Decorative drawing: a thick bound ledger closed on a writing desk, an inkwell, a quill and a brass letter scale.... Not a photograph of this place.

Plain directory, 1853

Who lived and worked in Plain in 1853, as the directory printed it. Machine-read from the public-domain scan at the Internet Archive; 74% of its words measure as correctly read.

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Mus 484'.4-4-

HARVARD COLLEGE LIBRARY

UVSIC LIBRMY

Date Due

mmm^

PRINTED

IN U. 8. A.

ACCOMPANYING HARMONIES

TO THB

iStief Bttettotg

THE PLAIN SONG,

VSBD IN THB

MORNING AND EVENING PRAYER, LITANY, AND HOLY COMMUNION.

EDITBD BY THB

REV. THOMAS HELMORE, M.A.

C LONDON: PUBLISHED BY J. ALFRED NOVELLO, 69, DEAN STREET, SOHO, & 241 POULTRY; ALSO IN NEW YORK, AT 389, BROADWAY.

SOLD ALSO BY

MASTEEI AND CO., ALDZRSGATE STREET, AND NEW BOND STREET.

MDCCCUIL

4V WAt ! L57I.(^ - V

J. ALFRED NOVELLO, PRINTER, DEAN STREET, SOHO, LONDON.

HARVARD UNIVERSITY.

JUL 20 1960 EDA KUHNLOEB MUSIC UBRARY

*' Pfalmodiam non nimium protrahamus, fed rotund^ et tiv& voce cantemus. Metrum et finem verfOs fimul intoneraus, et fimul dimittamus. Pun^m nuUus teneat, fed ftatim dimittat. Poft metrum, bonam paufam faciamus. NuUus ante alios incipere, et nimis currere praefumat, aut poft alios pneuma trahere, vel pundum tenere. Simul cantemus, fimul paufemus. Temper aufcultando. Quicunque incipit Antiphonam, aut Pfalmum, Hymnum, Reiponforium, Alleluia, unam aut duas partes folus dicat, aliis tacendbus : et ab eo loco quo ille dlmitdt, alii incipiant non repetentes quod ille jam dixit Monemus vos, dileddfliroi, ut ficut reverenter, ita et alacriter Domino affiftads, non pigri, non fomnolend, non ofcitantes, non parcentes vocibus, non prsecidentes verba dimidia, non Integra tranfilientes, non Iradlis et remiffis vocibus muliebre quiddam de more fonantes, fed virili fonitu et afK:^ voces Sjfnritus SanBi depromentes. Viros enim decet virili voce cantare, et non more fcemineo dnnulis vel falfis vocibus velud hiftrionicam imitari lafciviam \ et ideo conftituimus mediocritatem in cantu fervari, et ut gravitatem redoleat, et devodo conlervetur.*'

S. BXKNARD.

PREFACE.

No alteration has been made in the Brief Diredlory of any authentic tradition of the Englifh Choral Service.

The Reformers of the fixtecnth century wifely provided for the noting of the Englilh Prayer Book according to the ancient Plain Song of the Wcftern Church.

In this Plain Song, then, we have the authoritative fource of our ritual muiic, and the only rule by which to correft whatever errors have arifcn, or may arife, from time to time, through the natural tendency of mere oral tradition to change and deterioration.

Marbcck's Book of Common Prayer noted, and the XLIXth of Queen Elizabeth's Injun£Uons, leave the general law of the cafe beyond a doubt ; while the contemporary harmonics afcribcd to Tallis, and the recent Order of Daily Service , ^c, i^c, by W. Dyce, Efq., (efpecially in its Preface and Appendix), elucidate the aflual pradlice, and the true principles of the Englifh ritual mufic.

At the fame time, the conflant ufe of the Choirs of Cathedrals and College Chapels, no lefs than the produdtion, at each remarkable period of her eventful hiflory, of other manuals and records of her ritual mufic, (fuch as thofe by Low, Clifford, and in our own times by Jebb, Rimbault, Olipbant, the Editors of the Parijh Choir, and many others,) attcfl the uniform adhefion of our own Church to this univerfal ufe of the Holy Catholic Church, fo far at leaft as (he has not been thwarted and hindered by crippled or mifapplied refburces, and the alienation of her rulers and her people from her doArlne, her difcipline, and her ritual.

The increafed attention, which, in our own days, the revival of true Chriftian principles, and Evangelical obedience to the Church of our Fathers has drawn to everything connedled with the inner life, and the external beauty of Holincfs, rendered fome eafily acceffible text-book of what the Church has ruled in this matter abfolutely necefTary. Many fuch books have accordingly appeared, to the different compilers of which, as well as to all who have in any way aflifled him either by their works or their advice, the Editor defires here once for all to acknowledge his obligations. Had any other text-book of moderate price, however, fulfilled in every refpe6l what he deemed the necefTary requirements, the Brief Direftory had .been fuperfluous, except as providing a fupplement, in the same lizc and type, to the P falter and Canticles noted. What other books had generally failed to do, and the DireAory attempted, was to reflore in the Refponfes, and other parts of the Service, the accuracy of the original Plain Song, and its proper notation.

With regard to the former, the text of the Direftory is taken from that of John Marbeck's Book of Common Prayer noted, 1550, as fiir as the differences in the Prayer Books of 1549 ^'^^ i66z {i.e., the one lafl revifed and in prefent ufe) would allow. No eflential differences will be found between this little book and the parts of Mr. Dyce's coflly Edition of the Order of Daily Service, ^c. fcfr., with Plain Tune, which it contains. Where any occur, the alteration has not been made without due confideration ; and, in all, the Editor has followed the requirements either of the genius or of the laws of the Plain Song w)ien fet to Englifh words, as well as the dilates of mufical tafle and feeling.

In retaining both in this, and in his other works of ritual mulic, the notation of Marbeck, the Editor has been aduated by no fpirit of mere mulical pedantry, but by a deep-felt conviftion, that to trammel the ritual mufic of Miniflers and People with the fhackles of meafured muiic, is to deflroy the

PREPACB. V«

chaiaftcr, and to injure the religious cfied of Church Plain Song. To him all fuch attempts appear fubverlive of their own intention, from Boyce's barred verfion of Tallis's Refponfcs and Litany, down to the laft futile efforts of miidire£led and undifcriminating zeal, which have even dared the abfiirdity of fctting, with bars, and minims and crotchets to be kept in ftrift mufical time, the monotonic recitation of the daily Confeffion, Abfolution, and Lord's Prayer, as well as the reciting notes of the Gregorian Pfalm-tunes. This is like requiring that verfe ihould always be fcanned according to Greek and Latin profodaic time, inilead of being read with the accent and emphaiis didated by the fentiment of the words. This is indeed the quintcffence of formalifm - the love of the form, for its own iake> rather than for that inner life and energy to which it ought ever to be fubfervient. True recitation is not, as to its time, to be truly reprefcnted by any notes in the repertory of the Cantus Menfurabilis, or meafured fong, of what is ufually flyled Muiic. The attempt to confound ^thefe two things, £o different in their eilence, although agreeing in many of their accidents, is, the Editor conceives, the mod grievous of errors in refped of the Choral Service of the Church, deilru6Uve of its permanence and eztenfion, fatal alike to hearty refponding, and the removal of the prejudices which ftiU lurk in the minds of many devout perfons againff its general uiefulnefs and propriety. In recitation no other time is required ihzn Jyl/aHc, which differs from muiical time, becauie the relations of long and fhort are not duple or triple, nor are all longs equally long, nor all fhorts equally fhort ; nor are quadruple and fez- tuple relations of very long to very fhort at all required in this as in that. T(iat fuch time, derivable only from the fentiment, the emphafis, and the accent of the words, may be kept by large numbers of fingers as corredUy, and with as united effe^l as the other, which is more ifochronous and mechanical, the free Choral recitatives of feveral great compofers will be fufficient to prove ; nor is the faft of thefe being noted by the fame kind of notes as flrifter mufic, a valid objeAion, for it is always underflood that the notes are hot to be read in the fame way ; in other words, they refign their own proper fun6lions, and do not reprefent what they pretend to reprefcnt. In modern chants the found alone of the recitation is ezpreffed by a note (underflood to be, in their cafe,) of indefinite length, and flrifb mufical time is not regarded in any Choir in the divifion of the fyllables fung upon it; although when the melodial portions of the chant recur, ftridl mufical time is properly obfcrved.

One example, for ever to be remembered by the thoufands aflembled to pray for "perfeA confummation and blifs both in body and foul" for themfelves with all thofe that are departed in " the true faith," at the Funeral of the late Duke of Wellington, may be added in confirmation of this flatement. Under the admirable Precentorfhip of Mr. Turle, the large Choir then afiembled around the tomb, recited the Pfalms, under all the difadvantages of modem and un-ecclefiaflical chants, and the abfence of any text-book, or other written guide, for the jufl divifion of the fyllables, in a free and unfhackled ftyle, in which the words were not meafured out in flridl mufical time (/./., in the relations of two or three to one exaftly), but according to the fyllabic time (no lefs mufical in reality) of clear and deliberate recitation.

The afTertion, fometimes heard, that ritual mufic without bars, or phrafes of equal and definite length, is not entitled to the name of mufic at all, feems very much like faying that becaufe profe is not verfe, it is not entitled to the name of compofition. The objedlion would narrow too much the limits of the mufical art, by thus denying the quality of mufic to that portion of our Church Service which iembracing fome, does not exhauft the wbo/e of her refources. The gradation from the fuflained tone of the Cautus Co/Ieffarumj or monotone, of the Priefl, to the highefl efforts of religious art in the full fcore of concerted vocal and inflrumental mufic in the worfhip of Almighty God, would fcem to be the perfeftion of human ingenuity in prefcribing the mode in which Mufic b to perform her office as the handmaid of religion. Nor is it, to a devout mind, a matter of indifference how the leafl and lowefl, the conflant, the neccflary, and the mofl frequent, any more than the highefl and the occafional afts of her fervice, fhould be rendered. Much of the mifunderftanding which unfortunately has cxifled in this country refpefting the Plain Song, would probably be removed, could a truly Church

VI. PRIPACB*

Ticw of the lubjeft be taken. This would teach men that in days of old, when religion was efteemed, as it ought to be efteemed, the great bufinefs of human life, to which all elfe is but fecondary, and of little moment, the Dodors and Bilhops of the Church left no part of the public or private afts of man's duty to God, without full and copious and well-devifed diredlions. What the fiilfome elocution of the coldeft times of the Church of England handled for popular effed, and oratorical expreffion, to the final degradation, both of the Service it was intended to adorn, and of the true Art of Reading, which here had little or no place, that thcfe holy men of God, in the old time before us, fet, for the glory of God, and the edification of the people, to that vafl and voluminous Plain Song, the remoteft echoes of which, ftill occafionally heard faintly from the fretted roofs and antique chantries beneath which their facred afhes repofe, are fufHcient to rekindle the fbme of expiring love, and to unite in the communion of faints the (ympathies of all faithful fouls.

Let Plain Song be underflood to be the univerfal Ecclefiaftical art of reading, faying, and finging all that elocutionifts have directed to be whined or fpouted in the times alluded to, and rouiicians will then perceive that it does not invade, but rather widens, almoft indefinitely, the province of their art as applied to the Church Service ; and that by thus cultivating the Ampler, they will lay the trueft foundations for the improvement and extenfion of the more complex developments of their art, in things facred.

Whatever objeftions have been urged againft the revived attention to Plain Song in our Church, it is undoubtedly making great progreis among the moft devoted and learned of her children ; it has been, and ever will be, a diftinguifhing feature of real Catholic worfhip as oppofcd to un-Catholic, and confequently un-Chriftian innovations, whether Roman or Proteftant. It is bafed on principles too deeply rooted in the requirements of our common humanity to be long fuperfeded or defpifed, when genuine Chriftianity is felt in the heart, and praftifed in the life. This fimple fbng fatisfies the tafles and muiical inflin6ls of devout worfhippers in thofe portions of the Service to which it is moft applicable.

Lefs than this can fcarcely be uicd continually without injury to their devotion. More may be added as the tribute of afie£tion, in the ofierings of thofe highly blefTed with artiftic (kill, but can fcarcely be demanded of all for the fiilfilment of their duty.

The prefent Accompanying Harmonies are intended for Choirs, and others capable of finging them, in order that while the leaft ikilfiil are not excluded by any difficulty in the Plain Song, thofe who are more mufical may join in a way which, generally fpeaking, they find more fuited to aroufe their own devotional feelings, and to increafe the general folemnity and fervour of the Common Prayer, As in the Melody fo in the Harmony, exifting ufcs are merely accommodated to the correal form of the text. When the Harmonies not affigned to any particular author are fijnilar to, or identical with thofe of other modem books, it mufl be attributed to the exiflence of one common fource in the traditions of the Cathedrals.

Thomas Hblmore. Eafter, 1853.

ACCOMPANYING HARMONIES

iSrief Mtttiot^ of ti^e ^Mn Song

VaZD IN THE

MORNING AND EVENING PRAYER.

H.B. - ANY NOTE MAY BE TAKEN WHICH WILL SUIT THE CHOIR AND PEOPLE.

Pimr. htrodu&ory fetOeneet,

£xmOttsnoKm

When the wicked man -

ComfiJitM. [Peixst, & Piopu after him.]

W-

=K=1=

Almighty and moft merciful *

[The lartTi Prtyer. Ptnrr, 9c Peopu with him.]

- , ^ ^ ^ , »- » -

Our Father, which art in heaven.

CoMGSKOATioir. Answbr.

Dearly beloved * * faying after me ;

PuBST. The AhfilKtuH,

Almighty God, *

PUUT.

--»-

Ei^^

O Lord, open thou our lips.

pKIEtT.

And our mouth (hall Ihew forth thy praife.

O God, make fpeed

TmBBi>.

J^-.J^i^^'^^-J^^iJ-

Alto. -_-. -3,--

-T-

f5=:3t:

to fave us.

T»»o>. II I I I

Bau.

* N.B. - Although modern notes are here ufed for the Harmony, it is not to be under(lood that the ftrid relations of tMro minims to one femibreve, &c., are to be uniformly obferved. The time of each note muft be regulated by a folemn recitatioa x>f the words, each cloie or cadence being (bmewhat flower, as mufical tafte and feeling will naturally fuggeft.

f If accompanied on the Organ, all the notes which are repetitions of the fame chord ihould be held as one, as in ChantB for the Pfalms ; the repetition of the notes is fimply for the recitation of the fingers : when there are many fyllables on one note this repetition will be omitted, as in the Accompanying Harmonies to the Fjalter Nued,

ANtWIft.

=^F=»=

O Lord^ make hafte to help us.

. Puirr.

Glory be to the Father, and to the Son : and to the Holy Ghoft ;

Amiwbr.

As it was in the beginning, is now, and ever ihall be : world without end. Amen.

I - K

i:mi

Jat.

Jat-

1c«:

:*=t

Pkebst.

Praife ye the Lord,

(or)

- 1

Praife ye the Lord.

Amwzft.

-» T »-

The Lord's Name be praifed.

PiAUf zcT. StrTone. (iit Ending B.)

See AccompaDying Harmonies to the PfiUttr Noted im a fingle harmony to the ** Venite,*' which may at any time be ufed

inftead of thb.

To be tranjpojed asoemu.

PllSST.

Fdl.

Pl-^i$^.

COME, let us fing unto the Lord : let us heartily rejoice in

^ CHon. Full.

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:fet:

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ACCOMPANIMXNT TSANSPOSBD.

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ndaz

Choir Okg.

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(2)

Deeam,

the ftrength of our fklvation. 2. Let us come before his prefence with thanks-

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Decani,

-£2.X:2.

