use of a Hallelujah was common in the hymns of the early church ; its more frequent introduction now will be a beneficial practice. The tunes are barred in the same manner as in the " Old CHURCH PSALMODY," and for the same reasons as therein assigned. The stroke of a pen or pencil will be an easy method of alteration to those who desire it. (See pages vii, viii.) The tunes are systematically named from the Natural Geograpliy of the Bible. Mountains, hills, vallies, rivers, plains, and other geographical objects, often replete with poetry, are thus used for a musical nomenclature. As a system, this method of deriving names for psalm tunes does not seem to have been previously adopted. Happily, just names enough of a sufficiently euphonious character have been found for the present volume. * " No voice but well could join Melodious part. Such concord is in heaven." — Paradise Lost. The Author may be allowed to add, that the composition of these tunes, and of the others alluded to, have been the recreative solace of many a valetudinarian hour, both at home and abroad. If in any degree they shall prove auxiliary to the glory of the Triune God, in the offering of congregational or domestic praise, the Author's first and highest object will be gained. W. H. HAVERGAL. Worcester, January, 1859. b 2 III. (FROM OLD CHURCH PSALMODY.*) 1847. No. i.— THE OLD HUNDREDTH TUNE. The authorship of this tune is more questionable than commonly is supposed. In England, it is confidently assigned to Luther. In Germany, no such confidence exists. Handel was of opinion that Luther composed the tune ; but historical evidence does* not support that opinion. Assigning the tune to Douland, or to any English author, is arrant folly. The editor hopes some day to throw a little light upon the subject. f The present version gives the melody exactly as in Day's Psalter of 1563. The harmony is constructed partly from Parson's copy in that Psalter, and partly from the Herborne version of 1595. It avoids the formidable objection which hangs upon the common harmonization, viz., that with only one exception, each strain begins and ends with the tonal harmony. "Another of the same" is merely a consistent arrangement of the common monotonous version. The shape of the melody, however, is more ancient than sometimes is supposed. The harmony of the former version may be used to the rhythmical arrangement of the latter. No. 13.— TALLIS'S CANON. Tallis composed and set this as a Double Long Metre to a psalm, in Archbishop Parker's version (supposed about 1561). Ravenscroft, in 1621, reduced it to the measure of a single verse. It continued in common use, as a Morning Hymn, till the latter part of the last century ; when, after various corruptions, it was printed and sung to Bishop Ken's Evening Hymn. The editor of John Wesley's " Foundery Collection of Tunes," in 1742, seems to have been the first person who published it in a corrupted form. In that collection it is called " Cannon Tune ;" and is set to the well-known words, " Jesu, Thy blood and righteous- ness." The canon, which the tune contains, originally between the Tenor and Cantus, now between the Treble and Tenor, is quite lost sight of in all the corrupted versions. In transposing and arranging the canon, for the present work, care has been taken to avoid that constant repetition of the tonic and its harmony, which renders some recent arrange- ments rather monotonous. The tune, having no intermediate pauses, is well adapted for psalms or hymns of many verses. No. 15.— OLD "TEN COMMANDMENTS' TUNE." This tune is found in almost all foreign collections. The oldest version with which the editor has met, is in a beautiful Genevan Psalter of 1562. It is therein set to a metrical * The notes in brackets are added by the editor of " Havergal's Psalmody." t ["A History of the Old Hundredth Psalm Tune, with Specimens," by the Rev. W. H. Havergal, was published, in 1854, by Mason Brothers, New York, and Sampson Low & Son, London.] Notes on Certain Times. xvii paraphrase of the Ten Commandments. As our old English Psalters set it to a similar paraphrase, it was called in after-days by the name it now bears; though "Audi Israel" was frequently prefixed to it, being the Latin of the first words of the paraphrase. Este, in 1592, set the tune, as harmonized by Alison, to a second version of the 125th Psalm ; and Ravens- croft, in 1 62 1, copied it ; adding another harmonization of it, by himself, to the "Audi Israel." Playford, in 1671, set the tune in equalized notation to the same psalm ; but appended a poetical paraphrase of the Ten Commandments, by Dr. Henry King, Bishop of Chichester, to be sung to the tune. From the constant publication of the tune, in all the older collec- tions, it may be supposed to have been a special favourite. Rink has fugued it in his Organ School. Werner attributes the composition of the tune to John Baptista, 1560. No. 21.— DORTMUND. The editor has been urged to insert a properly harmonized copy of what has been called Tallis's L.M. Tune to the former version of the Veni Creator,* "Come, Holy Ghost, our souls inspire," in the Ordination Service. But the task is declined, because there is every reason to believe that the tune was not the production of Tallis. Not only is it abhorrent to his style and age, but the very words to which it is set were not published till full three- quarters of a century after his death. f The earliest known copy of the tune is to be found in " Short Directions for the Per- formance of the Cathedral Service," A.D. 1664, by Mr. Edward Low, Organist of Christ Church, Oxford. It may be his own composition, although the style of it very much resembles that of his contemporary and neighbour, Dr. Benjamin Rogers. Dr. Crotch published the Bass and Treble of the tune in 1803 ; but on what authority he ascribed it to Tallis, does not appear. The worthy Doctor omitted to give the inner parts, possibly because of their ineligible character. Not a trace of the tune is to be found in any other early quarter. In the absence of any authentic tune suited to the words, the editor has inserted one which has been deemed likely to meet with approval; though of German origin, % it accords with the style of Tallis. The Trochaic Coda or Doxology is framed from the tune itself : which, independently of the "Veni Creator," may be used as an ordinary L.M. No. 22.— CRETE. A tune composed for the former Hymn in the English Ordinal. It is specially intended * To what tune either version of the " Veni Creator" was formerly accustomed to be sung in Cathedrals, the editor has not been able to discover. Owing to the frequency of Ordinations in private chapels, music was probably omitted altogether. Of late years the most trashy adaptations have been used. \ Tallis died in 1585. and was buried at Greenwich. The words were first printed in the revised Prayer Book and Ordinal of about 166 1-2. % No apology is requisite for this, as Germany and Geneva furnished the foundation of our English psalmody. It is, however, too frequently forgotten that the harmonies in many German Choral Books are not vocal, but instrumental. It has been said that the " Old Church Psalmody " " took the lead in opening up the German tune-stores, especially as to Trochaic measures." — From " Supplementary Preface to Old Church PsALMODY,"j?/M edition. xviii m Notes on Certain Tunes. for such antiphonal use in a Cathedral as the Rubric directs. When the Hymn is divided into three stanzas of six lines each, the former half of the tune may be repeated except in the last instance. [It may be used as an ordinary L.M. tune.] No. 29.— SPIRES, OR "LUTHER'S TURK AND POPE TUNE." In many old Psalm-Tune Books, it is called " Serva nos, Domine," from the Latin of the first words of the Protestant Hymn, " Preserve us, Lord, by thy deare worde," by Robert Wisdom, published at the end of all our Old Versions of Psalms. The tune is unquestionably Luther's ; and Robert Wisdom's Hymn is little more than a translation of Luther's words. The Hymn and the tune were extremely popular with our forefathers. The tune was never omitted in the old collections, and rarely in any till the close of the last century. In Day's Psalter, 1563, is an elaborate harmonization of it, besides a plainer specimen. No. 32.— SAXONY. The solemnity of this choral is most touching. For Passion -week or Good Friday, we have nothing superior to it. Its origin, whether Protestant or Roman, is uncertain. No. 44.— TALLIS. This is simplicity itself. Both the melody and the harmony are the progeny of our great Cathedralist. He composed them for the Veni Creator, in Archbishop Parker's Psalter. A child may sing the tune, while manly genius will admire it. No. 45.— YORK. Next to the Old Hundredth, this was once the most popular tune in England. The Scotch, who claim it, call it " Stilt." There are three harmonized versions of it in Ravenscroft ; two by John Milton, the father of the poet ; and one by Simon Stubbs. The present (inverted) version is made up of the best parts of the former two. As this is the first of the tunes from the Scotch Psalters, it may be the fitting place to remark that all the so-called Scotch tunes are excellent ; but it by no means follows that, because they appear in the Scotch Psalters, they are of Scotch origin. No. 46.— WINCHESTER. This is copied entire from Alison. Most of his settings being for instruments, are too high in the Medius for vocal use. The third strain of this tune occurs in the Old 81st Psalm Tune, and is to be found in others of later date. The fourth strain is another instance of stock phrase. No. 52.— ST. ANN. This is a deservedly admired tune, and quite in old style. Bach published a fugue upon it ; or, as some say, on a choral like it. The identity of the melody of the first strain with Notes oil Certain Times. xix that of Carisbrooke, by Henry Lawes, is only one of many instances in which composers, without breach of honesty, write the same passages. The modulation at the close of the third strain is often most unjustifiably changed for that of the dominant. Editors, too, fear to follow the worthy Doctor Croft, as he followed his predecessors, in commencing the first note of the fourth strain on the tonal full chord, because of consecutive fifths. Such fifths no old harmonist ever declined. The tune was called St. Ann, most likely because the Doctor was Organist of the Church of St. Ann, Westminster.* No. 53.— ST. CHRYSOSTOM. [A single specimen of a great number of tunes, composed in earlier life by the Rev. W. H. Havergal ; which, though melodious and much liked, were excluded from his " Hundred Psalm and Hymn Tunes," because imperfectly accordant with the standards of riper years.] No. 54.— EVAN. [This tune, " the popularity of which in Scotland, America, and the Colonies is quite unprece- dented," (see Tonic Sol Fa Reporter, May 15, 1870,) consists of the 1st, 2nd, 7th and 8th strains of, " O Thou dread Power," a sacred song by the Rev. W. H. Havergal, the melody being unaltered. "Evan II.," No. yj, is the entire melody of the same song, harmonized by the author as a C.M.D. about the year 1867. The following note, written upon a copy of EVAN, given as autograph at the request of a friend, supplies his own account of its origin.] — " ' Evan,' framed by Dr. Lowell Mason of New York, from a sacred song, ' O thou dread Power,' by W. H. Havergal, A I. A., original air first published in 1847. The beautiful words of the sacred song were written by Burns for the family of Dr. Lawrie. The music to them is in triple time, and in the key of A flat. The tune ' Evan' comprises only part of the original melody. As the American arrangement was a sad estrangement, I have reconstructed the tune after a more correct form. Why it wras called ' Evan ' I know not. Still I do not approve the tune. "Leamington, Alarch \tyh, 1870. W. H. Havergal." No. 55.— LONDON NEW, OR NEWTON. A tune universally liked. Generally ascribed to Dr. Croft, but certainly composed long before he was born. Why Ravenscroft omitted it is hard to be conjectured. The Scotch version, the oldest known, gives the third strain in a different form. The one in this volume is now com- monly sung in both England and Scotland. The Scotch lay fair claim to its composition. It was probably called "Newton" from Newtown, the appendage to "the auld toun o' Ayr." No. 58.— ST. MATTHIAS. Written by Orlando Gibbons, to Withers hymn, for St. Matthias1 Day. Playford printed a vitiated copy of it, and called it t; Exeter." No. 60.— ST. DAVID. Ravenscroft' s version of this tune is disagreeably jumping. Playford published the present modified version of it in 1671. [* An earlier copy has subsequently been discovered by the Rev. H. Parr, in "Abraham Barber's Book of Psalm Tunes," 1686. It is there called "Leeds/' and attributed to Denby, 1680.] xx Notes on Certain Tunes. * No. 66.— BEDFORD.* Another comparatively modern tune in good style. Its pleasanter melody completely cut out an older " Bedford Tune," in A minor. The oldest copy of this newer Bedford, which the editor can meet with, is in "The Psalm-singer's Magazine," 1729. It should be noticed that the melody, though in triple time, has no instance of a semibreve split into two slurred minims. That device is modern, and constitutes a species of melody which the old psalmodists never adopted. No. 67.— FARRANT. This is a compilation from the beautifully " serene" anthem, " Lord, for thy tender mercies' sake." With slight exceptions in the parts, the tune was compiled by the editor's worthy friend, Dr. Edward Hodges, whom England has lost, and New York has gained. [Died 1867.] No. 70.— CHESTER. Or, "A Prayer for the Queen's most excellent Majestie." This, in Este's psalter, is harmonized by John Douland, and has been reprinted as his com- position. But the tune itself is only a tune of that day, and was harmonized, also, by John Bennet, a contemporary of Douland, and one of the best madrigalists of the Elizabethan age. Ravenscroft calls it Chester. No. 72.— DUNDEE. Dundee is older than " Windsor," or " Eaton," as the name of this noble tune. The Scotch claim it as a national tune. Burns believed it to be such. Another poet said of it, " Could I, when being carried to my grave, wake up just to hear what tune would be sung at it, I should like it to be 'Dundee,' or, as we call it, 'Windsor.'" Dr. Gauntlett considers it an adaptation of G. Kirby (16th century) from a Gregorian. No. 73.— ST. MARY'S, OR HACKNEY. A general favourite, and with Mr. Horsley, " the beau ideal of a psalm tune," though its origin is unknown. Playford first printed it in common time. There is no reason why it may not be used in that time. Dr. Gauntlett questions the congruity of the former half of the melody of the third strain, and proposes an amendment. There is some room for the question, but the amendment is itself questionable. No. 75.— OLD 8ist. This oldest version of this most cheerful tune differs from all later versions, in beginning most of its strains with three minims. It is the earliest known specimen of our tunes in triple time. It is said, but without clear evidence, to be an Italian melody. * [This tune has since been found in "A Book of Psalmody/' by Matthew Wilkins, supposed date, 1699. During the last century, it was generally ascribed to W. Wheall, M.B., Organist of St. Paul's, Bedford, who died in 1745. It has also been attributed to H. Purcell. This information has been kindly supplied by the Rev. H. Parr.] Notes on Certain Tunes. xxi No. 85.— ST. MICHAEL. This fine old tune is older than marked ; for it stands in Day's Psalter of 1 563, to the 134th Psalm ; but as a double tune, with another ending. The editor had not discovered its true antiquity, when he spoke of it in his preface to the reprint of Ravenscroft. No. 93.— M ARAN O. It is singular that the third strain of this exquisite tune should be a prominent phrase in Handel's beautiful song, " Shall I in Manure's fertile plain." " La Scala Santa," from which it is taken, is the production of a Venetian nobleman, who delighted in the " Psalms of Degrees." The English edition of his works was published in folio, by Godbid & Playford, A.D. 1681. No. 94.— SOUTHWELL. This beautifully simple tune used to be confidently ascribed, like " St. David " and others, to Ravenscroft. It was printed long prior to his day. It is a good specimen of a Psalm- tune framed on a subject. Singular to say, its subject is identically that of Tallis's exquisite motet, "Absterge Domine," in the Cantiones Sacrae, 1575. No. 148.— GIBBONS. This is genuine English, and one of the very few Trochaics which our English composers wrote. It is from " Wither's Hymns and Songs of the Church." The treble and bass are by Orlando Gibbons. No. 163.-HAVERGAL. [This tune, rich, sweet, and solemn, was the last note of its composer's earthly praise.* It was written at the request of a friend, before 8 A.M. on Easter Eve, April 16, 1870. In less than twenty-four hours from that time the stroke of apoplexy had fallen, from which he never returned to consciousness. At noon, on Tuesday, April 19, he passed away to join that "new song," to which his whole life had been a prelude.] No. 202.-ESDRAELON. [Adapted from "A Cradle Hymn," a sacred song, by the Rev. W. H. Havergal, published cir. 1 840.] No. 203.— SALZBURG. This is a well-known " Tantum Ergo," in somewhat modern style. Without touching the melody, the editor has endeavoured, by older harmony, to better its style, or to make it less observable. Though attributed to Michael Haydn, it is perhaps, as the late Mr. Latrobe thought, of earlier date. No. 208.— ALTORF, OR LUTHER'S HYMN. In the first edition of this work, the Editor noticed the many variations of this tune, as printed both abroad and at home. Scarcely two copies are alike. He also noticed the * [It was composed for Hymn No. IV., in "Songs of Grace and Glory," edited by Rev. C. B. Snepp, LL.M., Vicar of Perry Barr.] xxii Notes on Certain Times. ambiguity of its origin, according, at least, to the surmises of continental editors. Recently, however, he has met with Winterfeld's Collection of the Spiritual Songs of Dr. Martin Luther, exquisitely printed, as a Jubilee Book, at Leipsic, 1840. In that work the tune, i.e., the melody alone, as now given in this volume, is, on apparently the best authority, assigned to Luther. It is described as first printed in 1524, but composed in 1523. Instead of being set to an Advent Hymn, or anything like " Great God, what do I see and hear/" it was arranged to a " Christian Song in praise of the Unspeakable Grace of God, and of the True Faith," while one-half of the tune itself is totally different from all the current versions of it. Henceforth those versions must be regarded as spurious imitations of a beau- tiful original. At the same time, there is no reason for calling it " Luther's Hymn," more than any other of his composition ; especially as the words which have been associated with it are in no respect his. The original key is F. No. 227.— ANGELS1 SONG. The editor is glad to be able to settle the authorship of this most ill-treated tune. // is, unquestionably, the production of Orlando Gibbons, and was set by him in three different forms in George Wither's authorized volume. It is called "Angels' Song," from the words of one hymn to which it was set. All modern versions of it not only alter the melody, but the rhythm. The editor gives the original Treble and Bass, for those are the only parts published by Gibbons, but avoids that mixed rhythm which puzzles modern singers. By stopping at the end of the fourth strain, the tune, as in one instance by its author, forms a Long Metre. No. 239.— HANOVER. From a statement of Mr. Professor Taylor, in " The People's Music Book," it is pretty certain that this tune was composed by Dr. Croft. It is tolerably clear that it is not Handel's. As it has been so confidently attributed to him, it may be worth a line or two to dispel the illusion. Handel did not arrive in England till the close of the year 17 10, and then only for a brief visit ; whereas " Hanover" was printed, in the Supplement to the "New Version of the Psalms,"* in 1708. It is so unlikely, as to be utterly incredible, that Handel, who was never known in Germany to have composed a single choral, should have composed this one tune to English words in a non- German metre, and that it should have preceded his arrival in England by two years or more. The tune is, consequently, in accord- ance with authentic tradition, ascribed, in this work, to our worthy countryman, Dr. Croft. The editor has heard the [late] Rev. G. S- Faber, Master of Sherborne Hospital, Durham, say that his venerable father believed the tune was composed by the Rev. John Chetham, whose fame as a psalmist, and whose publications in Yorkshire, began early in the last century. * In a copy which the editor possesses, it is headed, " A New Tune to the 149th Psalm," &c, and is set in two parts only, in the key of B flat. The Bass is evidently intended as a sort of second to the Treble, and not as one suitable in a composition of four parts. This is the case with the tunes of Gibbons and the brothers Lawes. Oversight of this fact has led to much harmonic evil. Notes on Certain Times. xxiii Nos. 251 AND 252.— "NUN DANKET ALLE GOTT," AND " EIN' FESTE BURG 1ST UNSER GOTT." [These well-known German Chorals, though not included in " Old Church Psalmody," nor harmonized by its editor, are appended to the present volume by the advice of a friend, in order to complete the supply of peculiar measures. No attempt has been made to "improve" these fine old melodies, and the harmonies are transcribed nearly verbatim from Adolph Hesse's " Choralbuch."] No. 253.