Skip to main content

Full text of "Church music"

See other formats 


:CO 


LIBRARY 


TORONTO 


Shelf 


Register  No...  1  J5!.?>  5  /L 


CHURCH  MUSIC 


REV.  MAURICE  F.  BELL,  M.A. 


EDITION  1(EVISED 


A.  R.  MOWBRAY  &  CO.  LTD. 
LONDON  :    28  Margaret  Street,  Oxford  Circus,  \V.  i 

OXFORD:    9  High  Street 
MILWAUKEE,  U.S.A.  :  The  Morehouse  Publishing  Co. 


First  printed    -  -      I9°9 

Revised  and  enlarged     -      1922 


AUTHOR'S  NOTE 


'HPHIS  little  book  is  an  attempt  to 
-L  put  into  expression  the  experience 
gained,  in  a  period  of  years,  by  one 
who  has  served  the  Church  as  chorister, 
as  organist,  as  choir-master,  as  precentor, 
and  as  parish  priest. 

He  now  believes  that  he  sees  his  way 
clearly  with  regard  to  some  of  the  matters 
he  has  to  treat  upon  :  he  is  still  puzzled 
with  regard  to  others. 

If  his  book,  with  all  its  failings,  gives 
pause  to  thought  and  promotes  discussion, 
and  if,  with  God's  blessing,  such  thought 
and  discussion  should  end  in  the  further 
improvement  of  the  music  of  our  parish 
churches,  whether  according  to  the  lines 
laid  down  here  or  otherwise,  he  will  be 
indeed  grateful  that  he  has  been  allowed 
to  make  thus  his  humble  contribution  to 
the  furtherance  of  "  the  greater  glory 
of  God." 


POSTSCRIPT,  1922 


AFTER  thirteen  years  a  book  of  this 
description  needs  careful  and  drastic 
revision.  This  it  has  received.  For 
invaluable  suggestions  and  much  wise 
criticism  the  author  is  deeply  indebted  to 
Mr.  E.  G.  P.  Wyatt.  It  is  to  be  hoped 
that  this  new  edition,  shorn  of  some 
mistakes  and  brought  abreast  of  recent 
knowledge,  will  be  found  of  practical 
use. 


CONTENTS 


I.  INTRODUCTORY  i 

II.  THE  SERVICES  10 

III.  THE  ORGAN  16 

IV.  THE  ORGANIST  3 1 
V.  THE  CHOIR  41 

VI.  THE    LITANY  AND    HOLY  COMMUNION        5 1 

VII.  MORNING  AND  EVENING    PRAYER  -        95 

VIII.  HYMNS  134. 

IX.  THE  Music  OF  THE  CATECHISM  -      157 

X.  OCCASIONAL  SERVICES  1 70 


vn 


CHURCH  MUSIC 

CHAPTER  I 
Introductory 

CHRISTIANITY,-  unlike  the  other 
V_y  great  religions  of  the  world,  is  not 
satisfied  with  anything  that  comes  short 
of  perfection.^  Our  Blessed  Lord  added 
the  word  "  perfect  "  to  the  moral  vocabu 
lary  of  the  world  :  "  Ye  therefore  shall 
be  perfect,  as  your  heavenly  Father  is 
perfect"  (S.  Matt,  5.  48,  R.V.).  Reading 
the  whole  passage  of  which  these  words 
are  the  conclusion,  we  gather  from  the 
context  that  this  Christian  obligation,  to 
be  perfect,  flows  from  the  law  of  love  ;  and 
S.  Paul  (Rom.  13.  8  ff.)  insists  on  the  fact 
that  we  can  never  exhaust  the  ideal  task 
of  striving  after  its  fulfilment.  Now  this 
love  will  exert  itself  in  two  directions. 
The  exercise  of  love  and  the  aim  towards 
perfection  will  be  directed  Godwards 
and  manwards.  All  that  takes  place  in 
church — the  conduct  of  the  services,  the 


2  Church  Music 

embellishments  of  art,  of  ceremonial,  and 
of  music — must  be  looked  upon  from 
both  of  these  aspects. 

(i)  (If  we  love  God  we  shall  try  to  make 
our  worship  as  perfect  as  our  means  will 
allow. _j  No  pains  will  be  too  great,  no 
expense  too  heavy,  no  study  too  laborious, 
if  God  is  to  have  the  best  of  everything— 
the  highest  efforts  of  painting,  architecture, 
and  sculpture,  the  most  fitting  and  well- 
ordered  ceremonial,  the  best  and  most 
carefully  rendered  music,  and,  in  choir 
and  congregation,  surrendered  hearts  and 
Christ-like  lives.  \  There  is  no  doubt  that 
we  have  failed  m  doing  this  not  only  in 
execution,  but  also  in  ideal.  What  we 
have  done  in  our  churches  in  matters 
musical  we  should  never  have  tolerated 
for  one  moment  in  those  things  which 
concern  other  arts.  With  certain  notable 
exceptions  we  have  not  had  very  much  to 
boast  of  during  the  past  half-century  in 
church  architecture  ;  but,  after  all,  we 
should  never  allow  churches  to  be  built 
like  wedding-cakes — in  the  style  of  the 
"White  City"  :  and,  though  recent  experi 
ments  in  service-compilation  have  not 
been  reassuring,  none  of  us  would  have 
tolerated  prayers  written  in  the  language 


Introductory  3 

of  the  penny  novelette.  But  much  of  our 
Church  music  during  the  last  fifty  years 
has  been  as  tawdry  as  the  worst  efforts 
of  exhibition  architecture,  and  as  full 
of  maudlin  sentimentality  and  cheap 
"  effects  "  as  the  most  popular  sea-side 
romance.  It  is  hardly  too  much  to  say 
that  our  Church  music  has  been,  for  the 
most  part,  far  worse  than  our  church 
architecture,  or  even  than  our  church 
decoration  on  wall  or  in  window,  in 
fabric  or  in  embroidery.  And  that  is 
saying  a  good  deal. 

We  must  always  allow — be  it  said — 
that  God  does  not  need  what  we  describe 
as  the  best :  "  The  Spirit  breatheth  where 
it  listeth  "  (S.  John  3.  8,  R.V.  marg.}.  God 
will  work,  if  He  wills  to  do  so,  through  the 
catchy  mission  hymn  or  the  sentimental 
anthem.  God  often  does  work  in  the  most 
unexpected  ways,  and  through  means  that 
we  are  tempted  to  despise.  "  Such  ever  is 
God's  way:  to  rise,  He  stoops  ";  but  that 
is  no  excuse  for  our  offering  such  things 
to  our  brethren  as  substantial  food.  They 
may  be  stimulants  or  sweetmeats ;  but 
they  contain  a  minimum  of  nourishment. 

(2)  If  we  love  our  neighbour  we  shall 
have  regard  to  his  moral  education  while 


4  Church  Music 

we  deal  gently  with  his  prejudices  and  low 
ideals.  We  shall  be  careful  always  to  set 
the  best  before  him,  not  only  because  it 
is  the  only  offering  that  we  dare  give  to 
God,  but  also  because  we  are  afraid  of 
doing  harm  to  our  neighbour's  character 
by  allowing  him  to  associate  the  worship 
of  God  with  the  imperfect,  the  inappro 
priate,  or  the  meretricious. 

In  doing  this  we  must  bear  in  mind 
that  the  indifferent  is  often  more  attrac 
tive,  at  first  sight  or  at  first  hearing,  than 
the  excellent  :  and  that  "  we  that  are 
strong  ought  to  bear  the  infirmities  of  the 
weak,  and  not  to  please  ourselves  "  (Rom. 
15.  i).  That  is  to  say,  common  sense 
ought  to  teach  us  that  it  is  ridiculous  to 
set  up  so  high  a  standard  of  artistic  per 
fection — admirable  as  it  may  be  for  us  and 
perfect  as  it  may  be  in  itself — that  the 
average  ill-instructed  Christian  is  repelled 
by  what  to  him  is  its  strangeness.  The 
work  of  instruction  and  of  edification 
must  be  very  gradual  as  well  as  very 
thorough.  A  little  done  well,  and  on 
right  principles,  will  often,  in  the  long 
run,  effect  more  than  an  attempt  to  be 
self-pleasing  throughout  in  our  liturgical, 
archaeological,  and  musical  "  correctness." 


Introductory  5 

Our  aims  must  be  threefold,  (i)  For 
the  most  part  the  music  that  we  use  in 
church  must  be  full  of  vitality  :  we  owe 
this  to  the  worshippers  :  they  have  a 
right  to  ask  for  bread,  and  we  have  no 
right  to  offer  them  a  stone.  Because  cer 
tain  musical  forms  are  ancient  it  does  not 
of  necessity  follow  that  every  one  of  them 
is  instinct  with  life.  Much  indeed  of  the 
old  music  has  proved  its  immortality  ;  but 
not  all  of  it.  On  the  other  hand,  because 
certain  modern  compositions  happen  to  hit 
the  popular  taste  of  the  day  we  are  not 
justified  in  placing  them,  solely  for  that 
reason,  in  that  highest  place  from  which 
a  few  years  hence  they  may  have  to  be 
removed  with  contumely  or  loathing. 
(2)  There  must  be  a  healthy  atmosphere  : 
all  our  music  must  be  "  clean  music." 
There  is  a  luscious,  operatic,  sensuous 
atmosphere  in  which  true  religion  can 
hardly  exist.  English  music,  until  quite 
recent  times,  was  eminently  music  of  the 
great  open  spaces,  of  the  fresh  air,  of  the 
bright  sunlight,  of  clear  streams  and  grassy 
hills.  The  spirit  of  our  own  folk-song 
— redolent  of  health —  should  be  the  spirit 
of  our  Church  music,  not  the  music  of 
the  hot-house.  (3)  All  traces  of  display 


6  Church  Music 

must  be  studiously  avoided.  If  there  are 
to  be  solo  singers  one  could  wish  that  it 
were  possible  to  hide  them.  To  obtrude 
personality  in  any  way  is  to  distract  the 
worshippers  and  to  dishonour  Him  Who 
is  worshipped.  And  if  elaborate  music  is 
to  be  sung  it  must  be  so  well  practised 
and  so  perfectly  performed  that  no  one 
will  be  tempted  to  criticize  it  or  its  per 
formance.  The  aim  of  the  choir  should 
be  as  the  aim  of  the  preacher  :  to  convince 
of  sin  and  to  lift  up  the  heart  to  God  : 
not  to  call  attention  to  its  own  excel 
lence. 

For  the  most  part,  however,  in  our 
parish  churches  we  shall  be  very  sparing 
in  our  use  of  elaborate  music.  We  want 
to  get  our  people  to  join  in  <c  psalm  and 
hymn  and  spiritual  song."  No  doubt  it 
is  more  difficult  to  achieve  excellence  in 
congregational  singing  than  to  perform 
anthems  and  "set  services"  in  choir  ;  but 
no  effort  should  be  spared  to  get  the 
people  themselves  to  sing.  That  we  have 
not  succeeded  is  no  excuse  for  our  ceasing 
to  try  to  make  our  services  an  offering 
of  the  expressed  devotion  of  the  whole 
congregation.  "  Let  everything  that  hath 
breath  praise  the  Lord  "  (Psalm  [50.  6). 


Introductory  7 

This  is  to  be  the  general  rule  :  a  rule, 
that  is,  which  is  not  without  exceptions. 
There  are  places  in  our  Offices  where  the 
congregation  may  well  be  silent  listeners 
while  the  choir  sing,  with  perfection  and 
with  restraint,  some  of  those  exquisite 
compositions  which 

"  Dissolve  me  into  ecstasies, 
And  bring  all  heaven  before  mine  eyes." 

There  is  a  place  in  our  English  Prayer 
Book  for  "  the  Anthem,"  and  there  are 
short  rest-places  also  in  our  services  where 
the  choir  can,  most  suitably,  employ  their 
talents  in  this  way — notably  in  the  pause 
before  the  saying  or  singing  of  the  Gospel, 
where,  in  ancient  days,  the  Gradual  and 
Alleluyaand  the  Sequence  or  Tract  used  to 
be  sung  ;  or,  again,  during  those  sacred 
moments  of  the  Communion  of  the  people. 
Only,  wherever  this  is  done,  it  must  be 
done  well  ;  and  it  must  be  the  best  music 
— and  the  best  music  only. 