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Cantoris.

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-giving : and fhew ourfelves glad in him with pfalms. 3. For the Lord

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Cantoris,

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is a great God : and a great king above all gods. 4. In his hand are all

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the corners of the earth: and the ftrength of the hills is his alio.

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5. The iea is his^ and he made it: and his hands prepared the dry land.

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Cantoris.

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(»)

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3^t

6. O come^ let us worfhip and fall down : and kneel before the Lord our Maker.

"gy

Decani,

&pr H-

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dace

Graear».

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7. For he is the Lord our God : and we are the people of his pafture^ and the

:23Z

Cantoris*

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izz:

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Duani.

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fheep of his hand. 8. To-day if ye will hear his voice,harden not your hearts:

% ^ ^ .- ^T ^

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=l=*

< &H^i'^^z ^

Decani,

bQ, |.

as in the provocation^ and as in the day of temptation in the wildernefs.

<z>

jtSl

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fa=L

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CoHtom,

9. When your fathers tempted me: proved me, and faw my works.

Cantoris,

.r:^,,.

- -

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j;^

rgy

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(*)

^ Dtcmn.

- - ^-t-

lo. Forty years long was I grieved with this generation, and faid;

3cai

Fja

33:

DecanL

ie:

It is a people that do err in their hearts, for they have not known my ways ;

73002.

-iC3r

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^ CtKtaru.

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1 1. Unto whom I fware in my wrath : that they fhould not enter into my reft.

32=

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Cantoris.

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das

F«//.

Glory be to the Father, and to the Son: and to the Holy Ghoft;

FuU.

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3sz:

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As it was in the b^inning, is now, and ever ftiall be : world without end. Amen.

JOZ

Joj-

-JOL

jQl-

r^ r^

"ry

Sec .^<ft<r iV«Mi< and iti Accompanying Harraoniea for thu and the left of the P&hnt.

(6)

€t Beam Xatitiamitie;.

Harmony copied from HtATRy at given in ** Tie Parife Chmr^^* with fuch alteration at Mari)eck*s notation in the Dirednry

requires.

Puxrr.

Fsdl.

-^^-^4

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W E praife thee, O God : we acknowledge thee to be the Lord.

^ rlV"* s H

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f'T f r

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All the earth doth worfliip thee : the Father e-ver-laft-ing. To thee all

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f }^ [' P f^r,i^>rrrr fTTirr^^f^

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an-gels cry a-loud : the Heavens and all the Powers there-in. To thee

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Che-ru-bin and Se-ra-phin: con-d-nu-al - ly do cry, Ho-ly, Ho-ly,

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Ho - ly : Lord God of Sa - ba - oth ; Heaven and earth are full of the

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^t=^

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I J. A J. A J.

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f^ I r r

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Deeam,

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Ma-jef-ty : of thy Glo -ry. The glo-ri-ous com-pa-ny of the Apoftles:

mh^

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' - r fv

f-^ I n p

F»//.

Cfsn/eru.

Full,

3^E

-« - -

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prufe thee. The good - ly fel - low-fhip of the Prophets : praife thee.

^ ° " I I r r f^ r I ° ^l

f f f f r f' =r

f<. iVomr.

==9:

FuU.

Ctattoris,

-i-^ - -V^

The no - ble ar - my of Martyrs : praife thee. The ho - ly Church through-

f'rf f f

A//.

-» 1 I » ^ =

-out all the world: doth acknowledge thee ; The Father: of an in-fi-nite

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r^-T

-p=i=\

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(7)

FulL

Ma-jef-ty; Thine ho-nour - a - ble, true: and on - ly Son. Al-fo the

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nii7.

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Ho - ly Ghoft : the Com - fort-er. Thou art the King of Glo-ry : O Chrift.

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Deeam,

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Thou art the e-ver-laft-iqg Son: of the Fa-ther. When thou took-eft

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irt

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-ey

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up - on thee to de - li - ver man : thou didft not ab-hor the Virgin's womb.

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Cantoris.

» '"^ » ^ I ,-

- » ^

When thou hadft o - ver-come the fharpnefs of death : thou didft o-pen the

^=^^^. ( '' '^: ^f^

(8)

I I

- - -

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Decami.

T=F=a^E

« :

king-dom of Heaven to all be - liev - ers. Thou fit - teft at the right

:^=

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iuj

.^^i-U

i)^r,

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n>//.

hand of God: in the Gio-ry of the Fa-ther. We be -lieve that thou

^ p* F - ^ ' p r rTf-r ^*Q -j pr r r-r-r-

TlT"TTT

r f^ r ' ^

Fir//.

^^z

(hak come : to be our Judge. We therefore pray thee, help thy fer-vants :

"ry

cy o

f r *& - r

/«//.

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-ny

Cantoris,

whom thou haft re-deem-ed with thy pre-cious blood. Make them to be

' . . . Can. , ,

CJ CJL

r-T-1 .......

^ ^ J. J. ^.J. hJ- J- ^ ^ ^

r r r rT~T r^ p p - f' ^* " ^ ^^^

J J -^'j-

Decani,

^w=t

:*=;;?

num - bered with thy Saints: in glo-ry e-ver-laft-ing. U Lord, fave thy

K^ ^ i fj s ^yy^-ci i i_,^^

^j./.ij^ °-

:tc3i

J I

. o * - ^ -

^^^^l§

(3)

-'=^

CoMtorii.

peo - pie : and blefs thine he - ri - tage. Go-vern them : and lift them up

r r f f

Fiiil.

Decani,

^i=f=B "^

J ""»"

TTM-

for e-ver. Day by day: wc mag-ni-fy Thee. And we wor-(hip

II J J J ij J J

z)^f. r . I I

f^T-rr

/-ifi/.

fj <Lj II fj r

^^^^rt

f f r'r f f =P

3:2:

CMtont,

^r \ * -y-

^ ^ - 1= ±:

thy Name : e-ver world with-out end. Vouchfafe, O Lord : to keep us

o 8

3=3=

f, ^, n r r ^tf r

j.^. .^j-u J ^

^a-L

ll H r'<°lrr

32:

r I r r -r

jts:

Decam.

- » - ^

5="^

thisdaywithout fin. O Lord, have mer-cy up-on us : havemer-cy up-on us.

j/^ p jo |g|e."-g. ^ f 1° r r I I I °^<^

J- -J- -J- J- QLle- fe J- -el -J-^r

:z2.

Cantoris,

Lord, let thy mer-cy lighten up - on us : as our truft is in thee.

Can.

m=^

J^ A, J., J. A J. A :.'|^kj.^ J.xJL

g^ ^^

^T^-p-f^

(10)

I I

o ca

f^ o

Fd7.

O Lord, in thee have I truft-ed: let me ne-ver be con -found - ed*

W^f^ ^ .^- ^^i^H "IS

*3t

See alfo '* Tif CgntkU* Maedi ** wherein this and the other Canticles are adapted to Gregorian Tones. CHon & PiopLB with the Priest.

» -

I believe in God * * Amen.

"T~ Any note convenient for all the Clergy and People may "+^ here be taken [as F, G, A b. A, or B b, &c.]

qat

r^^ll

I believe * * Amen, or

^. i-i I "M

I believe *. * Amen, or

:M=

22:

I believe * * Amen.

Minister.

The Lord be with you. (Traujptfed.)

The Lx>rd be with you.

Answer.

And with thy fpi - rit.

Minister.

*=*

Let us pray. (Tranfpofed.)

Let us pray.

Minjstbr & PBonx.

*4:

-- - »-

Lordhavemercyuponus. Chrift have mercy upon us. Lordhave mercy up-on us.

rzf

* N.B. - To avoid unneceflary variation from the notation of the Diredory, the ibllowing Plain.fbng will not be tranfpo(ed tbronghoot t but it is to be taken both by the Prieft and People in the fame key as the accompaniment. This alfo may be tranfpofed either higher or lower than it is here printed, if more convenient.

(11)

AfzNxsTBJt, Cuuuct, Sc PlOPU.

i - ^ - ^

Our Father, - * A-men.

lot

-- PSIBST.

^3^

O Lord, (hew thy mercy up-on us. (Tranffofed.)

CI c^ a ij n

\' \' \' f r^:^

331

Answu.

:J:

And grant us thy fal - va - tion.

a=!3=

Try

^ PuBtT.

ifE

-^ gi

O Lord fave the Queen.

(Trmfftfei.)

P CJ ^

Aniwbb.

And mercifully hear us when we call up -on thee.

^^gfe

PUBST.

Endue thy mi-nifters

(Trfinfpcfed.)

^^ (^^ f^ f^ r V r

5^3E

-» »-

with righ - te-ouf-neis. (Tranfpofed.)

<^ ^ V f

ElZar

AiriwxB.

And make thy chofen people joy - ful.

m=^

^g=^

pRinT.

O Lord, fave thy peo-ple. (Tranfpofed.)

r* g^ n n g^

^«/ AmwBft.

=*=*

And blefs thine in - he - rit - ance.

N >

@=#

qZ2I

(12)

^ Pbiict . ,

^=:J - - ^- - ^ n ^ ^

Give peace in our time, O Lord. (Tranffofti.)

(^ f ^i= d^

a o

g^ JQ

Answer.

Becaufe there is none o-ther that

- .4

fighteth for us, buton-Iy thou, O God.

lou, O

Jt=1=

PQ-M- ^f^ 8 °*|^ I

; r^ J

JC2 - caL.

Pmist.

O God^ make clean our

(Tranfpofed.)

P /? E

- ^ I

hearts within us. (Tranfpofed.)

?z:

lari

Answu.

And take not thy Holy Spirit from us.

J t ^ M

AAcr tlie Firft and Third Colkas, and all otiier Pkayen.

A - men.

32=

After the Second Collea, and the Benedidion.

f^f S'ttang.

This alio may be fung at any pitch moft convenient.

-»i»-* ^ t ^

God the Father, of heaven : have mercy upon us mi-fe-ra-ble finners. [Tran/pg/ed thus^ as in the *' Accompanying Harmonies" and fo throughout,']

\ I [ I =t=z

-^>-

rj f;} ^ m fj p o^jkl

I I I I

3a:

-i^-

=g g?.

-N

(IS)

:*=fc

O God the FathcTy of heaven : have mercy upon us mi-Je-ra^hU ftn-ners.

. ACCOMPANIMINT TRAMtPOSID.

W ^ M

331

O CI>

:|ab

-o-

1SF

'P » ^ * * »^»^^ - t-

O God the Son, Redeemer of the world : have mercy upon us miferable finners.

\Tranfpbfe as beforeJ]

-i j >--- - ii3=t:

O God the Son y Redeemer of the world : have mercy upon us mi-'/e-^ra-ble Jinners.

I^^P

331

C3 O

^^^SI

no-

@ i= #

list

ra „,

fifjt

O God the Holy Ghoft, proceeding from the Father and the Son : have

[Tranfpofe as before."]

mercy upon us miferable finners. [Tranfpofe as before.]

O God the Holy Ghoft ^ proceeding

deb

3=5

from the Father and the Son: have mercy upon us mi-fe-ra-^ble Jin-ners.

feff

33r:

o o

T?-

if ^^i;^/- f^

dab

(14)

d=^

I I ^

-!»-

O holy, bleffed, and glorious Trinity, three Perfons and one God : have mercy

[Tranfpofe as beforeJ]

Upon us miferable finners. \Tranfpcfe as beforeJ]

O hthfyy bkjfedy and glo-ri-ous Tri-ni-fy,

d^i£

~*" 1 ^ t:

three Perfons and one God: have mer-cy up-on us mi-fe'ra-ble Jin-ners.

^^=

^-J J J ^ I

331

0 O

-a - a-

&=i

:^=

^i-p-

Remember not, Lord, our oiFences, nor the offences of our forefathers ; neither take thou vengeance of our fins : fpare us, good Lord, fpare thy

people, whom thou haft re-

deemed with thy moft pre* -^-^ - - - - =^^ cious blood, and be not angry with us for ever.

Spare us, good Lord.

' £J f> a CT

-^^-

r"3

-^ - -

From all evil and mifchief ; from fin, from the crafts and aflaults of

the devil ; from thy ^ "~*^""" -

wrath, and from ever - lafting damnation.

- - -

Good Lord y de-li'ver us.

i^m

gL> gap -

JtSz

jCJt

-f^-^

From all blindnefs of heart ; from pride, vain glory, and hypocrify ; from envy,

hatred, and malice, and all un - - "->j s V^ ^ - (}=r^ ¥^^^"''^"^11-

-charitablenefs. Good Lord, deliver us.

(16)

From fornicadon^ and all other deadly fin ; and from all the de- ±g ^ - zzri iZZTF^ ceitsoftheworld^the flefli, andthe devil.

Good Lordy de - U - ver us.

:Sz

XcLuiL

rcy

--S

From lightning and tempeft ; from plague, peftilence, and famine ; from battle

and murder, and

from fudden death. Good Lord, deliver us.

From all fedition^ privy confpiracy, and rebellion ; from all falfc dodrine, herefy, and fchifm ; from hardnefs ^"" y "^ IT ^ ^ ^ i " -^ of heart,and contempt of thy Word and Commandment, Good Lord, deliver us.

By the myftery of thy holy Incarnation ; by thy holy Nativity and Circum- cifion ; by thy Baptifm, ^

-»

^^^

!"--

Fafting, and Temptation, Good Lordy deliver us.

By thine Agony and bloody Sweat ; by thy Crofs and Paffion ; by thy precious

Death and Burial ; by thy

glorious Refurreftion and '« * Jl-, " | | = ^ . -»-T-H- Afcenfion ; and by the coming of the Holy Ghoft, Good Lardy deliver us.

In all time of our tribulation ; in all time of our wealth ; in the hour of death, and in

r»=fc

the day of judgement. Good Lord^ deliver us.

We finners do befeech thee to hear us, O Lord God ; and that it may pleafe thee to rule and

govern thy

holy Church 'Si » - ^ zzEEffE univerfal . . in the right way ;

fTe befeech thee to hear us, good Lord.

That it may pleafe thee to keep and ftrengthen in the true worihipping of thee, in . righteoufnefs and holinefs ot life, thy Servant VICTORIA, our moft gracious

Queen and Governour; IVe befeech thee to hear us, good Lord.

(16)

^-. , , _ > ZJZ

That it may pleafe thee to rule her heart in thy faith, fear, and love, and that fhe may evermore have affiance in thee, andever --p-a , *

feek .

thy honour and glory ;

JVe befeecb thee to hear us y good Lord.

Q Q - O - #-^

^ rrf" r r

Tjf

That it may pleafe thee to be her defender and keeper, giving her the viAory

^ L , , , over all her enemies ; JFe bejeecb thee to hear us, good Lord.

That it may pleafe thee to blefs and preferve the Prince Albert y Albert Prince of miesy and S » , -^ ! L^t|. - ^-^-^^ > 1 , ^ 1i =Hz all the Royal Family ; We bejeecb thee to hear us, good Lord.

That it may pleafe thee to illuminate all Bifliops, Priefts, and Deacons, with true knowledge and underftanding of thy Word ; and that both by their preaching and

living they may ^

J - ».

fct it forth, and fliew it accordingly ; fFe bejeecb thee to hear us, good Lord.

That it may pleafe thee to endue the Lords of the Council, and all the Nobility, with grace, wif- '(^ ' 1 ~ Bi= "-» -^ - ^ ~\ ^""T dom, - - . and underftanding ; We bejeecb thee to hear us, good Lord.

