Metrical Psalter

Book of Tunes

Tune Book; Page 1

 Introduction
The tunes are grouped by metre and mode. Within each section they are in
alphabetical order. For further suggestions on how to use this material please
visit the website (details at the bottom of this page) or download the Preface
and table from that site.

© Dru Brooke-Taylor 2015, the author’s moral rights have been asserted.
For further information both on copyright and how to use this material see
https://psalmsandpsimilar.wordpress.com
v 1.0.2 : 8 iv 2015

Tune Book; Page 2

Introduction 2
Common Metre (CM) - Major 11
Abbey -Anon (Scottish Psalter 1615) - G Major 11
Abridge - Isaac Smith 1734-1805 - D Major 11
Arnold - Samuel Arnold (1740-1802) - E Major 12
Ballerma - François Barthélémon (1741-1808) - A Major 12
Barby - William Tans’ur (1706-83) - G Major 13
Belmont - William Gardiner (1770-1853) - G Major 14
reharmonised by Prof Sir Robert Stewart (1825-94) 14
Beulah -G. M. Garrett (1834-97) - E Major 14
Bishopthorpe - Jeremiah Clark (1670-1707) - G Major 15
Bristol (Ravenscroft) - Thomas Ravenscroft (1592-1635?) - G Major 15
Bromsgrove - Anon (before 1789) - B Major 16
Capel - ‘English Trad’ - E Major 16
Chevy Chase - Anon - G Major 17
Chorus Angelorum - Arthur Somervell (1863-1937) - E Major 17
Clifton - J. C. Clifton (1781-1841) - E Major 17
Colchester - Henry Purcell (1659-95)? - C Major 18
Contemplation - F. A. G Ouseley (1825-89) - E Major 18
Crediton - Thomas Clark (1775-1859 - C Major 19
Crimond - Jessie Irvine (1836-87) - F Major 19
Crucis Victoria - M. B. Foster (1851-1922) - D Major 20
Dalehurst - F Major - Arthur Cottman (1842-1879) 20
Devizes - Isaac Tucker (1761-1825) - G Major 21
with repeating last line 21
Dorking - Anon - G Major 21
Dublin - Anon? - G Major 22
Dundee - Scottish psalter of 1615 or earlier- E Major 22
(or French) 22
Eagley - James Walsh (1837-1901) - B Major 23
Eardisley - Anon (English Trad) - E Major 23
Effingham - Anon B - Major 24
Evan - The Rev W. H. Havergal (1793-1870) - A Major 25
Original Havergal version 25
Triple time version used for ‘Who is this from Edom?’ 25
Farrant - Richard Farrant (c1530-80) - G Major 26
Glasgow - Anon - G Major 26
(Moore’s Psalm Singer’s Pocket Companion 1756) 26
Glastonbury - Anon - A Major 27
with DBT alterations 27
Gloucester - Anon (Ravenscroft Psalter 1621) - F Major 27

Tune Book; Page 3

Gräfenberg - Johann Krüger (15981662) - G Major 28
Harington - Henry Harington (1727-1816) - E Major 28
Horsley - William Horsley (1774-1858) - E Major 29
Huddersfield - M. Madan (1726-90) - E Major 29
Irish - Anon (published Dublin 1749) - F Major 30
Jackson - Thomas Jackson (1715-81)- D Major 30
Kent - Anon - G Major 31
Kilmarnock - Neil Dougall (1776-1862) - E Major 31
Land of Rest - Anon - F Pentatonic 32
Liverpool - Robert Wainwright (1748-62) - E Major 32
Lloyd - C Howard (1856-1927) - F Major 33
London (New) - D Major - Anon, Scottish Psalter 1635 33
Lydia - Thomas Phillips? (1735-1807) - F Major 34
Manchester New - Richard Wainwright (1758-1825) - E Major 34
Manoah - Anon? - G Major 35
Martyrdom - Hugh Wilson (1766-1824) - G Major 35
Mear - Aaron Williams (1731-1776) - F Major 36
Morven - R. A Smith (1780-1829) - E Maj Pen. 37
Experimental version with pentatonic harmonies:- 37
Naomi - Hans Nägeli (1773-1836) - D Major 38
arr Lowell Mason (1792-1872) 38
Nativity - Henry Lahee (1826-1912) - B Major 38
New 56th - Anon - F Major 39
Newbury - Anon (English Trad) - E Major 39
Newton - Thomas Jackson (c 1715-1781) - B Major 40
Norge - Anon (Norwegian Trad) - C Major 40
Orlington - John Campbell (1807-60) - C Major 41
Palestrina - Giovanni da Palestrina (c1525-94) - F Major 42
Peterborough - Ralph Harrison (1748-1810) - G Major 42
Richmond - Thomas Haweiss (1734-1820) - G Major 43
adapted Samuel Webbe (1770-1834) 43
St Anne - Dr Croft? (1678-1727) - C Major 43
St Chrystostom - The Rev W. H. Havergal (1793-1870) - D Major 44
St David’s - Anon (from Ravenscroft) - F Major 44
St Flavian - Anon (English Psalter 1562) - F Major 45
St Fulbert - Henry Gauntlett (1805-76) - D Major 45
St James - R Courteville (1677-1772) or Dr Croft (1678-1727) - C Major 46
St Lawrence - R. A. Smith (1780-1829) - E Major 46
St Magnus - Jeremiah Clark (c1659-1707) - G Major 47
St Peter - Alexander Reinagle (1799-1877) - E Major 47

Tune Book; Page 4

 St Saviour - F. G. Baker (1840-1908) - C Major 48
St Stephen - Rev William Jones (1726-1800) - G Major 48
St Thomas - Anon (Ashworth’s Collection c1760) - A Major 49
Salzburg - Michael Haydn (1736-1806) - E Major 49
Stockton - Thomas Wright (1763-1829) - E Major 50
Stracathro - Charles Hutcheson (1792-1860) - D Major 50
Stroudwater - Anon (Wilkin’s Psalmody 1730) - A Major 51
University - Dr John Randall (1715-99) - C Major 51
Warwick - Samuel Stanley (1767-1822) - D Major 52
Westminster New - James Turle (1802-82) - C Major 52
Westminster Old - Anon (see below) - G Major 53
Wetherby - Samuel Wesley (1810-76) - D Major 53
Wiltshire - G. T. Smart (1776-1867) - B Major 54
York - Anon - F Major 54
Common Metre (CM) - Minor 55
Bangor - William Tans’ur (1699?-1783) - C Minor 55
Bristol (Playford) - John Playford (1623-86) - G minor 55
Burford - Anon - G Minor 56
Cambridge Old - Anon (from Playford and possibly earlier) - A Minor 56
Caroline - Hugh Wilson (1766-1824) - G Minor 57
Crowle - M Greene (1696-1755) - F Minor 57
Hereford - Canon F. A. G. Ouseley (1825-1889) - A Minor 58
House of the Rising Sun - Trad Anon - E Minor 58
Litchfield - source unknown - A Minor 59
or Worcester No 2 59
Manchester Old - Anon (Playford) - G Minor 59
Morning Song - believed Anon but see below - Gmi 60
Norwich - Ravenscroft’s Psalter 1621 - E Minor 60
Old 1st - Anon - E Minor? 61
Three part version 61
102nd - Anon - A Minor 62
Oxford Old - Anon - A Minor 62
St Kilda - W. R. Broomfield (1826-88) - E Minor 63
St Mary’s - Prys’s Psalter 1621 - D Minor. 63
St Nicholas - Holdroyd’s Spiritual Man’s Companion 1753 - E Minor 64
Solemnity - Anon (? James Green c 1724) - A Minor 64
Thompson or Dunstan Tune - Anon - E Minor 65
Walsall - Anon (Anchor Collection c1720) - F Minor 65
Windsor (Dundee) - G Kirbye ? C16 - A Minor 66
Worcester - Thomas Tomkins (1572-1656) - E Minor 66
Common Metre (CM) - Other modes 67
Martyrs - Anon, Scottish Psalter 1614 - D Dorian 67
Double Common Metre (DCM) 68

Tune Book; Page 5

Bethlehem - C. E. Willing (1830-1904) - G Major 68
Bridegroom - Sir George MacFarren (1813-87) - C Major 69
Castle Rising - The Revd F. A. J. Hervey C.V.O. (1846-1910) - E Major 70
Christmas Carol - Sir Henry Walford Davies (1869-1941) - F Major 71
Derwentwater’s Farewell - Anon - G Major 72
Ellacombe - Anon? - B Major 73
Falan Tiding - Tyrolean Folk Tune - G Major 74
First Mode Melody - Thomas Tallis (c 1510-85) - F Minor 75
Great Milton - Anon (see below) - G Major 76
Kirkstall - James Shaw (1842-1907) - E Major 77
Lamentation - from Playford but recorded at least to 1561 - G Minor 78
McGranahan - James McGranahan (1840-1907) - F Major 79
Old 3rd - Anon, from Playford - G Major 80
Old 18th - Anon - A modal 81
Old 22nd - Anon - E Major 82
Old 29th - Anglo-Genevan Psalter 1556 - D Major 83
Old 38th - Anon, from Playford - G Minor 84
Old 41st - after a anonymous tune in Playford - E Minor 85
Old 44th - Anon (Anglo-Genevan Psalter 1556) - A Major 86
Old 46th - Anon (From Playford) - G Major 87
Old 61st - Anon (from Playford) - E Minor 88
Old 68th - Anon - G Major 89
otherwise Naseby - from Anglo-Genevan Psalter of 1556 89
Old 71st - Anon - A Minor 90
Old 81st - Anon, Day’s Psalter 1562 - F Major 91
Old 81st - simpler version in E Major 92
Old 86th - Anon (from Playford and possibly written by him) - A Major 93
Old 103rd - Anon (apparently first recorded 1557) - G Major 94
Old 107th - Louis Bourgeois (1510-c1560) - D Minor 95
Old 116th - Anon (from Playford) - G Major 96
Old 119th - Anon (recorded from at least 1558) - E Minor 97
Old 132nd or Veni Creator - Anon (earliest record Geneva Psalter 1561) - D
Minor 98
Old 137th or Usk - Anon (earliest record 1557) - G Major 99
Old Benedictus - Anon (at least as early as 1560) - A Major 100
Old Magnificat - Anon - G Minor/Modal 101
Penmaenmawr - Sarah Geraldine Stock (1838-98)- A Major 102
Petersham - C. W. Poole (1828-1924) - D Major 103
St Matthew’s - Dr Croft (1678-1727) - C Major 104
Selwyn - James Tilleard (1827-1876) - E Major 105
Sunninghill - George Elvey (1816-93) - C Major 106

Tune Book; Page 6

 Tannenbaum - Anon/Trad - G Major 107
Third Mode Melody - Thomas Tallis (1515-85) - E Phrygian 108
Tramps and Hawkers - Anon - G Major/E Minor
109
Vox Dilecti - J. B. Dykes (1823-76) - G Minor and
Major 110
Wainwright’s 84th - John Wainwright (1723-68)? - A Major 111
Wengen - Sir Henry Walford Davies (1869-1941) - G Major 112
Worship - Sir Richard Stewart (1825-94) - E Major 113
Yattendon (No 15) - Christopher Tye (c1508-72) - G Major 114
arranged and adapted by H. E. Wooldridge (1845-1917) 114
Fuguing Tunes, CM 115
Antioch - G F Handel (1685-1759) - D Major 115
Cranbrook - Thomas Clark (1775–1859) - D Major 116
Lyngham - T Jarman (1776-1861) - G Major 118
Lyngham standard version 118
Lyngham alternative version 119
Northrop - Abraham Northrop (1863-1939) - C Major 120
Otford - Anon - G Major 121
Shepherds Arise - Anon/Trad - G Major 122
Wiltshire - J Stephenson (c1723-1810) - C Major 123
Long Metre (LM) Major 124
Ach bleib bei uns - Seth Calvinius (1556-1615) - G Major 124
Angel’s Song - Orlando Gibbons (1583-1625) - F Major 124
Breslau - Anon arranged by Mendelssohn (1809-47) - G Major 125
Dominus Probasti - Alfred Pettet (c1785-c1845) - G Major 125
Festus - Johann Anastasius Freylinghausen (1670-1739) - D Major 126
Fulda - William Gardiner (1770-1853) - B Major 126
Hereford (Wesley) - S. S. Wesley (1810-76) - E Major 127
Leighton - Sir William Leighton c 1565-1622 - G Major 127
Morning Song - François Barthélemon (1741-1808) - G Major 128
Octavius - Joseph Emerson Sweetser (1817-73) - D Major 128
Old Hundredth - L Bourgeois (c1510-1561) - A Major 129
Rivaulx - J. B. Dykes (1823-76) - D Major 129
Rockingham - Anon adapted Edward Miller (1731-1807) -E Major 130
St Bartholomew - Henry Duncalf (? - 1762) - C Major 130
St Olave’s - Mary Hudson (1766-1801) - F Major 131
St Pancras - Jonathan Battishall (1738-1801) - D Major 131
Tallis’s Canon - Thomas Tallis (c1505-85) - G Major 132
as arranged by Thomas Ravenscroft 132
Truro - Thomas Williams (1789) - D Major 132
Waly Waly - Anon/Trad this arrangement by the author - B Major 133
Wareham - William Knapp (1698-1768) - B Major 133

Tune Book; Page 7

 Warrington - Ralph Harrison (1748-1810) - C Major 134
Winchester New - Anon? c 1690 - B Major 134
adapted Henry Havergal (1793-1870) 134
Long Metre (LM) Minor ¶ 135
Babylon Streams - Thomas Campion (c1575-1619) - E Minor 135
Llef - Griffith Hugh Jones (Gutyn Arfon) (1849-1919) - D Minor 135
Long Metre (LM) Other Modes 136
Geneva 131 - Louis Bourgeois (c1510-1560) - E Phrygian 136
Double Long Metre (DLM) 137
Bucklebury - Anon (Harmonia Perfecta 1730) - D Major 137
Haydn’s Creation - Josef Haydn (1732-1809) - B Major 138
Kingsbridge - Aaron Williams (1731-1776) - A Minor 139
Wittringham’s Old 51st - Anon (Playford?) - E Minor 140
Short Metre (SM) Major 141
Carlisle - Charles Lockhart (1745-1815) - E Major 141
Franconia -Anon arranged by Revd W. H. Havergal (1793-1870) - E Major 141
Golden Hill - Ananias Davisson (1780-1857) - F Major
(Pentatonic) 142
St Michael (Old 134th) - Louis Bourgeois (c1510 - c1561) - G Major 142
Shirland - Samuel Stanley (1767-1822) - G Major 143
Trentham - Robert Jackson (1842-1914) - F Major 143
Short Metre (SM) Minor 144
St Bride - Samuel Howard (1710-82) - G Minor 144
Southwell - W. Damon (c1540-1591) - E Minor 144
Wirksworth - Chetham’s Psalmody 1718 - F# Minor 145
Double Short Metre (DSM) 146
Diademata - George Elvey (1816-1893) - E Major 146
Dinbych - Joseph Parry (1841-1903) - C Minor 147
Ich halte treulich still - J. S. Bach (1685-1750) - D Major 148
Llanllyfni - John Jones
(Talysarn) (1797-1857) arr David Jenkins (1849-1915) - E Minor 149
Leominster - George Martin (1828-81) - D Major 151
Arr Arthur Sullivan (1842-1900) 151
Old 25th - Anon (Anglo-Genevan Psalter 1558) - G Major 152
Welcome Voice - L Hartsough (1828-1919) - E Major 153
Other Metres 154
148th Metre - 6.6.6.8.8. 154
Croft’s 136th - Dr W. Croft (1678-1727) - C Major 154
Darwell’s 148th - The Revd J Darwell (1731-89) - D Major 155
Gopsal - G. F. Handel (1685-1759) - C Major 155
Rhosymedre - Rev J. D. Edwards (1805-85) - A Major 156
6.6.6. 6.6.6. 157
Laudes Domini - J Barnby (1838-96) - C Major 157