For  the  most  part — let  me  repeat — the 
ordinary  music  of  our  average  churches 
must  be  for  all  who  worship  in  them  : 
and  therefore  it  must  be — 

i.  Easy  of  compass.  Chants,  for  instance, 
should  not  have  reciting-notes  higher  than 


8  Church  Music 

C.     Hymns,  as  a  rule,  should  be  trans 
posed  if  they  include  notes  above  E. 

2.  Free  from  sudden  changes.     People  do 
not  like  to  be  pulled  up  sharp  when  they 
are  singing.     Few  have  the  music  in  front 
of  them,  and  they  cannot  be  expected  to 
know  by  instinct  when  a  pause  is  to  be 
made  or  a  sudden  pp  introduced! 

3.  (Changed  infrequently.     The  choir  will 
tire    of  music    far  sooner  than  the  con 
gregation.     People  who  come  to  a  musical 
service    on    Sundays    only    can     bear    to 
hear    the    same    music    for    many    weeks 
in    succession.     They  learn    to    love  the 
music  given  them  if  the  music  is  worthy 
of  their  love,  and  do  not  take  kindly  to 
changes.     It  would  be  well  to  teach  the 
people,    by    means    of    a    congregational 
practice    before    or    after    Evensong    on 
Sunday,    any    new    music    that    is    being 
practised  by  the  choir,  before  it  is  sung 
in  the  course  of  Church  service.J 

The  following  list  of  books  of  general 
instruction  will  be  found  useful  to  the 
Church  musician  : — 

1.  From  the  Organ  Loft.     A.  H.  ALLEN.      (Black- 
well,  Oxford.      2s.  6d.  net.) 

2.  The    Art   of  Tublic    Worship.     The    Rev.  Dr. 
DEARMER.     (Mowbrays.     4/.  6d.  net.) 


Introductory  9 

3.  Church  {Music.     The  Rev.  A.  S.  DUNCAN-]ONES. 
(Robert  Scott.      3/.  6d.  net.) 

4.  Worship    and  Music.     The    Ven.    Archdeacon 
GARDNER.      (S.P.C.K.      zs.  6d.  net.) 

5 .  Svery  man's  Guide  to  Church  Music.    Same  Author. 
(S.P.C.K.     ^d.} 

6.  The  Complete  Organist.    HARVEY  GRACE.    (Grant 
Richards,     js.  6d.  net.) 

7.  TJonfs  for  Church   Organists.      JOHN    NEWTON. 
(Heifer,  Cambridge,      is.  net.) 

8.  Church  Music.    S.  H.  NICHOLSON.     (Faith  Press. 
3>-  6^.) 

9.  The  Improvement  of  {Music  in  Parish  Churches. 
Same  Author.      (Faith  Press,      zd.) 

Reference  should  also  be  made  to  the 
Handbooks  of  Church  Music,  published 
by  the  Proprietors  of  Musical  Opinion^ 
Chichester  Chambers,  Chancery  Lane  : — 

The  Rudiments  of  Plainchant.     F.  BURGESS,      is. 

Organization  and  Training  of  Parish  Choirs.  F.  T. 
KENNARD.  zs. 

The  Principles  of  English  Church  Music  (Composition. 
MARTIN  SHAW.  zs. 

The  Liturgical  Use  of  the  Organ,  GODFREY  SCEATS.    3-r. 

And  to  the  Short  Papers  published  for 
the  Church-Music  Society  by  Humphrey 
Milford,  Amen  Corner,  London,  E.C.  4. 
Price  id.  each. 

Music  in  Village  Churches. 

Music  in  Large  Country  and  Small  Tovrn  Churches. 

{Music  in  Parish  Churches  :  d.  Plea  for  the  Simple. 


CHAPTER   II 
The  Services 

/1PHE  Liturgy  of  the  Church  of  Eng- 
-L  land  is  a  magnificent  composition  as 
it  stands  and  without  any  adornment  of 
decorative  artifices.  It  is  of  the  rarest 
beauty  of  structure  and  perfection  of 
detail.  To  follow  the  noble  diction  of 
our  English  Prayer  Book  at  a  "  said 
service"  is  a  peculiar  joy  in  itself,  pro 
vided  that  the  minister  is  distinct  and 
intelligent  and  reverent  in  his  rendering 
of  the  prayers  and  in  his  reading  of  Holy 
Scripture.  We  feel  it  only  fitting,  how 
ever,  that  on  Sundays  and  Holy  Days  we 
should  add  to  the  spoken  words  the 
special  beauties  of  music  and  of  cere 
monial.  This  is  not  the  place  to  write 
of  ceremonial  :  but  of  music — that  is,  of 
chanting  and  singing  with  or  without 
instrumental  accompaniment  —  there  is 
much  to  be  said.  Firstly  this  :  that 
there  are  places,  such  as  our  cathedrals 
and  many  greater  collegiate  churches, 

10 


The  Services  1 1 

where  the  music  may  fittingly  be  of  an 
elaborate  character.  We  should  wish,  as 
a  corporate  body,  to  give  of  our  best  to 
God.  Music  is  a  living  art,  and  cannot 
be  narrowed  down.  Music  is  a  free 
thing  and  suffers,  as  all  free  things  do, 
from  imprisonment.  The  music  of  the 
sanctuary  must  at  least  keep  pace  in 
growth  with  the  music  of  the  world 
outside.  All  the  splendours  of  modern 
instrumentation,  all  the  ingenuity  of 
technical  devices,  all  that  has  made  the 
music  of  the  concert-room  appeal  to  the 
intellects  and  to  the  hearts  of  the  people 
of  these  latter  days,  should  be  made  to 
contribute  to  the  glorious  and  honourable 
worship  of  that  Perfect  Being  Who  gave 
us  these  good  and  wonderful  gifts.  There 
is  a  place  in  the  Church  for  the  Brahms 
Requiem ,  for  the  Parry  T>e  Profundis,  for 
the  Palestrina  Stabat  Mater,  for  the  Bach 
Tassion  Music,  for  The  Dream  of  Gerontius 
or  The  Apostles.  Yet  there  are  but  few 
choirs  that  can  sing  these  incomparable 
works,  and  few  congregations  that  can 
afford  to  lavish  money  upon  their  pre 
sentation.  And  where  it  is  possible  for 
this  to  be  done  it  is  sufficient  to  say  that 
the  choir-master  will,  of  necessity,  be  a 


12  Church  Music 

musician  of  such  knowledge  and  capacity 
that  it  is  unnecessary,  and  would  be  im 
pertinent,  for  the  writer  of  this  book  to 
offer  suggestions  or  tender  advice  to  him. 

But  this  book  is  written  for  the  average 
parish  church  :  that  is,  for  the  church 
where  more  is  done  than  merely  to  say 
the  service  and  sing  a  few  chants  and 
hymns,  and  where  less  can  be  attempted 
than  has  been  suggested  above  as  the 
glory  of  the  privileged  and  envied  few. 

In  the  average  parish  church  we  shall 
hope  to  have  a  clerk  in  Holy  Orders  who 
can  at  least  monotone  the  service — where 
it  is  advisable  to  do  so — and  can  keep  to 
his  note  and  occasionally  add  an  inflexion 
and  possibly  sing  some  simple  intona 
tions. 

We  shall  have  a  competent  organist  : 
no  brilliant  executant,  perhaps,  but  a  man 
of  intelligence  and  of  some  accurate  know 
ledge  of  the  art  which  he  professes,  and 
whose  first  thought  is  to  do  glory  to  God 
in  the  execution  of  his  ministry.  Such 
an  organist — by  profession  and  training 
specially  fitted  for  his  work — must  receive, 
it  is  unfortunately  necessary  to  add,  an 
adequate  salary  for  his  services. 

The    churchwardens    will,    no    doubt, 


The  Services  13 

wish  to  keep  down  the  expenses  of  the 
choir,  and  there  will  be  no  great  sum  of 
money  to  expend  on  the  purchase  and 
performance  of  music.  The  musical 
illustration  of  the  services,  therefore,  in 
such  a  church  must  of  necessity  be  fairly 
simple,  and  not  more  will  be  attempted 
than  can  be  done  really  well. 

Then  there  will  be  a  choir  of  men  and 
boys  ;  the  men  probably  voluntary,  the 
boys  paid  some  trifling  sum  for  their 
services  :  though  in  some  places,  no 
doubt,  the  boys  will  also  give  their 
services,  "not  seeking  a  reward."  Often, 
besides,  in  country  villages  it  will  be  well 
— wellnigh  necessary- — to  enlist  the  ser 
vices  of  women  singers. 

The  organ  will  not  be  a  large  and  power 
ful  instrument,  but  it  will  be  sufficient  to 
lend  a  pleasing  and  varied  accompaniment 
to  the  carefully  trained  voices  of  the  choir 
and  to  the  more  rugged  unison  of  the 
congregation. 

But  above  all,  it  is  necessary  to  say, 
our  first  concern  must  be  with  the 
people's  parts  of  the  services.  It  is  of 
the  utmost  importance  that  we  should  do 
everything  in  our  power  to  restore  con 
gregational  singing.  The  people  must  not 


14  Church  Music 

be  robbed  of  their  right  to  sing  the  Psalms, 
Canticles,  Responses, Litany,  Kyrie,  Creed, 
Sane t us ,  and  Qloria  in  excelsis.1 

The  choir  have  their  "Anthem"  at 
Morning  and  Evening  Prayer,  and  if  they 
are  capable  of  singing  their  Anthem  well, 
and  the  people  are  given  an  opportunity 
of  knowing  and  following  the  words  of 
what  is  sung,  then  it  is  not  reasonable 
that  there  should  be  complaint  with 
respect  to  this  act  of  what  is — so  far 
as  the  congregation  are  concerned  — 
vicarious  worship.  In  the  Communion 
Service,  also,  the  Sequence,  the  Benedictus 
qui  venit,  and  the  tAgnus  Dei  afford 

1  "  The  whole  of  the  Gregorian  system  of  music 
for  the  Holy  Eucharist  goes  on  the  assumption  that 
the  chants  of  the  Ordinarium  Missae — especially  those 
of  the  Credo,  Sanctus,  Agnus,  and  (gloria — are  of  a 
simple  character  :  are,  in  fact,  congregational.  This  is 
one  great  reason  amongst  many  others  for  preferring 
the  old  Gregorian  plainsong  to  modern  compositions, 
which  are,  as  a  rule,  possible  at  best  only  to  the  choir, 
and  not  always  to  them." — Frere,  Elements  of  T/ain- 
song,  ist  ed.,  p.  76. 

The  present  writer  thinks  that  the  Agnus  might, 
in  existing  circumstances,  be  considered  an  excep 
tion  to  the  rule  laid  down  by  Dr.  Frere  ;  but  he 
would  advise  that,  if  there  should  be  a  Communion 
hymn  of  any  length,  the  Agnus  should  be  sung  to  the 
simplest  of  plainsong  settings. 


The  Services  15 

further  opportunities  for  the  rendering 
of  music  in  its  more  elaborate  or  re 
fined  aspect.  But  the  choir  must  not 
monopolize  the  music  of  "  the  Common 
Prayers."  l 

In  these  circumstances  those  who  are 
responsible  for  the  conduct  of  Divine 
service  will  set  about  their  work  with  a 
consistent  plan  in  view.  They  will  bear 
in  mind  what  is  possible  to  do  :  they 
will  see  to  it  that  what  they  are  about  to 
attempt — whatever  it  may  be — is  always 
the  best  of  its  kind  :  they  will  have 
more  sympathy  with  longsufFering  and 
forbearing  congregations  :  and  they  will 
so  nicely  adjust  the  respective  desires  and 
claims  of  choir  and  people  that  all  who 
worship  may  have  their  rightful  share 
given  them,  and  that  none  may  be 
offended  by  want  of  taste  or  by  half- 
practised  display. 

To  try  to  lend  a  helping  hand  towards 
this  desirable  achievement  is  the  purpose 
of  this  little  book. 

1  It  was  ordered  by  the  Elizabethan  Injunctions 
of  1559,  "  that  there  be  a  modest  and  distinct  song 
so  used  in  all  parts  of  the  Common  Prayers  in  the 
Church,  that  the  same  may  be  as  plainly  under- 
standed  as  if  it  were  read  without  singing." 