That it may pleafe thee to blefs and keep the Magiftrates, giving them grace to execute juftice, i p = ,

and to maintain truth ; We be/eech thee to hear us, good Lord,

That it may pleafe ig -' -" - ^tt

thee to blefs and keep all thy people ; We bejeecb thee to hear us, good Lord.

That it may pleafe thee to give to all nations unity.

peace, and concord ; We bejeecb tbee to hear us, good Lord.

That it may pleafe thee to give us an heart to love and dread thee, and diligently

to live 'ijs m =^^ - ^-(F^ ^^^^^^^T^rnr^ i^

after thy commandments , We bejeecb thee to hear uSy good Lord.

That it may pleafe thee to give to all thy people increafe of grace to hear meekly thy Word, and to receive it with pure afFeftion, and to bring forth the

fruits of the Spirit ; We befeecb thee to hear us, good Lord.

(17)

^ g - - ±Ifc

That it may pleafe thee to bring into

the way of truth

all fuch as have ^i^-» "^"^^ erred, . . . and are deceived ;

We befeecb thee to hear us, good Lord.

That it may pleafe thee to ftrengthen fuch as do ftand ; and to comfort and help the weak-hearted ; and to r^ile up them that fall ; and finally to beat down

ir^~'^~ir"# 1 II » 1 ^ ^^

Satan under our feet ; We befeecb thee to hear usy good Lord. 5 -

That it may pleafe thee to fuccour, help, and comfort^ all that are in danger, neceffity, p» i ,'1 | | "H^, H^^^^^P JF

and tribulation ; We bejeecb thee to hear us, good hard. H E

That it may pleafe thee to preferve all that travel by land or by water^ all women labouring of child^ all fick perfons, and young children ; and to fhew thy pity

"P^^ ^ ^^ * - rll!? - "^ II - I 'm J i T^ t^ prifoners and captives ; We bejeecb thee to hear us, good Lord.

g E

That it may pleafe thee to defend, and provide for, the fatherlefs children, and widows, and *j^-« », - ^| |b»b i^~ ^ ^==g^

all that are - . defolate and oppreffed ; We befeecb thee to hear us, good Lord.

That it may pleafe 'S -' 1 | | i-i-I ^ , g i| ^

thee to have . . mercy upon all men ; We befeecb thee to hear us, good Lord.

That it may pleafe thee to forgive our enemies, perfecutors, and flanderers,

and to turn their hearts j We bejeecb thee to hear us, good Lord.

That it may pleafe thee to give and preferve to our ufe the kindly fruits of the earth, fo as ^ ' m^-^ ^ \ \ » » ! ^1=^ ^ in due time we may enjoy them ; We bejeecb thee to hear us , good Lord.

That it may pleafe thee to give us true repentance ; to forgive us all our fins, negligences, and ignorances ; and to endue us with the grace of thy Holy Spirit to amend our lives ^-g-^-M -a ^ || - *" iJZ^ - 1 ^ n ^ || :. according .... to thy holy Word; We bejeecb thee to hear us y good Lord,

(18)

tg ^ 1 I ^ Son of God : we befeech

thee to hear us.

iii=i. - T-r-j ^

i'^» ^ G^^; w^ be-Jeecb thee to hear us.

o o

331

-icr

[^ ' p » to I p o g

O Lamb of God : that tak-eft a-way

!IEt

the fins of the world ;

Grtf»/ us thy peace.

-a- Tn r 's ^ "^

O Lamb of God:

that tak-eft a-way

« B

the fins of the world ;

- ^ II ^^^F

Havemer-cy up-m us, OChrift,

^_^ i| ^ »s T

O Chrifti hear us. Lord, have

upon us.

:±= « , « ^ I I *^=T=^ ^

. « ^ ^

Z^^/, have tner-cy up-on us. Chrift, have

Chrifty have tner-cy up-on us.

pl# pp'igJS" mer - cy

r^:^ ^7^ ^

^^to

Lord> have It ,

mer-cy upon us.

Lor^, have mer-cy up-on us.

(19)

Prixst & Pboplz with him.

*^a

Our Father * * A-men.

^ >- d J i

mi \' r [

~cr

Peibst.

O Lord, deal not with us after our fins.

Pboplb*

- ' - - _z^ - ; ^ :r= »;-^^ -

Neither reward us after our i-ni - qui - ties.

1^^

i- o

P"^

PUSST.

Let us pray. OGod *

through Jefus Chrift our Lord.

PXOPLB.

--Hi-

- » »-<- »

O Lord, arife, help us, and deliver us for thy Name^s fake.

e» - ^

Pribst.

O God, we have

heard * * old

jS~" - »-

time before them.

Pboplb.

O Lord, arife, help us, and deliver us for thine ho-nour.

&i - i^

Glory be to the

Father, *

Holy Ghoft.

PlIKT.

PtOVU.

i> ^ IT

As it was in the beginning, * * world without end, A-men.

f^^

jet

rgtti

t=t

Jslj=(

»=t

?|E

From our enemies

* O

Chrift.

Pioru.

Gracioufly look upon our afflidions.

&* ri

-^»-

(20)

PintT.

t y » »

Pitifully * * forrows

of our hearts.

Pioru.

Mercifully forgive the fins of thy peo - pie.

®« 'ti

Psonju

Favourably * *

our prayers.

^ PlOPtS.

|i" ^

Putrr.

O Son of David^ have mercy upon us.

Both now

hcarus,OChrift.

ai - 1^

Peopu.

Gracioufly hear us, O Chrift ; ' gracioufly hear us, O Lord Chrift.

" T-n -

rag

P - g-

fv,

PUXST.

O Lord, let thy

» «

upon us.

Pion.1.

As we do put our truft in thee.

'^'^ After the OrfleOsy and '^ n in all other places both of Morning

m 13

|8| BcpjhH

and ETening Prayer, Litaay, and Holy Communion^ where the Amen is to be harmonized, this following is to be ufiedi -

Bat after the Second Colled of Morning and ETening Praver, and at the clofe of each feparate Service in which it occurs, the Ameu b to be harmonized thus: -

Where Treble Toicet are moft numerous the ioUowtqg may be fubftituted, as in the following Feftal Harmonies from TaUis: -

lat Treble.

Sod Treble. / Srd Trabto, t Of Alto.

Tenor.

-o - - - C3r

(I) A-men. (ii) A-men.

(21)

(Tie ^emt aiOi ^ufragf of l^z Mctnini atOr Sbening ^aso;;

As given in the Diredbry, hannonised from Tallia hr Feftal dajra.f Priest. Ahswik.

nr-y-

O Lordj open thou our lips. And our mouth ihall ihew forth thy praife.

qot

3a=

32:

Organ. (Tranfpofed.)

PllUST.

"1 * ' 't

O God, make fpeed to fave us.

(Tranfpcfed.)

- p ' # o o

Ahswxr.

O Lord, make hafte to help us.

-«UJ

€3 CD

se:

PUUT.

» »

3c=»r

3^^

» » nr:

Glo-ry be to the Fa-ther, and to the Son : and to the Ho-ly Ghoft ; (Tranfpofed '

an^efei.)

r t T f r M^

t© - m - p - Q #

ANSWZt.

33E

As it was in the beginning, is now, and ever fhail be, wo rld without end. Amen,

gJ -

° ^ Q

- f > o

ffl§

O CD

fID O -

-e^

^r^

<r:>

Pimrr.

Praife ye

the Lord.

(Tranfpofe throughout, as above.)

Answbi.

The Lord's Name be praifed.

8^^^^

^#1

Choir iflc Pioplz with the Prizst.

---

-7 i^r

I believe * Amen.

Orgam,

WiTHom* Orgam.

t Whichever hannony is taken, it is well to ufe the Organ on the greater Feftivals, and only vocal harmonies on other occafions.

(22)

MiNIITEA.

AmwBs.

The Lord be with you. And with thy fpi - rit.

"Cr

-& - ^^

Oito.

<£>*« g I I r-^

r? o>

MmitTBA.

MiNirrxK te Piotls.

^^=¥^

*=H

*=t

*=|:

Let us pray. Lord have mercy up - on us. Chrift have mer-cy up-on us.

"gy

33:

3a:

32=

(B«* l'^ I ^

o c:^

J jj

c^ c^

T5"

"cr

- - »-

Lord have mer-cy up - on us.

b v-j - J j J J

rVr

C3 O

fTTflr

^'ir^:^°r^g^

MiNism, Clxuo, 8e Piotli.

i-^ - Ml-

Our Father, A-men.

jss:

"cr

<I> C3

Punr.

Answbr.

: ^ 1 - : .^ - J -q_

O Lord, fhew thy mercy up-on us. And grant us thy fal - va - tion

a Q

ZtJug

T ^

33C

Tzr

ofg^

T5I^

Pinrr.

^ AHtWXR.

=^=*

O Lord iave the Queen.

And mercifully hear uswhenwecall up - on thee.

jg CP

(28)

Puirr.

Endue thy miniftcrs

-^ - ^

with righteoufneis.

Answu.

And make thy cho-fen peo^ple joy

3y - fill.

(pjA J J J.J W.JJJ..,

j.j J. J

r r-r ff "

Puht.

^ Amiwbs.

O Lord^ fave

^thy people.

-/ Amiwbk.

PUUT.

And bids thine in-he - rit - ance.

Give peace in our

^ ^ p * ^ W- " time, O Lord.

^^^

r*-

Becaufe there is none other that figfateth for us> but on-ly thou^ O God.

o[. ," 1° 1° rrrT~rf ('t'j"r" (' . . I j J J j ' -

m r^ ^

, ^ , r TrT

a-Wj"-

f' r r r f

3a:

O God^ make clean

our hearts within us.

Amiwir.

And take not thy Holy Spi-rit from us.

<£i*i^ N

r' i° pjf^

After aU the CoUeat except the Second.

After Secoad Colka, and Blefling.

331

zai

"cr

T3"

PuBiT*i Rbcitino Notx.

A - men.

<3> -

135:

zrni.

N.B.< - In all the Ament, both in the Morning and Erening Prayer, litany, and Holy Communion, and in Occafional Offices, when this Harmony to the Refponles b ufed, let the firft of theTe be fung $ except after the Second Colled ot Morning and Erening Prqrer (whether ordinary or fpecial), and after the Apoftotical Benediftion, " Tie grace of our Lord^** - - - - and the Bleffing, ** Tie Peace ofGU^* * * * « when the fecond it to be fung.

(24)

l&olS Communion.

The Qerks fing for the Ofiice or Introit a Pfalm appointed for die day, ti^ether with the "Gloria Patri." - See Pfalter Noted^ and Accompanying Harmonies.

TABLE OF INTROITS.

ift Sunday In Advent

Pfalm

2nd „ „

120

3rd „ „

4th „ „

Chriifanas Day, xft Communion

f»

» n ***^ n

F. of S. Stephen

,9 S. John, Eran.

n the Holy Innocents

Sunday after Chriftmas - -

I2X

aicumcifion

122

Epiphany

ift Sunday after the Epiphany

»3

»»« n f%

>»

3'd w i>

»»

4th „ „

5th n »»

6th

»»

Septuagefima

»»

»3

Sezagenma - - - -

Qiunquagefima

9»

Aih-Wednefday

xft Sunday in Lent

3»

«Kl H „

X30

3"^ >» » --

»>

4th „ „

5th „ „

Sunday next beftire EaAer

Oood-Fridty

Safter.£T«n

Eafter-Day, xft Communion

n and „

Monday in Eafler Week

Tuefday „

f»

xft Sunday after Eafier

f»

1x2

and „ „

3*^ n n

4^ » »

5^ »» »

«4

Aftenfion Day

»»

Sunday after Afcenfion Day

Whit-Sunday

Mboday in Whitfun-week

100

TneOty

- -

f»

lOI

Trinity Sunday .. .. Pfalm 67

xft Sunday after Trinity Pfalm x 19 Beati immaadati 2n4 „ >, $t ^ f**f> corrigit f

3rd „ „ » Rttribue Jv^t^ two

4th „ „ „ MhafifavimeHtp

5th » » » Legem ftm

6th „ „ „ Etvemat

7th „ „ „ Mmer§Jh

8th „ „ „ Portiomea

9th „ „ „ Bmtatemfmfi

loth „ „ „ ildbfftft ttue

iith „ „ „ Deficit amma

X2th „ „ „ Jut ^teinuM

13th „ „ „ ^omodo£leaei

X4th „ „ „ Lucema fedibia

XSth „ „ „ Inifuosodh

x6th „ „ „ Fedjudtthm

X7th „ „ „ Mtrabilia

18th „ „ „ Jufiuies

19th „ „ „ Ciamamintoto

20th „ „ „ Vide kamHtatem

2lft „ „ „ Prineiptt ferfecuti

22nd „ „ „ ^fnfetijuet

23rd „ „ -. .. Pialm 1*4

24th „ „ .... N 125

25th „ n .... w "7

S.Andrew », »9

S. Thomas, A. .... n i*^

ConTerfion of S. Paul . . n >38

Purification of S. Maiy^V. -- ,9 134

S.Matthias n 14^

Annunciatiott of the VirgUi Mary . - „ x 3 x

S.Mark m H'

SS. Philip and James -- -- m >33

S. Barnabas, A. -- -- „ X42

S. John Bap^ft -- -- m H3

S.Peter .. .. -- >9 '44

S.James, A »> 148

S. Bartholomew, A. -- -- »> xx5

S. Matthew, A. .. .. 99 "7

S. Michael and all Angels .. „ 1x3

S. Luke,£ M 137

SS. Simon and Jude, AA. -- n '5°

All Saints » I49

THE COMMUNION.

Pkiist (alone.)

f! n-

If^^pqai [Any conTcnient note may be taken here j and the Colleds "* "* » and reft of the Service are intoned in the iame manner.

Our Father * * Amen. «*<=*p* ^^*° otherwife noted.]

Ths Collect.

- - # -

Almighty God

A - men.

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-gr

(I)

MiNISTU.

PftOPLS.

'' * ^

God fpake thefe words, Lord, have mer - cy up - on us.

3 t^ ^ S'gTT'B n

Org.

RxcnxNG NOTK.

j^m

:€=

J-JL.

:?2:

33:

After the loth Commandment.

i « =

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us,

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J-'J.

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P^f'T ° r ° ^ ^ f~^ "^r^ ~.^ r^F -^

- -

and write all thefe thy laws in our hearts we be - feech thee.

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(2G)

THE COMMUNION.

Hm ftme tranfpoiea fo at to give G ai the reciting note for the Miniiier. (The Plain Song is, of courfe, to be tnmfpofed

as in the Accompaniment.) (11) MiMimm. Pboplb.

God {pake thefe words, Lord, have mer - cy up - on us.

w ° 1

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Obo.

Rbcitxno Note.

^m^

5=t

- p ^ ^ o ^ -^^ ^ j

After the xoth Commandment.

1 *

and in-dine our hearts to keep this law. Lord, have mer - cy up <- on us.

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dB:

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and write all thefe thy kws in our hearts we be - feech thee.

ana write au tneie tny lajws m our nearts we be

^ 4 ^ J. J.

If^ f r f ^i' "rT^-ry^

:&:

(UI) MiNItTBR.

PiorLB.

^ - - ^

God {pake thefe words, * Lord, have mer - cy up - on us.

irr-T

f^^M=^^

Oko.

RBcrmiG NoTB.

0-«U-J.

B ^ ^ V. f ^

- C3 €ZD

<^ <^

After the xoth Commandment,

5^^

Efl^

^Se

:»=.=

!eE5Et

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us.

lis law. Lord, have mer - cy up - __^

H ..-^^ ^-O-^J-

-# - ^^ - ^

^fe

(27)

THE COMMUNION.

and write all thefe thy laws in our hearts we be - feech thee,

^=s

a^S~«Tara~.