Tune Book; Page 8

 Old 120th - Anon (see below) - D Major 157
667 677 158
Nunc Dimittis - L Bourgeois (c1510-1560) - F Major 158
7.7.7.7.D 159
Aberystwyth - Joseph Parry (1841-1903) - E Minor 159
8.6.8.6.8.8. 160
O Jesu Warum - J. B. Riemann (1702-49) - F Major 160
La jeune Pucelle - Anon, French Trad - G Minor 161
8.7.8.7. 162
St Columba - Irish Traditional - E Major 162
Suo Gân - Welsh Traditional - G Major 162
8.7.8.7 D 163
Engadine - Anon - D Minor 163
8.7.8.7 D (Iambic) 164
Golden Sheaves - Arthur Sullivan (1842-1900) - G Major 164
10 10 10 10 165
Birmingham - Francis Cunningham (by 1834) - E Major 165
Ellers - E. J. Hopkins (1818-1901) - G Major
165
harmonised by Arthur Sullivan (1842-1900) 165
Farley Castle - Henry Lawes (15981662) - D Major 166
Old 110th (Genevan) - Louis Bourgeois (c1510-1560) - A Minor 166
Song 4 - Orlando Gibbons (1583-1625) - C Minor 167
Song 22 - Orlando Gibbons (1583-1625) - F Major 167
10 10 11 11 168
Hanover - Dr W Croft (1678-1727) - G Major 168
Old 104th - Ravenscroft’s Psalter - F Major 168
11. 11. 11. 11. 169
Columcille - Anon, Irish Trad - A Minor 169
O Quanta Qualia - La Feillée (late C18) - G Major 170
St Denio - John Roberts (Ieuan Gwllt) (1822-77) - G Major 171
She moved through the Fair - 11 11 11 11 - Anon Trad - G Mix 172
Six line tunes 173
7777 77 173
England’s Lane - Trad adapted by Geoffrey Shaw (1879-1943) - B Major 173
88.88.88 174
Geneva 117th - Louis Bourgeos (c1510-c60) -B Mixolydian 174
Old 112th, otherwise Vater Unser - Anon - C Minor or D
Minor 175
Bach Version in four parts, provided here for Psalm 112. 175
Three part version from Playford, provided for the Lord’s Prayer. 176
St Petersburg - D Stepanovitch Bortnianski (1752-1825) - C Major 177
South Cerney - Sir William Hadow C.B.E. (1859-1937) - E Major 178

Tune Book; Page 9

 Stella - H.F. Hemy (1818-88) - E Major 179
Surrey - Henry Carey (1690-1743) - F Major 180
Sweet Sacrament - Anon (1826 or earlier) - D Major 181
8.8.8. 8.8.8 182
Jervaulx Abbey - Rev Alexander Galloway (1847-1926) - E Major 182
(Genevan Psalm 84) 182
Knowle - Charles Kettle (1833-1895) - E Major 183
Monmouth - Gabriel Davis (c1768 - 1824) - E Major 184
Raleigh - Walter Gilbert (1829-1910) - B Major 185
St Sulpicius - Arthur H Brown (1830-1926) - D Major 186
Whitby - Anon - F Major 187
from Houldsworth’s Edition of Cheetham’s Psalmody 187
8.8.8. 8.8.8. D 188
Old 113th - Anon - E Major 188
10. 10. 10. 10. 10. 10. 189
Song 1 - Orlando Gibbons (1583-1625) - G Major 189
13. 13. 13. 13. 13. 13. 190
Thaxted - Gustav Holst (1874-1934) - B Major 190
’Peculiar’ and Unique Metres 191
6 7 6 7 - Eudoxia - Revd Sabine Baring-Gould (1834-1924) - G Major 191
Monkland - 7.7.7.7. - John Antes
(1740-1811) - C Major 191
simplified by John Wilkes (? - 1882) 191
Aurelia - 7.6.7.6.D - S. S. Wesley (1810-76) - E Major 192
Gute Bäume Bringen - 6.5.6.5.D - Peter Sohr (c1630-c1692) - D Minor 192
King’s Lynn - Trad - Nominally
7.6.7.6D but irregular for Pilgrim Psalm (122) 193
Mit Freuden zart - 8 7 8 7 4-4 4-4 7 - Anon - E Major 193
Old 50th - 10.10.10.10.11.11. - Anon - G Minor/Modal
194
Old 121st - 8.6.6.8.8.8 - Anon (see below) - G Major 195
Old 122nd - 6.6.8.6.6.8.D - Louis Bourgeois (c1510-61) - E Major 196
Old 124th - 10.10.10.10.10. - Louis Bourgeois (c1510-1550) - F Major 197
Old 125th - 8.8.8.8.6.6. - Anon - F Major 198
Old 126th - 12.12.12.12.10.10. - Anon - E Minor 199
Slievenamon - Anon - G Major 200

Tune Book; Page 10

 Common Metre (CM) - Major

Abbey -Anon (Scottish Psalter 1615) - G Major

This is a classic general purpose tune that is provided for Psalm 4. It could benefit for some
ornamentation.

Abridge - Isaac Smith 1734-1805 - D Major

This will be a very familiar tune, since it is used for Be thou my guardian and my guide and is in almost
every hymn book. It is provided for Psalm 16 and is a good general purpose tune with an attractive
flowing melody. It would also be suitable for Pss 85, sections of 119 and 127. P&G has put together
an attractive more florid version in E .

Tune Book; Page 11

Arnold - Samuel Arnold (1740-1802) - E Major

This is the tune provided for Psalm 115. P&G provides a different version of the same tune for that
psalm, transposed from F to D. The version below comes from the Scottish stable door psalter. It is
an attractive tune, very much of its period. There are a number of psalms for which it would be
suitable.

Ballerma - François Barthélémon (1741-1808) - A Major

Although the melody of this tune is consistent across its various examples, there is no unanimity
about what rhythm to use. This tune is attributed variously to François Barthélémon, ‘arranged by
Robert Simpson 1790-1832’ and in the English Hymnal ‘probably Spanish melody’. The melody is
pentatonic, which could mean that whichever of them is responsible, he harmonised an existing ‘Trad’
tune. If one were to stick rigidly to that, one would also omit all G and D flats from the other three
parts. It may also explain why this tune has been particularly popular in Scotland, which is where its
association with Psalm 40 comes from. It is provided for that psalm but is also suggested for vv 7b-12
of Psalm 2.

Tune Book; Page 12

Barby - William Tans’ur (1706-83) - G Major

This is the tune provided for Psalm 108, but would be suitable for many other cheerful psalms. It can
be ornamented in different verses, as, for example, by playing the tied crotchets in the penultimate
bar as Scotch snaps, or adding additional grace notes.

Beatitudo - J. B. Dykes (1823-76) - G Major

This is an attractive melodic tunes which is provided for the Beatitudes in Book 6. It has been used
for numerous hymns, but despite its title, does not seem previously to have been used for a version
of the Beatitudes.

Tune Book; Page 13

Belmont - William Gardiner (1770-1853) - G Major
reharmonised by Prof Sir Robert Stewart (1825-94)

This is another classic tune which is in the Scottish stable-door psalter and many hymn books. It is
provided for the CM version of Psalm 127 but is suitable for many psalms. The settings of the Scots
version is different from the one below. It may be Gardiner’s original version. The Stewart setting
seems to be more widespread elsewhere.

Beulah -G. M. Garrett (1834-97) - E Major

This is a general purpose tune which is suitable for many psalms and is provided for Psalm 120.

Tune Book; Page 14

Bishopthorpe - Jeremiah Clark (1670-1707) - G Major

This attractive tune is probably most familiar as Immortal love for ever full. It should be played in a
lyrical flowing manner. It has been used for and is suggested for Psalm 15, but will be suitable for a
number of psalms.

Bristol (Ravenscroft) - Thomas Ravenscroft (1592-1635?) - G Major

This exuberant tune is usually associated with Hark the glad sound, and is in most hymn books. It is a
good general purpose psalm tune, that expresses yearning. It is provided for Psalm 129. It first
appears in Ravenscroft’s psalter of 1621, though whether written or collected by him is unclear. It is
much more widely known than the other tune with the same name by Playford which is in the Minor
section of this book.

Tune Book; Page 15

Bromsgrove - Anon (before 1789) - B Major
This exuberant tune comes from Psalmodia Evangelica of 1789 at the latest, and is very much of that
era in style. It feels as though it should have, or once might have had, repeats. There are at least two
other unrelated CM tunes with the same name. There is an excellent but different arrangement of
this tune in P&G where it is in C Major and provided for Psalm 105 NV. It could be used for that
Psalm. Here it is provided for ‘God is my Salvation’ in Book 6.

Capel - ‘English Trad’ - E Major

This is the cheerful tune provided for Psalm 128, the psalm appointed for weddings, though for use at
a wedding, one might want to choose a more ornate fuguing tune. Although its description in most
sources is some variant of ‘English Traditional’, it is possible that it might have been Matilda Edwards
(1836-1919) who arranged it as a hymn.

Tune Book; Page 16

Chevy Chase - Anon - G Major

This is a classic ballad tune, provided as an alternative for Psalms 105 and 106, which have something
of the flavour of two ancient ballads. Ballads have been sung in a number of ways, but they are at
root, sung narration, the tune fitted round the words. Chevy Chase in its various versions runs to
over 30 verses, and probably dates from the Fifteenth century. It has undoubtedly been sung to many
tunes but this one Bruce and Stokoe in Northumbrian Minstresley of 1882 describe as “the tune
which has been identified and sung and played to Chevy Chase by all Northumbrian minstrels and
pipers without exception from time immemorial”. Chords have been added but are not really
necessary.

Chorus Angelorum - Arthur Somervell (1863-1937) - E Major

This the tune provided for Psalm 72, which is about kingship. It has been used for a number of hymns.
There are a number of other psalms for which it is suitable.

Clifton - J. C. Clifton (1781-1841) - E Major

This is a pleasant but not well known general purpose CM tune. I have not been able to find out
anything further about its history.

Tune Book; Page 17

Colchester - Henry Purcell (1659-95)? - C Major

This is an excellent and inadequately known CM tune that is provided here for Psalm 105.
hymnary.org attributes this tune to Purcell, but the Scottish Psalter to Tans’ur’s Harmony of Zion of
1735. There are significant differences between the rhythm and harmonies of their respective
versions.

Contemplation - F. A. G Ouseley (1825-89) - E Major

This is a lyrical general purpose CM tune which would suit a number of psalms. It is provided for the
CM version of Psalm 111 and suggested as an alternative for Psalm 71, normally DCM, if one only
wanted to sing a few verses. It is also a possible tune for Psalm 83.

Tune Book; Page 18

Crediton - Thomas Clark (1775-1859 - C Major

This is the older version of this tune and not the setting by Martin Shaw in some hymn books. It is
provided as the ‘plain’ tune for Psalm 8.

Crimond - Jessie Irvine (1836-87) - F Major

This is the familiar tune in England for the Scottish psalter version of Psalm 23, widely associated
with funerals. The Scottish metrical psalter though, recommends Martyrdom or Wiltshire, also both
in this tune book, as is Martyrs which has been used for this psalm. The pipe tune Bays of Harris by
Rev Alex Muir (1940-2010) has also become linked to these words, but is still in copyright and so not
provided here.

Tune Book; Page 19

Crucis Victoria - M. B. Foster (1851-1922) - D Major

This is the tune provided for Psalm 35. It is a suitable but rather unremarkable general purpose CM
tune, particularly as it is not associated with any well known hymn. It sometimes appears in E Major.
A very small ornamentation has been added.

Dalehurst - F Major - Arthur Cottman (1842-1879)

This tune is suggested as an alternative single rather than double metre tune for Psalm 3, but would
undoubtedly suit some other psalms.

Tune Book; Page 20

Devizes - Isaac Tucker (1761-1825) - G Major
with repeating last line

This is the tune provided for Psalm 53. P&G provides a different setting of the same tune with inter
alia the air in the tenor line, for the TB version of the same psalm. This tune appears in a number of
C19 hymn books with various very minor variations. This is a combination of features from more
than one of them. In a congregational context, it is important to give a strong melodic lead,
particularly in the first line.

Dorking - Anon - G Major

This tune is described in a Methodist Hymnal from 1933 as ‘English Traditional Melody’, where it is
linked to some words by George MacDonald. As far as I am aware, it appears nowhere else. I suspect
it might at some time have been a dance dune. Being wholly diatonic, it should work well on the
melodeon. It has to be admitted that in its original form, with no dotted notes, it does sound a bit
like the sort of tune to which primary school children march in and out of their morning assembly. I
have attempted to make this a little more folkloric, by dotting some notes and adding a few passing
ones. There is no reason why anyone using this tune should follow my dotting. Indeed, there would
be a lot to be said for changing the dotting between verses, as for example, in later verses, dotting
the second and fourth notes. I suspect there’s a much better folk version crying to get out.

Tune Book; Page 21

Dublin - Anon? - G Major

This tune comes from the Bristol Tune Book 3rd Edition where it is unattributed, but some sources
suggest it may have been composed by J Stevenson, 1762-1833. It should be played in a fluid style.
This is the recommended tune for Psalm 11.

Dundee - Scottish psalter of 1615 or earlier- E Major

(or French)

This is the tune usually known as Dundee, but see note on Windsor below. it is also in Ravenscroft of
1621. In Scotland, Windsor is known as Dundee and this tune as French. It was anciently a standard
tune. It is provided for Psalm 109 which is rarely sung, and for ‘The people that in darkness sat’ in
Book 6. It has been linked to those words since at least 1861.