CHAPTER  III 
The  Organ 

BY  the  Act  of  1559 — by  which  (and 
none  other  or  otherwise)  the  Church 
has  been  said,  on  high  authority,  to  have 
bound  herself  in  1662 — not  only  would 
the  liturgical  use  of  the  censer  and  port 
able  lights  be  unlawful,  but  also  the 
liturgical  use  of  the  organ.  Evidently 
we  have  hardly  had  time  yet  to  take  in 
and  face  this  revolutionary  conclusion — 
only  one  out  of  many  that  would  follow 
from  the  principles  laid  down  by  two 
archbishops  in  the  famous  cases  of  Mr. 
Westall  and  Mr.  Ram.  One  cannot  help 
wondering  whatwould  happen  if  a  diocesan 
bishop,  having  doubts  as  to  the  legality 
of  the  liturgical  use  of  the  organ,  should 
order  his  clergy  to  content  themselves 
with  a  voluntary  before  or  after  service- 
time.  If  the  case  went  before  the  arch 
bishops  one  wonders  whether,  in  accord 
ance  with  the  line  adopted  on  that 
memorable  occasion,  they  would  resolve 
16 


The  Organ  17 

the  bishop's  doubts  by  coming  to  the 
conclusion  that  "  the  use  of  the  organ 
in  public  worship,  or  as  a  part  of  that 
worship,  is  not  at  present  enjoined  nor 
permitted  by  the  law  of  the  Church  of 
England,  and,"  they  might  add,  "it  is 
our  dutv  to  request  the  clergy  who  do 
use  it  to  discontinue  that  use.  If  used  at 
all,  it  must  be  used  (in  Richard  Hooker's 
language l )  c  when  men  most  sequester 
themselves  from  action,'  and  outside  the 
worship  altogether."  If  we  lived  in  a- 
logical  country,  where  principles  were 
carried  out  to  inevitable  conclusions,  one 
may  be  of  opinion  that  such  a  curtailing 
of  the  accessories  to  Divine  worship  would 
not,  in  some  cases,  be  for  the  spiritual 
hurt  of  the  worshippers. 

The  addition  of  the  organ  to  the  furni 
ture  of  the  average  parish  church  has  been 
the  deathblow  to  good  singing  and  expres 
sive  chanting.  The  weakness  of  the  choir 
and  the  insufficiency  of  its  training  can  be 
so  well  covered  up  under  the  raging  of 
the  king  of  instruments.  The  very  size 
and  power  of  so  many  of  our  church 
organs  tempt  the  organist  to  forget  that 
his  position  in  the  service  is  that  of 
1  Ecclesiastical  Polity,  bk.  v,  p.  39. 

C 


1 8  Church  Music 

accompanist  :  that  he  is  to  underlie  the 
voices  and  not  to  overlay  them.  Many 
of  our  organs  are  badly  placed  :  often 
they  are  much  too  large,  too  heavy, 
and  too  harsh  for  their  purpose  ;  and  the 
tendency  is  to  allow  everything  to  be 
wrapped  up  in  an  atmosphere  of  organ. 
Every  Response  and  every  Amen,  almost 
every  Prayer,  has  to  be  assisted  by  the 
organist.  We  are  never  allowed  to 
forget  the  existence  of  diapasons  and 
gambaS)  to  say  nothing  of  trombe  and 
voix  celestes.  One  longs  sometimes,  in 
church,  for  the  experience  of  the  heavenly 
vision  where  "  there  was  silence  for  half 
an  hour." 

Nothing,  however,  must  hinder  the 
recognition  of  the  fact  that  the  organ  is 
a  superb  instrument,  full  of  infinite  re 
sources  in  the  hands  of  a  skilful  player  ; 
and  that  it  is  almost  indispensable  in  these 
days  when  the  art  of  part-singing  is  well- 
nigh  lost.  A  few  words  should  be  said, 
therefore,  about  the  organ's  proper  posi 
tion  and  suitable  character. 

In  large  churches  the  most  customary 
pkce  for  the  instrument  or  instruments 
that  accompany  the  choir  Offices  used  to 
be,  without  doubt,  the  Rood-loft,  at  the 


The  Organ  19 

entrance  to — i.e.  at  the  west  end  or — the 
choir.  The  organs,  in  those  days,  would 
have  been  small  and  inconspicuous  instru 
ments,  and  did  not  block  up  the  chancel 
arch  as  they  did,  unfortunately,  in  a  later 
age.1  In  smaller  churches  a  gallery  would 
have  been  erected  at  the  west  end  of  the 
nave,  and  there  the  musicians  and  singers 
would  take  up  their  position.  This  was 
an  admirable  arrangement.  The  music 
had  its  full  chance  of  effect  ;  instru 
ments  and  voices  had  the  open  church 
before  them  ;  there  was  no  blocking  or 
hemming  in  of  sound.  Moreover,  the 
congregation  had  the  support  of  the  choir 
and  organ  when  they  sang.  All  singers 
formed  part  of  one  great  choir.  There 
was  less  danger  than  there  is  now  of  the 
"choir"  being  considered  an  institution 
by  itself  in  contradistinction  to  the  "  con 
gregation." 

In  our  parish  churches  of  recent  years 
we  have  put  our  singing  boys  and  men 
into  the  choir-stalls,  as  if  they  were  canons 
or  monks,  and,  having  done  away  with 
the  choir-screen,  we  found  that  the  organ 
in  its  west  gallery  was  inconveniently 

1  A  modern  organ,  if   played  from    the    gallery, 
might  be  distributed  round  the  choir  out  of  sight. 


2O  Church  Music 

distant.  In  churches  like  S.  John's,  West 
minster,  if  the  music  is  to  be  kept  together, 
the  organ  has  to  be  played  a  fraction  of 
time  in  advance  of  the  choir.  But  the 
result  is  only  satisfactory  if  the  hearer  is 
in  the  middle  of  the  church  :  elsewhere 
the  effect  is  painful. 

Hence  the  later  custom  of  removing 
the  organ  to  a  place  at  one  side  of  the 
choir  that  it  was  never  meant  to  occupy, 
and  where,  as  a  rule,  there  was  no  suitable 
place  for  it.  Organs  have  been  crushed 
into  side-chapels  ;  or  in  some  places  organ- 
chambers  have  been  erected  outside  the 
old  building,  under  the  supposition  that 
some  sound  would  somehow  make  its  way 
out  of  its  confinement,  under  low  arches 
blocked  with  dummy  pipes,  into  the  main 
church  beyond.  Irrespective  of  the  fact 
that  these  modern  organs  are  often  far  too 
large  for  their  purpose,  and  that  a  com 
paratively  small  instrument  is  all  that  is 
required  for  the  actual  accompaniment  of 
the  choir  Offices,  we  have  behaved  cruelly 
to  the  organs  themselves  and  treated  them 
with  scant  respect. 

Where  it  is  practicable  it  would  be  well 
to  have  two  organs — a  smaller  instrument 
near  the  choir,  and  a  great  organ  at  the 


The  Organ  2  r 

west  end  of  the  church — both  under  the 
control  of  one  organist,  who  would  have 
his  keyboard  placed  as  near  the  singers  as 
possible.  In  these  days  of  tubular  and 
electro-pneumatic  action  there  is  no  diffi 
culty  in  arranging  for  this.  It  is  only  a 
question  of  funds  ;  and  much  of  the 
money  thrown  away  in  past  days  in 
adding  to  the  size  of  the  instrument 
would  have  been  better  spent  in  arrang 
ing  for  its  more  suitable  position. 

This,  however,  is  evident  :  that  the 
organ,  if  not  in  the  open  church,  should 
be  placed  in  a  spacious  chamber,  and  on 
no  account  in  one  of  those  miserable  boxes 
beloved  of  church  architects  but  void  of  all 
resonance.  A  large,  spacious  chamber  is 
necessary  for  an  organ  if  it  is  to  sound  at 
its  best. 

If  funds  do  not  admit  of  pneumatic 
action,  then  the  tracker  system  is  quite 
admissible  providing  that  the  sound 
boards  are  close  to  the  manual  keys 
and  fitted  with  split  pallets.  The  uni 
son,  octave,  and  sub-octave  couplers 
ought,  however,  always  to  be  pneumatic, 
the  old-fashioned  mechanical  couplers 
being  self-condemned  on  account  of  the 
heavy,  laborious  touch  they  create. 


22  Church  Music 

The  manuals  should  now  be  made  CC 
to  c4,  with  sixty-one  notes  ;  for  the  octave 
coupler  has  then  a  real  chance  of  use 
fulness,  and  the  cost  of  the  additional 
pipes  is  trifling  compared  with  the  musical 
results.  Where  there  are  difficulties  in 
maintaining  an  even  temperature  in  the 
church  or  in  keeping  the  building  free 
from  dust,  it  might  be  advisable  to  avoid 
all  reeds  and  to  substitute  pipes  of  gamba 
construction,  but  of  more  biting  quality. 

Before  building  a  well-planned  organ 
specifications  should  be  prepared,  and,  if 
funds  do  not  admit  of  its  being  carried 
out  in  its  entirety,  preparations  should  be 
made  for  carrying  it  out  later  on.  Adding 
a  stop  then  means  practically  the  cost  of 
the  pipes  only,  as  the  soundboards,  ample 
bellows,  and  other  accessories  will  have 
been  already  provided.  It  is  advisable  to 
consult  an  organist  of  standing  in  the 
matter,  and  not  to  leave  it  to  so-called 
"  organ  committees." 

All  stops  should  go  through,  with  the 
following  exceptions.  (a)  The  clarinet 
might  at  first  go  down  to  bottom  G,  while 
preparation  could  be  made  from  the  first  to 
carry  the  stop  down  to  CC.  (£)  A  16  ft. 
stop  on  the  manual  should  always  be  in- 


The  Organ  2  3 

eluded  ;  if  only  one  1 6  ft.  can  be  afforded 
it  ought  to  be  on  the  swell  organ. 

If  there  is  to  be  only  one  reed,  a 
cornopean  (on  the  swell)  of  a  broad, 
even  tone,  as  made  by  the  best  modern 
voicers,  is  best. 

It  is  desirable  that  at  least  a  portion 
of  the  pedal  organ  should  be  enclosed 
in  the  swell-box. 

The  stop-jambs  ought  always  to  be  at 
an  angle  of  forty-five  degrees. 

The  pedal  keys  should  always  be  radi 
ating  and  concave. 

The  pedal  organ  should  always  have  a 
loud  and  soft  bass.  (A  large-scale  bourdon, 
to  do  duty  for  all  manual  stops,  ought  to 
be  shunned  like  poison.  Such  a  stop  is  a 
monstrosity — an  unforgivable  makeshift.) 
Octave,  sub-octave,  and  unison-off 
couplers  (on  the  swell)  are  most  valu 
able  additions  to  an  organ,  and  add 
100  per  cent,  of  effectiveness,  in  the 
hands  of  a  skilful  player  ;  but  great  care 
must  be  taken  with  their  use  in  ensemble 
passages. 

The  great  open  diapason,  8  ft.,  should  not 
be  slotted.  Its  tone  ought  to  be  full  and 
round,  and  not  like  an  inflated  vamba. 

*  o 

I    am    indebted     to     Captain     Francis 


24 


Church  Music 


Burgess  for  the  following  specifications, 
submitted  as  illustrations  of  what  is  de 
sirable  :  — 

(a)  For  an  organ  on  rood-loft  or  in 
some  other  position  where  pipes  of 
actual  1  6  ft.  length  are  impossible. 
(£)  For  a  larger  instrument  in  an  aver 
age-sized  parish  church  where 
there  is  more  space. 


SCHEME  I 


GREAT  ORGAN. 

(CC  to  c*)  6 1  notes. 

1.  Lieblich    'Bour 

don  -          -  1 6 

2.  Open  'Diapason     8 

3.  Claribel  Flute  -    8 

4.  Principal    - 
Twelfth 


5 

6.  Fifteenth    - 


ft: 
ft. 
ft. 

4    ft. 

2fft. 

2    ft. 


I.  Swell  to  Great. 


SWELL  ORGAN. 

(CC  to  c4)  6 1  notes. 

7.  Open  Diapason     8  ft. 

8.  Viole  <T  Orches- 

tre      -  -     8  ft. 

9.  Vio/e     Celesta 

(Tenor  C)  -     8  ft. 

10.  W aid  Flute  4  ft. 

1 1.  Contra  Oboe  -  16  ft. 

12.  Cornopean  8  ft. 

II.  Octave. 

III.  Sub-octaves. 

IV.  Unison  off. 


PEDAL  ORGAN   (CCC  to  F),  30  notes. 

13.  Sub-'Bass  (large  scale)  -  -   16  ft. 

14.  Bourdon  (from  No.  i)  -  -   16  ft. 

15.  Flute  (18  from  No.  13)          8  ft. 

1 6.  Fagotto  (from  No.  1 1)  -   16  ft. 