— ST. PAUL. [By the same advice, this tune has been composed and added, at the last moment. Though it may seem out of place as regards the metrical arrangement of the work, it is well that Havergats Psalmody should thus close with an ascription of praise to the King of kings AND Lord of lords. F. R. H. Ascension Day, 187 1.] IV. 1871. MANY will be surprised at the large number of well-known and favourite tunes in HavergaVs Psalmody. The fact is, that HavergaVs Old Church Psalmody has been the fountain from which editors of subsequent collections have drawn — either at first or second hand — and the original guide to many valuable tune-sources, both English and foreign. It was the Columbus of tune-books ; the pioneer, not to a New, but to an Old World of musical treasure. Now, the route is open and easy. The retiring and unselfish spirit of its editor, as well as his devotion to yet higher work, prevented that assertion of its true position before the mul- titude, which has always been accorded to it by the highest musical authori- ties. " Little more than a sovereign was expended in advertising it ;" and only once did he pen a remark upon any unfair treatment of his work. u To the multitudinous applications for permission to reprint tunes from the Old Church Psalmody no refusal was ever given, nor was any remuneration named. But the permission, when granted, has not always been duly acknowledged. Some tunes have been properly acknowledged ; but others, taken wholly or chiefly from the same source, have been printed as though they belonged to the editor of the collection in which they appear. These oversights, which ought not to be made, have too frequently occurred." Also, — " It was due to Old CliurcJi Psalmody that they who were allowed to borrow its tunes, should likewise have adopted its names." The selections from "A Hundred Psalm and Hymn Tunes, by the Rev. W. H. Havergal^ will be found, as experience has proved them to be, easily learnt, greatly liked, and practically adapted for congregational singing. Of one of these, Dr. Lowell Mason, the great American promoter of choral singing, wrote as follows : — " I have lately introduced into my choir, and sung with admirable effect, your tune, 'St. Nicholas' [now called ' Edex,' No. 38 in this volume]. The effect of it was truly magnificent. My choir consists of about sixty singers ; the different parts are well sustained, and about equally balanced. I have never heard anything come nearer to my beau ideal of Church Music than did the singing of this tune, on a fine Sabbath morning, in a church filled xxvi Supplementary Remarks. with people. It made a deep impression ; and the next day, one and another was asking, ' What tune did you sing yesterday morning ?' ' Where did you get that tune ?' &c. The performance of ' St. Nicholas' [Eden] makes one feel as did Jacob at Luz, and involuntarily exclaim, 'This is none other but the house of God, and this is the gate of heaven.' Wonderful would be the effect of the Psalmody were all the people to unite in such lofty and majestic strains." — April 30, 1847. In order to meet the increasing proportion of "peculiar measures," a num- ber of tunes have been adapted from the Rev. W. H. Havergal's own melo- dies, (chiefly from unpublished MSS.), while, for extra measures which could not be thus supplied, a few tunes have been added by another hand. The present volume, therefore, contains tunes for all measures in the best modern hymnals. It is, however, specially adapted to the new hymnal, Songs of Grace and Glory, with its 1,000 carefully selected hymns, edited by the Rev. C. B. Snepp, to whom the editor of HavcrgaVs Psalmody is greatly indebted for much kind counsel in the work. Any clergyman or organist will be willingly supplied with a Tuneal Key for whatever hymnal he may wish to use in connection with Havergal's Psalmody. The arrangement of the tunes is strictly metrical. After the regular L.M.'s, C.M.'s, and S.M.'s, the P.M.'s follow in order of lengtJi of measure, beginning with 5555, and ending with 12 10.* When several tunes belong to one measure, they are carefully arranged in order of character, beginning with the jubilant, and shading gradually to the plaintive, so that if an alternative tune for any hymn be desired, it will never be far to seek. The nomenclature of HavcrgaVs Psalmody is systematic. The name of each tune at once supplies information as to its origin. Old English, Scotch or German tunes, bear respectively English, Scotch or German names ; those by the Rev. W. H. Havergal are named (with a few exceptions), from the natural geography of the Bible ; the added tunes are named from " the friends of St. Paul." No departure from these rules has been made without some necessitating reason. Amens have been appended for optional use, wherever such a close is not unsuitable to the " suitable words." May this memorial, to one " whose works do follow " him, be to the glory of his God, who has now " made him most blessed for ever." F. R. HAVERGAL. * (N.B.- 15 15, 15 15, will be found under 87, 3; D.) HAYERGAUS PSALMODY CENTURY OF CHANTS. No. 1. iTljc OJfc 2junfcrctiti) - "£?■ 3d m & -& zz £2 ■cr I I i i I gzt SEESE -43 '^_ .oL _C2_ _Q. IC2I I 1 «S>- a -^— - z^z ?a ^ ?z z^: -& 1 — K All peo-ple that on earth do dwell, Sing to the Lord with cheer - ful voice I. i ■ ' ■ i Him serve with mirth, His praise forth tell, Come ye be-fore Him and re - joice. A- men. £notijcr af tije same* (l.m.) OLD CHURCH PSALMODY. V Be - fore Je - ho-vah's aw - ful throne, Ye nations, bow with sa - cred joy ; i fc* \-A — L_+ 5= a^Fg-^^ -o o *s>- S-& T5=^- m^- & xi ~T5L Z3 zi -& Q £> g? q I 3 j — & Z2Z^C ?2 z^z -s>— & i I -»^ c> r* II atigbzz -<^- _C2_ cz& 1 — i — r ts* :^z z^: ■&- ^=^ :cz fc* o Know that the Lord is God a - lone, He can ere - ate and He de - stroy. A -men No. 2. <£upljrate& (l.m.) W. H. H., 1848. i :o: 1 B @: -6S>- -<3- ^: ±= @ ^ 22: f jCZ -.<&- ^ "O" I -ei fe z± -e?- -s>- -&- ■T '-^ ^=g: :p=^: *? 22: £z a rz fe What are those soul - re - viv - ing strains, Which e - cho -1 1- r7~ §=i «- -£> 1ES2^ & — .<£*- # r^- £2 |Q=g z^z: g=F?F ^ J- .ei .d. _£2- s ^ =1 -J ^ I I m ?2I ^ &=g: t=± ?z P -< — 1 -^ thus from Sa - lem's plains ? What an - thems loud, and loud - er still, -J- ^ 3^H «- ^ ^ d: rJ rj Z2: r^ P r> Z2 F is- 1 1 =Z=fc -s>- S -«s- e P ^ 22: zz it So sweet - ly sound from Zi - on's hill ? Ho - san - na! Ho mmm ■&- -Gh -Gh l^Z- Z2I *J ^ z^: -^ « H<©h m & -fZL ~ZZ1 tt san - na ! H< na ! men. No. 3. CrassdlUS ; or,, Winchester New. (l.m.) OLD CHURCH PSALMODY. The Sa-viour lives, no more to die ; He lives, the Lord en-thron'd on high ; zi ■Gh ! I Z2I T2L Zt^TJl T± '<> r<> cl w= K: ^2: t©- -& t— i (&- 2^=^21 -—(S>- Z2I I I ^* =6* .ol -J O 1 1 1 1 zz O " jd. S: J-J- 0 I I I e± -<^ £*: -o- :& & r> 1 — h ^2: ^2=e t=t 1 — t- 2^ 22: 1 He lives, tri - um-phant o'er the grave; He lives, e - ter -nal - ly to save. A - men. No. 4. ** WXulXtnk. (l.m.) OLD CHURCH PSALMODY. 22: 33 •©- z± =^ S 2zq: ^-^- 32: V, ■©- «- «- Q ,iO Q ^=^1 ^7 i&* 1 J. 1 * fc^S=^ I ! I ;3:2 ;t t= ^2 -^ — & S "T^r -©- I 1 1^2: s -- TZZSr 1ZZ. ~Z^L —1— O ren - der thanks to God a - bove, The foun-tain of e - ter - nal love *£ T=t- ^t 32: -G>- i& 3E*gE Z2I -& ^=^2 :pt #¥ -f-^- 1 ^2(J :cz r «- "C>_ ! 33= 73" 7=^: ^=^ 3 -r5>-- 1 — r -|S>- i (T I i i CD CJ C^-r A 4S»- =P* ^2Z 73" II ! ' I Whose mer-cy firm through a ges past Has stood, and shall for e - ver last. A - men. Xo. 5. cHclJs. (ul) 1 ^ Harmonized by W. H. H., i860. y ' rJ — rJ / k u/b J a ^ ^—, — ] rr * * ^^ — * 0 ^- rj v rd 2 * p p* o ^— r^ r^ ^ ^A ■ iii ^ ^ m C-/ i i • | 5 r h ~ rd rd -^ ^v /" — ' • '^L*' rJ r3 -^ V rd -H- (* • 9 / * r5 * m rj ^ * or ^ rj v^ L\_tn ? * rj - j ^ r^ C2 I 1 . * i I Soon may the last glad song a - rise Through all the mil-lions of the skies, 1 1 I 1 g * p ^g^^^rH^g q q ^j;g I I I ^j m-*- <^, o o fe^ 1 7^" #IQ ^ " ^ Q rhat song of triumph which re - cords That all the earth is now the Lord's. A-men. No. 6. <£ppentiorf. Cum.) 1 1 1 1 -, 1 OLD CHURCH PSALMODY. J 1 ^2 rj / -J ( * ^ ^.^ ^ ^ ^> rJ rJ rJ ^— ] Co 7 V - r: ^ ^ G r. /*■ ., J^^ _ — -£ 1-^ 1 ^ C ^ 1 . 1 s 1 1 L^ -* ^ ^ j -^ " /* " -1 <^Z> i^D r^ r-3 g H rJ ^ -^ 12 (' 8 p g lp ,0 rj ^ .0 :: my soul, in joy - ful lays, And sing thy great Re-deem - er*s praise f=? 1 I - Q gd h^ M g rj ^ V ^ — 1 ^ g ^ 0 , - ^ ^ r 1 Q ^ ^ P ^ ^ J 1 I J 1 * 1 1 I 1 1 I | r> o o ( ^ ^ o ^ , ^C^or^o^ 0 ^o-" — ^-tt-^ n <^-t r^- c 0 r1- 5^- :^> ^ ^ -^ — ^> -o H-sH 1 — U^ U u He just- ly claims a song from me; His lov- ing-kindness. oh how free ! A-men. Xo. 7. Ccilfcd- (L.M.) OLD CHURCH PSALMODY. 1 U 1 - All hail, a - dor - ed Tri - ni - n 1 ! I i 1 I 1 i V • A ^ J ^~, ^J C-> C-> " " r j ^j ^ ^ r j r j (c ^ — Z*L C-* 1 8 r^ ^ CJ 1 r^ ' W ^J •— ** 1 ^> ^J 1 O God the Fa-ther, God the Son, And God the Spi - rit, e- ver One. A -men. Xo. 8. £-rfurt.* (l.m.) P L L OLD CHURCH PSALMODY. -^ © 1 ^a g g zz tf 7=3 D P g . ^> » - — GNfc I J I I I i i ■&- ■&■ p^ rj ^ — i i r^~^ Je - sus shall reign wher-e er the sun Doth his sue - ces-sive jour-neys run; m ir-i? « ^ :s z^: ■H £> I I i 1 I m -&■ » Q -^—^- g=£ .a. g^=. «■ :^z i i His kingdom stretch from shore to shore, Till moons shall wax and wane no more. A-men. * Wrongly called Eisleben. No. 9. -&- Sjaran ; or, Bertram, (l.m.) ^\ i 4 W. H. H., 1861. &**-& II I I I I ° SEdfcs :£2ZZ£2ZZ2 "^>~- I I Ff h±: £L^=L «S I I > -&»- ^=^i l~ I I I -©- -f— I— P E? IS O Spi - nt of the liv- ing God, In all the ful - ness of Thy grace Wher-e'er the foot of man hath trod, De-scend on our a - pos-tate race. A-men. No. 10. ft— = ^ Cerat (Valley of), l.m. =f W. H. H., 1856. J V- e 22 S=5^ -e— s> =2 ¥ $ S=Q 1 -» p> p> p^g- -o1 _ ^ q *^ &A ^ :q: Q Q» . S T2- J_ri ■©- I I jrJ rJ. r u 1 1 I t jcL -J- JZL - -- r ^2. -P-©^^*A 1 — r~r -©- I ' O praise the Lord in that blest place, From whence His good-ness large - ly flows, 5i£=fc -s>- -d -&- ^=^ --(S>- T? ^fefei @i rj -S»- £Z -J^^d^U. i :p=& :pz I ^ -P* S>- :^=^ +— t -0- ^SgE^ fH w 4©F 1 :q. 1 ■ - 1 1 1 Praise Him in heav'n, where He His face Unveil'd in per -feet glo - ry shows. A-men. No. 11. 6iJl)0;t {Mount), (l.m.) :%5 E*^E5EH q p^-_gr _J. W. H. II., iS49. I i srf-Q- ?3 ~r2~ .a: "-s> -o- I I :&±2= -& jsL -& ■-ie> J- -e-t =P=^ ■QSD- -& ^ E r2L=& — G>—G>- W. H. H., 1852. d=^ 1— T ^ S^S 221. I -< i_22. -s>- zsz: -1 — 1- I I is -BEgdzgz 1 1 ° I I I c3 cz> CD. " 1 1 -&■ -*&- 72: ^ — t ^ 72 - § I know that my Re-deem-er lives : What com-fort this sweet sen-tence gives ! ZZfc ^ m i=f \T~n a a I I I I T3 I i i i ' i ±=±fc=or|=- zz r -G>- 22" Eg •-<&- -S- Z± -*3- S1 ■teBh 1^ *u p?5 22_ -G>- .o_oL -- ?=: 22 1 >-W ?2=g zz 22T 22=3 «22_ a s He lives, Pie lives, who once was dead. He lives, 1 i ' e - ver-last-ine Head. A-men. No. 13. foUJis's Canon, (l.m.) (See Preface, p. xvi.) (Two in one, Treble and Tenor.) OLD CHURCH PSALMODY, A *J p I 1=3 =5cstd=z2 WF~T-V p-r-! £2~£ &i &=^^^A-^^=^^TA=^^ J. f^^ fT~TT -- n Glo - ry to Thee, my God, this night, For all the bless-ings of the i 3j=jrs'-rJ-d= Z2I r±jzi ^ QQ- y^p— ff I.i i i light ; Keep me, oh keep me, King of kings, Be-neath Thine own al-migh-ty wings. Amen. No. 14. ^elnerker. (l.m.) OLD CHURCH PSALMODY ^5P^ =Ur-^J .Q. J=L b=q C2: t P z^: zs: <^U p^p j.^-j.j a rf" O King of kings, Thy blessing shed On our a - noint - ed Sovereign's head ppS^^^^^^B^ -G- Z2 <^ pKp>" ^ L- -*^- _Q_ _Q_ _ri J _J_ jQL jGL • -J- Z2T- ^S^Ep r w ^ i2. x^. And, looking from Thy ho - ly heaven, Pro- tect the crown Thy-self hast given. A-men. No. 15. Oit> "(Tell CommantmtCnts' Clitic;"* or, Commandments. {See Preface, p. xvi.) (L.JI.) OLD CHURCH PSALMODY. mm 4—4- mW^ 3E ^g :c2: -- -& Z2I .^^L -ri^ ^ A -^ =fz rz p =P= God is the re-fuge of His saints, When storms of sharp dis-tress in - vade Ere we can of-fer our com-plaints, Be -hold Him present with His aid. A-men. No. 16. %)0V {Mount). (l.M.) W. H. H. i I m JZ£2I Z2: p&f^*=fj&k^ J. rf :^=^ - =P-. Through sleep and dark-ness safe - ly brought, Restored to life, and power, and thought. A-men. i * Wrongly called St. Mark, or Magdeburg, or Ely. No. 17. ^ 122: CJ CJ g^ fee- 4— :tz: t: 7^^ J32^r A 33=r&_ T^-& — c±^. u Z2I I — h t= gi=l Let me be with Thee where Thou art, My Sa-viour, my e - ter - nal rest ! 1 1 Then on - ly will this long-ing heart Be ful - ly and for e - ver blest. A-men. No. 18. Babaria. (l.m.) ±xkl: ^^M •&' ^ i ^— f-^ -£-*- I£Z -&- 22: 22: I^Z£± -P*-«s>- OLD CHURCH PSALMODY. \ 1 ii=2sL_£jL«i3): I I -rr-p (gc.b a a /4 °icn? - — ^n I I I 7Z± □_£->_ ^=p: I £2Z m Fa-ther ofheav'n! whose love pro - found A ran-som for our souls hath found, rrzz2. -I — 1 ^^--i^: I :S=S: 3 ig^ Be -fore Thv throne we sin-ners bend : To us Thy pard-'ning love ex- tend. A-men, No. 19. JLetpstc/ (l.m.) OLD CHURCH PSALMODY. L^S: ■G>- w £21 f^h ^=^ ~R -G> £> &- 7S- 4— L -o- izj:. -&- \rj r> r^- Z3 1— Wn U I i -&• ^ ^ gl|gLpL-r^--pLi!ri^ ■\ 1 1 — ±=± -& Take up thy cross, the Saviour said, If thou wouldst my dis - ci - pie be 1 rj^-^; z± •o si -Q Q- 2=t^: '^r^r =s: ^-sJ- FFf** Hessh G ~C?~ « rd I I I l hz±t ^ pi ia De - ny thy - self, the world for - sake, And humbly, meek-ly fol - low me. A-men. No. 20. Dalmatian (l.m.) W. H. H., 1859. 1 J-^^ fpP 8 SJ H-V^^ i — r ■©■ -&- -s>- «- _o_ _ei _ol ^e Z2_ 1S- -fS»" ri :c^z ^ _Q_ _Q. "O — £3 — (C ^^^ Qfr^r -- -& ==^ :q: -^— @3= fei :^=^ 2^ ^Htt -T3-& -- S - F p H "^2: 1 l l -OL J2. _o!_ _Q_ ^^EEf=g^^EfcE I I -- -- --g— «f «a - t=t Come. Ho - ly Ghost, our souls in - spire, And light - ill 7=2£=S- Z2t - — - H Z2_IZ^ Z2=£z ^2 I ^1 — g — ^ — ^ ~?^~ -€^- ji^2: o- ;g 1 1 1 1 1 -^ p -- 22: with ce - les - tial fire : Thou the a - noint - ing Spi - rit art ^ T5 s% T2. ~&L ~M- A A TE% ■o T2L e>- -&- Who dost Tin- seven - fold sifts part. Trochaic Doxology. J L f^M'UilJig Z2I J J III I I I I ~C2~ I G» gj ^-rf-^^>-_gr "i^T? iffi -- Q Q rz 23 q o .a. -& #=^tfe ZZE :c2i -P*— P ■s>- 1 , 1 i 1 r 1 1 r , Praise to Thy e - tcr-nnl me - rit, Fa-ther. Son. and Ho - ly Spi - rit. A-men. No. 22. (Crete* (l.m.) (Veni Creator.) {See Preface, p. xviij w. h. EJ ffi -S»- i c? — "-& — & — Is ?3 ^ SL^i ^e: £2_ I I ^ ^ "^ P ~^z jC^_ a^d — i — i — r~ Come, Ho - \y Ghost, our souls in - spire, And light - e?i i 3 EZ ^ & 8 8 1^" *S jSL j^l ^L ff eg q Z2. _C2- -s— Q- 32: ■i r 13*1 w/7/* r^ - les - tial fire : Thou the a - noint - ing Spi - rit art, i :^2: ^31^22: 2=E: 32: "P2= ~^2~ ^ Who dost TJiy Doxology, (ad lib.) seven - fold gifts in* part. Praise to Thy e - ter - nal me - rit, Fa -ther. Son, and Ho - ly Spi - rit. A- men. \To. 23. PenteL (l.m.) W. H. H., 1867. -I 1- t=r- 3^-^z C5~ pM I 1 1 I i J?— £=?: :q: a —1 — r Sun of my soul, Thou Sa - viour dear, It is not night if Thou be near -4 :=£y=g- rr 4- — I- zrz ■©■ -g>—o—- I I I I -- ^"TT ^~^ >-^W?p Y @£? 1 i ?2=t ^=^=*: -,J-4 -- I£Z z^-hs*- |C> -^ — &>- i ii S3 * 2_J3; £=* =e e^t 0 -o- £2 .c^_ _ol i ri ZZ r~Zt ^^ *— - ^p-l — r A great High Priest our na-ture wears, The Guar-dian of man-kind ap - pears. Modern progression. No. 25. (SaJtlec. (l.m.) HEd Tl. r «— *»- j- I SiSEEEf * Just as I -- 4- :& w. n. n., 1007. II I I I i I I I "^ « 11 I 1 J I A 1 L 1 -^- ^j -0- -^ ~^- 7Z ^ ^? Z2: £=^ * -d J J. am — with -out one plea, But that Thy blood was shed for me, 1 ~i=* 1 • 1 1 And that Thou bidd'st me come to Thee — 0 Lamb of God, I come, I come. A-men. No. 26. Cyprus, (l.m.) W. H. H.. 1861. T=Z ~& ws -CJ_ -I 1- -1 1 U -&- u-^ — s>— & 1 1 T? I I I :-se 1 0 ■I — I Je - sus, Thou joy of lov - ing hearts, Thou Fount of Life,Thou Light of men, qqzzjzzq: ^=Et -G>--£3- &—o- TZ. -&■ :a: E£=E -^- ■pt gfc -p: I I :t=t 1 -& -& H I , i 1 ^"^ sSii 7^=^ ^i-oL -f^i -P=o: t=t= -jst-..^-^ « From the best bliss that earth im - parts, We turn un - fnTd to Thee a - gain. A-men. * See Bethabara, No. 22: No. 2' Sermon. (l.m.) -i — i- i T=$ J 1- W. H. H., 1840. m -zl=S- 1 1— ^ o—ri ^ E! n c p as P fJ ZZ2 I I I I I T^ feE -& — &>- -G>- ^=P ^=P= ^-ri t=t -^- -:^i.-d-^ i^z £ ^ ?2: I zpfc IS When I sur - vey the wond'rous Cross On which the Prince of Glo - ry died, pEfE^^^pS^p Si IQI Y&& « ■e^- -j©|- -&>-&- & I l I I Si ^Lcl J L^. P ^dzd: ^ms -r^-p: I 1 I p 1— r -& £2 fi Ff 7=T My rich-est gain I count but loss, And pour con-tempt on all my pride. A-men. No. 28. <£ctl)0ettune. (l.m.) i zd i-4— 4 W. H. H., 1838. rgz d! -& ESg ?i zz 1— t J. is- «=c£ 7> +P~\W^>- m& 1 > 1 ' -^-ri -£2 , 1 1 Q 1 u u 1 "C7" t t=4 P r^ 5 F=i — F -S>- :pz r Je - sus, Thy blood and right-eous - ness My beau - ty are, my glo-rious dress ; ^zzct m 4=T F ^ ^ 1 ppy ag^^g c± ^ a -^- & :c2i ^i-W- 'Midst flaming worlds, in these ar - ray'd, With joy shall I lift up my head. Amen. ^SEEEj^ m No. 29. Spires. * (l.m.) (See Preface, p. xviii.) P tEB. -&- -&- ~ -. V -±-&- ^2: -& 4 — V -&■ &- :^z 1?L S3K 9—± ^ -O- OLD CHURCH PSALMODY, J— I — I — \ -rZf-rzL. fi^rr I -- J— J — I zz l^r—TJ- zn^L -&- - Z2IC2 ■& ^ 3 riE^ -<^- -- I'll *^ «d -S>- 73 m €t And, withering from the vault of night, The stars shall pale their fee- ble light. * Wrongly called Wartburg. Xo. 31 2.)it>tickd. (uvl) # -G> — S>- 22: «- £> c^- -I— J- W. H. H, :cr. -s- ^gs -& ■p ^p^=# rx .oL ■sr _o_ _q. 22: ^ 'j'j'j'. £s= .a. 3=F s =?2= 221. -p= 22: -- 7=- God of my life, to Thee I call ; Af - flict - ed at Thy feet I fall ; II ^-^ _C2 IbS &R Z2I £2 -& Z2: 22: q g>> ^2: DP =1= ^2: _c^ 22: -^ 22: 1 ,- 1 -, ■•, ^_r2 , rz) —^^-jr* r?1. s*. 1E&E ^£2: O—Gh -» — r When the great water- floods pre- vail, Leave not my trembling heart to a 22. ?S i fail A - men. Xo. 32, ^axonjn (l.m.) {See Preface, p. xviii.) OLD CHURCH PSALMODY. I 5^e" S ^^g-gr 1 1 gt '■€*-€*- " 123 -^32: 22: -e>- «- 3=d=S ^ ^ p iii ^ jiii 1 3 -p g g Z2i CQ-LLJ 1 1" That day of wrath ! that dreadful day, When heaven and earth shall pass a - way, i I I'll What power shall be the sin - ner's stay ? How shall he meet that dread - ful day? A-men. No. 33 KOStOC. (L..M.D.) i ~J OLD CHURCH PSALMODY, S^j&gSI 'If .q xi Pe z^: *^=p || '— ' I I Be - fore th' Al-migh-ty pow'r be - gan To form the wond'rous frame of man m W—B-^d: & ^=c± m -n—rrt- Sh ■s — o si £ T± -G>- =g^g=; arcz ^ -&-?*-¥+- U=d. m -&- ■F z^: -<©• -<^- « ^ ?2=£ rr^-^- I ' I H Be - fore He hung the lights on high, And made them spar-kle o'er the sky; I £ -& -s>- z^r-4-l ^^ -O O G> Q Q Q ^ *S*- ^2_^ rj - -^ — je — .& gi J 1 J\ -& 3S I l -©-H-r©- Q Q C? r r P"^" =^ P=^ -& Be - fore He gave the moun-tains birth, Or shap'd the yet un-found-ed earth, $—*=* 1=3 felE d — b— 1 — ' — r ?=: i^g ^ Pi r 1 11 J J - Q 3iB 22: -|S- 22: jSL J=L jQ. @* :^F ■»- -!^" «- 1 1 1 1 — 1 T p pad! God all His ran-som"d peo - pie knew, And in His love He chose them too. No. 34. BEFF3 it <£!*!)♦ ( Valley of) (c.M.) W. H. H., 1845. -^- zi Q Q -S>- Z2: 73-gr~grfc J2L L^eS s*®^ -£2~ I i fro ^ rJ r? r? r? '^ liililllipE^ ~^- .Q. .J. -- -^ Z2 ^ +— X 19- f^ -&- ■P= ^ All hail the pow'r of Je- su's Name, Let an-gels pros-trate fall ; Bring forth the i-zk ipppisilp m: d= «- Z2=g: rz V - I^J FlS- ji -PT?- ■&>—&- 19- -S»- 221 p=p i9- S^ ■^- P -Q6B- 1 Ho - san - na ! raise the peal - ing hymn To Da - vid's Son and Lord ; i t —rl—o- -Gh E& w -&ZZZ2 -J 1 1 I -o- T^ $* l I -o- 221 -t f=rp^ j- n — I — F" p P"^: ' J ' I o c> - IF ■U. -iS- P~15F J- 1- sove - reign balm for ev' - ry wound, A cor - dial for our fears. PH DOXOLOGY. i=y d= p^ppp^^^^^p — & ^— p- Z±I J J Jijj gL ^ J. ^ ^_jj^ ^^ ^ -TS»- P r Glo - ry, ho-nour, praise, and pow - er, Be un - to the Lamb for e - ver ! 5 ^=^ FT ^d=d rrr dzst 2=?2 J e± -—— — >^^ ^^ K >> V^ J 3D — ^ J — ^ ^^ *— ^ \ ^—. 1 p k 1 e ^ <^ r^ r^, 1 - - _r Lord and God, The tri - umphs of your King. A-men. Na 3». (JrDcn. (cm.) 1 «J W. H. H., 1845. y *m- ' /■£(«,, — > ^ — ^ ^ -^ 1- ^ 5- " i-€J ^ ^j ^ — ^J ^ ^ H ^ rj c ■& P O -js*- p P P 11 | 1 1 ^ ^ ^ ^ & 1 1 /sr * S ° ° & 1 0 rJ l - ** f * ' J J J ^. " ^~. 1 r-1 rj r^ • r> r^> q 1 p ^ 1 O Come, let us join our cheer - ful songs With an - gels round the throne ; / "_r ^- I 'TJ- / J ^~~ — -^ ^ ^-< // * rj rJ . — rJ *-* f-j i ^> — r^ ^^ rJ — ^ w « j — ^ ^ — ^^ ^— ^^ ^^cz> » "g^ ^ f^ ^T C? i 1 1 '^ . 1 1 • -S^- ^-<=> /sv# S Q p p P5 I* • ^ 1 C^_ ^- r^ r^ ^~~ ^- 1 r^ '^ — ^ 1 kJ ^ . t- :hou-sand thou-sand are their tongues, But all their joys are one. A-men. Xo. 39. jlottingij:tm ; -.:.. Sr. ::>:-.-. . - i Si V7T y 5?=FS- ^*^ © ill! -jr-\ -r- Tde Hta: ::.::■.•;■:;;;-;.':•;•:■.': :;.:::.5. I; : -?-S r— , r ° • »■ o ., 1 ! ^ — - — ^ — }oj | P ° ' -*- -jcf" ,iJ^ G>—^—r^ ; - " 1. ^ ^ ' ; 0 A roy - al d: - a - de: Xo. 40. <51ourcstn\ (cm. psalm: iy i £ €fe ~^2 ^ — £^~ .£_-<_ i2 ^ T^ E^_^ Be :::;_ .:.. 5 ::~e r.e: ^5 ^^ | =; 1 1 ~ [ i n 5 ^ ^^ ^ ^* CJ CZ, *-^~~tt 'J .'V rj r; ^ ^ . - gj g ^ -^ ^ r> ^ i o : The migh-ty works, or migh-tier name, Of qui : - . - No. 41, Bmtfjat). {Valley of) (c.M.) fc z± ^: P5- ^ — e* z± W. H. H.,c. 1858. r f &^- P=r3=n d=^: joL z± -o- "CT 8 f==EfEfciip=Eip rcaz The Son of God goes forth to war, A king - ly crown to gain — J r^f ^ 1©- u -Q_ My God, the cov' - nant of Thy love, A - bides for e - ver sure; W '-gr A-=S- ^b=g- P US J, rrrr Z^: « — & ?4 1 Q=q=p^-^-f^= ^= T2- ^ -='- ^ ^SiiJ^Ja -OEB- 1 1- * EEFBE :F And in its match -less grace I feel My hap - pi - ness se No. 43. Bristol, (cm.) (See Preface, p. iv.) -O- ^m ^2: OLD CHURCH PSALMODY. II -o- =sj= T?—^ fs>- &->--Gh vr 1ZL I I m&. a ^ Z3 J I -«s>- -HS3— P*- Z2I 1^21 Z2: j-j^j-j-j^ pe :pz=c=: t=t m 1 — t Hark ! the glad sound, the Sa - viour comes, The Sa - viour pro-mis'd long ! Si :^=^: w ~ t=F ■sU^-cf- F~7^ a" -^~ -e*- z± ■s- rj rJ P"^"-^ -- a .a. .oL @1 JU 1=r £2" -^ S^f^ 3=5? T- ^e -s>- -- -s>- j&.jL\ -*t* tg g p p *p ^ 1 1 ss I I Let ev' - ry heart pre-pare a throne, And ev' - ry voice a song. A-men. No. 44. fctJlis's Orttnal. (cm.) «t (•5V^ Preface, p. xviii.) -H 1 1- ^ ^: OLD CHURCH PSALMODY ■J 1 1 1 -^—rf ^ — - -ase- T p=^= a -1 — r -fSh T2- -& — o- TZL I'll 'I Come, Ho - ly Spi - rit, heav'n - ly Dove, With all Thy quick'ning powers ; ep^g^a o£2 i ■QZ3" P s=^ e^ g? s> — & &§3 izJ I I . I -p ^22^" — S» & zi 1^2: ?2= P « — & ® -^- 19- - :cz JGt pork, (cm.) {See Preface, ft. xviii. ) -1-4. OLD CHURCH PSALMODY. S= -& @i .a=g^ P ■p"~^ F^-rJ- J — I- p -r*= -©■ ^ i i _o_ joL -oL ' «: ?2= & -& t=t Be -hold! the moun-tain of the Lord In lat - ter days shall rise P m 22: d: 19 — & 22: ■ — I- 22- Z*=S=^ ^=4 fed ■&L I I I I ?2= iS>- £2Z Cj ! i -p ^ ^ s - On moun-tain - tops, a - bove the hills, And draw the won-d'ring eyes. A-men. No. 46. Mtttutjester.* (cm.) (See Preface, ft xviii.) 4- OLD CHURCH PSALMODY. m b 221 — g2 - -o— - 1 Give me the wings of faith to rise Within the veil, and see ! I i . Z± 5 '+^-r tt -&■ -—&- mm T± M ■f^- ~&—^ M a: j. W- :q: £Z T~-r- ^e 1 — i- -G- -&- 22: ■ ' J J £ ^ let The saints a - bove, how great their joys, How bright their glories I I be. * Wrongly called Winchester Old. No. 47 4 /latent! ; or, St. Stephen. (CM.) Harmonized by W. H. H. & G> 'G* * I ! z± B ~^~ Z3T -S»- "CT ^Eg G?- Fi IS J i -Gf- __C2_ ^ ^ Z2I rJ rJ ph -f ^=r& Je - ru - sa - lem, my hap - py home, Name e - ver dear to me, Efl i 3: & z± CJ rr ■&-G =4 F^ st -- -& s ® «- "C3~ P W s^ ^2: is When shall my la-bours have an end, In joy, and peace, and thee? A - men. No. 48. J: Sltirte* (cm.) W. H. H. 1869. ^B -fS- 22 IE* ->S>— rS> r> 1 b Sg: feSE? aAAj^4 rrrf S =^-& 1 — r g^—g Z2: z>: 5^ j 3d rj rj Q~P" -| Y 19- T^ -- 1 T2L -G>- G* Q r r; e e ■tat :prz: .Q_ r^: urzr^' So pants my soul, 0 God, for Thee, And Thy re-fresh-ing grace. A - men. No. 49. J>t. jfames. (cm.) — i — \—± OLD CHURCH PSALMODY. 1=f -r± g--©:- z± :c2: «£ I I 10- S=^ 22: -0- z± =3=^ 1 1 -sss — 0- 1 £2 — 1 1 — -e>- -QS&- -& -- 1 ^J 1^1 €^ ^: p -- 221 ^z 8 22 £2= Thou art the Way : to Thee a - lone From sin and death we flee, M -0- i£ 22: - — o- -g> ^ I I ■&- $ £ r. :cfc -d ■r-$-&; T*- r J-J-J-^- -O- 2Z^I t— f zzz -QS&- 10- d i i ?=c tt Cf -fsr s =1 -<0- H S: ^ -o— & -0- 22: And he who would the Fa-ther seek, Must seek Him, Lord, by Thee. A - men. No. 50. jUdross* (cm.) OLD CHURCH PSALMODY. ^fesi -- 72 Eg I ^ — ■= z±z^± 2^: AAA**- _Q_ W£ :g: -.0- -o- 1 Fa - ther of mer - cies, in Thy word What end - less glo - ry shines ! A 3 ~L m -&- :p=^ :^=g: -e±± I I 3H - -S»- I I I Cfc^: 1 I I ! 1 F zfczi S 1 rt=f 1^1 22" pz=f^ -P I — t- -& zdrrf ?z M -I — r ^ -^- W=j IS -s>- 23 Q For e - ver be Thy name a-dor'd. For these ce - les - tial lines. No. 51 Besor. {Brook) (cm.) P ^ SHH F ?2. :q: _c2_ -&- ^ W. H. H , 1835. I J 22 A 1 1 1 1 j rzrrzci I -J -& "O" 22=S=22. =^=P= ^ IC2_ _c2_ -P- t=PZ ^EP What shall I ren - der to my God For all His kind - ness shown? I ^-^ " ld ?-& 'n: ■&- ^m -4 is — - r -p 5 ■©- z±=^=^; -o- Z2z: - — - jQ. EffiEBEEp m £21 P 1 - -o- -& @ rs— F»— rx- — ^F zz Z2E ^= J- -&>- ■^ ^E^ Q rJ|K t* g2X ZZ :P2: 22: Now let us all Thy pre-sence feel, And soft - en hearts of stone. A-men. No. 53. •t Cftrpsostom* (cm.) r* ^\ (See Preface, p. xix.) "T" /^i-L7^-3 ^T L7»-3 — ~^r W. H. H., circ. 1830. T3—&r u r j-^j « £2 -- z± i tff=3 k>' ISU m &~ f=* Ibe&eAesA I I * I Wake, harp of Zi - on, wake a - gain, Up - on thine an - cient hill, m Ln^ .pzz^z :£^ Q Q '| ^S m- On Jor-dan's long - de - sert - ed plain, By Ke-dron1s low ly rill. A - men. No. 54. €ban I. (cm.) (See Preface, p. xix.) W. H. H., Melody, July, 1846. Harmony, March 19, 1870. ta m ^Effl s ^g$ :§-- hSS>- ^ ■p 1 i3rrr P^ ^ @ -&- -CSP z± z± :e± iSh rjCU -S- I I J yp=F^B Je - sus, the ve - ry thought of Thee With sweet-ness fills my breast ; I b#- S -S>- ^ ^ izz: r «t=t ?2 #&> -& (Sh m -g»— h H >■ - Q ngD -&■ -d^U & Z2 1 ^T2 P « But sweet - er far Thy face to see, And in Thy pre-sence rest. A-men. No. DO. ILoxibon JIleiD ; or, Newton, (cm.) (See Pre/ace, p. xix.) =£-*_ =*=□ 1 1 1 1 rj ^ rJ rj~ — O— OLD CHURCH PSALMODY. 1 111' 1 1 J -si ri O 1 — 1 r 1 r 1 1 1 J^J FMP f r Ef^p=p: -4Z> H — ^=^F=F= — \\ O God, our help in a - ges past, Our hope for years to come, PHH Z2: _l- S rJ rJ: I I :pa==qe=pE^: -o- u 1 . 