Tune Book; Page 22

Eagley - James Walsh (1837-1901) - B Major

This is the tune provided for the CM version of Psalm 67. I know nothing about its provenance apart
from the dates of the composer, which indicate that it is out of copyright.

Eardisley - Anon (English Trad) - E Major

I have been able to discover little about this tune, except that it is alleged to come from
Herefordshire, and to be related to the tune from which Sullivan composed Noel, the tune to It cam
e upon a midnight clear. Presumably it is called after the place where it was collected. It is provided for
Hosea’s Song in Book 6 but would probably suit a number of psalms. It is in E Major.

Tune Book; Page 23

Effingham - Anon B - Major

This tune comes from Musikalisch Handbuch, Hamburg of 1690. It is provided for the CM version of
Psalm 110.

Tune Book; Page 24

Evan - The Rev W. H. Havergal (1793-1870) - A Major

This tune has a curious history. There are two versions of it here. The first is as the Rev W. H
Havergal wrote it. This simple tune would suit a number of psalms. It is subtler than it looks but
needs the musician’s instincts to draw from it what is there. In that form it is suggested as an
alternative tune to For you Christ suffered in Book 6. The North American arranger Lowell Mason
(1792-1872) then converted it into triple time, for once quite successfully. With that timing, it
expresses the flavour of Who is this from Edom? also in Book 6. Alas, though, his original setting is
embarrassingly trite. So the second version here is the triple time version but with Havergal’s
harmonies restored. It should be played with a deliberate quality and not too fast.

Original Havergal version

Triple time version used for ‘Who is this from Edom?’

Tune Book; Page 25

Farrant - Richard Farrant (c1530-80) - G Major

This is provided as the ‘ordinary’ tune for the CM version of Psalm 47, written to go to the fuguing
tune Old Fosters that is not in this collection. It is a general purpose Psalm tune, also suitable inter
alia for sections of Psalm 119.

Glasgow - Anon - G Major

(Moore’s Psalm Singer’s Pocket Companion 1756)

This is a classic Scottish tune, provided for Psalm 94.

Tune Book; Page 26

Glastonbury - Anon - A Major
with DBT alterations

This is a version of a tune from Playford, which is the only tune I have found that seems to have had
any historic link with Psalm 54. The original is in three parts and dull. This is my own attempt to add
an alto part, to make the rhythm more interesting, and to add some harmonic tension to go with
what are not really major words.

Gloucester - Anon (Ravenscroft Psalter 1621) - F Major

This tune is recommended by Playford for Psalm 9, but is a convenient tune for any psalm that has no
tune particularly linked to it.

Tune Book; Page 27

Gräfenberg - Johann Krüger (15981662) - G Major

This tune is suggested for Psalm 7 as an alternative to the three part tune Worcester.

Harington - Henry Harington (1727-1816) - E Major

This delightful lyrical tune is often used by the Scots for Psalm 84. The melody fits within the octave.
It could be transposed into D Major for instruments that prefer sharp scales. It is provided for Psalm
121.

Tune Book; Page 28

Horsley - William Horsley (1774-1858) - E Major
This is the tune for There is a Green Hill far away and is so intimately linked with that well known and
loved hymn that it would normally go against the policy of this collection to include it as a suggestion
for anything else. However, quite unexpectedly, I found that, because of its subject matter, the
Canticle For you Christ suffered in Book 6, originally set to one of the versions of Evan, insisted on
being put to this tune.

Huddersfield - M. Madan (1726-90) - E Major

This is the tune provided for Psalm 147, part of which is on a harvest theme, but would be suitable
for many other thankful psalms.

Tune Book; Page 29

Irish - Anon (published Dublin 1749) - F Major

This is an attractive CM tune that is in many hymn books with small differences as to the degree of
ornamentation. It is provided for Psalm 125. It often appears in E .

Jackson - Thomas Jackson (1715-81)- D Major

This is a straightforward tune which could be used for a number of psalms. It has been used for
Psalm 63, possibly because the rising cadences in the second and third line are thought to suit a
celebration of the morning.

Tune Book; Page 30

Kent - Anon - G Major

This is a general purpose CM tune which is provided for Psalm 101. It comes from Havergal’s
Psalmody, where it is simply described as ‘Old Church Psalmody’. It has had a few small alterations,
the main one being to the rhythm of the last half line.

Kilmarnock - Neil Dougall (1776-1862) - E Major

This lyrical melody is pentatonic, containing no fourths or sevenths, though the other three parts are
not. It is possible to re-set them so that they are all pentatonic, but the result is not very persuasive.
It might, though, also work well re-cast as a simple lilting melody over an acoustic guitar. It is
provided for Psalm 131.

Tune Book; Page 31

Land of Rest - Anon -F Pentatonic

The melody for this tune is pentatonic and so are most of the harmonies. hymnary.org describes it
as ‘an American folk tune with roots in the ballads of northern England and Scotland’ and as found in
the shape note tradition. It is suggested in this collection for Psalm 64.

Liverpool - Robert Wainwright (1748-62) - E Major

This is an attractive tune that would fit a great many psalms. It is provided for Ps 91, and suggested as
an option for Pss 73, 78 and 94.

Tune Book; Page 32

Lloyd - C Howard (1856-1927) - F Major

This attractive tune is provided for the second version of Psalm 23.

London (New) - D Major - Anon, Scottish Psalter 1635

There are two tunes called London. This is the more familiar one. Playford distinguishes between the
two by calling one London and the other London New. London Old has gone out of use and as far as
I'm aware only exists as a three part tune. London New remains current and is in most hymnbooks,
usually for God moves in a mysterious way. P&G has an attractive setting with more florid
ornamentation, but this is the ordinary version. It is provided for Psalm 85.

Tune Book; Page 33

Lydia - Thomas Phillips? (1735-1807) - F Major

This is the lively tune provided for both versions of Psalm 133, the Fellowship Psalm. It is likely to be
familiar as the tune for Jesus the name high over all. The last line repeats. Although it is more often
attributed to Thomas Philliups, this setting comes from Houldsworth’s Cheetham’s Psalmody, where
it is attributed to ‘B Cole’.

Manchester New - Richard Wainwright (1758-1825) - E Major

Almost every version of this widespread tune is slightly different, either as to harmonisation or which
passing notes to include or omit. This example draws on at least three different versions. It is
provided for Psalm 13. P&G recommends its version for the last section of Psalm 119.

Tune Book; Page 34

Manoah - Anon? - G Major

There is a mystery as to who wrote this tune. It is not widely known but seems to have been
attributed inter alia to H. W. Greatorex (1816-1858), Franz Joseph Haydn (1732-1809) and
Gioacchino Rossini (1792-1868), or possibly even to contributions from more than one of them. It is
provided for Psalm 36, but could be used for many other psalms. It should be treated lyrically.

Martyrdom - Hugh Wilson (1766-1824) - G Major

This is the familiar tune for Psalm 42 As pants the hart, for which it is provided in this collection. It is
however suitable for and has been used for other psalms. It is also provided for the CM version of
the Nunc Dimittis.

Tune Book; Page 35

Mear - Aaron Williams (1731-1776) - F Major

This version comes from hymnary.org, and is alleged to have been re-arranged by William Knapp
(1698-1768). It is also said to derive from a North American folk tune, which seems unlikely bearing
in mind neither composer linked to it had any connection with America. It is more expressive than it
looks and should be handled with fluidity. It is provided for Psalm 2.

Tune Book; Page 36

Morven - R. A Smith (1780-1829) - E Maj Pen.
This is a Scottish tune provided for Psalm 74. The tune is pentatonic, containing no fourths or
sevenths but as composed has conventional harmonies. Underneath it is an experimental version
with the harmonies adjusted to avoid all fourths and sevenths.

Experimental version with pentatonic harmonies:-

Tune Book; Page 37

Naomi - Hans Nägeli (1773-1836) - D Major
arr Lowell Mason (1792-1872)

This is suggested as an alternative tune for Psalm 31. In some sources it seems to be called Brecon,
but there is another tune called Brecon which sounds similar. This version came via hymnary.org
with some small alterations. One would like to know whether the original was better before Mason
tampered with it. His rhythm is attractive but, as so often with Mason, his harmonies are pedestrian.

Nativity - Henry Lahee (1826-1912) - B Major

This is the tune usually associated with the hymn Come let us join our cheerful songs and is suitable for
any occasion when one is looking for a cheerful tune. It is provided for Psalm 19. This setting in in
B but in some hymn books it is set in C.

Tune Book; Page 38

New 56th - Anon - F Major

This lively and attractive tune comes from Urania (Urania: or a choice collection of psalm-tunes,
anthems, and hymns), but I have been able to find anything more about it. Its C18 style would be
more appropriate to name it as New 56th rather than Old 56th. In the original, the air is in the tenor.
Here the air and the original treble line have been swapped. Following Urania, it is provided for Psalm
56.

Newbury - Anon (English Trad) - E Major

This is a tune that has been used for a carol by Laurence Housman, but I have not been able to find
out anything more about its history.

Tune Book; Page 39

Newton - Thomas Jackson (c 1715-1781) - B Major

This is the tune provided for Psalm 75. It is based on a version in a late C19 American hymn book at
hymnary.org with the addition of some features from what is the same tune, although unnamed in
P&G.

Norge - Anon (Norwegian Trad) - C Major

This tune comes from an article by Gregory Morris in The Reader, Summer 2010, where he expressly
stated it to be without copyright. I know nothing more about its history. It is provided for Jesse’s
Root in Book 6.

Tune Book; Page 40

Orlington - John Campbell (1807-60) - C Major

This is a Scottish tune, with a repeating third line. It is provided for the CM version of Psalm 98,
which itself was an alternative Canticle for the Magnificat in the BCP Evening Prayer.

Oswald’s Tree - Walford Davies (1869-1941) - C Major

The title is a reference to St Oswald king of Northumbria who was killed by Penda of Mercia in 642,
and after whom Oswestry is named. Slightly unusually, the melody does not end on the tonic but the
major third. This tune is provided for Psalm 92.

Tune Book; Page 41

Palestrina - Giovanni da Palestrina (c1525-94) - F Major

This is an adaptation from Palestrina, but I have been unable to find any details as to by whom. It has
been in Scottish stable-door psalters since at least 1906. It is also the basis for the tune by W. H.
Monk (1823-89) in a different metre for The strife is o’er, the battle done.

Peterborough - Ralph Harrison (1748-1810) - G Major

This engaging tune from 1786, very characteristic of its period, is provided for Psalm 52. It is also
provided for the middle section of the Te Deum. Many C19 versions of this tune homogenise the
rhythm, which destroys its character. Little seems to be known about the composer apart from his
dates.

Tune Book; Page 42

Richmond - Thomas Haweiss (1734-1820) - G Major
adapted Samuel Webbe (1770-1834)

This is well known as the tune for J. H. Newman’s Praise to the Holiest in the height but also used for
City of God, how broad and far. It is provided for the middle section of Psalm 118, a Hymn for Maundy
Thursday. It is very suitable for many other psalms.

St Anne - Dr Croft? (1678-1727) - C Major

This tune will be familiar as O God our help in ages past Watts’s version of the funeral Psalm, No 90,
familiar to everyone, being associated with Remembrance Sunday and funerals,. Although technically
in a Major key, in its stark austerity, it is also particularly suitable for Psalm 22 and for Good Friday. It
is attributed to Dr Croft, and virtually every version has various small differences. This version in in C
but it quite often appears in D.

Tune Book; Page 43

St Chrystostom - The Rev W. H. Havergal (1793-1870) - D Major

It is a sad but unsurprising reflection on the changes in taste over the course of the mid C19 that
this attractive tune appears in Havergal’s Psalmody 1871 p xix with the following comment,
“A single specimen of a great number of tunes, composed in earlier life by the Rev. W. H.
Havergal ; which, though melodious and much liked, were excluded from his " Hundred Psalm
and Hymn Tunes," because imperfectly accordant with the standards of riper years.”
It is not entirely clear whether these were the words of the Revd W. H. Havergal himself or his
daughter Frances Ridley Havergal. It is suggested as an alternative tune for the CM version of Psalm
150.

St David’s - Anon (from Ravenscroft) - F Major

This is one of the standard tunes from C17 psalters which is not in many modern hymn books. It is
perhaps unexciting compared with some other tunes and could do with some ornamentation but
provides a convenient general purpose tune. Playford offers it for Pss 95, 106, 147 and a CM version
of 43. The Scots suggest it for Pss 30, 31, 34 and 125. In this collection, it is provided for Psalm 59.

Tune Book; Page 44

St Flavian - Anon (English Psalter 1562) - F Major

This is an ancient standard psalm tune, that is in most hymn books. Anciently it seems to have some
sort of a link with Psalm 132. It is provided in this collection as the chorus for Psalm 62.

St Fulbert - Henry Gauntlett (1805-76) - D Major

This is the tune to Ye choirs of new Jerusalem. As it is well known, even though it is a bit dull, it is a
useful tune to draw upon. It is provided for Psalm 96.

Tune Book; Page 45

St James - R Courteville (1677-1772) or Dr Croft (1678-1727) - C Major

This version of this tune comes from Houldsworth’s Cheetham’s Psalmody, which is different from
the form usually found in modern hymn books, often linked to Thou art the way, to thee alone, which
was rewritten by W H Monk who compiled the first edition of Hymns Ancient and Modern.
Cheetham attributes this tune to Dr Croft, but most modern writers attribute it to Raphael
Courteville. It is provided for the CM version of Psalm 124 and linked to Psalm 19 and Psalm 80. It is
also provided for the last two verses of the Te Deum.

St Lawrence - R. A. Smith (1780-1829) - E Major

This is the tune by the Scottish composer R. A. Smith here provided for Psalm 106. For a narrative
psalm, in ballad metre (see notes on Psalm 105) this could be sung in a slightly ballad manner,
particularly as the melody of the first half line has a slightly ballad flavour.

Tune Book; Page 46

St Magnus - Jeremiah Clark (c1659-1707) - G Major

This is suggested for Psalm 48, for various versions of which it has been used. It will be familiar to
many as the tune often used for The head that once was crowned with thorns.

St Peter - Alexander Reinagle (1799-1877) - E Major

This tune is almost too familiar as the one linked to the hymn How sweet the name of Jesus sounds to
be used for anything else. It is however, an excellent lyrical tune, which should not be played with too
rigid compliance with the lengths of notes in the script. Interestingly, it was originally composed for
Psalm 118.

Tune Book; Page 47

St Saviour - F. G. Baker (1840-1908) - C Major

This is the tune provided for New Jerusalem in Book 6.

St Stephen - Rev William Jones (1726-1800) - G Major

This is a classic CM tune which has been linked to many hymns. It is traditionally linked to the
Funeral Psalm, Psalm 90. This version comes by courtesy of P&G and is slightly better than the one
found in most hymn books.

