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Thomas Tomkins Know you not 57Funeral Anthem for Henry Frederick Stuart,

Prince of Wales (d. Friday 6th November 1612)

Sources :(A) GB-Och Mus 698 (Medius) ff.1v-2, line I (a-b, divisi ); 700 (Tenor) ff.1v-2; 702 (Pars Organica) ff.1v-4; 704 (Con-

tratenor) ff.1v-2v, lines IIIII; 706 (Bassus) ff.1-2. These are part of a composite set of Thomas Tomkins, Musica Deo Sacra (1668), Mus 697709. This piece is the rst of four anthems, all incomplete to an extent, inserted

by Nathaniel Tomkins after the printed portions on extra manuscript folios. None has an attribution to a composer,though other sources for the piece do.(B) GB-Och Mus 61 ff.74v-75: a sole part combining voice and instrument for line I, copied by the Rev. Thomas Myriell.

The set Mus 6166 probably belonged to Prince Henrys favourite Sir Henry Fanshawe (d.1616), his remembrancerof the exchequer. Fanshawe was patron of John Ward, writer of madrigals, fantasias and verse anthems.

(C ) GB-Ob Tenbury MS 1382 f.2; Southwell Minster Tenor Cantoris partbook. The rst section is distinct in hand fromthe later part and carries a completion-date 1617.

(D) US-NYp Drexel MS 5469 f.2: organ part by Henry Loosemoore, c.162540.

Titling :Prince Henry his Funerall Anthem (BC). Various similar headings (A), most explicit in 706: Prince Henrys funeralAnthe m.Dece mb.7.1612 | the words chosen by D r M r Arthur Lake then Dean of Worcester. Other parts retain this exactdate, and at the beginning of each verse identify the source of the applicable text.

Text :Adapted from II Samuel 3:38, Amos 5:16, Ezekiel 30:2, Lamentations 4:2, Psalm 62:9, Zechariah 12:1213, Jeremiah22:18.

The little recorded about the pieces original perform-ance leaves its instrumentation unknown. A contemporarydescription, in particular a description of the gentlemenand children of the Chapel Royal singing diuers excel -lent Antheams, together with the Organs, and other windeinstruments, has been misapprehended. That took placenot at the funeral at all, but a prior service on Saturday 5thDecember and repeated for the Sunday in the Chapel Royalat Whitehall Palace, after Henrys cofn had been takenthere from his apartments. On the morning of Monday 7th,a great cortge processed slowly from the chapel to a stateburial in nearby Westminster Abbey, the mausoleum ofEnglish royalty. Sir Charles Cornwallis, Henrys treasurer,mentioned dolefull musick (solemn music in a rephrasalof 1760) sounding there, but spares no word to name itscomposer or instrumentation, or even text. A supplies thatdefect by circumstantially dating the anthem by Tomkinsto the Monday, and the funeral.

A also states that Arthur Lake assembled the text.Uncorroborated elsewhere, it rings true. Personalities mayexplain the choice of him to full what might have beenthought an extension of ordinary duty for the Chapel RoyalsDean, and of Tomkins then to set it. Lake had been Dean ofWorcester since 1608, when his predecessor James Montagu,already Dean of the Chapel Royal, became Bishop of Bathand Wells. On Montagus translation to Winchester in 1616,

Lake was to shadow him again by being preferred to his oldbishopric. Lake, while a convinced Calvinist (like Montagu,and the preponderance of the hierarchy at the time), com-manded universal regard; to all accounts a benign characterfamed for piety, ne sermonising and good works, and a

courteous adversary of nonconformists whether puritan orcatholic. As a majority spokesman, he chose sympathetictexts that show a lively awareness of the scale of loss felton the death. The prince was deeply mourned for personalqualities, and not merely for the eclipse of his war-likeProtestant faction.