1 r ■ ' fe^^ y=0^=d jz?zz&: -&- _£2- Z2I > I I 1 19- £2= -o — P? _Q_ ^ 22. i ! ^ 1 — i — r zz Our shel-ter from the storm - y blast, And our e - ter - nal home. A -men. No. 56. Catttjne0Su (cm.) OLD CHURCH PSALMODY. fe=Efe.y j i i «* ^ ^ *z* *\ i @ fe6^=i zi i 'u i I -S» -- z± -OL_oL T2L f & ZZI ■&=P?- 1 r F^ i r Plung'd in a gulf of dark de - spair We wretch - ed sin - ners lay, I Z2: -& A*A 3 i z^: Z2I ^ g*=s=j= ■& Z2I :P=f Z2I :~^~^ i i i £s=t A -&- *=U EEg A J. m m z^: z^: g g j Z^I 10- -.^ 1 1 Q 77 i g Z2I h- With - out one cheer - ful beam of hope, Or spark of glim' - ring day. No. 5 3r! 'Z2. ^ CpljrOU. {Mount) (cm.) i I I W. H. H., 1838. S=zi -P-2— - When all Thy mer - cies, O my God, My ris - ing soul sur - veys ; Ifeill L 3Ct -<^— & ■&=T±. JZL -- Z2: ^=z± s r -O- ^ !©- J. :^: I I fefe 1Z—C2- T± w jdL m i. 1 — 22: -o— p^- -- zi ^=^=^: -.<& -cr 73- "P5" r -& -& — &- -- ?==P 3 2=PZ 1— t , , Our God is love ; and all His saints His m - age bear Z2I be - low : i tzz £* ^=zi -0 — &- •&- ■^=^- *2=S=- m r^ •&- Pb <^ r ■f= i rtfr M ' n ~T3~ -G- ~cy ■o 1- ■i^-(s^=B ^ES .Q_ I I ^ ^ -- -- 2±Z2t Jji p e> q W -^re. i I The heart with love to God in - spird, With love to man will glow. A-men. No. 59. m se©-=^ 3rr9. =- \ ', y .d_d_jd_d ^ <^- Z2i -s>- *> ft ti A\ ci II -©- 3 r i " -p i i ' i - - — s^ zz ^2: f=p^=S=^ 23 g^p^-J-S^ £fefc 1 TZL fc^_ -&- zz ^ ^?~ 4°- «- . I 1 I I Z2 i-j^ |Q <0 ii 1-. — ^_, — ] ' ■ ^ ■■ ' ■ i — ' — ' — f No home of rest be-yond it all, No guide or help in Thee! No. 60. S»t. DabiiK (cm.; {See Preface, p. xix.) OLD CHURCH PSALMODY. v*m T± -&- -& ^ s -rj 1 zt -&- ■& sr zz :cz T77 ^Z feeE§=8: i i pi i -- I£Z 1 i - — — Z2I -^ I I r =© w^s=m God moves in a mys - te - rious way, His won-ders to per - form ^=^1 Z± §EEESeES2 5 3± H 22! ® ^^ Sss: I I m -&- ^^ 0 * ~^L 7^L -Gh ■^=^ -- I 1 T^ He plants His foot-steps in the sea, And rides up - on the storm No. 61. ^—7-1 7^— S-L^I=P=R Carlisle, (cm.) ~ ~T~ r r i i £> ^z Z2I Z-2_ -^-J-^i OLD CHURCH PSALMODY. -I Z± r£ 1 ! J J ^ J i yH Q Q ^ ^ gzgzj± i i V^ Ip- atatc^ fe -^ & -<^ «S- =P =P2| P~1 ■O- f51 ^^S For mer-cies, countless as the sands, Which dai - ly I re - ceive m 9^=&=, e£ pzzi z± ?2=P=q=?Z rz zz Z2I J=d=d S=^=^i I I I I r-> g 1* ra: s 22: S= =^qqi - r± JGL ^— p- -- -^ rro. f3 i i-i R ?2I BF -s> — h From Je - sus, my Re - deem - er's hands, My soul, what canst thou give ' No 62. >aiistmrp. (cm.) 3 z± nzt. \ , I \ 1- -S> ^~ i — r 1 . -&- Z2: @ OLD CHURCH PSALMODY 1 rffl z^^zzeizzz^zz 4©- ggf^^rffr^ t=t=t -& a f-=F=F -^ ■m- In - car - nate God! The soul that knows Thy name's mys - te - rious power, «zz:^fc£± -C2. -<£3- f Z2I ■=r±z. Z2I :g=^ z± BF JQ. _ri d- *A 1 1.1 ^-1 -o- ^=S=P: F*P^ z^: -- 1 ~? rr 6 rt ~P2- ^ W ®f Shall dwell in un - dis-turb'd re pos 1 1 r- Nor fear the try - ing hour. No. 63. i iumt. (cm.) ■I — i OLD CHURCH PSALMODY. ^ fe3 -s>- #§l "£?' .CI. iz£ •^-r^~ J-4 I i I I z^: -o- ~^~ z~1~r -Q — «S> — O- E2= I I I p _Q_ -& r± -A—z± -& Z2- ^=^ ZSZ I I I I £2= zz -e>- "T" -s>— When I can read my ti - tie clear To man-sions in the skies, I st -&—&-rJr -- z± Z2I ZZ ^T^rS-r S *3- s -^ ^=^ P -G>- -ft I.I 'J <2. _C2_ -Q. -OL ^A £± w m Z2_ ^_ Z2ZZ£2I is^P- £^: zz 1 — r -i&- r I bid fare - well to ev - *ry fear, And wipe my weeping eyes. A- men. No. 64. fc* ?DXm01U (W^12!EBS OF) (CM.) Composed in a dream. W. H. H., 1853 i H=f sfc o =^^0 itig-^E^ -G- -£2=Z^—Z± - — o- T^ && ■&- zz -LJ^Jj^db^i Z2I -~ Z2i r> 1 1 I I I I -&- £*> (^ -& BE WW0WWt^^ •©■ i 1 1 , I 1 I ^_ LJ: "KSf -^- @ H z^: Z2ZI Z2: Z2I ^EjES ^=p I I ' M It soothes his sor-rows, heals his wounds, And drives a - way his fear. A - men. No. 66. Befeforti* (cm.) {See Preface p. xx.) z^: OLD CHURCH PSALMODY. I I _ _ . I Sffi rz Z2ZZZ =±2 Z2I ■©■ -O — Q » C^ I I S1 Z2I Z2: «9 rZ Z2: ^ ^- st B: _Q_ri ^^ — s>- J2J B^ £± Z2: -fel- qe -^ 1 Z2I 1- Through all the changing scenes of life, In trou - ble and joy. sg z^: -G>- TT Z± Z2I -G> Q ' Q B -^ — & s>- -QS©- 7^~ # — & z>: -0- Z2: - S: -^ I I I ■ .1 The prais - es of my God shall still My heart and tongue em - ploy. No. 66 a. :^-e^- -& ^ 5^EB^= 33eifOrll* (CM.) (Common Time. =C±=^ 1 IQI -O — Gf- ^~& pz I 1 — ,' — I 3-^ » -& Harmonized by W. H. H I 1 i ^JT^Z. =&=f= -S> f= r> l 1 l l 1 1 1 1 1 7^-p-F t=t <2_ ^ Oh ! for a heart to praise my God, A heart from sin set free ^e® t7 rirlS: -- ~C :^=q: ^ q q ^ ' ^> "~& — § S=* J- 1 1 lr-J *± ■f^- ■P T*. -© ssg I Ld zz -& ^ ra z^: ! J I I I I J A heart that al - ways feels Thy blood, So free - ly shed for me. A - men. No. 67. Jfarrant* (cm.) {See Preface, p. xx) 5 T=t z± ^£gE^=g^^=FFH=^ OLD CHURCH PSALMODY. 1 1 1 s ^; <^— - ^— g ?Z ?3 ^Z Hi s=? irl I I 1 ^2L EZ ?2 .OL .£2. _Q_ 4= ^=F^" =£2= -- I I I I -- -£2~ ~C2~ #1 E? 3: P ?= CJ s =s :pzr?=: f ^ p ^ 7^ ^s>- 1 — h C2 .£2_ Lord, as to Thy dear cross we flee, And plead to be for - giv'n, -O- fH-^w-^j -G>— I "O" I I -^ T2" l^=gEgS=g=S 1^2: ,CL — j 1 1 ■ i Z2=£2 -^ -^- f3-^ w SF ^3: ' I " I ' I — I" So let Thy life our pat -tern be, And form our souls for heav'n. A - men. * Wrongly called Southam. No. 70. Ctjester. Or, "A Prayer for the Queen's Most Excel lent Majestic." (See Preface, p. xx.) ~^T?H& T=t g-g-^ ■a- I I I ffil F^=g^: :?3 Lri P0 -e5&- -OS- OLD CHURCH PSALMODY. 4 -- -Gh T3T :S=S< Z2: -&T? i=d=d I A - ^ -& f ^EE -- ?z r-r ^ ■GS&- J\ rj ^_^. ~Gh tt r-f^m m^m t^ (Sf- -G- ± _C2_ ^ J_ I _1 ^ S> — G~ T*- -g- A mourn- er all His life was He, dy - ing Lamb at last. No. 72. iDuilicc; ok, Windsor, (cm.) (See Preface, p. xx.) OLD CHURCH PSALMODY. i 1—4 ^fc gL^^^M IS -S>- O 22 -P-& -J ^ J- J- ^ 72: 1 - — - c> Q. Hi§ O help us, Lord ! each hour of need Thy heav'n-ly suc-cour give ; d: ■z± ^—jjr r -4 ^ -<-J d d m^- slA rvr *£ - ?=t 1 1 -& -- c> _Q_ 22 4=T J- -^ -fs>- 0 ^si- 1 jS-tS- w M ® -*3> ~Z3 1 I£Z -IS* Help us in thought, and word, and deed, Each hour on earth we live. A -men. No. 73. L JHarpfS ; or, Hackney, (cm.) (See Prejace p. xx.) -I — 1 — v Harmonized by W. H. H. n ■o—rJ- T± -\ r- l I I -&- r T3~T3' Z2I Z2: z± ^=p -TTTT "Z2I I I I I I I -s> — s>- d-^-IM ■zt -©■ -^ fefct S© rs©- ?2: ^ -^ — iSh i9- ^ F=F ~^r Al - migh - ty God, be - fore Thy throne Thy mourn-ing peo - pie bend; ! z3: 1 ~rj-&- Z2I I£2 1,1 MM1. @ r& -^- =g>= -s>- r^ 1 . I (G2J| ol^- -S» — ©■ -^ @ 7^ Q ?3 -P-T^ ^ Z2I 221 1&- s ?z 1 F 3= -o Tis on Thy sovereign grace a - lone Our hum-ble hopes de - pend. A » men. No. 74. 0tt> £itt)t{>. (C.M.D.) CB p g-pF •4 OLD CHURCH PSALMODY. 7^ ■- p -G>—- I£Z ^Elfcfefe :F=P :pzd: _C2D_ T± !_^_^_.J iEl c? .£2 ife :p=2: t=± :F P2=t -Gh zeeB :t i§§ He came, whose em - bas - sy was peace ; He left His throne a bove v I i m& _C2_ A :p2=g=rf ■&- 1 , ' , i r Z2I A -^=j-3=jdr- rrfr H :g_ r^ fsl I I zz -s>-(" rt Ipl IP _C2. p -- To prove if en - mi - ty would cease Be - neath the pow'r of love. -G>- ^f^=^ -s>- f .CJl -3—&—H—&- ^=r=f=\ -e>- -s>- :^2: -& ^ ?z :dz ^t III, J. r-p- ^L-tL n ZZ. £21 :^z ^ He came, whose er - rand was to give, His hand was o- pen'd wide; =T -G>- ^ J — 4 :rJ rJ IE £^a 1ZL. P K zx f @# s "P 1 1 r T^ ~£2I i ^ J -- £2=^ -i — r z^- fi: lo-r 7=z fLcU ■f^--- ~-^p- * W .tor Yea, at our need, that we might live, He gave Him - self, and died. No. 75. Olt &XXXI**. (C.M.D.) (See Preface, p, xx.) OLD CHURCH PSALMODY. i i&kEk S Z2: r p— f^-J-^- r*> l ^~ -^J-^> ■<& ^2: f £?' 1 ^ ti :cz -ig- I O # «=^ .d Szfc ^2. ZZ J. ^ te I I ±=t -I ej- 1 Je - ru - sa - lem ! Je - ru - sa - lem ! En-thron - ed once on high, i ■Gh U Z±T T*- -P^^. Q_gJ: £2: ^s>- & z^: -<& z^: -P- Q rJ z^: Z2I z^: Z^~ I I -Gh-Gh -© - O i=J Z^I ^& T^ -& -&- TJL T3L -O PZ S>-— - ■z^n&z^ Z2I 1 1— I" Thou fa-vour'd home of God on earth, Thou heav'n be - low the sky ; Q_ci. m t=z± p=p -0- - — ^- z^: -(0- -e>- £ ^2: ?2= :^2: ■z± -^=^- ~Z2l -Gh r. mm -O - ^ S&. 72: ■P -- Z2I ^ -& Z2: Now brought to bond - age with thy sons, A curse and grief to see ; Je - ru - sa - lem ! Je - ru - sa - lem ! Our tears shall flow No. 76. BtftljilbttU ( Wilderness of) (cm . d) J I W. H. H. urn -rt— t. - r> & I I m ^F§=p sL^- ^ --§-- ■© — ©- ^ & :^=t zz ±=h t Oh, for the pear - ly gates of heav'n ! Oh, for the gold - en floor ! ± G* -G> . F^ fcst -Gh :^2 p-^- ■ -Gh ■&& TZ & J=L jS± I I FP -es&- %^ T^^r- T^'- it^l -Gh -G>- -Gh \ ™± r* -Gh Oh, for the Sun of Right-eous - ness, That set - teth ne - ver more ! A - men. No. 77.* €t>an II. (c.m.d.) (Sec Preface, p. xix.) W. H. H. 1846. c ^=^ » |_<^_^ C^ ^ " 1 1 f Q - g>- -o- -o—R-i rrr\ z -o- :p=zz^=^: zzz: -e> Lay down, thou wea - ry one, lay down Thy head up - on my breast." A ^ zi -&- ~^r i^=& p I :^=f2i let -- -P2I H^- @ ^ g— P"P— PZ J=L H 221 II1' -O- S P I came to Je -.O- as I was, Wea - ry, and worn, and sad ; T=3=t it Z2I *^ -O- I^L. ^AA f s G r -JTJL P^P -s>- ci-C-LpL T=X r*rrfr & 1-4 — — mm 22 -&>- Wi -- 22 I found in Him a rest - ing-place, And He has made me glad. A - men. No. 78. It £)lt> flunc Dhmttis* (c.m.d) OLD CHURCH PSALMODY. 9 ¥^ B- -&- ^=S- wm TZ=^3ZL « I ^r I I P=" m* m z± ■Gh ^pa g^LA ■m-e-^- -©- ^=P=: ~1 j 1 1 1 1 o zeal and love In - flam'd the Sa-viour's breast See 1 /hat un-bound-ed I «£ ^==£3 -S»- 1 §£=§ r "^ C>~ ^ ?Z Sizzl: -- z^^: rzzfe jd p: :£Z ^ rj~ T*- ■o- When sted - fast tovv'rds Je - ru - sa - lem His - gent way He prest. i i i i ^=£2: -&- Z2I 23 -r± -ts>- - — &- -^ — P=P= ^ r*> r^ T^ 1 I n 1 1 1 m 1 i r r ^ ip-r W :q ^ ■■&=&=t zz I Good will to man, and zeal for God, His ev - 'ry thought en - gross ; * ill ZZ3ZZ£± i z± -e>- rj cj ^s<- tr I I -& T? ZZ__g! I 1 ?^: -e=*- I I I ' I I -G> J. 73— P2^PZ 1 ^E-r ?2 :P~P^ zz ^ iq: =P= :zz z^: ?2=I t longs to be bap - tiz'd with blood, He thirsts to reach the Cross. He Raised from the Dominant to the Tonic. No. 79. 3l)CU. {Plain or) (s.M.) ^m 4- W. H. H. 1S41. -z± '&- Z2i <&—rt—Z- m £2Q. V ' p> H fe !^_j_i ~o_ 22ZJ I I S &. &- A TZ- TZL -G>- ^ !=*- A - wake, and sing the song Of Mo - ses and the Lamb ; Wake, ev - 'ry heart and ev - 'ry tongue, To praise the Sa-viour's name. A - men. No. SO. jlarcn?a* (s.m.) OLD CHURCH PSALMODY. I Fe: g: is*- zi z^: i£2: -^ -e»- =3^= -s>- 1£2I -S> P^" -- jzL JC± wmf^zmst 22: Se Z2I zz -P*- Z^2I -- Stand up: and bless the Lord, Ye peo - pie of his choice IS I i I Stand up, and bless the Lord your God, With heart, and soul, and voice. A - men. No. 81. Sltmna* (Rjver) (s.m.) A L i W. H. H I£2I ffi5 zi=:c * — e- -&- -S>- -*S>- ?2I -©- -S»- EtZ z^£2: :— "=e=Q: r 1 1 _Q. I -(S- -o- -- ^_,.J_ggg ?2I -S>- I ' II Come, ye that love the Lord, And let your joys be known ; i =t -^ --&=&, &n~ zt±z^l -^m 1 1 -&h ~£2I 1^2: ?2- 1 1 ~i <<^3 <=3- fe 22 IS 1—1- ^=^=S SIT?_g_g ■f— — &* — < ±=t :gt i^S I 22: iSHQ ;=£2= Z2d Join in a song with sweet ac - cord, And thus sur-round the throne. A - men. No. 82. j&toabia* (s.m.) OLD CHURCH PSALMODY. P ^=£2 q: _£2_ <|§i I i J-. "OZ3- ^-g^-^ I I I -£2 — - «- -e>- -&- ■©■ I i I ^=F ?2= S=t=t S~"~P p: 1^2: :^z To God, the on Our Sa - viour and our Kin< m ■I 1-. ^ ^=g^ -^: -r± -o- Q Q jo. _ol I ! ! J r -«s- -- J E2 __ _j 1 L r "F2^ _oL jzL-^j^. _£2_ -&- s-+- -G> — Gh £2. G>- m hiq: -&>- r '-t^- TZ- -&■ -G- TZ=£. =j- TZ- -&h Let all the saints be - low the skies Their hum - ble prais - es bring. A No, 83. S§3 ittorabk** (s.m.) OLD CHURCH PSALMODY -- z2zz c£ - — IS- ^^ ^ — ±4 J. I I ^ -- -rJ g> -pi- :p=: s -—f^- zr^: jQ. ZT £->— pzp -«s>- a Ob - serv - ant of His heav'n - ly word, And watch - ful at His gate. No. 84. &matU* (Mouxt) (s.m.) $3* -G>- -&- J=d: z± =S£ I -— P^ -o- ■©- !. 'I J !___«i_aLJ- 1 w =P= -G :^2: -g>- -gh z^: i No. 86 And cause the bright-ness of Thy face On all Thy saints to shine. A - men. 3jaJ0n. (Valley of) (s.M.) W. H. H. ^ z^: V -&- rl — r± -Gf- =P r^: ~?^- -g- zd: zd: -- :o: i HfeE G>- L ^. EE -- r; II rj I rj fp -& Gf- A Z2: Not all the blood of beasts On Jew - ish al - tars slain, m mmm^^m z^: zd: :§: -7T7 I I 1 1 ^ 3=2=§= jOL -&— J- -»- Z2: ?E^ ^2ZJ z^: -- rj ^— Wrr h :^±: -A OLD CHURCH PSALMODY. -/© fS>- r pip ^feS Jdi OL -& T* ■Gh B3S ■m^ ±=i — ' — i — r Be - hold the throne of grace ! The pro - mise calls me I :'r z± ^^.^^^^^^s TST-p ?3 PZ -«S- -^ -pry f £3" t=t gzzfesS -£2Zi ^ fe^ ?2= -& 53=^ rrrr ^F °^* -^rf H ~zjl. 'Z2L There Je - sus shows a smil - ing face, And waits to an - swer prayer. A - men. No. 88. 2Ut)0t\ ( Valley of) (s.M.) W. H. H., 1847. I? -- g? — gj- 7^" i f-p -- -- a a e? ^2. J d rJ J 1^ r r r ? 1ZF m^m^^^m Sii? T^- f=£ I was a wan-d'ring sheep, I did not love the fold ; .8 ^ J j I- d: -^ H:— «S> G* :&: ^=^=^~^± -o- m^-iA rrT -&- Z2I Z± W=Z I I § p fet t •o- 1 J: "& 2=f^=t ?=t ri M rgj; S: St -- -& 1j_j «td= fS Q23 •iS'- e ■J: F ^> t" Sow in the morn thy seed ; At eve hold not thy hand ; +-1 1 — o-3— I - J-j ?=£ ^2ZZ^=& 1 1 f H©l — u I I To doubt and fear give thou no heed, Broad - cast it o'er the land. No. 90. armajjjefc&on- (vallevof) (s.m.) &£ W. H. H., 1841. S r± SS^S -& =^- 23 sL 22 r?— n—?y 22: 22: 5 ■e — .0- '-d: *E£ -^~ ~c?~ Z2 -o- -p* — t «- F=F f Come, Ho - ly Spi - rit, come ! Let Thy bright beams a i fe* ££ d=d •& 2±^ X=X F=F- -& r, -O- & W& SE^fe 4^ T2- ia jjp- .C2 A Z2: nosa- _oL =pz -&- :cz -/s>- 3 :^2: icz ' ' ' r- r I ' Dis - pel all sor - row from our minds, All dark-ness from our eyes. A - men. No. 91. ^CVUCl; {Wilderness of) ok, Hawxstoxe. (s.M.) I * « W. H. H., 1S69. E ^ -fir- &r JZ2L m H -P S^: ifee -s» — ~ zz: ^ What cheer - ing words are these ! Their sweet - ness who can tell ! m 1 f- CJ zz z^: 7^~ I I ~^^r iv rj Z2I «-^ * — - ~^v~ -: -^- Be - hold, what won - drous grace The 'III Fa - ther hath be - stowed I \ r I P as ZCJ—CJ. -& — & ^z: =g=P? =mz^za=SJ"g~i ^~S IG2Z cz -zjzzrri T- 1 1 I I L^- ¥=- z& :^z ^ TJ~rj- -0—1 m mm On sin - ners of a mor - tal race, To call them sons of God ! A - men. No. 93. tft&t&no. (s.m.) (See Preface p. xxi.) i l I OLD CHURCH PSALMODY. ¥ TZL 23 ZZ z:g^d=^ rj r^: -o 'Z^ZZZJOU 1^ -■§=-1 Szftzz -©>- :cz z^: zz *?5 « -& ■a- And will the Judge de - scend, And must the dead a - rise, 1 ^ 1- Z2I sc=o=; 5* !^Z Z2: - — ^ — &- ^=s: -_sf_ zz -<&- I I @^pg I J ^J> flvJ — — Gh-*-, - — & z& TZ, r^_ ^=^ And not a sin - g!e soul es - cape, His all - dis -- cern - ing eyes No. 94. j&outt)toeii. (s.m.) (See Preface, p. xxi.) f) \\ 1 OLD CHURCH PS ALMODY. Jin ■ "II &>b\> ^>— rj Up* c^. — ^o * ^ -j c^-» — 1 y- 1 £^ 1 1 -H — H — o-^ J J 1 l—^s — Ll ;(g): o - /^ — &— — ^ ^§ g _.^ ^ CJ — ^i? ^ :/?(,' — r^- p ^ f5- 1 y 0 Ll 1 P | ' r> In row and dis - tress, To Thee, O Lord, we fly m S *= ! I :£fa2 zz -— IJ Q ■ Q Z2I c? c? J J I I I I ^^ ^ 1 _C-2_ -— 0— & -^- 1 — r F^ H ^^ ^^r^ p=t i — r ICT ^Z ^z: In pe - ni - ten - tial low - li - ness. To Thee for mer-cv cry. A men. 1 No. 95. ?luDJoto* (s.m.) OLD CHURCH PSALMODY. & D — — — J— - st zz -^ — ^ — jjg — 5 i i r -- zi :.^2i "p— P" ^35^ «=gg :cz z^: j J ^ ■' £^ f^f :^h Far from my heav'n - ly home, Far from my Fa - ther's breast, $S 3 ssE^^a^^ "£?~ p 4-4 ~(S>—=—fS> i©- ---- Z2I z^z: ^ i i -&- f =E^= i i r F™$ -- Z2i 6IH -^- ^ -^-«s- -& Faint-ing I cry, blest Spi-rit, come, And speed me to &&£ -G>- my rest. A - men. No. 95<2. £t* $rifce* (s.m.) OLD CHURCH PSALMODY. :^2i E:fcE^^ r -&- 'Z2\ m 3^a: fe Jill -ci :^2: _j — ^ — rJ -&- ~Z2\ :£Z t=4 -&- ?2I f - m &r -&-_e^. ^* & Q=pz |=qnpf=E2 Let me, op - prest with loads of guilt, Thy wont - ed mer - cy find. A- men. No. 96. JJUSSatj* {The rock) (s.M.D.) i felt W. H. H. lr ^21 -o- jzt -^=>- -- - •CL ~ZZ. m^F=0=& =pz ?z 3EE Thou art gone up high, To man - sions the S> — > ^o: zi ^7" 7^- ^ 1 1 F ' IgUi -«?- TJ £21 _£2_ @ _£^_ =pE zz £2: 7=2: :^2i 1 ' And round Thy throne un - ceas ZZ ing The songs of praise a - rise. :c Z 1 P Z2 -S>- ZZ 22t « J- -- 0 s zz s ■pt ^ _£2_ 2 «- --& JQ_ zz @ «- :^z ?z But :P=r ' l T- are linger - ing here, With and care op - press'd i ■&- 2^. =0 t~ r3~ -rj-& fct rj c±_ -&- o . -?zr T*~& ^~JL ^ I . I &- -- ■&- ^-y-*^r uu p « — r ^2L -: r _c^_ -& -- z^: .OL g: -- «- 1= TJL And still in lone - li - ness she waits, A friend - less Strang -er she. m W=z±±5i -S=?=S~ 1ZZ- ~rz -o- p er S1 -^ Z± :g: :^2: ■p— (ST S— ^ I : z± -s>- fefegEij ^^Hil^l 13SE?ES 5® r Age af - ter age has gone, Sun af - ter sun has set, m ■Gh 22=^1 P^mp£ i^DttBL^_^-U !~^^7TT -©»• _£2 \ -A-^--, €* — «- ^=grr^-r?- :& -p-r^-^-L :^z flijgg^^ PBt -&- -o- — tjt And still in weeds of wid - o\v - hood, She weeps, a mourn - er yet. Come then. Lord Je - su. come! A - men. No. 98. *t. t'iias.* 55>55>(>5>65- F. R. H., 1870. -0-T-0—J5T ^21 (^ \ ^ -^- I , I S" ^ rr :r>: 23 I 1 -P tt2-f^=e j^_ 1 Breast the wave, Chris - tian, When it is strong - est ; i ■&- 1 -ci- H :gj — *zl f^=f 1 . s 1 ^^ W- 'l €S k S -& ^h J=£rz=£ X-2. ~TZZ. -ts>- ~Z^. -0—, 0- Watch for d; Chris tian, When the night's long j 1 — ^ — — * — *— ~^H 1 -^ *— J5 r 1 S* 1 1 ^ — ^— 1 1 1 1 -*- — m , L— i — 1 J-. ©;*« f 0 1 1 I r- 1 L - 1 =M= 1 — r- -j*- •— rj # • On - ward and up - ward still, Be thine en - dea - vour i -3 — ^ J3t=* y^r^f r ^ f? r, ^ -s>- ~££=Z3L m jOL -O ?2 I ^ -J- ^ m~ I ! -e>- « * F ■«- =f^ The 1 1 r- rest that re - main - eth Will be for e - ver. * This Tune may be sung in Triple Time, if a more subdued effect is desired. No. 99. gOpljim* {Field of) 55, J7JJ, 6. -fl- 1 . 1 1 | - 1 W. H. H. ifo-tt-*1-5- — * rj — ^ c*s 1 — — zA • w— g ^^2" =^| 1 P 1 | ! 1 i 1 1 — ^ — 1 1 1 — » ' 1 1 -*- *L* J- r? <& /A rJ • **^ -p£~ — ^ W l_ <-^> • ! rj Lp- # "" -F — p- 1 1 H There was joy heav'n ! There was JOY in heav'n i r=p 1^2: -& 23 ^r±rgrz£j3Eg -S>- T* ®t & --■_ & -& &- T* ^\ t n When this good - ly world to frame, The Lord of might and I Z2 zz -(© — ' 1^2 -S> J- -g^- -1©- ~td rj i— OZ3- ~- gp — r ^2: ?3I ^fe Z2I c-^_ ■©■ =PZ 22: 1 fS>- 22: zz 2Z 1 r- came ; Shouts of J°>* were heard high, i^S^i And the stars sang from the sky, " Glo - ry to God in heav'n." A No. 100. jsJL jlxmrtm, r valley of) 64, 64, 664. W. H. H., 1857. 1 . 1 . r. '-A ^- is*- 3CZIC * oL S53E :g r>~ Z2I -&■ «s»- zz H -0- — & Q^ Near - er, my God, to Thee, Near - er to Thee ! 5E?E^: Z2. -S>- I I P ' IS E s» — 7=- "-S7 _ — *_^_^ 23 ~# ^ rj trt ■&-• y E'en thoug-h it be That eth HI -1 ! *=* ^ ^2: Still >- -*- P mh^A — iee? all m1 song zz >hall TZ- I I be — Near - er. ■&=t tf ^S -«©- -W=Z3L -*■ G>- s :<* — p £j .Q__ God, to Thee, X ear - er to Thee A - men. No. 101 OJibet* {Mount) 64,64,664. W. H. H., 1857. ii fe I I I I I _J «s<- Zi 7? -^ '-^=2- T^ £* =B=g: 3^3 ?=* n 3St •s- :£2; zz d=J=i -<^- 'I — ■- Near - er, my God, to Thee. Near - er to — S> m T3=X Thee ! E'en though it m :cz S==c* -^ afei zi :a :£Z -o — e>- -i&- ^ «£ yz jsL €^= ^= &W -- P2- 0 Z2i -J .J 1 be cross That rai - seth me; Still all my song shall be- ra z± ® ~^£ u FT ids Z2I -& ^§: @ eEEi: zz tp3~ s Z2: 1 z^: -Z2i I Near - er, my God, to Thee, Near - er to Thee ! A - men. No. 102. Beulal)* 64,64,6664. \V. H. H., 1866. o-gr-£±JEbgd I 1 I'm but a stran-ger here, Heav'n is my home; Earth a de - sert drear, Or, Ophel. Heav'n is my home ; Dan - ger and sor - row stand Round me on ev' - ry hand ; ^Z « 1—CJl. 23 -& «S>- :g -^S- @ —rt fzL ZZ r ,c± T? -Gh ■jpSj* let zfczzz J* T Heav'n is my ■iS- Z2: Z2: fa - ther land, Heav'n -O- - my home. No. 103, 3mpiksu 64,66, F. R. H.. 1870. £=fj— &- I ?=: "S7 "-g-- fe±p "C?" cz__^__ri 1 ?z -P2- -S>- -&- 7^- Z2I zz ;^3 -o- The The is sink - ing fast, day lig-ht dies 2=] st P#pp«pf 3336 -Gh TZL 3ZZ2I -O- «- S^P^ -& J-J ^ t 1^- -O- ?2= ?2=S=f _£2. .£2. -- ~£2 _Q_ -G>- i Let love a - wake and pay Her ev'n - ing sa - cri fice. No. 104. Ciauita* 65,65. HHI - F. R. H.; -.;-: f-sr-l gb

^ g e— L-M-J 1 ! f* i | -r- C-* -r -^ „ H & — Jc - so, meek and gen - tie, Son of God most High, 7^ 1 n I — 0 0 0 M-1 1 , 1 1 i, 1 ^1 r= 0— 2— ^q- - ^ cJ ■"■ ^ ~& ^^ ^j £-* ^ — ^ -a -a- !^ 2h- O rj \-& — r^— «— ■ >o> ' J ^»_ u - -j. lev - ing Sa - viour, Hear Thy chil - dren's cry. A - men. No. 105. fI}CniU$. 65, 65 D, OR 65, 12 LINES. 3 1! t F. R. H., 1870. / *» ^4 a * e ^ # ^v — ^ • * ^. ff * \ . ?z. F rz> ^ KJ f-~ s> — l W — ^ r C*s ^ T^ r^ ' ' 1 | | T ^ ^ S> H i — ^ — n ^s r P ° — ^ ^ — r^C^ ^ Ev' - rv eve re joi - ,v - rv thought is ' IS i zz ^=J « I i -s>- 1 1 ' 'I — 7* z^: Hap - py hearts and voi - ces 18 z~z Glad - den nights ar.d davs. Chorus, -jMn* 1 ! S>— r— 9 — (( ^> ' * — s § -H rr~\ l , f »P t=S|J <^H — ,. „ --^- ^ 8 ■ 1 1 ♦ Z2_ r^^ g- p£i O Al - migh - ty Giv er, Boun - ti - ful ar.d II I I z^: Z2: -o — ^ Q -^ ^^> -«S— r « =r :gr -& r» n I z^: As the joy in har - vest, Joy we be - fore Thee. A - men. No. 106. J*t Barnabas* 65,65. d. 1 F. R. H., 1870. ¥ ±£ Z3 0=£ i 73 jUT -^23" ^~ ■& ■©■ & "S fee s — &> - s; ^ ^9- ?= f21 -^~ -& ^z 22: ?^= In the hour of al, Je - su, pray for me, -~ ^21 TJ\ 2^21 -n~~T ^ ^2— g: J €s=s ?z ~Z2L Lest, by base de T*- al, -iS>- de part Z2: from Thee. I "T^F '.CI £21 ■jr± -=S- fe§= V T 1 1 1 -o — P :§: :S: '02^ z^: r^z -s>- deb fl O When Thou see'st me wa - ver, With look g=J IgJ call, I J=} ='=^: ^2: B gg- ^ £g-~~^ «^ ■z^- :cz 7^' ^ I I I I I z± g— e?-& 1£Z -^ & zl Pi s^s @ -& ^ -o- j^Z I r . I Nor, for fear or 7=2- -- Z^L I fa - vour, Suf - fer to fall. A - men. No. 10' fHoscoto-* 664,6664., p -&- -o- .C^L Z2: St "p- OLD CHURCH PSALMODY. 4 =1 -d. idL m- JZL ■©- ^ ~P~ - 11 s — - I£2I Sound, sound the Q ' truth broad, Bear ye -± the 1 z^: -& SEZJ2. 9 Z2I .d. I I TZ- TjL -- -e>- -- word of God Through the wide ;orld *=* -!- z^: ^ zi -4 E£ -§: -(&- A 7 W m =PE J3 4^+fJ jqL idL «" r± TZ- T* T^- T2. Tell what our Lord 1 has done ; Tell how the day -#-* 1 1 r , ! 1 [• i i A * «H m & - si — sL — 1 , 1 ^-8 ^-° . 0 c? @#- ~ J r^ • *=3 <=3 c> — (Q £-*— Q « (■ «^> — P* I I i i i P I 1 C-> " And from his tof - ty throne Sa - tan is hurl'd. A - men. Wrongly called Trinity, or Bkntick. No. 108. !1_U C2. - W. H. H. :d= r J. ^ _£2L -J- I -- =p-> — ^- £* J^ -s>- ?z «- -£2. 22: 1 J- -& -In- earth ply, Praise ye His His love and M=J=? £2 £=>. SEE ^E T* r i 1©- iS- zi -- rd- -^- r -^L €$£ I d — — , — — A ^S- rA ^.-%=.^L E^pE EEPZ ^ ■z± ^ grace a - dore, Who all our sor - rows bore j Sing a - loud A zs: -o-^- z± I J ©£=* r- ?2= ■Gh -f^- 1 f" f^ W Z2I Z2I .Q. icz -^s>- tt -& 1 1 I 3=^ :q: 22: er - more, " W'or thy the Lamb!" No. 109. *DtlO* {Plains of) 664,6664. W. H. H., dr. 1825. 3 WE^ A dL F & A 0 -Gh d T± -&- r *± :g;i r —f' & M^ pa: pz -— Thou, whose Al igh ty word, Cha and 5 d: J 1 m zi ffz± 3 jU -o- r X-Z. J. J— J- -s>- ^i^£E* ^ p - — ■ Dark - ness heard, And took their flight. Hear us, 22t atz^: :gJ g ■©■ f^T r- r r ?3 ■& r^ q — ^ m — <^ p — ^ — ^3- 1 P2I p t hum - bly pray, And where Thy gos - pel day Sheds not its P V ■& A w¥ 1^ r± ■©- JCL I m- ■&- iS>- P2= rz glo rious ray, Let "I 1" there be -- -S» Gf- S Z2I _Q_ S -^- 221 Z2I ^Z Lamb of Cal ry: Sa N( M 2=± m=& ?£^i^ -Gh r tp- €e^ -^ I I ^ -&- _J p- -P— (=L ■©• 5 P P2=t zz H hear me while I pray : Take all my guilt a way £=^i^ :s2i :£2i gz^g 22T H ZZ W -o- T* ?» Is!- 4©r -<^- «=** J-j _£2_ :P: f ?2: 3: :£z Z2I let me fr this day Be whol I£Z iy tt Thine. Z2I A - men. No. 111. Damans. 66,66. fc£ &i4^_^ :r^-^p- f :pi -<^- :c2 F. R. H., 1870, & £3- I I "JET 365^ J- E53 -si- 1 m -s> 4=P ^ Z2I «^4^ ?= ?3 ^m- -ts>—v-^ m 72= l Lord, Thy word a - bid - eth, And our foot - steps guid - eth ; Who its truth be - liev - eth, Light and joy re - ceiv - eth. A - men. No. 112. m 3&tst)an* (hill of) 66,66 3i W. H. H. Kfc Z2I ^— T*— gl— T± -S»- 1 r 1^" •- -&- I I £*$ ^=P=: ■O- zz .Q- ^ jQL -&■ -&- -S- :^2i £2Z -I «- Lord, How - ev - er dark it f 72= Thy way, not be; S g=gg=^ ?2=?2: n mm f ±zzt A. -aL fc=^ ^— g ?3 a _d ?2I z^: Z3zz: 1 , f- Lead me by Thine own hand ; Choose out the path for No. 113. psalm txMWK* 6666, 4444. (New Version.) OLD CHURCH PSALMODY. ■Gf- :ct =pq z± -Gh ~C3~ -G>- -G- ~CT gs _c^_ J B £=?