Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone V 1.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone VII 3.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone II 1. Maurice Greene, Lord, let me know mine end Maurice Greene (1696-1755) was organist of St. Paul’s Cathedral and Master of the King’s Music during the reign of George II. This anthem is based on verses from Psalm 39 (5–8, 13, 15).

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone II 2.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone IV 10. Anglican chant setting In the video below, Psalm 62:1–8 is sung to a chant by William Boyce (1711–1779), organist of the Chapel Royal, 1758–79, whose body is buried in the crypt of St Paul’s Cathedral. The singers are the Westminster Abbey Choir, and the recording is from a commemorative service in 2010.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone I B 10. Anglican chant setting A setting of Psalm 63 by Bertram Luard-Selby (1853–1919) is sung below by Gloriæ Dei Cantores, conducted by Elizabeth C. Patterson. (Note: this recording does not include the Gloria Patri at the end of the Psalm.)

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone I A 1.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone II 1. Anglican chant setting by William Crotch (1775–1847) and William Marsh (1757–1818) Because the mood of this Psalm changes dramatically at verse 5, it is common for choirs to use two different chant settings, the first in a minor key, the second in a major key. In the recording below, the first four verses are sung to a chant by William Crotch, a noted composer associated with Oxford University and the Royal Academy of Music. The second setting — from verse 5 through the…

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone V 2.

Plainchant setting The recording below is based on the Sarum Psalm tones as presented in the St. Dunstan’s Plainsong Psalter. It is chanted to Tone II 2.