Of MUSIC in GENERAL.

"MUSIC conſiſts in a ſucceſſion of pleaſing ſounds;"—As a Science, it demonſtrates and explains their true relation and juſt diſpoſition;—as an Art, it teaches their proper expreſſion.

All muſick is comprehended in melody and harmony. Melody is a ſingle ſucceſſion of founds; or, in other words, is the air of a piece of muſic. Harmony is the combination of ſeveral ſounds at the ſame time. Modulation is the juſt arrangement of the ſounds both of the Melody and Harmony.

The primary and moſt eſſential qualities of muſical ſounds are, Time and Tune; upon a due attention to theſe diſtinctions, and their judicious management, depends all the pleaſing and infinite variety of the muſical art.

Of the GAMUT, or SCALE of MUSIC.

There are but ſeven diſtinct degrees of ſound in the ſcale; five of which are called whole, and two are called half, or ſemi-tones. Every eighth from any given ſound will be the ſame, and the degrees of aſcent or deſcent from it, will be in effect a repetition of the former ſounds. Theſe ſeven ſounds are repreſented on lines and ſpaces by the ſeven firſt letters of the alphabet; their places on them are as follow: Baſs. B     Mi. A   — La. G     Sol. F 𝄢 — Fa. E     La. D   — Sol. C     Fa. B   — Mi. A     La. G   — Sol. F     Fa. Counter. A     La. G   — Sol. F     Fa. E   — La. D     Sol. C 𝄡 — Fa. B     Mi. A   — La. G     Sol. F   — Fa. E     La. Tenor, or Treble. G     Sol. F   — Fa. F     La. D   — Sol. C     Fa. B   — Mi. A     La. G 𝄞   Sol. F     Fa. E   — La. D     Sol.

THE ſcale is divided into three parts; each part, conſiſting of five lines, with their ſpaces, and diſtinguiſhed with a cliff, is called a ſtave.

The firſt diviſion is called the Baſs ſtave; its cliff is thus marked 𝄢 and is called the F cliff—it is always placed on the fourth line from the bottom.

The ſecond diviſion of the ſcale is called the Counter ſtave;—its cliff is thus marked 𝄡 and is called the C cliff. It is commonly placed on the middle line of the ſtave. This cliff, however, is moveable, and may be placed on either of the five lines or ſpaces; that line or ſpace which paſſes between the two tranſverſe ſtrokes, will be C, and all the other letters of the ſcale will be in regular ſucceſſion above and below it.

The third and laſt diviſion of the ſcale is called the Treble or Tenor ſtave; its cliff is marked thus 𝄞 and is called the G cliff; its place is invariably on the ſecond line from the bottom.

There are but four names of notes repreſenting ſounds, viz. Mi, Fa, Sol, La: of which Mi is the principal, and governs all the reſt; and when Mi is found, the order of the notes above it will be Fa, Sol, La, Fa, Sol, La; and below Mi, La, Sol, Fa, and then Mi recurs, either way.

It has been before obſerved, that of the ſeven degrees of ſound in the ſcale, two are ſemi-tones; their natural places are between B and C, and E and F. Their ſituation, however, is often varied by flats and ſharps, which tranſpoſe Mi from B, its natural place; in all which caſes the ſemitones will be between Mi and Fa, and La and Fa, as in the natural ſcale.

TABLE of the TRANSPOSITION of MI, by FLATS and SHARPS.

  Mi on B, its natural place. B flat Mi on E. B & E flat Mi on A. B, E and A flat Mi on D. B, E, A & D flat Mi on G. F ſharp Mi on F. F and C ſharp Mi on C. F, C, & G ſharp Mi on G. F, C, G and D ſharp Mi on D. Tenor or Treble. 𝄞 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 Counter. 𝄡 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 Baſs. 𝄢 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉 〈♫〉

Mi may be tranſpoſed to other places by flats, and alſo by ſharps; but the foregoing examples, with a ſuitable attention to the following rule, will be ſufficient to illuſtrate the matter.

A flat muſt be placed a fourth above, or a fifth below the one laſt added; and Mi will be a fourth above, or a fifth below that.—A ſharp muſt be placed a fifth above, or a fourth below the one laſt added— Mi is always on the letter laſt ſharped.