V.  Great  to  Pedal. 
VI.  Swell  to  Pedal. 


The  Organ 


SCHEME  II 


GREAT  ORGAN. 


SWELL  ORGAN. 


I. 

2. 

3- 

4- 

5- 

6. 

7- 
8. 

9- 

Contra  Gamba 
Open     'Diapa 
son  I      -     - 
Open     'Diapa 
son  II    - 
Hohl  Flute  - 
Principal    - 
Twelfth 
Fifteenth    - 
Tromba 
Octave  Tromba 

1  6    ft. 
8    ft. 

8    ft. 
8    ft. 
4    ft. 

2f  ft. 
2      ft. 

8    ft. 
4    ft. 

10. 

1  1. 

12. 

!3- 

14. 
15- 

1  6. 
«7- 

Geigen 
Harmonic  Flute 
Echo  Gamba    - 
Vox    ^Angelica 
(Tenor  C)    - 
Lieblich  Flute  - 
^Mixture   (15, 
19,  22)    - 
Contra  Oboe 
Cornopean 

8  ft. 
8  ft. 
8  ft. 

8  ft. 
4ft. 

III. 
1  6  ft. 

8  ft. 

I.  Swell  to  Great. 


II.  Octave. 

III.  Sub-octave. 

IV.  Unison  off. 


PEDAL  ORGAN. 


1  8.  Open  Diapason  -  -  -  - 
19.  Violone  (from  No.  i)  -  - 
Sub-'Bass  -  -  -  -  - 
Octave  (  1  8  from  No.  1  8)  - 
Flute  (18  from  No.  20)  - 


16  ft. 
16  ft. 
1  6  ft. 

8  ft. 
8  ft. 


20. 

21. 

22. 

23.  Trombone  (18  from  No.  8)    16  ft. 

24.  Fagotto  (from  No.  16)       -   16  ft. 

V.  Great  to  Pedal. 
VI.  Swell  to  Pedal. 


APPENDIX  TO  CHtAPTEl^  III 
The  Position  of  the  Organ 

TN  a  report,  issued  in  1 904  by  some  expert 

members  of  the  Church  Music  Committee 

appointed   by  the   Worcester  T)iocesan   Qon- 

ference,  the  following  leading  principles  and 

suggestions  were  recorded : — 

1.  If  the   chancel   is  too  small   for  an 
organ  and  singers,  both  might  be  placed 
immediately  outside,  stall-wise  :  the  choir 
being  lengthened  and  occupying  a  bay  of 
the  nave,  with  the  floor  slightly  elevated. 
The    effect   of  this    could    be   made    the 
subject   of  experiment,   with    or  without 
a  temporary  wooden  platform.     There  is 
abundant    architectural   precedent   in   our 
celebrated  cathedral  churches  for  the  ritual 
choir  extending  into  the  nave. 

2.  It  is  not  desirable  to  place  an  organ 
and  choir  under  the  lantern  of  a  tower  or 
at  the  intersection  of  transepts,  as  these 
seem  to  act  as  pockets  for  the  sound. 

3.  When  making  changes  it  is  always 

26 


The   Position  of  the  Organ  27 

desirable  to  test  their  advantages  by  actual 
experiment. 

4.  Organs  should  rarely  be  erected  with 
out  arranging  with  the  builder — as  part  of 
the  business  of  the  supply  of  the  organ 
— to  carry  out  in  the  presence  of  those 
interested    certain    practical    experiments, 
with  at  least  small  groups  of  organ  pipes, 
to   test  the   probable   acoustical   effect   of 
the  organ  if  placed  in  a  certain  position — 
particularly  when  the  church  is  full. 

5.  Architects'   difficulties   in   providing 
the  necessary  accommodation  for  the  organ 
are   frequently  increased   by  the  erection 
of  organs  larger  than  is  warranted  by  the 
size  of  the  church.     It  must  be  remem 
bered  that  a  small  organ,  well  placed,  is 
infinitely  more  effective  than  a  large  organ 
in   a   cramped   position.     The    suitability 
of  any  proposals  made  with  regard  to  the 
erection,  alteration,  or  removal  of  an  organ 
might  be  submitted  to  a  Standing  Diocesan 
Committee  of  advisers  or  experts. 

6.  In  the  erection  of  an  organ  it  ought 
to  be  insisted  upon  that  the  large  pipes, 
whether   speaking  or  ornamental,  should 
be    so    arranged    as    not    in    any   way   to 
interfere  with  the  emission  of  tone  from 
the  rest  of  the  organ. 


28  Church  Music 

7.  Whilst  modern  pneumatic  and  electro- 
pneumatic  action  enable  an  organ   to  be 
easily    divided    up    and    many    structural 
problems   to   be  solved,  it   can   never  be 
too    strongly  insisted   upon    that,  unless 
there     are    insurmountable     architectural 
difficulties,   the   organ   should   always   be 
arranged  as  a  compact  whole. 

8.  Electro-pneumatic   action,   with   the 
increased   complications   which  it  entails, 
should    not    be    adopted    when     simple 
pneumatic    will    do  ;    and    it    must    be 
remembered    that    both    systems    require 
a  very  heavy  wind-supply,  and   the  cost 
of  mechanical  blowing  is  thereby  greatly 
increased. 

9.  In  consequence  of  this,  tracker  action 
may  still  be  considered  the  best  for  small 
organs,  in  which  case  split  pallets  should 
be  insisted  upon. 

10.  When    an    organ    is    divided   up, 
excellent  results   may  sometimes   be    ob 
tained  ;    but  great  care  and  good   advice 
must  be  taken.     Where  part  of  the  organ 
may  at  times  be   under  the  influence  of 
a  warm  temperature,  and  the  rest  under  a 
colder,  there  will  generally  be  such  diver 
gencies  in    pitch  that  both  parts    of   the 
organ  cannot  be  used  at  the  same  time. 


The  Position  of  the  Organ  29 

n.  When  the  church  has  a  short  nave 
a  duplicate  great  and  pedal  organ  could 
conceivably  stand  at  the  west  end,  and  be 
controlled  from  the  console  which  acts 
on  the  chancel  organ  ;  but  when  the 
church  is  of  any  length,  this  treatment 
would  be  impossible,  because  of  the  time 
sound  takes  to  travel. 

12.  The  organ   should   not   be   placed 
between  the  choir  and  the  people,  or  the 
singing  of  the   choir   will    frequently  be 
overwhelmed  by  the  necessary  efforts  of 
the  organist  to  give  adequate  support  to 
the  choir. 

13.  An    organ    should    not    be    placed 
under  a  tower,  because  the  heavy  masonry 
necessary  to  support  it  is  generally  pro 
hibitive  of  there  being  adequate  vents  for 
the  sound. 

14.  When  the  organ  is  in  a  badly  con 
structed    chamber,    and    other    solutions 
cannot  be  found,  a  small  addition  to  the 
organ  of,  say,  some  three,  four,  or  more 
stops,  with  appropriate  pedal  bass,  could 
be  put  outside  the  chancel  for  the  sup 
port   of  the   singing   of  the   people,  and 
connected    with    the    chancel    organ    by 
pneumatics. 

15.  Where  a  costly  organ  has  been  put 


30  Church  Music 

up,  and  the  church  is  largely  used  in  the 
week  for  religious  purposes,  a  small  two- 
stop  two-manual  organ,  with  a  full  set  of 
pedals,  might  be  put  in  the  choir  vestry 
which,  it  is  suggested,  should  be  large 
enough  for  choir  rehearsals  taking  part  in 
it.  An  organ  of  this  kind  would  be  very 
compact,  and  would  not  cost  more  than 
j^yo,  and:  would  render  the  use  of  the 
church  organ  for  the  organist  and  his 
students'  practice  largely  unnecessary. 
The  wear  and  tear  to  the  church  organ, 
which  would  be  saved,  would  soon  out 
weigh  the  initial  cost  of  the  instrument, 
which  would  also  be  available  for  accom 
panying  choir  rehearsals. 


CHAPTER   IV 
The  Organist 

BLACKBERRIES  do  not  grow  on 
every  bush  :  the  curate  of  a  country 
parish  has,  in  many  cases,  to  be  thankful 
if  he  can  get  any  one  to  play  his  organ 
at  all.  It  would  be  absurd,  therefore,  to 
lay  down  any  principle  with  regard  to  the 
person  of  the  organist,  except  to  say  that 
he  (or  she)  should  be  the  best  procurable. 
After  all,  the  organist  need  not  necessarily 
be  a  brilliant  performer  :  and,  with  a  little 
sound  instruction  and  some  careful  practice, 
any  one  who  can  play  a  little  on  the  piano 
forte  can  learn  to  play  quite  creditably  on 
the  organ.  It  must  be  borne  in  mind, 
however,  that  the  character  of  organ- 
playing  is  that  of  a  series  of  sustained 
chords  :  and  that  it  differs  in  this  respect 
from  the  pianoforte,  which  is  an  instru 
ment  of  percussion.  To  learn  the  touch 
required  for  the  organ  the  pianoforte- 
player  has  deliberately  to  unlearn  a  good 


32  Church  Music 

deal  of  what  he  has  already  acquired  in 
learning  to  play  the  latter  instrument. 

The  organist  should  also  remember  that 
he  is  at  the  organ  to  accompany,  and  not 
to  drown,  the  voices  of  the  choir.  He 
must  remember  that  in  the  majority  of 
churches  the  organist  is  to  accompany  the 
congregation,  and  not  only  the  few  singers 
in  the  sanctuary.  In  all  probability  he  will 
have  to  leave  unused,  during  the  singing 
of  the  services,  many  of  the  stronger  and 
shriller  stops  on  his  instrument,  reserving 
them  for  his  simple  voluntaries  on  festivals. 
For  ordinary  use  little  is  wanted  for 
accompaniment  but  a  few  stops  of  the 
diapason  and  flute  quality  :  and  it  is 
really  quite  unnecessary  to  load  up  the 
village  organ  with  the  too  common  trumpet, 
fifteenth,  and  mixture.  To  many  organists 
I  would  give  these  words  of  advice  : — 

i.  Do  not  think  that  you  are  able  to 
extemporize  on  your  instrument  because 
you  enjoy  sitting  at  it  and  playing  ram 
bling  inconsequent  chords  which  give  you 
pleasure.  Those  who  hear  you  may  not 
be  pleased  :  and  God  will  not  be  pleased 
unless  you  can  honestly  say  that  your 
extemporizations  are  the  fruit  not  only 
of  your  inborn  genius,  but  also  of  diligent 


The  Organist  33 

study  and  practice  of  harmony  and  counter 
point.  Even  then  be  merciful  to  your 
hearers,  and  sparing  in  your  gifts  to  them 
of  your  own  compositions.  Humility  in 
an  organist  is  a  virtue  of  the  first  impor 
tance  :  and  there  is  music  of  the  best  of 
which  you  will  never  tire  playing  and  the 
congregation  will  never  weary  listening. 
Study  and  digest  well  the  works  of  Bach, 
of  Handel,  and  of  those  other  great  masters 
who  found  in  their  organs  a  voice  by 
which  they  could  praise  God.  Mark  well 
the  language  of  their  speech,  and  make  your 
own  selection  from  them  of  passages  that 
may  be  useful  as  voluntaries  or  interludes. 

2.  If  you  are  doubtful  about    extem 
porizing    accompaniments,    especially    to 
plainsong,  write  out  your  accompaniments 
in  full  and  see  that  their  harmonies  are 
correct  :  then  play  from  your  manuscript. 

3.  In  Psalm  and    Canticle  and  Hymn 
keep  the  accompaniment  as    unobtrusive 
as  possible.     If  the  choir  is  a  good  choir, 
allow  the  beauty  of  their  singing,  in   its 
proper  place,  to  have  its  full    effect  :    if 
you    are    to    lead  the  congregation,  then 
lead  them,  and  do  not  fidget  or  put  them 
out  by  your  vagaries  and  idiosyncrasies. 

4.  Do  not  ramble  about  the  keyboard 


34  Church  Music 

if  you  have  to  accompany  the  people  as 
they  monotone  the  Paternoster  or  the  Creed. 
Nothing  is  more  distracting  than  to  have 
to  follow,  instinctively,  the  wanderings  of 
an  ingenious  executant  while  saying  one's 
prayers.  And  to  imitate  the  twittering  of 
birds  in  the  trees  and  the  thunderings 
of  an  ocean  in  storm  in  such  places  is 
worse  than  inexpedient,  for  it  means  the 
hindering  of  devotion  and  the  barring  of 
the  passage  of  prayer.  Play  fairly  simple 
sustained  chords. 