This piece as presented is both less and rather more thanan edition. Its texture rises by the end to seven voices withdivisi basses and trebles: for that two organ parts survive,one vocal-instrumental part, and one vocal set, A. This lasthas problems. Since copied by the composers son, NathanielTomkins, one would expect it be full and explicit; but it isoften fragmentary. By bar 116 it gives only three voices forover forty bars of the fullest-textured nal sections. Its organpart is less explicit than D. Its vocal parts omit instrumentalcomponents, as was the norm in cathedral usage where allpurely instrumental verses (usually played on organ) werenotated by rests. That applies to C too but not B, whichgives line I complete, underlaid when the voice joins theinstrument (which in private use will have been the viol).Even apparent completeness in that version needs recon-sidering. Combining vocal and instrumental lines, the formtypical for consort anthems adapted for the home (somecomposed for it), clearly cannot represent all aspects of anoriginal part with divisi vocal sections. It also has odditieslike forbidden parallel fths, which could arise from com -

bining divisi parts: a reconstruction itself, in other words.For handling that, and for supply of other instrumental andvocal lines on the basis of the organ form as well as muchof the ner detail, reconstitution is a term more appropriatethan reconstruction. An exhaustive commentary for its every

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aspect would be laborious and unproductive.Peter James Sacred music omitted from Musica Deo

sacra , Chapter 18 in Thomas Tomkins: The Last Elizabethan ed. Anthony Boden (Ashgate; Aldershot, 2005) 285300;revised from an article in Soundings 2 (1971). John MilsomThree Verse Anthems retrieved: Tracking Tomkins, The

Musical Times 142/no.1835 (Summer, 2001) 5463. Manysettings lamenting the prince are listed in Irving Godt

Prince Henry as Absalom in Davids Lamentations, Music

& Letters 62 (1981) 318333. They range from the leastoutwardly sophisticated, a continuo song by Campion tomore ecclesiastical tributes that could have been composedby associates or members of the Chapel Royal for prior serv-ices on SaturdaySunday 6th7th December 1612. Thosetherefore could include When David heard by Tomkins,which Thomas Myriell copied in manuscript anything upto ten years before its publication (1622).

Critical Commentary

Part names: S (Superius) Si (Superius Primus) Sii (Superius Secundus) C1 (Contratenor 1) C2 (Contratenor 2) T (Tenor)B (Bassus)

bar part item reading16 B 1 tie sbr absent (A vocal part); sbr editorially supplied from organ parts (AD)18 B 1 sbr m-rest (A)21 T slur: between 12 (A) between 23 (C)22 C2 sbr-rest only (A)3233 S sbr no tie br no pause (A)40 S sbr m m-rest (A)44 S 23 2m altered to m sbr (A)5659 S decient (A)6366 C1 decient (A)66 C1 3 resumes, in a divisi text with line C2 (A)74 S 35 2m, underlay but a (A)75 S 2 lye (A), with no text following75 T nal pause (C)7677 supplied from organ parts; 2sbr-rest (B)78 S part transfers, to Sii (B), to C1 (A), imply divisi treble lines here80 S 2 S resumes but with additional count of sbr-rest , that is 3br-rest in all (B)8087 C1 incoherent (A)88 C2 absent from here till the end of the piece (A)88 T 1 absent, no tie from 87 (C)923 C1 absent (A)93 Sii chorus direction, misplaced from 92 (A)94 B 23 supplied from organ parts; a single br taking in bar 95, implying d-br (A)99102 S continuous text-level line or dash marking absence of text (B); but rhythm and an approximately chromatic

hexachord line in 101102 implies a vocal phrase: underlay accordingly supplied. The line implies a resolu -tion to d' in 102: see 102 S

102 S 1 f' (AB), but producing parallel fths with B, taken from the foregoing e' in the instrumental line, B. The

implication is that divisi lines have been amalgamated here; hence editorial Sii has been created to insert d'but keep f ' in the texture as well10710 S line or dash marking absence of verbal text (B)107 T 5 m (AC) emended to sbr (A)108 T 2 transfers to C2 (A, not C)11415 C1,T absent (AC)11617 C1 absent till end of piece (A)118 Sii absent till end of piece (A)119 Si 2 absent till end of piece (A)123 T 1 om (A)129 T 2 g altered to d (A)155 S 12 2cr (B); altered to conform to rhythm in organ parts. Other slight rhythmic inexactitudes in note-pairings,

not uncommon in parts, occur here and there158 T 23 ah his (A) his glo- with slur into 159 (C)160 T 12 d-sbr (A)

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Verse

THOMAS TOMKINSrestituit David Pinto

Know you not

2009 Fretwork Editions FA12: Tomkins 'Know you not' edited and reconstructed by David Pinto

[Superius]

[Contratenor 1]

[Contratenor 2]

[Tenor]

[Bassus]

5

S.