^^#

:z3i

JCSZ

=F^

"car

(IV)

The Plain Song nuy alfo be reprefented thoa : - MiMum. Pkopu.

- a:

^^=^^

God fpake thefe words, Lord, have mer - cy up - on us.

Oro.

RSCITIMO NOTB.

- -,. .1 I-gLj

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r^ r^

lo * # C3 «^ I

^^^

After the xoth Commandment.

3E ^

^ ^ I

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us.

o <^

. and write all thefe thy laws in our hearts we be - feech thee.

W - ^ S

-M=Hf

? p^

A AA .1 A A A.J.

@E^

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The Plain Song Tran(pofed fbr Alto or Mexxo Soprano Toicet, being in in natural pofition, or the Stc. above it. >L W MlKMTia. Pbotu.

Hft T _E ^=' - * il i| f

^ ^ T h :

God fpake thefe words, * * Lord, have mer - cy up - on us.

Org.

RxcrmfG N«n.

C3 €:3

1°(-

"?:^

* Thefe four parts may all be fung by meB*s Toices. (28>

THE COMMUNION.

After the loth Comnuindmeiit.

» 1 l

2^^

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us.

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and write all thefe thy laws in our hearts we be - feech thee.

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Tlie iame hannony tnnfpofed for general ufe, as in Diredory. (VI) MiNDTu. Pbopli.

^^t

God {pake thefe words.

* Lord, have mer - cy up - on us,

II fej i ^°!--fci--° : j^ b3 g

OlG.

^^N

Reciting Note,

ra t

M-

» - ^^* - p'

After the loth Commandment.

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^ - 3-

^F=i^

tr - fCTT

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us,

^ Gf - ^

p-r-ar - a - p - ca"

^ 19 ^>-

and write all thefe thy laws in our hearts we be - feech thee.

p=^ O

t - r

^eK J.hJ.

-C2 C3L.

JZC? r^ I12Z

fisai

(29)

> (VII) Mjnzstu.

TH£ COMMUNION.

PlOPLK.

^==T»

God fpake thefe words, * * * Lord, have mer - cy up - on us.

|zO

-e>-

-J-HS-

Org.

Reciting Noti.

o l b

1«=*:

jrs:

-I - i-i«-

azz

f=^=f=

Afler the loth Commandment

^3^

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us.

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and write all thefe thy laws in our hearts we be - feech thee.

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2 3~8

jczr

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3sz:

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fv?

(VIU) MiNin««.

PlOTLB.

Hannonised by Rer. 8. 8. Grxathskd.

^:^ r=^-zi!c

-^ God fpake thefe words, Lord, have mer - cy up - on us,

32:

B=?=p

jOSEZ

Oeg.

Reciting Note.

- €:d *

-L-J.

c^ ^

1^ PT X

-car

AAer the loth Commandment.

^3E

:-=^?Z=K=t^DC

and in-cline our hearts to keep this law. Lord, have mer - cy up - on us,

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2a:

p^m

>-»"

- J.-Q- -qL -ca- -/ -gL -Q^fe. o - -^ -^ -C/L.-i-el^

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r-^^-H^Y-

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<80)

THE COMMUNION.

iSt

and write all thefe thy laws in our hearts we be - feech thee.

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J.AJlAA^J.J. J. a

£^ - ^-^if^-^4:^ E

r r r -r

PuiST on F (erj G

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Let us pray, (or J Let us pray.

After Che CoUeas, or as beioRy if the Prieft (aji them upon F.

orinF.

A - men.

33:

Before the Gofpel.

„» » "^.H i^ IL ^ m % - ~^ n g

Glory be to Thee, O Lord. Glory be to Thee, O Lord.

=^^1F

IBF

JaL

J=t.

4=t.

:^=t

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After the Gofpel.

or in F.

- -

Thanks be to Thee^ O God, Thanks be to Thee, O God.

i^ ,^ij N s-^*" ^-^

5=?=H=

3SC

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it U-^ 1^

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i^ct

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PllBST.

F«//.

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I BELIEVE in one God the Fa - ther Al - migh - ty,

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ISSC

Ad lib.

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/TS

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( «i)

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THE COMMUNION.

=^ - g

ZMZ=^

m- *

= : r - : - ^ « - = ^ - m - m - = m - ^^ f f

Ma-ker of heaven and earth, And of all things vi-fi-ble and in-vi-u-ble :

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VA/

- » ^ , »_g =:gi

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And in one Lord Je-fus Chrift, the on-ly be-got-ten Son of God.

4-^J

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f=r=

r f f> p f ^ I ^ ^

=F=F=

- - -

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Bc-got-ten of his Fa-ther be-fore all worlds, God of God, Light of Light,

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- »

- - _...__: : - - n - B m

Ve-ry God of ve-ry God, Be-got-ten not made^ Be-ing of one fubftancc

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with the Fa - ther ; By whom all things were made. Who for us men.

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-pr ip- j&

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{»2)

THE COMMUNION.

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and for our ial-va-.tion came down from heaven^ And was in-car-nate

J J 4

frTTf

^=^

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by the Ho-ly Ghoft of the Vir-gin Ma - ry. And was made man.

fa-^-f^-rrji^ ^ ^ ,?P to=^-^-or4

J.J.A^.J.J.

AJ.J. n J.

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ifit

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:t=ii^

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Andwas cru-ci-fi-ed al-fofor us under Pon-ti - us Pi-late. He fuf-fer-ed

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and was bu-ri-ed. And the third day he rofe again according to the Scriptures,

^ «

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And aicended in-to heaven. And fitteth on the right hand of the Fa-ther,

. I i . ^. J J J J I J J I -^

j^-i-^q-J J.

(88)

rft:

THE COMMUNION.

-a - =

- - -

And he fhall come a- gain with glo > ty to judge both the quick and the dead :

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n - '' ' ^

J-J-^

mTj^^^^^r r n^ ^ tTr ^

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Whofe kingdom (hall have no end. And I be-lieve in the Ho - ly Ghoft,

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The Lord and giv - er of life] Wno pro-ceed-eth from the Fa-ther

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and the Son, Who with the Father and the Son to - ge - ther is wor-fhipped

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iSt

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and glo-ri-fied, Who fpake by the Pro-phets. And I be-lieve one

W fJ.A^^f^ ^7^'lg^i'"f^'-r ^P

2i:

212:

{«»)

""P'^^fff' ^

THE COMMUNION.

:»=

I*=BI

Ca - tho-lick and A - pof - to - lick Church. I ac - know-ledge one

i^^-^ = ^ f^--^- ^ --\rj U^^-^

A.J.^ j -^ J- / ^ 1^

f f r f'-T=f^

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fr ==

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Bap-tifm for the Re-mif-fion of fins. And I look for the Refur-rec-tion

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d-^ ^ J :j ^-; j

llJ.^.J..jLjjr. '-i

pfrrpr r'TrP ('T.^r^r

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of the dead, And the life of the world to come. A - men.

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p~rg^

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, J g J. J J. J

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Priest.

The fame tnuifpofed a note higher. Fuil.

IJpL,_

I BELIEVE in one God the Fa - ther Al - migh - ty,

jci=^z

zsi

r P-r i'

Org.

^^/ii.

^ ^ uiL

T^-r-r-

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vi^

Maker of heaven and earth. And of all things vi- fible and in - vi - n- ble :

i^^^:^ ii^lU^^li^^f

^A^

ZiCar

Si^

(85)

THE COMMUNION.

M L

-1 - r~»

And in one Lord Je-fus Chrift^ the on-ly be-got-ten Son of God^

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rr r r r J.

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aU worlds^

Be-got-ten of his Fa-ther be-fore

God of God^ Light of Light,

jd.xL jL J , ' I III jcaL^fa. szi-jei.

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Vc-ry God of vc-ry God, Be-got-ten, not made, Be-ing of one fubflance

T? * J o

a - y

. qi * ^ ^ - i r » ! o - ca fc* » - z

P=FT

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with the Fa - ther ; By whom all things were made, Who for us men.

p a I J AJ. m

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321

and for our fal - va - tion came down from heaven. And was in - car-nate

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(86)

THE COMMUNION.

P»==P

r» -

=* r- -

by the Ho - ly Ghoft of the Vir - gin Ma - ry, And was made man.

r~T

A a4 s^ AjJA ^ 4'^A . ^ ^ ^

pf7=T^=p^=F f p f- f^^iq^^^^

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And was cru-ci-fi-ed al-fo for us under Pon-ti-us Pi-late. He fuf-feNed

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and was bu-ri-ed. And the third day he rofe again according to the Scriptures,

^ T^rrr

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HO-

zz:

Jib B -j»-l,-, ^

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=*==«=

And afcended in- to heaven. And fitteth on the right hand of the Fa-ther.

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Tzr

4jiAAA J .JLx^ '

- r f/ri°r

h^;VA^-'l|'Mf=^^

Hi^=Jt=

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And he (hall come a-gain with glo - ry to judge both the quick and the dead

¥^firii^i=f^' i '^ fJ p ' fJ^/.

fe*^ f^ p r{^r*r ^t^p-r-^

(S7)

THE COMMUtfXON.

:^-

iSjzizibt

l^e^5H5

Whofe kingdom fhall have no end. And I be-lieve in the Ho - ly Ghoft,

F^^^^^^^W

33:

ri j4_J J J 'j.i^-^^-^fJ*^--

rr7Tnf^yp:p:FfrTT?

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The Lord and Giv-er of life, WRo pro-ceed-eth from the Fa-thcr

J J J J

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U^Il

i ^ i,4 ^ <i

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and the Son, Who with the Father and the Son to - ge - ther is wor-fhipped

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and glo - ri - fied. Who fpake by the Pro - phets. And I be-lieve one

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Ca - tho-lick and A - pof- to - lick Church. I ac-know-ledge one

^^=^pf^nH=^?-^-ff^

4.^Jl '^ A A ^ ^ ja^

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f ' rrv-^ ^^^^

501

(88)

THE COMMUNION.

^ , -

-«-- « - - :»:

=-^=3=

Bap-tifm for the Re-mif-fion of fins. And I look for the Refur-rec-tion l^j . . . . I I'M

h^i>''r><- i>

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- , f - r? P r^ -^ ......

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of the dead. And the life of the world to come. A - men.

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For the Offertory Sentences Noted^ as well as for the Notation of the Priut's words throughout the Service, fee the Bo^ of Common Fraytr^ wtb Plain Tune by W. Dyck, Esq.

^ PUXST.

Answee.

Lift up your hearts. We lift them up un - to the Lord.

"gy

Primt.

Answer.

Let US give thanks unto our Lord God. It is meet and right fo to do.

« ^ ^lr^

5'^

r? ^. f A r? -

^ Peizst. (on G.)

Answer.

Lift up your hearts. We lift them up un-to the Lord.

:1st

g3~

(89)

PuitT.

THE OOMliUNION. .

AwtWEK.

» !

» »

a=t

Let us give thanks to our Lord God. It is meet and right fo to do.

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323

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-ry-

-, PUKT (OO F)

(O)

I » «

(«A)

» - --

It is very meet * * It is very meet * * It is very meet

N-

* *

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The Allowing three hannoniei may follow the Prieft*! recitation either on F or G : when A it taken for the recitation note it will be neceflary to tranfpofe aa at IV, which may alfo be ufed when the reciution u oil O.

(I)

I ^ I i < ^

-g - jt

Ho - ly, ho - ly, ho - ly, Lord God of Hofts ; Heaven and Earth are

-rrr

c^ p r^ ^, p

izz:

i:ji

3;^

^^^

c^ * r?

»{* - - ^

- -

-g - -

full of thy glo - ry. Glo-ry be to thee, O Lord moft High, A -men,

jj.

-gj CJF ga =

A.A^..J.

^^rr^i^^^ ^ ^

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(H)

=T^

Ho - ly, ho - ly, ho - ly Lord God of Hofts ; Heaven and Earth are full

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fl^ CJH-gLL-il^

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JZflL

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33=

C2I

O - cT^ I O

^^fes bc^"

THE COMMUNION.

» i^

^ - i - t

of thy glo - ry. Glo-ry be to thee, O Lord moft High. A - men.

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Itt Tenor. Snd Tenor.

Srd Tenor, or thel Melodjformen./

(ni)

±=^=3:

ly, ho - ly, ho - ly. Lord God of Hofts ;

jSSZ

jSr

T-y

-M-i^

J2Q.

(For men*8 voices only.)

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Heaven and Earth are full of thy glo - ry. Glo - ry be to thee^ J.. J. J. J. :^d:^

qo:

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O Lord moft High. A - men.

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-a-

' (IV) Peibst.

It is very meet -

1°t

Ho - ly ho - ly, ho - ly, Lord God of Hofts ; Heaven and Earth arc

fi ^ ^^.8- ' i'J ^"fj'

S H ' H

(TVanffofed.)

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^g^

""ggi

C3 * - e - -^

(41)

THE COMMUNION.

- - - -- ^ -

3=Ei=t

PF= P

full of thy glo - ry. Glo-ry be to thee. O Lord moft High, A - men.

^ tiui or tny gio - ry. Lrio-ry be to tnee. u Lx>ra moii

AA I I J -J-'-J- -i^.-oL ,

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Gloria ttt O^aliEliiE; Beo.

Harmony by Charlzi Child Spimcbr^ tranroofcd from the *' Parifli Choir/' * PuiST. Fm/L

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- - -

Glory be to God on high, and in earth peace, good will

331

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towards men. We praife Thee, we blefs Thee, we wor-ftiip Thee,

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we glo-ri-fy Thee, we give thanks to Thee for Thy great glo ry,

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O Lord God, heavenly King, God the Fa-ther Al-mighty. O Lord,

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(42) - RrprinCed here by the kind permiffion of Mr. OtinnK, Pall Mall.

THE COMMUNION.

' » - »"

theon-ly be -got -ten Son Je - fu Chrift; O Lord God, Lamb of God,

pj -j_ ij-_i j

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Son of the Fa-thcr, that tak-eft a -way the fiiis of the world,

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dtzmi

have mer-cy up -on us. Thou that tak-eft a-way the fins of the world,

nl .J J J J^^ rJ rjrjj^.j jfj

P (P

f^=P

=! :- » ,

have mer - cy up - on us. Thou that tak-eft a-way the fins of the world.

:©:

fTf - ^i^'^* ! ^: ! ]!^ ^

:^r^

feLj_cL

-Ml

TT r ' r-

Vi^

re-ceive our pray-er. Thou that fit-teft at the right hand of God

p fcj

(43)

THE COMMUNION.

^^£

^ I

3^=:^

H^=!E

fe!

the Fa - ther, have mer -cy up - on us. For thou on - ly art ho - ly ;

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p- -pr-fx T I '

I I

I '''^';'i^'j''u I'i'

:i?=

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thou on-ly art the Lord ; thou on -ly, O Chrift, with the H6-ly Ghoft^

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1 \!'''':if^'t''± "-ZsS.Mi

tp ^^ P-r r r"^^ ^

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/. (11) ANOTHER Pmut.

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Org. "^

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towards men. We praife Thee, we blefe Thee, we wor-ftiip Thee,

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f==

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(44)

THE COMMUNION.

we glo-ri-fy Thee, we give thanks to Thee for Thy great glo-ry.

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/TN

^ ^.j^

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O Lord God, heavenly King, God the Fa-ther Al-migh-ty. O Lord,

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d a d d. c^ n d

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have mer - cy up - on us. Thou that tak'eft a-way the fins of the world.

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(«)

THE COMMUNION.

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have mer- cy up - on us. Th<Ju that tak-eft a-way the fins of the world.

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the Fa - ther, have mer-cy up - on us. For thou on - ly art ho - ly.