5.  If  your  choir  is  liable  to  flatten,  more 
particularly  on  a  monotone,  use  a  stop  of 
incisive  quality,  such  as  a  gamba  :    when 
they  are  inclined  to  sharpen,  use  a  flute. 

6.  Do  not  think  you   can    accompany 
plainsong  unless  you  have  to  some  extent 
studied  the  ancient  modes.     It  is  not  fair 
to  the  music  of  this  type  to  deck  it  out 
in  trappings  of  harmonies  which  are  quite 
alien  to  its  spirit. 

In  the  accompaniment  of  plainsong 
Psalm-tones  great  assistance  may  be  ob 
tained  from  the  study  of  Mr.  Shebbeare's 
^Accompanying  Harmonies  to  Novello's 
Manual  of  Plainsong  (7*.)  ;  of  the  Plain- 
song  Society's  Organ  ^Accompaniment  to 
the  Psalm-Tones  (2s.  9^.)  ;  or  the  various 


The  Organist  35 

collections  of  Organ  Accompaniments 
published  at  S.  Mary's  Convent,  Wantage. 

When  you  are  accompanying  plainsong 
hymns  study  the  modal  atmosphere  of — 
but  do  not  blindly  follow — the  harmonies 
suggested  in  the  English  Hymnal,  or  in  the 
1904  edition  of  Hymns  Ancient  and  Modern, 
or  in  the  Oxford  Hymn  Book.  Dr.  Palmer's 
harmonies  to  the  Office  Hymn  Boof^  are 
still  to  be  had  (W.  Knott,  26  Brooke 
Street,  Holborn).  They  are  the  best 
models  you  can  have.  Steep  yourself 
in  them.  It  should  be  remembered, 
however,  that  the  rhythm  of  plainsong 
will  be  destroyed  if  every  note  is  accom 
panied  by  a  separate  chord  on  the  organ. 
The  harmonies  used  should  be  as  light 
and  flowing  as  possible,  employing  chords 
of  the  sixth  or  J  :  a  common  bass 
should  be  maintained,  and  its  position 
changed  only  when  necessary.  These 
changes  will  occur  on  the  accented  notes 
of  the  melody.  Above  all,  the  following 
points  must  be  strictly  adhered  to.  Plain- 
song  harmony  must  be  : — 

(#)  'Diatonic  :  i.e.,  proceeding  by  tones 
or  semitones,  allowing  the  semitone  to 
appear  only  between  two  tones  :  forbidding 
two  consecutive  semitones,  e.g.  C,  C~,  D. 


36  Church  Music 

(£)  Consonant :  i.e.,  it  must  consist  only 
of  perfect  chords,  with  their  inversions 
and  artificial  dissonances  as  notes  of 
passage. 

(c)  Appropriate  to  the  forms  of  the  ancient 
melodies.  Take  note  of  the  principle  laid 
down  by  Dom  Pothier  :  "  the  chant  advances 
not  by  notes  ^  but  by  groups  of  notes" 

For  the  consideration  of  this  most  in 
teresting  subject  of  accompaniment  refer 
ence  may  be  made  to  the  Rhythme,  execution^ 
et  accompagnement  du  Chant  gregorien^  by 
Pere  Lhoumeau  (published  by  MM. 
Baratier  et  Dardelet,  Grenoble)  ;  to  the 
Traite  d'barmonisation  du  Chant  gregorien, 
by  Gastoue  (Schola  Cantorum,  269  Rue 
Saint-Jacques,  Paris)  ;  to  P.  Wagner's 
Organ  Accompaniments  to  the  Vatican  Edition 
(Procure  generale  de  Musique  religieuse, 
Arras);  and  to  Captain  Burgess's  admirable 
book  on  the  Teaching  and  ^Accompaniment 
of  Plainsong  (Novello,  yj.). 

Best  of  all  try  and  learn  about  the 
modes  themselves.  They  have  a  special 
beauty  of  their  own  which  is  not  to  be 
found  in  ordinary  modern  music.  Trace 
them  out  not  only  in  Church  music,  but 
also  in  folk-song.  Read  Mr.  Cecil  Sharp's 
book  on  English  Folksongs  :  some  Conclu- 


The  Organist  37 

where  he  points  out  that  in  them 
we,  in  England,  have  scores  of  folk- 
melodies,  "  cast,  it  is  true,  in  the  old  and 
despised  modes,  yet  throbbing  with  the 
pulse  of  life,  beautiful,  attractive,  expres 
sive,  and  making,  withal,  a  powerful  appeal 
to  modern  taste  and  feeling."2 

Study  what  Mr.  Sharp  says  about  the 
harmonization  of  the  old  melodies  :  how 
he  points  out  that  to  harmonize  a  modal 
melody  in  terms  of  major  or  minor  is 
to  rob  it  of  all  individuality  and  to 
produce  a  hybrid,  which  is  neither  major, 
minor,  nor  modal.  These  modal  melodies 
are  in  a  living  language,  and  their  tonality 
must  be  preserved. 

7.  Remember  that  it  is  always  just 
possible  that  the  congregation  may  get 
weary  of  you  and  of  your  instrument  : 
you  may,  to  a  certain  extent,  get  on  their 
nerves.  To  prevent  this,  it  might  be  well 
to  leave  the  singers  to  themselves  for  some 
verses  of  the  Psalm,  and  occasionally  for 
a  verse  of  a  hymn.  But,  at  any  rate,  do 
not  feel  it  necessary  to  be  adding  an  instru 
mental  accompaniment  to  the  Amen  at 
the  end  of  every  Prayer.  Personally,  it  is 

1  London  :  Simpkin  &  Co.,  Ltd. 

3  English  Folk-songs  :  some  Conclusions,  p.  36. 


38  Church  Music 

questionable  whether  it  is  wise  to  accom 
pany  the  Versicles  and  Responses  and 
Amens  at  all  ;  but,  at  any  rate,  leave  the 
Amens  alone  after  the  "Anthem"  at 
Morning  or  Evening  Prayer.  The  minis 
ter  may  be  monotoning  the  Prayers  or  he 
may  be  reading  them  in  his  natural  voice  : 
but,  anyhow,  let  the  choir  be  taught  to  sing 
or  say  their  Amens  without  the  help  of 
the  organ.  For  one  thing,  they  will  sing 
them  more  readily  if  they  have  not  to  wait 
for  the  note  from  the  instrument  :  for 
another,  the  organist  has  a  right  to  demand 
for  himself  a  certain  rest  from  his  labours. 
The  organist's  task  is  a  most  exacting  one. 
He  has  always  to  be  on  the  alert  :  he 
must  keep  his  attention  fixed  :  he  can  only, 
as  a  rule,  relax  the  strain  of  the  service 
during  the  reading  of  Holy  Scripture  and 
the  preaching  of  the  sermon.  It  is  only 
fair  to  him  that  he  should  be  allowed,  dur 
ing  the  intercessions  that  follow  the  Third 
Collect,  to  sink  his  position  of  organist 
and  become  a  simple  worshipper. 

And  when  his  opportunity  is  given  him, 
he  should  use  it  to  the  full.  We  have  got 
so  much  into  the  habit  of  looking  towards 
our  organs  for  constant  and  continual 
assistance  in  the  rendering  of  Divine 


The   Organist  39 

service,  that  the  unfortunate  organist  is 
practically  glued  to  the  organ-stool  :  and, 
that  being  so,  he  rarely,  if  ever  thinks 
of  kneeling  for  the  Prayers — as  is  the 
customary  duty  of  Christian  people. 

It  would  be  well  to  provide  every  organ- 
loft  with  a  fald-stool  and  kneeler.  The 
devout  organist  will  wish  to  say  a  Non 
nobis,  T)omine  before  he  sets  about  his 
work,  and  to  offer  an  expression  of  peni 
tence  and  thanksgiving  at  its  close.  It 
should  be  made  possible  for  him  to  kneel 
down  to  do  this  with  ordinary  comfort. 
This  ignoring  by  organ-builders  and  church 
architects  of  the  organist's  soul  has  no 
doubt  led  to  the  impression  that  an  organ 
ist  is  bound  to  sit  on  his  stool  during 
all  the  most  solemn  parts  of  the  service. 
But  if  he  has  a  place  to  kneel  at,  he  will 
be  glad  to  make  use  of  it  during  the 
Prayers  at  Mattins  and  Evensong,  and  for 
a  short  space  after  the  Consecration  at  the 
Eucharist,  as  well  as  for  his  own  private 
devotion  before  and  after  the  service. 

8.  At  your  organ,  keep  your  music 
tidy  and  in  order.  The  music  required 
for  the  service  will  lie  on  your  desk  : 
other  music  will  be  within  reach.  You 
will  have  your  cupboard  or  shelves  also 


4O  Church  Musk 

for  music  that  is  only  occasionally  required. 
There  will  be  the  service-paper  for  the 
day  on  a  convenient  nail.  But  there  will 
be  no  accumulation  of  loose  music  on  the 
desk  :  everything  that  has  once  been  used 
and  is  now  done  with  will  be  put  away 
in  its  rightful  place.  A  disorderly  organ 
is  the  sign  of  a  disorderly  organist. 

9.  Try  to  get  leave  of  absence  from 
work  on  an  occasional  Sunday.  If  this 
can  be  arranged  you  will  be  able  to  worship 
at  times  amongst  other  worshippers  :  you 
will  be  able  to  hear  other  services  than 
your  own  :  you  will  be  prevented  from 
getting  into  a  groove.1 

1  See  Worcester  T{eport,  p.  1 9,  which  notes  :  "  For 
this  purpose  Sunday  People's  Services  might  occa 
sionally  be  held,  without  the  organist  or  adult  members 
of  the  choir  being  present,  a  deputy  presiding  at  the 
organ,  and  the  choir-boys,  under  control,  sitting  with, 
or  near  to,  the  people.  Sunday  services  need  not 
always  be  on  one  musical  scale." 


CHAPTER  V 
The  Choir 

IT  is  a  moot  question  whether  the  choir 
should  be  in  the  chancel  or  in  the 
gallery  with  the  organ.  Where  this  latter 
course  is  possible,  there  is  no  doubt  that 
the  quality  of  the  singing  will  be  im 
proved.  From  the  point  of  view  of  the 
congregation  also,  it  would  be  an  advan 
tage  that  the  chancel  should  not  be 
crowded  with  desks,  so  that  there  should 
be  an  unimpeded  view  of  the  altar  and  of 
its  ministry.  There  can  be  no  doubt 
that,  except  in  certain  exceptional  places, 
the  presence  of  the  singing  choir  in  the 
chancel  is  a  distraction  to  the  worshippers, 
and  does  not  conduce  to  that  spirit  of 
reverence  which  should  characterize  our 
worship. 

"  It  is  necessary,"  says  Dr.  Dearmer 
in  The  Tarsons  Handbook^  (p.  49),  "  to 
combat  the  idea  that  surpliced  choirs  are 
indispensable  to  a  well-conducted  service. 
They  sometimes  are  useful  and  sometimes 

41 


42  Church  Music 

the  reverse.  Of  late  years  they  have 
been  much  overdone,  and  the  musical 
education  of  the  congregation  has  been 
forgotten.  ...  As  we  become  more 
musical,  congregational  singing  will  im 
prove,  and  the  number  of  men  and  boys 
in  our  choirs  will  probably  decrease  ;  we 
shall  no  longer  try  to  herd  in  as  many  as 
the  chancel  can  possibly  hold,  for  we  shall 
seek  less  for  noise  and  more  for  music  ; 
we  shall  have  more  practices  and  insist 
that  they  are  attended,  and  the  braver 
choir-masters  will  even  refuse  to  admit 
choristers  who  cannot  sing.  Consequently, 
choirs  will  become  much  smaller  :  many 
churches  will  be  content  with  four  or  even 
two  chanters,  to  lead  the  singing  and 
chant  the  alternate  verses  of  the  Psalms 
and^Canticles.  Furthermore,  we  may  well 
hope  that  most  churches  will  come  to 
realize  the  profound  educational  value 
of  good  music  and  the  demoralizing 
effect  of  that  which  is  bad  :  when  this 
comes  to  pass,  the  repertory  will  be 
smaller,  with  the  result  that  congre 
gations  will  lean  less  upon  choirs,  the 
music  will  be  more  familiar,  and  prob 
ably  congregational  practice  will  become 
common.71 


The   Cboh  43 

It  must  be  remembered  that  it  is  the 
privilege  of  the  choir  to  do  three  things  : 
primarily,  to  lead  the  congregation  in  the 
right  way  ;  after  that,  occasionally  and 
with  discretion  to  ornament  with  suitable 
harmonies  the  congregational  music  that 
has  been  thus  led  ;  lastly  (and  that,  as  it 
were,  by  way  of  parenthesis)  to  sing  by 
themselves  in  Anthems  and  the  like. 
Refinements  of  singing  are  only  justifiable 
in  these  parentheses.  When  congregation 
and  choir  sing  together,  such  things  as 
changes  of  time  to  loud  and  soft  and  vice 
versa  are  quite  out  of  place  ;  the  melodies 
must  be  within  the  compass  of  the  average 
voice ;  broad  effects  must  be  aimed  at. 
That  by  no  means  necessitates  a  monoto 
nous  level  of  what  is  called  "heartiness." 
A  whole  verse  of  a  hymn  sung  softly  may 
be  just  as  "hearty"  as  another  one  which, 
as  in  S.  Chrysostom's  day,  successfully 
emulates  a  thunderstorm.  But  we  might 
have  more  of  these  thunderstorms  than 
we  do. 

