"I have long wished to see introduced into the Churches (and I almost believe THE THIRD EDITION. LONDON: WARD AND CO., 27, PATERNOSTER ROW; C. H. PURDAY, 24, MADDOX ST., REGENT ST.; UNWIN, BUCKLERSBURY. 1855. TWO EDITIONS of this work are published : 1. WITH MUSIC, 1s., or 80s. per 100, to Congregations. 2. WITHOUT MUSIC, 8d., or 52s. per 100. For further notices of works in the series, see last page. gift Tappen Prest. les 1-30-1932 PREFACE TO SECOND EDITION. IN a few prefatory words to the first edition of this book, I stated my belief, that the solitary chant previously in use at the Weigh-house Chapel had been felt by the Congregation, with scarcely an exception, to be impressive, elevating and devotional. I also said that I believed the discontinuance of this part of the service would be generally deprecated. After four years' further experience of the effect and influence of chanting among us, I feel that I can without hesitation repeat these statements. Some years ago, Congregational chanting was little more than a problem and an experiment. It may now be regarded as an ascertained and settled point, that, by a moderate degree of care and culture, a Congregation may bring itself to unite simply, easily and devoutly in this form of public praise. I rejoice in believing that we have had some small share in promoting among Dissenters the revival of this ancient and scriptural form of the service of song in the House of the Lord." A The Church of Rome seeks to secure uniformity of worship by using in her services, throughout all the world, the same language-a language nowhere now a living speech! much more real union and uniformity would result from the general adoption of the chant. By this means the Church universal, of every nation and every clime-" every man," indeed, "in his own tongue," but all uttering the same thought -might unite in singing, in the same tones, the same songs;— songs which echoed in the ancient Church, which were sung by David, Asaph and Hezekiah, by Isaiah and the prophets, by Peter, and John, and Paul and Šilas, and even probably by our Lord himself,—and which, as the fruit of inspiration, are God's own gift to us, and free from all suspicion of human error or infirmity. Although some mixture of this error and infirmity must always disfigure the productions of even the best of men, we should be sorry to see the chant supersede or displace our metrical Psalms and Hymns;-it is only in addition to these that we advocate it. We do this, however, with a very sincere and deep conviction that it may be made greatly to promote the high and hallowed ends of all worship. I earnestly hope that this new and enlarged edition of our little work, containing so many of the "Songs of Zion," in a form the nearest to that in which they were originally given, will tend to promote their more general use, both among ourselves and in other congregations. The selection has been carefully prepared, and is the result of much conscientious labour. LONDON, March, 1854. T. B. NOTE BY THE COMPILERS. THE INTERVAL since the publication of the second edition being so short, no changes likely to produce confusion are now made. The text has, however, been carefully revised, and a more distinct cadencemark adopted. The rapid sale of a large impression having proved the value of the suggestions received, during its preparation, from various friends, the compilers desire to offer renewed acknowledgment of their kind assistance. THE MARK (*) indicates the change from the "recitative" to the "cadence." All the words preceding it are assigned to the first or "reciting note" of the chant; those which follow it, to the three or five terminal notes. The hyphen (-) in or after a syllable, shows that it requires two notes. Though music notes are of necessity used, they are intended to express only pitch, not time. In the arrangement of lines and accents, care has been taken to preserve, not only the true meaning of the words, but the symmetry and contrast of the poetry. The sections or paragraphs indicate changes of thought or sentiment. They afford convenient points for dividing the longer passages. The "AMEN" is arranged to be sung to a repetition of the last two notes of the chant. Where the "GLORIA PATRI" is used, it may be omitted. In adapting the music, more lively and melodial chants have been selected for didactic, descriptive, or hortatory passages; more solemn ones for passages directly addressing God in praise or prayer, and for those which, being figurative or prophetic, have meanings deeper than the mere words express. A portion of the last edition was printed without the music, thus reducing its price, and extending its use to those who prefer other chants. This form having proved acceptable, it will be continued. IF GOD'S OWN WORDS are to be used vocally, as a means of devotion, by large assemblies, there must be-first, entire rejection of those alternations of irreverent hurry and measured drawling so common in our parish churches and cathedrals; secondly, full practical recognition of the principle that chanting is simply musical recitation— reading or reciting in musical tones; thirdly, the adoption, as a result of this principle, of the natural time of the words, instead of the fixed time of metrical psalmody. NOTE BY THE COMPILERS. In practising, let a short passage be read distinctly, earnestly and expressively;—then recited simultaneously on a single note—say G or A;—and afterwards adapted to some simple chant—Tallis or Farrant, for instance--the same time, accent and emphasis being preserved as when it was read, and we shall chant on the natural and only true model. This is the best form of practice. IN CHANTING, the words should be uttered clearly and distinctly, and in a warm and earnest tone; but, as in reading, in a smooth and flowing manner, equally avoiding dull monotony and strained or dramatic emphasis. Reverence for God's Word demands that the minor syllables and words should not be clipped or blended, as in ordinary reading. The punctuation should be carefully and fully observed, and will afford all needful breathing-points. There should be no pause at the end of a verse, unless the sense requires it. Between the sections, a longer rest will be appropriate. The speed should be that of good devotional reading, without hurry in a long verse, or drawl in a short one. Every word, both in the "recitative" and the "cadence," should have its natural time, and not more, whatever the number of notes assigned to it. If due time be allowed for all voices, care and practice will soon produce such a habit of simultaneous recitation, as to render the break so often made between the recitative and cadence quite needless. The leader should be instructed to pass on at once, without change of manner, from the one to the other. The force will of course vary with the sense, but, on the whole, clearness is more to be sought than loudness, and declamatory than full singing style. The cadence should not be louder or more measured than the recitative. The "AMEN" may be sung slowly, firmly and fully. Chanting requires a leader thoughtful, intelligent and resolute,— understanding and feeling what he utters, and truly and earnestly expressing it. If there be an organ, and if it be used, it must be played very softly, and with constant attention to the varying length of the verses. It is well if the organist be also leader; if not, his task is a very difficult one. BE IT EVER remembered, that there can be no good chanting without good reading; including not only correct accent, emphasis and punctuation, but right understanding, true feeling and hearty expression of the words. This is at once the beauty and the difficulty, the weakness and the strength of the chant. LONDON, July, 1855. |