C1.

C2.

T.

B.

#$ ( ) # #

#$( )

#$$

#$ $ ( )( )

#$$ ( )

( )

#

% %$ # #Know you not,

#$

#$#$$

#$$

#$

$%$

know you not that a prince, a great

&&& ' ( ) ( (

&&

& ( (' ( ) )% &&)% & ) )% &&&

&& ' (

) ( ( + ( ) ) (

&&

&&

' ( ) (( ,

+ ')

&&

&& +

( , ,&& + ' ) ) ) (

)% &&&) ) &&&&&&&&&&&&&&&&( )

)% &( ) ) )&& &&&

&&&) ( )% &)

( ) ( ' ) (% && &&&&(

) ) )% & ) ) ( &&))

) ( +

(%)

(

' ) )% &&&&&) ( )

' ( ) ( ' ) ) ) ( ' ) (

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9

S.

C1.

C2.

T.

B.

13 Chorus

S.

C1.

C2.

T.

B.

17

S.

C1.

C2.

T.

B.

#$

#$

#$ $#$$

#$$

%$ prince is fall'n this day in Is ra- el,-

#$A las,- &

'#$A las,-

#$

$A -

#$$

A -

#$$

A -%$is fall'n this day in Is ra- - el.-

(A -

#$a las,- a las,- a - - - -

#$$

las,- a las,- a las,- a las,- a -

#$$

las,- a las,- a las,- a - - -

#$$

las,- a las,- a las,- a las,- a -%$las,- a las,- a las,- a - -

( ( ) ) )% &) ) &&) )% &&&)) ) )% & ) ) &&) &&&&&) ) ) ) (

( ) ) &&) ' ) ) )% &&& &&)% &)

+ ( ) ) ) ) ' ) ) && &&) (

)% &) ) ) ) ) ) ( + ' ( )

( + + ' ) )% &) ) )% &(

)% &( ) ) &&) ) ) ( ' ) (

, , , ' ) (( ) ) ) ) ) ) )% &( ( ' )

( + ' ) ) ) ( ( ( ' ))% &) ) ( ( ( ( ( ' )' ) )% &) ) ( ) ) ( ( ' )

' ) ( ' ) ) ' ,( ' ) (% ) && ) ) )( ' ) (% ) ) ) (

( ' )(% )

) ) &&

)( ' ) (% ) ( (

2

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20

S.

C1.

C2.

T.

B.

24

S.

C1.

C2.

T.

B.

27

S.

C1.

C2.

T.

B.

#$las,- woe worth the day, the day,

#

#$$

las,- woe worth the day, the day, woe

#$$

las,-

# #

woe worth the

#$$

las,- a las,- woe worth the day, woe

%$las,- woe worth the day, woe worth the day,

#$woe worth the

-day, woe worth

#$$

worth the day, woe worth the day,

#$

$day, the day, the day, woe worth the day, woe

*worth

#$$worth the day, woe worth the

%$worth the day, woe worth the day,

#$the

-day, the

*(

day, woe

#$$

the day, woe worth the day, the day, woe worth

#$$

the day, woe worth the day,

#$

$day, woe worth the day, woe worth, woe worth the

%$woe worth the day, woe worth

( ' ) ) ( ) )% &(( + ( )% &( ( ( (

( ( ) ( )) &&( )** % &( ) ( ) ( (, ( )% &) ) ( ( (

) ( ) &&&) ( + ) )( ) ) ( ( ' ) ) )&&) ) ) ) ) ) ) && )% &&)

(% ) ( ' ) ) ) () ( ) ( )% & ) ) ) )

&&&&&)% &&)% &&( + ' )' ) ( ) )

% &) &&) ) )

( ( + ) ) ) ) (

)%

& ( ) )( )% &)% &

) ( ) ) ) ( ( (

3

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30

S.

