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Walkers Companion to Dr. Rippon's Tune Book, being a Collection of favourite and approved Tunes [...] a Publication of two hundred and thirty Hymn Tunes, and Pieces, in fifty nine measures [...]
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the artless strains of THIA1IKA, and the young Chorister is pleased with the simple chords of GABRIEL NEW, the scientific Harmonist will find in ABLOE one of the choicest pieces of composition that, perhaps, ever appeared in the compass of an Hymn Tune; there he may receive an agreeable repast,

PREFACE.

Where Modulation pure in Cadence neat, With well resolved Dischords yield a treat.

Among the Tunes marked originals, there are four or five, the leading ideas of which( the author is free to confess) were borrowed from Mr. Purcell, Mr. Handel, Dr. Haydon, and, Dr. Callcott. All the original Tunes,& c. in this volume, are distinguished by an asterisk, and are private property. The Tunes are arranged according to their metres, and the peculiar measures are numbered, beginning with those which are most in use. To these are added, a Supplementary Number, chiefly consisting of such as are not found either in Watts, Rippon, or Lady Huntington's Hymn Book. Many of the Tunes to the peculiar Hymns, may be easily accommodated to the more usual measures, by uniting or dividing the notes under the dotted slurs. Thus, FORDINGBRIDGE may be sung to a long metre hymn, by uniting three notes to one syllable, as marked by the dotted slur in the first and third lines; on the contrary, NUNTON may be sung to the 148th measure, by singing three syllables to the notes marked with the dotted slur in the third strain. By these means, many Tunes may become useful, where peculiar measures are not sung. But here it may not be amiss to observe, that FAIRFAX NEw and VIENNA cannot be sung to the same hymn with any propriety, for although the number of lines and syllables agree, yet the difference in accent render it improper. Nor can CROYDON and GAY's be sung to the same Hymn, without destroying the sense of the words, and the style of the music, although they agree in accent as well as the number of lines and syllables; this is evident to every person who possesses the least real judgment in music and poetry, Some of the Tunes have a strain distinguished by the term Coda, by which is to be understood an additional strain, not absolutely necessary to the Piece or Tune, but which may be sung or omitted at pleasure.

In the repeating Tunes, care has been taken to prevent( as much as possible) the breaking in upon, or weakening the force of expression in the words; the mischievous repeats which now abound, and are become so fashionable, render it almost impossible to find a whole Hymn, perfectly suitable to such repetitions. These absurdities, are, by some, considered as mere trifles; but the leader of public worship in singing, should recollect, that when words or sentences are improperly divided, the ideas must be either confused or totally destroyed; and true devotion must be interrupted also, unless the preposterous maxim of the Papists be right, that" ignorance is the mother of devotion."

The Editor has, for several years, been endeavouring, as far as his narrow sphere and ability would enable him, to remove those abuses, and improve the manner of singing among the churches; how far his endeavours have been crowned with success, he must leave to the religious Public to determine; to them he devotes his services, and to their candour and encouragement this Volume is humbly submitted, by THE EDITOR.