Tune Book; Page 48

St Thomas - Anon (Ashworth’s Collection c1760) - A Major

This is a deceptively simple tune that is more subtle than it appears. It is provided for Psalm 26 but
there are many Psalms it would suit. Although the melody could be transposed into G, that would
give some very low notes on the bass line.

Salzburg - Michael Haydn (1736-1806) - E Major

This is an attractive tune from the younger brother of the more famous Haydn. It is provided for
Psalm 63, but there are a number of Psalms for which it is suitable. It is also suggested as an
alternative for Hosea’s Song in Book 6.

Tune Book; Page 49

Stockton - Thomas Wright (1763-1829) - E Major

This is the tune provided for Psalm 97.

Stracathro - Charles Hutcheson (1792-1860) - D Major

This is a classic Scottish tune, which is provided here for Psalm 66, but there are many other psalms
for which it is suitable

Tune Book; Page 50

Stroudwater - Anon (Wilkin’s Psalmody 1730) - A Major

This psalm is very popular in Scotland, but not well-known in England, which is curious since the
Stroudwater is in Gloucestershire. The Scottish psalter suggests it for Psalms 9, 46 and 93 (here in
DLM). It is also a great favourite in the Gaelic psalmody tradition, where it is hardly recognisable as
the same tune. Here it is provided for Jonah’s Prayer in Book 6, and suggested as an alternative for
Pss 9 and 46.

University - Dr John Randall (1715-99) - C Major

This is an attractive tune provided for Psalm 146. In 1794, John Randall published A collection of psalm
& hymn tunes, some of which are new & others by permission of the authors, with six chants and Te Deums,
calculated for the use of congregations in general.

Tune Book; Page 51

Warwick - Samuel Stanley (1767-1822) - D Major

This lively tune is provided for Psalm 33. Here it is in D Major, but Cheetham has a version is in E .
It is suitable for any cheerful psalm.

Westminster New - James Turle (1802-82) - C Major

This and the next tune are both usually known simply as ‘Westminster’ but are unrelated. Hence
here they are shown as ‘New’ and ‘Old’. This tune is linked in many hymn books to the hymn My God
how wonderful thou art. It is provided for Psalm 78 (see also York) and suggested as an alternative tune
for Psalm 40. It is also provided for the first section of the Te Deum.

Tune Book; Page 52

Westminster Old - Anon (see below) - G Major

There is a three part version of this tune in Playford. This version is based on that and a four part
version of the same tune in F Major in Urania with some small further alterations. It is provided for
the CM version of Psalm 76 but is a simple tune that would suit many psalms. There has been a
whisper of a suggestion that either the whole tune or the harmonisation might be by Orlando
Gibbons (1583-1625) but I have no idea what authority there is for this claim.

Wetherby - Samuel Wesley (1810-76) - D Major

This is an attractive and slightly wistful tune which would suit many psalms.

Tune Book; Page 53

Wiltshire - G. T. Smart (1776-1867) - B Major

Confusingly, there are two different tunes, both called Wiltshire and both linked to Psalm 34. This is
the straightforward and familiar one. The other is a very lively fuguing one by J. Stephenson, which is
in the fuguing section. This one has been used for a number of other psalms over the years including
Psalm 23. It often appears in A. There is an additional mystery about this tune, in that it is usually now
attributed to G. T. Smart, but a simpler version of what appears to be the same tune, also called
Wiltshire, appears in Cheetham. So it may be more correct to describe it as ‘Anon, this arrangement
by G. T. Smart’.

York - Anon - F Major

This tune goes back at least as far as the Scottish Psalter of 1615 and is reputed to have been
harmonised by John Milton (c1563-1647), father of the poet. It is recommended for both Psalm 14
and Psalm 53. It is one of the tunes that has been regarded as a standard one suitable to be used in
default of any better.

Tune Book; Page 54

 Common Metre (CM) - Minor

Bangor - William Tans’ur (1699?-1783) - C Minor

The jarring discord in the first chord is not a misprint and seems to be intentional. It is in almost all
versions. This is suggested for Psalm 12. It would also suit Psalm 55.

Bristol (Playford) - John Playford (1623-86) - G minor

This is an attractive minor tune from Playford, and alleged to be his own composition. It is not the
same as the more familiar tune of that name from Ravenscroft (see in Major section). He suggests it
for Psalms 6, 60, in a different metre in this collection, and 83, and it is allocated in this collection to
Psalm 83. For a long time, I thought no alto part existed but found one at hymnary.org. It is not clear
whether that part comes from Playford’s own pen or whether it has been added sometime during
the centuries since.

Tune Book; Page 55

Burford - Anon - G Minor

This version ultimately comes from Chetham’s Plsalmody of 1718, though some versions have
different harmonies and ornamentation. It is sometimes attributed to Purcell (1658-95) but on what
authority, I have been unable to discover. It is provided for Psalm 6 the first of the Pentitential Psalms.
It is also recommended as an alternative for Psalm 79 and would be suited for Psalm 26.

Cambridge Old - Anon (from Playford and possibly earlier) - A Minor

This is the tune provided here for the CM version of Psalm 51. It comes from Playford who also
recommends it for Ps 2, 10 36, 49, 62, 80 and 117. As far as I am aware, no modern hymn book still
uses it. In Playford, it only has three parts, and so here, a fourth part has been added. The bass line,
particularly, is a polyphonic melody, rather than an accompaniment, and should be treated as such.

Tune Book; Page 56

Caroline - Hugh Wilson (1766-1824) - G Minor

Hugh Wilson composed Martyrdom. This is the tune provided for Psalm 79.

Crowle - M Greene (1696-1755) - F Minor

This is provided for Psalm 143 and is also suggested as an alternative tune for Psalm 54. Although F
Minor is a difficult key, and this does transpose easily into G Minor, the balance between the four
parts is more effective pitched in F.

Tune Book; Page 57

Hereford - Canon F. A. G. Ouseley (1825-1889) - A Minor

This tune is more usually printed in G Minor. It is provided for Psalm 20 but would be suitable for a
number of Psalms. There is a different tune with the same name in Playford which is not very
memorable and has not survived into the modern era.

House of the Rising Sun - Trad Anon - E Minor

It often surprises people when one tells them that this well known popular song is in CM and that
most CM psalms and hymns can be sung to it. Here, it is provided for Psalm 130. This really is a tune
which should be played the way musicians feel it ought to go, irrespective of what is written on the
page. There is considerable mystery both as to where the words and tune come from and who first
put them together. This tune usually appears elsewhere in A Minor, but that takes the melody to
notes that most people cannot reach. There are instrumental versions of this tune on the web, but I
do not know what their copyright status is.

Tune Book; Page 58

Litchfield - source unknown - A Minor
or Worcester No 2

I have only been able to find a three part version of this tune. So it has a C21 alto part added and
two small rhythmic changes. I do not know either its source or why it and the one in the modal
section are both in some sources called Worcester. It is provided for the Humble Suit of a Sinner in
Book 6, but it would also fit Psalm 7.

Manchester Old - Anon (Playford) - G Minor

This is the tune provided for Psalm 55. It comes from Playford with the addition of an alto part and a
small number of consequential changes.

Tune Book; Page 59

Morning Song - believed Anon but see below - Gmi

Although usually credited as Anon, having a ‘folk’ style and appearing at least as early as a Repository of
Sacred Music published in the USA in 1813, CCEL suggests that this tune may have been written by
Elkanah Kelsay Dare (1782-1826). This version has been transposed from F to G minor. It is
suggested for Psalm 10 and as an alternative tune for Psalm 117. There is a Southern Harmony three
part variant known as New Consolation.

Norwich - Ravenscroft’s Psalter 1621 - E Minor

Curiously, this is not the same tune as Playford’s Norwich. There is a slight possibility this tune might
have been written by John Milton (1563-1647) father of the poet. Although it is in a minor key, it is
more a solemn tune than a sad one. Playford recommends his Norwich for Psalm 27, and this one
would also be suitable for it, particularly for singing vv 9-end alone. It is provided for Psalm 58.

Tune Book; Page 60

Old 1st - Anon - E Minor?

The original of this is in Playford in three part harmony. The version below has had added an alto line
and some ornamentation. Technically it is in G major, but is better classed as in E minor. It should be
sung or played flexibly but with dignity. For interest, the three line version is also included
underneath.

Three part version

Tune Book; Page 61

102nd - Anon - A Minor

This attractive tune is provided for Psalm 102 and comes from Urania and I know nothing more
about its history. I do not think it goes further back than the late C17. For this reason, it is not
appropriate to describe it as ‘Old 102nd’. Because of the long slur on the second syllable of the last
half line, it is not immediately easy to sing and should be sung fairly fast so as to maintain momentum
at that point. However, it is well worth trying.

Oxford Old - Anon - A Minor

This tune is in Playford for Psalm 4 and goes back to at least 1564. Here, it has an alto line added and
is suggested for ‘Forget Former Things’ in Book 6 and as an alternative tune for Psalm 4.

Tune Book; Page 62

St Kilda - W. R. Broomfield (1826-88) - E Minor

This tune is widely used in Scotland as a general purpose minor tune. It is provided here for Psalm
39. It could benefit from some ornamentation, which need not be the same in each verse.

St Mary’s - Prys’s Psalter 1621 - D Minor.

The length of the gathering and ‘pause’ notes should not be followed too literally. This psalm is
provided for Psalm 32, and suggested as an alternative for Psalm 91.

Tune Book; Page 63

St Nicholas - Holdroyd’s Spiritual Man’s Companion 1753 - E Minor

This is provided for Psalm 49 and is also suggested in the Scottish Psalter as an alternative tune for
Psalm 46. Although in a minor key, it is an attractive tune, suitable for most psalms that are not
exuberantly joyful. hymnary.org attributes this tune to one Maurice Greene (1696-1755)

Solemnity - Anon (? James Green c 1724) - A Minor

Following P&G’s recommendation, this tune is provided for Psalm 5. According to P&G, it is first
traceable to James Green’s A Book of Psalm Tunes 5th Edition, of 1724, with an additional explanation
that there are a number of variants of this tune in different sources. This version is not identical to
the one in P&G.

Tune Book; Page 64

Thompson or Dunstan Tune - Anon - E Minor

Only the melody line exists for this excellent folk style tune for Psalm 23. It was collected by Ralph
Vaughan Williams from an old man of Dunstan, near Craster in Northumberland on 7 viii 1906, a Mr
Thompson who had long previously sung in the local choir. As originally collected, the first note is the
lower B. The higher one was added as an alternative to bring the tune within the range of the
Northumbrian pipes.

Walsall - Anon (Anchor Collection c1720) - F Minor

Apart from being in a more complex key, this is a useful general purpose Minor tune. It is provided
for Psalm 28. It is also recommended for Psalm 79.

Tune Book; Page 65

Windsor (Dundee) - G Kirbye ? C16 - A Minor

This is known in Scotland as Dundee, but is not the same tune as the one with that name in England.
It is quite often found in G minor. There is some variation between versions as to how much
ornamentation is added. The ornamentation can be ignored if desired. There is also uncertainty as to
who might have written it. In some sources it is Anon. The Bristol Tune Book attributes it to G
Kirbye (c. 1565–1634). Others attributed to Christopher Tye (1553). Playford suggests it for Psalms
17, 26, 39, 74, 85, 90, 131 and 123 which is not in CM in this collection. Here it is provided for Psalm
17 and is suggested for a number of others.

Worcester - Thomas Tomkins (1572-1656) - E Minor

This is Playford’s tune of this name but with the addition of an alto line and is recommended as an
alternative tune for Psalm 7. The third line of the air does not work without the other lines.
Playford also suggests this for Psalms 75 and 114, and in this collection it is provided for Psalm 114.

Tune Book; Page 66

 Common Metre (CM) - Other modes
Martyrs - Anon, Scottish Psalter 1614 - D Dorian

This tune is much better known in Scotland than England. The rhythm is slightly difficult catch but it is
a really excellent tune, suitable for a dignified Psalm. It is provided in this collection for Psalm 73.

Tune Book; Page 67

 Double Common Metre (DCM)

Bethlehem - C. E. Willing (1830-1904) - G Major

This is a straightforward tune in DCM that comes from the Bristol Tune Book. It is provided for
Psalm 21 since I have not been able trace a version of the ‘Proper’ tune for that Psalm in four part
format.

Tune Book; Page 68

Bridegroom - Sir George MacFarren (1813-87) - C Major

This is an attractive and indelibly C19 tune provided here for the CM version of the Venite, Psalm 95.
One reason why it has not survived into modern use may be that it was originally written to
accompany a hymn with words that, although theologically impeccable, nobody could now sing with a
straight face.

Tune Book; Page 69

Castle Rising - The Revd F. A. J. Hervey C.V.O. (1846-1910) - E Major
This is tune is slightly curious because it changes rhythm between the first and second half of each
verse, in a way, functioning as two Siamese Twin tunes. It should be played fairly fast, particularly since
it needs momentum to connect the two parts of the tune. The Revd F. A. J. Hervey was for 29 years
Rector of Sandringham. It is provided for Psalm 137, though historically that psalm has normally been
sung to Old 81st (see below). It is also suggested as an alternative for the Gloria in Book 6.

Tune Book; Page 70

Christmas Carol - Sir Henry Walford Davies (1869-1941) - F Major

This is one of two tunes that Sir H Walford Davies wrote for the carol Oh little town of Bethlehem. The
other is Wengen, below. Here it is provided for the Magnificat, to which it is well suited. There are
different arrangements for choral use.

Tune Book; Page 71

Derwentwater’s Farewell - Anon - G Major

This traditional air must be one of the saddest tunes ever written. Somewhat surprisingly, technically
it is in G Major. Its usual words are a lament put into the mouth of James Radclyffe, 3rd Earl of
Derwentwater of Dilston Hall near Corbridge shortly before his execution for his role in the ’15 on
24 February 1716. James Radclyffe was the grandson of Charles II through his mistress Moll Davis.
So it is not surprising the family were recalcitrant Jacobites. It is a possible tune for appropriate
selections from Psalm 74 and 102. It should be sung slowly and flexibly.

Tune Book; Page 72

Ellacombe - Anon? - B Major
This vigorous and cheerful tune, hence the use of crotchets, is usually listed as 7.6.7.6.D but fits most
DCM words excellently. It has long been associated with The day of Resurrection. This version
contains some small adjustments in the alto, tenor and bass lines to ensure that for them, there is
always at least one note for each syllable they need to sing in CM. There is a small mystery about its
source. It is usually shown as derived from German works of either 1833 or 1784, but if so, how
come the West Country name. Wisely, perhaps, The Bristol Tune Book does not attribute it at all. In
this collection it is the tune for the Easter Anthem in Book 6, but is also suitable, at least, for Psalms
29, Qol Adonai and 122, the Pilgrim Psalm.

Tune Book; Page 73

Falan Tiding - Tyrolean Folk Tune - G Major

This is a pleasant but slightly repetitive tune which is apparently originally a Tyrolean folk tune that
has been used for Christmas carols. Apart from that, I have not been able to find out much about it.
It is suggested for Psalm 24.