- T^- zz Christ ner — - stone, :^z On -G*- fT rJ. ._. ^ Hi Z± g^g-i=F^fes 1© — 4 4 , j^ *ct CJ ^£ ^ _£2_ -J g - lone -G- f3— r build; With His saints lone The -Gh -G— - =t 1 ^21 I J- ^21 « i 7^" "C2Z3" * r "C5" ?z @ Z2I ^ •«*- -r; — |— His great -£2. courts of heav'n fill'd : On love Out E± Efc 53C S w W w ? -<& ?2I bove. hopes we place Of pre - sent grace, And joys Wrongly called Alnwick. No. 11-4. p&Um cxUriii'V 6666, 4444. (Old Version.) OLD CHURCH PSALMODY. SE H :^: ~q: -<^- d: z± r ?=■ Z2I -- 1- -& :^2i zi -3 1 ^ -1 P7- l plea - sant Lord of the worlds a - - bove, How WE ~1Zj£2\ 5 1 ^ 1st I£2 ^ Z2I 1 C2Z3" hi ®^= :S n ^ 7^- -- •s J. Jfct r^F -& ■Gh Z2: zz Z2I and how fair, The dwell - ings of Thy love, Thy fe^ ~- itez *R Z2I OL f^t FT i=r mm. T?- .C± "O" ri fe- i2_ J^_ r"> -SB- s ?3 f-f* heart pires, With warm de sires, To God. * Wrongly called Bodmin. No. 115. Cop&tL* 6666, 4444. OLD CHURCH PSALMODY. 3a 3 i ^ Z2I **=*&=& j=L mwi JZL £± d xz ! J J I. I -S> Gh A -f-2- 1 tS>- r~r r'r- ?2 Blow ye the trum - pet, blow, The glad - ly so - lemn I -o- z± -s<- Z± &: PT -&- JZL &>- T^ -& ?2 "OZ3" jP^=g: ^ -^ & ri. j- 4: -P2- :§^ .^ -fs- ?3 p £21 sound ; Let all the na - tions know, To ::£- 3 ^n T± -Gh 2 P m T* zz r rr ^ H e>- F =£2: -^ :t=l E Z^~ 1 1 1 earth's re - mot - est bound, ?2 The year oi Ju - bi - =-i K r I ^ J. rr^r a p-^ r is>- ■CZZ5" _ei %==P=P ■©- P ?2 H H p< -&- Re - turn, ye ran - som'd sin - ners, home. - lee is come, Wrongly called Knaresborough. No. 116. I !?&£&♦ (Valley of) 6666, 66. I W. H. H., 1852. I !H! m= 4 r? z± -& z3: ■r± — - ^2: -o- -- I . I TZ- m^m=^_ &=£=d J^L ■©- A. -Gh -Q_ is>- zz ?2I I gave my life for thee, P=F My pre - cious blood I shed That thou might'st ran - som'd be, And quick - en'd from the dead. it =£+r--^- Gh iz£ -G>- T*. BE -o- Z3t -S>- #^ ~f^F "c^- I I % :^2: -J- ^ J. J- ^ .g. J ^_pL^ I gave my life for thee : What hast thou giv'n for Me? No. 117. J*ljetm* 6666 d. fl If If l 1 W. H 1 . . H., 1865. V *H-*+t 1 | A ff B r * i rJ CJ u. 1 . rr^ * y <5T ^ ^ "k ' m ^ £-> g CJ >^ ^D • ^" ^ -s- 1 1 l I r i 1 , r? 1 i i i 1 1 ^ 1 I /s^- ft 5 ^ «-* r^ rj ,-, (€)■ Jk*l* /> r^ rj n P* W >l; r^> r^» r^ i f— "* p— *■ 1 i l 1 1 There is a bless - ed home Be - yond this land of Z± -o- jzj. zd — ^~ z£2: s=± z^i F=£ r -^ l 1 Z^r I I Zi _GL -- zi_ -os^ H z^: -- z^: z^: z^: ^ -0 — Where tri - als nev - er come. Nor tears of sor - row flow- Where faith is lost And pa - tient hope is crown'd, * For 666,666 omit 3rd and 4th strains. For 66, 66, 66 omit 5th and 6th strains. For 86,86,6666 repeat the last note of 1st and 3rd strains, thus — g — r :&c. z2= e a 22: ifcr-i-4 W ~Z2i ■&- (g-s^-g -e> — — o — e=»- i i i i 22_§E!: szrr 22: e — &- I I I ^ -<22> O O T^g- ^^_d_^_^L - I 72= -^— & ^T^1 ^^ o z^: I I n zz And ev - er - last - ing light Its glo - ry throws a - round. A - men. No. 118. I Simon, {theriveb) 66, 84. \V. H. H., 1S41 P S3 ICZ z^: j_cj_ -^- 22: ^ 23 -& EBEB .Q. -£5 «S>- J. r~r r^-i— <^~ -f^ & i Z^_ P=g= .£2_ fe EZE 9— V — & ?2- -M- HP 23 -P* \ & I 'II Be - hold the Lamb of God ! Be - hold, be - lieve, and live : % ± zz -&■ I -- _£^ Q. tS- ~Z3L -& jzl jzL 1 A A 1 1 ~CJ I I jsL _£2_ I JoL — & £2= 221 rz z^: i^ ■ — ^n 1 1 1 — ■ " ' er Be - hold His all - a - ton - ing blood, And life re ceive. No. 119. Hfcg-S— tfftorat)* {mount) 6666, W. H. H., 1846. ~ZZL s iq: T^ Z2: «- Lfcfeii -O- -(S>- T^ _QL -S>- J- S^fi WrW- ^2: -P*- Re joice, the Lord f21 King, Your :lS«=d: zi z^i ^ :£z ?2 — ,0. s=a P UP -^- 3— ? ^— g^. zz Z2I 3©- nr-tf^: £S -- 1 1 1 ^ :^2: 22: n r Lord and King a - dore ; Mor - tals, give thanks and sing, And f-S — 1 !— -j_ 4 ±=S= gL t=^ ^ z± zz Z2I ^=^ 0 ?2 z± -- r?— g r m^ -p- f- ^ ^ Z2I J J fj-U J J. q r*> ^ -is- ^ ?=? tri - umph ev - er -more: Lift up your hearts, lift up your voice; Re M '%—^^± -Gh -&- w Z2I ?Z Z2 - ^ f zz W -J— J J el tf=^=P2I S>- -&- £2= ^ ft -& -& 1 -«S>- G>- Z2i God the Fa - ther's love, For ZJ. all our com - forts here, And I i£ Z2fc=: EEg Z2I -- « =P= ^zfl=^: £2- -^ ^ i^z bet ter hopes bove : He sent His own $ J. >J J -1 3=^ Kfc -- tt f-J^- -1& -^- m jzL A 0- ■&- JOL hS©- a zz: fS>" .c-^_ itfe ■©- f^— r^- ?Z & ter 1 nal Son To die foi sins that man had done. A - men. No. 121. fltbO* (Mount) 6666, 88, ^= h=A W. H. H., 1848. rJ ** ■& rJ r r=r -&- ¥ T± Efc :ee 1 jQ. ~^- ?3 221 F =& m -s I£2I :c2^ Join all the glo - rious names Of wis - dom, love, and power, That r± T± ^=z± w Z2I -rl-rjr- r r r r gFgg=&zp ! 1 1 I ^1 -£2~ 1 i A 1 ^ T^z^ m r> 11 ott± sx: r^> r ^^ :^ 1 1 1 1" ev - er mor - tals knew, That an - gels ev - er bore : All are too mean to £=J=A J J | 'J J ,) rf \- \ 1 -H ! 1 1 1 — M ' ==f— -- w -&- m. PF Z2I ^=^ ! I TZBl -- tt tt speak His worth, Too mean to set my Sa forth. No. 122. =fcfcl JJlegtlltlOn* (Valley of) 66, 86, 88, W. H. H. $=Ek£ m. 'JTJL ^=£=&: Z3T -O- r 1 0 -o- T? mm& £± F=F=P SE -ess- is>- B: 1 Z2I 1- I need no o - ther plea With which t' ap-proach my God, 3=: si -&- :0 'j&=^ =t -o- z2: --", «= -i — r j L ^ s^FF^ ^#S i i — & t?- Z2I TjL T3L -&- :^=gz t <2. 3^2: 1 1 1 r- Than His own mer - cy, bound-less, free, Through Christ on man be - stow'd *& i F^-- CJL PI=S=§: — — - f- ^~ ^=^- ^=S^: zzz -r-^- mi ¥ :g=^ £21 -& J^ ^ d ^ ^L ?z :^ 3 1 ^ j * P- 1 ' 1 Spared a lit - tie long - er, May our souls grow strong - er, -&- Z± rJ gf ?z f -& pz Z2" -o- -& f* ?= :^£ T«S>r rj> ez Z2i m—-=±±=H {=?- t=p «- 221 Z2. :^z ^g=^r Z2H main - tain the ar - duous fight of faith. A - men. No. 124. (Dnon. 67, 87. ") s , F. R. Jr * 1 -sHl / /j 1 (-S S"J 'L^s fin V ' n» rd Ct' r- r^ f? v ~^ 1 < — r^ ^ r^ —, =3 ^ rj 0 J ^ 1 J 1 A "S" -d. .a. /s*- d ^ 1 £? ^ rj \ £2 •^ 'J -^ rj (* ■ » / i — » .rS ^~ r~ f^> V* ^^ r*D v— 1 rj i ^ rj P-» rhoo gn s- be -nous _:rd ! \\ e sin - ners now ad - dress Thee, 1 9 ' y " / r~ f- ^ <^ If n 1 — rd ^J ° >i **\i — ■ _i V K IrJ E3 rd*^ £5 >S TJ O 1 ^ ^ r^ — < r_^ ^ ^ ^ rd ^ — **-* ^~^- _J H —. ^ ^ /* • " r^ 1 O ^ ^ 0 -^ r-j ^j <— -» r-j [€)•#« fJ ' ^ .^ rj wr v •*• — rj ^ .r_^ v .. <, ri c-/ c> t_-* 1 — ^ ^~ ^- • -^ | -^ -^ -S^ | 1 [ r t i r? v* • r-j rj ^^ rj tt l^' <* ^ r^ >^ v r;J —^ ^0 r^> rj -j O and DBG - bfe - heart - € 4d ! Why thus cast down l with fear? y rJ 1 / rj , rj ^j rj ^v Hi ^~ fTJ S > ,^-- r^ V r . \~& ^^ 1^1 ' O g-j C? ~a >< 0 H&- ^ ■& J^2_ 1 , 1 1 I 1 | C-> -& - -^ /* ■ g rj i r5 <^ ^ CJ ^v V ~ , f-> W k 1 v^- rj 1 G 1 5- z± ^ S? ^* Je - £2= g iz^: Sun and I ! ^ Shield art Thou, Sun and T± Tl 11 rj -&- & zj: Tr~ o TT ■&- H *N I 23 z± P %- F fs= pz ^s>- --'g i^sa: ■& I I 1 r S ^ -o- Z2I "I ' i 1— slops as on we -O- ?Z Z2: go, "1 Come be - tween us the foe. F No. 127. £oan !♦ (2^jld of) 76, 76 d. W. H. H., 1845. 1 ^ B m •&■ &=& ?23 ?2= r -o- -m—tsh -£3ZJZZ3l T3- JZ± JL_oL -J r? g -J !» -- -o- ^ EX 1 1" t From Green -land's i - cy moun- tains, From In - dia's co - ral strand, *=d S5M zi zz ^t K: 3 :^o: @ifc ^ I f* zz: FM— F ^2=^5: Where Af - ric's sun - ny foun tains Roll down their gold - en sand 1 ^z± -s>- gh-^-^r-gr r± ??F3g Z2Z Z2I r -Gh Z7 j. Lu -j A A U ,CL zfe £2: f° g pz ^=g: ^ -s>- many an an - cient ri - ver, From many a palm - y plain3 =t=i — £21 -& z=£=gt -^ Z2I 8 - — & 1 =ffr a Z2I r^ es fe r ?=t -- -- ^ ^r -C2_ ~Z2~ & -JOL H -«■- Ht s 1 — t They call us to de - li - ver Their land from er - ror's chain! A - men. No. 128. ^efcOUlU (Valley of) 76,760. W. H. IT., cir. 185? Hi M xt -r± -<■©- 2=3=± nznn~rs ® J- A -G &- TJT_ & — <^- C?" •& FT ■rf=p - Pftt-f IQ^I Some - times a light sur - pri - ses The Chris - tian while he sings; sb=i I ^=^ -JC2L ~rj :fz=pr Z2L r~r -G- I I J r r ff Sr *M -QEB- §^ T±=^z=^=r± jrz- m -Gh & P^f 1 h ?= 1= ±=gzzt It is the Lord who ses, With heal - ing in His wings; m 22: I£2 — ^ Z± ■& g± -<^- @ ^ .N- ^ r~TT * Z2i ■o- ^F^ When com - forts are de - cl - & P3EP «" jgEEgEEJ! -& 22: ing, He grants the soul gain P ±r±rd -<^- ^ 1 — r « r ^m Z£2I z± qsp -- • -•- -^- J. A * ■o ■■ ri r± M © ' * p- -o- -F* — © p ;S=F: i i ' p-i — r i ■ n sea - son of clear shin - ing, To cheer it af - ter rain. No. 129. Jltarjaiuirrt. j6, 76. d. m i W. H. H., Jan. 1870. e rr & T± -&- -O- =i=St rr t* &&F^ 1 I I o I I I I ^=P2 -^- 4— H— T3 ^ 1 2 r iS>- I lay my sins on Je The spot - less Lamb of God ; J 1 — -J. ^ 1 -- *2t _ri _ol 1 ! @| P3 4 L^g_ ^J - r Tjrr^rv, v, :£Z T& pfagba^Jig He bears them all, and frees us From the ac - curs - ed load. ^ pppFFL-=Fppf:TzT -ol -Q. r± -- @?8Ei=^= ^EgE^- t zz J-J 7^" I ^2. £ -P<- -& 7^" _ol -<^- w -IS1- I 1 1 § I White in His blood most pre - cious, Till not a spot re - mains. No. 130. (Paet i.) (BoJDtmd)** 76, 76. d. OLD CHURCH PSALMODY. aM 2d: 1 m^ -o- ^=st ^=P=S=P=tg=P ' I r zi :^ -- ■Gf A T*- ~Z2. 3ES TZ- -& O balm of care and sad (Paet II.) - ness, Most beau - ti - ful, most bright T 'i On thee the high and low - ly, Through a - ges joined in tune3 * Either half of this tune may be used for 76, 76, single. Part I. is known as Heidelberg, or Lincoln. No. 131 Careb, {hill of) 76, 76, 77, 76. W. H. H., 1848. > rJ T± -z± -rzr ■r± I m =P^ -z± -&- $a ■s — s- I . I r> o £^ I I fed: St ©- "£2~ -Q- s=± 1 ^=t ?z=e t=tt -s>- Rise, my soul, and stretch thy wings, Thy bet - ter por - tion trace ; I zi iF1^— ^ T± ^m -- 7^ ^ zi T? Q rJ rJ -& ■& — s> * I -PZ £ ZC2 pE ZZ 1 1— to - ry things, Tow'rds heav'n, thy na - tive place Rise from tran - si I J l J=J Z2I tJ Z* -O- Z2ZZ£± Z3 r J , ^ZZ^==^ -0- P= F J 19- f2 e -^- rl A C2- #■ T^- fM « P^ P= ^21 Sun, and moon, and stars de - cay, Time shall soon this earth re - move; 5* Z± ^ ^=2± ICZ -&■ « Z2ZZC2I z2 I£2I q r^ q: Z2I P— P- 1 — i — r ■^ rcz I I 1 I > _oL P= 1 ^q=g 2^ p2=e cz d=^ W :g=: zz Rise, my soul, and liaste a - way, To seats pre-par'd a - bove. A - men. No. 132. &iriat!jaitiu (valley of) j69 86, 86, 86. W. H. H. I B tes S1 -CZ22_ :pa=p2 ?z JLi. fJ (U. ZZ :©— z± a =t s« .q £2__ri rr -& ^ (S»- We won't give up the Bi - ble, God's ho - ly Book of truth ; I i£2 ~_- J. :^=£± ^zzzdzzg: Z± Ob Z± S= ?2E^ T?- T* & rzra J. ^: S: t T i A £Z=t f=L -& «■ -- J5i cz I The bless - ed staff of hoar - y age, The guide of ear - ly youth ; M z± 3=3- 73- m& B. m^t- -&- i i i i i rl rl r^ r^ _ rd *&- J- r -«&>- j j j. BE:" T* T* fe 1 i&- -<^- ■€*— f^— P^==?=2 7^1 t=3 i 1 1 1 ^ r r ! The lamp that sheds a glo - rious light On, else, a drear - y road ; I i t—t?- •eh ■&=*■ T± M z± F*3= ast zz m* & TR. iT ■£->— & .gL ^ ^s ■© i r r 1 ■ d J ^ ^-^ ^ W M -O- i?=>- M pz The voice that speaks a Sa-viour's love, And leads us home to God. >': ibanrrruL — . h 777 d. . — , ~ / (' ; _ ^ rj ^j L L ^_ — s» — ^, O— g |-B Si — + * ^ — ^ ^~ p g ^ Q ^ -^ ^ ^ ^ g „ - F* J "^, II """' "' ^ '' ^ ' 11 if * < • >^ V ^ — — > — ^ —" p , - t=f ^== Vr Eamai). 777. :-: : : - . m ^ ^^ m ?^-= - =—■... - .— 1 , 5 -, -* ^ — — s ^ ^ — ^-^ ^^ ^fe ^^ ^— a c — — — ! i ^ -3 — ^ — ^ ? J ^ No. 135. Samos. — , ■■■- :-::-- :- m ' s rn^E z^: "Chris .". -?^r i ^ ^ "- II ^ g ^ ^ 11 =q ^- ^ — s- — ^ -^ — ^? — u — s- — ■ ^ — ^ — q -^ c^ " o — ^5 — ' _ No. : *fcnrir 3E. no™ — .;. -^ , ^ -*£. ^ «*_ SBgEg i i I ! -^ L -^ _«* , ■*" 2 S Q L:rd :f ■h:. Ma-ker. Tea; e .:.'.'. -±nz^z=^ s: S t=^= £2 Gt _i^_ IS I A- No. 137. ft i PtSljal)* {Mount) JJ, JJ. W. H. H., 1838. I G>- -G- ~r± zi & xi. (g^Tlr-r A J. . J. -d- J. _£2_ J. ?2I I J- ?2I ?2I hP= Hark the of Ju lee, Loud =fciz=d: r± ^~* "OZ3" #^ ^ j=i @£ -& -& dEE J -f©- r ty PZ r @ -g- £2- ligh I thun - ders Or the ful 3 Z± Et ]^F t^ ~?I5_ Q Q . A & }i f* -G- A r T± -J w m r ?2= £2= ?3 p -T^F of the When it breaks up the shore. -$= ■o- & Hal le -Gh J3L 4- A A lu Z2: -& Gh jah, Z£2I Hal i£Z G- -G- -G- !c "C7 xm ~C?~ fi U=g: lu - jah Z2: -& .Q_ -G- No. 138 HHfc* 2tbiJcnc. 77, 77, W. H. H., 1866. Z2: ^ 53? ?=t r ?=t ?^ -o- o- -P2: P& J- J. ^ J- -fSh ■■&- tcL P± Z2: T* Christ the Lord ns n to day Sons -O- of I St g P zi T^ — - Up- 0 i^ rso. r ^? .cL ^i *E: pz ^ F ?z 2± :g: -- -£3>- ?3 and an - gels, say Raise your and *4 1 Z2I -^ Z± St w TZ- -- id oL -*si- I£2I ■Gh 4=*- Z£2I ?2I EE w 1 h- Sing, ye heav'ns; thou earth re - ply tri - umphs high A a T± Z2 ■&■ zz 11 -&- IcTZ Z2 £^> -& @3? -jS^- ^ _Q_ -O- «- Z2I S _cv. Z2I :q: I£Z Hal le lu - jah, Hal le lu jah! A - men. No. 139. Hubeck. 77, 77. 1 1 OLD CHURCH PSALMODY. I !_ S -rear m$m Let 0 ■z± :c? -s>- -& f21 1 -o- :^z ^ ^ J. ?2- with glad -<^- some mind, Z± r Praise £2= the J: PP Z± -S>- Z£2I Si 7^- Bp -s- $=£=: r ?2I :g: H .oL -o- jd. -e>- Lord, for He I£2I kind -t— For His mer - cies m -O- d W w 7± -&- w -&- -Gh -& r=A P* I St=fl zz S -Jf=t I£2I :t shall en dure, 19- ?2I Ev - faith ful, HpC ^s^ -S>- -Ih-g-TT ^L. J. r- @l ^ff=jg: -& :p£ Hal lu - jahj -S>- J- Hal - ' le ?2 ?2~ lu - jah! _C2_ _C2_ A - men. No. 140. Jutntt. 77, 77. W. H. H., 1854. f 1 t—t i -S*- -G>- "TZ>- T?- ■p" -<0- - T* ■f± M jzL £2= :^z t= _Q_ Z2I r ~ Je - sus Christ is to day, Hal - le la jah! um - phant ho - ly I ■m -G>- 3 i Z2: z± zi 1 ^ m -- £2- =£2: -- £2ZZ£Z Who did once up - on the cross, (Hal - le - lu - jah!) Suf - fer K^S: =?= z± ! I I I I I P I I I I 22: -s>- zz Z2I 1^2: I I I I -QSB- Z2I - — & uzz Tz. t=pc -- a ^ f^-i-©- t= _CZZ2 £2. ZZ ££ -^- BED Ll_£-L to re- deem our loss, Hal - le - lu - jah, Hal - le - lu - jah! A - men. No. 141, Kepfyatm* ( valley of) 77, 77. zi -1—4 W. H. H. t=T 3( m^ s -^ Et ^ .oL ?z r :in* - — & U F=WW TZ&- I 1 1& ® S=P2: -S>- ?3 r -«s>- p .1 I T^ Christ the Lord is ris'n a - gain; Christ hath bro - ken ev t chain *=P=F d: ^=g: z± ^E3 e£ r± ^^^ ^E "^— pr jOL -o- «o- r± ^ is — .0- -d gj d \r?L rn= zz 7=^ 1 — r ?=z 1 — i- SF Hark, an - ge - lie voi - ces cry, Sing - ing ev - er - more on high, it -G> Ji rr =Ep T© S> jdl ,-i — r "o" ^=£ 22: £21 ^ ^ :£2: 1 1- r Al No. 142. £ le - lu - ia, Al - - - le - §>epl)&f ♦ (Jforavr) 77, 77. J L lu - ia ! > Q rJ Ti— &- ^ 1=F I I f^i €? jfaH ==^ = : A - men. W. H. H., 1854- tJ- ~&L m^ff^ -& — ©- -o- ^J- A F=F jd cl ■& 3 r? „ p ^5~r^ =pr — t Sing, O heav'ns! O earth, re - joice! An -gel -T F= harp, and hu -& man voice, $ J^t f=T V J I ^Bjf-g- -^- E *=m=%t=m f ^d t=* -®- ^ 3=z 4^ -£3»- ?2=F us T^ i — r 19- ^=p: :pz Round Him, as He ri - ses, raise Your as - cend - ing Sa - viour's praise. I £ -©- ^eebee! ?2 ^2I -€?- Z2I TZET S ?2= _oL -ri :P2: £2= .a_ -QSS- -S>- "CZ -«^- _Q_ :g: -o- Al - le - lu la, Al le lu No. 143. I i pera^tm* (jf©^) 77, 77. W. H. H. R=4: "J— <- -- I I i£2 H T2. ^-^M -- T^=^r^ pm f :^z Con-q'ring kings their ti - ties take, From the foes they cap - tive make; $ it it=gt 1 z± Fs~+X4 r *=^ Et J I LA m^p i°i° (> W^ f ■19- -P2- J- _oL J. 1 . 1 f^±^ •tei <&£ Je - sus, by is>- r^ &- Z3" zz i^zzz^ ?z 1 •f-L *=t no - bier deed, From the thou-sands He hath freed. No. 144. ;ei: ± PtSOtlt (Rives of) J J, J J W. H. H. ^^ & rr^ , ' i r Z± is- z± -o- p=0^ I I I 'C2Z5 jQl ©- J -ri ri I& ■P-HS r: ?z -fE*—C^- -Z2L JZJl_ =pr w^ =PZ m 1 ' I L ""I T i Oft in sor - row, oft in woe, On - ward, Chris-tians, on - ward go ; * ^ ■Gh ?3: z± m :z± ^ -fSh z± -G> M £JL -Gh m Z2I :cz 111! 73- | "£2" bJ ^ -& p ■i F Fight the fight, main - tain the strife, Strengthen'd by the bread of Pr life. No. 145. Ctjios* 77, 77. W. H. H., 1859. ^ISd^ rrr- «■ 3E£ •©■ 4=4 rJ rJ , J ^ lJ^J, ea I -ci 5S p ■©■ p -^-^d- z± rP £2=£2 Lov - ing Shep-herd of Thy sheep, Keep me, Lord, safe - ty 1CZ keep ; No -thing can Thy power withstand ; None can pluck me from Thy hand. A - men. No. 146 Olfcentmrg* 77, 77. OLD CHURCH PSALMODY. tfcg^l =F I I I I ^=S£ES^ JZ±=ZZ. hJ^.l.ii: ^ » ■CT I I 7^~ -T^-^-T^l mi ^-c^—^ -m- ±z =P2=^= ^M^^fei 1 — I Bre - thren, let us join to bless Christ, the Lord, our Righ - teous - ness ; q=; -<5>—o- -4 J 1 ^=ri -& -22b zz rs>- =£2=^ -&■ -& T=t &=*■ ! I -A- -A- A -el -s> — - -& =£ -fes* H^ZZZL ~^~~^ :Q- ^=P= ?2 I A \ .J ^ Let our praise to Him be giv'n, High at God's right hand in heav'n. A - men. No. 147. P- ^ w-^. J. feESE ^2-^2: F^ 1 j :grpr 22: 1 I P I I -^ zz 1 -P2- ^ ?2= i r Hap - py Chris-tian ! God's own child, Cho-sen, call'd, and re - con - ciled; i t &= ^ s^ r± Z2 I I I rrrf- ^=^p £M p r t|g: z± 1 1 1 r p 1 1^1 1 '^r 1 $22$ :F z^: s* H=P=^ -s>- ?2=^=P2: 1 — r F S W Once a reb - el, far from God, Now brought nigh by Je - su's blood. No. 149. Cfiennz. 77, 77. OLD CHURCH PSALMODY. P i 3 ffiEgS F=P zi €® t=f^ ® =f=t 2d: I 1 fHB1 "OZ5" ^-T^-n-^^ , ^ CsUL-J =£2=:p[ «=P=P trez -s>- ?z -pz "Snr-^—— F=P Chil - dren of the heav'n - ly King, As ye jour - ney, sweet - ly sing, r§=3 V 1- "P^i^T =d^kd=> ^^m^m^m, , ' 1 1 ill m^ LA 2d: .d_^ T* Fd-t^F-ref -F rrp 5sF Pi «- :p-g: 1 f P 1=* =§: "C7" r^a Z2I Sing your Saviour's wor - thy praise, Glo-rious in His works and ways. A- men Wiongly called Whitehall. No. 150. Bimmntu (rock of) 77, 77. W. H. H. m f S1 :p=S z^ -& p: t-£± m T*- 0- A J. ffl -&*- -O—f^- 1 — r -e>- =ua ?3 ^ 1 P" f: CflJ :g= Soft - ly now the light of day Fades up - on my sight a way; :f=h=ibp^=z2 ^=g: F±F=\ ~&- -- I I.I T^— & m^ -&>- a Jp> "up i. ,i,i .,i -Gt — Gh A^JlaA -Gh d ^ i-^\ '^jr _Q. f^F^ ff=F -& £2=^ ^ z^: i -io— &- £2- 1^ Free from care, from la - bour free, Lord, I would commune with Thee! A -men. No. 151. JMjenir IE (J*bawr) 77, 77. ±s W. H. H., 1850. ^Sg fe§|^islg| T > 1 Hark! my soul, it is the Lord; 'Tis thy Sa-viour, — hear His word; P iEg: m J. r f '-&-m~- z± I £2 Z± zi I I I €Pit-g 1 1 a Je - sus speaks, and speaks to thee: "Say, poor sin - ner, lov'st thou Me? No. 152. fLuiemburjj. 77, 77. 5 as 1 1 OLD CHURCH PSALMODY. *^ ^£2-S>-& «- Z2 2 i^i fe 1 1 1 ea H S gfag zsx q^: -/S'- :^=t J. -&■ ^-1 ?3 Ho - ly Spir - it, from on high, Bend on us E=^=JSE pi - tying eye ; d -A-A- -&- &= 1 1 *P2- ^ I I J J I B= g^g ± 4 ?± pz i I ■w- SR ■CS-'JP P 81 _C2_ «- = tu ^_J -e>-^=^: -& An - i- mate the drooping heart, Bid the pow'r of sin de - part. A -men. No. 153. ©iioam* (pool of) jj, jj. =t m j — j — ^ W. H. H. s z± SSEB^ pz=pi ^=^=r± rj p ■^~ oL Z2: :^2; » d: H I I -^ u _£2_ C-2- ^ ?2 EZ d. 1 I * I I Q P £5 :t :§: In the sun, and moon, and stars, Signs and won - ders there shall be; Earth shall quake with in - ward wars, Na - tions with per - plex - i No. 154. j$taral> 77, 77. T± r 4 22 -s> — - "OZ5- J. W. H. H., 1861. -Q H- f=f a z£ is sp g=g: -7= -h r=P -£-*- See the des - tin'd day See 1 L— will - ing £=^ rj rj S r: Z2I £21 0 f3 O- P I 7S 44 ■fe -J % % & 19- =PI sa - en fice Je - sus, to £2: re - deem t" zz loss, m ISC @ Ff1 T± -&- ■n r<> p ?z ^=& d=4 2^ -- a -*£* zx 22 zz^^zz: r ir°" r zi Hangs up - on the shame - ful cross. No. 155. fLxsmu.* 77, 77, 77. I i OLD CHURCH PSALMODY. I ~d sfc ■2± mz -- &&E —^: Sing, O -S- ZZF. JO- & -&- -J- this T?- Gh bless - ed -O- Un igzzd -o- to •Gh d= =± £ ?^ -G»- F^ zi jQL ^ J: SE -- -C2L =p3 r^~ 1 r Un - to us Child born, Son fete ^ J 1 z± I£2: # -& s -(©- ^ =s j- 2ZZZ -*s> zz I J. T* T* P P Z2: ^ -- giv n, God Him - self comes down from heav'n Sing, i -- ^=t J- =F $ yg=pzz^=ab=gt=:z to- 1^2: -& J. I I pt^=f^ *=* J iii JrJ m m h- p r>- ■&>- ■o- 1 — r z^: zs: -^ -(©- Tz=m T3L m -J— r sing, this bless - ed morn, Je - sus Christ to - day born. * Wrongly called Rosenmuller. No 156. pijarpar. (&>») 77, 77, 77.' ?E^Ed W. H. H. wreathe His the name we m # m ■&- :r± ^==r m 'A ps -tSh "OZ5" r± J£± J- V ■p — r 0 -d. =p= -s> «s> -- «=i 1^- r -£-*- -- Rock of -Gh £± u V =PZ -&- -C2. *—€$- W. H. H., 1851. I ■1 rJ *_jz= ETZZ "fp .oL n 1 1 ges, cleft for me, :F rz E ■f=- Let me hide my ^ ** z± -iS- ^ zi :^2 p^ .ri pz ir^- _C2_ tdl T-d- r » ^ 72: 1 self f^ Z2I in Thee £2- Let the ~^- ?2= 3ESi ter F=F and the blood, I 5Jt j^- -- TX IB -jsid -«s>- f21 1 ?2= 22: 7^~ -o- m ■p- 1 a J- -Q- £21 £2- -^~ jzL T2L £=£ J_ =L ■P2- From Thy en side which flow'd, Be of the PM -s»- -e»- yz ri -& IOE r si ^q& z^: -^- ^ ^=fc^ ~£2~ Z2_ U .Q_ Z2 fi ?2= -«S>- ?3 KS- £2: Z2I dou - ble cure, Cleanse me from its guilt and pow'r. A - men. No. 159 llatiest). 7J, J J d, or 10 lines 7s.* S^ W. H. H., 1869. =# iSh -^G ^=^- s: S: ^ 4_J_d_J *2=t -P^ ^=P l=P=f? G>— n 1-1 Come, O come, in pi - ous lays, Sound we God Al - migh - ty's praise; Hi - ther bring, in one con - sent, Heart, and voice, and in - stru - ment. ~z± IZ21 ^ -^ I #E -01 ■&- -A v 1 -O— '— ^=^= 1 r r *=r I T©- ^ggg^jgjfi Mu - sic add of ev' - ry kind, Sound the trump, the cor - net wind; dfc S zi #S=^ ¥ -- -- : ^ q'_ r -- ed © "23" P P P>- -G>- ■P ?2=P: 1 — r p 12: HOf -o- Nor a crea - ture dumb be found, That hath ei -ther voice or sound. A - men. For 10 lines 7s repeat 1st and 2nd strains. No. 160. HjCSljbon ; or, Parracombe. 77, 77, d. W. H. H., 1S69. &=U -m^B JZ± let -A 1- IS =P= ■ -J j J -j ■ ■ I I •1 — r :g: t Z2I *=t S2I ?=: 1 1 r I I I Z2=g: £2: 1 1- -- £2" Come, ye thank -ful peo - pie, come, Raise the song of har-vest - home; i=si d Z2I 22: -& -e>- 7^~ &-=; J r --gr I -tS>- -- 22 ■©- 7^" I I -&> — Gf- - — & £2. A A l?E!&£ $=& "1 p -—o- TZ- r- 1 ' I All is safe - ly ga-ther'd in, ^^ cz^: ff ~Z2L |^| i I ' O Ere the win - ter -storms be - gin. -&- =t z± 7^~Q z=fc I I ^=fe f @ z±z ■& -^ £>• r — r z± -- ^EE^Efg fe-tf 0 cz ol SF^TfElEg J. !c2- ri CL ^ - ~£^ Z2i -s*- 7^-r ^ F o & rJ I£2I Q Q M 1 I l tt -£5>- "CT zz "cr S* «- ^Jj-j Ste^ .ri S»- ^=P=^3Lp fe ],d»,fMrJ e -- t=t M j^L ^ ij t-T 1 r- rr - Come to God's own tern - pie, come, Raise the song of har-vest - home. A - men. No. 161. )£IV. (Mount) J J, 7 J D. W. H. H., .850. m 9 ^ ^ — ^ — ! — i -&- ^tzr± -- ~7^ 1 — r -^ z± - B 1 IEZ .ri I A H -£Z ?3 «- T* -&■ -o- T*- Je - su, Lo - ver of my -- soul, I Let me to Thy bo - som fly ; Hide me I g4^aHEg WffS^ff JZ± -&- -o- to -*SlSr I I 9 rj rl rl I I _d •«t pz=52 -s>- ri W ® -&- -&- nzr jzl V^ c? g- ?2I £2. q pa g ^i ?z SF Z2I ?2= j 1 ' ■ — 1 — ' — r^ ■ — 1 'i; i — 1 — r Safe in - to the ha - ven guide, O re - ceive my soul at last. -&- A - men. No. 162. =fcS tttttttm, (jy/zz of) 7j, 7j, d. as ^ i-§ :ei G> — G> — Gh -&-t—\ Z2Z r^i. ^ W. H. H. ^ T^- -1E^- +=d=^: -- -&- -o- I . I 0 .C2. ^ I I ■s- -^- Who are these ar - rayed in white, Bright - er than the noon - day sun? 4 0 zn ~&—z± ■iSh M -&- \ I I m ■Q& -^ ^ g P £21 5 -<9- £21 Fore -most of the sons of light, Near-est the e - ter - nal throne? ii d=a m Z± SE^ES ,^=f id -pj— ^5" r ?3 iS>- iieUJ A P__Us_p. t=t ^ I F^ gap- a ?2I J-J-^-J 3 -r-> rj~^=-& These are they that bore the cross, No - bly for their Mas - ter stood, m i A Wm 'ZZZJr s^ Z2: :e±z^: ■pr | -^- @5 zz J=J=J r^ zz -& ^ ^ I I i W -p«— » ppi Suf-ferers in His righ-teous cause, Followers of the Christ of God. No. 163. IjatergaJ. 777, 777, 777. i [See Preface, p. xxi.) 1 J L W. H. H., April 16, iS;o. BE -^ — &- -& — &- T^Tzr-^r-jpT-^ :^x £^L IZ£Z ■&> — r ~TJ~^1_ f> ' F cd S I.I I £> 1 I I I H -& I ! €fe4 ^a .£2. Tv' zz -©■ ! 1 -Q- -<2_ _g[_ ^J. ^L _ri ^4 jQ. jcL ^l -o- ~r^L -&=£> ^s^ T^- 1 «s>- I I ' ' Migh - ty Fa - ther ! Bless-ed Son ! Ho - ly Spi - rit ! Three in One! E - ver i J L - — — e> 4=f icz: T^~ry o rj rj cj. J^ZZa T* & £± 1 n I I I J- 1 I ^1 JEZ^2 ■^ ^ ^d T^U. m 1 I ^ZTQI ?Z £2= more Thy will be done ! Threefold is Thy glo-rious might, Three-fold is Thy n=t £2 C2_ -£> £> f>-gr^ zz 'Mi 1 J *i^L u ^ ^^=^t -- I£2I -£^- ^- ^ g^7 - :^z 4 J^_ _£2_ I. I .£2- !J I @ - rj rj- -Gh ^ESEb ^=£ ?^^E & z^: l l 1 ' 1 ! ' . ' v . Great mys - te - rious One, to 1 hee ! Un - di - vi - ded Tri - ni - ty ! A - men. No. 164 3= Calbarp. 10 lines 7s, or 77, 77, d.* fcd- 4" I "gl^ I I -- r ^ I ^- r Ebllst W. H. II. , 1869. «=P2 -- s :cz ^z .Q. £S f-J «■ 1 I J. Sfc 7-P: .£^L ■ — ' — i — t- Bound up - on th' ac-cur - sed tree, Faint and bleed-ing, who is He m -e- By the 4=T Wvwd c? - z^: Z2I -S>- rzz\zz3. -G>- ^ q q1 £2 r ^ q q TJ-^i I ! ^ I I I 1 s±h^ I I -^-^-f^- ekjozg: .o. ^ ^ J , Q Q Q jrt - ^=3 __ /—a ^> '"'Qt- Z^ t— r z^: -- s>~ zz _C2_„ Z2I eyes so pale and dim, Streaming blood and writhing limb, By the flesh with scourges torn, 0 ! ! 1 1 , 1 1 1 y j , 1 .1 , 1 j 1 1 / r J rj r4 \ ' 1 ^ ^j 0 (( \ i^D "^ ^ r6 * j i ^ rJ "r-D ^j 0 !"k r"D 1 ^> ^ &.*.'' J rj ^A ^ ^ ftS r^ j J J A J l 1 ^ j-^ P» -- -S- [^ p" "~ is*- 1 i1 ! ' 1 ' I-J--J „ l \A ■c^> *^> ^< rJ . ^. \ ^j ~~A ! *-^* *~^* rj ~A ^ ^Z) C&' rj r-* ' "" C^ ! rj «--* rj ^^r-r V_^- /^ i J 1 1 _ ^ n -M- + .rj 1 ,r> j -1 ! f^— F n is * rrj * +*-■. _j _|_i — 1 — 1 1 P iii 1 1 1 1 1 By the crown of twis - ted thorn, By the side so deep - ly pierc'd, By the baf-fled Ct Z2: - Z2: S a a 2. 