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thou on - ly art the Lord ; thou on - ly, O Chrift,, with the Holy Ghoft,

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art moft high in the glo - ry of God the Fa - ther. A - men.

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«l.^^4.j j .j

Ji^eU.

JOfZ

ACCOMPANYING HARMONIES

TO THE

psalter Noleti.

BY THE

REV. THOMAS HELMORE, M.A.

LONDON:

PUBLISHED BY J. ALFRED NOVELLO, 69, DEAN STREET, SOHO, & 14, POULTRY 5

ALSO IN NEW YORK, AT 389, BROADWAY.

MDCCCXLJX,

HARVARD UNIVERSITY

EDA KUHN LOEB MUSIC LIBRARY

CAMBRIDGE 38, MASS.

<* Simple ani plain iinging is left in Churchei/* - ^Justin Marttr,

"The general imprOTement of Pialmody it very defirable, yet widioat fo much refinement ai to preyent tie " mafi of the Congregation from joining.** - - -

From a publiihed letter of Archbiihop Howlby to the Rev. H. Wilbertokcb.

Dteemitr iifi, 1844

THE PREFACE.

THE ancient melodies ufed in the Pfalter Noted, to which Vocal accompaniments have been feleded and arranged in this little volume^ are called tones (or tunes). This name is derived from the eight Ecclefiaftical ^oni (Modes or fcales) in which they are compofed.

The 1st, 3rd, 5th, and 7th of thefe Modes were adopted by St. Ambrofe in the fourth century, and in the fixth St. Gregory added the 2nd, 4th, 6th, and 8th. The former are ftyled Authentic, the latter Plagal. Thefe have names derived from the ancient Greek modes, with which they are fuppofed by fome to correfpond, and from which three or four more are faid to be ufed in ancient ritual mufic.

The eight already mentioned are, however, the moft important: they are written as follows, on the Ecclefiaftical ftave of four lines. The har- monized accompaniment is taken (with the kind permiffion of the Author) from Mr. C. C. Spencer's " Explanation of the Church Modes.'*

L - THE DORIAN MODE.

- - - - - -

DefgAbcD DcbAgfcD

Re mi fa fol La si do Re Re do si La fol fa mi Re

II. - THE HYPO-DORIAN MODE.

abcDeFga agFeDcba

la si do Re mi Fa fol la la fol Fa mi Re do si la

* The Capiuls ihow the Fmals and Dominants in the fereral Modes, and the Slurs the places of the Semitones.

VI.

The Preface.

III. - THE PHRYGIAN MODE.

EfgabCdE EdCbagfE

Mi&rollariDoicMi MireDoiihfeliaMi

IV. - THE HYPO-PHRYGIAN MODE.

b'cdEfgAb bAgfSdcb

a -: -

foi

B li

roi

re do 2'

-j "

-^^

-r=hr

=?3=

-s-

=**- -

: ;

-«»-

3,^

-^»-

-«^

«^ ^^ ^r^

^f-^fS - rzzn

-m-

S*B1_

__£5_

-tg"

^ ^ ^^

v. - THE LYDIAN MODE.

Fgab'cdeF FedCbagF

"R-

fol

-i

mi Fa

fol

-^~

-»-

Ii;^

'^ -M

=g=

-fi^

-..^

^ ^

-«»-

^^^

fezz

zxac

=«=

Z2a=

-«-

=53=

VI. - THE HYPO-LYDIAN MODE.

c d e F g Abe cbAgFede

do re mi Fa fol La si do do si La fol Fa mi re do

^ -£» ^ ^ ^

- 39

=S=

^^ ^» ^g^gg 8 II

" fj"

"" <.; - g^ ~

The Preface.

Vll.

VIL - THE MIXOLYDIAN MODE.

OtbcDe rO

GfeDc baG

:£=

gg fcf :

VIII. - THE HYPO-MIXOLYDIAN MODE.

defGabCd dCbaGf

re mi £i Sol la si Do te re Do si la Sol fa mi re

F C A

C A D C

triftis.

myfticus.

harmonicus.

]KtUS.

devotus.

angelicus.

perifedbis.

It Will be perceived that the Modes differ from one another* with regard to the polition of the Semitones, and alfo as to their Dominants and Finals : thus the expreflion or charafteriftic fentiment of each is different from the refl. The following table will be ufeful as exhibiting thefe as fet down by various authors : -

TONE. FINALS. DOMINANTS.

Grave . - f i Authentic . . . D .... A - giavis.

Mournful , 1 2 Plagal . . . . D . . . ~

Exulting - j 3 Authentic . . . E ...

Harmonious 1 4 Plagal . . - . £ .

Gladdening T 5 Authentic - . - F ...

Devout . . \ 6 Plagal . . . . F .

Angelical . / 7 Authentic . . - G ...

Sweet . . \ 8 Plagal G . . . .

The Pfalm melodies themfelves are thofe which are generally received as the genuine Chants of the ancient Church, and commonly called Gre- gorian. The authorities confulted have been chiefly Alfieri, Janffen, La Feill^, Jones, Marbeck, (the old edition of 1550, as well as the reprints of Pickering and Novello) Rev. J. Clifford, Low, Hawkins, Dyce, and Spencer, confirmed by comparifon with Loflius, Glareanus, &c. &c. From the works of thefe authors, it appears, that, notwithftanding flight variations both of the notation and of that which is noted, there are a certain number of diftinft tunes, the fame in fubftance, but allowing fome variety in the mode of performance, the principal of which are here fet forth in a form which fairly reprefents what was done of this kind in the ancient Churches, both at home and abroad, and is in perfed conformity with that adaptation of the ritual plain-fong to our own language, which was made by Marbeck, at the Reformation, under the aufpices of Archbiftiop Cranmer, and was afterwards confirmed in the famous Injunctions of Queen Elizabeth. Such, too, were the tunes ufed for the Pfalms, not only immediately after the Reformation, but very far on in the 17th Century, - it might, perhaps, have

been

viii. The Preface.

been fafely aflerted, till the beginning of the i8th. The Rev. James ClifFord, a Minor Canon of St. Paul's, in a Work publilhed in 1664, dedicated to Dr. Walter Jones, the Sub-Dean of Her Majefty's Chapels Royal, and bearing the *^ imprimatur** of Bifhop Hall, ftates, "for the information "of other quires that are remote, as to the exad and uniform perform- "ance both in the Chapel Royal and at St. Paul's Cathedral," that he has, in that Work, inferted all the tunes then in ufe at thofe places, for the " Venite" and the Canticles of the Morning and Evening Prayer, when more folemn compofures (/.^., elaborate mufic, viz.. Cathedral Services) were not ufed, and also in the Psalms for the Month, and for the "Quicunque vult^on its proper days. Thefe tunes are all of them Gre- gorian; and the diftribution of words among the various notes of the mediations and cadences is the fame in principle with that adopted in this Work. A very few of thefe, fome, indeed, in a very mangled and mutilated condition, have kept their ground to our own day, - that which is fet by Boyce to the " Venite" or the ift Tone, 4th ending ; the Imperial Chant, or 8th Tone, ift ending, with the monofyllabic mediation; and that for the Athanafian Creed, may be cited as examples ; and the admiration beftowed on thefe, by all competent judges, fhould fuffice not only to reinftate them in their ancient honours and privileges, but to fecure to others of their own kindred a welcome reception upon their return from long and undefervcd banifhment.

In their fuUeft form thefe Pfalm Tones confift of three parts, called the Intonation, the Mediation, and the Cadence.

In the Pfalter Noted, the firft few notes of the Intonation are ufed only for the firft verfe of each Morning and Evening portion of the Pfalms, this being the feftal ufe. Thefe notes lead, by fixed and definite relations, from the final to the dominant (or prevailing note) of the Tone, and fuggeft at once the key or mode in which the Pfalms are about to be chanted.

The Mediation is a flight inflexion given to one or more fyllables imme- diately preceding the colon in each verfe. The 2nd, 4th, 5th, and 8 th Tones, each admit of two forms of mediation; one returning to the dominant after the other note, or notes of the inflexion, and one not fo returning, but ending upon fome note higher than^ the dominant. The latter is called the monofyllabic mediation, becaufe in the Latin Pfalms it is ufed invariably when a monofyllabic ends the firft part of a verfe. The Editor conceives he has obeyed the fpirit of this rule by applying the mediation in queftion to every verfe in which the fyllable immediately before the colon is accented. There is alfo a fimilar variation in the mediation of the 6th Tone, as fet in the Pfalter Noted.

Each of the Tones, except the and and 6th, has a variety of endings ; fome of thefe are abbreviations of fuller forms ending (as all complete com- pofitions in thefe modes are required to do) upon the final or dominant. The Antiphon formerly completed the cadence, whether the Tone in the Pfalm was complete or incomplete; and this might ferve as a guide to the flcilful Organift or Precentor, pointing out an eafy method of relieving any abruptnefs either of melody or harmony at the end of the Pfalms : where

there

Ihe Preiace,

13:.

there is no organ, it might, in fome cafes, be ufeful to fing the laft "Gloria Patri" to one of the completed forms. But this is hinted at only for the fake of fuch as cannot immediately reconcile their ear to the abrupt grandeur of fome of thefc endings. The accompanying Table of the Tones will (hew at a glance their number in the ufual order [fee page xiii].

The 3rd ending of the ift Tone, however, has not, in this Work, been fet to any Pfalm, on account of the number of its notes ; but it might be adopted wherever the ift ending has been ufed, by flurring the additional notes to the laft fyllable of each verfe ; or by taking all of them, except the laft, to the penultimate and antepenultimate fyllables, and the laft note to the laft fyllable : both have precedent in the Latin ufe, and both fuit the Englifh as well as the Latin, although from habit and modern alterations in the charafter of the Pfalm Chant, they found ftrange in our ears. The ancient Pfalm Tone (it may be obferved) is not all recitative, but a monotonic recitation with a melodial beginning, middle, and end.

This fuUeft form of the ift Tone might be accompanied thus : -

N.B, - Different words are fet to different farts of the muficy to convey as much information as

in afmall Jpace*

J FmST TONE. 3RD Endikg.

By the ^te« of Babylon J ^^^„ ^„j wept : when we re - membercd thee, O Si

As for our harpe we hanged them up : upon the trees

that ^ are there - in.

ESiE

^m=^

Glo-ry be to the Father, and to the Son

* N.B. - In moft (but not all) works upon the Ancient Mufic of the Church, thefc four laft notes are printed in ihorter notes than the reftj but coniidering (according to our general rule) the laft note as common, and allowing for the natural retardation, or rallentando, of a deliberate clofe, the Notation adopted in the Accompaniment will perhaps moft ^ly reprefent the way in which the Tone ought in general to be fung with Engliih words.

The 3rd and 8th Tones have each two forms of their firft ending, which are diftinguifhed from one another, in thefe books, by the letters A and B.

The ftyle of notation adopted in the Pfalter is taken from the Work of Marbeck already alluded to, and is the appropriate Ecclefiaftical repre-

fentation

X. The Preface.

fentation of the Plain Song of Chriftendom. Simple in itfelf, reprefenting fomething entirely different from the meafured fong of other mufic, yet not without meafure of its own, - containing in its few forms the records of the holy fongs of many generations, which for want of praftice have become no more, alas ! than a dead letter, even to the minifters of our Church, who are thus excluded from the beft fources of information as to the true conftruftion of fuch mufic as is proper for ufe in the Divine Service, - it feemed only natural and a matter of courfe to the Editor, that in lending his beft aid to the efforts now making to bring back the genuine Pfalmody of the Church, he fhould write the mufic of that Pfalmody in its own charadter. He might more fitly have edited a Greek author in the ordinary Englifh letters, than the Tones of St. Ambrofe and St Gregory in the modern notation. Nor is he confcious of inconfiftency in tranflating (as it were) the fquare type by the round in the Accompaniments. The Harmony is comparatively a new thing, for which a difference of notation might fitly be ufed, efpecially as, notwithftanding its greater fimilarity to modern nota- tion, it is ftill, by the omiffion of bars, and the choice of breves, femibreves, and minims, rather than of femibreves, minims, and crotchets, fufficiently different in appearance from the notation of ordinary mufic, to prevent a confufion in the ftyle of performance : befides which, it may be remarked, that, as many are entirely ignorant of the old notation, it required fome explanation, of which the plan here adopted feemed to afford the readieft means. If any, however, ftill complain of this return to the old notation, let them remember the forcible arguments commonly ufed for the preferva- tion of the C clef; thefe will alfo defend the notation of the Pfalter.

All notation is, in faft, but an approximate reprefentation of ibng, and to make it perfed a fuperfluous minutenefs muft be ufed : more than is here given is not required by the well-inftrudted and ikilful ; to the uninftrudled or unfkilful more would be not only ufelefs, but perplexing.

Thefe Tones are properly fung in unifon, or oftaves, with an Organ Accompaniment, varied according to the tafte of the Organift, the charafter of the words, and the feafon of the Chriftian year. But for the ufe of churches where there is no organ, or where harmonized vocal mufic is pre- ferred to the unifon, the prefent Work has been prepared. The Tones for each day of the month are here printed in the tenor ftave, in notes correfponding to thofe given in the Pfalter ; while in more modern notes, four other Vocal parts are given, together with an Organ (or Pianoforte) arrangement; the harmonies being (in general) founded upon the ancient gamuts, and adapted (as far as poffible) to the varied charader of the Pfalms themfelves. The mediations and cadences are accented to enfure a right and uniform reading of the mufic; and a careful attention to thefe marks will confiderably affift in giving the intended effedt to thefe compofitions.

The greateft advantage of the ancient Ritual Mufic, of which the prefent Pfalter furnifhes a fpecimen, feems to be that it aflFords the Clergy and the People the greateft facility for joining in voice, as well as mentally, in thofe portions of our Morning and Evening daily Prayer, Litanies, and Occafional

Offices,

The Preface- xi.

Offices, as well as in the Refponfes of the Holy Communion Service, which are fpecially afligned to both in the rubrical diredions of the Prayer Book; and for this realon (were there no other) it feems moft defirable to reftore it to its legitimate honours.

It is, however, by no means defired, by anything here faid, to leflcn the attention of any, particularly of the Minifters of the Church, or of Organifts and Choirs, to fuch other mufic of " more folemn compofure *' as the higheft order of Chriftian art can dedicate to Him from whom cometh all fkill, and " every good and perfed gift." But let it be remembered, that the bell judges of the fubjed have alway-s agreed that Church Mufic attained its higheft excellence at a date anterior to the negled of that Ritual Mufic now advocated ; "as long," fays the late Oxford Profeflbr of Mufic, "as the pure " fublime flyle - the ftyle peculiarly fuited to the Church Service, - ^was '^ cherifhed, which was only to about the middle of the feventeenth century, '* we confider the ecclefiaftical ftyle to be in a ftate worthy of ftudy and " imitation, - in a ftate of perfedion. But it has been gradually, though not " imperceptibly, lofing its charader of fublimity ever fince. Improvements "have, indeed, been made in the contexture of the fcore, in the flow of " melody, in the accentuation and expreflion of the words, in the beauty of " the folo, and the delicacy of the accompaniment. But thefe are not indica- " tions of the fublime. Sublimity is the higheft walk of our art, as " of every other ; our art is therefore on the decline."

