over leaf" would admit, thereby securing a great convenience to the organist and no loss of comfort in the pew. Following the Psalms, &c., will be found plain settings of the "Ancient Hymns," "Gloria in Excelsis," "Ter Sanctus," "Te Deum laudamus," and the "Sanctus" in both forms; also, a few short Anthems, all of which it is hoped will be found useful. Both Hymns and Anthems are partly original and partly selected, and have been carefully prepared with a view to Congregational singing. For the privilege of inserting those from St. Paul and Elijah, the Editor is indebted to the courtesy of Messrs. Novello, Ewer and Co.; and to Dr. S. S. Wesley, for his obliging permission to print the Sanctus, No. 130. There are also a few settings of the Responses to the Commandments, and a Service, "Te Deum" and "Jubilate," included. All the chants, &c., in this work, marked * are copyright, and all the Hymns, Anthems, &c., from No. 126 to 154, except 131, 132, 135, 139, and 148, are also copyright. INTRODUCTION. THE chants in this book are all written in the usual form, single chants of two strains supplying the music to one verse of the text, and double chants of four strains, two verses. Each strain may be said to consist of two parts-the recital and the cadence. The first bar in each strain marks off where the recital ends and the cadence begins. The bars (|) printed with the text correspond exactly with the bars in the chant, all the words occurring before the first bar in each verse, and also before the first bar after the double bar () belong, and are to be sung to the reciting note. These allotted words must in all cases be clearly and distinctly expressed, and where an accent () is placed on any one of them, let that word or syllable receive a slight emphasis, by being held a little longer; but it is not desirable, nor is it intended, that any pause or stop should take place thereon. Wherever a short pause is allowable, being of course necessary to the right expression of the passage, it is marked by a comma (,). Where neither comma or accent occurs on the recital, the emphasis falls naturally on the first note after the bar. Where only one word of two or more syllables bearing an accent, as "Blessed," | or two words, as "Serve the," | form the recital, they must be sung as if written But if they should be accented, as Arise," or "But know"," "I they will be sung thus: Where no accent is marked they are to be sung as equal notes. vi. INTRODUCTION. When the reciting note is written thus: 66 then the last syllable of the recital is to be sung alone to the crotchet, whether it follows an accented word or not; but when the last word of the recital carries the accent, as "The Lord'," | then the crotchet can only be used as a passing note. When the last syllable of the recital is to be carried over the bar into the cadence, as Against |- the Lord," || it must be sung as if written The same rule applies when a word or syllable is to be carried over in the cadence. The cadence presents no difficulty, as it proceeds with the uniform rhythm of a Psalm Tune, and, when needed, the hyphen (-) shews where the half bar falls, as in "medi- tate," &c. Considerable difference of opinion exists as to the proper mode of conducting Congregational Chanting. In some places of worship, this portion of the service is taken at a sort of racing speed, without reference to the meaning or right expression of the words. In others, the opposite extreme appears to be the rule. While disapproving of both, we would remember that cheerful and lively singing is best suited generally to the Psalms; but if the congregation is to join heartily in the song of praise, a style must be adopted with just so much speed of delivery, and no more, as will admit of an earnest out-spoken utterance of the words without mumbling. Chanting conducted on this principle, and guided by the foregoing directions, will rarely fail in securing the sympathy and hearty support of the members of congregations, and enable them easily and freely to take their full share in these noble anthems of praise. |