Tune Book; Page 74

First Mode Melody - Thomas Tallis (c 1510-85) - F Minor

This tune is provided for Psalm 80, with the verses to be sung to the first part and the second part
for the choruses as shown with that psalm. It can also be sung straight through as a simple DCM
tune and is a suitable DCM tune for other solemn psalms.

Tune Book; Page 75

Great Milton - Anon (see below) - G Major

This tune has been recommended for Psalm 1 and Psalm 27, but is a lively general tune for any
reasonably cheerful CM Psalm. It is unknown who wrote this tune, but there is a circumstantial
reason why it might be Matthew Wilkins (1704-72). This version is of unknown C19 origin. and there
is a slightly different setting in P&G. Some care needs to be taken with the exciting changes in rhythm
in the last two half lines of each verse. Where people are not familiar with this tune, it is particularly
essential in those lines to give the air a strong melodic lead.

Tune Book; Page 76

Kirkstall - James Shaw (1842-1907) - E Major

This is an attractive tune that seems to have become forgotten. It is provided here for Psalm 140,
but would be suitable for many Psalms. James Shaw was the father of Geoffrey and Martin Shaw, and
came originally from Leeds, hence the name.

Tune Book; Page 77

Lamentation - from Playford but recorded at least to 1561 - G Minor

This is the tune Playford allocates to Psalm 77. This collection follows that recommendation.
However, it was originally linked to The Humble suit of a sinner (see Book 6), which has usually been
sung in recent centuries to St Mary’s. In this version I have attempted to add an alto line. The
rhythm suggested here should not be followed too rigidly. It is an attempt to produce an
interpretation from the original version of how the rhythm there might be applied to the text of the
psalm.

Tune Book; Page 78

McGranahan - James McGranahan (1840-1907) - F Major

This is the tune provided for Psalm 99. It comes from hymnary.org and is by James McGranahan
(1840-1907). As it does not seem to have a name, for the purposes of this collection it has been
named after its composer..

Tune Book; Page 79

Old 3rd - Anon, from Playford - G Major

This is Playford’s ‘Proper tune’ for Psalm 3. It has an excellent vigorous tune, with some resonances
of Old 68th but has not survived into the modern era. I was unable to find a viable four part version,
and so have added a fourth part and made some other small changes.

Tune Book; Page 80

Old 18th - Anon - A modal

This is Playford’s ‘Proper Tune for Psalm 18, but has been altered to add a fourth part. The only
modern hymn book I have traced which has any version of this tune is the Scottish stable door
psalter of 1929. That contains an arrangement by J. S. Anderson (1853-1945) in G. The version
below, though, has reverted to A and largely to Playford’s ‘Medius’ as the tenor line. This could be
ornamented but should be sung with dignity. It is suitable for other psalms. Curiously, the Scottish
psalter recommends this tune not for Psalm 18, but Psalm 61.

Tune Book; Page 81

Old 22nd - Anon - E Major
The tune provided in the psalter for Psalm 22 is St Anne. This, though, is the ‘Proper’ tune for that
psalm. It goes back at least as far as the Anglo-Genevan Psalter of 1556. It is more suitable for the
Third Part of the psalm than the first two. Like many Genevan tunes, it is, to modern ears,
rhythmically slightly unusual. If used, it should be sung slowly, with dignity and using the way the bars
are set out more as guidelines than as rigid statements of timing. Because St Anne is the tune
provided for Psalm 22, this tune is provided for Psalm 61, which is Playford is set to Old 119th (see
below).

Tune Book; Page 82

Old 29th - Anglo-Genevan Psalter 1556 - D Major

This dignified tune is not widely accessible and has made few modern hymn books. This version
comes from the Scottish psalter with a small alteration to the bass line. It is the tune provided for
Psalm 29, Qol Adonai.

Tune Book; Page 83

Old 38th - Anon, from Playford - G Minor

This is the tune in Playford for Psalm 38, in three line harmony, which so far as I am aware has not
survived into any recent hymn book. I like the way the changes in metre builds up tension in the
second line. This version has an alto line added, and is provided for Psalm 38.

Tune Book; Page 84

Old 41st - after a anonymous tune in Playford - E Minor

This is the tune Playford provided for Psalm 41 and the Te Deum, which deserves revival. The version
in Playford only has three parts. This version has a C21 alto line added. It also includes some
ornamentation and suggests a rhythm

Tune Book; Page 85

Old 44th - Anon (Anglo-Genevan Psalter 1556) - A Major

It has to be admitted that this tune could be better. It did not even make Playford, but turned up in
an old Methodist hymn book. As found it was a bit plodding. It has had a little ornamentation added
and could possibly benefit for a bit more. It is provided for Psalm 44.

Tune Book; Page 86

Old 46th - Anon (From Playford) - G Major

This is another ‘lost tune’, originally in three part harmony, with the addition of an alto line and some
alterations to the timing. In the original, the mathematics of the notes does not add up, but this tune
is dependent on subtle changes in rhythm between the lines. It has a curious history since it seems
to have been Playford’s conversion of the tune originally provided in early psalters for the Nunc
Dimittis from Myxolydian to Major.

Tune Book; Page 87

Old 61st - Anon (from Playford) - E Minor

This is another tune from Playford which has not survived into modern use. It has the addition of an
alto line and some adjustments to the rhythm. It is clear there are supposed to be subtle rhythmic
changes between each line, but the beats in the original do not add up. What is shown should be
treated flexibly.

Tune Book; Page 88

Old 68th - Anon - G Major
otherwise Naseby - from Anglo-Genevan Psalter of 1556

This is perhaps the greatest of the forgotten Psalm tunes, the one the armies sang before the battles
of the Civil War. It is on a par with the Old Hundredth. It should be sung with dignity but a
reasonable, flexible and steady pace. This version derives via the Scottish psalter. Playford has a
slightly different bass line.

Tune Book; Page 89

Old 71st - Anon - A Minor

This is the ‘Proper Tune’ in Playford for Psalm 71, with the addition of an alto line, provided in this
collection for that psalm. Since in Playford, the notes do not add up, there have also been some
adjustments to the rhythm. It has to be admitted that although dignified, this tune is somewhat
gloomy. The rather strained harmonies in the first few notes are in the original.

Tune Book; Page 90

Old 81st - Anon, Day’s Psalter 1562 - F Major

This fine tune exists in a wide range of versions, fairly consistent as to melody but varying as to key,
harmony, ornamentation, time signature and rhythm. Late C19 editions of Hymns Ancient & Modern
even contained two settings for different hymns with different timing, 3/2 and 4/2. In Playford it is in
3/2 and in the Scottish stable-door Psalter it has no bar lines at all. The lively version here is by
courtesy of Rollo Woods and comes from Rann & Greatorex’s Parochial Psalmody of c 1825. In
Praise and Glory it has been transposed from F to G Major. As that gives several top Gs in both air
and the tenor line, this has been transposed back into F Major. It has a few other small changes.
Historically, this tune is also the tune for Psalms 98 and 135.

Tune Book; Page 91

Old 81st - simpler version in E Major

This is a simpler example originally based on a version in a C19 North American hymn book at
hymnary.org, but with alterations to mitigate some of the repetitivenesses in the original.

Tune Book; Page 92

Old 86th - Anon (from Playford and possibly written by him) - A Major

This dignified tune comes from Playford and has had an alto line added. As that seems to be its main
source, it is possible that he wrote it. It is provided for Psalm 86. Some of the sequences of notes are
very similar to Old 103rd, but the flavour is different. As Old 103rd seems to trace back to an earlier
date, that implies that this tune has been influenced by Old 103rd rather than vice versa. There have
also been some adjustments to the timing as in the original the notes do not add up.

Tune Book; Page 93

Old 103rd - Anon (apparently first recorded 1557) - G Major

Old 86th has several phrases which it seems to have borrowed from this tune, although they have
distinctively different flavours. This tune seems to have died out sometime in the C17 or C18; it does
not seem to have survived into modern use. A new alto line has been added for this collection.

Tune Book; Page 94

Old 107th - Louis Bourgeois (1510-c1560) - D Minor

This is the classic Genevan tune for Psalm 107. It is in the 1929 Scottish psalter and some editions of
the English Hymnal.

Tune Book; Page 95

Old 116th - Anon (from Playford) - G Major

This is Playford’s ‘proper tune’ for Psalm 116 and provided for that psalm. In Playford it is in three
parts. So this version has an alto line added, and some small consequential adjustments.

Tune Book; Page 96

Old 119th - Anon (recorded from at least 1558) - E Minor

This is the tune for Psalm 119. This version is from a combination of different sources. Both Playford
and P&G have three part versions. The alto line comes from Urania. Playford also provides this tune
for Psalms 61 and 145.

Tune Book; Page 97

Old 132nd or Veni Creator - Anon (earliest record Geneva Psalter 1561) - D
Minor

This is another tune that has not survived, and is its Playford version with the addition of an alto part
and some adjustments to the rhythm. In this collection, this tune is called Old 132nd as it is Playford’s
‘proper tune’ for this psalm. However, it seems originally to have been known as Veni Creator since
it was the tune for Come Holy Ghost Eternal God, SH’s equivalent of Come Holy Ghost our souls inspire.

Tune Book; Page 98

Old 137th or Usk - Anon (earliest record 1557) - G Major

This is an attractive tune, provided by ancient usage for Psalm 137, though one has to query both
whether there are other tunes more suited to that psalm and if this tune is better to suited to one
of the other psalms in the psalter. This version comes from the Bristol Tune Book, where from some
unknown source it has acquired the name Usk, although the words linked to it remain those of Psalm
137.

Tune Book; Page 99

Old Benedictus - Anon (at least as early as 1560) - A Major

This is the tune provided in many old psalters for the Benedictus. As the Benedictus is supposed to
be sung at Morning Prayer every day, it is provided here as an alternative to Vox Dilecti (see below),
though it has to be admitted that it is not as attractive a tune. It has a C21 alto line added and some
consequential adjustments.

Tune Book; Page 100

Old Magnificat - Anon - G Minor/Modal

This is another ‘lost’ tune, in this case for the Magnificat. The tune in the Canticles section is
Christmas Carol (above) but this is an attractive tune, which shows its C16 origins. This version is a
combination of the version in Playford, the air line only to a different rhythm found at hymnary.org,
and a C21 alto line.

Tune Book; Page 101

Penmaenmawr - Sarah Geraldine Stock (1838-98)- A Major

This is the tune provided for Seek the Lord in Book 6. It has a chorus which goes with the second
half of the tune. The chord sequence in the last line is very unfashionable now, but equally very much
characteristic of the time when it was written.

Tune Book; Page 102

Petersham - C. W. Poole (1828-1924) - D Major

This attractive tune needs to be handled with some care as it fits some Psalms better than others.
The Scots suggest it for Psalm 72. In this collection, it is provided for Psalm 30.

Tune Book; Page 103

St Matthew’s - Dr Croft (1678-1727) - C Major

This tune is in a number of hymn books, but this version is based on the version in Houldsworth’s
edition of Cheetham’s Psalmody (1868?), where it is the tune for O for a thousand tongues. with the
additional suggestion of repeating the last 8-6 line. There is a different setting in P&G and a simplified
version in the English Hymnal. There are a number of psalms for which this tune is suitable. It is
suggested as an alternative for Pss 77 and 146 and provided for the Gloria in Book 6.

Tune Book; Page 104

Selwyn - James Tilleard (1827-1876) - E Major
This is a useful and cheerful general purpose DCM tune that deserves to be better known. It is
provided here for Psalm 138.

Tune Book; Page 105

Sunninghill - George Elvey (1816-93) - C Major

Old versions of Hymns Ancient and Modern provided this cheerful tune for a Rogationtide hymn that
has gone out of use. So it is particularly appropriate for the CM version of Psalm 65. It would, though,
be suitable for many other psalms that fit DCM.

Tune Book; Page 106

Tannenbaum - Anon/Trad - G Major

This tune is really 8.7.8.7.D but curiously, seems to fit Psalm 31. As a folk style tune, it is shown as a
simple melody line with chord indications. This particular version has a second close harmony part
added, which could be played with an instrument rather than a voice.

Tune Book; Page 107

Third Mode Melody - Thomas Tallis (1515-85) - E Phrygian

This is the tune provided for Psalm 69 which is linked to the crucifixion. It is a sombre tune and
should be sung and played with dignity. The metre should be treated flexibly, particularly since in
some bars, the notes do not add up.

Tune Book; Page 108

Tramps and Hawkers - Anon - G Major/E Minor

This is a ‘trad’ folk style tune which in Mission Praise and various other hymn books, is provided for a
different version of a selection of verses from Psalm 84. It is one known variously as Tramps and
Hawkers (Scotland), Durham Gaol (England) and the Lake of Ponchartrain (Ireland). It switches
between G Major and E Minor. This particular version of the tune is a mixture of various versions
from different sources, and intended for the Northumbrian Pipes. The chords are merely suggestions.

Tune Book; Page 109

Vox Dilecti - J. B. Dykes (1823-76) - G Minor and Major

This used to be the tune for I heard the voice of Jesus say’ before Kingsfold. As a DCM tune, it is very
useful since it switches between Minor for the first quatrain and Major for the second. The first half
line is sung unison, the small notes indicating a musical accompaniment. It is provided for the
Benedictus in Book 6, and suggested as an alternative for Psalm 56.

Tune Book; Page 110

Wainwright’s 84th - John Wainwright (1723-68)? - A Major

This lively tune comes from Chetham’s Psalmody. There are a number of Wainwrights who were
actively composing in the C18, mainly in Lancashire which implies at least some of them may have
been related. It is not clear which Wainwright wrote this tune. Chetham does not indicate. The most
likely candidate is John Wainwright (1723-68) who also wrote Yorkshire Christians awake. It is
provided for Psalm 84 but would fit many other psalms. One reason why it does not seem to have
survived anywhere into modern use may be the way it switches between 4, 3 and 2 part harmony.
The first half of the third line includes a tenor part, to which an alto line replies in the second half.
The small notes in the second halves of the first and second line are instrumental, not sung. One way
of handling those would be for the women to sing one line and men the other. It is optional whether
one repeats the last line.

Tune Book; Page 111

Wengen - Sir Henry Walford Davies (1869-1941) - G Major

This tune is often marked as ‘Unison’ but could probably be sung in all four parts, with just the repeat
of the last half line sung unison. It is a possible tune for all or part of Psalm 103. This is one of two
tunes in this collection which Sir H. Walford Davies wrote for Oh little town of Bethlehem, The other is
Christmas Carol, above.

Tune Book; Page 112

Worship - Sir Richard Stewart (1825-94) - E Major

This is a general purpose DCM tune found in some older hymn books. It would be a possible
alternative tune for the DCM version of Psalm 103. It is provided for Psalm 145.

