CHORUS.- "FROM HARMONY.

"


   
                 
No. 4

        
Allegro

                  
  

      
         
     
Piano. 

    




            
                        
         
5

   

          
         
P.



  
      

  
                                  
    
  
10


              
P. 

        


   
                                         
           
15

                 
           
P.


    
       
SOPRANO.


20 

S.

  
From har mo ny, from

           
ALTO.

  


A.

 
From har mo ny, from heav'n ly har mo ny,

       
TENOR.




T.


From har mo ny,

         
BAJO.



B.

 
 
               
From har mo ny,

   
        
         

  
              

P. 

     

      
          
25

 
S.

  
     
heav'n ly har mo ny, from har mo ny, from heav'n ly

A.
 
   
     
from har mo ny,

T. 

       
  
from har mo ny,



    
B.

 
         
          
      
from har mo ny,

 
          

              
  
      
P.




2
         
   
   
30

S.

  
                
har mo ny, This u ni ver sal

A.

     
     
from heav'n ly har mo ny, This u ni ver sal

T.

    
     
This u ni ver sal


B.

 
                     
The u ni ver sal

            
  
              
 
        
    
    
P.

   

  
            
34

S.

  
      
frame be gan; From har mo ny

A.     
  
           
frame be gan; From har mo ny


T.

     
       
frame be gan; From har mo ny


B.

                 
               
frame be gan; From har mo ny

      
               
 
  
           
   
 
      
    
P.

   


3
  
               
39

 
S.

  
              
to har mo ny, from har mo ny, to

A.

       
         
to har mo ny, from har mo ny, to

T.
 

      
     
to har mo ny, from har mo ny, to

     


B.

                           
                  
to har mo ny, from har mo ny, to

      
 

               
           
P.

   

      
  
44

S.

   
         
har mo ny,

  
A.

   
             
    
har mo ny, Through all the

T.
     
        
har mo ny, Through all the com pass of the notes it ran,


B.

  
                       
          
 
har mo ny,

     
      

  
            

   
P.

  


4
        
   
       
48

  
S.

      
  
     
Through all the com pass of the notes it

 



A.


            
com pass of the notes it ran,

             
         
      
     
P.

   
    
51

S.




 
         
 
ran,

  


T.
      
Through all the com pas of the notes it ran, The di a

       




      The
B.

  
        
       
di a

            

   
             



 
P.

  


        
55

T.

        


pa son clo sing full in Man,

B.

  
            
pa son clo sing full in Man,

               
            

        
P.

       

5
  

          
 
     
59 

 
S.

            
     
Through all the com pass of the notes it ran,

  


A.

       
       
Through all the com pass of the notes it


                  
   
    
       
       
P. 

 

   
    
62

A.

    
                
ran,
 

T.
    
Through all the com pas of the notes it ran, The di a

       
                  



B.

    
          
Through all the com pas of the notes it ran, The di a

      
           
   
   
                   
   
P.
dim. 

  



          
  
66

T.

     
      
pa son clo sing full in Man, clo sing full in


B.

 
                                 
pa son clo sing full in Man, clo sing full in

                 

  
          
P.

           

6
          
       



71

S.

  
From har mo ny to har mo ny Through

             




A.

  
From har mo ny to har mo ny Through

          
  


T.
  

         
Man, From har mo ny to har mo ny, Through all the com pass

        
B. 



               
Man, From har mo ny to har mo ny, Through all the com pass

    

    
 
         
         
 
   
              
   
 
P. 

        

    
         
 
76

S.


         
all the com pass of the notes it ran, The

A.        

 
all the com pass of the notes it


           
ran, The di a pa son


T.

     
       
of the notes it ran, The di a pa son

 


B.

  
                  
 
of the notes it ran, The di a pa son

           

     
  
        
       

P.

  


7
      
      

   
80

S.


       
di a pa son clo sing full in Man, the di a pa son

A.
    


     
the di a pa son

       
clo sing full in Man,

T.

          
  
clo sing full in Man, the di a pa son


B.

     
                              
 
clo sing full in Man, the di a pa son

    
            


        
           
P.

   

         
   
86

S.

  
    
clo sing full in Man.

A.       

       
     
clo sing full in Man

T. 

          
  
clo sing full in Man.


B.

   
          

                  
     
clo sing full in Man.

     

        
         
          
P.

    
  


                 
                           

94

   
       
        
P.

8
 

             
    
      
        
  
                
98


                   

      
 
P.