That the ftyle of melody appointed by the early Church fliould be the moft appropriate for the Clergy and People in all ages, and not wantonly, or without public authority as high, at leaft, as that which enjoined its ufe, to be difpenfed with, few, who have any reverence for antiquity, or Church authority, will be apt to doubt, whatever may be their private tafte as to the ftyle itfelf. Let it, then, be remembered, by all whom it concerns, that our own Church has never difpenfed with it ; fome portion of it is ftill heard (with more or lefs decorum) in our Cathedrals, and many of our fineft Anthems enfhrine fome portions of its unearthly melody : its comparative difufe among us is the eflfed of perfecutions from without, and ignorance and fchifmatical prejudice within, rather than of any deliberate judgement, or Synodical decree. But not only has the Church of England never difpenfed with the Ritual Mufic of ancient days, but, on the contrary, fo far as any expreflion of her will in this matter has been given, it has been to rule its continuance - while in many a time-honoured volume of her moft learned and godly Divines, this is the Pfalmody, thefe the ftrains of angelic minftrelfy, which they have celebrated. This the judicious Hooker defended ; in this the amiable Herbert, himfelf no mean mufician, delighted.

It is beyond doubt, that in this ftyle of Church Mufic there is an efiedive grandeur, as well as an admirable gravity, which has at all times commanded the homage, not only of the wifeft and beft men, but of the moft pious and learned muficians ; hence the fad that (fpeaking generally) none of our fineft Englifli Compofers have thought fit to fubftitute their own for the ancient Pfalm Tones ; and it was under the fupervifion of the immortal Paleftrina, "i?^.v Mujic^" that this part of the mufic of the Church abroad

was

xii. The Preface.

was collated and fet in order by his friend Giovanni Guidetto, who fays of that Work, that " if the compilation be found to have any merit, it muft be chiefly afcribed to his kind aflifliance/*

Let, then, the learned Mufician and the fkilful Chorifter be content to fpend the ftrength of their genius in the Anthem, and fuch other parts of the High Service of their God and Saviour, as affords a fit and lawful oppor- tunity for its exercife ; and let them, in thofe parts of the Divine Worfliip that are intended alike for them and all the People, condefcend to thofe '*of low eftate" in mufical proficiency ; and this ritual mufic will then obtain their homage, too, as it will of all, where there is no antecedent prejudice, or miftaken view, or fuperftitious alienation of heart from that which is catholic in the beft fenfe of the word. Some of its forms may feem, indeed, uncouth to ears trained (perhaps too exclufively) in the affettuojo fweetnefs of modern melody ; but in the end they will, it is believed, prove only as the healthy bracing of the open air to thofe who have long been enervated by the con- fined atmofphere of over-heated chambers.

The Plain Song now printed in the Pfalter, and its Accompanying Harmonies, will, it is hoped, ferve to develope fomething of that admirable fitnefs for the end propofed, here afcribed to the Ritual Mufic of the Church ; uniting both the fkilful and the unfkilful in fuch worfhip as (to ufe the words of Juflin Martyr, quoted by Bifliop Jeremy Taylor,) (hall " ftir up " the mind with a certain pleafure unto an ardent defire of that which is *' celebrated in the fong ; appeafe the defires and afFedions of the flefh ; drive " away the evil thoughts of our enemies, that are invifible and fecretly arife ; ** make the mind irriguous and apt to bring forth Holy and Divine fruits ; " make the generous contenders in piety valiant and ftrong in adverfity ; " bring a medicine and remedy to all the evil accidents of our life. St. Paul, " in his fpiritual armoury, calls this * the fword of the Spirit :' for it is, all ' " of it, the word of God which is celebrated, in the mind, in the fong, and in " the verfe : it drives away evil fpirits; and the pious mind is, by the fongs " of the Church, perfecfted in virtue."

THOMAS HELMORE, M.A.,

Trltfi in Ordinary to the ^ueen ; Prteeniw of St, Market CoHege, Oeifiaj and Mafler oftke Ckildren of Her Meqtfift Ckafeh Reytd*

fuly 28, 1849.

- - ' - - -1

Table of the Tones. xiii.

THE EIGHT TONES FOR THE PSALMS,

WITH THEIR VARIOUS ENDINGS.

Number

in this Accompanying Hannonies, pages 13, 27, 33. Table. FIRST TONE. ift Ending.

^ -.^ -^ '" "^ I -^ - i. It-

2nd Ending. i^ 28.

"- 'jt ~ - -< ^ - " - - - * ""r-ft-

3ED Ending. (See Pre^Ke.)

III. -^|fe I "^ j i ng- ^ 11

4TH Ending. 8^ 34.

5TH Ending.

:1=*:

SECOND TONE.

or with the monofyllabk mediatbn, both forms beidg indicated in this work as follows i -

^ 'S - C=glj n I ^ - ^ IF

THIRD TONE. iit EHomo, A. xi, 15, 24, 30.

^^ T~L -n - ? - - ^ I ^ II

1ST EnDINGi B. 20.

vni. :? I ^ , ^g

xiv. Table of the Tones.

Number in this Table. THIRD TONE (continued). znd Ending. Accompanying Hannonies, pages 4^ i8.

™- ^ ^^ q^"^" ^ I 1 - - » » ^ ||-

3ao Ending. 9.

4TH Ending. 24.

FOURTH TONE.

or with the monoiyllabic mediadon, both forms being indicated in this work as IbUows! -

^ ^ * ^ I =

1ST Ending. a, 3, 3a

xn. -^ 1 ^-1 1 - .p =|p

ZND Ending 26.

3aD Ending. 12, 26.

XIV. ip "^ j * * ^ g

FIFTH TONE.

or with the monofyllaUc mediation ; both forms being indicated in this Work as follows :-

xsT Ending. 8, io» 15, 31, 33.

XV. H- ^ 1 1^ I 1 ^ II

2ND Ending. 6, 21, 25.

*^ S - - I ^ !' II

SIXTH TONE.

or with the monofyllabic mediation ; both forms being indicated in this Work as follows : -

». 7. >3> »<», 25, a«. xvn. Jji *''-"{ ^ I T-=J - - V rrJ^=:::3j:r|ji

Table of the Tones.

XV.

Number in this Table. SEVENTH TONE.

I8T Ending. Accom. Har., pp. 5, 23, 32.

XVIIL

-^M - i ^

T i ^

SND EMDIMa

16.

XDC J- - ^-

3C=*:

^3E

3u> Ending.

17, 23.

XX. ^

g^3E

4TH Ending.

14, 16.

XXI. ^

^3E

xxn. 4E

5TR Ending.

»9-

EIGHTH TONE.

^^^

::i?=t:

or with the monofyllabic mediadoa ; both ibnns being indicated in tliis Work at ibilowa t -

irr Ending A.

3, 7, 22, 32, 35.

xxm. ^

^ I ^

zcT Ending B.

XXIV. ^

2ND Ending.

XXV. ^

I 1

10, II, 14, 19, 31, 35.

^ I I

XXVI.

EIGHTH TONE hregular, more commonly called « Tonus Pxugunus** (the FordgnTone.)

Accom. Har., pp. 6, 19, 27, 29, 34.

^ I E

^ ' 1 ^

It is alfo called by £>me the Ninth Tone, and as fuch u thus harmonised in the .Aolian Mode : -

XVI.

Table of the Tones,

Which may be tranfpofed and arranged for voices (in the fame way as the other Hirmonies in this

book) as follows : - TONUS PEREGRINUS (Teansposed;.

AtTO.

Tbnoe.

Bass.

FIRST MORNING.

I ft Tone, (2nd ending.)

« 8 B=

Ml 8 a ~8 ^ 8-

/ /TS

/^Tv

321

-^ O O-

-^ <9 O-

31=*:

/ /T\

/T\

30:

IQI

1221

ISC

/-Tn

:fe=

J. » g.-gr:^

: ^^-« iHi_^

/TN

"EC

32:

JCSZ

zmi

11^

FIRST EVENING.

2nd Tone (tranfpofed.)

3z:

8 00 ^ :

/^\

321

-o 8

ffl^

3a:

- ^

/TN

"P"

- 4 -8- «

-g g-

321

II II

M #*

-cr

/7N - ^

32:

SECOND MORNING.

6th Tone.

]gj| H 8 g"

cj g H~g CTP

3q:

*Jtt

O ^> Q

O o Q Q-

- &-

- ^

ICC

Q i O-

3z:

zar

Q CJ

"o~

/TN

« 8 8

-o- -g- H©- -»- -e

321

< a - i t IH

/-Tn

/T\

321

=q:

1t°tt-

TP"

321

-^ - O-

SECOND EVENING.

"C:

4th Tone, (ift ending.)

=2X1

- ^-

:§::

33=

:«:

izc

:g:

<3 o

-O O

-m -

/T\

/ /^

HO Q

:flntt

IJCII

32=

:lWt

Q O

32=

ztN

22:

-§. j,*|» 8

32:

^S^

; ^_<3,

32=

=12=

=22=

32=

*<t

Q gr

32=

laU

ciMt, the Saeond Treble niy eKher rbe to the nine note at that tnnff I7 the Pint Trtble, or Mil to the lower note

THIRD MORNINa

4th Tone. (ift ending,)

/ /TS

lM~8-g-^

^m^

ej -g.

/ ^T\

/T\

#«:

jCH

zmz

41a|t

321

jnc

jcz:

^i^

t ^=^

/ /'Tv

ZJ3L

O » - O "^

- ^$

o 8

"cr

^ " ^

-Z7 - zy-

_£2.

321

32:

p ; l

ilQI

321

IMI

THIRD EVENING,

/ /Ts

8th Tone, (ift ending.)

JQZ

:§=

321

-O-

221

:*«:

/ 321

33Z

32Z

/rs

3z:

**:

cal

:*«:

321

33C

32=

32:

is:

/Tv

/T\

/TS

FOURTH MORNING.

\ i = M

/TS

3rd Tone, (2nd ending.)

laz

"T?"

m - rr

zcn

:g=

331

-^-

ZGL

-GT

/Ts

=g^=^=l^

Zior

©-^ o-

rga" Q o CT"

ggt o o "??:

s;^7p^ o-

1*=^

JCEZ

321

i^nr

- ^ 1 Q - - ^-

/-^

3PC

tWI gj-

Z2I

^i=g^

"DT

^^=i ^

izai

321

IDI

4MI ^ «

-1^

FOURTH EVENING.

PJalm 22. - 2nd Tone.

/Ts

£/

HMt

rzE

«*

^ fti

23r<f. P*.

/"Tv

1221

Ifet

=fl^

IISI

f^p

"Z^"

23r<f. Pj.

23rd. Ps.

231

/C\

I2ZI

:»a«:

32:

/T\

23rd. Ps.

=B=

-or

dBz

:c2i

"fr^

321

FOURTH EVENING.

Pfalm 23. - and Tone,

/Ts

-^-

:t24Wt

uai

321

1221

/TN

jsa:

:fe=

:**:

IT?:

"O"

/^r\

/"ZN

1iS=

=s=

j24Ja«-

-<2.

: aa g:

"CJ"

1/^

±cc

::^

:fe=

iTx:

-^y

FIFTH MORNING.

Pfalms 24 £ff 26. - 7th Tone, (ift ending. Tranfpofed.)

M -

Idj 3 f< 8 g

-^^ ^ 8 g

3a:

Q €> ^-

/Ts

&\ &-

ZZJl

jOl

/Ts

:**

4|att:

"gr

"g"

"gr

i g^ gi

fcfc

/'TS

II » y § y

HB=^

JOL

Q 8 -^ Qq g ^

Z2:

m^r^^-n%

/Ts

use

:iW:

:z^=^

321

JVrw over for Psalm 25.

FIFTH MORNING. PJalm 25. - Tonus Peregrinus (tranfpofed).

/ /T\

#* ^ fr rg z g-s-^j-^n

/ /r\

^ - f

qJ ^ ^ Q Q-

IQI

321

zz:

-o - o-

:3S=»:

I4M:

o - -

" o -

ncjc

<g <

Q Ci P.:

/-7\

/r\

l€E

iSE

-§§ .g-l^

33:

®g

o < : >

.U IHI

/^r^

/r\

S=l

321

3a=er:

-^>-

-O o

JWm ftocA; to 7th Tone, for P$alm 26.

FIFTH EVENING.

5th Tone, (2nd ending.)

^T\

/t\

=?F=8=

flat

"Dior

1 WI f^

DEC

**:

"Q g"

-O O-

/ /

/T\

jce:

:**:

/Ts

/'Ts

M. ba-

yHj-§-£

3z:

:§:

/TS

1W-

**:

321

- gy

321

SIXTH MORNING.

8th Tone, (ift ending.)

/TS

:g=

JOC

flat

:g:

jOZ

/r\

-cr-

/r\

221

321

1i=^

321

/r\

/ /Ts

ICC

**:

zaz

:tW=

32=

-O-

/r\

-gi ^ =:

§f

in:

:§:

^S:

:g:

"O-

^="

331

/Ts

in::

Hott

*«:

321

"Ty

SIXTH EVENING.

6th Tone.

/Ts

jfifFHF?^^

~Q~:

||oi| a 8 o 8 *^

"p"

-o - o-f^

Q Q ^

-1 " ^ -

/r\

"0>"

" / > '^

XTT":

:^Wt

/Ts

^JO^

jia:

=B=

^W=^

-g - WW-

® - t^t^

/-rs

:§:

zc:

^ » "

rai

**:

SEVENTH MORNING.

5th Tone^ (ift ending.)

/Ts

=g=

-QCJ-

ffi

^ - B-

3SI

^-Ts

321

znr

J- - ^ B

/TN

:fla|t

3z:

: a

4W:

/Ts

/T\

JSZ

jOO.

:#:

B - g - g - B

/TS

32:

/T\

4W:

331

:1*att

-nr

SEVENTH EVENING.

i g

I ft Tone, (4th ending.)

/Ts

321

-O ©-

31:

IQI

3? - XJr

/T\

ZXJl

Sac

jOC

Tjr

^'^=^

/TS

/ 321

3Z:

:fe=

321

-^-

/r\

-b©-

dSE

221

-e - ^

rzz:

H5=

-o - or^^r

^^^

321

/Ts

3s:

321

twr

32:

IDC

^^i=©

7"32"

33[:

EIGHTH MORNING.

/Ts

2nd Tone (tranfpofed.)

jCC

^g:-

/"Tv

321

"P O^tkJ P

/^r\

/Cs

4|att

iiini

ICC

/^\

V-

.S©:

/r\

^ I J O

321

331

ini

1M-

EIGHTH EVENING. 3rd Tone, (3rd ending. Tranfpofed.)

li*

:S « qIizz

*" K*

73h^ - y^

/r\

« - o - ^-

/ /TS

32=

O P

1221

ZEL

^^=^^=" » « ^

3c:

! /

jcn

JCEl

jol:

3 2 Q g-

11°tt

-o ^-

/TN

]pt

321

- § -- « ^

§t

.0 lo

'?;3

Tcr -e^

«=

jQ O-

-n o g

4ttt

o o -

32=

NINTH MORNING.

8th Tone> (2nd ending.)

jgj^

dSE

iQZ

:j^^

/ ICC

ZSDT

4W:

/TS

/Ts

:*^

3z:

3a:

S^^Si

zc:

::22:

-8 8

:§!

d? ;; 8-j a

=fe=

3z:

IPtt

NINTH EVENING.

/Ts

5th Tone^ (ift ending.)

^nl! 8 ^ i "^ - ^

:33i

J? 8-

3SC

ret:

371

:Wt

IjCC

:zc:

:Wt

/TN

/TS

:8^ - g

32e:

:g:

ZT-

/^r^

321

*««:

! g

-rr

**:

-13; cr-

TENTH MORNING. 3rd Tone, ( ift ending.) P/alms 50 6? 5 1.