5^=^ I I I -- 0 «& 4—4 =^= Q Q- Z2t ^=^ Z^I «- Q Q- g?>, S I "I I I I I Q Q>, ^r 7Z2D VZZ- -r^-fg- _C2_ r2 5S-r^-: P -I r- Z2: fj^ III' burn - ing thirst, By the drooping, death-dew'd brow, Son of Man, 'tis Thou, 'tis Thou! For 77, 77, d, omit 8th and 9th strains. No. 165. — es-o-1 s ^ Z2I I I I I I I faQ '^o Z2 ^d: ^zz^: -- :cz 1,1 I ' ~Z3L ~&-&- -G>- |J -S»- 1^-M t* i -e*- ^^ ^ 1 — I — r l ) a Z2: 1^2; Thy children we, And lov'd by Thee, 'Tismeet we should a - dore Thee! A - men. No. 166. goati !!♦ 77, 87 d. 1 i_ W. H. H., 1845. ZZ zi k-U-1- «- e? ^I3t^ =PZ =c* 1 1 1 1 ^ 1 1 1 1 221 O. ^ Q I I =PZ £2 Q r? rj> -©- Z2I ^3^ Z2I I I I ffi5 I I -—f^- -o- TZZW. -<-£-*- ■•-r ^ I I l I ' ! I I I members here Shall sing like those in glo - ry. We lift our hearts and voi - ces With blest an- Ttt d Z2TC2: -&-' rj l_i M -&%& 1 1 'i i 0 ^^ -& £2 ^2: Q O a f? ^=R^> - ^T2 i t=t O-O- m i=zt=t a 5^ o e> Si 1— ! pa - tion, And cry a-loud and give to God The praise of our sal - va - tion. A-men. No. 167, >dmmU {Hill of) 78,78, W. H. H. w ^=^? 3=z± rr :-sL-^- ^: ^ 7=5" Z2~ v W^f^B -z±:. ¥ ^ :q: z±zzi p - — o- - — & W^& r^J: f" ?=* ?z S — Pi- 1 — r ® 22: -o- -iS» — <*3 — ^- I I I I I -€5>- ?2: ?3 -P- T" p - pal us; Je - sus lives! by this we know Thou, O Grave, canst not =bitii m^ -Gh Z2I ■&- & <^- -O- ~Z2L I I w$F^-- J- -o — & I I ~^r £ -& .G> iS i&- ?2I I thral us. -iS- ?2=P Z2I z^: g: ^2: Al - le lu Al lu ■&- :z2: No. 168. tepljanas- 83,83,888,33. F. R. H., 1870. 1 f^' tr Z2I -©■ ~P>~ fee pz in -(=2- -s- -&- .£-> £21 ^ -& g~^- -& Z2I O-n-^ -- My heart is fixed, e - ter - nal God, Fixed on Thee: And Z2 ^t=ei ^ ^z «- i£i :S .£2. =F=R p 33= ■ I p p p p?" I O" I I §q=P±=g: -GS> ■©■ £2 ^p:-^— g Q ' ^ ^^^^ my im - mor - tal choice is made, Christ for me! He is my % ^ ^EM^ zi Z21 !*-£ ?? -- J^ — f^ — & — IS* -Gh-r-Gt T* 2Z±^ g=LaL^J , J J- -- 1 live I mean to sing, Christ for me, Christ for me! A - men. No. 1C9. ir (Tiberias* {Sea of) 84, 84, 888, 4. W. H. H., 1S69. EE -r± 8- ~ZJL I I ^b_gj- "C7 W&P- -&- ^^=F f- -^=r: 1 1 j £z£ -o — o- t — r ■^5^ 2Z Through the love of God our Sa - viour, All 1— will be -& 1 ;ell # sfc 2=1 s ~^Z r -s=& p--^ w-& s=^^ Z^~ £> ■OSS- t&— «^ E3 -& HES z± -^- r^_^_ €=* ?z ^2: -is>- ^=^ rv -fS- -iS — iS- ^^m Free and change-less is His fa - vour, All, ell. Pre-cious i ±^ 1= ^=^± -e>- ^l^g ?=: ^ ^ 1 I 1 r rl d rJ rj -&- I I I <£=fc :rz :£z -^— A ^7-^- ?3 -o — & ^2 1 — X r^ the blood that heal'd us ; Per - feet the grace that seal'd us; ^H Z2 =S=^ z±i i ■^12 I I I -&- ■& -&- "E7" W S B±ttttzgz= ZZ ^=PZ J^Z. p* ■OL._Q— ^. J. ^=* « — (S- 1£Z s — s>- Strongthehandstretch'dout to shield us; All must I be well. No. 170. Casipijia* (sea of) 84, 84, sss, 4. II =F ^ zi # W. H. H., i{ :q: z±=^£ 3 ^ g^=g 5^-i I =is t?^- p p 33 £& zzr ^& God, that ma - dest earth and hea - ven, Dark - ness and light; i=i m* T? T^ A=A Z± -- :M=a -I&- fe-*? ■J ^ -P2- .Ql HP .oL si S^±=g: HP Q_^^_^- -G> ?2I Z2I :cz -<^- P 1 — r -G- Z2: Who the day for toil hast gi - ven, For rest the night; i=d *S zi zi «£ S=^: r J r J. _ol "P" -is — & I I I &-\ W3^ d ^ -& J. r-> ,; :p: -e>- _oL p I , I I I FT7 -& z± F^ =E± -& ^=e 1 — r 1 1 May Thine an - gel guards de - fend us! Slum-ber sweet Thy mer - cy send us! Eit sk W*A-^ ~^2I ^ -- W^ ±d^ @ ?3= -US FT n "CP" B1 "GT ^1 ' -I 1 [=^+=== j -| — s> i ,,-^' ^. Z2I ^ Ho - ly dreams and hopes at - tend us, This live - long night! A -men. No. 171. i Prague. 85, 85 ; or, 85, 83. —1 1 U OLD CHURCH PSALMODY. I 1 I m 7^£ m^E A — rjr_ A. -JC2. 1 Thou who -O- \ I =P2= W^ z± ^ •& M l I e=i=II -O- on that •on - drous jour - ney Sett'st Thy IgJ gJL :o: •^- Z2I p Zi r^- @s zd: -& ?z ^ 7^" I _J. T3— S >^ £ Z2I -& T^=^- -Gh die, -O ^ face to I 1 By Thy ho meek ex - pie, $ Tlie last strain thus for 85, 83. zi i^S z^: » 2 ^^_ Z2 -^~ C^L. 4asa jzL -&- r^ 1 je± U&-. *=^=g: ;i — y &r ■&— '^2: «r S=^= <^ A - men. 1 1^1 ' -t- Teach us cha - ri t) No. 172. garei) £ 85, 85, 777, 5. W. H. H., 1849. E£?E^EH^£aE3:H ^ xz ^§fe -S>- -jiii P ~7TTS— J=2_ P^ ^ ipz *§ =1 . ~ 1 — r Je - sus from the skies de - scend - ing, Lies a Babe on earth ! dt£ E* it 4 4 ^tf=Z±3 f & p= 7^~ ■&■ z± ^=^=^: ^=^2: zz IP g#M ?3 gMr^ &=r± ?3 5^ Z2; Se - raphs o'er the man - ger bend - ing, Hail the won - drous birth ! Am Zi ?. 3* 7^" Z± z^- -- T? & ~z? ^E z± i=* -ie- (E^ ■S>- 22: I I I .(-Vj ^Eg3^^ y= -- 22: -s>- ?=£ I I I -- ifcs P ka. hfd. £ ^ :pc 1 ?3 throne of light, An gel harps for -r ver ring - ing, ife i E ^ , ^ rJ A ?zr =3=2 ^=A z± J2. -s>- 77 ^ P ^ T Rest not day nor night; We would join with them to bless Thee, P 3 f- :& T± ter «- «= r s=p= 3 2 rj\ ?ee^ -s>- .ju -& Z2: w -£2_ SF And con fess Thee, Lord of might. A - men. No. 174. Bettjanp- 86,84. XT" -g> — <^ — &- i W. H. H... Feb. 1870. -s>- TTT I -^ — q ' Q -&- CJ ~r3 1 ' l~i n S^5^ £fc=e I fc^zt^ -©- •& ! I ! 1 rj rJ rJ ^yJ-TCTX ■J p^> r r i — h Our blest Re - deem - er, ere He breathed His ten - der last fare - well, —I hrj - "fci? <■ a si -- S: ^ z^: 22: Q Q r r^-r-rj- T3L G*- W$ m b—d- I I I I m ZZ -&- m Z2_ Z2I -- = — — I- W. H. H., 1861. -P* iSS^ r > > 1 1 1 £ V 1 ±=zi 0^-: 1 Z2I r ^- i^ I i £2= -& J. -O .. O -.& p G>-f^ 72: 7^— p- ^ Z2I ^ ft . , . Re - turn, 0 wan-d'rer, to thy home, Thy Fa - ther calls for thee ; No h=^=A mm •7 I I , I I -Gh -- -r^- k— J I- £^i£ -r^- Q ■ Q Q Q I I I I ^ -S3©- -& H e±^I&S I, 1 *n^: icz ■^-g>- ferS ^Lri Z2: a :^z 22: ^z u Q * Q- a w 1 — i- ?3 i I Ion - ger now an ex - ile roam In guilt and mis - e - - ry. Re - turn ! Re - turn ! No. 176. :Sr— — m "cr zi: feUbatlUS* 86,86,86. t=z± i~r zi F. R. H., i87< 19- ilM :S: ^ -e»- -*s- nT -e»- ?3 ■©- :F 72: H 2St :c± p -o- ■©- FZ r my life I s Fa ther, I I know that all por - tioned dt z± tr -/&— '->; -&- V?- -&- izt. -&- ■r± Z2I T^ -o — >— - 1 1& «- I I | | I The chan - ges that must sure Z2J f3=g t come, I i IQI d: -e- 2ri & ■t> ^ r EZ Q o Z2: 122: Z2I -©- r -e>- -- iq: -s>- - TgT z^: Z2I Z2I Z21; do not fear to But I ask Thee fhee for 1 f=p=g=g z^: -^ z^: Z2I -&- :#£ T? 'p: ^± tt z^: "C5" 3: r=T~1 r pre - sent mind, In -Gh T*- "m -&- tent pleas Thee. men. No. 177. ILebunon. 86,86,88.* i ^ ■&■ 7^~ 2^- -- ^ ^= W. H. H. -S* (S>- e±= TOr^ 1 i Lord, when be - fore Thy throne we meet, Thy good - ness E^E -z? ~cj- -&- Z2I *3 P2I 0 i=ai rr e^ 33E ^: ?2; -es- -- fl^i^ 4fri z± 1= 7= P=F=: to dore From heav'n, th' e - ter - nal mer - cy seat, On gH ^— ^— ^— i i I— f^^f is .ci. J. n "c?" ?=: t -Its gl s -s»- ^ r A -&: A :^f2=r us Thy bless - ing pour : -P*- And make our in - most souls to m st I p -& -o- JJ_J pp fer ^g ^ J. S S; be P :^=^ Z± -Q- ?3 ha bi ta tion fit for Z2: Thee. A - men. For 76, 76, 88, slur 6th and 7th notes of 1st and 3rd strains. No. 178. ^trat). (Well or) 87,87. i* '&=ez. ^"^-g: 22: 73 - m ^ s 10- 1 I ?3 .ri *J P^-F© -Q3P O Z2 ^2=4 22: «- -^-p2 1 1 — >- And each kindred, tongue and na-tion, Shall the thrill-insr man-date own. A- men. No. 179. ^Ittiai). (Well of) &7$7. W. H. H., 1842. Hark! what mean those ho-ly voi-ces, Sweet-ly sounding thro' the skies ; Lo ! th'an-ge-lic 1 4-+p4-l £ St ZZpa 3 ei z^- ct 2 ^g Z2 ■^ -^ s c£ = ■^ Z2 11 111 ^>- I^Z2I rs: .a. e>- @£ 11 iF'f "FP Jj III- -qq joLri lS>f 1-t of. ^p zz P2- £2 ^ -GHSh rjcj *Sh zz QZZ host re - joi-ces : Heavnly hal- le - lu-jahs rise. Hal-le - lu -jah! Hal-le - lu -jah! A -men. No. 180: ^triOU* (Mount) Sj,Sy, *

- ^fegEg 23 i9- T2- Z2 -g g: £2. « I Hark ! ten thou - sand voi ces cry I " Lamb of sfc T± JZ± z± TJL =^= ■O- St Z2 TT sa F> __J— J- i^=^=d @ z^: r2i God ! '"' with Z2: & a -r Thou - sand thou - sand saints re - one ac cord, 5^=^=^=^ -&- -Gh ^ ^? -£2 ply £21 ~^=^ — < — i 1 — mg, I£Z f1 ri — 1 Wake at T? St the echo -& £21 l ing TZZ5" chord. a £: _oL z± J- Z2I -O- zz -s>- 1 8 » IS Hal le lu jah, Hal - le lu jah. No. 181. <£ulbi\cl). 87,87. OLD CHURCH PSALMODY. S:S==^ m 3- H — I — t -rj—ry f*~X ■© — & ^ rj* r^ -o- W l 1 T? T? I I Pg»EE I I I -& £3 nz^: :o: :ez I I -o- ^E L^ Praise the Lord; ye heav'ns a - dore Him; Praise Him, an -gels, in the height; j -1 I ' I t Sun and moon, re-joice be -fore Him ; Praise Him, all ye stars of light. A - men. No. 182. ^tuttprfc. 87,87. OLD CHURCH PSALMODY. I No. 183. jfrankfort. 87,87. S f 2=c£ «fc 3 OLD CHURCH PSALMODY. -S>- :^=S P d: ^ t=t 3 0=^ 221 22: I . I 11 ri 1 1 ^sm^pi 1 — a zi J. f -p -0- ^2: I ■ I ' ' ^ Is - rael's Shepherd, guide me, feed me, Through my pil- grim -age be - low, ^hf^t0- £ m zi &AAr'r ■&- TZ- I I -0- 3=3 gzrpzsg I I I I T0- ■to*t m ^ f & T^A zi =P* ^2: ^=?2i £± I J II £2=£2I j^t B= Z2I 1 _Q_ -<0- -0- I f 1 1 i I 1 M er And be - side the \va - ters lead me, Where Thy flocks re - joic - ing go. A - men. No. 184. §>0rdt. {Valley of) 87,87. i =t^ g W. H. H. 3l£-^=3: 3E*S ri F I . I is* rr ^ ■rt- ^ f2=p=j E± J-J^ J ,J-^j-^g^ J. *^ -0- p^ -0- ipiizp: £z T2- '^~~P^F- T" r ' i — 1 — r h '■ — |— "i — ^ ' [ * r -i — r Sweet the mo-ments, rich in bless - ing, Which be - fore the cross I spend ; S § d=d- p P S^g=E zd=d P"T?^FT £ JZtZ&ZI&. -o- tat l^r S I I " £2: 1 1 -0- ^ J: -& ?z :p: "P- -oL jj ? -0- -&L ^m PMil Life and health, and peace pos - sess - ing, From the sin - ner's dy - ing Friend No. 185. 1=4 «3 "P— £3" 6ot>csbcrg.* 87,87. mm OLD CHURCH PSALMODY. ^iS^lililil PL fr f F1 1 H J I I 1 N I I |l I I I J Je - sus calls us o'er the tu - mult Of our life's wild rest - less m rc=j: 5*=g z± A r=\ 2d fe>- ^ 2=!=gJ: @5 jjj ^tglgl^pE^g 4f5^- -s^- 1& =£2: =^: ^=^ jrd 1 1 1 jd_ .a! =P2=^ ?3 ?3=e=^: ■h- Day by day His sweet voice sound- eth, Say - ing, Chris-tian, fol - low Ale. No. 186. Bremen^ 87,87. OLD CHURCH PSALMODY. « J= s Jfc± ^-^-^^^: I I £2_ & ^-^L tg^l _d s^ 2Z ^£=^: j^—rf 3Zt T? w f=FF I I ' I rP=, mm z&- lm^ ■& \-~&- A T± Z2. Z2I -(Sh 3=t= £=S Shall this life of mine be wast - ed? Shall this vine -yard lie un - till'd ? ■©-©- '&'- fefe^i --P2-JPL *= -r± ^S '^ P£ ^=^=£- 2_— £->- m -Zd; tff Ife I I OL_aL nr 1 n j- I '^=p^ _^. :^ 0 ■J- -J m- -1 — r 1 — 1- Shall true joy pass by un - tast - ed, And this soul re - main un - - fill'd ? * Wrongly called Waltham or Forton. t Wrongly called Coburg. No. 187. persts. 87,87,3; or, 87,87. msm^m. zi =fc F. R. H., 1870. T=t P -(O— ' li 1,1 -s— - -e?- BI^S gfe ^ ^=t r> ^=P £rt3 -^»- ■©■ "I f" ^5: TO gjzdz^dB J f-=F zz _c^_. Lord, I hear of show'rs of bless - ing. Thou art scat-t'ring full and free ; I J. t-^/ 3^5 t^ /*■■) 1 TW^J d: JJJ I II mmmm A 1 I S^Sg! P^ QQ fe£ ^«- IS 1^- =^=^ L£2I ■Q- tki: ?2 I I I Show'rs the thirst-y land re-fresh-ing ; Let some droppings fall on me, Ev-en me. A-men. No. 188. 3?ai)0H 1; or, Nuremberg. 87,87,44,88. E?:: 1=4 ■ODI9 152 r~i— p- sfefcj^ 1 ,'j i r1 What-e'er my God or-dains is right, Ho - ly His will a - bid - eth ; . I will be still what-e'er He doth, And fol-low where He guid - eth. J ne 1S my^oa» [izl^-rpZ^: r\ JZ± =d '■&■ -s> ptg ^ I I AAA m t* ■o- A 1 1 FPf? S>- :i^ 1 rc rXi Z2 =^=P* Vi/ — ^ 19- ^_£2 £2 S <^> J. J ^AA-J. ■Gh -o- IJ I I Tho' dark my road; Heholds me that I shall not fall, Wherefore to Him I leave it all. No. 189. JUlttOtt). (Valley of) 87,87,77. &*& I J— t -^-^ ^-&=?-^>. :F — I- ^ 1 W. H. H. ■Sufe^ :o=z2 1 11 p- 1 1 r 1 '1 v -o- r 'i 1 =^=P3 ?3 m 1 1 1 One there is a - bove all o - thers, Well de - serves the name of Friend t£ p-p> P i — I — P P r ! 1 ** ^=g=t2feg==^=g=t=^ I * 1 — -O- -& =£2=Q- -I P iq: U r± ffiSE 1 I r z?" =Ld^- 1 4=*: H His is love be-yond a bro-ther's, Cost - ly, free, and knows no end. :tek33^ BSrf F ^d rf 1 r f T3^^ pp r ri ^ ^2: _£2_ £^ I I Z2: - — g^ I v*/l r s -si p ~# H .Q_ S>- zi ^ -fs- -s>- 72: H ^=^ watch - es -P*- down to rest ; Through the I si - - lent guard I us, P d: =s£ * — & -cs>- u a s TZ- -S>- J. 2 .C2. -Gh I I ?2I ^ ?2= 7^" -& -- Z2: ?2I ^^E Let no foe our peace mo - - lest : Je - - sus, Thou rf: ^ Z2 IsF fe=o -s>— |g p> ^-Lg=tl=8 53 — iS1-*^ _ci ^g=gErS^ ^E>- ?2 Guar - dian be; 1- Sweet it -J- ' ' ' I Ti- -^ P P- J^L leF _o_ to trust in Thee. No. 191. g&m&tim (PLMxor) 87,87,87; or, 87,87,447. I W. H. H., i?49- r ifefc Z2: — o- ^=^^^2: Glo - ry, glo 1 i ry - & ^9- _oL 0 I =^* 1 42- -J. J -Q. -^~ Z2I bore the 22: ^r cross ; Who re - deem'd our souls by tast - ing i! ^ksi iff & r^p^ -r± -&- J- JD & & "C2ZJ" -& ~Z3 1 ~rJ — ■© fS- 1^1 -jS o- za ez — I 1 Death, the death de - serv'd by 'M. us. Spread His glo SEi 1 — 1 :P=5± A ' r (P&5 ■« — » ■& ~e>~ -^ J-=J 1 z± Q-r^- -- "P" -s> — s»- 1^ -ri r ^& faz I ^ Q ^jr -*s>- Z3. Z2; §^ l^1 €9 S>- -S>- Spread His glo - ry, Who re - deem'd His peo - pie thus. A - men. No. 192*: I K)at>il*t>« B7.87.87 ; or, 87,87,447 I . W. H.H., Jan. 1S70. ?=tl izzzf^: ■,=EE^ ~Z2' =^F=^=B ■ri — a =1 r e^- ^ r~ e a e r? — -^ I —r-r- z — g p — d r Bj -..: - er than me - - ri - - dian splen - dour, Beams Mes -}- I 1 — r? — 1 _J 1— -1 1 1 y- rJ — s> — rj — £E? — — (r- _cJ — s> — I — ^- — — s> — r -^ rj /*■ 5 0 ' -— rj (f CJ m -1 \ ; |_ .. _- I — I ■ ' si - ah's spot - less tame ; Him we hail our firm De i & t 1 1 1 — — rJ -Ji — rJ i 1 =8= 0 | ■ 0 . Q ■ 1 1 1 1 1 | . 1 " 1 0 1 rJ .0 1 1 "5^ 1 sto - ry. Now pro - claim Mes - si birth : Come and w;r - s: J . L si 2= 2=^? B=F ^ S- is (S- 1 I I I I 1 I 1 "^2: SEEE £2_ jd i2_ -** e ^~ r-» 1 1 Come and wor - ship. "\\ or - ship Chnst the ■ boni No. 194. fematu 87,87,87; or 87,87447. ^=d=A- W. H. H., 1869. ^ ^ Z^ 7 — r3 zi -^- ^- r ^ — •— 0 -o- S=^3 aPfc :p: :-t % -o- & j-a T^- v- 7* t&- —I Laud and To the Name of our sal va - tion fe* ^-g^ a 73" •lS- -iS — r z± f zi -&- -- H -g>- -e>- J- zfczcfc zi J- -& ^rp -& £2 F¥ -& o- 7TO~ =s£ zi -o ^■■J- J rr -(9- P^pe5^ 2=£2I -O- :g ■ J J- P^^^ nzz2: S==^ gESEEEE Hid God's fore - know-ledge lay, But with ho ly ex - ul -f2~g-# — I- mm e¥ .d. t=&. i; J: -- z^ z2_ -J =P= zl -P- =t z± -<^ :p: -& « K9(- a a -g» ?2J F^ 72 H- JTZl. *=* - — u Z2: ta - tion We may sing loud to day. JSTo. 195. ffieti'U. 87,87,87; or, 87,87,447. W. H. H , 1859. Guide me, Thou great Pil - grim lia=^; si 1^2 -i— I- z± ^mmm 1 1 -o- r* — o- -O (9- I I ■©■ r s^s -s>- ^ -G>- ?2- :^z - — - ?2I £21 g=g=I 7 r 1 1 through this bar - ren land, I am weak, but Thou art migh - ty ; :M 1=^=^- r± -s - 1 Z± ~7^L -z± -O- -.& f -£5 <& ■m wm tr-F—rr J. ' -& f2. & T^- -&- 22: J- ■&■ m 35 Hold me with Thy powV - ful hand ; Bread of hea - ven, Bread of I -64 1 1 *f r) rJ -&- z± ^— ^L_d- pz±T=T=r m j^L ■©- ■& p 10- TZ- JSL 22: -r^r lol tt -& - -g- .^__ JZZ. i hea - ven, Feed me and ev - er more. men. No. 196. Coburg. 87,87,87 ; or, 87,87,447. OLD CHURCH PSALMODY. He comes with clouds de - scend - ing, n ¥ =F *^gr W P A_J^A_J. "CSCT 3 -£2 -G>- 5Bg •r^~ g -O Gh 3 <5» C2_ I I we @ :=e I -P^ fJ> pz 1- i 'W3^ 1 1 1 1 fa - vour'd sin - ners slain. Thou - sand thou - sand saints at - tend - ing, i ■J^~ f=F= -G> ■Gt- 3e=£ i£ 3f— j^ — p— raid -O1- ??=^ 1 ^3: S§: n-J A A £2- p ^ :F- _d & Swcll the tri - umph of His train Hal - le lu jah! jstpPPlPPPli j_u a £± %=&: t Hal - le &=& -S»- :^2: 1 , P> -\ w -Gh ,_J_J_j£j- P ^ :^2zz=p^: lu - jah! God pears on earth to m ~o~ _Q_ :B -Gh -Gt- reign. No. 197. £ fotbor, (Mount) 87,87,447. \V. H. H. P Sfc ^|rE 73- 1 I -&- T= P- r^ — z a: r - H Day of judg - ment ! day of won - ders! Hark, the m T-=t i =F 1 ^^3 IZSEEi: jd 1 1 1 : 111 j=L jzl .cL jj± j2 5E£ ~^=^> -E ^5=u__- t= 4- ^t_ol -P2- ■pa- jgL & 1 trum - pet's aw - ful sound, Lou - der than thou - sand thun - ders, i is i 'A & 3 zi: -— - ICZ -S>- J. r^? «- n pz Shakes the vast ere - - a - - tion round ! How the sum - mons, I t=A sfe 2d @£ J- ^ ■P2- =F I 5= r -/^ Z2I H r p=a j. 1o? ^ :g- Ti- -i&r bzu=izdH ^ How the sum - mons Will the sin - ner's heart con - found ! No. 198. StJat. (River) 87,87,447. =& t W. H. H. -m :pni -: ■^ P ^ :^: #& J. ^: s=q ji. .ri -^ g "j^" g: 33 ^: -£<*- & -©- - I I I I Wide - ly, 'midst the slum - b'ring na - tions, Dark - ness m ^: n=L I -fQ =g=^=§F±=B TZ. U'^ T? &=B d TZ. r A -G>- — & "&~ m z± 1 z± 1 A. -&- -(Sh &=±=J3 ?W- holds his des - pot sway ; Cm - el T2- his ha - bi JCL *A ta - tions, dfc £^m a ^ S^b -^s> Z2I ^=d: .oL 4- A. A- ez -^ I F -^ :g: zi r ^t -» p=f -& f 2 u Ruth - less I o'er his pro - strate prey. Star of Beth - lehem, -i — i- *=S=^ IfA U ■3~~rj fr =S* A -— m 11 'i £t -jo— r 1 — rj o- iS>- ^=^ 1 _ri o- -G3- I I I 7223 ?2 T^—t^ -^ St Z^r _Q_ i Star of Beth-lehem, Rise and beam in con - qu'ring day A - men. No. 199. % JLux&tu. 87,87,447. a OLD CHURCH PSALMODY. jCL Z^ =t :a: r f -s>- :g 7^~ S ^ s -G- 7^ T* r ther ! lead r us Lead us, heav'n - ly Fa O'er the "S— H 1 Z2t 1 I I @£ _ — ^ — 1__. — p>_ LHQ" -«S- fe^ :^t F=F =£=£= r f- H "- -O- 0 ^2L ^ ?2- 4= I world's tem - pes - tuous sea ; Guard us, guide us, keep us, feed us F^ J= i m i^i i=g & A F 3 -- ■^J~H — tt±- I J I T Z2 =£=g§: -£?— S— ^>- ■&—T-&- T* TZL 1 1 bared Thv glit- t" ring sword ? War and death's dread de - vas - ta - tions, mm g=s= rrr, m b (■> :3- w^rw T2I A ' i i Are they march - ing at Thy word ? Shield us. Sa - viour, - 1 Z2 £z=:_ ^j_ l cj- -©- — Si '^— C3- *=? to- s _£2 ^ «■ 22: -a — — =: — &— ^g- Z2I ^ fi=®: 1 1 p ■ r |ii 1 With Thy fa - vour. When Thy vi - als are out - pour'd. A - men. No. 201 JWjeU, {the Rock) Sjfi; : * W.H. B gim rz "^^ c i i i 3-1=3 H^zra: •S'-^- 2IIZ2; Z2 -s>- Z2 I I i I I ' I Hal - le - lu - jah ! Hal - le - hi - jah ! Hearts to heav'n and voi - ces raise -*--S-J -1-n 1 y -^ rJ i ! j ■ ^-, ! r ^ ^-^ rd ^ ^ ^J Q ■ ^ r> — i-*^ — J 1 P O ^ ^ ^ 1 ' ' 1 ' p *-> S< ^. ■z^1 -Q- --S'- -e^- I i />j — »--> — &—^=* — 1 III i Ql Q ^ ^ ( , 1 t L"^' — i f^-2- --s — — — W — W — 1 (S — ' M ^r -/^; _g ^ £ ^> ^j r-> P rj ^ p* rj * r^ r^ r^ 1 1 Sing to God a hymn of glad-r. to God a hymn of praise. He who Oitlf 1 I 1 1 i i i 1 | ! r J ^ ^-j fJ rJ / £ n n ^J ^ c^ _j (r * r? *z? rj, fLJ ^ , r^ — «"* r J <-2 ^ — fj v ,; rj ~ ^_ ^ r> rr^ m r^ g =- 1 1 i 1 ! ! 1 c2 cj rJ cJ i i r-0- d g _- ^ J. r> on the cross a Vic-tim : jr the world's sal - va - tion bled. Je ft * fl 1 1 1 - J- | J , 1 V — Tf fJ fJ p r^—rzr p r3? p ^— »Tlli ° ^ il Christ, the Kin? of Glo - r -.-. N * For 12 lines : ;, repeat -:"" ar. i ::. -:-a.;. No. 202. €sforad-- T-- i I F^g -- -&>—&>- Z2I ^>- t?~t?~ ^ -- Z2 V =131 ?3 IQI ,1 r — 1 — 1 — for His own a - bode. I He whose word can - not be bro - ken, Form'd thee dffc =S=s: f8^ ^i^z:^-J § =p* n,, 1 j- j g «- p=pz ^# w TZZT I jri _ri A £± O- :g: r^ 1© ^ 1& f=P 1^- Q Q— ^— ^: On the Rock of A - ges found-ed, What can I I 1 1 shake thy sure re - pose ? @* ^ -& S jzs—jzt T± r^-^L I I P" I C2~ tp>- JZJ^i m T jSSf s=p Q IgJ zz 1S>— I — i I -oL. J. zz .t2L ^f iq: 22: 1 1 1 1 1 1 l I k^i With sal - va - tion's walls sur - round - ed, Thou may'st smile at all thy foes. * Wrongly called Benediction or St. Werbergh. No. 204. - £=?- i ictfc r± <^=p: -I©- tea #^ _cL, -^_g_r^t_g._,_pjl_gj__gj ^ =P=- •e- ■^ £ .J_=l o -Q. ^ t= t~ p zzb SLl Thou didst suf - fer to re - lease us, Thou didst free sal - va - tion bring. felbfe^i I J ■& £±£± I I I j , I I , sfczi Hail, thou ag - on - iz - ing Sav - iour, Bear - er of our sin and shame, By Thy mer-its we find fa ; Life is giv - en thro' Thy Name. A - men. No. 205. Hamburg. 87,87 d. OLD CHURCH PSALMODY. pi 3=* ■^eA ■\ 1- :g=^t 1= ^=2=t: «t^t U &> I I — &- SI t^ _P_ 1 'J^JjJ P-^F I£2 -- Z± 73 ?z ■«- 2zzr^z rctcr -^- f^d 111 • • 1 Des - ti - tute, de - spis'd, for - sak - en, Thou from hence my all shalt be ■-^—^± '&- d -& I ^ T^T? Tl._cA_t qzzif 1^ 7^~ i£2: ■pr -p- "C7 ^B^g[ z± ■&- p *» | — R — 1— tt -rf-rjr ■p-r & -G>- rJ rJ I I -(©- q g> We&e& :^--g: J: £ C2I t= Z2 S£J 1— t 1 1 1 1 +— + zi -- 3^ ±tz|: j rrfT ^d ^ J J J -is — s>- -s< z± «-©• J ^^t -- ■£?- ?2I 2d=^: f^F d-^-id ?2 ^1 ££ si -1 — i- Hear Thy peo - pie's sup - pli - ca - tions, Now for their de - liv'- ranee rise, i£E^fefegEgE^ if W^& S -«s — o- I I 0—(S>—G>- s -.& ^ ^ -s»- I J I I 1 1 -o — «^ 1 1 z^: rJ - q r** p n 1 1 1 T2. gs 1 ^ ^ ^u^ {=FL 1 p Lo, with deep con - tri - tion turn-ing, Hum-bly at Thy feet we bend; N#^fefe3Ejl I ;is M I -»- P31 §=3: ±=f ±±wfe ^jg^^B# I I I I I 1 5 q: -tagi ~-~- &- jz: -€2- U£2 Hear us fast - ing, pray- ing, mourn-ing; Hear us, spare us, and de - fend. A - men. No. 207. §0l)detl). (Stone of) 87,87,887. 3£E g-- ^ 19- T* — e^- \ 1, W=t* :S=^=^: -- -& 1 W. H. II., cir. ^ - &•- 19- 5±r #2= &=$ 4j^ -G»- _oL J. ^ ^ ^ rd i .^ 3 iez T?- T*- TZ- p The Lord of Might from Si - nai's brow, Gave forth His voice of Q-*-V*-a= jQ ^: © £=a 22z:r J i i J-J. q=J=3^=S!= -G»« -♦-=*- :^z= -.& :r^ — & P* n J- ■f^—P* -&—&-5=£2 I I | | ■ I thun - der ; And Is - rael lay on earth be - low, Out - stretch'd in :qz: zz -o- Z2t » r p -& r-s=g p s>- ^ -QSS- Z2: 0 i i m -& T^- v r. 4 m 22: fear and won - der. T Be - neath His feet was pitch - y night, And £5 — ^Zlg — p — i 2St itefed I J- J. ^ -^ ■©■ :F- ££ p ^ 0- r & & t-> 1 1 1 i 1 IP ZJ~ t=p Z2 Q •re ^ : ^ at t His left hand and His right, The rocks were rent a - sun - der. No. 208. SUtOrf* (Luther's Hymn, so called) 87,87,887 ; or, 88,888. (See Preface, p. xxi.) old church psalmody. ::3. -O- & •^ ■"O" -&- Q^ 4 -cJ-JlL I P ± -- ?2I ^ E£ 3 ^rJ c^zAAz I— t- 1 1 I T*- -Gh T*- :p=^— - S=3 Great God, what do I see and hear ? The end of things ere - a The Judge of all men doth ap - pear On clouds of glo - ry sea ted : ted : &= :«: .a. m -&> s- 0=^^ A B1 ~f2- jzA oL T* :z± ■P= X2Z5I --£—-£- -&- ?= T= S^= 7^" J j ^ — ri-I ?a= p The trum - pet sounds, the graves re - store The dead which they con eee^; z± --Q- TO" I •#0- ^=t -(S>- -(©- -~ rr -i — F Come, see the place where Je - sus fel _ri place where Je - sus lay, And hear an - gel - ic watchers Nun say. He lives who once was slain: Why seek the liv - ing 'midst the dead? Ill \ — i- ~zzz \— I s z±^: |PllilP3i3 22: -is— 1 — r i i i ^=£2 :p: -J I I ■S> g? ^r ^s> :tr=g;— «- J I -O- ^ ^ -s»- -Gh Jl T^^Z- -C2- & G> 1 Re-mem-ber how the Sa-viour said That He would rise a - sain. A-men. Wrongly called St. Jude, or Kingston, or Padekborn. No. 211. E "C2~ Joxbm. 886 d. T± ^ -&- -&- r -&- r- :^2i -G>- A 4 A :p=:==±± W. H. H., <85i. Z2I :& - 22 ict: # ^ J. g -#- ■& j=d fr -G>- P :^z tJ rJ: -- ziz: "£2~ 23 T2- T2- TZ- of her dy - ing Lord, Tri phant EEEzcfc 33 3= j&: :z± -- -&- -mr Z2I r -p^ i9- -- -- -e> — ~&—*—g OLD CHLRCH PSALMODY. ,J J -s>- I -e- I. I ffe£ -e «e- 1Z2_~ ^ I I -G G- 4-5- Love, on - ly love, Thy heart in - clin'd, And brought Thee, -I G=^- =ZE :^=^: - feM ?2=i -G» & - G33- & ^=^=^3= rz J jjrJ -P< — (- g Si Sa - viour of man - kind, Down from Thy throne a - bove zi * o- :r^: g ■&=-» =P~P= I I -g- Jpz ftp — q r: I * q~ & i&- ^ — -- II {%> giS -& .O. _£2_ ^=^: -i^-- Love made Thee here a man of grief, Thy vi - sage *k P^ -&>- I 33 rJ 22: T? B1 is: ?^r -^ ■(&- -■^-*: (gfc=^ -s>- -- :p>: -g—+^- -G- J£L 1 ■*=& \ I -pi- 1 marr'd for my re - lief ; O ^m mys - te - ry -I— of love ' No. 213. iaCDttUU {Brook) 886 D* W. H. H. z± -- -& ~C2~ -G>- T^- wm -O- :g: 1- ■Gh r^ -& '£2L -P2- O love f1 S A -o- V m -- Di - vine, how sweet Thou art ! When shall r , ^ ^: m^m=n^ A mm -t -£2l I i A.^A ~&A— 3 z± -- :ct #J -- a "£> -A '&- :g=l Z2: ^ From whence this fear and be :£2 A lief' Hath I not zi the :€P: -rl. -Gh &'- -&- =5£ :£2=j:=^: -& £ 7^- zz -e>- -s^- .£2 -- ^=p ^ -e>- -p; -(O- Z3„ ?3 -- Fa - ther put to grief His spot - less Son for me? |i==g zi -- -r^- m Z2I :^2i 7^" -^- ** Z2: -& _c^_ I -e>- £21 #* -^ -&- -&>- & -- & ?= ?=* ■©- 19- And will the -&- 1 ight - eous Judge :£2zu of i— Con - demn me 4 A U Mi^d: 7^" I zz± :S Z2I ~£2~ -& -r± -G>- ■&- -G>- @4=^ -O- £21 r z± r± -iS>- 7^" Sf i zi -& z± ?z i^i for that debt of sin Which, Lord, was charged on Thee? * Wrongly called Oxford, or Hereford, or Broadmead. t For 8888, 6, omit the 3rd strain. No. 215. JUenmu {waters of) 887, 887. -3 W. H. H., 1857. I ■&■ ■r± l^EEEEi ^ -S>- -J- :g: z± £2 ie>- ?3 n--^z=£2: ug=l p- i j- -j j. ^ ±=tz ?2 « Q-— ' g ^ In Thy glo • rious Re - sur I rec - tion, Lord, we -f£3- ?3 ee! zdL r^ i r^- z± -<^- S ^=pt Q=^^=|^: -- _ri m p=e =pz :£ I I 7^ ^ I Z2: -s>- ?