The MUSICAL NOTES, with their RESTS.

  Semibreve. Minim, Crotchet. Quaver. Semiquaver. Demiſemiquaver. Reſts. 2 bars 4 bars 8 bars Notes. 𝆹 톹텥 톺텥 톼텮 톼텯 demisemiquaver note       Reſts. 𝇄 𝇅 𝇆 quaver rest semiquaver rest demisemiquaver rest 𝇃 𝇂 𝇁

The following SCALE will ſhew the Proportion of the Notes to each other.

1 Semibreve — 𝆹 — Contains 2 — 톹텥톹텥 — Minims. 4 — 톺텥톺텥톺텥톺텥 — Crotchets. 8 — 톼텮톼텮톼텮톼텮톼텮톼텮톼텮톼텮 — Quavers. 16 — 톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯톼텯 — Semiquavers. 32 demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note demisemiquaver note Demiſemiquavers.

Reſts are notes of ſilence. The ſemibreve reſt is conſidered as a bar reſt; all the others are of the ſame determinate length with the notes by which they are called, and which they repreſent.

MUSICAL CHARACTERS and TERMS, with their EXPLANATIONS and USES. A flat ♭ A FLAT at the beginning of a tune regulates the Mi; before any note, it ſinks it half a tone from its natural pitch. A ſharp ♯ This character alſo, at the beginning of a tune, regulates the Mi; when it is placed before any note, it raiſes it half a tone from its natural pitch. A Natural ♮ This character is never uſed, unleſs to counteract the effect of one or the other of the foregoing, and reſtores a note to its natural piteh. When it is placed in oppoſition to a flat, it raiſes a note half a tone; but when it is placed in oppoſition to a ſharp, it finks a note half a tone.

Theſe three are very important characters in muſic; and their effects and uſes ſhould be carefully and critically explained to learners by every teacher.

Point of Addition. ♩· This point, placed after a note, makes its ſound half as long again as it would be without it. Point of Diminution. ♩ ♩ 3 ♩ A point of diminution placed over or under any three notes, reduces them to the time of two of the ſame kind. Single Bars. 𝄀 Single bars are perpendicular lines drawn through the ſtave; their uſe is to divide the notes into equal portions of two, three or four beats, according to the mode of time in which the muſic is compoſed. Double Bar. 𝄁 A double bar denotes the end of a ſtrain. Repeat. :S: or repeat A repeat directs that the muſic, from the note where it is placed, be ſung over again; when it is placed before a double bar or cloſe, it is to remind the performer that the preceding ſtrain, or ſome part of it, is to be repeated. Figures. 1. 2. Theſe figures are uſed only when ſome part of the muſic is to be repeated; the note under figure 1 is to be performed the firſt time; the ſecond time, it is omitted, and the note or notes under figure 2 performed; ſometimes they are connected by a ſlur, and then they are both performed. A Slur. 𝅷𝅷ᴗ 𝅷𝅷ᴗ A ſlur is drawn over or under ſo many notes as belong to one ſyllable. A Brace. 𝄕 𝄔 A brace ſhews how many parts move together. A Hold. 𝄐 A hold placed over a note ſhews that it is to be ſounded longer than its true time. This character, though too generally neglected, when properly attended to, produces a very pleaſing effect. A Direct. direct A direct placed at the end of a ſtave points out the place of the firſt note in the next ſtave. Ledger Line. Sometimes the notes extend beyond the compaſs of the ſtave; in ſuch caſes, ſhort lines are added, called Ledger Lines. A Cloſe. 𝄀 A cloſe ſhews the end of a piece of muſic. Trill or Shake. tr.

A trill or ſhake is a quick and alternate repetition of the note over which it is placed, and the note immediately above it (from which the trill begins) ſo long as the time will allow; thus 〈♫〉

A trill may be open or cloſe; if the note immediately above that to be ſhaken be a whole tone from it, it will be an open ſhake; if but half a tone, it will be a cloſe ſhake.

When the note immediately under that to be ſhaken is inſerted juſt before the concluſion of the trill, it is called a turned ſhake.

