iv

PREFACE.

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integral portion of instruction in our national schools, and not a few indulge the sanguine hope that a few years will see the poor of this country as able to as the poor of Germany. take the same intelligent part in" the common tune To say the least, the non- musical section of a congregation, if not gainers, yet assuredly will not be losers by the arrangement. They will still have the words, as they had before; whilst, on the other hand, that section which have some knowledge of music, will have their position improved; they will have the music as well as the words. The whole of the music is printed in what is commonly called short or compressed score, a mode of arrangement universal in Germany, and rapiiy becoming so in England. Short score means the harmony of the four parts or voices( treble, alto, tenor, and bass), written in two instead of four staves. In the upper staff, the treble occupies the higher range, with the stems of the notes upwards, and the alto or second treble the lower range, with the stems downwards. On the lower staff( with the bass cleff), the tenor occupies the upper, and the bass the lower range, with the stems upwards and downwards respectively. The advantages of this mode of printing chant and psalm music are so numerous and obvious, as to need neither enumeration nor explanation.

THE PSALTER.

The system of punctuation adopted is that commonly used in our Cathedrals. Great care has been taken to attain the proper coincidence of the musical and rhetorical accent, so as not to sacrifice the one to the other.* The Chants chosen are the best of those in ordinary use in our Cathedrals. Most of them are already well- known in our parochial Churches, and consequently will not have to be learnt for the first time. In selecting them, special attention has been paid, first, to the practicability of the reciting note: secondly, to simplicity and ecclesiastical character. It will be seen, moreover, that transitions in the same Chant, from the major to the minor key, and vice versá, have been avoided. When a change in the character of the Psalm required it, another Chant has been introduced.

THE HYMNS.

These are 400 in number+ Some may possibly deem this number beyond the requirements of a congregation. It should, however, be borne in mind that it includes many of the Metrical Psalms: not a few again, are required for occasional use, whilst others have become so enshrined in popular sympathies and affections, that to omit them in any collection would be fatal to its success, however high the authority which endorsed it. In making this selection, the Compiler has most carefully consulted integrity of doctrinal teaching, correctness of rhythm, strength and propriety of phrase and sentiment, comprehensiveness of subject, and the general exigencies of public worship; with what success must be left to the decision of others. All bald and meaningless Hymns have been rigidly excluded. The metres of three or four of the Hymns may sound unusual to English ears; but they could not be omitted or altered, save by the sacrifice or mutilation of some of the finest of the German Chorales. Two of these, Hymn 122 and Hymn 381, were composed expressly for the original metres, by the late James Montgomery, Esq., who, for some years before his It may be added that the death, statedly attended the Compiler's Church. present collection was favoured with his most careful examination, and he was pleased to speak in the kindest terms of it.

* See" Explanatory Marks of Psalter."

+ See Second Preface.