A. TranTpoied.

fct

/r\

"Qgr

32:

I - er

3£

-8^

T^»ig»-

/ /TS

/tS

321

zaoc

=@i

®^

/ /Ts

^rs

Q O

*«:

4Wt

32~cr

32:

/r\

M=fgpS=S

33:

321

a " |8 "

:#:

^g:

^TS

"Q QI

:§:

/'T^

^ €? Cf Z

:§:

ncr

/T\

Pfalm 52. - 8th Tone, 2nd ending.

Tranfooled,

:S:

i^^

3z:

:g=

IB:

tPtr

nCT-

fefc

/^r\

/Tn

32=

ik:

O I

ZZ2Z

fct

/^r\

matt

321

itett

32:

^Sr

-£2I

32=

Ty-

:S:

*> - :Sr

^ac

--Tx

TENTH EVENING.

4th Tone, (3rd ending.)

-g - g~

:aiz

8 8 =

/Ts

/r\

-^-

W-

/^r\

#«:

=221

IP"

351=

3a=

:flatt

''Ts

rip~

3SC

eh:

=-r

«F

/r\

1^^

=22=

/TS

130;

=cr

=ee:

3 O"

:^W:

aac

ELEVENTH MORNING.

/T\

2nd Tone (tranfpofcd.)

=22=

8 .a. H

fcfc

/TS

32=

ii#

®5

=ce:

/TS

- ^

=22=

/7\

/TS

i:a^C2-

:S:

^§r

/TS - © ^

J g3»j* h"

- >-^^^'

=§=

^32= =32=

32=

ELEVENTH EVENING.

ift Tone, (ift ending.)

H\ Tj i^ i *=> ^

l^li 8 a

32:

zcasL

/ /"TS

/TS

^e|| » " lv. =g

-Q - bi

32:

/ /Ts

3z:

-o - &-

321

4W:

/-^

/^-Tn

S^^

^jr^tj S^ ^p^

]^^

(^-^-i^-M

2z:

/T\

.o r>

-ho_

-^ ^-

Q ly-

Uott

jOZ

"cr

TWELFTH MORNING.

6th Tone,

/ <Ts

/Ts

M~fi~s~2

^p-g 8 g - g-BP-

/T\

- ^Q-

-& O-

3Gt:

-^ - ^ - ^

31=1=

~Q~

Dai

" " ^"^r-Q-

^ ff"^':! ^

=s=

=B=^

~cr

-g - rar>

^ (g? ° ?^

-8=

lOr

" ^^ "

Untt

"rr

TWELFTH EVENING. 7th Tone, (4th ending. TranfpofeA)

/ /^Ts

1^ 1 g 8 -f ^- 8:

HI ^ o 8 » y

/ /7\

:»^

a g - z xi

INI « o ,j «T~~;r^

EiE^

3z:

321

3a::

32:

33r

/T\

Ml 8 5 ti

«:

8~7>-

-o^

'^'-^gr

-cr-

(^» " 8 " }^

-JOi

-fc> Q

jQ.

31:

Q O

THIRTEENTH MORNING.

/r\

8th Tone, (2nd ending.)

Inll 8

33:

-Q 8= g"

/T\

^T\

nwt

DEC

4l«att

jcc

IZC

if M ^

^^1

32:

:§:

*«:

-©-

:Hait

-try

33::

THIRTEENTH EVENING. 3rd Tone, (ift ending. A, tranfpofed.)

/ /TS

/rs

^- 1^ 1 ;r ^ ^^

:»»»:

'J ^\ ^^-8 =

"or

/^r^

*att

3aZ=CIZ=Z2I

tVall " ° g^ 3a:

/ /^r^

"ar"

321

/^S

:g:

list

jg ' § 8 S ^

I ; ° fl

-IWl

"cr

/Ts

/r\

321

JQ-

FOURTEENTH MORNING-

5th Tone, ( I ft ending.)

^j [| - ^-

32:

flat

- » - ^ f\ '

zaz

ffat

4Wt

3z:

/CN

4Wt

/Ts

3Z^=iQI

- a ^-

301

:te=

: o

"ear

3EZ=

32=

^PiN-HtSr> 8 3 II

^33

/Ts

32=

^^rtJDtt-

"Q~

:fla|t

3z:

FOURTEENTH EVENING. 7th Tone, (and ending, Tranfpofed.)

ZJDL

l E ^-c^ 8-^ 8 E

"g"

-zy-

E*E

/ /r\

4jg ? ti Q p - ?7 - n

IMI r?.

=^=g =

321

- - ^

®E

in:

P qI

33=

/TS

3a:

41^

33:

/Ts

32:

8 a 8

-g - r>i

:g:

:g=

"^ex"

dil" 8 " 1'^

3> O-

32"

3Z=g:

-^-

321

33:

ZSX.

3a:

FIFTEENTH MORNING

7th Tone, (4th ending. Tranfpofed,) - PJalms 75 6f 76.

Go an to Psalm 77.

FIFTEENTH MORNING. 7th Tone, (3rd ending.) Pfalm tj.

!?*=

/TS

- 8 -

- fH1~"

-H-

-*»-

/"TS

r -

fm -

=11

^ 1

fetl

- tfel1~~

HT-

P-

- H

=#=

- 8 -

- a -

/TS

- ffef1~

- 8-

-ff-

.N^i - 1

1 CL-.

- I«l -

- s^

FIFTEENTH EVENING.

/Ts

2nd Tone, Tranfpofed.

3a:

i|fj|i a g - ^ g-

/Ts

41att

rcc:

"O"

" "-

-iWi-

/T\

8 g-

-JWi-

=8=

4MJ-

/Ts

l»

SIXTEENTH MORNING.

3rd Tone, (ift ending B.) Pfalms "j^iS %o.

/ /Ts

/TN

321

HQQl

331

*att

/r\

jOr

32:

ize:

- B-

/ /c\

/T\

jOe:

:Wt

321

3z:

*«:

zee:

Z3S1

/r\

=fF=^

321

32:

° 8 ^

321

r>-

-o - :§r

@=^

:g-M-

/Ts

#«:

32:

#«:

32=

jEC

jS=

| # - ^

PJalm %\. - 3rd Tone, (2nd ending.)

ICII

:#=

32:

D O

uq:

-o-

©i ^-

gZofg"^

^^^

/ ID-

o ^ - p

3z:

- * >"^

/r\

iflott

2z:

Dear

IMI « q =^

/c\

/TS

Ic*

:33C

:S-

izz:

-^Q - gl

"O"

321

:§:

3^=^

fCf^

floli:

izc

fi\

IJOI

4MI ^ - ^ :^=g=

SIXTEENTH EVENING.

/T\

8th Tone, (2iid ending.)

zex:

zzsz

jCfdZ

lEE

/ts

Z2I

/T\

^^i=

/^rs

4Wt

- g*

3GC

321

/^TN

=g=

:z2i

jCJr

^=^

:g:

/'Ts

*«:

321

"O"

lEC

Tjr

SEVENTEENTH MORNING

Tonus Pcregrinus. - P/alms 86 &f 88. Tranfpofed.

^ ^^ 8 ^ g - g ^

-^-

B=p=

T3Cr

/T\

iini

JjCjjTcy

Q Q

-^> - Q^-?^

32r

:32 - «-

Jt3Z

*«:

321

/T\

/TN

riWi.8 tj »ii8 ^

jab» "& =£r

mr^W^-

AJ.

JQZ

jCEZ

!zi:

:2£:

iWt

IQ=

"o - IMlw^

-cr

In th« monosyllable mediation it may be more convenient for the base to use this note.

6th Tone. - ?Jalm 87.

gr~~M"z:g :=r:g - ^

3ar

32:

-8 H f^;

-O Q Q

Q r >

33!I

C7 ^

IQI

Q Q

^^ ^ 'L|S|t8^

-or

» r/Qr^ g

'jOl.

321

:r-.5rTgp

:g:

zrc

32:

ly-

SEVENTEENTH EVENING ift Tone, (s^h ending. Tranfpofcd.)

r* |b | | J feb. a-« - s -

i|8|i H 8 » g =::g

|M-^^

"tJoU CE P O Q

**=ce:

122=

32:

IZ2I

:*^

^i^ - £

321

o o

iJOC

EIGHTEENTH MORNING.

2nd Tone (tranipofed.)

EIGHTEENTH EVENING.

5th Tone, (and ending.)

/TN

ize:

H f/°o 00 I

liWt

izai

IjDT

"P"

S^Z

/ ^

3±

/Ts

H r-°.

T3r

:S:

/T\

bio .ri

fcKw.^>^ I M I

:**

acfp

"TOT

NINETEENTH MORNING.

8th Tone, (ift ending, B.)

/-Tn

iTS

41att

:S=

Tg-

:§=

^7\

zc:

-TS

IHt

32:

*«tt

3z:

iTS

\ O

:#:

/Ts

33C

I ^

4lQtt

**=

3DII

2e:

"o-

NINETEENTH EVENING. 8th Tone, (ift ending, A, tranfpofed.)

Q ;

m - » - ^^t|g !^

321

3CZI

/ -

/TS

/T\

*att

221

*att

3 Q"

C ^ O L

4Ja«-

-jQ-

4MI-

-o O"

321

ICC

jCC

n^o-

15=

32:

I -^

-«a|i-

4M1-

-zr

18=

/TS

:§:

:;=a:

Q £

-cr

* In the monotyllabic mediation omit the E b.

TWENTIETH MORNING.

PJalm I02. - yth Tone, (3rd ending. Tranfpofed.)

/ /T\

IZZ

^^^i^E^

ai - g-«-8-|!

/TS

4ioB:

-n ej tn

I MI o

P «

3a:

/'Ts

321

IZ2I

321

-O - &-

321

/T\

:g=

=g=B=^

^ » ^^ 8 ^^ 11^

"TX"

/CS

/'Ts

321

-O - ^

3z:

Ff*=

I -

srs -

P/alm loj

. - 7th Tone, (i

ft ending,)

0 -

-to -

1 hlloH

-g Q_

->5 5 -

fe -

-St -

1 1 rt

f -

- ! 11

- 5-

- 1^ -

ft5fj

- ^^31^ -

^ 1

/7\

-^ Ci_

G U

f=g-

- tt^n -

-^ 9r-

^ -8-

- ^^ - ^^ - n

- ^-

° ii

TWENTIETH EVENING.

/ ^^\

3rd Tone, (ift ending. A.)

^Z=JOlL

'30C

-3S1

-JOE.

'JOSSL

321

/ /r\

<7\

ZSJEL

-^ - .

ZOlHUOE.

^=^

/TS

JOl

4W:

IjOI

32=

*fl:

32=

=EZ:

/Ts

/^\

32=

8 « 8-|§-^

;^r?-g-

-cr

^El

=£2=

3a=flatt

32=

=n=

32=

-o-

=EI=

TWENTY-FIRST MORNING.

/ /TN

3rd Tone, (4th ending.)

I .'ij.i J

loll Q Q Q Q

- - O Q © ^

]§«:

-OT-

!o}( ""Q -"

"Or

o ^-^ o

1MI o m-

321

^P-g-

^ 3=^

=£2=

=E2=

=22=

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TWENTY-FIRST EVENING.

6th Tone.

/ /r\

HT » 8 W 8 t^ y^

HI B 8 fir

2e:

*att

©i ^ ^ ^

-o - e - G o-

(g? IH

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izz:

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22=

(^i ° a INI

:«=

use

Q ZC

321

iwr

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TWENTY-SECOND MORNING,

5th Tone, (and ending,)

m b8

-ft

ll^^l H "^8 H 8 r>rj

#att

321

ZX2Z

IP o

-o - ^

/rs

3z:

*«:

ZJSC

"ZJ-

/Ts

1 ^^ ^

» 'S » 1.

ze:

-8 llol

/T\

:§:

I &-

**:

"P"

"O^

TWENTY-SECOND EVENING.

4th Tone, (3rd ending.) Pfdm 108.

/TN

r? 8

"gr

T3 8

:«:

/^>

^'TS

32:

32=

iwt

122:

3z:

32=

4lQtt

-M- - ^

jOI

ill

r 11

Q !:;

/r\

3cz:

ZOL

fcZBC

4W:

1221

Pfalm 109. - ^4th Tone, (2nd ending.)

:g=

32=

Q g>

E^^

/^TS

/'Ts

..^ o-

Q Q

in=

-o ^

133=

-^»-

32-

ZXJL

1**

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IBC

321

jCC

32=

/^Ts

/TV

z^:

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=zz:

^ -£-

32=

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4W:

32=

=Cr

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:zc

32=

TWENTY-THIRD MORNING.

I ft Tone, (ift ending.)

/ /^

OCT . JB

HF^^g=g^^

:g= 8 g 8

/ /r\

-o - » _

/ / - /^

1221

-©-

/ /T\

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izz:

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B~g.~§:

g-8 5 8-g

^^1^

J2Q-

:m-.

321

ZZI

zz:

TWENTY-THIRD EVENING.

/ /T\

Tonus Percgrinus. Tranfpofed.

/T\

^1 .^ 8 ^ 8 8 g

33a

?o 8 jt^

ZJiXH

fefc

321

/ /-r\

-^ - ^

Dcr

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321

-^ - ^-

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^ o ^ ^

ixz:

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P CL

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IS:

13=W

-XXL

Tzr.

^ - ICT"

'^^

/T\

<y o

g^ r> qJ

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IQ P

TWENTY-FOURTH MORNING.

6th Tone.

/Tn

/T\

Ml 8 8-^

HI g> 8 8 3 <^-g ^

321

/^r^

O Q ©-

O Q Q O

^^s

G o-

:ni

JOZ

ZEE.

zoo

:r^rr

3z:

331

:g:

^ ° 8

321

331

32Z

-n°tr

ZBZ

TWENTY-FOURTH EVENING.

ift Tone, (and ending.)

fF=W

jOZ

Bl B =3 ^=^ S 8

JOC

<T\

zEzr

-^ - © - ^-

- H-

=ttZ=fl=

W-

/ /^\

^c\

-n c^ n

321

33"

/T\

331

4fe

^-=8=S=S=^

(^8 8-

3ar

321

?o-

JOZ

zaz

TWENTY-FIFTH MORNING.

fet

Tonus Peregrinus. Tranfpofed.

n\ ! r i 8 » »^8=g

"no'ti

Q Of?

3X1

/ /T\

-Q - ^-

-Q - a^

Ml o

3z:

:*=*:

M=^

321

Q CT c e:

5 § 5 g § i

8 a ».l^

331

-Q £2-

/T\

:g:

"I " «

321

-^>-

€1 €J

TWENTY-FIFTH EVENING. 7th Tone, (5th ending. Tranfpofed.)

32""

8 o^->

:S=n:

:&:

8 j«

/ /^

:»*

-^ O ^-

qiM l «

o ^^

/ /Ts

» " »

jBe:

22:

/T\

-on.

32=

=§==

33:

/TS

-or

:§^^

8 j"

:«:

32:

TWENTY-SIXTH MORNING.

4th Tone^ (ift ending.)

m\ 8-g-g-

::g:

c» ^

/ /TN

/^Ts

*«:

33=

3a:

1 MI C^ Q Q ^ 15

3a:

:=*

^ o "

t'SS

ZOL

33=

o c»

/IS

o 8

ig:

:S:

-cr

-B-^

-jy

-o - o-

-O"

zai

321

3z:

33=

3z:

O Q

3sc:

TWENTY-SIXTH EVENING..

3rd Tone, (ift ending A. tranfpofed.)

^7\

zaai

lar

M liifl^-

:#:

IZ2Z2I

fefc

/T\

JCC

:j3z

CI n m

/ /r\

/r\

41att:

ilTJr

3x:

4Wt

ZS2Z

fcfc

/Tw

?» g - f?-

^ P

a o S

321

i^r^f^Fi^

321

to-Tgr

§^^

32:

/TN

Z^Z

^ Q f^

TWENTY-SEVENTH MORNING,

5 th Tone, (ift ending.)