The trill is a very beautiful grace, but as it is very difficult to be acquired, it may not be amiſs to propoſe the following ſubſtitute for it, till it can be perfectly learned, viz.

Example. 〈♫〉

This manner of performing a trill, if the note be not a long one, and if the note ſucceeding it be deſcending, produces a very agreeable effect.

Marks of Diſtinction, ''' or Stoccato. Theſe imply that ſuch paſſages muſt be ſung very diſtinctly and emphatically. Chooſing Notes. 〈♫〉 Chooſing notes are placed immediately over each other; the performer may ſing which of them he pleaſes; if there be ſeveral performers to the ſame part, all the notes ſhould be ſung. Appoggiatura. 〈♫〉 The appoggiatura is a ſmall note added to the regular notes in the bar to lead the voice more eaſily and gracefully into the ſound of the ſucceeding note; it ſhould be dwelt upon according to the value of the note; but whatever time is given to it, muſt be taken from the ſucceeding note. It is often uſed as a preparation for a trill. Notes of Tranſitionn 〈♫〉 Notes of tranſition are alſo ſmall notes added to the regular notes, and uſually ſlurred to them; the time given to them is commonly taken from the preceding note, and always from the note to which they are tied. Tranſition is conſidered as a muſical grace, and judicious performers may introduce it in many places where the notes are not expreſſed in the compoſition; but young ſingers ſhould be cautioned againſt its two frequent uſe; for an unſkillful introduction of it, inſtead of gracing, will have quite a contrary effect upon the muſic; and indeed this, and every other muſical grace, had better be entirely omitted than performed in an irregular manner. Piano. Directs the performer to ſing ſoft like an echo. Pianiſſimo. Very ſoft. Forte. Loud and ſtrong. Fortiſſimo. Very loud.

The foregoing terms are very frequently contraſted in muſical compoſitions, and ought to be ſtrictly attended to, for otherwiſe the deſign of the compoſer will be obſcured, if not wholly loſt.

Creſcendo. This implies that the force of the voice muſt increaſe gradually till the ſtrain is ended. Diminuendo. Means the reverſe of the foregoing, and is ſometimes ſet in oppoſition to it; when properly performed they make no trifling addition to the beauties of muſic. Maeſtoſo. Paſſages which have this term placed over thern muſt be performed flow and with majeſty and grandeur. Con. Spirito. With life and ſpirit Vigoroſo. With ſtrength and firmneſs. Vivace. In a lively, cheerful manner. Moderato. Somewhat ſlower than the true time. Preſto. Faſter than the true time. Andante. Implies a moderate, equal and diſtinct manner of performing. Adagio. Denotes the ſloweſt movement; and is the proper name of the firſt mode in common time. Largo. Denotes a movement ſome faſter than adagio, and is the name of the ſecond mode in common time. Allegro. Denotes a quick movement, and is the name of the third mode in common time. Grave, or Gravement. Denotes a ſlow movement between Adagio and Largo; it requires alſo a ſolemn manner of ſinging. Largetto. Is a movement between Largo and Allegro.

A variety of other muſical terms might be explained, but as they are not often met within muſic books in this country, it may not be neceſſary to inſert them.

Of TIME, and its various MARKS or MODES.

THERE are three kinds of time made uſe of in Muſic, viz. Common Time, Treble Time, and Compound Time.

Common Time is divided into four modes. The firſt mode is called Adagio, and is thus marked 𝄴 This mode contains one ſemibreve, or the value thereof in other notes or reſts in each bar:—The bar is uſually performed in the time of four ſeconds.

The ſecond mode of common time is called Largo, and thus marked common time (largro) It contains the ſame quantity of notes in the bar as the foregoing, but is performed a quarter faſter.

The third mode of common time is called Allegro, and thus marked common time (allegro) This alſo contains the ſame notes in a bar as the firſt mode, but the bar is performed in the time of two ſeconds.

The fourth mode of common time is marked 2/4 and contains the amount of one minim in the bar:—it is performed about one quarter faſter than the Allegro mode.