=t= ■P2. ?3 JZ t^t Z2: world's rec - tion, Man Thee is glo fied: i z± r z± -o- p :1— gt fT -& :«pz -& I I _g!. ^ -&■ a E7 I T _ri ¥=*=* -&- -e> -r± -&- z± zz 4 ^--= Bliss =£2= ?2 r for which the Pa-triarchs pant - ed, Joys by ho iy * -A -£2- p 2± :^ JEES 1 :~ -e>- T± ■£*- -G>- I Q 1 1 -s>- :^Z3: ^ ?3 zziz 19- t* r? psalm - ists chant - ed, Now Thee fied. No 216. Cljaitiea. 888. W. H. H., cir. 1S35. t=P #e «-- -G>- f9- ~P£ — F -ri 1^— - -^ -e>- 1 1 1 1 -o — es— grJj, s^-^T^r *E t=t =PE =P -o- -- ^2: -S>- s -^fe zfc -- JL^.. rJ A n m m m^^ -&~ O sons and daughters, let us sing! The King of Heav'n, the glorious King, I U r -- T2~ 22: -- "C?- -pr b^: I 0 "C?" feps3^ 1 1 i =p — q— EE f= -& -- .PL ■£-*- -r Ac - cept - ed, per - feet, and com - plete ! For God's in - he - ri - r± ¥iy-^: rZi ^ -s>- z^: -o — & rr ^=0 -^=r JZL r T3~ -rr-&—& -& 1 CJ c± zi -C2. I J2=t JLJ. -- W i£2i T^~^~^ ?= ozz^^: tance made meet ; How true, how glo - rious, and how sweet ! A - men. No. 218. (Part I.) ©tea It*. 888.* i 3 F. R. H., 1870. zi I ten zi -o- £2Z "P - 7^- iw -=P2- ^-: -- P- :^g fe=E*sfei =pz I Day of wrath, O day of ing r m - — o- bee the Cru - ci -S<- I SF :P _£-> Z2t ■£-*- -O- zd=r± "P" 1 "P" -£=?- ^=^: z±= r H— d: -S>- J2L J. I I -Gh JZ± -&- fied re (Part II.) rppr--^ JtZ -P* ctc-LJ t= --P PS turn - ino- Heav'n and earth I ash - es burn - ing ! ^=&=& ¥^~ I I -P- 33 i^="=? r± 1 1 -- -I& p: *= -S» Gt- W :P: r ^ -&>- T± -eh J- T-P*L f-i P= Think, kind Je my sal va - tion Caused Thy won - drous * 1 ', P" ~p ==£ J: -4 -p ^=^ :p: ^j — rt— 1 ■pr 1^» 4— t sk j. ^ p~ 1- .j- -&■ na - tion Leave me f2-r not to P=^: * eM^M de - so 1 i la - tion. 1 * Part I. is to be sung to the first eight triplets of " Day of wrath, O day of mourning." salvation." Part III. begins at "Ah! that day of tears and mourning," and closes. Part II. begins at "Think, kind Jesu, my (Part III.) -G>- -&— g^EggEZg^^ and mourn From the dust of it Z± H r -^ -s»- @=fi£ =t zi -Gh earth -Sa- turn W ~Z3l zi -^ -g- r± -- mg» ¥^- &E ■Gf- $U Man for TZ=^pi =t= zz judg - ment must pre -S»- £21 ! I pare him i ra//. r^ gEa^Ei^EE^ 23 ez t> Fsr -s>- $s =c^ £g= i i -- ?= §gP: -©- 11 ■1st- ^ zz :^: -M- ?= ter a: r^z blest, Grant Thi nal rest. No. 219. Carpus 888,4. S-T— 1 <§?=* w* -&- ^ F. R. H., 1870. --(S> — - 1 — r *±J^L z2— ; — z :^=gt -is— es- ^ I I- I ^ 2=^- =1= =£ 1 ^$ -&=w- TZ- zz r £ -.0- get •©• ^=P* #z - -r?—Q -&- Let heav'n - ly joy thy thoughts en - gage : - bound in hope. No. 220. tt^=^ Z2 ^e^tecU (Valley of) 055,4 W. H. H., cir. 1857. *£ I'rTFHP 122: sz^ig ?= Sll 1 1 1 rri -' U. * * A I J 1 1 mm Pn ^ -S»- ^ P 1& 2Z -& f- =pz T^- ^=W- Z2: My God, my Fa-ther, while I stray Far from my home in life's rough way; I Z± *=^: -- -- 1— f HP ^ f # B= :s=g: *=* cr~g2=t _C2_ nP=s tzzzt Z^ZIi «- -s>- Z2: ■^ .q_ O teach me from my heart to say, "Thy will be done CT A - men. No. 221. m ZZ -s> — - SE£ W. H. H ., 1853, L z^: ci z^zz^=__.p l.l.l -s> Lri 22=^ ^=r?^ s?5 zz fc ^ ^ g: t=t TT2 O ho - ly Sa-viour, Friend un- seen ! The faint, the weak may on Thee lean J^fcxd Help me, through-out life's va-rying scene, By faith to cling to Thee. A - men. No. 222. Bettjatmra I. ; or, Hathertox. 888, 6. pp* «- SB J UJ- ■s>— *- s- -I — I W. H. H., i860. -&- &E zz £-^_L t—r -G/. A A 'I I m pz z^: -e>- z^: I Z2: Gh rz s -- *UJ « ±=± I oLaL P -*s- J =P= zr£ Sg: Just as I am, with -out one plea, But that Thy blood was shed for me, i-9-Hi ! 1 — (-, ^_ J I |- 2?^ ?y M=t -J r±- Q — ■ i 1 1 A A 1 1 1 1 i — i — ' L^-=rd k=^ U^-d — 1© — l- \—C3 " And that Thou bid'st me come to Thee, O Lamb of God, I come. aBetljabara El. 888, 6. (major.) 3 i SE^S T»!-^- z± &- -l*-l*- -S>~ *3^«£ Z^" I I _d__JLJ_ .1 T*. Z2C £21 £=£ .J^li^ n*r 7^-^-73—0- -P2- p ?2= -&- ^U^fiU^LpL ^ ! 1 — h Just as thou art, with - out one trace Of love, f^ ?2=F ffi j°y> in - ward grace, l^i T= -& rrz ^21 «- -O- Z± #S: s _ri jQ. n=^T ee £2= ILL. -*?zzz±n:z2 Z2I is>- Z2I •O- q r^ 1 — r -i — \ -&■ Or meetness for the heav'n - ly place, O guil - ty sin - ner, come No. 223, m pt)ilemmu 888, 7. F. R. H., 1870. m m £3L r Se§: "Z2 '0 I g=a -G> Gf- ■& -S>- 1 ^ ^ ~1 Bring T- to Christ your best T^ bla - tion, Grate - ful ^t=ei -^ £2- ri - L-J. "P" - fe=t -- s_JI: ^ P ^: ipzzzzp?: 1 — r hearts, and do - ra - tion, Join in songs of gra tu - zz -Gl -u — fkJ ^ppz^zftr t= -£*■ ■©• rf P ■w- ttg ai f^f pt J rJ J J^ f— a— p=q^ la - tion, Chris - tian peo - pie, on this day. .&. A - men. No. 224. -d arisfttrd)U0* 88, 88. F. R. H., 1870. 4 •± -- -o — - rJ d -Q- Z2 -iS- 7^~ J- J- 2± P z^: p j -&> :z2 Z7 te ^ Zi '£2. T ■g>- m ■f*- T*- 1©- 22: 1 J h— rer and Hear - er "£2- of pray'r, Thou Shep - herd and In spi 'mm — o- -o- T? ^t -&' T? f ?z zi -fiP" W^S^t Z2: -1 — <^- 1 Guar-dian of Thine, My all to Thy fulfil £\jLz^k ~£2ZZ ve - nant 5t S -- -o- r* 5* ggg j T=" a f: -& 7^- zz -s>- zz :^2: f=pp=^ ?= :£Z sleep and wa - king, -JT2L re - sign. 1 ■Gh J: -Gh ZZ zz No. 227, angels' ^OT10. 88, 88, 88 ; or, l.m. {See Preface, p. xxii.) OLD CHURCH PSALMODY. i wm P m -&- -&- 22 -- -o- ~zjt m ii a. d ea A. A JZ2 CZL _C2_ ~£ZZL r F=T 22: r Cre tor Spi - rit ! by whose aid The world's foun - *=d -& m 4 1 -Gf- A -&■ i ct - — s zz ^ g2 -«- s 1S> — - 32: o P I I I I J Eg J- ■©■ fM^st&fe @* p t=t -- ~£2~ £21 #* «- P: ^=PC zz g r- P P Z2I fe'r set us free, And make us tern - pies meet for Thee. A - men. No. 228. fBmtml)* {Rock of) 88, 88, 88 ; or, io 6, io 6, 884 * W. H. H. i a^fei s^ ^=22 -- lifes^ L. Z2= m -(Sh A Tr-r ^=& TZ. 1C$ £=&=& -&- TZ- Thou hid - den love of God, whose height, Whose depth un - iHl i f^mm -& rJ r tl -f^=f ~rl — g^: -^ — d-J t=t= flat 1 F" J 1 A A Z^L 1 t «- ?= =±Z fa - thom'd, no man knows : I I 1 see from far Thy beau - teous P \ — I- rJ , cjl rd £b=& Z± ri ri m Z2. CD rj z± Z2I rn8 fj I fJ z?- -- I I ^g 1 — I — E — ' 1 j_d — E zz j. -U -- j g Z£2I Z2I ■©■ light, And in - ly sigh for Thy re - pose r My heart is pain'd, nor S izt s=il PI P^B g=^ l^f ^L r± J2L i^ W Z2I « rr— r-^ p *fe =F ^2: P i -& I£2I P^t^p ■P4 z^^ can it be At rest till find rest in Thee. A - * For 10 6, 10 6, 884, repeat last four notes. No. 229. JHaOtL ( Wilderness of) 88,88,88, W. H. H. i^ J=J=A;: s s^S Z2 ?2I S%s .£2_ I 1 z3 ri 1 r T^ r± -«s>- Z2: -P^ T* T=P -r^ o- ^ -<&- The Lord my pas - ture shall pre - pare, And feed ■M £ w :R=g=^ T± -Gh -Gh ill! -O- m§k P ^— p- -p . ga •£2- 3 IS" ^ St ^=S: -^- ^ jsL T^- ^ £2: with a Shep-herd's care His pre - sence shall my wants sup - I fcS S3 i Z2: i =t -^ f ?— ghflgFTFJ -^~ is>- ^ 3© ■f-*- @3g -&- -& ^ _Q_ .Q- I ?2=^ P r> i 1&- ^21 Z2: T^- ply, And guard me with a watch - ful eye ; My noon - day m fieri g I „J e\ ey=zz rr^ H r izt ^0 lesSr I I gEgf^N z^: -<^- £21 -t-Frh — i is — fsH— - F walks He will at - tend, And all my mid - night hours de - fend. No. 230. €ietcr. 888 d. OLD CHURCH PSALMODY. I A. m. iH r Z± --^e> m*B&5 r^ r^ j j- r n ■&=z±=zl: m v ' l r^ , r^ J d d ^ iq: # ^ ^ 22: .ei_ei ?3=fS=£ ^g ^F ?2Z==& =PZ 1 I 1 Oh ! for a burst of praise to God, Who bought His Church with His own li J_ 3 a -I 1- i« ^=^= 3Eg ^= -^ -^ — i j^j c> — e 1 1 ' 1 ° .ci_d d 1 I rr ~ d: J — L 5* jdL « -^— ^ F* -^- 33: Z£2I -- t=f -e>- -- Z^T 22: ^ -«s>- ¥m p± 1 ' 'i blood, And will His dear-bought right maintain ; Soon shall His voice dis -pel our I it & zi ^ ^ 3: 3=^i ^ ^ti E3E 3fe* P ^ R-^gr-p fS>- -ks & FTT1 T=i # zi i «- 1 , ', J: J- 'm± & p v & b & p -jO- r^'t° f r r ?3 -^ — ■* — ■ fn 1 . j T2- gloom The mar-riage of the Lamb is come. To crown His bride, with i ■M-^ SB* ¥ JZt 4^ ^fe* ^± ftc Z2: -&- Z2I ® -- 1& iSh G5U " Q tt » jji 2^: ^ p ^ ^ j Z2ZZ22 r>> i; -^- r? ^Z ft \) p <^ i — r -Gh o p: -©- 22: I | | I Him to reign. Al - le - lu - ia, Al - le - lu - ia ! A - men. No. 231. Capernaum* 98, 98. W. H. H., 1S60. i ££ ^=f «=t m CJ. *-* f -jz£z± 1 — r £2- ©t I ! Q Q 22 rr f ^n zz iEEBE i i ^ ^ M j^jMjj J J.^J ^ 1 — ' ' — Q Q =P^2 F Sff -- ^=£21 1 r^ r— 1 — 1 — 1 — |— 1 — 1 — 1 f^ 1 1 — 1 — £7 Bread of the world, in mer - cy bro-ken ; Wine of the soul, in mer - cy shed ; ^Jt*a m^dEhJtktiM^ HTr iFTr^Tf^'^iW m~^3 -&>- -o o ■&- '-'J''',1,.; m o * -Gh B b=^ ~¥=P- o- M r^F5 Z2 !£?£ i—rr r :g: 22: I I By whom the words of life were spo -ken, And in whose death our sins are dead. A - men. No. 232. I ^^ 3 =B 7^^: rr aqutk. 9998, 8888. F. R. H. 1870. -e* 3=^ "O" I , I Z2 t=t j^zi: •p-^fH Q £3*—*- ZHJML ^ Pgj £^: « -^ -<&- jGL T ■e^ 1 1 . r 1 122: -& .cLri -- ?z -P-P" -C-L I will go in the strength of the Lord, In the path Hehathmark'd for my feet; P m rr 13- iri-r^- rr -&—r. '^z: m 33221 .C2_ 221 Z2: — $ zz @ _£2_ -&—&- -j^nzrji -G>- I I s 7?~T T^~g^ I I -&—<^—rr C2 I I _J L «- ^9- ^S>- £2=^ -& z^: JT7—CJ -&- =g=PS=f^ ii ii . ii i ' His pre - sence my steps shall at- tend, His ful - ness my wants shall sup - ply; ^^=^1 4—1 CJ CJ -^-& S£ ^Z z^: I I ^z Q Q r I z^_ r^ feg £2L *St Z^7 Z2_ 13^ S ®^ zzz -<3<- -»■ rj fj -^— r> r^ O Q Z^I I r i i — ii ii On Him till my jour - ney shall end, My hope shall se - cure - ly re - ly No. 233. -9+8— (Eefcor. io, io, 7. ■I — 1 — J — 1 W. H. H., 1867. -& z± I :,/ cj Z2I ~TJL z^: -&- -&-€&—€$- O 0 P Q P> (IP I I I P g^ - =P «sr r^ ^ I I I I figi S=^ J-J Z£ J J ^^^g jQl T-?Z7 .0 2Z ?2 -C-L S§-H^. 7= 1 1 "" Sing Al - le - lu - ia forth in du-teous praise, O ci - ti - zens of *4 5i 1 i^z z^: ^z 1 . 'U IvU ! v^i 1^1 1SH9- s III F I J I 1/^ J p* zz -- z^: ±J M fete ! I PZ 22: f=p £3 S3 ^^ 1 i I heav'n : in sweet notes raise ZZ 77 Z^l An '' "1 I ^ end - less Al - le lu No. 234. Cotito&'p* 1010,1010. OLD CHURCH PSALMODY. ^E d-H—t zi -- =s£ Z2I Z2 "P- 13 -f^- J^. joL _ol 3 23 ^- tg*Fffi=g £2= -- a -o- zz: W -OSS- -- ~s»- rr Z5? — zd: "P" ^ \— 1 101! e- I P- ver - last - ing praise and vvor • ship Be paid. A - men. No. 235. *Qpljir. 1010,1010. W. H. H., 1867. s st - T3 -t^-r^F^F^— p> -s>^ 22: C> ^ zz J. p~^ Se -^ J=^i ^? Z2: ? -iS>- ^ r i — r -& 1C2L bide with fast falls the ven - tide Z2 -S>- zi=^: -s- -<^ p Li r^> ry £2= -fS^- T^L -G>- -Gh s: £ ^~ - :F -- ,r j> fj -g- 23: 1 I 1 The dark - ness deep - ens Lord, with me bide When help - fail, and com - forts -&- ■&> ■Gh J- x± pE IB 19- &=£ rail. 3= ?2 r iS^- n|=t -o- -PSTq 3 ■&- A J. A JQ m G>- L-U -- -l& ~^ T^- -G*- f ZZ Help of the help - less, O bide with No. 236. (Ebronal). IO IO, IO IO. W. H. H., 1867. w^mm St x± ^ ^ -j=t @^ _Q. £± A^A i& ±Ja hP± Z27 z^: £2: ©: ^ p -- I jour - ney through a i 1 ' de - sert drear and wild, I 3 i n T^ -r± J3- ^ d- Z± r r :e2 -P2- Z± -n — p- 2St :S: & Z2: T- TZ- f- Yet my heart I 1 by such sweet thoughts be - guil'd, i i^^eze^eA fcES zz :z2zzr: -iS- r ^ -lO- "£3" _Q_ BE -G»- *st -- P- j r SF -Gh ■& Gh "GT P^F sor - rows of Z2I way. -S>- for - get the the A-men. No. 237. iOl'b cxxibfy* 10 10 10, 10 10. OLD CHURCH PSALMODY. fefe sa ^m ^& p § g a 1^1 F fS>- ^S a . J=± J p IZ^Z ri A A J J -QL P 23 ?2=^: zi =F Our year of grace is wear - ing to its close, Its au - tumn fed d -&>- ^ d S — - - storms are ICZ i n low'r - ing from the sky : Shine on us with Thy i g=M ^.r^ i 8=s -^ — & -Gh -& — P o p ^> II II Z2I ^3- j 22. 3ZZ3: J I I &EEE&: o- m J3=£ *^ & -&- 1 I 1 -& f-f ls^ light, O God Most High: A - bide with us wher - e'er our path - way goes, Ie ft P z± i "C3" Q- P* *=* -& #~ Q Q @E Z2 ^_J _C2_ 22L Z± * m ^ Z2I 221 H -<^- ^ Our Guide in toil, Guar - dian in re - pose. A - men. Wrongly called Basle or Mon- No. 238. ^Ctttataittt* (Mount) ioio, io io, io io.: W. H. H., 1867. 1 =F 22: =s£ ^ Z± -S>- z^: -G> Gh w n -g>- Q ' Q f© (S>- -- - 1 l l I I ^E iTl iil_0: P* ^3'-"^- itet p: J H P* — I ( tzif Z2I -Q ^ S P Chris-tians, a - wake!... sa - lute the hap - py morn, Where - on the Sa-viour © ^21 1 — r SB3 ^ Z2 ptg 1 — r^l A 4 %*m rj fr_ -G* — Gh r< v rr j- j- a J- j 1 I 1 1 _£2_ _Q_ I I I I g) - d -g'- *S 1 @= ^ =£* -s>- X2_ -r? -^ «- ^ TZ=.^ T*=^ 1 r of man - kind was born ; Rise to a - dore the mys - te - ry of love, sN zz -G*—G>—G*- :^^^^: -s» «- ^— o-^-c -Q O- I I I « — S>- 22: Z2I — r~>^ m^d^^a -G> — Gh G>- £*L M G>- ^3L •J^Lm-^U. Which hosts of an - gels chant - ed from a - bove ; With them the joy - ful ti - dings ■±Z^1 -G*- -G*- •z± -G> G> ^=P=t zi FP Z2: tat w -G>- z^: ^=h=g :S: 1 P~^>- . -g\- 1 I -g\- -gI - Gh ~C2 CT ~C2~ -S>- ^P- Z^- .C2_ ^ S an ra « ^sdzz2: .q: first be - gun Of God In - car - nate and the Vir - gin's Son. A - men. For to io, 10 10, omit 3rd and 4th strains. No. 239. PI SjatUDbcr; or, Modern CIVth. io io, ii ii. See Preface, p. xxii. old church psalmody. *- dz WM3 -- ^1=^: -& zz 3 P T^ J. -OSS- J ^ =pz -p*- ZZ ?Z zz By an gels heav'n of ry de gree, 1 ±k t^ 1 «t X2: gs 2dZ -e>- 3=^ £2. ■©■ ^ L/l -- I ,-s ^ -- 3E^ Z2_ ■^ Z2I ZZ 77 r "77" And I -'I saints up earth all praise be ad drest, i d e* ■©■ zz a a; P z^: -- 77 As it has been, now is, and al - ways shall be. A - men. No. 240. Hipon* io io, ii ii OLD CHURCH PSALMODY. Z± -Gh M Z2I Z± zz -£^L ?3 ?2I Z2 r 2i r r §s -& J- J. J- 5, Is — r^ -G- -Gh -^ Z2: r> r> Ye ser - vants of God, Your Mas - ter pro claim, A A ^ ■Gh J CI ~r± m & Z2I ■Gh -G*- z^: V J. m=^ V P -&- T± £ Z2: T* i^ z^: Z2I And pub lish a - broad His der - ful 1^ H £2- ^ * Z± Z± ^2: 22: 221 «■ r ^ -<=3- e & -Gh T^- T^ -G- Z2I f21 The name all - to - rious Of Je - ex tol: ^H -G>- T± -Gh T± r* g *=* r^ r^ ?2I zz ?= r ^ ^ ■Gh A JrJ. m ffi# ^ -^-"p -S>- is glo - rious ?Z r*> r*> j ^i T And rules His kine - dom ver all. No. 241. PtttittU (Wilderness of) 10 10, 1 I I I ; or, I I II, 1 1 I I -I h w. h. n. :ct -i^- ++. F ~0 ^ -S>- ~Z2~ -Gh •©■ a Z2I "T3T izsfc !PE j- £^: o -&L :q: -o- I wor - ship the +-r Kine, all T* & lo - rious J2Z3 -O- bove; pow'r and His love ! T± -&- ■z±. 2± Z2I -O- -&- ■o- -o- -&- r ?= 1^ _ri ?z ■»- & 3S bd= -<&- J2 ^? e 22 r-> r*> 22: Our Shield and De - fend - er, the An - cient of Days, G- Z± :c2 -Gh U— I- p f-> ^ zi 1 — r -s>- zi i ^ zz zz Z2I Z2T 7^~ tS>- £2" m -r^- -Gh -Gh I A A r^ -&■ -&- I i T± -&- £* F^ Z2Z! Z£2I ^ T*- ?2 _CZ ^Z 1 Pa - vi - lion'd in splen-dour and gird - ed with praise. No. 242. PCOr* {Mount) 1010,1010; or, 1 1 11,11 11 W. H. H. 5^ '± -r± «t @ -f, g± =st Z2J 13 -P2I q P" T*> Z2I ,Cl — , r^ _QL sg Z2: a: -o- ?2=g: The night is far spent, the ^=&r- day i^- at hand -&- -Gh d I I -& -S>- M f*> ' r- p=*g v JJL J i 1 & £± -& .Q_ s * ^ -P2I F=p -<9- Al rea - dy the dawn may be in the sky j I i t -- z^: i -^ Z2: -& ■©- ^2: T=f Z2ZZZD P^ ^J -M J. jri Kt & -P*- =pz T^- TZ- ^ i*~r^ ZZ -- pz Re - joice then, ye saints, 'tis your Lord's own com - mand : ^ Z± I£2 Z2I 3 -^ i& 1S>- -Gh V -O- I , A. Q J. ! ! J^ "» -J -- -& =<= ?2= M €^ TZ- TZ=$ ~^L T2- -o- T*- \sl- of Je - sus draws Re oice, for 1 1 the coming niph. ^ostljcncs. I on, ii 11,12 F. R. H., 1870. i Sound the loud tim-brel o'er E-gypt's dark sea, Je - ho-vah hath triumph'd, His «.. I J I. - -S : ,—1—1 f "©- T-^r ^^& V -I— «- ^=^ ^8£ ?=£ rj • w »=-^g -- FineJ , I I , I - , r-> r> z^: 1 , ' , W J. -o--f&- -o- T^ -i9- — t^~ r peo - pie are free ! Sing, for the pride of the ■y- 1 v rant is bro-ken : m J L ! J Jl-1 P= -& -S>- «- &^A #^ HE ^2: j^Z t -I f^9 f— \ T^- -& ~Z3L His chariots and horsemen, all splen-did and brave, How vain was their boasting, the %j3-z± B=2± m- ri zi -©■ 1=5 ^'^P ^'^a-^-'^ -t9-£& #1 tS- I I #=t <=L -s>- I __L I I I -Gh Q Q "p^~ I D.C.alJine '—j 1 ad lib. £± -£-* fc Z2: z± Z2I -e>- r^r :g±: zz: F^ jQl 1 w 1 1 1 ■ 1 i pfi Lord hath but spo - ken, And chariots and horse-men are sunk in the wave. * For 8 lines, d.c. 1st and 2nd strains. No. 244. Crescent 1 1 8, n 8. F. R. H., 1870. W S T± rJ o -r± •± I -J- 3Zt :g T^ :c2: §a P> ■«- 7^" lil -s— - Z3t -& J-J -- 22 pl -- -&■ ?2= -- T2. jzA. _oL J- j r± r± Z2: ip s* *y=F ?=£ pz -£3- Z2: forth, and to! the great An - cient of Days, His ££=4 zi Z2t r ■& :& ^2221 221 _ri - 22. -<^- @fe^ ££ ?3 -- -£2- T2- Z2I 22: rich and dis tin guish - ing grace. No. 245. Sternberg. II 10, I I IO, -4 -£±L Z± -&- old church psalmody. 4-, I— ^ .o cJ: fc^ 22t P" ^ r^f -- f I and best w T±- zz z± Z2I T2- Bright - est of the of the morn - ing, -S>- Z2 -& ^ -p* 7^ z± zi 4= 1S>- 7^" -ri U -& -e>- z± & zi T^r m m- W zz -o- « ^ =^= (S>- £2: Dawn on our dark and lend Thine aid ; dorn - ing, I -4 JZ± HI ^ JZt. T± -&- ^ d - -C-2. r 4— J- z± a ^ -r- i £ «- ^ Z2: ^: T^- T2- 1 Guide where our In fant Re deem laid. No. 246. (Bivcnc. ii io, ii io. F. R. H., 1870. :g: ■z±. -i^- jT± T? ■&&- ^=i£ -IS G>- ZZ2Z J I at ^S? :^: ^^ r r ^ p- "*^& Z2I 1— T &- I .CL T^-- T*- Q rj- ?2= ?3 -& ^J_Q_ e»- Fa ther, whose hand hath led se - cure - ly -&- zt®: -Jjsk Z2I ^E -& ©7T©-©- I I ^ I ;3zssL=:g: £-> p> ' p> p p> p> ' ^ I£Z S? Sr-^ U- T^- JZ±& k^. JjoL ■© o- 1 • 1^ 1 I Fa - ther, whose ear hath lis-ten'd to my pray'r ; Fa - ther, whose eye hath dbzzzt ■A L ■&— rtr -Gh :r±zz -o- -&- ^= £21 g=S=i ^=?2 1 I P> -s^- I I -Gh m ~- T*- -^>- -&- -A 1 1 -S> — e vr. -&—£± -&■ p=^ =P2= -O- £2= t h watch'd o'er me so sure - ly, Whose heart hath I' I ■ lov'd me with Sf For 11 10, 11 10, 10 12, the two strains following may be added.* -^ 3 -^~ -& -<5>- ^=S i& :^2 "C?" ~r?\ JT2. -&- ■©■ -- Z2I z? C^ ^ -^—<^- -& -s»- -& -^ — &- W M "o ::S~ -- ^=P2 ^& T?2: F -e> s>- ^ liri f -- A -men. No. 247. CanMa* n, 11,11,5, ±» I — [■ fl_(jl_^Z^Z^ -&-©- zs: -GS£>-&>- -O- ■& 4 ^ r>< £2=p 7-^" £2 W. H. H. -^ &- Z2 :r=zz^zr -s»- s "£2" pg _£2_ EE -- EH Sgjfrfc pep ^ Z2I •yS> — S>- Lord of our life. r— r and God of our sal - va - tion, Star of our =£1 3^ 22 r^ o- z± zi lS>- ^ft^ -O — Gh -Q- r 4- zz 31 1 1 I r 1 ^ ~^- «=P m m s ES ? -S>- -& Z2: ^=P2= night,. 1 — r—r ?z and Hope of ev' - ry na - tion, Hear and re - ceive Thy :=dr5§ & z± m T^ r± T2- 7ZJ rj- S^= -Z2L m T^ r ZI Z2I -^- : rj> ct- ~C2~ -fS>- ^ r> r -@ 0- p «- Z2: Z2 ZZZZZ2I Z2ZH -[ — 1— church's sup - pli - ca - tion, Lord God Al - migh - ty. ZZ2. No. 248. Hjotmtj* ii ii, ii ii. m j. W. H. H., i f 7^" -r*- ^ " -«s P H F^ si- A z± jcL "m S=a m -G- u=F=d^=^ -o- zi & The Church of our 1 1 r fa - thers ! so rpnzzpr p dear to our souls *C=«J I ^d^; t3- p! r r- ± ~n~- -G- 1£2ZZD m* &=&: I I I I I T? -G>- -O- ^ -P>- -e>- ZZ J ^ Z2I P O- 1 1 ' life - blood with t- us that Ay, dear as the rolls ! T± T*. f=fEEF ^ f ?=& T2- zz m* T^ jcL-. -G>- ■&■ J 1=2- jcL £=* ±^=fet -- We'll ral ly round her by dan - gers aw'd, \ 1- ^Z IZt 1 ^ -^ -Gh z± Z± -^- rr a <§^P ?z =p^ -& -o- 7=t2=* 4 0 ^ _ri =P* zi -fE2- TZ- T*- The Church of our fa 1- thcrs ! the Church of God! No. 249. GTrisa0ton II 12, 12 IO. £I!EH: -G> ^>- 2^=5? -©- -&- ^_^__j^J: -& z± J^L _£2_ I I . I d ^£ & \V. H. H. G> ?2=f2 IHH C2~0" 25EQ3Z3: » H £2: -G> — & -C2- ^ ^t ^=^ Ho - ly, ho - ly, ho - ly! Lord . . God Al - migh - ty ! Z± •o- -& T^- Zi T^ T* zz ^ -(S- =g z^z: -o- W -& I fe* i i zi feEER: 3EE <± jzL -&- r^ *A± ^ TZ- &1 £21 T©- r ^ • * -^- r Ear - ly the i — 1 i morn - insr our T2- shall rise to Thee _£2_ *£ A _Q_ T2~- ^2-az ^z I Che - ru - bim and Se - ra On - ly Thou art Ho - phim 7^21 Z2: -&- 1=2- -- rj rj £± Ho - ly, - — e>- H « t=± si ?a= O come, all ye faith - ful, joy - ful - ly tri - urn - pliant ; To A4 1 "S>- "^£ -i^ -e>- q=ci O' W£ d •^ «=■ -t^ -O- £ .Q. ^ -i rjrr i -! ^^! fat Z2Z ^=ct -(&- -& — - -Gh rd- -z£r^tjz± fe 3d :j2 PilP P r^ FF=f i \ i Beth - le - hem haste ye with glad ... ac - cord ; Lo ! *& ^ s~~?z rpzzp=p«g: -- -o i1 , ?= ^=^1 -O- Z2I i=H=l -7=£ t=t csp - 1— - ■*=&- P^ <&-Y r£ -&- -&- zcz i3h n. -Gh :^2i tx I^L us a- dore Him, O come, let us a - dore Him, Christ the Lord. Amen. No. 251. " Jflun tianket die (BotV9 67,67,6666. (See Preface, ft. xxiii.) Now thank we all our God, With heart and hand and voi ces, Who won-drous things hath done, In whom His world re joic 1=1- r\ rj— ~rj— St -- T^L & & _d _oL _^_ #«= z± rj rj ■P>— ^ _ri -& J. =^z «- ^ 22: =g: 33 Who from our mo - ther's arms, Hath bless'd us I our way, -Gh Z± ■& rrs ICZ ^ Z* -i9- 1ZZ. - r-> ?2= r^_ & '- j=± ^ ^3" j2_ ^ ZZ With couut -less rifts of love, And t; still is ours to - day. A-mcn. No. 252. " (Sin' frste Burg fst unscr <£ott/ 87,87,6666,7, (6>£ Preface, p. xxiii.^) E *e: 72=3 d=d: b-4 — I- ?=z± ^ Hfe -T-^ UJ-J :ff* r -s*- =P2= a zi I 1 I (S>- -G>- E±E=EE. T2- r W t£ f£ '^ JT± 1 1^1 I \r-\ Re - joice to - day with Re - joice and praise our one ac migh - ty I cord, Lord, Sing Whose out with arm hath f7\ /Cs R=3 ±t- W 1 & A A rf=r. ¥g£ z± =t ■j^tnz I I a ^r- 4Si: T2 T^ TV ex - ul - ta brought sal - va tion tion \ I His works of love pro - claim The great-ness mer - cy shown all His saints a A men. No. 253. »t. Paul. 87,887,77,77. (See Preface, p. xxiii.) F. R. H., 1871 f=f=t Wor-thy of all a - do - ra-tion Is the Lamb that once was slain! Cry, in T 1 1 ■ 1 1 - • .1 rap-tured ex - ul -ta-tion, His redeemed from ev' - ry na-tion, An-gel myriads * ^ ^s r=n U-l --0 M ]T2.\ -G- T^- j* ^^r G- -G £±. 3^ pfetp ■Gh -Gh b^=F Gh T^ -G-f^- -G- 0- -G I I I I I -G-G-G I ! -G- j I I I ' join the strain. Sounding from their sin - less strings Glo -ry to the King of kings ; * Harp - ing with their harps of gold, Praise which ne - ver can be told. A - men. HYMN CHANTS. No. i. Worcester €I)ant. (recte et retro.) *s; -&- *=E± -Gh W. H. H.,c. 1834. 1- mt «s- -«©- ts>- "O zz -©- -<^- ^fl -G G- -G- -&- jd. JS± jGL. JGL -G -G- -G- T*- :^i -G- T^F- O God of Hosts, the migh - ty Lord, How love - ly -G- Z£2I the place I d=±^t :S: Z± s T^ -G- ~ZZ. G S1 -&- m -G- J- *± _ri -Gh jzL -G F^-- zz -^ s -&- 8 Where Thou, enthron'd in g\6 - ry, shew'st The bright No. II. <£pt)e0U0* (Unison.) of Thy face. W. H. H., c. 1836. This is the day the L6rd hath made, He calls I hours His own £= :g2z 1=± cm II rj -&■ z± Td- ^^^: «y #§? -OS- J- t: -Gh E -O- j r H9- «rr z^: •i^i ^ ? -e>- z^: t=t nn Let heaven rejoice, let darth be gtad, And praise sur - round the throne. No. in. :5— ^e; lltpniit* (Double Counterpoint.) 23 i & &~ -QSB- -Q- nrzp: 22: lj O God, our help in t=£ W^§= ges -<^- W. II. H., c. 1836 :=z3=:e!: -«^- i -^9- HH! 122 past, Our hope for years to 3 H g: ^ :P- -& zz z± -& -s>- a -Q- EE 'Q~ .Ol. A ^=fc r^> Z2I -& A zz -<^- H Our shelter from the stdr - my blast, And dur v- ter - nal home. No. iv. petpmos* m^ F. R. H., -<^- -S^- -^ :B—a 'Z3~ .r>- TJ- ~ZJ- W^ CJ .CL A m .Q. The strain upraise of T?- joy and -& -- f -J s .ci -& JOL & w- ~£J~ -*Sh _q. p -^ Z2I #s To the glory of their King shall the ransomed peo - pie sing, Alle hi No. v. * frljpattra. F. R. II., 1871 -&- ^: -r± Y T^ -G32- Z2 ,e± ^ J -Q. J2 g -<^- -JOZ. '■££ ■&- m. -1— One sweetly s6 - lemn thought Comes to me o'er and -Gh A * ■&- Z2I 221 -S>- j g^ "23- -C2. -ph-t- J_,_J. ffi S -esB- -^- ESE 1 1 I am nearer my home to - day Than I ever have been be - fore. No. vi. J^rfcis. W m -.g-- 1 hi ■SB- Z2I -^- S: I 1 F. R.H., 1870. -CSCL Z£2I -- 4= Z2 m I thought upon my sins, and 1 was sad, My soul was troubled sore and ffll'd with pain ; I . * :S- P=~ zzzi ^tg -- S| 5=Z2 - J I I ■pa- ^ Z2I -^- jjgjgpg 52- ZZ But then I thought "I , , , j My heavy grief 7 -^ „ __• I *nd was Slad, Jas tur4| tQ joy a - gam. on Jesus The last line thus if for three syllables only. No. vn. PI)lI.lt)Clpi)iit. (5 lines.) H * m -o- 2Z 22: z± O-G- t— r "C?" :^z zz I 4-4 22: -^>- f. r. 1; t-: — !• 3^gE P2=i ~cz:: -&- ^ «-- T^- i£^i ^s 1 \\ ho dares stand ) ■> , , • \\ hile all around ) ,-> ■, Come, la-bour on: .,, ., Miar-vest plain, ,• ., f gold - en grain ' idle on the j F ' him waves the j & fo i Tjl. W t7 221 s 22_ JZ£ & J- jC± @ -- -&- -i&- zz And to each servant does the Mas - ter say, " Go, work day ! " No. viii. ILntitsuz*. (6 lines.) 20: lfe§±3: B: -J 1- F. R. H., 1S70. rzzi I I T?