C1.

C2.

T.

B.

Verse34

S.

C1.

C2.

B.

38

S.

C1.

C2.

B.

#$worth the day, woe worth the day, the day.

'&

#$$

the day, woe worth the day, woe worth the day, the day.

#$$

woe worth the day, woe worth the day, the day.

#$$

day, woe worth the day, woe worth the day, the day.

%$the day, the day, woe worth the day.

#$ # # # ##$#$

$The pre ci- ous-

#$$

%$

#$The pre ci- ous- son of Zi on,- com -

#$ #

#$$

son of Zi on,- com pa- ra- ble- to fine

#$

$%$

)% &) & & &&( ) , ,&&) & ) & ) ) ( ( ( ( (.

+ ' ) ) &&( ) )% &) ) &&(.

) ( ) ) ) ) ) )% &) ) ) &&(.

( ( ( ( ) ( ) ,.

) )% & ) ) ) ( ) ( ) ( (+ ) ) & ) &) ) &&) ( ) )% & )) )% & ) ) ) ( (% ) )

% &(

) )% & ) ) ) ( ) ) ( ( ')

+ ) ) & & )) ) ( ( + ' )&&( ) ' ) &&&& ( ) )

) ) ( ( ) ) &% &/ )% &) &&&&) )) )% &&& &% &0) ) ) &&) &&)

((

) ) ) ) ) ) ) ) &&) ) && ( ) )

4

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42

S.

C1.

C2.

B.

46

S.

C1.

C2.

B.

49

S.

C1.

C2.

B.

#$ pa- ra- ble- to fine gold, how is he es teem- -

#$

#$$

gold, how is he es teem- ed,- how

#$$

%$

#$ed,- as a pit cher,- as a

#$

#$

$is he es teem- ed,- as a pitch er,-

#$$

%$

#$ pitch er,- the work of the hand of the pot ter,-

#

#$ #

#$$

as a pitch er,- the work of the hand of the

#$

$%$

&&&&) ) ( + ' ( ) ) ) (( ) ) )% &&& ) &&&) ) ) &&

)% &&)

( ' ) ) ) ) ) ( ( + ' )

))% &&& ) ( ) ( ) ) 1 &&&)

)

( ) ) ( ) ))% &&&&& ) ' +

( + + ' && &&' ' &&( & & ) &&&) ( )

) &% &0& &

) ) ) ) ( ( ' &&) ))% & ) ) ) ) & & ) ) ( & &

(% ) ) & & & & ) ) ) )% &

&&' ' ) ) &&) &&) ) +) ) ( ' ) ) ) ) &&)

)

' &&) ) ( ) ) ) ' ' ) ) &&) &&) ) &% &0&

& )( ) ) )

% & ) ) ) ) )

&% &0) )% &$* ( ) ) ) &&) ) ( ) )

5

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53

S.

C1.

C2.

B.

57

S.

C1.

C2.

B.

60 Chorus

S.

C1.

C2.

T.

B.

#$the work of the hand of the p ot ter,- the work of the

#$

#$$

pot ter,- the

* pot ter,-

#

#$$

%$the work of the hand of the pot ter,-

#

#$hand of the pot ter,- the hand, the hand of the pot ter.- &

'#$

#$

$the work of the hand of the pot ter,- the pot ter.- - -

#$$

%$the work of the hand of the pot ter,- the pot ter.-

#$Sure ly,- sure ly,-

# # '&

#$$

Sure ly,- sure ly,- as men of low de gree-

#$$

Sure ly,- sure ly,- as men of low de gree-

#$

$Sure ly,- sure ly,- as men of low de gree- are

%$Sure ly,- sure ly,- as men of low de gree-

+ ' ) ) &&) &&) ) + ' ) ) &&) &&) && ) ( ) && ( ) ( ' )

&) &) ) , ( (( )% & &) &( ( ( )% &) &&

( ( ) ) ) &&) &&) )

) &&) ) ) ) ) ) && ( ) ) )

&&) ) ) &&( ) ) ) ( (

' ) ) &&) &&) &&, (

) ) ( ) )% &&) ) ) ( (

+ ' ) ) &&) &&) & &( (

( ( + ($* ,+ ( (** + ( ( ' ) ) ) )% &(+ ( ( + ( ( ' ) ) ) )% &(+

( (+

(( '

) ) ) )%

& ) )+ ( ( + ( ( ' ) ) ) )% &(

6

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65

S.