Treble time is divided into three modes. The firſt mode is marked thus 3/2 and contains three minims in a bar, or other notes and reſts to that amount. The bar is performed in the time of three ſconds.

The ſecond mode of treble time is marked thus 3/4 and contains three crotchets or their value in each bar, and is performed about a quarter faſter.

The third mode of treble time is thus marked 3/8 and contains the value of three quavers in a bar: This mode is performed about a quarter faſter than the ſecond.

There are many modes of compound time, two of which only ſhall be noticed here.

The firſt mode is thus marked 6/4 and contains the value of ſix crotchets in a bar. The bar is performed in the time of two ſeconds.

The ſecond mode is thus marked 6/8 and contains the amount of ſix quavers in a bar. It is performed one quarter fafter than the firſt mode.

It may not be unſerviceable to obſerve in this place, that the firſt mode of common time is the ſtandard with which all other modes are compared, and by which they are regulated. All modes which are marked with figures have a primary reference to this mode, and are derived from it;—thus, the mark 2/4 denotes that the bar muſt contain two fourths of a bar in the firſt mode of common time, or (which is the ſame thing) of a ſemibreve; and all other figures diſtinguiſhing different modes may be conſidered as fractions of a ſemibreve; the under figure expreſſing how many parts the ſemibreve muſt be divided into, and the upper figure ſhewing how many of thoſe parts are contained in a bar.

When the modes above explained are thoroughly underſtood, a proper attention to the foregoing remarks will enable any one to acquire an idea of all other modes marked with figures, without any further illuſtration.

Of BEATING TIME.

BEATING time is an artificial way of meaſuting the proportionate duration of the notes; the common methods of doing which, are as follow, yiz. For the two firſt modes of common time, which have four beats in a bar, 1ſt, let the ends of the fingers fall; 2d, the heel of the hand; 3d, raiſe the heel of the hand; 4th, throw up the ends of the fingers, and the bar will be finiſhed.

For the third and fourth modes of common time, and for the 6/4 and 6/8 modes of compound time, which have only two beats in a bar, 1ſt, let the hand fall; 2d, raiſe it, and the bar will be completed.

For treble time, all the modes of which have three beats in a bar, 1ſt, let the ends of the fingers fall; 2d, the heel of the hand; 3d, throw up the ends of the fingers, &c.

EXAMPLES for BEATING TIME.

𝄴 d. d. u. u. d. d. u. u. d. d. u. u. d. d. u. u. 텗텥 텗텥 텘텥 텘텥 텘텥 텘텥 텟텮텟텮 텟텮텟텮 텟텮텟텮 텟텮텟텮 𝅝 1. 2. 3. 4. 1. 2. 3. 4. 1. 2. 3. 4. 1. 2. 3. 4 3/2 d. d. u. d. d. u. d. d. u. 텗텥 텗텥 텗텥 텗텥 텘텥 텘텥 𝅝· 1. 2. 3. 1. 2. 3. 1. 2. 3. common time (allegro) d. u. d. u. d. u. 텗텥 텗텥 텘텥 텘텥 텘텥 텘텥 𝅝· 1. 2. 1. 2. 1. 2. 6/4 d. u. d. u. d. u. 텘텥 텘텥 텘텥 텘텥 텘텥 텘텥 텗텥 텘텥 텗텥 텘텥 텗텥· 텗텥· 1. 2. 1. 2. 1. 2. N. B. All Modes of time muſt be ſung faſter or ſlower than their comparative length as explained before, when muſical terms expreſſing moderation or haſtening are applied to them.

Of SYNCOPATION.

NOTES of Syncopation are ſuch as have their ſound continued through bars, or are placed out of their natural order in them; very difficult examples of ſuch notes may be framed, but when words are applied to them, they induce a forced and vicious pronunciation, and never occur in good vocal muſic; the common inſtances are by no means difficult to be executed, and do not merit a particular explanation.

Of ACCENT.

ACCENT is a certain modulation or warbling of the ſounds, in order to expreſs the paſſions naturally with the voice.