Tune Book; Page 113

Yattendon (No 15) - Christopher Tye (c1508-72) - G Major
arranged and adapted by H. E. Wooldridge (1845-1917)

This is the tune provided for the DCM sections of Psalm 118. No 15 in the Yattendon Hymnal where
it was set to The head that once was crowned with thorns. It is important to play it in a way that keeps
up the momentum of the air/suprano line. The two inner voices are quite complex and it is the bass
line that holds everything together.

Tune Book; Page 114

 Fuguing Tunes, CM

Antioch - G F Handel (1685-1759) - D Major

This is the well known tune to Watt’s version of Psalm 98, which has become a Christmas Carol, Joy
to the world. Although the psalm is associated with Christmas, there is no reason why it, or this
version, should be restricted to it. The tune is traditionally attributed to Handel, but there is
considerable doubt whether he actually wrote it in this form. There are considerable minor
variations in the versions as now sung. This is a fairly typical one. There is a suspicion that most of
them are contaminated to some degree by the baleful, influence of Lowell Mason.

Tune Book; Page 115

Cranbrook - Thomas Clark (1775–1859) - D Major

This tune is usually associated with either Ilkley Moor or while shepherds watched but here is set to a
CM version of the Jubilate, Psalm 100. There are quite a number of variant versions and this is a
mixture of more than one of them.

Tune Book; Page 116

Tune Book; Page 117
Lyngham - T Jarman (1776-1861) - G Major

This is the tune provided for While Shepherds Watched in Book 6. It is is associated with ‘O for a
thousand tongues’. This is the ‘fasmiliar’ version and is taken from the Methodist Hymn Book of 1933.
The core concept and sequence of repeats is fairly consistent but there is a lot of variation between
the harmonics on the various parts. Also provided on the next page, set out as four separate parts, is
a setting which probably comes from near Bridgewater. The air could be moved to the tenor line and
the tenor line sung by supranos. I have not been able to ascertain which, if either, is the original as
written by T. Jarman or which is the closest to his original.

Lyngham standard version

Tune Book; Page 118

Lyngham alternative version

Tune Book; Page 119

Northrop - Abraham Northrop (1863-1939) - C Major

This is cheerful and straightforward repeating tune is provided for the After-Communion Hymn in
Book 6. It would also be suitable for many cheerful CM psalms. According to the English Hymnal
1906 edition, it was used in Cornwall for While shepherds watched, though one would suspect that
Lyngham has been more usual. Apart from his dates, I have not been able to find out anything further
about Abraham Northrop. The style of his composition is old-fashioned for someone of his
generation.

Tune Book; Page 120

Otford - Anon - G Major

This is Hardy’s tune that calms an enraged bull. It is believed to have been originally written for Psalm
8 - for which the words of the first verse are shown here, but is also linked to ‘While Shepherds
Watched’ and the Cheddar Carol orse ‘Righteous Jacob’. Although every version of this tune I’ve seen
includes it, I’m suspicious that the passing note in Bar 7 of the alto part is an interpolation.

Tune Book; Page 121

Shepherds Arise - Anon/Trad - G Major

This is a version of the tune to the carol Shepherds Arise, sung by the Copper family of Rottingdean
in Sussex, As far as I have been able to ascertain, words and tune are of unknown origin, though one
source suggests that it dates from the 1760s. It is suggested as a tune for Psalm 150, using the chorus
from the Christmas carol. The tune, without the fuguing parts work excellently on a diatonic
instrument.

Tune Book; Page 122

Wiltshire - J Stephenson (c1723-1810) - C Major

This is ‘the other Wiltshire’ that is the fuguing tune for Psalm 34, with the first verse interlinear so as
to demonstrate how the parts weave between each other. The version in P&G is similar and there
are a number of similar versions circulating.

Tune Book; Page 123

 Long Metre (LM) Major

Ach bleib bei uns - Seth Calvinius (1556-1615) - G Major

This is a most attractive tune by Seth Calvinius (1556-1615) expertly harmonised by J.S. Bach
(1685-1750), but it is actually quite difficult to sing. The choir needs to give a strong lead if the
congregation is not going to get lost. It is provided for “Of your own do we give you” in Book 6.

Angel’s Song - Orlando Gibbons (1583-1625) - F Major

This tune is a positive melodic tune that would be suitable for a number of psalms. It is provided for
the LM version of Psalm 40, and often associated with Forth in thy name O Lord I go. It also works well
for the Harvest Psalm, the LM version of Psalm 65:9-12.

Tune Book; Page 124

Breslau - Anon arranged by Mendelssohn (1809-47) - G Major

This tune is Anon, traceable ultimately to Locheimer Gesangbuch c 1452 via As Hymnodus Sacer Leipzic
1625. This version is as arranged by Mendelssohn (Felix Mendelssohn-Bartholdy). There is a simpler,
easier, and duller arrangement in some hymn books by W. H Monk (1823-89). The tune has been
associated with the hymn ‘Take up thy cross’ the Saviour said. Here, it is provided for Mountain of God,
in Book 6. It would be suitable though for many LM psalms.

Dominus Probasti - Alfred Pettet (c1785-c1845) - G Major

This is the tune provided for the Denham version of Psalm 139. Its title almost certainly indicates
that it was originally written as a tune for the TB version of that Psalm. It is perhaps a classic example
of the type of psalm and hymn tune that the first compilers of Hymns Ancient and Modern detested,
and that the Revd W. H. Havergal apologised for having written in his youth. I have been unable to
find out much about Alfred Pettet. His dates are approximate, he probably came from Norfolk and he
published Original Sacred Music, consisting of Psalms, Hymns and Anthems in 1825. As that is out of print,
I have only been able to guess that this tune was in it. This is an attractive, lively and expressive tune
that should be played fairly fast.

Tune Book; Page 125

Festus - Johann Anastasius Freylinghausen (1670-1739) - D Major

This tune used to be linked to the hymn Before the throne of God above before that hymn acquired its
modern tune, which is in DLM with a repeating last line. It is provided here for Psalm 57.

Fulda - William Gardiner (1770-1853) - B Major

This is a general purpose cheerful LM tune, which is in many hymn books and linked to a number of
well known hymns, one of them being We have a gospel to proclaim. In some books it is called Walton.
There is also a suggestion, in some places though with no indication as to with what authority it is
made, that William Gardiner may have ‘borrowed’ the tune from Beethoven.

Tune Book; Page 126

Hereford (Wesley) - S. S. Wesley (1810-76) - E Major
This tune is often used for the hymn O thou who camest from above. It is a good general purpose LM
tune.

Leighton - Sir William Leighton c 1565-1622 - G Major

This is an attractive general purpose LM tune. This version is based on one at hymnary.org, altered
since in the version there, the notes do not add up. It is provided for the LM version of Psalm 19.

Tune Book; Page 127

Morning Song - François Barthélemon (1741-1808) - G Major

This is the tune to which Bishop Ken’s Morning Hymn Awake my soul and with the sun, in the Canticles
section has been sung for over two centuries. It should be played brightly and briskly

Octavius - Joseph Emerson Sweetser (1817-73) - D Major

This is the tune provided for the LM version of Psalm 150. I have not been able to find out anything
about Joseph Sweetser except that he may have emigrated from the UK to New York. This tune feels
as though it begs to have repeats.

Tune Book; Page 128

Old Hundredth - L Bourgeois (c1510-1561) - A Major

This tune is very well known, and there must be as many very slightly different settings, as their are
books for them to be printed in. This is a fairly simple one in A Major. One of the best and most
loved is the arrangement by Vaughan Williams for the Coronation in 1953, but it requires several
instruments and is still in copyright.

Rivaulx - J. B. Dykes (1823-76) - D Major

This is the familiar tune for Father of heav’n whose love profound. It is provided for the lyrical TB
version of Psalm 139. It would doubtless be suitable for many other LM tunes, but Psalm 139 is a
particularly important psalm, with a popular and important message.

Tune Book; Page 129

Rockingham - Anon adapted Edward Miller (1731-1807) - E Major
This is the tune for both When I survey and Philip Doddridge’s Communion Hymn, My God and is thy
table spread which is not technically a Canticle but is included in Book 6 because some modern hymn
books wickedly omit it. It was adapted by Edward Miller (1731?-1807) from an earlier tune that
appeared in Aaron Williams’s A Second Supplement to Psalmody in miniature 1780. There is less
consistency than one might expect between the settings of this tune. The one below comes from
Houldswrorth’s Cheetham’s Psalmody. There it is in F Major, which takes the melody up to F and the
tenor line to A. As pitch has risen by about a tone in the last 150 years, here it has been transposed
to E which still gives a G in the tenor line.

St Bartholomew - Henry Duncalf (? - 1762) - C Major

This is an attractive and useful LM tune. It is suggested as an alternative tune for ‘Of your own do we
give you’ in Book 6. Nothing seems to be known of Henry Duncalf apart from the year of his death.
It has to be admitted that the melody is better and has more potential than the slightly pedestrian
harmonies, which may even not come from the original composer. This tune is here transposed to C
Major. but usually appears in B

Tune Book; Page 130

St Olave’s - Mary Hudson (1766-1801) - F Major

This is an attractive tune, a slightly different version from the one provided in P&G for Psalm 62. It is
suitable for many LM psalms and is provided for the LM version of Psalm 103. The individual parts
are tunes in their own rights.

St Pancras - Jonathan Battishall (1738-1801) - D Major

This is the tune provided for the Harvest Psalm, vv 9-13 of Psalm 65. It is a slightly different version
of the tune recommended for this psalm in P&G, and in a different key.

Tune Book; Page 131

Tallis’s Canon - Thomas Tallis (c1505-85) - G Major
as arranged by Thomas Ravenscroft

This is the classic tune for Glory to thee my God this night, Bishop Ken’s Evening Hymn in the Canticle
Book. It is not as originally composed by Tallis, but as simplified by Thomas Ravenscroft for his
Psalmes of 1621. It is in almost every serious hymnbook produced since. It is also provided for the
LM version of Psalm 134, which is associated with Compline.

Truro - Thomas Williams (1789) - D Major

There seems to be some uncertainty as to whether Thomas Williams wrote this psalm, or merely
included it in his Psalmodia Evangelica published in 1789, in which case it would be Anon. It is the tune
provided here for Psalm 47, and is often linked to the hymn ‘Jesus shall reign where’er the sun’. It
would be suitable for any cheerful LM psalm. Some have alleged that it is written in the style of
Handel.

Tune Book; Page 132

Waly Waly - Anon/Trad this arrangement by the author - B Major

This is a well known folk tune that recently has become a second tune for When I survey. There are a
number of arrangements but that below was put together in ‘hymn format’ © the writer so as to
ensure that there is a version of this tune for church use which is freely usable by churches on the
same basis as the rest of this collection. For bands that are good at working out interesting chord
sequences in lieu of the bass line, this might go quite well with the top two lines as harmony voices,
and a middle range instrument playing the tenor line. It is provided for Psalm 89.

Wareham - William Knapp (1698-1768) - B Major

This is the tune provided for Psalm 42, but is suitable for many LM psalms. It has been linked to a
great many hymns, such as Jesus, where’er thy people meet, and has been used for Psalm 139.

Tune Book; Page 133

Warrington - Ralph Harrison (1748-1810) - C Major

This is the cheerful tune provided for the LM version of Psalm 127.

Winchester New - Anon? c 1690 - B Major

adapted Henry Havergal (1793-1870)

There is considerable uncertainty who originally wrote this tune. It is variously attributed to G
Rebenlein or B Crasselius (1667-1724). What is clear is that the normal version known today
crystallised under the adaptation of Henry Havergal (1793-1870) in his Psalmody (1847 onwards). It
is linked in hymn books with On Jordan’s bank the Baptist’s cry.

Tune Book; Page 134

 Long Metre (LM) Minor ¶
Babylon Streams - Thomas Campion (c1575-1619) - E Minor

By its title, one must assume this tune was originally composed for a version of psalm 137, but in SH
that psalm is in CM. In this collection, this tune is provided for Psalm 88. It appears in many hymn
books, with many detailed differences and different time signatures. This example is in 2/2. In P&G it is
in 3/2.

Llef - Griffith Hugh Jones (Gutyn Arfon) (1849-1919) - D Minor

This is the tune provided for the verses of Psalm 62. The original is in E Minor. As the chorus tune
comes first and is usually in F Major, it has been transposed into D Minor which is its relative minor.
It is an attractive Welsh LM tune in its own right.

Tune Book; Page 135

 Long Metre (LM) Other Modes
Geneva 131 - Louis Bourgeois (c1510-1560) - E Phrygian

This is a striking tune, which is in a number of older sources, and then re-appeared in the Yattendon
Hymnal produced by Robert Bridges (1844-1930) as a tune for When I survey the wondrous cross. It is
provided here as the tune for Song of the Covenant, Is 42: 5-8a. CW Canticle 31 ub Book 6 and as a
possible alternative tune for the LM versions of Pss 107 and 127. It should not be taken too slowly.

As it is particularly suited to be sung or played as four separate parts, this is the same tune set out
that way.

Tune Book; Page 136

 Double Long Metre (DLM)
There are unfortunately not many tunes in Double Long Metre.

Bucklebury - Anon (Harmonia Perfecta 1730) - D Major

This is the tune provided for the DLM version of Psalm 112.

Tune Book; Page 137

Haydn’s Creation - Josef Haydn (1732-1809) - B Major

This version provides a simple DLM time for Psalm 93. I do not know who arranged it but it comes
from hymnary.org, where it is described as public domain, but has been transposed from A Major
into a more sensible key. There is a very lively and attractive version for the same psalm in P&G set
as a fuguing tune in single LM with repeats.

Tune Book; Page 138

Kingsbridge - Aaron Williams (1731-1776) - A Minor

For a tune which is technically in a minor key, this tune is surprisingly lively. It is quite difficult to find
copies of it. It is the tune to ‘Rejoice ye shining worlds on high’, Watts’s version of the second half of
Psalm 24, but could be used for many other LM psalms. Originally, the melody is in the tenor, but in
this version, the tenor and descant have been swapped. By treating either the descant or the bass
line as a tune in its own right, this can be expanded to a double metre.

Tune Book; Page 139

Wittringham’s Old 51st - Anon (Playford?) - E Minor

This is the Proper Tune which Playford provides for Wittringham’s LM version of Psalm 51. Beyond
that, I know nothing about its history. It has to be admitted that it is not the most interesting of
tunes. In Playford, it has only three parts. An experimental alto part has been added for this
collection.

Tune Book; Page 140

 Short Metre (SM) Major
Carlisle - Charles Lockhart (1745-1815) - E Major

This is a tune usually associated with Breathe on me breath of God. It is not allocated to any particular
psalm, but is provided as an extra tune in short metre.