:Z2Z2E

^'l l g 8n §= S ?

€>Q -

2%ree Trebles.

/ 321

, Q -

32:

:«att

3e:

321

*«:

/'Ts

/ /^

#-S"-jriH

ICC

:S:

IIqII

(TN

ze:

:Wt

321

"O ZJ-

nor

TWENTY-SEVENTH EVENING.

8th Tone, (2nd ending. Tranipofed.)

:g:

8 t^» 8

Wl 8

/^\

/^Ts

**=

ijo:

^ -

/T\

*4t

2z:

ncc

ssz

o |;p

/Ts

8 l>H

-^3P ©-

I; Q W - [fea

/^rs

/^\

jcz:

S^:

321

-Q |;ct-

* The Second Treble may ling eUtaer C or G ;~lmt if C be taken, it mutt be oontinned In the next ehord - 4n this cbm A wfil

be omitted.

TWENTY-EIGHTH MORNING. 7th Tone, (ift ending. Tranfpofed.)

PJalm 132, 133, 6f 134.

/ ^7\

zzz

M l ° g -a_g E

ffl=^

301

33:

||f3|| ° a* r> w :

||f3|| rk o - g-

-eT^io:

^^EE

3c:

- /Ts

ISCL

o "

/Ts

^ ^ 1 '8 ?. » ?

:g=s

o g S 8

JO.

:g:

/r\

/-Tv

-8 8^

3ai

o "

-wr

ii°tr

^» 135. - 8th Tone, (ift ending. Tranfpofed.)

b' l i d

3z:

o :

1331

8 8

3z:

321

:Wt

" *^

4MI-

Tsr

/TS

/^rs

321

-^-

-lloll-

3z:

iq:

JO-

8 a

^^^= ^

=8=

32=

TWENTY-EIGHTH EVENING.

5th Tone, (ift ending. Tranfpofed.) - Pfalms 136 6? 138.

/^\

/T\

M l^» 1^

Z2=

:©:

c^ 8

/T\

*«tt

-P"

33Er::

4latt:

/r\

#«:

33:

IjCC

321:

Z£L

^^^^^s

®^l^ » fi IN

/^s

4W:

2z:

Bai

^n M fc f l^

J^/w 137. - ift Tone, (ift ending. Tranfpofed)

/ /C\ / / / /T\

jce:

G€^

JOT

321

301

« "-

3St:

2nd Tenor Ohligato.

/Ts

/ /T\

IMl bo

|>o w ^

32:

3CC

/T\

/'Ts

« o

^ % -8-

% -g- %

/'T^

-O-

IJMI bS « bS - H - ^8 - a-

* These three ]MurU may be used alone.

TWENTY-NINTH MORNING.

I ft Tone, (4th ending.)

/ /7\

(f | ^ ^ i=^g-g-g

/ /r\

1^1 8 - g

-e o -

^> o-

tptt - »-

-^ - ^ - ^-

iZEI

/T\

^^-

3z:

-o ° - ^

3cc:

o o *^

^r=s=

-o - &-

32=

X>~

^3^

33C

/TS

:fe;=

zee

ICC

bo 8 -

321

N.. y

321

:sE

TWENTY-NINTH EVENING. (Tonus Peregrinus, Tranfpofed.)

/ /?s

/?s

g)" || ni| ?=^« B " " 8 - "

IBr

' o 00 o Ig : - xasar

/, ./T\

3z:

Q Q

U<^ l ; f - i

O Q

*:^

/ ^^

321

/Ts

^^^^^^^

3a:

i}aj?a^ w|§.=^

er^4M

;g:

o QO/J

/T\

3a:

^ ^

-o Hotfcro-

jOC

flE*

-^>-

-Z3r

32=

THIRTIETH MORNING.

8th Tone, (ift ending.)

/Ts

QZ2

ZOSCL

IZZ

zar

3rd Treble, ad lib.

/T\

3a:

2im/ Pa««, o^ lib.

331

ZEBSZ

321

0€^ ^

1«^ J9atf«.

q:n: o ^.i

3ZI

311

/Ts

o o:

=221

321

THIRTIETH EVENING.

8th Tone, (and ending.)

INDEX.

Number

in the

Table.

Pi«einClieHHinraiek

Fust Tomb, ift Ending

I. . . .

«3t »7i 33-

„ and Ending

. II

1, 18.

„ 3rd Ending

III. . . .

See Preface, page ix.

. IV. . . - .

«. 34.

,» 5th Ending

V. . . .

»o.

SSCOMD TOHK

. VI. ... .

i> 4* 5> 9* »*» »7> *«-

TniD Tomt. ift Ending, A

vn. . . .

11. «5. M. 30 1

TniD Tomt.

ift Ending, A

vn.

. . . 11, 15, a4, 30

99 B . .

vm.

. . . 18.

2nd Ending .

4, !«-

3rd Ending

X. .

- - -9*

4th Ending .

XI.

. . . 14.

ift Ending

ZIL

- *> 3> 30-

and Ending .

xm.

. . . a«.

3rd Ending

XIV.

. la, a6.

Fifth Tom.

Ift Ending . .

XV.

8, 10, 15, 31, 33.

and Ending

XVI.

. 6, ai, a5.

SiKTR Tons .

xvn.

a, 7, 13, ao, as, 28.

SsTBNTB Tons.

Ift Ending

XVIII.

. - . S9 a3. 3»

and Ending

XIX.

. . . 16.

3rd Ending . .

XX.

. 17, »3-

4th Ending

XXI.

14, 16.

5th Ending .

XXII.

- a9.

EioaTa Tom.

ift Ending, A

XXIII.

3, 7, 11, 32, 35.

„ B . .

XXIV.

- aa.

and Ending .

XXV.

10, 11, 14, 19, 31, 35

ToKVi pgaicanfin .

XXVI

6, 19, a7, a9, 34, and Table, p. xv.

APPENDIX.

PREFATORY NOTE.

THE following harmonies are taken from thofe appointed in the fore- going pages for the feveral portions of the Pfalms in their Morning and Evening daily courfe; and are here re-arranged (without any eflential change) for the Organ, or Choir of four kinds of voices, and placed, for greater convenience, in the order required for the Proper Pfalms for the two greater Fails, and the four greater Feftivals of the year. The flight alterations of the two inner parts are intended to increafe the facilities afforded by this work for the various exigencies of diflFerent Choirs. See Preface, p. X., and Preface to the Hymnal Noted, p. iv.

Thomas Helmore, July 17, 1857.

CHRISTMAS-DAY, - Mattins. Pr&per Pfalms 19, 45, 85

Pfalm 19. - 3rd Tone, (3rd ending.) See p. 4.

'JDl.

l l O i i

icn

no i l

3i:

M-

:x2=

\^\ ^

jce:

"o^i

-ZJr

-rjr

K.r

izz:

-H©H-

HQH

DEC

H©H-

321

-HOH-

/Ts

Pfalm 45. - 8th Tone, (2nd ending.) See p. 10.

ZBC

^flott

:qi

321

id:

:fictt:

zee

iflgR:

J2Q-

:«at

3z:

£t.

-^-

321

P/j/w 85. - 8th Tone, (2nd ending.) See p. 19.

ZJOZ

-^-

3az

321

3^?2:

JlCL,

3X1

32:

APPENDIX.

CHRISTMAS-DAY. - Evensong. Proper P/altns 89, no, 132.

Ffaim 89. - ift Tone, (5th ending.) Sec p. so.

:flat

-g=^g=g=

lgtt-13 g f j-^

3a::

JQ.-0-

^L.

r Q f>

roi

32:

iJ/Si/w 1 10. - ift Tone, (ift ending). Sec p. 27. / / /

181 - ^g 8 - g =g:

4eu - g^

E^S

321

iioLL i^

tR - -

/Ts

iol:

Boi

-^-

ila:

3ai

P/2r/w 132. - 7th Tone, (ift ending.) Sec p. 32.

=g -H - 8-

9st

-g - rr

/Ts

4Mt

zon

-HQH-

jcz:

.ASH WEDNESDAY. - Mattins. Pr^?/)^ P/alms 6, 32, 38.

P/2r/oi 6. - 2nd Tone. Sec p. i.

/Ts

*^ -c

, iiai ^?.

=S -«

IVBd U Si

- c;.^ -

|?e

. /

/TS

P/i/w 32. - 6th Tone. Sec p. 7.

as^s^:

"P - ^:

lott

izz:

©h 1 ^ 8

igzna:

/TS

:g:

-HQH O-

32::

UWt

JOl

jS=

32:

IWt-

3az3

/T\

P/4i/0f 38. - 2nd Tone. Sec p. 9.

I2ZI

H©-

-H9IH

lO"

ifloR:

321

APPENDIX.

ASH WEDNESDAY. - EvBNSONG. Proper P/alms 102, 130, 143.

P/alm 102. - 7th Tone, (3rd ending.) Sec p. 23. / / /Ts r / /Ts

I H! S 8 fi-^

M~^ii 8|8= ;5rJ

-©-e_

4jq».

/T*

aac

zc:

JJqW-

Q t

371

-^ ^

321

P/2r/i» 130. - 8th Tone, (2nd ending.) Sec p. 31.

Tg-||8 hH II

iBBff

4lalj.

ILJl

JQ.

^^- -C?. jQ.

iwt

is::

i^/«« 143. - Tonus Peregriniu. See p. 34.

GOOD-FRIDAY, - Mattins. Prepw iya/wj 22, 40, 54.

P/Sr/m 22. - 2nd Tone. See p. 4.

"lai g^

:g:

Wi- - ^ ^-^

-£2_

iflnttr

:o=:^2i

3z:

o Q

321

-HOH

P/tf/w 40. - 2nd Tone See p. 9,

4®!=:

:§:

:«:

=i«t

Jii

/Ts

3CC

-H©H-

3ZI

P/i/jw 54. - 4th Tone, (3rd ending.) See p. 12.

ior=:g:

^g=i^

:g=

331

46H-

321

lo:

321

*«:

/TS

jOl.

4 ^

APPENDIX.

GOOD-FRIDAY. - Evensong, Proper Pfalms 6^^ 88.

Pfalm 69. - 3rd Tone» (ift ending. A.) See p. 15

lot

'JOL

Q Q

«=b:

321

UStf 8 "S -

-tl§tt-

-Q- -o- -«-

:g=

matt

32:

32=

IBC

32:

-or-

Pfalm 88. - ^Tonus Peregiintu. See p. 19.

V^I> IMI ^'^ Q ^ ^^-^

I I O II Q

221

lEz:

]5^FB=

321

-HQt

O Q -

Q O

rP"

-+ISH

321

- o o

iBf

-O <&-

32:

32=

O o

EASTER-DAY. - Mattiks.

For the JKtbtmi infttai «ftht Pfalm, " O come, let nt fing," &c. " Chrift our paflbver."

Organ. Firft Veric.

8th Tone, (ift ending. A.) See p. 3. Full. ^ , ^

gf=g

ZXjr

JCC

Priist.

w=^

nr.

4MI-

.12.

4M.

-^-

ijBc:

H O H

Second and remaining veHes.

^F==#

J5|| 8 - ^ hg

321

-4|aa^ ^

_-Si.

4WI.

-O- JOL

-^-

3SZ

IIO H

Pr<7p^ ^tf/wj a, 57, III.

Pfalm 2. - ift Tone, (2nd ending.) See p. i.

iMi ^° » 8 g

H«ll 8 8 8 » 8

jac

"l i on

/TS

-i2I

I I OII

331

32:

32=

"O"

APPENDIX.

(

-.fi=

/7\

ij/i/w 57. - and Tone. See p. 12.

.... ^ ._

- » -

- lai - ^ ^ -g--"

'^-'T ,.,,_

p II

P/i/iw 1 1 1. - ift Tone, (ift ending.) Sec p. 27.

/ /TS / / / /T\

^^=fi= S=^-

^ g g z=g::^ =g-g-

/T\

t i^^i h

j4<Ot4^ i7Q,

-^-

"g"

HC3H

?S=:^=2=c:

1331

32:

EASTER-DAY. - Evensong. Pr<?p^ ^//wj 1 13, 1 14, 1 18.

P/2rZw 113. - ift Tone, (ift ending.) Sec p. 13.

/ / /TN / / / i^S

Pfalm I i4.-^Tonu8 Peregrinos. Sec p. 27.

#=g=S ^:i:P- ^ - g -

3+^

loi

-^ - ©-

/?S

5W==cr:

jm;

3ac

Ijo:

izz:

4 Q1I

- ^^ '^ O - Q-

Pfalm 1 18. - 6th Tone. See p. 28.

APPENDIX.

ASCENSION-DAY. - Mattins. Proper P/alms 8, 15, 21.

Pfalm 8. - ind Tone, See p. i.

fai:

Its

i ^-

'^ ' - ^ =^=^-

41g--

jo:

nat

32:

IBC

P/aim 15. - 4th Tone, (ift ending.) Sec p. 3.

m=s==^^

^^=g=

-o-^§r

4Jal|.

Hon

:jq:

~a^^-

.C2.

4Jt4l.

.a-

iiea i

::qi

i^/iw 21. - 3rd Tone, (2nd ending.) Sec p. 4.

iWt

32=

iXt

iWt==Q:

321

Izi:

II C3 H

li CWI

331

"cr:

321

32=

ASCENSION-DAY. - Evensong. Pr^?/)^ i^//wj 24, 47, 108.

P/2r/OT 24. - 7th Tone, (ift ending.) See p. 5.

w r ° 8 H g

ar^

32=

HoU-

.X2. jCZ. .O.

JjQll.

a o a.

32=

=12=

P/2r//w 47. - 5th Tone, (ift ending.) See p. 10.

/ /Ts

/ /T\

tMfc

=22=

=t|8i U^giz:g=Q=

:flntt=T^

I I QH

-H©H - ^ gj O

-1 1^-^ -

-H3H-

=22=

tigri"

gJ O'

**t

=0=

=22=

32=

4W:

i^Av 108. - 4th Tone, (3rd ending). See p. 26. cr 8th Tone, (iftending, B.) See p. 22.

N.B. - ^rhe fame divifion of the word* will ierre. / /./T\ //'Ts //Ts //Ts

APPENDIX.

WHIT-SUNDAY. - Mattins. Proper P/alms 48, 68.

Pfalm 48. - 5th Tone« (ift ending.) See p. lo.

Z2I

«t=^s=^

i^ - 8-

iQf

||gl| ^

-#4?: - -

-O-

jC2.

/7\

ZBC

jcm:::

'cr

321

P/j/sf 68. - 8th Tone, (2nd ending.) See p. 14.

321

ZEE.

lOM

IXC

-H©H-

:§=

nz:

-€>-

1W 4M].

"O"

TJr

-+^3H-

T3"

fOI I

WHIT-SUNDAY. - Evensong. Prd>^^ ^/»w 104, 145.

Pfaim 104. - 3rd Tone, (ift ending. A.) See p. 24.

5Wt

3ar

IZ3I

5Wt:

3ar

32=

-HQH-

- O " =

1011

Z2=

Q O

32=

=zz:

.X^Qftia

/Ts

"O QL

I 101 1

3a=

^fe

Q Tl

ittott

=82=

=131=

#att

=n=

/T\

Pfaim 145. - 8th Tone, (ift ending.) See p. 35.

:*«:

=22=

=HDtt

32=

jDC

IIOII

-HQH

44^dM"

T3-

iQtt

/TS

iflott

;, o

=a=

32=

jCEL

THE END.

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