Accented parts of the bar are, for common time, the firſt and third parts; for treble time, the firſt part only; for compound time, the firſt and fourth parts of the bar; and emphatical words ſhould be ſet to thoſe parts; but it will often happen, that ſuch words will occur in other parts, and the accented parts have words of no emphaſis; in which caſes, every one muſt feel the propriety of the muſic's bending to the words, and that the general rule for accenting muſt be neglected; and from hence, may be inferred, that the doctrine of accent is deſigned more for the uſe of the compoſer, than of the performer.

Of the KEYS of MUSIC.

THERE are but two keys in muſic, viz. 1ſt, the major or ſharp key, and 2d. the minor or flat key. The firſt of theſe is adapted to expreſs the cheerful paſſions, and the latter is expreſſive of the ſolemn, the mournful and the pathetic.

The key note is that ſound upon which a tune may be ſaid to be built:—It is the predominant tone, to which all others have a particular reference; it is commonly the concluding note of the tenor, and always that of the baſs, In reckoning from the key note, if the ſemitones in the octave be between the third and the fourth, and between the ſeventh and the eighth, the tune is in the major or ſharp key; if they lie between the ſecond and third, and between the fifth and ſixth, it is in the minor or flat key.

In the natural ſcale the key note of the major key, will be C; of the minor it will be A.

EXAMPLES.

C, Major Key. 〈♫〉 The regular places for the half tones are between B and C, and E and F, an examination of the octave as laid down above, ſhews that they lie between the third and fourth, and between the ſeventh and eighth, conſequently it is in the ſharp key, &c.

A, Minor Key. 〈♫〉 An examination of this octave ſhews that the ſemitones are between the ſecond and third, and between the fifth and ſixth, of courſe it is the flat key, &c.

No tune can be regularly compoſed on any other letter beſides C and A, without the aſſiſtance of flats or ſharps; but, by a proper placing of them on the lines and ſpaces, every ſemitone contained in the octave may be made the foundation or key note of a tune: For in ſtance, if the letter C be taken for the key note of a tune in the major key, one of the ſemitones will be between the ſixth and ſeventh, whereas it ſhould be between the ſeventh and eighth; now, by placing a ſharp on F, the ſound of all the notes on that letter will be a ſemitone higher than in the natural ſcale, and conſequently leave but half a tone between the ſeventh and eighth from G; by which mean, G then becomes regularly the key note for a tune in the ſharp key.

It would be no difficult taſk to extend this explanation through all the ſemitones contained in the octave, but perhaps it may be ſufficient for learners to be taught to diſtinguiſh the keys, in the firſt place, by the following rule, viz. if the key note be the Fa immediately above Mi, a third from it will be a major third, and the muſic will be in the ſharp key; but if the key note be the La immediately under Mi, a third from it will be a minor third, and the tune will be in the fiat key.

N. B. A. major third contains two whole, or four ſemitones. A minor third contains but three ſemitones.

LESSONS for TUNING the VOICE.

Leſſon in the major key. 〈♫〉

N. B. This leſſon ſhould be well learned, and the relative diſtance of each note from the key note, (as diſtinguiſhed by the figures placed over them) underſtood ſo as to be ſounded readily, before tunes in the major key are attempted.

Leſſon in the minor key. 〈♫〉

N. B. This leſſon alſo ſhould be well underſtood before tunes in the minor key are attempted. Whichever of theſe leſſons a teacher chuſes his pupils ſhould firſt attend to, it is recommended that they be made to practiſe upon tunes in the ſame key, before they endeavour to acquire a knowledge of the other, &c.

PARTICULAR OBSERVATIONS.

IN the following work, when tunes have but three parts, the treble is placed between the tenor and the baſs; when they have four parts, the tenor is placed next to the baſs, the counter next to the tenor, and the treble next to the counter.

Flats, ſharps, and naturals, are not conſidered as having influence (excepting at the beginning of tunes or ſtrains) upon any note but that immediately ſucceeding.

The pitch of all the parts ſhould be taken from the key note.

MISCELLANEOUS OBSERVATIONS.

EVERY perſon ſhould ſing that part to which his voice is beſt adapted; to determine which, learners ſhould ſubmit to the judgment of their teacher.