Franconia - Anon arranged by Revd W. H. Havergal (1793-1870) - E Major

This is the tune for Philippian Hymn in Book 6. It is an anonymous tune arranged by Revd W. H.
Havergal (1793-1870) from a melody in J. B. König’s Harmonischer Lieder-Schatz Frankfort 1738. It is
the tune usually associated with the hymn Blest are the pure in heart.

Tune Book; Page 141

Golden Hill - Ananias Davisson (1780-1857) - F Major (Pentatonic)

This almost certainly comes originally from a shape note tradition, but has been adopted by some
Scottish traditions, possibly because the melody is pentatonic. They sing it their way and not shape
note style. If one were strict on this, one should remove the Es and Bs in the other parts. The
gracing and dotting of the quavers are added and optional. I was tempted to go further, treat it as a
fiddle tune and transpose it into G, but how many singers of either sex can reach the top G of their
range?

St Michael (Old 134th) - Louis Bourgeois (c1510 - c1561) - G Major

This is originally a Geneva tune. It is unclear how many other people have had input into this tune
over the centuries. Apparently, this may include William Crotch (1775-1847) and W. H. Monk
(1823-1889). It appears in various sources in a number of different keys. It is provided for Psalm 45.

Tune Book; Page 142

Shirland - Samuel Stanley (1767-1822) - G Major

This is the tune provided for Psalm 142. The setting comes from Houldsworth’s Cheetham’s
Psalmody, transposed down from A to G Major. The third line has only three parts. The small notes
are not sung, are optional and have been added from another source to give greater bass density.

Trentham - Robert Jackson (1842-1914) - F Major

This is a simple, lyrical, tune in Short Metre, that is provided as an extra tune, but not specifically
allocated to a psalm. It is puzzling where its names comes from Jackson spent most of his life in
Oldham, but Trentham is near Stoke on Trent.

Tune Book; Page 143

 Short Metre (SM) Minor
St Bride - Samuel Howard (1710-82) - G Minor

This is a general purpose minor tune in Short Metre, which is a possible alternative for Psalm 51 and
provided for the version of Psalm 130 in this metre.

Southwell - W. Damon (c1540-1591) - E Minor

This very simple tune is one of the standard Playford Psalm tunes (where it is in A Minor) where it is
suggested for Psalms 25, 70, SM versions of 50 and 67 and a SM version of 134 which is not in this
collection. In this collection, it is provided for the SM version of Psalm 50. It is also the tune in many
hymn books for Lord Jesus think on me.

Tune Book; Page 144

Wirksworth - Chetham’s Psalmody 1718 - F# Minor

This is the tune provided for the SM version of Psalm 51. In some places it is known as Aylesbury. It
comes from Chetham’s Psalmody of 1718 but whether John Chetham wrote it or merely published
it, is unclear. Different versions of this tune in different keys appear in a number of hymn books, often
with a more homogenised rhythm than this one, which is a combination of the version in the Scottish
Psalter and that in Urania: or a choice collection of psalm-tunes, anthems, and hymns. The E#s are
correct.

Tune Book; Page 145

 Double Short Metre (DSM)
Diademata - George Elvey (1816-1893) - E Major

This is the tune for Crown him with many crowns. It also goes with the selection from Psalm 50, and
would fit a nuptial selection from Psalm 45. The range of notes means there is not much flexibility
about key. Even dropping the melody to D Major produces an F# in the bass line.

Tune Book; Page 146

Dinbych - Joseph Parry (1841-1903) - C Minor

This is an extra DSM tune that as yet has no words allocated to it in this collection. It would be
another suitable alternative tune for Is it nothing to you? The linguistic conventions in both English and
Welsh would normally mean that as this book is in English, the tune name should be the English
version the place after which it is called. However, it is invariably known by its Welsh form.
Furthermore, there seem to be some grounds for uncertainty whether this Dinbych is Denbigh or
Tenby. It’s generally assumed to be Denbigh but Parry’s connections are with South and mid Wales.
This tune could probably be transposed ionto D Minor, which would avoid the low E in the last line,
but as a Welsh tune, that should be kept if one has bass singers who can reach it.

Tune Book; Page 147

Ich halte treulich still - J. S. Bach (1685-1750) - D Major

This is the tune provided for Psalm 70, but it is worth trying with other SM psalms. It has often been
linked to the hymn For ever with the Lord.

Tune Book; Page 148

Llanllyfni - John Jones (Talysarn) (1797-1857) arr David Jenkins (1849-1915)
- E Minor

This attractive and little known Welsh tune is provided for Is it nothing to you? in Book 6. It is
important to give a clear melodic lead in the last two half lines of each verse. Although versions in
several keys exist at hymnary.org. this setting comes from the CoS Church Hymnary of 1927.
Llanllyfni is a village near Caernarfon and Talysarn.

Tune Book; Page 149

Tune Book; Page 150
Leominster - George Martin (1828-81) - D Major
Arr Arthur Sullivan (1842-1900)

This is provided for the SM version of Psalm 67. The chorus does not come at regular intervals and
it is suggested that the first part of the tune is used for the verses and the second for the chorus. If
used for other psalms, it should be sung straight through as a DSM tune.

Tune Book; Page 151

Old 25th - Anon (Anglo-Genevan Psalter 1558) - G Major

This is the ‘Proper Tune’ for Psalm 25 ‘out of the box’, but to make it interesting to sing it needs
some flexibility and probably the addition of improvised ornamentation.

Tune Book; Page 152

Welcome Voice - L Hartsough (1828-1919) - E Major
This has an attractive melody. The accompaniment and its harmonies could hardly be more
pedestrian, and could do with improvement. It would be suitable for a more ‘folk’ style
accompaniment. It is suggested for ‘Behold! I’m coming soon’, Rev 22.12-14, 16-7, CWDP No 75 and as
an alternative tune for Psalm 25.

Tune Book; Page 153

 Other Metres

148th Metre - 6.6.6.8.8.

Although there are other psalms that use it, this metre has always been associated with Psalm 148.
So it has tended to be referred to as 148th Metre. The best known modern hymn tunes in this metre
are Darwell’s 148th Ye holy angel’s bright, and Handel’s Gopsal, Rejoice the Lord is King.

Croft’s 136th - Dr W. Croft (1678-1727) - C Major

As indicated by the title, this was originally written for the version of Psalm 136 in this metre, and
remains an excellent tune for that psalm. It should be played fairly fast.

Tune Book; Page 154

Darwell’s 148th - The Revd J Darwell (1731-89) - D Major

This will be familiar as the tune to Richard Baxter’s Ye holy angel’s bright. As its title indicates, it was
written for Psalm 148. It is here provided for that psalm, but will fit the other psalms in this metre.
The harmonies here were added in the C19. PG has Darwell’s original version.

Gopsal - G. F. Handel (1685-1759) - C Major

This tune will be almost too familiar as that associated with Rejoice the Lord is King. It does, however,
express the spirit of Psalm 136, with the metrical equivalent of the repetition of for his mercies
endure for ever very well, and fits the version of Psalm 126 in this metre excellently.

Tune Book; Page 155

Rhosymedre - Rev J. D. Edwards (1805-85) - A Major

This is the tune provided for the version of Psalm 126 in this metre. Rhosymedre is the village
where the composer was vicar and is on the edge of Ruabon. It is sometimes found in F Major.
Because the particular way the repeat in the eight-syllable-line part of the tune operates, one has a
choice whether one repeats the third or the final line. The recommendation for Psalm 126 is that
one repeats the third line, not the final one. There is no reason why this need be the automatic
choice if one is using the tune for a different psalm. It is the tune for the Welsh hymn Mae'r faner fawr
yn mlaen. It is also the inspiration for a celebrated and much admired Prelude by Ralph Vaughan
Williams, though any similarity between the two is not immediately evident.

Tune Book; Page 156

 6.6.6. 6.6.6.
There are very few tunes in this unusual metre.

Laudes Domini - J Barnby (1838-96) - C Major

This tune is provided for Psalm 111. It is often associated with the hymn When morning gilds the skies.

Old 120th - Anon (see below) - D Major

This is the tune provided for Psalm 120. The melody traces back at least to John Day’s Psalms of
1570, and settings appear in Este’s Psalmes, Ravenscroft, Playford, and a wide range of hymn books
over the centuries since, in several different keys, and with differences in the other parts. This
version contains elements from more than one version.

Tune Book; Page 157

 667 677
Nunc Dimittis - L Bourgeois (c1510-1560) - F Major

This is the only tune in this collection in this metre, the one for the Graves,Yattendon Hymnal
version of the evening hymn Phos Hilaron.

Tune Book; Page 158

 7.7.7.7.D
Aberystwyth - Joseph Parry (1841-1903) - E Minor

This is the tune for Jesus Saviour of the World otherwise Friday Hymn, in Book 6. It is often
associated with the Hymn Jesu Lover of my soul.

Tune Book; Page 159

 8.6.8.6.8.8.
O Jesu Warum - J. B. Riemann (1702-49) - F Major

This is from the Hirschberg Gesangbuch of 1741 and is the tune provided for John Clare’s version of
Psalm 102 vv 1-18. As indicated the middle two half lines repeat the music for the first two.

Tune Book; Page 160

La jeune Pucelle - Anon, French Trad - G Minor

This is the tune put to a carol, ’Twas in the Moon at Wintertime, originally in Huron, by St Jean de
Brébouf (1593-1649), but I have not been able to find out anything about the tune’s history except
that I believe it to be French or Breton. The original is 8 6 8 6 8 8 + chorus. This is offered as an
alternative tune to the John Clare version of Psalm 102. To fit it, the end of the last verse line has
been altered and the chorus turned into a symphony to go between the verses.

Tune Book; Page 161

 8.7.8.7.
St Columba - Irish Traditional - E Major
This is the familiar tune for Sir H. W. Baker’s version of Psalm 23, The king of love my shepherd is.
Although this is written for 8787, it has been used for CM hymns, and is a possible option for those
that have extra weak syllables at the ends of some of what are supposed to be six syllable lines.
There is considerable variation between the settings of this tune and it is possible this version may
ultimately derive from the celebrated C.V. Stanford (1852-1924).

Suo Gân - Welsh Traditional - G Major

This is a Welsh lullaby, here in ‘folk’ style with the addition of a close harmony line. Different settings
have been sung by a large number of different people. Some may recognise it from the film Emperor
of the Sun. Here it is in G Major, but it should be played at a pitch which brings the high note in the
fifth line within the range of whoever is singing. It should be played slowly. The title means ‘lullaby’
with a sense that it is the ‘song that is whispered’. So perhaps it is particularly appropriate for a
Canticle about the Holy Spirit. It expresses a quite different, but equally appropriate, mood from the
other tunes suggested for the Canticle.

Tune Book; Page 162

 8.7.8.7 D
Engadine - Anon - D Minor

This tune comes from Frizzoni’s Canzuns Spirituaelas of 1765. Ezekiel’s Song in Book 6 was originally
written to go to the tune Abbot’s Leigh. That is in most hymn books but cannot be shown here as it
is still under copyright. So this is the tune in hymn format that is provided in this collection.

Tune Book; Page 163

 8.7.8.7 D (Iambic)
Golden Sheaves - Arthur Sullivan (1842-1900) - G Major

This is the tune for the version of the Venite, Psalm 95, in this metre, associated with the Harvest
hymn, To thee, O Lord, our hearts we raise. It is usually in F Major, but as a cheerful tune, has been
transposed for the purposes of this collection in G Major.

Tune Book; Page 164

 10 10 10 10
Tunes apparently in this metre are not as freely interchangeable as with some other metres. Some
are designed round a regular and pronounced caesura either after the fifth or sixth syllable while
others are designed with each line to be sung straight through.

Birmingham - Francis Cunningham (by 1834) - E Major

This tune is in an old Methodist hymn book where it is stated as from A Selection of Psalm Tunes of
1834. I have been able to find out no more about his identity or even dates, except that this means
the tune existed in 1834. It is provided for Arise, Shine Out, in Book 6.

Ellers - E. J. Hopkins (1818-1901) - G Major

harmonised by Arthur Sullivan (1842-1900)

This is the tune provided for the version of the evening Psalm 134 in this metre. It is the tune for the
hymn Saviour again to thy dear name we raise

Tune Book; Page 165

Farley Castle - Henry Lawes (15981662) - D Major

This is the tune provided for The Spirit of the Lord in Book 6, taken from Isaiah 61.1-3,11,6a, the
words that Jesus read in the synagogue in Nazareth, Lk 4:18-19. In this collection, it has been
transposed up from C Major to D Major.

Old 110th (Genevan) - Louis Bourgeois (c1510-1560) - A Minor

Versions exist of Psalm 110 in this metre written to fit the Genevan tune for Psalm 110. Although
versions of this tune exist in more recent centuries, all those that I have found are for 11. 10. 11. 10.
The tune below is an attempt to adjust the Genevan tune to fit 10. 10. 10. 10. and is derived from a
version found in a C19 hymn book. In my opinion, this is a lost treasure.

Tune Book; Page 166

Song 4 - Orlando Gibbons (1583-1625) - C Minor

This is the tune provided for the Song of Manasseh in Book 6.

Song 22 - Orlando Gibbons (1583-1625) - F Major

This is the tune provided for Psalm 60.

Tune Book; Page 167

 10 10 11 11
Hanover - Dr W Croft (1678-1727) - G Major

This is the tune for Psalm 149, for which it was almost certainly originally written, which will also be
familiar as the tune now used for the hymn O worship the King, all glorious above. The descant was
written by Alan Gray (1855-1935). This tune is also an alternative tune for Psalm 104.
b

Old 104th - Ravenscroft’s Psalter - F Major

This is the tune for Psalm 104. It is from Ravenscroft’s Psalter of 1621.

Tune Book; Page 168

 11. 11. 11. 11.
Columcille - Anon, Irish Trad - A Minor

This is originally an Irish traditional tune, which John Bell has arranged and set to his own hymn No
wind at the window. His arrangement is therefore subject to copyright. Here, the melody is in A Minor
and the guitar chords are merely suggestions. It is provided as an alternative tune for Let Wasteland
Rejoice in Book 6. The melody sometimes appears in a slightly different form under the tune name
Domhnach Trionoide.

Tune Book; Page 169

O Quanta Qualia - La Feillée (late C18) - G Major

This is the tune for ‘Hymn Before Communion’ in Book 6. I have been able to ascertain almost
nothing about La Feillée save that he was active in France in the middle to late C18. This version
comes from the 1875 edition of Hymns Ancient & Modern 1875, where it is set to a hymn in 10 10
10 10. After a long search, it is the only tune I have been able to find to which that hymn can be
fitted. The subtle differences in the rhythm of the second part of each line, and whether or not the
last syllable is a slur, as in the second line, make it is a more interesting tune as 11 11 11 11 than in its
allegedly native metre. However, this hymn cries out for a fresh composition.