^- ~Z2\ -&- zz si -©-g: I I" £2. m ^ ?2=P2: S*- _p>_ -& -&- -o- T^ TZ. Long did I toil, and knew no } earth - ly rest, F£*$±*™> } cer-tain home, At 1laSt \S™?ht * i i=e m rz =£s£ g^ Q m j=L.gL "®- _£2. I ,1 S1 i^z: E^ S7 z^rfezz: FT ^=t 7^1 Z2I ~£Z -S>- #=: -&- ^^ -Gh ~Z^L ■G- -&■ -G- ■&■ its Who opes His> With Him- And I since^ wno opes ms\ w nn nim\ Ana I since\ arms, and bids > wda-ry come: I found a> re*st di - vine, then am His, > He is mine. A-men. thp home, a ' ^"^ and (Jtljant ©erbue for tlje f t iDeuim A W, H. H. H r± -- 2± W ^^g ~C3~ tt r^T p> y. B ■^ n Z2I SF M -o- 73 -&■ We praise Thee, 0 God, we acknowledge Thee to be the Lord. tt zz Si w ^ is1 lli _OZ2_ safest * S J3 ;f "£2: 1 When Thou tookest upon Thee to deliver man, Thou didst not abhor the Vir - gin's womb. U d: s m TZ- Z2Z tt fet Z2I ^ - ;i. isf zz £ ^2: Day by day magni - fy Thee. i 3 « w -^ z± Y -€3»- T2Z5- 1 m -rz: SF :r=g: @ with pa- Lord, to keep us this day out Chant Service for the Te Deum — continued. % SF ^~~n W t^t zi z± -o — -o- Z2I -^ .c^_ JoL »i s> T2. -&- I ' I I "CZZ3" -iS'- ^ rj ■ss- 0 Lord, in Thee have I trusted let me ne - ver be con -& found - ed. PSALM CHANTS. No. I. (Suitable for Psalm ciii.) No. II. (Psalm exxi.) W. H. H., i8fr i ^ m Z2 :=££:§ ?3 § 22 a jq ^n^' te^S ^r^WS ez *3h ^z: 22 ^^ ^u i§§ 9 ^ 22 -^ ^£> ?§f a JoL-o. •frr ^E> k>L tt -- ra rz ^ £2: ^2 No. III. (Psalm exxxvi.) No, IV. (Psalm cxlv. No. V. (Psalm xxiii.) ^&r S -^^. a >^-r H V^r '-ii^ 3 3= ■^>- -2: -^^ *--&■ ■&t zz No. VI. (Psalm xx.) x; W -e- zz ■©■ >rjs-^^ E3 -- this I law. -- ITJl p -pz M 1 P? -/S1- ^dr Lord, have 4- i mer - cy TT S2 f^- J up T? J- ■p- -p- r and write all ! ^ «u $*=£ ^ 3= t=3 M z± I these $=s £ P=P^ Z2I Thy I laws -J- in our 1- hearts, I we be O -G> seech Thee. TZ- Z2I :c2 KYRIES. No. 2. W. H. H. *E ZJ f Lord, I ^ on have cy up -- •^ and in I I m^ -Gh -&_ t=£- z^: -- z^: st rt r^ -p*- - cline w -- our ^2= hearts to ^ keep this law. pz ?£^ fcd i i i=^ J. ^ Lord, have ^2L I « mer - cy up W and write ■&> * m- T± ^3Z1 -Gh r-> f r ■Gh & 1 1- Z2: = *== i ^ laws -G>- seech #3 these Thy rr in our *3 ~P5 — w — w I I I hearts, we be J I ■iSh J2- G2J Thee. KYRIES. No. 3. E?fe W. H. H., 1866. P r r 1 r ^g us, J. Lord, @s I have I cy up JZL -&- -^ T^ -o- f P TT -pi— p and in I I #%^=f cline 5*= -& hearts I — S>— to keep this law. ^ ® b ?z 7=2: *=; 1 f S- -& I Lord, have A. A r^r NH ^ » mer - cy up and write r -&- f all #=^: 72: ^zr -iS>- 3 1 ^3; 2± t^3E Z2 rr these Thy I £ -&- -O- laws in our I 4 hearts, we be joL 1 1 0— ^ 1 wj seech . . . ■?=*- -Gh Thee. m %=C* p 0 P r — r p 1 — F zz KYRIES. No. 4. Wi m W. H. H., 1863. &&m Lord, jd :c£ have F cy S^g tave mer - cy up £Z- TZ. n us, and -■F r in f :rfc cline .j. hearts .& to 2^ keep z± I this J. law. ii 1 e& a s g -19- P2I -S>- ?Z ?3 Sfc T± l3g -d- JZ± r -o- 0 I cy A have B& 1 Lord, rf* up J. ?3 P and joL -& wnte -J all :pz 177 — p- P=F -^ -- F3F No. 1. GLORIAS GIo - ry be. to Thee, W. H. H., 1856. O Lord ! E~^EES '£2. T± I£2 1 ■z\zzn » T Glo - ry be ^ to TZ Thee, TT -Gh m&. h !£=&- to J- Thee, O Lord ! I I :^ ^2: fc No. 2. 1 GIo - ry be to Thee, ■jS- I O Lord W. H. H., iE 1 z± z± -^ Z2I -- to Z2: -& \j Glo ry be Thee, O Lord! pi ^2: m _£2_ Z2: ?3 No. 3. d: be to Thee, W. H. H., 1863. O Lord ! -&>- T2L J2L -G>- 22t 1©- SF £2? &&: Glo 1s i» p i be to Thee, A t=X T2L -&- Lord! jgi- GLORIAS. No. 4. i=fc£ S ~Gh \V. H. H., 1866. E± f J- 35 p «s ^g. '- -s>- o Glo I <^&*m± ry be ^2: to A Thee, Lord ! ^Z Z2 ?z -- ^ No. 6 » ^ W. H. H-, 1866. z± z± S Glo I .*L T* be I r± =P2= to I Thee, I 7^" ^ - S3 Lord ! frcr ^aiKtus. I I There- fore '&' W. H. H., i8tf. B^=i^E E3j -&- i^d with an - gels I J 1 and arch an ?t j. gel: -G>- i>— t* f ?=: at i i •^ »>- d: We ^rr-rt-p=:F -- -3=1=^ ^ES zi -s>- "£2- T^ -- glo Name 1 r r r 1 Ev - er - more prais - - - ing Thee, and 1 JcJ- ^r m zi ¥■ ~zzl: ■&- 4--* — g — i111 5 Qi i i7 =f l say ^- TER SANCTUS — continued. \ - r r =F=r= Ho f r iy, i ^ ho I Z2I _^: ho /On £2= -©- -G>- r iy, -Gh 23 Lord f-M f- ?2ZZ=pZ z^: God z± d: as*- H i. J. t of hosts, Heav'n and earth are Efc full ^2_ -& ZZ -?- -- Sf i9- -©- zz gj r^- T2 T*- 15 ZZ —£2 £2- T2= ri A zz i No. 4. zfcSzz «> s -e>- :3: :£± i 7^" T± ZZ ZZ IZZ IZZ w + pr & -Gh '0 _Q_ -O- SINGLE CHANTS. No. 5, -&- r± =S= 22: z± 3 -^~ ■C7- ^eeS -g-- ~C5~ V T z± Z2I ^Z £ £2" Z2: Z£2I =P2= -iS- No. 6. No. 7. 1= I E=E^ z± -- 22_ pS s 72: *o- _£2. = =£21 1©- -6^ ?3= -- Si "^7" -e>- No. 8. m m :S: g jd. *£*• :gr 22: 22: T2Z3" s is>- ^2L I ■©- P z± ~- ?2= =t 0 -S>- u SINGLE CHANTS. No. 9. m si Z2I ^ zi cz: Z2 X) JOl ~m .CI. -&- UP _£2_ _^L ^2_ .ri -e>- "C?" -£2_ Z2I Z2I ?3 ?2= No. 10. -& fc=S z± st Z2 3£2I ^E £2" :£ -(^ f* -TJL X7 ■(&■ I -^ i=^ =P I£2I P r -U "23" zz :cz ?=z No. 11. 1 tS>- ^ gff — g«- 5=£ -QSB- ^ ^g=em: a :^d: zz :z2i =t I -- ?=: pz - — u No. 12. 0 ft | I I y * rJ i X J r r n r^D i !-J C? rJ IMJ Q2^ 1 i 1 V 1 1 i i 1 1 -*- 1 i -ex /iy iff rm i l r> io 2 — ed— — — — f-* — — p^ — r~ i i 1 i i SINGLE CHANTS. No. 13. Changeable. m& 1^-9- -a. I J 3g=:=S d=d^J T* p _Q_ No. 14, i •t rJ Q r-> r?" :§: =a @g-^^g .J. -& q „ Z2I zz ^ £ fc# -J- £2: No. 15. P z± -& z± -- -o- zi gr-feLL. g. — (©- fi= s Z2. £2: -P2- S: Z2: Z2I -o- -- -& ?3 ZZ T? r± 10- g — Is- _C2. 1 No. 16. i -S»- Chansrcablc. d=d: tq -QEB- d & *a r-^f T2Z3" seeee ^ ■SB- -&- cJ gt 23 ^« r± =P- ^ -1- zz SINGLE CHANTS. No. 17, P 3 A 'JTd:. zi -- -&- ssfj ft. ^ -- -& «- :^ -& zz -- 0 221 r 22: -G>- TZ- No. 18. P <^ — F---Q- -& "^ ^ ^=i3E^ :^2i 22- Z2I zi r ri P^-gr T2Z5" 3=t J J , J J 1 Z2I HZ £2= £2=H No. 19. I ©- 3St S 22t Z± =s= Z2: & 1*7 1^1 0 -e^>- ■«p jQ. £Ld. r s -H^- -& =PZ No. 20. P r*— g ^ -<& zi-zzi at. -e^- s «- OT^ 9§==iE M 1 _Ci JZL A. TZ- w -&- Z2: ZZH No. 21. SINGLE CHANTS. §E=E5: 23 22 ^ 7^~ r » -^>- "CZZJ- 2^: .^ — -i TZEJ «- -^^ £± -G> I O -O- z^: ^ P -<& No. 22. -* — - 221 rz t9- ^ B- @« £^ _o_ 2^: ji^_ g f* =P= - D ZZ -e>- No. 24. H z^: -&- 221 S 22. -&- ■^ jdi ?3 73 pr .d TZL - pz No. 26. d: Changeable. W ;£ #=* 2Z Z± 221 # -<^" S>- (S- 7^ &* jz£ r OZ3~ 2i ■SB- -^ -G>- ■©■ -^ 1/^ fe^i p -^ ^2: r No. 27. £ Changeable. zz Z2: ■Q23" ^S=^ 73- _C2_ -<^- ■q ' r^ r*> No. 28. s s: « r 1* ?^~ =F=r^ Z2I © s -G>- T T* A_A ^=^ r-t ?3 tS>- M -1= Z5~ .£2. -S>- SINGLE CHANTS. No. 29. -* — ©- ~Z2' -O- TZ. T± T* -^- A _£2_ I JOL m -&- w -G>- -Gh T^- 22—: & -& No. 30. g - jf 1 i i j | i rj |^, < rv rj ^ jr—i -^j rj r^ ^ ii f ,;■* i i d i — — i -i G> r i I — ^ — 1 1 — s> — i 1 i — & — i i 1 ^ n e^ - r^ o <^ — fS> — &= >fc^ ft — i 1 r> r^ " i ^v No. 31. el s zd: -&- D ■Pz: ■& a EE zz -<& :^: > — QSB- SS: -- PS n — — r -- -& P Z2: No. 32. ■ fj * 5 1 1 1 y **> , i 1 /> > rz> ■ - ■ ■ ! — -C> w . O " c->- ■■ O -fd — - -G* *=* c± A Itr — — O — i 1 Q i 1 — ?5— I J 1 £-*: L -O- i i — F-* 1 1 1 — ^_ 1 1 1 1 -&- 1 8 C-> r^ i ° 1 1 eL> I — 1 1 rj SINGLE CHANTS. No. 33. it Z2I Z2I -S=^ @ z± ?3i -tS>- Z2I ^ -- -& «- -Gh ~Z2L ^ TZ- ~Z2L ~Z2L Z2I No. 34. l i Changeable. -r± Z2I -- 2^: -e* ^ sp szzzq: 3§E 7^ -<^- Z2I -^ r± i5h - z± © S1 13 -^ i^- -^B- 1=3: -»- a @ g Z2I 33 ?2 -& ?=. -ts>- -^- No. 36, rJ rJ 1=t -- -i& ^fe* •t^- m^^^ -Gh *=£ Mi S 3 -» Z2I i9- SINGLE CHANTS. No. 37. — i - ■ — — 1 — n 1 ^ I ^3 — (S — 1 1 1 1 -MHI ^-- ^ 1 r j 1 — i O — d ^~ =U- ^-1— .. w — -O — ' 1 — — — ^ t ^-^ Cj2-> 1 — & — — C2 =^ No. 44. I Z2I I .£2- i£2: -& Z2 i^tS -€S5 @ I r2 I ! 1^21 ^2- 22. Z^_ A . J -& I No. 45. SINGLE CHANTS. Z2I -& H zz cz » ?o • -.& ^s ^ -e&- -- ■s- _£2_ _£2L -- ^ ^_ H No. 46. I zz 3 :^2: -e»- £2: :pz ^ -& £2- Z3 H No. 47 m -&- 1332: T=> 1=2- 32: S&- pz 3^- -SSB- -- ^_ _ri rssz -P2=P ^Z No. 48, -Jr 1 I] rrr^ 1 ,— *TJ I ?5y §" W-1 1 — ^ — r J q 1 ' S* — 1 1 rJ rj 1 1 1 jT2_ 11 1 — ^ — n , rj r^ Cj> 1 ' 1 1 I cj J SINGLE CHANTS. No. 49. anz^ :q: ?zi T^- WEEHE: m F=f --JO!- :zd ^ I I P g _q. iei I -QL SZ2: ^2- -C2. ?3 -hH- ~-<^> pz: No. 50. f^W Z2: Z2: # -^ -&- -e>- Z2: -^ c FFF^=g r i^ ^ ff: '^' -^" . J ?2= No. 51 i^ e ® ^2 r? — u~rj -- -- p ^ jb — g I — au H o- ?z -o- No. 52. ^ z± Ft £ fe B= 9 — *^- =g& z± — r^ T? rrt r± ^\ P ^=^E -- Z2: s .OL .Q- -S>- No. 53. SINGLE CHANTS. ~ZB2L ■rm- r TJBJ - 'ZH 33 T*- ^ I I I P^ # 11^222 i i i i 1^1 :§: e ?=t -as- is F^F 2 pz: No. 54, =st ^ 33ZZ 22: r P ■«3 PC r ZZ£Z -- -& -G> p -O- =pz r-r ^ No. 55. I es i z± ?i ^ - (S>- j- j _Q_ i_i as £21 -€3- -&- ■&■ P 7= P -^- No. 58. ^ i :=s Z2: 22: ^ -- T^. £2: f — £2 /• • ■ ■■^> <"5 v^- c^ — ^~ p rj p — i i Z2 £2 €? 3 4-» 3Z ffa 62. -0-J / g i_-£ q ^~ £ s> — ^ -^ 1 g5 rn ^J — s» — i^j t— ^ — 3 — P C _£2_ ^ I — ^ — i ■py \ — S> — n £*g r' 1 .^ g ^ ^ T-*' ps rS 1 — e> — ■ <* i = i riM 1 gt« g — rJ *—* LJ & 1 i — — p 1 1 — ^ — i — si — (S3 — e V^- C-* & T^ ^ r^ — e» — — © — Cs =s=y DOUBLE CHANTS. No. 63. ^ o 1 — 1 d g — 0 — — -b— J " 1 ^ 1 ^"^ rJ ri d | ¥ g — ° ^ (E^~ — 1 H 1 r^ d 1 ^ "i ^ — -* — rj 1 ° " i ° ^-^-5-1 No. 64. I TT q . g o -<< *=5- tr -1^ giFg e T-fi" zz: I t cl £ zz p p I i "g~T @* a i p-p |3 ^ ^ I 1 I DOUBLE CHANTS. No. 65. fcfc= -cr §p £=it _ri IQT T± r- jzl n — rz: TJL ^ 7^ =nt Dt won IEEEe Worcester Festival, 1857. r 19- ^=P :q_ -^- Ko- -O- I - I ^ zz F¥ r± Z2: -o- r HP* r -G>- m r -&- Z2I ~Gh A TZ- TZ- I p -- pee! r T* & 22: -& A TZ- & 22: -- m 22" ■©■ ^=2± I r 2^- ■o- p 22: -- ■*= -& A V V \ u & J. -rz>- J=2. No. 69. DOUBLE CHANTS. ± m m *CZL CjL "£7~ si f ?a — pz a -- ■^ 1=^£ P-T c± 221 ~GT I ^- ^— T7 ^ r m ■&- =hP- d=^ -& -— ~^- o- gE^=^: No. 70. i r 22 -O- ^=^t z± 1 8 -^ f* «8=' @£ _C2_ Z2I TZ- tZL & r m% Z2: T* I i Zi -s> zi 1— r Z2I -&■ T3~ S# ^=^^^U^=^^-r^ A ¥ m -Q5S- ^_ ?Z p fell T^T DOUBLE CHANTS. No. 71. -B; -&>- -&- J± -&- -Gh '-&■ T3L r T2- -&- Recte et Retro. Worcester Festival, 1845. (Opening of the New Cathedral Organ.) J rJ A =W3 FH "S»- ^ t J3. HH 1 zi Z± 22: Z2: 3Z r S1 r^ r ITJ u -Gh .Q_ _ri J. -©1 G>- -©- ri - -g* m TZ-- -g- T^ ^ T*- 1 -P*- No. 72. :fc= "OZ3- ife® J f -Gh T*- ~gt _Q_ EE zi ^ -- :££ JQ_ jqL "^ rj> Z2I 0- .cL ~JT2\ :t= P g>- ■CZ- p --I- -& s « a. ^l-^ S -S>- J P PP^P^ PIP P: 4= ^ No. 73. DOUBLE CHANTS. $ it «t r m -&- -rl- '-& -Gh Z2: S1 -s- £2 f^r ^ F^F Z2I Z2I ri p^ zz i zi fe - i-cr zz ^ ^ :ez 22: = -p— g. p *Z2 Z2: :s: -- -g* £2= -©- zz ^ _q_ _d V Zl -G- -G- ZZ -G— zz J- - -G- -G- A -g- -g- -g- -g- G G- F zz r -p*- r 1 221 -e»- S zz zz 3^ zz -Gh -Gh T? CgJ' m -G- *3 .£2. £: -S> F I No. 77. DOUBLE CHANTS. S -.d=z 72. Z2\ : =.Z2: ■3- n g T?~ 0= _£2_ @ ^=J _Q. 221 zi ! -^- j_j <^ 22: -o PZ t^=f 22: 1 22: -s>- :^ Z3i a =a J. J. HP T3Z5" .Q. ■€?- r r'r r1 No. 78. ^2: €^ 3f- 22: zi Z2 -€E£2- Z2I -&- i id: pz ?= rcn -6> ^ _Q_ rez 1 fe2 n s 13Z5: -GD- -O- =± -- rro~ -&^~ «■ ?2= -J_J ^ 1©- V *4 221 DOUBLE CHANTS. No. 79. HL*z= z± d: Z2I 1 :^n mm ZJL &> m^ ~r^L r ■&■ o- ■& -J- JGL £2. S 4 jQ. Z2I *ft Sj^ zz zz -P*- 5^=°=^ * P _C2_ 22: ZZ — *^ ©- yz p z?: Z2: ri ^2=(C3 z^: No. 80. Hfc*- t=F i #^ ^s-- ■Q5& ?^g Z2I 121 , ' -& r 7=: ZX £2- z^: -s>- •m=F= B: *3fes^ 1 — 1 -. ~^— 1 1-, ~^ ^~ rW- =^=l 1 r— 1 A 0 1 — &> — — a — — ^ — -r-r* 1 , r -J 1 — ^ — n ^-8 L- 1— r- r^> ■ ^=p= 1 — P -1 rj DOUBLE CHANTS. No. 81. $1 RECTE ET RETRO. P Jtzrcz 33 Z2I -- ^21 -- -^>- @T# -S>- £ n - Z2: S#e§: P> zd £ -& ^2_ _oL 7^ j_j :P2: zz zz w F 22: No. 82. fcfc*= RECTE ET RETRO. I -r± -& -Z3L Z2I r -&■ _o_ tS»- 4 @3?- -^>- :cz "p- I J. r T* T^L JZZ. jGL £2= d: 4^ ±± -^ -G&- m :&: -o- 22: Et :^2 ■P" — o- i^- r ?z -e> & ?a Sz: Z2: -ess- US Z2 : -^ J_ -p£ zz DOUBLE CHANTS. No. 83. =s£ z± -& ri ti -ez ■Gh Z2: ^2: r ^ 1 1 T? 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CHANGEABLE. %$=£: -& j^Z -- Z3t r ^2 A £± A A r m SB .<=L .a „ m TZ- Z2I .GL T^ T* p T*- ^2: T± m s 4=J. r -& TPr T *^& r -ese- -o- «- -s»- iixu ES: :F ■PC 2Z ?3 ^ No. 89. Ifes d: Z± Z± ^ IQI ZZ Z± P frl f1 @ £ CP /o -C2- zz ?^£ rj : F ^2: F Pi s i z± :g: zz ZZ g^ r ir* r -&- 221 'A ' £ TZ- I I S i2^ =?3 :§=H DOUBLE CHANTS. No. 90. p g i d Y&E^ d T* l=m g=u=g zi - pSJH r— •- zz Z2 icz -iS>- -©- gap* jQ_ -e> & ri s Z2I ?2 ?2= r-H2— f2- 1 No. 91. I 1^52 i «fc — ^' I s -^- p1 flg- "£3T «- :-T? g ■©- Z2I ^ ! P ^= tt ^=P ^-^ -=^r i Z2: ^ ^=p i^- 22: Z2I -©- ^gZRgZZg -£2_ z^: Z2I 1 j I <^=4-X^A p pz =g= DOUBLE CHANTS. No, 92. F=T£ ■©- £?- JC-L S -P i J Ajj j Z2I -S>- § e -- ^ p^ P Z2: 22: Z2I ^ zi p 2 g 1 rg^L^tJ B: JL2 -O- a P pa J- Q ■U ^j a 2Z -S>- *p -& p *=F ?2I No. 93. I d^Ea @ 4— r rz 22: a JE* Z2I 1221 PC ===© J jsL ^21 s -- ?z HZ *= T± -&- I 1 ® @ *= "C5~ _QI -& SZ z3: f Z3 I -- DOUBLE CHANTS. No. 94. f .C2_ ® s ?sl -e>- Z2I 22- Z2. =i3=^ ~£2- _£2_ ?3 -^- =g=^ -- dt ?3 pE ■£21 ZZ B I 1 g=zz -©- -s- ^?S ^2: «- J- I I g^jSf T? g 22: 1 zz •& -& ri :d= =£z "^_ No. 95, I z± «- -^ d- zi z^: 22: 22: _cz -iS>- 3=t •s>- ^ MB? _£2_ :& ^ «: p -s>- T* r 22: i d i t> g s> -e>- Sp- - ©- #z 3= -& r^—g _£2_ P 0- r p f^ io^z DOUBLE CHANTS. No. 96. s= 5& Worcester Festival, 1848. Jtz^: Z2: — 1 y^-\ 1 — b— 4 Fr 1 Z2: .£2_ -s>- H 1^ @ :F=T5F zz -- && *=£ -Gh ^m-. rd ■& -rrrr *r -G>- ~ZJL -G- -PI ^m — g- 0 t= -oLi -- ^ DOUBLE CHANTS. No. 98. I Worcester Festival, 1851. i m 221 23 -^~ ?2I €^ -Q- ■s- -- "°" Y M ^g^: it _£2_ 7^ d: 1!^ d ^21 -£2- ?2= I J=*d: i H— m 1 e ZZ is*. !ZL or JGI. £± 23ZH T2- -&■ DOUBLE CHANTS. No. 100 I A ^eeA IE I£X T± -Gh -T3L -G & V 87D. 10 10, 11 11 L. M. L. M. London New ; or, Nezvton 777 7 7 7, 7 7 7, 7 7 7 87,87,87 L. M 6 5, 65 D L. M 7 7, 7 7 D. L. M. .. 11 11, 1: L. M. .. 8 7, 8 7, 8 7. C. M S. M. . 8 8 8, 6. 88 6 D. 7 7, 7 7 7 7 7 7 D; or, 10 lines, 7 s C. M 886D C. M 7 6, 8 6, 8 6, 8 6 Hymn Chant ... 8 6, 86, 88 L.M Author or Harmonist. W. H. Havergal W. H. Havergal. (Adapted, F. R. H.) John Schoppe. W. H. H. ... Harmonized by From Supplement to N. V. Dr. Croft. Harmonized by W. H. H. W. H. Havergal W. H. Havergal .. J W. H. Havergal W. H. Havergal .. W. H. Havergal .. F. R. Havergal W. H. Havergal .. W. H. Havergal W. Ii. Havergal W. H. Havergal W. H. Havergal W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal Supposed old English tune used in Kent. Harmonized by W. H. H. W. H. Havergal C. M 77, 77 S. M 87, 87,447... F. R. Havergal W. H. Havergal , John Hermann Schein, Music Direc tor. Died at Leipsic, 1 63 1. Har monized by W. H. H From the " Scotch Psalter." Har monized by W. H. H Ancient German Choral. Harmo nizedby W. H. H From " Ravenscroft's Psalter." Har- monized by W. H. H German Choral. Harmonized by W. H. H Date. Source. 1S63 1849 1642 1708 Ap 16 1870 1870 1852 1870 1840 1869 1846 1866 1869 1869 1851 1854 [869 [859 1S69 1870 r635 1621 " Fireside Music." Hundred Tunes. Old Church Psalmody. Old Church Psalmody. " Anglican Hymn- book," &c. Hundred Tunes. Unpublished MS. Unpublished MS. Hundred Tunes. Hundred Tunes. Rev. L. C. Biggs' " Supplement to Hymns Ancient and Modern." Hundred Tunes. Hundred Tunes. Unpublished MS. Unpublished MS. Unpublished MS. Hundred Tunes. Hundred Tunes. Unpublished MS. Unpublished MS. Unpublished MS. Hundred Tunes. Old Church Psalmody. Unpublished MS. Hundred Tunes. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Index of Tunes. No. Name. Measure. >r or Harmonist. Date. Source. 152 77. 77 Ancient German Choral. Harmo- nized by W. H. H 1780 Jan. 1870 1861 1681 1S59 1812 1635 1861 1S51 ciSoo 1846 ci 760 1655 CI7S0 IS4S 1780 1857 1700 1649 1563 1563 1563 1563 1580 Magdalene College Mahanaim Mamre 8S6D Old Church Psalmody. Dr. W. Hayes. Harmonized by W. H. H. .'. 76, 76 D 8 8, 8 8, 8 8 ; or, 98, 98, 88... 8 8, 8 8, 8 8 ... 11.11 Old Church Psalmody. 129 226 W. H. Havergal W. H. Haveraal Unpublished MS. 229 154 93 W. H. Havergal Marah W. H. Havergal Unpublished MS. S. M S.M. D 87,87,87 6 6, 86, 88 L.M C.M From "La Scala Santa." Harmo- nized by W. H. H Massah Media Megiddon Melcombe Old Church Psalmody. 96 195 122 24 5o W. H. Havergal W. H. Havergal Unpublished MS. Hundred Tunes. Old Church Psalmody. W. H. Havergal. (Adapted, F. R. H.) S. Webbe. Harmonized by W. H. H. From the " Scotch Psalter." Har- Meribah Merom Midian Mind en Mizpeh Moravia Moriah Moscow Xarenza 88, 88, 88 887, 887 86, 86, 4 76, 76, 77 6666, 88 S M Old Church Psalmody. 228 VY. PL Havergal 215 175 126 120 W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal. (Adapted, F. R. H.) From Topler's " Alte Choral Melo- dien." Harmonized by W. H. PI. W. H. Havergal Hundred Tunes. Unpublished MS. Old Church Psalmody. 83 Rev. Lewis West. Harmonized by W. H. H 6666, 88 664, 6664 .... S M Old Church Psalmody. 119 107 W. H. Havero-al Attributed, in the "Lock Collec- tion," to Giardini. Harmonized by W. H. H Old Church Psalmody. 80 Ancient Choral, from the "Cologne Hvmn Book." Harmonized by W. H H 7 7, 7 7, 7 7 C M Old Church Psalmody. 155 47 John Rosenmiiller, Director of Music at Leipsic. Harmonized by W. H. H Nayland ; or, St. Stephen Xebo Old Church Psalmody. Rev. W. Jones, of Xayland. Har- 6666, 88 886D 121 W H Havergal . 212 New College Ximrim Xottingham ; or, St. Ma Jims ' ' Nun danket alle Gott" Old 25th Old 44th OldSist Old 100th* Another of the same Dr. W. Hayes. Harmonized by W. H. H 64, 64, 664.... C. M 67, 67, 6 6 6 6. S. M. D. Old Church Psalmody. 100 W. H. Havergal 39 251 Jeremiah Clark. Harmonized by W. H. H Old Church Psalmody. 97 From "Day's Psalter." Harmo- nized by W. H. H C. M. D C. M. D L. M Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. 74 7S From "Dav's Psalter." Harmo- nized by W. H. H From ' ' Day's Psalter" Melody from "Day's Psalter." Har- monized by W. H. H From the "Psalter." Harmonized by W. H. H 1 See " A History of the Old Hundredth." by the Rev. W. H. Ha-. VI Index of Times. No. 237 78 15 146 IOI IO9 235 10S 241 147 23 242 143 IV. 187 156 VII. 223 137 144 171 134 157 141 150 240 33 62 167 203 162 135 VI. Name. Old 124th Old Nunc Dimittis Old Ten Command- ments ; or, Com- mandments Oldenburg Olivet Ono Ophir Oreb Paran Patmos Peniel Peor Perazim Pergamos Persis Pharpar Philadelphia Philemon Pisgah Pison Prague Psalm 148th, O.V. Psalm 148th, N.V. Ramah Ratisbon Rephaim Rimmon Ripon Rostoc Salisbury Salmon Salzburg Samaria Samos Sardis Saxony Measure. IO IO IO, IO IO. C. M. D L. M 77, 77 64, 64, 664 664, 6664 .. IO IO, IO IO .. 664, 6664 .. IO IO, nil; or II II, II II.. 77, 77 - L. M. .... n II, 10 10; or n n, n II.. 77, 77 Hymn Chant. . . 8 7,87,3 77, 77, 77 Hvmn Chant .. 888,7 77, 77 77,77 8 5, 8 5 ; or, 85,83 666 6, 4444.. 6666, 4444.. 777 7 7, 7 7, 7 7 77, 77 77,77 10 10, n n .. L. M. D C. M 78, 78 87, 87D 7 7, 77 D 777, 3 Hymn Chant .. L.M Author or Harmonist. From "Day's Psalter." Harmo- nized by W. H. H In all the old Psalters. Harmonized by W. H. H From the "Genevan Psalter. M Har- monized by W. H. H Ancient German Choral W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal F. R. Havergal F. R. Havergal W. H. Havergal. (Adapted, F. R. H.) F, R. Havergal F. R. Havergal W. H. Havergal W. H. Havergal German Choral. Harmonized by W. H. H. (Adapted, F. R. H.) Dr. Croft. Harmonized by W, H, H, Dr. Howard. Harmonized by W. H. H W. H. Havergal. (Adapted, F, R. H.) From Werner's "New Saxon Choral Book." Harmonized by W. H. H. W. H. Havergal W. H. Havergal John Church, Gentleman of the Chapel Royal. Harmonized by W. H. H German Choral. Harmonized by W. H. H From Ravenscroft's Psalter. Har- monized by W. H. H W. H. Havergal. (Adapted, F. R. H.) Michael Haydn. Harmonized by W. H. H W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal. (Adapted, F. R. H.) F. R. Havergal Ancient German Choral. Harmo- nized by W. H. H Date. :5^3 1562 1857 CI825 1867 C1857 1869 1870 1870 1870 1870 1838 I770 l86l I8I5 l62I 1842 I700 1859 1870 Before Soi Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Hundred Tunes. Hundred Tunes. Unpublished MS. Hundred Tunes. Hundred Tunes. Unpublished MS. Unpublished MS. Hundred Tunes. Hundred Tunes. Unpublished MS. Hundred Tunes. Hundred Tunes. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Unpublished MS. Old Church Psalmody. Hundred Tunes. Hundred Tunes. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Hundred Tunes. Old Church Psalmody. Hundred Tunes. Unpublished MS. Old Church Psalmody. Index of Times. vn N ame. Seir Selnecker Sephar Sheba Shen Shenir I Shenir II Shinar Sihor Siloam Silvanus Sirah Sirion Sitnah Smyrna Sorek Sosthenes Southwell Spires St. Ann St. Barnabas... St. Bride St. Chrysostom St. David St. James St. Mary ; or, Hackney .... St. Matthias..., St Michael ... St. Paul St. Silas Stephanas Sternberg Stobel Stuttgard Measure. 77, 77D L. M 77,77 6666D 87, 87 D 777,5 77, 77 87, 87D 77, 77, 77 77, 77 8 6, 86,86 87,87 87,87 87,87 Hymn Chant ... 87,87 10 11, II 11, 12 11 S. M L. M C. M 65, 65 D S. M C. M C. M C. M C. M C. M S. M 87,887,77,77 5555,6565 - 83,83,888,33 11 10, 11 10 ... 664, 6664 ... Author or Harmonist. W. II. Havergal Dr. Nicholas Selnecker, Professor of Theology at Leipsic. Harmonized by W. H. H W. H. Havergal W. II. Havergal. (Adapted, F. R. H.) W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal. (Adapted, F. R. H.) W. H. Havergal F. R. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal F. R. Havergal From the Psalter printed by Henrie Denham. Harmonized by W. H. H From the Psalter. Harmonized by W. H. H. Denby. Abraham Barber's " Book of Psalm Tunes." Harmonized by W. H. H F. R. Havergal Dr. Howard. Harmonized by W. H. H W. H. Havergal From Playford's Psalter. Harmo- nized by W. H. H Raphael Courteville, Gentleman of the Chapel Royal. Harmonized by W. H. H From Playford's Psalter. Harmo- nized by W. H. H Orlando Gibbons. Harmonized by W. H. H From the Psalter of 1565, and from that "printed for the assignees of R. Day, 1588." Harmonized by W. H. H F. R. Havergal F. R. Havergal F. R. Havergal From Freylinghausen's Gesangbuch From J. D. Muller's "Choral Buch." Harmonized by W. H. H German Choral. Harmonized by W. H. H Date. 1850 Hundred Tunes. Ob. 1592 1854 Old Church Psalmody. Hundred Tunes. 1865 Unpublished MS. IS53 Hundred Tunes. 1850 IS50 Hundred Tunes. Hundred Tunes. 1865 Unpublished MS. 1851 1870 CI826 1851 1842 1836 Hundred Tunes. Hundred Tunes. Hundred Tunes. Hundred Tunes. Hundred Tunes. Hundred Chants. Hundred Tunes. 1870 1588 1563 1686 1870 CI770 CI830 1671 1680 1671 1623 1565 1871 1870 1870 1704 1754 Source. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Unpublished MS. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody and Common Praise. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Old Church Psalmody. Vlll Index of Times. No. S2 44 194 V. 169 249 123 217 209 250 149 4 5 46 I. 45 191 172 173 128 238 127 166 207 99 Name. Succoth Swabia Tabor Tallis's Canon Tallis ; or, Tallis 's Ordinal Tekoa Teman Thyatira Tiberias Trisagion Trophimus Tryphena Tryphosa Ulai Venite Adoremus... Vienna Waldeck Wells Winchester Worcester York Zaanaim Zared I Zared II Zeboim Zemaraim Zoan I Zoan II Zoheleth Zophim Measure. 87,87, 77- S. M 8 7, 8 7, 8 7 ; or, 87, 87, 447 L. M C. M. 8 7, 8 7, 8 7 ; or, 87, 87, 447 87, 87,87 Hymn Chant ... 8 4, 8 4, 8 8 8 4 11 12, 12 10 ... 669 888 886 87,87, 447- 7; or, Author or Harmonist. 12 IO, II IO 77, 77 •••• L. M. L. M. C. M Hymn Chant C. M W. H. Havergal. (Adapted, F. R. H.) Ancient German Melody. Harmo- nized by W. H. H W. H. Havergal Abridged by Ravenscroft, 162 1, from Archbp. Parker's Psalter, 1561. Harmonized by W. H. H Thomas Tallis (originally Talys). From Archbp, Parker's Psalter ... W. H. Havergal W. H. Havergal F. R. Havergal W. H. Havergal W. H. Havergal F. R. Havergal F. R. Havergal F. R. Havergal W. H. Havergal W. H. Havergal German Choral. Harmonized by W. H. H Ancient German Choral. Harmo- nized by W. H, H Genevan Choral. Harmonized by W. H. H From Alison's Psalter W. H. Havergal From the Scotch Psalter 8 7, 8 7, 8 7 ; or: 447 W. H. Havergal 8 5, 85, 7 7 7,5 W. H. Havergal 85, 85,843... 