C1.

C2.

T.

B.

69

S.

C1.

C2.

T.

B.

73

S.

C1.

C2.

T.

B.

#$ #so men of high de gree,- of high de -

#$ #so men of high de gree,- of high de -

#$ $ are va ni- ty,- so men of high de gree,- of high de -#$$

are va ni- ty,- so men of high de gree,- of high de -

#$$

va ni- ty,-

# #

%$are va ni- ty,-

# #

#$gree- are but a lie, are but a lie, &

'#$gree- are but a lie, are but a lie,

#$

$gree- are but a lie, are but a

*

lie.

#$$

gree- are but a lie, are but a lie, are but a lie, a

#$$ #

are but a lie, are but a%$ #are but a lie, a lie, are but a

#$are but a lie, are but a lie, are but a lie.

'&

#$$

so men of high de gree- are but a lie.

#$$

lie, are but a lie, a lie.

#$$

lie, are but a lie, are but a lie, a lie.%$lie, are but a lie, are but a lie, a lie.

+ ' ) ) ) )% & ) ) )% &

+ ' ) ) ) )% & ) ) )% &

) ) ) ) ( ' ) ) ) )% & ) ) )% &) ) ) ) ( ' ) ) ) )% & ) ) )% &

) ( ) ( +

) ) ) ) ( +

) ) ) ) ( + ' ) ) ) ( +

)% &)% &( + ' ) ) ) ( +) ) )% &( + + ' && &&&) (

) ) ) ) ) ) ) ) (% ) )% &) )' ) )% &( + ' ) ) )' ) ) ) (% ) )% &) )

' ) ) ) ) ) & &) && ( ) (' 1 &) ) ) ) ) ) ( ( (

( + ( ( ( )% & (&

&&)1 ) & &

))

) & &)&)

) ()% &) ) ) ) ) ) ) ) ( (

7

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Verse76 Chorus

S.

C1.

C2.

T.

B.

82

S.

C1.

C2.

T.

B.

#$Great Bri tain- mourn,

#

#$Great Bri tain- mourn,

#

#$$

Great Bri tain- mourn, Great Bri tain-

#$$ # #

Great Bri tain- mourn, Great Bri tain-

#$$ # # # #

Great Bri tain-

%$ # # # #Great Bri tain-

#$ #Great Bri tain- mourn, mourn, mourn, mourn, mourn, mourn.

#$#

Great Bri tain- mourn, mourn, mourn, mourn, mourn, mourn.

#$$mourn, Great Bri tain- mourn, mourn, mourn, mourn, mourn.

#$$mourn, Great Bri tain- mourn, mourn, mourn, mourn, mourn.

#$

$mourn, Great Bri tain- mourn, mourn, mourn, mourn.

%$mourn, Great Bri tain- mourn, mourn, mourn, mourn, mourn.

( ( ) ) ( ( ( ) ) ( ( +

( ( ) ) ( ( ( ) ) ( ( +( ( ) ) ( ( ( ) ) ( ( ( (% )

( ( ) ) ( ( ( (% )

+ ( (% )

+ ( (% )

( ( ) ) ( ( ( ( ( ( (

( ( ) ) ( ( ( ( ( ( (, ( ( ) ) ( ( ( ( ( ) ) (

, ( ( ) ) ( ( ( ( ( ( (

, ( ( ) ) ( ( ( ( ( ( (, ( ( ) ) ( ( ( ( ( ( (

8

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Verse88

S.

C1.

C2.

T.

B.

Chorus92

S.

C1.

C2.

T.

B.