Tune Book; Page 170

 St Denio - John Roberts (Ieuan Gwllt) (1822-77) - G Major

This is the tune provided for Let Wasteland Rejoice in Book 6, and is widely associated with the hymn
Immortal, Invisible, God only wise. It is not entirely clear whether John Roberts is entitled to be called
the composer as the tune seems to have existed as a folk tune before he included it in his Caniadau y
Cyssegr (Hymns of the Sanctuary) of 1839. Here it is in G Major. In some hymn books it is in A .

Tune Book; Page 171

She moved through the Fair - 11 11 11 11 - Anon Trad - G Mix

This beautiful Irish melody is of unknown and possibly very ancient origin. In recent years it has been
the tune to the melancholic song She moves through the Fair, the words to which, depending on whom
one believes were either collected in Donegal or written by Padraic Colum (1881-1972). It has
become popular for weddings. One can only assume people have not understood the words which
are about a wedding which has been held up because of differences in social status and then a bride
who dies before the wedding can take place. I felt it needed words more appropriate for a wedding.
So I wrote a version of Solomon’s Seal, Song of Solomon 8:6-7 to go to it. This is in Book 6. I
discovered after I’d written it that Keith and Kristyn Getty had written a quite different wedding
song, Echoes of Heaven, to the same tune. I have wondered if they were inspired by the same
reservations as mine about the usual words. As She moves through the Fair must have been sung by
almost every singer who claims to have an Irish ancestor and plenty who have not, there are a huge
number of variants and arrangements for it, in a number of different keys,. It is better suited to be
sung by a solo lead than congregationally, in which case one should chose whatever key will provide
the highest note in the second line that the singer can comfortably reach. It should be sung in a fluid
style, with flexibility as to timing, note length and gracing. The versions in Book 6 just shows a close
harmony setting with chords, but the one below is the same but with two additional instrumental
parts.. It is in G Mixolydian, with flattened sevenths. The air line goes well on the Northumbrian
pipes but requires a 9 or 11 key chanter.

Tune Book; Page 172

 Six line tunes
Most six line psalms are structured with three pairs of lines. There are however a few six line psalms
where in stead there are two groups of three lines. Tunes designed for one structure are not
interchangeable with the other, which are grouped separately below as 888 888. The first one below
has four lines together and then a pair.

7777 77
England’s Lane - Trad adapted by Geoffrey Shaw (1879-1943) - B Major

This is the tune provided for the Benedicite in the Canticles section. It will be familiar as For the
beauty of the earth.

Tune Book; Page 173

 88.88.88
Geneva 117th - Louis Bourgeos (c1510-c60) - B Mixolydian
This tune was also used for Geneva 127th. So its name varies. It is an alternative for Lighten our
darkness in the Canticle section. It is modally slightly difficult to place, have three flats but it is
probably better to class it as B plagal Mixolydian rather than E .

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Old 112th, otherwise Vater Unser - Anon - C Minor or D Minor

This is the tune for Psalm 112. Luther wrote a version of the Lord’s Prayer in German which was put
to this tune by Valentin Schumann in 1539. Playford included an English version to fit this tune, which
is in the Canticle book. There are two versions of the tune, the one from Playford in three parts in
D Minor, to words reputedly by Coxe (1500-81?), which has been retrieved and popularised by the
late Gordon Ashman, and one harmonised by J. S. Bach (1685-1750) in C Minor as part of the St John
Passion.

Bach Version in four parts, provided here for Psalm 112.

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Three part version from Playford, provided for the Lord’s Prayer.

Versions of the Sanctus and Agnus Dei are also provided so as to make up a Communion setting.
This should be sung and/or played as three interlacing tunes. It is in D Minor.

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St Petersburg - D Stepanovitch Bortnianski (1752-1825) - C Major

This is the tune provided for Psalm 87. In this collection it is in C Major, but is found in several keys.
Various LM versions also exist, but the first and second lines of this version are not identical to the
third and fourth. Bortnianski is a well known composer of Russian operas and Orthodox church
music.

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South Cerney - Sir William Hadow C.B.E. (1859-1937) - E Major
This is a general purpose tune in this metre, suggested as an alternative for Lighten our darkness in
the Canticle section. Sir William Hadow was a distinguished educationalist.

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Stella - H.F. Hemy (1818-88) - E Major
This is the tune for Worthy are You in Book 6. It seems to have been arranged from an English folk
tune, for Easy Hymn Tunes for Catholic Schools, 1851 by H.F. Hemy (1818-88) and put to a Catholic
hymn written by Fr Frederick Faber (1814-63). Its name comes not from a devotional association but
because Hemy heard the song being sung by children in Stella near Newcastle-on-Tyne.

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Surrey - Henry Carey (1690-1743) - F Major

This is the tune for Addison’s sylvan eighteenth century version of Psalm 23.

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Sweet Sacrament - Anon (1826 or earlier) - D Major

This attractive tune is provided for Lighten our darkness in the Canticles section. It is much better
known in Catholic circles than elsewhere since it is the tune for Jesus, my Lord, my God, my All by Fr
Frederick Faber (1814-63). It is unknown, though, who wrote it. It comes from the
Romischkatholisches Gesangbuchlein of 1826. It repeats the last line.

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 8.8.8. 8.8.8
Jervaulx Abbey - Rev Alexander Galloway (1847-1926) - E Major
(Genevan Psalm 84)

This is the tune provided for the Whittringham version of Psalm 127 in this metre. The Revd
Alexander Galloway was one of the compilers of earlier editions of the Church Hymnary. The ending
of the middle line has been altered slightly to make it better suited to a psalm which has a definite
caesura at the middle point of each verse.

Tune Book; Page 182

Knowle - Charles Kettle (1833-1895) - E Major

This is provided for the version in this metre of Psalm 76.

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Monmouth - Gabriel Davis (c1768 - 1824) - E Major

This is the tune provided for Psalm 37. This setting is from an old Methodist hymn book and is
slightly different from the one in P&G. It needs to be played fast to ensure that the average
congregation does not lose its way where syllables are spread over double and triple notes. The
musician(s) also need(s) to give the congregation a clear and robust lead.

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Raleigh - Walter Gilbert (1829-1910) - B Major

This is not a well known tune and is the one provided for the version of Psalm 110 in this metre,
which also fits 88 88 88. The middle two lines repeat the first two.

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St Sulpicius - Arthur H Brown (1830-1926) - D Major

This stately tune from the Bristol Tune Book is suggested for the version of Psalm 46 in this metre.

Tune Book; Page 186

Whitby - Anon - F Major
from Houldsworth’s Edition of Cheetham’s Psalmody

This is a most attractive tune. Though not the easiest to sing, it is worth it. It is provided for the
version of Psalm 91 in this metre. It is also suggested as a possibility for Pss 38. and 46 It is
important to note that there is no tenor part, marked by small rests, in the fourth and fifth line of
each verse. Tenors should either be silent or perhaps sing the air an octave below. It is unclear in the
original whether it is intended that the bass part in the fourth line, marked by small notes, is sung or
instrumental only to maintain the momentum of that line. What is also important is that in the final
line the bass part comes in a crotchet before the other three parts. Also, the alto part is briefly
slightly out of phase with the other two parts twice in the fifth line.

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 8.8.8. 8.8.8. D
Old 113th - Anon - E Major
In its true version, this is actually a twelve line tune. There are a number of different versions of it.
This is the full version and it comes from an old Methodist hymn book. The Carillon at Ludlow plays
this tune each Thursday. It quite often appears with only six, in stead of twelve line. It varies, though,
which lines hymn collections choose. To assist describing this, in the version below each section is
lettered. The most typical selection is ABCGHL. As D,E and F largely repeat A, B and C, that is
understandable, but simply omitting those lines gives nine lines, not six. That selection has also been
used to provide a tune for the 888 888 version of Psalm 110. This tune also appears in D, which with
this harmonisation would give a bottom E, and F which gives a rise several times to top F. Possibly
for that reason, there are other versions of some of the lower lines.

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 10. 10. 10. 10. 10. 10.
Song 1 - Orlando Gibbons (1583-1625) - G Major

This is the tune provided for Milton’s version of Psalm 114. It is usually associated with the hymn
Eternal ruler of the ceaseless round. In many books it is in F Major, but as that goes several low Fs in the
bass line, here it is transposed into G Major.

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 13. 13. 13. 13. 13. 13.
Thaxted - Gustav Holst (1874-1934) - B Major
This is the tune familiar as I vow to thee my country adapted by Gustav Holst (1874-1934) from Jupiter
from his The Planets. The version of Psalm 8 in this metre was written to go to this tune. Holst lived
in Thaxted, whose vicar from 1910-42 was Conrad Noel, the ‘Red Vicar’. It is usually treated as
unison. Its range might be easier in C, but it seems almost invariably, as here, to be in B .

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 ’Peculiar’ and Unique Metres
6767- Eudoxia - Revd Sabine Baring-Gould (1834-1924) - G Major

This simple tune is the one for Now the day is over, at one time an almost universally known
children’s hymn, often sung at the end of the school day. It is provided for the version of the
Nunc Dimittis in the Canticles section in the same metre.

Monkland - 7.7.7.7. - John Antes (1740-1811) - C Major

simplified by John Wilkes (? - 1882)

This is the standard tune for Milton’s version of Psalm 136.

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Aurelia - 7.6.7.6.D - S. S. Wesley (1810-76) - E Major

This is the tune provided for Psalm 123. It is associated with The church’s one foundation and
From Greenland's icy mountains

Gute Bäume Bringen - 6.5.6.5.D - Peter Sohr (c1630-c1692) - D Minor

This is the tune provided for Mary Sidney’s version of Psalm 52. It has to be admitted that it
neither suits, fits nor does justice to her version. It is merely the least unsuitable that I have
been able to find in this metre. Even to make it remotely workable has required a few simple
alterations.

Tune Book; Page 192

King’s Lynn - Trad - Nominally 7.6.7.6D but irregular for Pilgrim Psalm (122)

The well known tune King’s Lynn is nominally in 7676 D, but has elided notes, which can either be
slurred or carry two light syllables. The first of the two versions of Psalm 122 is not in that metre.
Indeed, it is irregular, but intended to fit this tune. The tune itself is ‘Trad’., being known both from
Norfolk and Essex at least. The accompaniment, which can be found in most hymn books, was
arranged by R. Vaughan Williams (1872-1958). It is therefore still in copyright and cannot be
reproduced here. What is provided is the melody, with a single line accompanying part. Also added
are some suggested chords, though these should not be taken too seriously. It is up to musicians
whether they find them helpful or not. They attempt to relate to the air. They do not necessarily fit
the suggested counter line. The hymn tune usually appears in D Minor but has been transposed into
E Minor to help players of sharp key instruments.

Mit Freuden zart - 8 7 8 7 4-4 4-4 7 - Anon - E Major

This is the tune provided for the Coles version of Psalm 46, which is supposed to fit the well known
Lutheran tune Ein Feste Burg but does not. This tune comes from the Bohemian Brethren’s
Kirchengeseng. Theoretically, it dates from 1566, but has almost certainly been developed further
since then. It is a Unison tune.

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Old 50th - 10.10.10.10.11.11. - Anon - G Minor/Modal

This is the distinctive and dignified tune to Psalm 50 which goes right back to the reformers of
Geneva, It is in a very unusual metre. It has a magnificent sense of build up and drama.
Unfortunately it is difficult for C21 people to master the rhythm, particularly for the last two lines of
each verse with their extra foot. This four part setting is a combination of the three part version in
Playford with the counter line added from Urania: or a choice collection of psalm-tunes, anthems, and
hymns from 1761. There is also a version in some C19 editions of Hymns Ancient and Modern, but
that shortens the last two lines of each verse.

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Old 121st - 8.6.6.8.8.8 - Anon (see below) - G Major

This is the tune for the 121st Psalm from Playford, with the addition of an alto line. The tune seems
to derive from a Genevan progenitor, first found in a French psalter from 1551, but with different
numbers of syllables in the lines. Even with this version there is a confusion about the number of
syllables in the lines. Playford’s tune is in 8.6.6.8.8.8. but is set to words with the metrical pattern
8.6.6.8.6.6. If there have been other tunes for this version, I have not been able to trace any in usable
form. Furthermore, few, if any, tunes, whether suitable or unsuitable, seem have been written even in
the years since, that fit either of those metres

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Old 122nd - 6.6.8.6.6.8.D - Louis Bourgeois (c1510-61) - E Major

This is one of the greatest Geneva tunes. It is provided for the version of Psalm 122 in this unusual
metre. It appears in a few hymn books and In Playford, where it is the simpler key of F Major, but that
requires several high Fs. To pitch it any lower than E takes the bass line down to F. To includes the
doxology, the second half of the tune should be repeated, shown by the marker.

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Old 124th - 10.10.10.10.10. - Louis Bourgeois (c1510-1550) - F Major

This is the tune for Psalm 124, which has five ten syllable lines. It is a classic Geneva tune from the
1551 Geneva psalter which was in an English psalter for Psalm 124 by 1558. It sometimes appears
with a line missing to fit hymns with four ten syllable lines. I have not been able to discover where
the curious time change in the last line came from. It is in some appearances of this tune but not
others. One conjectures whether it might have been an attempt at some point to set down how it
was actually being sung. hymnary.org contains the interesting statement,
“Originally, the rhythm of the second line was the same as the fifth, and the third line contained a
spritely syncopation: H QQ H H QH H QH.”
Confusingly, that being a US site, Q does not stand for quaver, but for ‘quarter note’ which is
American for a crotchet. So H stands for ‘half note’, i.e. a minim.

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Old 125th - 8.8.8.8.6.6. - Anon - F Major

This is the attractive and dignified tune for the version of Psalm 125 in this unusual metre. The
version here is a combination of that in Playford and one at hymnary.org where the melody is in the
tenor and the tune is mysteriously known as High Dutch Tune. That version is attributed to Gile
Farnaby (1563-1640). If so, he can only be responsible for the arrangement as the tune is in an English
psalter from 1561, two years before his birth. It is just possible that the reason for the curious name
might be because in SH there is also a LM version of this psalm with its own specific tune. It would
therefore be equally entitled to be called Old 124th.

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Old 126th - 12.12.12.12.10.10. - Anon - E Minor

This comes from Playford, but goes back ultimately to the English Psalter of 1561. Playford has only
three parts. The version here in E Minor has a modern alto line, and some alterations to the rhythm
to help manage the long lines.

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Slievenamon - Anon - G Major

This is a traditional Irish tune, usually associated with some words written by by Charles Kickham
(1828-1882), but provided here for one of the sets of words for Psalm 84. There are many ways of
playing this tune, particularly depending on its context. It often, for example, appears as a waltz. For
Psalm 84, it should be treated as a slow air. It must be played flexibility, to enable the melody and
words to relate to each other. The chords are merely suggestions and do not need to be followed or
taken too seriously.

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