The tone of the baſs ſhould be full and majeſtic; of the tenor, bold and manly; of the counter, ſoft yet firm; of the treble, ſmooth and delicate.

High notes in every part ſhould, in general, be ſung ſofter than the low.

In a company of fingers it would have a good effect for ſome of the performers on each part to be ſilent when paſſages marked piano, occur; the additional ſtrength of their voices in the forte, which generally precedes or ſucceeds the piano, would mark the contraſt more diſtinctly, and give peculiar force and energy to the performance.

The various inflections of voice and tone, which render one air more expreſſive of one paſſion than another, cannot be taught by certain and infallible rules; a performer ſhould endeavour to form a proper idea of the author's deſign in a piece of muſic, and his own judgment and taſte muſt be his principal directors in doing juſtice to it.

A good and graceful manner of ſinging is beſt acquired by imitoetion. A teacher cannot by precept alone inſtruct his pupils in the art of modulating different airs to expreſs different paſſions; but by example he can.

Every note of every part of an excellent piece of muſic may be founded, ſtrictly ſpeaking, right, and the compoſition, nevertheleſs, appear dull and trifling. It is the expreſſive manner—the realizing the paſſion—and giving particular emphaſis to thoſe words which contain the force of the ſentiment, which give riſe to the inexpreſſible delight derived from hearing good muſical performances.

The voice, the looks, the geſtures of the performers, are ſeverally neceſſary to give muſic its full energy, and are reſpectively the ſources of pleaſure or diſguſt to the obſerving hearer.

Beſides the artificial graces of muſic, ſuch as trills, appoggiatura, &c. there are innumerable others which never have been, nor ever can be, defined; but muſt be learned (as was hinted before) by imitation, or ſuggeſted by a diſcerning judgment.

Few graces, however, if any, are admiſſible in full choruſſes, unleſs they are expreſſed in the compoſition; in ſtrains of two or three parts, they may be frequently introduced; but ſolos are the proper field for their full diſplay.

A vulgar, inarticulate pronunciation—a heavy, lifeleſs manner—ſudden and unmeaning exploſions of ſound, are totally inconſiſtent with good ſinging; on the other hand, a clear and ſpirited tone—a juſt and accurate pronunciation—and occaſional ſwells upon the notes, judiciouſly introduced, are diſtinguiſhing characteriſtics of an elegant performer.

In good muſic, as well as in good poetry, or in any other ſpecies of good writing, there are different ſtyles; ſome of which, though they may not, at firſt hearing, command a very favourable opinion, upon being often performed, and rendered familiar, will pleaſe more, and longer, than others which were thought ſuperior; hence, the impropriety and injuſtice of haſtily rejecting, as worthleſs and inſignificant, ſuch muſic as may be compoſed out of the common ſtyle.

In compoſition, it is an eſſential point to adapt the tune to the ſubject of the ſong. Subjects of penitence, prayer, ſorrow, &c. require tunes in the minor key; and thoſe of cheerfulneſs, joy, thankſgiving; &c. the major key; but this rule is often violated; and with the moſt unhappy and ridiculous effect. Can that joy, or praiſe, or thankſgiving be thought ſincere, the expreſſion of which is accompanied with ſighs, and groans, and tears? Can his ſorrow or diſtreſs appear otherwiſe than farcical, whoſe relation of it is interrupted by ſallies of pleaſantry, and peals of laughter? If this be not an unjuſt repreſentation of the effect of diſregarding the foregoing rule, (and it is preſumed it is not) it muſt be conſidered not only a tranſgreſſion againſt all muſical propriety, but an outrageous affront to common ſenſe.

In churches and congregations this rule demands a ſtill more particular attention; for an injudicious application of tunes to the pſalms or hymns, will make the performance appear a profane burleſque upon a very important duty.

A decent and regular demeanor in a band of ſingers, adds much to the pleaſure ariſing from their performances; in worſhipping ſocieties, a contrary behaviour is altogether inexcuſable, and well deſerves the cenſure of every ſober mind; for it argues a total inſenſibility to thoſe ſolemn impreſſions, which every one ſhould feel when in the more immediate preſence of the Supreme Being, and employed in one of the higheſt acts of his worſhip.