76, 76 D 10 10, 10 10, 10 10 76, 76 D 77, 87 D Arranged by W. H. W. H, Havergal ,. H. from Zared I. 87, 87, 887 5 5, 7 77 7, 6 ... W. II. Havergal .. W. H. Havergal .. W. H. Havergal. F. R. H.) W. H. Havergal .. W. H. Havergal ., (Adapted, Date. 1 5 61 C1561 1852 1869 1870 1869 1850 1870 1870 1870 1866 1599 1836 1615 1849 1849 1868 C1858 1867 1845 C1858 Source. Hundred Tunes. Old Church Psalmody. Hundred Tunes. Old Church Psalmody. Old Church Psalmody. Hundred Tunes. Unpublished MS. Unpublished MS. Hundred Tunes. Unpublished MS. Old Church Psalmody. Old Church Psalmody. Unpublished MS. Old Church Psalmody. Hundred Chants. Old Church Psalmody. Hundred Tunes. " Hymn for Christmas Day," 1849. Unpublished MS. Hundred Tunes. Unpublished MS. Hundred Tunes. Hundred Tunes. Hundred Tunes. IX II, INDEX OF SUITABLE WORDS. (alphabetically arranged). Words. No. Time. Words. No. Tune. Abide with me -j 235 236 Ophir, or Ebronah Come see the place 210 | Magdalene College Accepted, perfect and complete 217 Tryphena Come, Thou Fount 202 Esdraelon All hail, adored Trinity 7 Gold el Come to Thy temple, Lord 84 A mar. a All hail the power of Jesu's 34 Elah Come, ye thankful people, come 160 Heshbon All people that on earth 1 Old Hundredth Come, ye that love the Lord 81 Abana Almighty Lord, before Thy 73 St. Mary Conquering kings their titles 143 Perazim And will the Judge descend 93 Marano Creator Spirit, by whose aid 227 Angels' Song Angels from the realms of glory 193 Idumea Angel voices ever singing l73 Zared II. Day of judgment, day of wonders 197 Tabor A pilgrim through this lonely 7i Culross Day of wrath, 0 day of mourning 218 Dies Irae Art Thou, Lord, rebuking 200 Tekoa Dread Jehovah 206 Augsburg As pants the hart 48 Adria Awake, and sing the song 79 Aven Earth below is teeming 105 Hennas Awake, my soul, in joyful lays 6 Eppendorf Eternity, eternity 29 Spires Before Jehovah's awful throne T Old Hundredth Far from my heavenly home 95 Ludlow Before the Almighty power 33 Rostoc Father, I know that all my life 176 Silvanus Begin, my tongue, 40 Gloucester Father of heaven, whose love iS Bavaria Behold the Lamb of God 118 Anion Father of mercies, in Thy word 5° Melross Behold the mountain of the Lord 45 York Father, whose hand 246 Eirene Behold the throne of grace 87 Franconia For mercies countless 61 Carlisle Behold what wondrous grace 92 Cyrene From Greenland's icy mountains 127 Zoan I. Blow ye the trumpet, blow ii5 Gopsal From whence this fear 214 Chapel Royal Bound upon the accursed tree 164 Calvary Bread of the world 231 Capernaum Give me the wings of faith 46 Winchester Breast the wave, Christian 98 St. Silas Glorious things of thee 203 Salzburg Brethren, let us join to bless 146 Oldenburg Glory, glory everlasting 191 Zaanaim Brighter than meridian 192 Havilah Glory, glory to our King 156 Pharpar Brightest and best of the sons 245 Sternberg Glory to God on high 108 Oreb Bring to Christ your best 223 Philemon Glory to Thee, my God 13 Tallis's Canon By angels in heaven 239 Hanover God is the refuge of His saints 15 Old Ten Com- mandments. Captain of Thine enlisted host 11 Gilboa God moves in a mysterious way 60 St David Children of the heavenly King 149 Vienna God of my life, to Thee I call 3i Hiddekei Christian, seek not yet repose 135 Samos God that madest earth 170 Casiphia Christians, awake ! salute 23S Zemaraim Great God, what do I see 208 Altorf Christ is our corner stone "3 Ps. 148th, N.V. Guide me, 0 Thou great 195 Media Christ the Lord is risen again 141 Rephaim Christ the Lord is risen to-day 138 Abilene Hail, Thou once despised 204 Shinar Christ whose glory fills the skies 157 Rausbon Hallelujah, Hallelujah ! Hearts 201 Shen Come, gracious Spirit 20 Dalmatia Hallelujah, Lord, our voices 182 Stuttgart Come, Holy Ghost -1 21 22 Dortmund, or Crete Happy Christian, God's own Hark, my soul, it is the Lord 148 151 Gibbons Shenir II. Come, Holy Spirit, come 90 Armageddon Hark ! ten thousand voices 180 Sirion Come, Holy Spirit, heavenly 44 Tallis Hark ! the glad sound 43 Bristol ( Hvmn ) Flark ! the song of jubilee 137 Pisgah Come, labour on ! ■< Chant > Philadelphia Hark ! what mean those holy 179 Sitnah VII. ) Have mercy, Lord, on me 95« St. Bride Come let us join our cheerful 38 Eden ! Head of Thy Church 166 Zoan II. Come, oh come, in pious lays 159 Kadesh He came, whose embassy was 74 Old 44th Index of Suitable Words. Words. No. Tune. Words. No. Tune. Holy Ghost, my Comforter 134 Ramah Lord, as to Thy dear cross 69 Camiel Holy, holy, holy ! Lord God 249 Trisagion Lord, I hear of showers 187 Persis Holy Spirit, from on high 152 Luxemburg Lord of mercy and of might 136 Shenir I Hope, Christian soul 219 Cai-pus Lord of our Life 247 Candia Hosanna, raise the pealing hymn 35 Chesalon Lord of the worlds above 114 Ps. 148th, o.v. Hosanna to the living Lord 225 Baden II. Lord, Thy word abideth III Damaris How sweet the name of Jesus 65 French Lord, when before Thy throne 177 Lebanon Lord, when we bend 70 Chester I gave my life for thee 116 Baca Love, only Love 212 Xew College I heard the voice of Jesus 77 Evan II. Loving Shepherd 145 Chios I journey through a desert drear 236 Ebronah I know that my Redeemer 12 Hebron Mighty Father, blessed Son 163 Havergal I lay my sins on Jesus 129 Mahanaim : My faith looks up to Thee no Stobel I'm but a stranger here 102 Beulah My God, my Father 220 Jezreel Incarnate God, the soul 62 Salisbury My God, the covenant 42 Kedar I need no other plea 122 Megiddon My heart is fixed, eternal God 168 Stephanas In songs of sublime adoration In sorrow and distress 244 94 Crescens Southwell Nearer, my God, to Thee ] IOO IOI Nimrim Olivet Inspirer and Hearer of prayer 224 Aristarchus Xew every morning is the love 16 Hor In the hour of trial 106 St. Barnabas Xot all the blood of beasts 86 Ajalon In the sun and moon and stars !53 Siloam Xow gracious Lord 52 St. Ann In Thy glorious Resurrection Isles of the deep, rejoice 215 37 Merom lona Xow thank we all our God *H "Nun danket alle Gott " Israel's Shepherd, guide me, 183 Hymn Frankfort > Sardis 0 come, all ye faithful 250 { Venite Adoremus I thought upon my sins •< Chant 0 day of rest and gladness 130 Goldbach ( VI. 0 faint and feeble-hearted 125 Goshen I was a wandering sheep 88 Achor f Hymn ) I will go in the strength 232 Aquila 0 God of Hosts i Chant >■ Worcester Jehovah Elohim, Creator great 234 Conway I I. ) Jerusalem, Jerusalem 75 Old 8 1 st 0 God, our help in ages J 55 k LondonXew; (. or, Jerusalem, my happy home 47 Xayland Hymn Jesus calls us, o'er the tumult 185 Godesberg past ) Chant ( Smyrna Jesus Christ is risen to-day 140 Judea ( III. Jesus from the skies descending 172 "Zared I. 0 help us, Lord 72 Dundee Jesus, I my cross have taken 205 Hamburg 0 holy Saviour, Friend unseen 221 Eshcol Jesus lives ! no longer now 167 Salmon 0 King of Kings, Thy blessing 14 Selnecker Jesu, Lover of my soul 161 Seir O Love divine, how sweet 213 Kedron Jesu, meek and gentle 104 Claudia 0 praise the Lord in that IO Gerar Jesus shall reign where'er the 8 Erfurt O render thanks to God above 4 Waldeck Jesus, Sun and Shield art Thou 126 Minden O sons and daughters, let us sing 216 Chaldea Jesus, the very thought of Thee 54 Evan I. O Spirit of the living God 9 Haran Jesus, Thou joy of loving hearts 26 Cyprus O Thou from whom all goodness 68 Dunfermline Jesus, Thy blood 28 Gethsemane O worship the King 241 Paran Jesus, to Thy table led 133 Havergal Oft in danger, oft in woe 144 Pison Join all the glorious names 121 Xebo Oh ! for a burst of praise to God 230 Exeter Just as I am, without one plea j 25 222 Galilee, or Bethabara I. Oh ! for a heart to praise my God Oh ! what a lonely path 66 59 Bedford Arran Just as Thou art 222 Bethabara II. ( Hymn ) One sweetly solemn thought -< Chant > Thyatira Lay the precious body 106 St. Barnabas ( V. ) Lead us, heavenly Father, 199 Lusatia One there is above all others 189 Succoth Let me be with Thee 17 Gennesaret Onward, holy champion io5 Hennas Let us with a gladsome mind 139 Lubeck Our blest Redeemer 174 Bethany Let Zion in her songs record 211 Jordan Our God is love 58 St. Matthias Lo ! He comes f 196 Hymn Chant toburg > Laodicea Our year of grace 237 Old 124th Long did I toil \ Plunged in a gulph 56 Caithness I VIII. ) Praise the Lord, ye heavens 1S1 Culbach Index of Suitable Words. XI Words. Rejoice, the Lord is King Rejoice to-day with one accord Return, O wanderer, to thy home Rise, my soul Rock of ages, cleft for me Salvation ! O, the joyful sound See the destined day arise See what unbounded zeal and \ love ) Shall this life of mine be wasted Sing Alleluia forth Sing, O heavens ! Sing, O sing, this blessed morn Softly now the light of day Sometimes a light surprises Soon may the last glad song arise Soon the trumpet of salvation Sound, sound the truth abroad Sound the loud timbrel Sow in the morn thy seed Spared a little longer Stand up and bless the Lord Sun of my soul Sweet the moments Take up thy cross That day of wrath The Church has waited long The Church of our fathers The Kead that once was crowned The Lord my pasture The Lord of might The Lord shall come ! The night is far spent The roseate hues of early dawn The saints on earth The Saviour lives, no more to die The Son of God goes forth The strain upraise of joy < Words. 119 252 175 154 7S 1S6 233 142 155 I5° 12S 5 178 107 243 89 123 80 23 1S4 19 32 97 248 39 229 207 30 242 76 67 3 41 Hymn Chant IV. Moriah '■Ein'festeBurg'' Midian Gareb Sihor Bether Marah Old Nunc Dimittis Bremen Gedor Sephar Nassau Rimmon Zeboim Wells Sirah Moscow Sosthenes Abarim Trophimus Xarenza Peniel Sorek Leipsic Saxony- Old 25th Hobah Nottingham Maon Zoheleth Hareth Peor Bethaven Farrant Crasselius Berachah Pergamos The sun is sinking fast There is a blessed home There was joy in heaven Thine for ever ! God of love This is the day Thou art gone up on high Thou art the Way Thou God of grace, our Father Thou great mysterious Lord Thou hidden love of God Thou, who on that wondrous Thou, whose Almighty word Through all the changing scenes Through the day Thy love Through the love of God Thy way, not mine, O Lord To bless Thy chosen race To God, the only wise To Him, who for our sins To the Name of our Wake, harp of Zion We give immortal praise We sing His love We won't give up the Bible What are those soul-reviving What cheering words are these Whate'er my God ordains What shall I render to my God When all Thy mercies, O my God When I can read my title clear When I survey the wondrous Where high the heavenly Who are these arrayed in white Why should the children Widely "midst the slumbering Worthy of all adoration Ye servants of God Ye servants of the Lord 103 Amplias 117 Sheba 99 Zophim 147 Patmos Hymn ) Chant > Ephesus II. J 96 49 St. James 165 Gozan 124 Enon 228 Meribah 171 Prague 109 Ono 66 Bedford 190 Cassel 169 Tiberhs 112 Bashan 85 St. Michael 82 Swabia 209 Tryphosa 194 Teman 53 St. Chrysostom 120 Mizpeh 226 Mamre 132 Kiriathaim 2 Euphrates 9i Jeruel 188 Baden L 51 Besor 57 Ephron 63 Kent 27 Hermon 24 Melcombe 162 Samaria 64 Dimon 198 Ulai 253 St. Paul 240 Ripon 83 Moravia Xll No. III.— METRICAL INDEX. Measures. L. M L. M. D CM C M. D S. M S. M. D 5555, 6565 55, 7777, 6 64, 64, 664 64, 64, 6664 .. 64, 66 65, 65 .; 65, 65 D 664, 6664 666 6 Trochaic 6 66 6 Iambic 6666, 4444 6666, 66 ........ 6666 d 6684 6666, 88 66, 86, 88 669 67, 67, 6 6 66.. 67, 87 75, 75, 77 76, 76 76, 76 Trochaic 7 6, 76, 7 7 76, 76 D 76, 76, 7776.. 76, 76, 88 Tune Numbers. I-32. 33- 34-73- 74-78. 79-95- 96, 97. 98. 99- 100, 101. 102. 103. 104. 105, 106. 107-110. in. 112. "3-II5- 116. 117. 118. 119-121. 122. 123. 251. 124. 156. i25&PartI.ofi3o 146. 126. 127-130. 87, 87, 44 87, 87 D 87, 12 lines 87, 87, 887 For irregular measures of four lines, see Hymn Chants, Nos. IV , 77- Measures. 7 6, 8 6, 8 6, 8 6 777 777, 3 777, 5 77, 77 7 7, 7 7, 7 7 777, 777 77, 77 D 7 7 7, 7 7 7, 77 7 7 s 10 lines 77, 87 77, 87D 78, 78 83, 83, 888, 33 84, 84, 8884 85, 83 ■ 85, 85 85, 85, 7775 85,85, 843 •• 86, 84 86, 86, 4 8 6, 8 6, 8 6 .. 8 6, 8 6, 8S 87, 87 87, 87, 3 87, 87, 4488 8 7, 8 7, 6 6 6 6, 7 87, 87, 77.., 7,87,87; or,) Tune Numbers. 132. J33» r34« 135. 136. 137-154. 155-158. 133. 159-162. 163. 164, 159. 165. 166. 167. 168. 169, 170. 171. 171. 172. 173. 174. 175. 176. 177. 178-187. 187. 188. 252. 189, 190. 191-200. 201-206. 201. 207, 208. V , and VI. Do. five Measures. Tune Numbers. 87,887,77,77 253. 884 D 213. 209. 886 886 D 2IO-2I4. 215. 887, 887 8 88 Iambic ... 2l6, 217. 888 Trochaic... 218. 888, 4 219, 220. 221, 222. 888, 6 888, 7 223. 88 88 224. 225. 8 8, 8 8, 47 ... 8888, 6 214. 226-229. 8 8, 8 8, 8 8 ... 888, 888 230. 08, o8 23I. 226. 98, 98, 8 8 ... 9998, 8888... 232. 106, 106, 884 228. 10 10, 7 233- 10 10 10, 3 Hymn Chant VI. 10 10, 10 10 234-238. 10 10 10, 10 10 237- 10 10, 10 10, 10 10 238. 10 10, 11 11 239-242 10 11, 11 11, 12 11 243- 11 8, 11 8 244. 245, 246. 11 10, 11 10 II 10, 11 10, 10 IC 246. 11 11 11, 5 247. 11 11, 11 11 241, 242, and 248. 11 12, 12 10 249. 12 10, 11 10 250. 15 15, 15 15, 201-204. lines, No. VII.; To six lines, No. VIII. Xlll IV. NUMERICAL INDEX. No. Name. Suitable Words. No. Name. Suitable Words. I L. M. Old Hundredth ... Another of the same All people that on earth- Before Jehovah's awful throne. What are those soul-reviving. The Saviour lives. 0 render thanks to God. Soon may the last glad song. Awake, my soul. All hail, adored Trinity. Jesus shall reign. O Spirit of the living God. 0 praise the Lord. Captain of Thine enlisted host. 1 know that my Redeemer. Glory to Thee, my God. O King of kings. God is the refuge. New every morning is the love. Let me be with Thee. Father of heaven ! whose love. Take up thy cross. Come, gracious Spirit. Come, Holy Ghost. Come, Holy Ghost. Sun of my soul, thou Saviour. Where high the heavenly. Just as I am, without one plea. Jesus, Thou joy of loving hearts. When I survey the wondrous. Jesus, Thy blood. Eternity, eternity ! The Lord shall come ! God of my life ! to Thee I call. That day of wrath. Before the Almighty power. All hail, the power of Jesu's. Hosanna ! raise the pealing. Salvation ! 0, the joyful sound. Isles of the deep, rejoice. Come, let us join our cheerful. The Head that once. Begin, my tongue. The Son of God goes forth. My God, the covenant. Hark, the glad sound. Come, Holy Spirit, heavenly. Behold ! the mountain Give me the wings of faith. 47 48 49 5o 5i 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 7i 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 9i 92 93 Nayland Adria St. James Melross Jerusalem, my happy home. As pants the hart for cooling. Thou art the Way. Father of mercies, in Thy word. What shall I render to my God? 3 4 5 6 Waldeck St. Ann St. Chrysostom ... Evan I London New Wells Wake, harp of Zion. Jesus, the very thought of Thee. O God, our help in ages past. Plunged in a gulph. When all Thy mercies. 7 8 Gbldel Erfurt 9 St. Matthias Arran St David Oh, what a lonely path. God moves in a mysterious way. 13 14 15 Tallis's Canon ... Old Ten Com- mandments Hor Why should the children. How sweet the name of Jesus. Through all the changing. 16 17 18 Bedford Do. (Common time) Farrant Dunfermline Carmel Chester Culross 19 Oh, for a heart to praise. Lord, as to Thy dear cross. 23 24 25 26 A pilgrim through this lonely. 0 help us, Lord, each hour. Almighty God, before Thy. St Mary 27 28 C. M. D. Old 44th Gethsemane He came, whose embassy. Jerusalem, Jerusalem ! The roseate hues of early dawn. I heard the voice of Jesus say. 29 30 3i 32 33 Old 81st Hareth Hiddekel Old Nunc Dimittis S. M. L. M. D. C. M. Elah Stand up, and bless the Lord. 34 35 36 37 38 39 40 4i 42 43 44 45 46 To God, the only wise. Bether Moravia Come to Thy temple, Lord. To bless Thy chosen race. St. Michael Nottingham Behold the throne of grace. I was a wandering sheep. Sow in the morn thy seed. Come, Holy Spirit, come. Kedar Bristol Armageddon Tallis York Behold what wondrous grace. And will the Judge descend. Winchester Marano XIV Numerical Index. No. Name. Suitable Words. No. Name. Suitable Words. 94 95 95* 96 97 98 99 S. M. In sorrow and distress. Far from my heavenly home. Have mercy, Lord, on me. Thou art gone up on high. The Church has waited long. Breast the wave, Christian. There was joy in heaven. Nearer, my God, to Thee. Nearer, my God, to Thee. I'm but a stranger here. The sun is sinking fast. Jesu, meek and gentle. i Earth below is teeming, or I Onward, holy champion. ( Lay the precious body, or { In the hour of trial. Sound, sound the truth abroad. Glory to God on high. Thou, whose Almighty word. My faith looks up to Thee. Lord, Thy word abideth. Thy way, not mine, 0 Lord. Christ is our corner-stone. Lord of the worlds above. Blow ye the trumpet, blow. I gave my life for thee. There is a blessed home. Behold the Lamb of God. Rejoice, the Lord is King. We give immortal praise. Join all the glorious names. I need no other plea. Spared a little longer. Thou great mysterious Lord. 5 O, faint and feeble hearted, I or, Our faithful God. Jesus, Sun and Shield art Thou. From Greenland's icy. 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 I50 151 152 153 154 155 I56 157 158 159 160 161 162 163 164 I65 166 I67 168 169 170 7 6, 7 6 D Sometimes a light surprises. I lay my sins on Jesus. 0 day of rest and gladness. Rise, my soul, and stretch. St. Bride S. M. D. 76, 76, 77, 76. Gareb 7 6, 8 6, 8 6, 8 6. Kiriathaim 7 7 7- Havergal Old 25th 5555, 6565. St. Silas 5 5,7777, 6. We won't give up the Bible. Jesus, to Thy table led. Holy Ghost, my Comforter. Christian, seek not yet repose. Lord of mercy and of might. Hark ! the song of jubilee. Christ the Lord is risen to-day. Let us with a gladsome mind. Jesus Christ is risen to-day. Christ the Lord is risen again. Sing, O heavens !- Conquering kings their titles. Oft in danger, oft in woe. Loving Shepherd of Thy sheep. Brethren, let us join to bless. 64, 64, 664. 7 7 7, 3- IOI Olivet 64, 64, 6664. Beulah 64, 6 6. Amplias 65,65. 7 7 7, 5- 102 7 7 7 7- 1uj 104 Lubeck 65, 65 D. Hermas St. Barnabas 664, 6664. Moscow Oreb Ono Stobel 6 6, 6 6 Trochaic. Damaris 6 6, 6 6 Iambic. Bashan 6 6 6 6, 4444. Psalm 148th, N.V. Psalm 148th, O.V. Gopsal 6 6 6 6, 6 6. io5 Chios ... 1U/ 108 Happy Christian ! Children of the heavenly King. Softly now the light of day. Hark, my soul, it is the Lord. Holy Spirit, from on high. in Marah See the destined day arise. Sing, 0 sing this blessed morn. Glory, glory to our King. Christ, whose glory fills. Rock of ages, cleft for me. Come, oh, come, in pious lays. Come, ye thankful people. Jesu, Lover of my soul. Who are these arrayed in white? Mighty Father, blessed Son. 113 114 "5 7 7, 7 7, 7 7- Nassau Pharpar 116 Sihor 7 7 7 7 D. 117 6 6, 6 6 D. 6 6, 8 4. Arnon 6666, 88. Moriah 118 119 Samaria 7 7 7, 7 7 7, 7 7 7- Havergal 77, 77, 77, 77, 77- 6 6, 8 6, 8 8. Merdddon Bound upon the accursed tree. 7 7, 8 7. 669. Trophimus 6 7, 8 7. Thou God of grace, our Father. Head of Thy church. 123 77, 87 D. 124 78,78. 76, 76. Jesus lives ! no longer now. 125 83,83,888, 33. 76, 76, 77. Minden 76, 7 6 D. Zoan I My heart is fixed, eternal God. Through the love of God. God, that madest earth. 126 127 84, 84, 8884. Tiberias Casiphia Numerical Index. xv No. Name. Suitable Words. No. Name. Suitable Words. 171 172 173 85, 83, 01-85, 85. Prague 85,85, 7775- Zared I. 85, 85,843. Zared II Thou who on that wondrous. Jesus, from the skies. Angel voices ever singing. Our blest Redeemer. Return, 0 wanderer. Father, I know that all my. Lord, when before Thy throne. Soon the trumpet of salvation. Hark ! what mean those holy. Hark ! ten thousand voices. Praise the Lord ; ye heavens. Hallelujah ! Lord, our voices. Israel's Shepherd, guide me. Sweet the moments. Jesus calls us o'er the tumult. Shall this life of mine. Lord, I hear of showers. Whate'er my God ordains. One there is above all others. Through the day Thy love. Glory, glory everlasting. Brighter than meridian. Angels from the realms. To the name of our. Guide me, O Thou great. Lo, He comes with clouds. Day of judgment. Widely midst the slumbering. Lead us, heavenly Father. Art Thou, Lord, rebuking. Hallelujah, Hallelujah ! Come, Thou Fount. Glorious things of thee. Hail, Thou once despised. Jesus, I my cross have taken. Dread Jehovah, God of nations The Lord of might. Great God, what do I see ? To Him who for our sins. Come, see the place. Let Zion in her songs record. Love, only love, Thy heart. 0 Love Divine, how sweet. 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 23O 23I 232 233 234 235 236 237 238 239 24O 24I 242 243 244 245 246 88 6 D. Chapel Royal 887, 887. From whence this fear. In Thy glorious resurrection. O, sons and daughters. Accepted, perfect and complete. 8 8 8 Iambic. 8 6, 84. 174 8 8 8 Trochaic. 8 6, 8 6, 4. Day of wrath, 0 day. 175 8 8 8, 4. 8 6, 8 6, 8 6. Silvanus 8 6, 8 6, 8 8. Lebanon 87,87. Sirah Sitnah Sirion Hope, Christian soul. My God, my Father. 0 Holy*Saviour. Just as I am, without one plea. Just as Thou art. Bring to Christ your best. 176 177 8 8 8, 6. 178 179 180 Do. major... 8 8 8, 7, l8l 88 8 8. 182 Inspirer and hearer of prayer. 183 184 I85 186 8 8, 8 8, 4 7. Baden II. . Hosanna to the living Lord. We sing His love. Creator Spirit, by whose aid. Godesberg ... Bremen 87,87,3. Persis 87, 87, 44, 8 8. Baden I 8 8, 8 8, 8 8. 187 Angels' Song The Lord my pasture. 188 8 8 8, 8 8 8. Exeter 9898. 189 I90 191 192 193 194 195 196 197 198 199 200 ^ 87,87,77- Oh, for a burst of praise. Bread of the world. 8787, 87 (or 447) 9998, 8888. Havilah Idumea Teman Media 1 0 1 0, 7. Sing Alleluia forth. Jehovah Elohim, Creator great. 1 0 10, 1 0 1 0. Coburg Tabor Ulai Ophir Ebronah 1 0 1 0 10, 1 0 1 0. Old 124th 10 10, 10 10, 10 10. { I journey through a desert ; ( or, Abide with me. Our year of grace is wearing. 8 7, 8 7 D. Shen 20I 1 0 10, 11 11. 202 Esdraelon By angels in heaven. 203 204 20; Salzbure c,. *» 10 10, 11 11, or 11 11, 11 11. 206 Augsburg 0 worship the King. The night is far spent. 207 208 87, 87, 887. Zoheleth Peor 10 11, 11 11, 12 11. Altorf 8 8 6. Tryphosa.. Sound the loud timbrel. 209 2IO 211 212 213 118, 118. Crescens 1 1 10, 1 1 1 0. Sternberg 11 10, 11 10 Iambic, or 1 1 10,1 1 10,10 10. Eirene In songs of sublime adoration. Brightest and best of the sons. ( Father whose hand hath led, ( or, Long did I toil. 88 6 D. Magdalene College Jordan New College Kedron XVI Numerical Index, Hymn Chants ; &c. No. Name. Suitable Words. No. Name. Suitable Words. 247 248 2/LQ II II II, 5. Lord of our life. The Church of our fathers- Holy, holy, holy ! 0, come, all ye faithful. 251 252 253 67, 67, 6 6 6 6. "Nun danket " ... S 7, 8 7, 6 6 6 6, 7. "Ein' feste Burg" 8 7, 8 8 7, 7 7, 7 7- St. Paul Now thank we all our God. II II, II II. Hobah 11 1 2, 1 2 1 0. Rejoice to-day with one accord. 1 2 1 0, 1 1 1 0. Venite Adoremus Worthy of all adoration. 25O HYMN CHANTS. No. Name. Suitable Words. No. Name Suitable Words. For L. M., C. M., or S. M. Worcester Chant.. O God of hosts. This is the day the Lord. O God, our help in ages past. The strain upraise of joy. V. VI. VII. VIII. One sweetly solemn thought. I thought upon my sins. I. II. Sardis (5 lines). Philadelphia (6 lines). III. Come, labour on ! IV. For other Measures of four lines. Pergamos Long did I toil. Chant Service for Te Deum Six Psalm Chants Six Kyries Six Glorias Ter Sanctus W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havergal W. H. Havemal Date. 1868. 1863. 1863-1868. 1856-1866. 1836. FORMS AND PRICES OF HAVERGAL'S PSALMODY AND CHANTS. A. Havergal's Psalmody and Century of Chants, bound in s- D- cloth, gilt lettered, with full Prefaces, Indices, and Photographic Portrait, with or without first verses of Suitable Hymns .., 5 o B. Ditto, ditto, without Chants 36 C. Chants and Preface alone 16 CHEAPER EDITIONS. D. Havergal's Psalmody and Chants, with Indices, with or without Words, but neither Prefaces nor Portrait ... ... 1 6 E. Havergal's Psalmody, with indices alone, with or without Words.. ... ... ... ... ... ... ... ... 1 o P. CHANTS alone, without Preface 09 Pyrmoxt Villa, Leamington, June, 187 1. N.B. — An Edition of the same will also shortly be published as " Com- panion Volume " to " SONGS OF Grace AND Glory," a New Hymnal of One Thousand Hymns, now preparing, by the Rev. C. B. SNEPP, LL.M., Vicar of Perry Barr, near Birmingham. LONDON : ROBERT COCKS & CO., NEW BURLINGTON ST., W., BY SPECIAL APPOINTMENT Musk Publishers to Her Majesty the Queen, H.R.H. the Prince of Wales, and H.I.M. Napoleon III. AND THROUGH ALL MUSICSELLERS, \ -I