It  is  not  necessary  that  the  organist 
should  be  the  choir-master  ;  though,  in 
many  cases,  these  offices  may  well  be 
held  by  the  same  person.  It  may,  how 
ever,  so  happen  that  one  of  the  parochial 


44  Church  Music 

clergy  or  some  properly  qualified  layman 
is  better  able  to  train  the  choir  than  the 
organist,  who,  though  a  capable  accom 
panist,  may  be  lacking  in  those  particular 
qualities  which  are  indispensable  if  the 
choir  is  to  be  well-disciplined  and,  spiri 
tually  as  well  as  vocally,  efficient.  The 
office  of  choir-master  is  one  that  must  be 
lived  in  a  constant  spirit  of  prayer  :  the 
responsibilities  and  the  opportunities  of 
his  position  are  great. 

He  will  "faithfully  and  wisely  make 
choice  of  fit  persons "  to  serve  God  in 
this  ministry  of  the  choir  :  and  he  will 
see  that  the  men  are  communicants  ;  the 
boys  members  of  Catechism  or  Sunday 
School.  Every  new  member — man  or 
boy — will  be  admitted  to  the  choir  on  a 
Sunday,  before  or  after  one  of  the  regular 
services,  in  the  presence  of  the  choir  and 
congregation  ;  a  special  form  of  admission 
being  used  (with  the  sanction  of  the 
bishop).1 

Regular  practices  will  be  held  during 
the  week :  one  or  two  for  the  boys  only  ; 
another  for  the  whole  choir  together.  If 

1  There  is  a  good  Form  of  Admission  on  page  42 
of  Canon  Eck's  Parochial  Office  Book.  (Mowbrays, 
price  6d.  and  is.) 


The   Choir  45 

a  regular  or  even  occasional  practice  can 
be  arranged  for  the  men  only,  it  will  be 
found  of  great  use  :  for  most  choirmen 
ought  to  be  taught  at  least  the  elements 
of  voice-production.  Even  when  they 
are  fair  readers,  their  voices  are  often 
badly  produced. 

If  it  is  in  any  way  possible  to  do  with 
out  it,  the  organ  should  not  be  used  at 
practice-time  ;  except,  perhaps,  for  the 
full  practices  or  final  rehearsals  of  special 
music.  A  pianoforte  or  a  violin  is  of 
more  use  than  the  organ  on  ordinary 
occasions.  When  more  elaborate  music 
is  sung,  it  has  been  found  of  great  assis 
tance — in  conjunction  with  the  organ — 
to  use  the  pianoforte  in  choir  :  and  at 
the  sung  weekday  Evensong  to  use  it  as 
sole  accompaniment. 

If  possible,  it  is  advisable  to  have  a 
fairly  large  number  of  boys  in  a  voluntary 
choir.  In  a  small  choir,  one  is  so  depen 
dent  upon  the  presence  of  each  individual 
boy  that,  specially  at  festivals,  there  is 
a  temptation  sometimes  to  relax  discipline 
or  overlook  bad  conduct  for  fear  of 
weakening  the  choir,  spoiling  the  music, 
and  making  a  poor  show  of  numbers  in 
the  sight  of  a  criticizing  congregation. 


46  Church  Music 

With  a  large  number  the  choir-master  can 
be  more  independent,  and  no  one  boy,  or 
group  of  boys,  is  indispensable  to  the 
tout  ensemble. 

In  the  country,  and  even  in  small 
country  towns,  boys'  voices  are,  as  a  rule, 
both  bad  and  scarce.  They  may  well  be 
supplemented  by  the  voices  of  women, 
who  are  nearly  always  available,  and,  in 
the  alto  parts,  invaluable.  A  contralto  is 
infinitely  preferable  to  the  fag-end  of  a 
boy's  voice — which  is  the  usual  substitute 
for  an  alto. 

The  boys  should  be  taught  the  rudi 
ments  of  music.1  It  adds  much  to  the 
interest  of  their  practice  if  a  few  minutes 
are  devoted  to  this  ;  and  it  both  lightens 
the  labours  of  the  choir-master  and  also 
renders  his  directions  intelligible  to  the 
boys.  The  most  rural  of  choirs  can  be 
taught,  with  the  best  of  results,  how  to 
produce  the  voice,  and  how  to  sing  with 
full,  even,  and  pure  tone. 

Full    information   with    regard    to    the 

1  Most  boys  learn  the  Tonic  Sol-fa  notation  at 
school  :  and  the  choir-master  who  can  transcribe 
a  hymn-tune,  or  chant,  or  an  awkward  passage  into 
Tonic  Sol-fa  notation  on  the  blackboard  will  find 
his  work  considerably  lightened. 


The   Choir 


47 


number  of  hymns,  of  the  chants  or 
tones,  etc.,  should  be  legibly  written  on 
the  choir  lists  for  each  week.  Not  more 
than  one  week  should  be  listed,  as  boys 
have  an  almost  incurable  propensity  to 
make  mistakes  in  numbers,  if  they  are 
allowed  the  opportunity.  There  should 
be  a  fair  number  of  such  lists  given  out 
and  placed  on  the  choir  desks,  so  as  to 
avoid  the  necessity  of  passing  them  about 
from  one  singer  to  another. 


CUPBOARDS 

The  music  used  in  church  will  be  put 
away  after  each   service  by   one    of    the 


48  Church  Music 

choristers  deputed  for  that  particular  office. 
A  large  cupboard  with  roomy  shelves  or 
pigeon-holes  will  be  provided  for  the 
purpose,  and  each  set  of  music  will  be 
kept  strictly  in  its  place.  A  good  plan 
is  to  have  cases  for  each  set.  Any  card 
board  box  manufacturer  will  make  such 
cases  to  order.  They  should  be  ii£  by 
8£  inches  for  the  usual  8vo-size  sheets, 
the  depth  of  the  case  varying  from  2 
to  4^  inches,  according  to  the  number  of 
copies  of  music.  For  music  of  a  larger 
size  the  cases  might  be  12  by  9^  inches, 
and  measure  5  inches  in  depth.  These 
cases  should  be  labelled  at  one  end,  so 
that  on  opening  the  cupboard  the  names 
of  all  the  music  used  by  the  choir  can  be 
seen  at  a  glance. 

SUGGESTED  RULES  FOR  CHOIR  BOYS 

1.  No  choir-boy  is  to  enter  the  vestry 
until  ten  minutes  before  a  service  begins. 

2.  On  entering  the  vestry,  every  boy 
is  to   put  on   his   cassock,    and    then    sit 
down  until  the  signal  is  given  to  stand. 

3.  At  the  word  of  command,  every  boy 
is  to  put  on  his  surplice,  and  then  stand 
in  his  place  ready  to  go  into  church. 


The  Choir  49 

4.  Not  more  than  one  boy  must  be  in 
the  lavatory  at  the  same  time,  and  no  one 
must  enter  the  lavatory  with   his  surplice 
on. 

5.  All  the  boys  must  walk  into  church 
slowly  and  reverently,  with  arms  folded 
in  front  of  them,  and  bow  with  profound 
reverence  towards  the  altar  before  taking 
their  seats. 

6.  Boys    on    no    account    are    to    look 
down    the    church    during    service,    nor 
whisper,  but  to  keep  their  eyes  on  their 
books. 

7.  At  the  Prayer  of  Consecration  every 
boy  must  keep  his  head  bowed  down  in 
front  of  him  all  through  the  prayer. 

8.  All  the  boys  are  to  return  to    the 
vestry  in  the  same  reverent  manner  as  on 
entering  the  church,  and  to  stand  silently 
with  arms  folded,  until  the  vestry  prayer 
is  ended. 

9.  Boys   must  take   off  their   surplices 
and  cassocks  very  quietly,  and  hang  them 
up  on  the   pegs   very  carefully  by   their 
loops. 

10.  Senior  boys  will  receive  one  penny 
for  every  service  and  practice  they  attend, 
and  junior  boys  one  halfpenny. 

11.  No  boy  will  be  allowed  to  sing  in 


50  Church  Music 

the  choir  on  Sunday  if  he  has  not  attended 
two  practices  l  during  the  week,  except  he 
is  absent  by  special  permission. 

12.  Prizes  will  be  given  by   the   vicar 
for  careful  obedience  to  these  rules,  and 
for   regular  attendance  and  behaviour  at 
practices. 

13.  Fines  will  be  imposed  for  breaking 
these  rules. 

1  I  am  indebted  to  the  Rev.  E.   S.  Scroggs  for  the 
following  list  of  books  useful  to  the  Choir  trainer  : — 

I.  "Voice,  Song  and  Speech.  (Brown  and  Behnke.) 
Invaluable  foundation  for  knowledge  of  lungs 
and  larynx. 

^.  The  Speaking  Voice.  (Mrs.  Behnke.)  Has 
admirable  exercises  for  developing  the  lungs. 

3.  Voice  Culture  for  Children.     (Mr.  James  Bates.) 

One  of  Novello's  Primers. 

4.  The  Singing  Voice  of  Boys.     (Rev.  H.  Holloway.) 

Most  suggestive  in  the  work  of  helping  boys 
to  discover  and  develop  their  singing  voice 
when  their  throats  have  been  hitherto  mis 
used  and  spoilt. 

5.  Manual  of  Singing.     (Richard  Mann.)    Contains 

useful  time-exercises. 

6.  Sight  Singing  made  Easy.      (Published  by  Gary 

&  Co.,  Mortimer  Street,  W.  i.) 


CHAPTER   VI 

The  Litany  and  Holy 
Communion 

BEFORE  any  other  part  of  the  Church 
service,  we  must  consider  the  music 
of  the  Order  of  Holy  Communion  ;  for 
this  is  the  Lord's  own  service,  and  the  only 
one  of  our  regular  Sunday  services  which 
is  of  Divine  appointment.  Whatever  may 
be  attempted  with  regard  to  the  illustra 
tion  of  Morning  and  Evening  Prayer  the 
first  concern  of  those  who  are  responsible 
for  the  music  in  church  must  be  the 
due  and  fitting  rendering  of  the  sung 
Eucharist. 

Here  are  some  principles  to  guide  us. 
Some  have  been  alluded  to  on  an  earlier 
page  of  this  book.  The  music  of  the 
average  parish  church  should  be,  as  a 
rule  : — 

i.  Within  the  understanding  of  the 
people,  and,  therefore,  not  surprisingly 
"  modern." 


52  Church  Musk 

2.  Fairly   invariable  ;  for  they  do  not 
easily  get  tired  of  the  familiar. 

3.  Mainly   unisonal,   because    it    is    an 
outrage    against    harmony    to    allow    any 
one  to  sing  in  parts  irrespective  of  their 
relation  to  other  vocal  parts. 

4.  Free  from  very  high  notes,  because 
we  are  dealing  with   those   whose  voices 
are,  as  a  rule,  of  a  moderate  compass. 

There  are  exceptions  to  these  principles. 
Certain  verses  of  the  hymns  which  are 
interpolated,  of  custom,  into  the  Office 
might,  with  advantage,  be  sung — with  or 
without  accompaniment  —  by  the  choir 
alone. 