#$Let e v'ry- fa mi- ly- mourn,

#

#$ #Let e v'ry- fa mi- ly-

#$$ # # #

#$$

*

#$$

%$Let e v'ry- fa mi- ly- mourn,

#$mourn, mourn, mourn, mourn, mourn,

#$mourn, mourn, mourn, mourn, mourn,

#$$mourn, mourn, mourn, let e v'ry- fa mi- - ly

*- mourn,

#$$mourn, mourn,

$mourn, mourn, mourn, oh mourn,

#$

$mourn, mourn, mourn, mourn, oh mourn,

%$mourn, mourn, mourn, mourn, oh mourn,

( ' ) ) ) & & )( +

( + + ' ) ) ) & & )( +( ( &&&&&&&&& &&&&&)% & &&&&&&)

( ( ( ( ) )% &&&& &&&&&&&&

( + + ' ) ) ) & & )) ' +

, ( ( ( ( ,

,(

((

( ,, ( ( 1 &)% & ) ) &&(

, ( ( ( & & ) ,

,( ( (% ) ) &&(

, ( ( ( )% & ,

9

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Verse96

S.

C1.

C2.

T.

B.

100 Chorus

S.

C1.

C2.

T.

B.

#$ #let e v'ry- fa mi- ly- mourn,

#$let e v'ry- fa mi- ly- mourn,

# #

#$$*

#$$

#$$

let e v'ry- fa mi- ly- mourn,

%$ # #

#$[ let ev' ry- fa mi- ly ]- mourn, mourn.

#$# #

mourn, mourn.

#$$

mourn, oh mourn.

#$$

mourn, mourn, oh

#$

$mourn, mourn.

%$let e v'ry- fa mi- ly- mourn, mourn, mourn,

' ) ) ) & & )( ) ( )' ) ) ) & & )(( ( (% ) &&)% & ) ) ) (

( ( ) ) ) ) &&) ( ) &&&&)

( ( (% ) ) ) & & ),

( )% & ( (

)% ) &) ) ) ) ) & & )( ( (

+ ( ( () ) ( ( ) ) ) ) ( ( ) )

&& ) ' ) &&&) & ) )% &( ( )% &

) &&) && &&&&( ( ( ( (

' ) ) ) & & )( ( ( ( (

10

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104 Verse

S.

C1.

C2.

T.

B.

108

S.

C1.

C2.

T.

B.

#$O fa mi- ly- of Da vid,-

#$O fa mi- ly- of Da vid,-

#$$

#$$mourn.

# # #

#$$

O fa mi- ly- of Da -

%$mourn.

#

#$

#$#$$

#$$

O fa mi- ly- of Le vi,-

#$

$vid,-

#

%$ #O fa mi- ly- of Da -

, + ' ) &% &/ &&) ) ( (

, ' ) &% &0&&) ) &&) ) ) (

) &&( )% &&& && ) ) ) ) && ) ' )

,

) &&( ( ) ) && ) ) ) &% &0&&(

, ( ( ( (

( ( ( )% &&&& && &) &

1) &&&

%

&0&& &&) ( )

%

& () & &&( &) &) ) ) &&&&& )

' ) &% &0&& ( ( ' ))% &&

) ' + + ' )

+ ' ) &% &0&& (

11

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111

S.

C1.

C2.

T.

B.

115 Chorus Verse

S.

C1.

C2.

T.

B.

#$O fa mi- ly- of Le vi;- - - - sor row- ing- for him,

#$

#$$

O fa mi- ly- of Le vi;- -

#$$

#$$

%$vid,- O fa mi- ly- of Le vi;- - -

#

#$for him,

# #

as for thy

#$ sor row- ing- for him, as for thy#$$

sor row- ing- for him, as for thy

#$$

sor row- ing- for

-

him,

#

#$

$sor row- ing- for him, as for

-thy

%$ #sor row- ing- for him,

#

) &%&0&% &/ ) ) &&&&) ( )% & ) ) (

, ' ) )% & (+ ( ) )

( ) &% &/ &&( ) ( + )% & (( ) ) ) ) ) ) ( + )% &(

) &% &0&& )(

( ( + )% &(

) ) &% &0&& , ( +

( ( ) ( )

&&&) ( )%

& ( ( ( ' ) ) )( ( )% &) ) ( ( ' ) )% &

( ( ( )) &&&) (

( ( ' )% &) ( ( ' ) ) )

)% &( ( (

12

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119

S.