Between  the  Epistle  and  Gospel  there 
is  an  interval,  consequent  upon  the  taking 
of  the  Gospel-book  to  the  chancel  steps, 
or,  in  a  small  church,  upon  the  moving  of 
the  Service-book  from  one  side  of  the 
altar  to  the  other.  This  interval  affords 
an  excellent  opportunity  for  the  singing 
of  a  short  motet  or  a  verse  or  two  of 
some  less  familiar  hymn. 

After  the  Sanctus,  too,1  it  is  customary 
to  sing  the  words,  "  Blessed  is  He  that 
cometh  in  the  Name  of  the  Lord  ; 

1   Or  after  the  Prayer  of  Access.     See  The  Parson's 
6th  ed.,  pp.  385,  386. 


The  Litany  and  Holy  Communion    53 

Hosanna  in  the  highest,"  and,  after  the 
Consecration,  the  Agnus  'Dei.  There  are 
many  beautiful  settings  of  these,  and  they 
may  well  be  treated  as  anthems,  and  sung 
to  music  of  a  more  modern  and  advanced 
type.  But  the  music  of  Kyrie,  Creed, 
Sanctus,  and  Gloria  in  excelsis  belong  to 
the  people,  and  their  music  must  not  be 
usurped  by  the  choir. 

Merbecke's  music  is  by  far  the  simplest 
and  easiest  of  all  the  musical  settings  of 
the  Communion  Service.  It  is  full  of 
melody  and  thoroughly  popular.  Care 
should  be  taken,  however,  to  avoid  the 
doctored  editions  of  his  plainsong  ;  and 
to  eschew  all  copies  of  his  music  where  an 
attempt  is  made  to  tie  up  his  phrases  into 
barred  time. 

The  following  editions  can  be  recom 
mended  as  containing  a  well-edited  and 
identical  version  of  Merbecke's  work  : — 

E.  G.  P.  WYATT  (Mowbrays). 

(a)  In  plainsong  notation.     \d. 

(b)  In  modern  notation.      \d.  net. 

MARTIN  SHAW  :  with  organ  accompaniment. 
(Curwen.)  6J. 

ROYLE  SHORE  :  Diocesan  Music,  No.  i .  (Novello.) 
2</.  ;  organ  edition,  is. 

F.  BURGESS  :   in  the  English    Gradual.     (Novello.) 
z/.  ;  organ  accompaniments,  \s.  6d. 


54  Church  Music 

GODFREY  SCEATS.  (W.  Paxton  &  Co.)  is.  But 
note  that  Mr.  Sceats  refuses  to  allow  the  termination 
-ed  to  be  sung,  which  introduces  four  or  five  varia 
tions.1  There  are  vocal  harmonies  to  Merbecke's 
Kyrie,  Sanctus,  Agnus,  and  Paternoster  in  Mr.  Sceats's 
Fa-burden  Merbecfe  ;  also  in  Wooldridge's  Musica 
(Milford,  zs.}. 


The  plainsong  music  in  The  Ordinary 
of  the  Mass  (published  by  the  Plainsong 
and  Mediaeval  Music  Society,  price  35.9^.) 
is  adapted  from  the  Sarum  Gradual.  It 
is  beautiful  and  full  of  devotion,  and 
has  centuries  of  traditional  usage  behind 
it.  It  is  to  be  feared  that  much  of 
it  is  difficult  for  ordinary  choirs.  The 
Plainsong  Society2  has,  however,  published 
two  little  books  of  extracts  from  the 
larger  work.  The  first  ("  Series  I," 
price  7^/.)  contains  "  two  easy  melodies 
for  the  Kyrie,  Sanctus,  Agnus^  and  Gloria 
in  excelsis"  The  second  ("  Series  II," 
price  is.  id^]  three  melodies.  Both  con 
tain  the  Creed  and  Choir  Responses. 
For  those  choirs  where  the  choir-master 

1  It  must  also   be  noted  that  Harwood's   Edition 
(Novello,   3</,    and    8</.)   and    the   one  published   by 
the  Faith  Press  (3^.)  differ  in  several  places  from  the 
notation  of  the  versions  mentioned  on  p.  53.     These 
differences  are,  to  say  the  least  of  it,  inconvenient. 

2  44  Russell  Square,  W.C.I. 


The  Litany  and  Holy   Communion     55 

is  able  to  teach  the  ancient  notation — 
and,  after  all,  nothing  could  be  simpler 
or  more  easily  mastered — these  services 
can  be  recommended  without  hesitation. 
They  will  be  found  to  be  congregational 
as  well  as  beautiful,  and  "  wear  well." 

Other  excellent  publications  of  the 
Plain  song  Society  are  txf  Simple  Communion 
Service  (6<^.)  and  the  Missa  Rex  Splendens, 
with  another  Sanctus  and  Agnus  (6d.\ 
They  also  publish  separately  the  famous 
seventh-century  Creed  (3^.  ;  12  copies 

«.). 

For  those  who  prefer  to  sing  their 
plainsong  from  copies  in  the  modern 
notation,  there  are  the  following  : — 

ROYLE  SHORE.  Diocesan  Music  (Novello.)  Nos. 
3  (3</.)  and  4  (z</.)  :  Plainc hant  for  Holy  Communion 
from  the  Sarum  Gradual. 

F.  BURGESS.  The  English  Gradual.  (Novello.)  2s. 
(These  versions — taken  mostly  from  the  Vatican 
edition — differ  somewhat  from  the  Plainsong  Society's 
books.) 

H.  V.  HUGHES.  The  Choir  Missal,  vols.  i  and  ii. 
(Faith  Press.)  is.  6d.  each.  (Another  distinct  and 
rather  eclectic  version.) 

NOTE. — All  the  above  include  the  Plainsong 
Society's  version  of  the  ancient  £redo. 

[Capable     choirs     might     obtain     and 


56  Church  Music 

experiment  upon  Dr.  Charles  Wood's 
Service  in  the  Phrygian  Mode  (Faith  Press, 
is.  4</.)  and  Dr.  H.  G.  Ley's  Short  Con 
trapuntal  Service  (Faith  Press,  is.}.  Both 
of  these  contain  the  ancient  plainsong 
Credo,  while  the  rest  of  the  Mass  is  set 
to  polyphonic  music.  The  Faith  Press 
also  publishes  two  such  Masses,  the 
Missa  Sancti  ^(ico/ai,  and  the  Missa 
Sancti  Sahatoris  (in  vol.  iii  of  The  Choir 
Missal^  is.  6d.  ;  separately,  6d.  each). 
Both  contain  the  plainsong  Credo  and 
Gloria  in  excelsis.  The  former  setting 
is  particularly  good.] 

Then  there  is  the  Rev.  J.  B.  Croft's 
Plainsong  of.  the  Holy  (Communion  (Society 
of  SS.  Peter  and  Paul,  is.  6d.\  which  he 
describes  as  a  "cheap,  simple,  and  practical 
Manual  of  Plainsong."  The  pleasant 
music  contained  in  this  book  is  for  the 
most  part  freely  adapted  from  the  I9th 
century  editions  of  the  Rouen  and  other 
"  Diocesan  books,"  and  represents  a 
rather  late  tradition  freely  remoulded 
and  recast  for  English  words. 

The  best  edition  of  the  Missa  de  tAngelis 
is  Mr.  Atchley's,  in  Royle  Shore's  Diocesan 
Music,  No.  7  (Novello,  3^.).  With  the 
exception  of  the  Kyrie  the  music  of  this 


The  Litan\  and  Holy   Communion     57 

Mass  is  not  of  very  ancient  origin  :!   but 
it  is -melodious  and  deservedly  popular. 

Captain  Burgess's  version  in  The  English 
Gradual  is  also  good,2  but  all  others 
(including  Harwood's  and  the  Faith  Press 
edition)  suffer  from  being  taken  from 
obsolete  texts. 

The  Missa  Simplex  is  interesting  as 
being  the  first  known  arrangement  of  the 
traditional  plainsong  to  the  Communion 
Office  in  English.  The  Faith  Press  ver 
sion  (price  3<^.)  and  Novello's  (Parish 
Choir  Book,  No.  900,  8^.)  are  both  good. 
Captain  Burgess,  who  edited  the  latter, 
states — on  the  authority,  I  believe,  of 
Dr.  Frere — that  it  was  probably  made 
for  the  opening  of  King  Edward  VI's 
Parliament  in  1547  :  and  he  adds,  "  The 
historic  significance  of  this  setting  can 
hardly  be  overestimated.  It  is  some  three 
years  older,  in  point  of  date,  than  the 
better-known  setting  of  John  Merbecke, 

1  The   Solesmes  authorities  reject  the  Sanctus  and 
dgnuf  as  being  quite  modern,  and   have  dated  the 
(gloria   in   excelsis   sixteenth  century,  and  the  fyedo 
seventeenth    century.       The    whole   composition  is, 
however,  an  adaptation  of  the  theme  of  the  Kyrie 
of  which    a    fourteenth-century   MS.  (printed  some 
years  ago  by  Gastoue)  is  extant. 

2  Cantlones  Ecckslae,  No.  4.     (Novello,  price  z</.) 


58  Church  Music 

but,  unlike  him,  its  author  never  forsakes 
the  traditional  melodies  for  original  com 
position." 

Then  there  are  the  seventeenth-century 
Masses  of  Dumont,  which  are  often  mis 
taken — and  should  never  be  substituted 
— for  genuine  plainsong.  They  might, 
however,  well  take  the  place  of  modern 
harmonized  Masses  ;  and,  in  that  case, 
Captain  Burgess's  edition  (Novello's 
'Parish  Choir  SooJ^  No.  86 1,  8<£)  or  the 
Faith  Press  versions  (3^.  each)  should  be 
used.  Mr.  Sceats  has  published  the 
second  mode,  Messe  Roya/e,  with  faux- 
bourdon  harmonies  for  Sanctus  and  tAgnus 
(W.  Paxton  &  Co.,  u.). 

During  the  last  few  years  a  number 
of  Masses  founded  upon  plainsong  or 
folk-melodies  have  had  practical  trial,  and, 
in  many  cases,  have  not  been  found  want 
ing.  They  are  frankly  experimental  : 
time  will  show  if  they  have  enduring 
stuff  in  them ;  but  they  seem  to  be  meeting 
a  demand  from  others  than  the  users  of 
the  ancient  plainchant  for  simple,  unisonal 
music  in  free  rhythm.  Mr.  Martin 
Shaw  has  written  three  such  Masses  : 
*A  Modal  Setting  (Curwen,  4^.)  ;  An 
Anglican  Folk-Mass  (6d.)  ;  and  A  Parish 


The  Litany  and  Holy  Communion     59 

Communion  Service  (6^.).  *  A  particularly 
useful  little  book  is  that  edited  by  E.  G.  P. 
Wyatt  and  W.  H.  Ferguson  and  called 
Easy  Plainsong  Settings  of  the  Holy  Communion 
Service  for  Congregational  Use  (Mowbrays, 
3*/. ;  with  organ  accompaniments,  35.  6*/.). 
This  contains  eight  settings  of  the  Kyrie, 
the  Merbecke  Creed,  five  settings  of  the 
Sanctus  and  Agnus,  and  three  of  the  Gloria 
in  excelsis. 

Mention  should  be  made  also  of  Godfrey 
Sceats's  ^Missa  Fidelium  (Novello,  u.),  and 
C.  E.  Hoyland's  A  Communion  Service  in 
<Modal  Style  (Novello,  6d.  ;  people's  part, 
3</.).  In  most  cases  parts  of  these  Masses 
are  set  to  be  sung  in  harmony  if  desired. 

THE  LITANY 

The  Communion  Service  should  be 
preceded  by  the  Litany  of  the  Book  of 
Common  Prayer.2 

The  most  familiar  setting  of  the  Litany 
is  that  which  is  known  by  the  name  of 
Tallis  ;  and,  in  its  present  form,  is  not  his. 

1  Small  handy  vocal  editions  of  these  settings,  for 
congregational  use,  can  be  had  for  T>d. 

2  In  the  injunctions  of  Edward  VI,  in  1547,  it  is 
ordered  to  be  sung  before  "  High    Mass  "  :  those  of 
Elizabeth,  in  1559,  continued  this  order. 