C1.

C2.

T.

B.

123

S.

C1.

C2.

T.

B.

#$first born.- -

# #

#$first born,- as for thy first born.-

#$$

first born.-

#

Sigh

#$$ #

as for thy first born.- -

#$$

first born,- - as for thy first born.- -

%$ #as for

*thy first born.- -

#$ # # # #

#$# #

Sigh and say, sob

#$$

and say, sob and sing,

#

#$$

Sigh and say, sob

#$

$Sob

%$Sigh and say,

, ( +

) ) ( ( ) ) ) ) ( ,

) ( ) ( + + ' )

+ ' ) ) ( ) ( (

, ( ' ) )% &) ) ) ) (

+ ' ) ) ) ( ( (

' ()

( ')

) ) ( ' )% & ) ( +

' ( ) ( &% &/ ) ) ) ( ( ' )

( + + ) ) ( ) ) ) &&) )

)( ) ( + + ( ) ) (

13

8/11/2019 FA12 sc A4

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127 Chorus

S.

C1.

C2.

T.

B.

131

S.

C1.

C2.

T.

B.

#$ #sob and sing, sigh

#$and sing,

#

sigh

#$$

sigh and say, sob and sing, sigh

#$$

and sing, sob and sing, sigh

#$$

and sing, and sing, sob and sing, sigh

%$sob and sing, and sing, sob and sing, ' & sigh%$ # # #

sigh

#$and say, sob and sing, sob and sing, sob and

#$and say,

#

sob and sing, sob and

#$ $ and say, sob and sing, sigh and say, sob#$$

and say, sob and sing, sob and sing,

#$$

and say, sob and sing, sigh and say, sob and sing,

%$and say,

#

sob and sing, sob and

%$and say, sob and sing, sigh and say, sob and

+ ' ) ) ) ( ( ' )

) ) ( ( + + ' )

+ ' ) ) ) ( ) ( && ( ' )) &&( ' ( ) , ( ' )

) ( ) (% ) ) ) ( ( ' )

(%

) ) )(

)%

&( ( ')

+ ' )

) ) ( ' )% &) ( )% & ) ( )) ) ( ' )% &) ) )% &)

))

( ' )% &) ) )% &) (% )) ) ( ' ( ) ) ( ) ) &&(

) ) ( ' ( ) ( &&) ) ( )) &&( ' ( ) ( ) )

) ) ( ' ( ) ( ) ) ) ( )

14

8/11/2019 FA12 sc A4

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135 Verse

S.

C1.

C2.

T.

B.

139

S.

C1.

C2.

T.

B.

#$sing, sob and sing. Ah, Lord,

#$sing, sob and sing, and sing. Ah, Lord, ah, his glo -

#$$

and sing, sob and sing.

#$$

and sing, sob and sing.

#$$

sob and sing, and sing.

%$sing, sob and sing.%$

sing, sob and sing.

# #

#$ah, his glo ry,- - - his glo ry,- - ah, his glo

*- -

#$[ry,- - his glo ry,-

#

#$ $ # Ah, Lord, ah, his glo - -#$$

#$$ #

%$ #%$ #

Ah, his glo ry,- - - - ah his glo -

) )% &) ) ) ( + ' ) ( +

)( ) )% & ( ' ) ( + &% &0)

&&&&( ) ) ( (% ) ) ) (

) ) ' ) &&) ( (% ) ( ) )

+ )% &) ) ( ( ( )% &) ))

( ) ( ( (% )(% )

) () ( (

&% &/ )% &&& &&)% &&&&&&)% &&&& & & & & & ) ( +

')

( &% &/)%

& & &&% &/ &% &/ & & ) ) ( ) (

(

)% & ( )% & (

, ,&% &/ )% &&& &&&&) )

15

8/11/2019 FA12 sc A4

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Chorus142

S.

C1.

C2.

T.

B.

146

S.

C1.

C2.

T.

B.

#$- ry,

#

ah, Lord, ah, his

#$ # #ah, Lord,

#$$

ry,- Ah, Lord,

#

#$$

Ah, Lord, ah, Lord, ah,

#$$

Ah, Lord, ah, Lord, ah, his glo ry,- glo -

%$ Ah, Lord, ah, Lord, ah, his glo ry,- ah,%$

- ry,

#

Ah, Lord,

#$glo ry,- his glo ry,- -

#

his

#$ #ah, his glo ry,- - ah, his glo -

#$ $ # ah, his glo ry,- - - ah,#$$

his glo ry,- - ah, his glo ry,-

#$$

ry,- ah, his glo ry,- - glo -

%$his glo ry,-

#

ah, his glo ry,-

%$ #ah, his glo ry,- glo ry,- ah, his

( ( ' ) ( + )% &

+ ' ) ( +( ( ' ) ( ( +( ' ) ( + + ' ) ( ' )

+ ' ) ( ' ) )% &) ) ) ( )

')

( ( ')

)% &) ) ) ) )% &

&&&&( + ( ( (

) ) ) ) ) ) ( + ' )

' )% &) ) ) ( ' )% &)

+ )% & ) )

))

) ' ')

&&( ) , + ' ) &&( )

) ) + + ' ) &&( ) ( () ) ( ( + )% &) )

+ )% &) ) )% &( )% &

16

8/11/2019 FA12 sc A4

19/20

150

S.

C1.

C2.

T.

B.

154

S.

C1.

C2.

T.

B.

#$glo ry,- - ah, his glo ry,- glo ry,- ah, his glo -

#$ry,-

# # #

#$$

his glo ry,- - ah, his glo ry,- - -

#

#$$

his glo ry,- - ah, his glo ry,- -

#$$

ry,- ah, his glo ry,- ah, his glo - ry

%$ah, his glo ry,- ah, his glo - ry, his%$

glo ry,- - ah, his glo ry,- his glo ry,-

#$ry,- ah, his glo ry,-

#

ah, his glo -

#$ #ah, his glo ry,- - ah, his glo -

#$ $ah, his glo ry,- - his glo ry,- ah, his glo - ry, his#$$ # #

ah, his glo [ -ry,- glo ] -ry,-

#$$

ah, his glo ry,- - ah,

%$glo ry,- - ah, his glo ry,- - - - glo -

%$ah, his glo ry,- his glo ry,-

, ) &%&/ ) ) ) ) + &&)% &&&) ) (

&& ( ) ) &% &/ )% & && ) (

) )% &) ( + &% &/ )% &) ( +

) ) ' ) ) ) ( ( + &% &/ )% &&&

)) )

)(

+&% &

/)% &)

( (

) ) ( ) )% &) )% &) ) ( +

&&) ( &%&0( ) +&&)

+ &% &/ ) &&&&( + &&)

&% &/ )% &&& ) ) ) && ( &% &/) &

&&&&% &/ )

+ &% &/ ) &&&&) )

( + &%&/ ( ) , + (( (

( &% &/ ) &&&&&&) ( (

&% &/)% &&&( ( ( ( ,

17

8/11/2019 FA12 sc A4

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158

S.

C1.

C2.

T.

B.

#$ry,- ah, his glo ry.- - - -

#$ry,- his glo ry,- his glo ry.- -

#$ $glo ry,- ah, his glo ry.- - -#$$

ah, his glo ry,- - - his glo ry.-

#$$

ah, his glo ry,- - glo ry.- -

%$ry,- his glo ry,- glo ry.- -%$

ah, his glo ry.- - -

&&&&&&) && )% &&) , ,) ) ) ) ' ( ) ) &&( ,

) ) ( )% &&& ) ) &&( ,

) ' &% &/ ) &&&&) ) ' ) ( ,( )% &(% ) ' ( ) ,( ' ) )% &)% & , ,

( ( ( ( , ,

18