60  Church  ^Music 

Tallis's  Litany  was  in  four  vocal  parts,  and 
the  melody  was  in  the  tenor  throughout. 
It  is  very  beautiful,  but  hardly  within  the 
capabilities  of  the  average  choir,  and  the 
singing  of  it  would,  in  all  probability, 
effectually  prevent  the  people  from  joining 
audibly  in  its  prayers.  The  same  remarks 
would  apply  to  Tallis's  setting  in  five 
parts.  He  based  his  setting,  however,  on 
a  modification  of  the  old  form  of  plain- 
song  originally  set  to  Latin  words,  which 
was  put  out  by  Cranmer  in  the  first 
English  Litany  of  1 544.  All  these  three 
settings  are  published  in  The  Church 
(Music  Society's  £hoir-booJ^  (London,  Hum 
phrey  Milford,  price  u.)  :  the  Cranmer 
Litany  also  is  in  the  ^Manual  of  Plainsong. 
There  are  published  several  other  set 
tings  of  the  Litany  in  unison,  in  which 
the  people  can  well  join.  For  example  : 
(i)  The  Sarum  Litany  and  Suffrages,  pub 
lished  in  the  Manual  of  Plainsong  ;  separ 
ately  by  the  Plainsong  and  Mediaeval 
Music  Society  (price  Sd.)  ;  and  in  Mr. 
Royle  Shore's  Diocesan  Music,  No.  5 
(Novello,  id.\  which  also  contains  the 
Cranmer  Litany.  (2)  The  Setting  of  the 
Mechlin  Chants,  by  Messrs.  Doran  and 
Nottingham,  which  is  full  of  dignity  and 


The  Litany  and  Holy   Communion     61 

beauty.  It  may  be  obtained,  with  har 
monies  by  Ardley,  at  Novello's  (price  id."]. 
(3)  The  Litany,  ^(o.  /,  composed  and 
adapted  by  the  Rev.  J.  B.  Croft  (price  6<^.). 
Mr.  Croft  has,  in  his  music,  made  a 
special  point  of  emphasizing  the  structure 
of  the  Church  Litany,  distinguishing  that 
which  the  priest  is  directed  to  say  from 
that  which  the  choir  or  chanters  sing  : 
a  matter  which  is  important  when  the 
Litany  is  sung  in  procession.  In  the  same 
manner  the  antiphons,  so  often  obscure, 
are  here  made  musically  prominent. 

NOTe  ON  THE  LIT4NT  IN  PROCESSION 

1.  The  Invocations    (in  chancel)    should 
be  sung  by  the  chanters,  with  Responses 
by  full   choir,  all  standing   in   the   midst 
of  the  choir,  facing  eastwards. 

2.  The    Deprecations,    Obsecrations,    and 
Intercessions  (in  procession).     All  turn  at 
the  words  Remember  not  ;  or,  if  the  church 
be  a  small  one,  at  the  words  We  sinners.  The 
procession  goes  very  slowly,  and  reaches 
the  chancel  step  at  the  words  Son  of  God. 

3.  The  Paternoster,  Verside,  and  Collect  ' 


en  at  the  end  of  this  prayer  has  been  omitted 
through  a  printer's  error.  It  is  covered,  evidently,  by 
the  rubric  after  the  Absolution  at  Mattins. 


62  Church  Music 

(Station  at    the  Rood)  to  be   said  by  the 
priest. 

4.  The  Exsurge   and  Suffrages    (in  pro 
cession)  should  be  sung  by  chanters  and 
choir  as  they  enter  the  choir.1 

5.  Verside  and  concluding  Trayers  (before 
the    altar)   to    be   said  by  the  priest  (see 
Prayer    Book    rubric).      After    which   all 
return  to  their  places  in  choir. 

THE  INTROIT 

It  was  an  ancient  custom  to  sing  a  Psalm, 
or  a  portion  of  a  Psalm,  for  the  "  Office  " 
or"  Introit  "  at  the  commencement  of  the 
service.  It  may  be  regretted,  perhaps, 
that,  in  the  course  of  the  Middle  Ages, 
the  Psalm  itself  dropped  out,  leaving  the 
antiphon  with  one  verse  of  the  Psalm  and 
the  Qloria.  But  if  it  can  be  conveniently 
done — that  is  to  say,  if  the  congregation 
can  be  provided  with  the  words — it  seems 
fitting  that  the  words  of  Holy  Scripture 

1  "  These  Versicles  are  of  the  nature  of  a  '  respon- 
sory-antiphon  '  after  the  Glory  be.  Note  the  three 
fold  and  ancient  position  of  these  three  antiphons  : 
before  the  Psalm,  after  the  Psalm,  and  after  the 
Gloria — as  in  the  old  Roman  books  on  '  Triple 
Feasts,'  and  as  always  in  the  'Office'  or  Introit  before 
Mass  in  the  old  English  uses." — Croft,  op.  cit. 


The  Litany  and  Holy  Communion     63 

should  be  sung  here  according  to  the 
traditional  usage  of  many  centuries.1  (At 
the  end  of  the  English  Hymnal  the  words 
of  the  Introits  are  printed,  but  the  music  is 
not  given.)  The  melodies  of  the  Introits 
(adapted  from  the  Sarum  Gradual  by  Dr. 
Palmer)  are  published  by  the  Wantage 
Sisters  ;  but  the  music,  though  full  of 
phrases  of  great  artistic  beauty,  does  not 
seem  to  me  fitted  for  ordinary  congrega 
tional  singing.  There  seems  no  simple 
setting  of  the  Introits  obtainable  ;  and  the 
only  suggestion  1  can  offer  is  that  the 
antiphon  should  be  sung  to  the  eighth- 
mode  melody  (best  known  to  us  from  its 
associations  with  the  Quincunqut  vult\  and 
the  "  Psalm  "  to  the  sixth  tone — repeat 
ing  the  antiphon,  of  course,  after  the  verse 
and  again  after  the  Gloria  Tatri.2 

1  In  the  First  Prayer  Book  of  Edward  VI  a  Psalm, 
with  its  (gloria,  was  provided  as  Introit  for  each  Sun 
day  of  the  year.     This  "  coming  before  His  Presence 
with  a  psalm"  might  well  be  adopted  in  places  where 
the  traditional  Introits  are  not  available. 

2  It    is    to    be    regretted  that    the   editors  of  the 
English  Hymnal  did  not    point    the    Introits  as  the 
compilers    of  our    Prayer  Book   pointed  the  Psalms 
"  to    be    sung    or  said    in    churches."     They  have, 
unfortunately,    scattered    their    colons    so    profusely 
that  the  only  way  out  of   the  difficulty  of  pointing 


64  Church  Music 

The  Introit  for  Advent,  e.g.,  may  then 
be  sung  thus  : — 


Chanters.  Un  •  to      Thee,  O  Lord,  lift  I  up  my          soul. 
I  


Full  Choir.  O  my  God,  in  Thee  have  I  trusted  ....  shall  not  be 

VERSE. 

•^LA--=S=^ n—        \ 1==^==±====^=.-1 

t 


a  -  sham  -  ed.       Boys,  Show  me    Thy  ways,    O     Lord  : 

— ^ 1-  ^*l      ••*. 1 n 

^ar— ^V=^g 


and  teach      me      Thy  paths. 
Repeat  ANTIPHON  Full  Choir,  and  then  sing :— 


Men.   Glo  -  ry        be  to  the  Father,        and      to      the     Son 
Boys.   As       it         was ev  -  er     shall    be  : 


and  to        the      Ho-ly  Ghost : 

world  with  -  out       end.      A  -  men. 

Repeat  ANTIPHON  Full  Choir. 

If  the  traditional  and  Scriptural  Introit  is 
not  sung,  a  hymn  may  be  inserted  in  this 
place. 

is  to  treat  the  first  colon  as  the  end  of  the  media 
tion  always,  irrespective  of  the  symmetry  or  balance 
of  the  words  as  a  whole. 


The  Litany  and  Holy   Communion     65 

THE  INTRODUCTORY  PRAYERS 

The  priest  will  say  the  Paternoster  and 
the  Collect  for  Purity  in  a  low  but  audible 
voice,  without  note.  It  has  been  the 
fashion  in  many  places  to  sing  or  mono 
tone  the  whole  service  throughout.  "This 
is  certainly,"  says  Dr.  Dearmer,  "  without 
precedent  ;  for  in  the  first  place  we  have 
no  tradition  in  its  favour  since  the  issue  of 
the  First  English  Prayer  Book,  and  in  the 
second  place  we  know  that  large  portions 
of  the  Latin  service  were  said  in  so  low 
a  voice  as  to  be  inaudible  to  the  congre 
gation.  We  are,  of  course,  bound  to  say 
every  part  of  the  service  quite  clearly  and 
audibly,  but  that  is  no  reason  why  it 
should  be  "  monotoned."  r 

The  Plainsong  Society  authorities  re 
commend  that  "the  Exhortations,  Confes 
sion,  Absolution,  Comfortable  Words,  and 
Prayer  of  Humble  Access  should  be  simi 
larly  treated,"  i.e.  said  in  the  natural 
voice. 

THE   RESPONSES  TO  THE  COMMANDMENTS 

The  choir-master  would  do  well  to  select 
for  himself  and  add  to  the  choir  manuscript 
1   The  Parson's  Handbook,  6th  ed.,  p.  214. 


66  Church  ^Music 

book  four  or  five  simple  settings,  carefully 
avoiding  all  false  accents  and  awkward 
pauses.  On  these  he  will  ring  the  changes. 
For  ferial  use,  few  settings  of  these  Re 
sponses  are  better  than  Merbecke.  It  is 
perhaps  the  simplest  and  most  straight 
forward  melody  in  popular  use  :  and  it 
exactly  complies  both  with  Cranmer's  in 
structions  to  the  composer,  and  with  Arch 
bishop  Holgate's  excellent  injunctions  to 
the  Dean  and  Chapter  of  York  in  1552 
that  "  every  syllable  may  be  playnelie  and 
distinctlie  pronounced  and  understanded 
and  without  any  reports  of  repetyngs 
which  may  induce  any  obscurenes  to  the 
herars."  l 

1  It  will  be  noted  that  only  the  first  phrase  of  the 
melody  in  common  use  was  written  by  Merbecke 
himself.  He  only  set  the  Kyrie  of  King  Edward  VI's 
First  Liturgy.  Captain  Burgess  (Plainsong  and  Cjre- 
gorian  Music,  p.  3,  n.)  asserts  that  it  is  in  the  sixth 
mode,  and  should  end  on  F.  Sir  Charles  Stanford, 
in  his  recent  edition  of  Merbecke,  has  substituted 
a  phrase  of  his  own  for  the  words,  "  and  incline  our 
hearts  to  keep  this  law "  ;  but,  though  he  labels  it 
"  modus  ix,"  he  concludes  his  phrase  on  D.  Surely 
Dyce  was  not  far  out  when,  in  1843,  he  wrote  the 
phrase  we  know  so  well,  which  ends  on  the  chord  of 
F,  although,  in  the  first  nine  responses,  the  melody 
takes  the  third  above. 


The  Litany  and  Holy  Communion     67 

RESPONSES  I.— IX.  Merbecke  A  Dyet. 


Lord,  have    mer  -  cy       up   -  on       us :  and   in 


RESPONSE  X. 


-1   .  -1      -Kl 


-  cline  our  hearts  to  keep  this  law.  Lord,  have  mer-cy  up  -  on   us  : 


I     I    I 


i    i 


I 


trp-tr?=g£g=? 


and  write  all  these  Thy  laws  in  our  hearts,  we  be  -  seech  Thee. 


di 


Admirable  also,  but  more  intricate,  are 
the  Responses  printed  in  the  Plainsong 
Society's  The  Ordinary  of  the  Mass.  The 
following  illustration  is  No.  VII  of  their 

O 

simpler    settings,    an    adaptation    of   the 


68 


Church  -Music 


melody  Orbis  factor  (p.  7).  I  have  taken 
the  liberty  of  printing  the  melody  in 
modern  notation. 


P 


RESPONSES  I.— IX. 

±= 


0/*/s  Fartor. 


*.    Lord,  hare     mer  -  cy     up  -  on       us :        and     in 


-&~- 


J. 


J; 


cline   our    hearts       to      keep     this    law. 


r 


P 


RESPONSE  X. 


P 


Lord,  have  mer-cy  up  -on    us:    and  write  all  these  Thy  laws  in 


J 

•+• 


r=^ 


The  Litany-  and  Holy  Communion     69 


our      hearts.        we be   •    seech     Thee. 


Mr.  Croft  prints  all  his  plainsong  ser 
vices  in  modern  notation.  The  following 
is  the  melody  of  his  Dumont  Kyrie, 
No.  VI,  with  suggested  accompaniment  : — 


RESPONSES  I.— X. 

A      V 


Croft,  No.  VI. 


tj    J 


Lord, . 


have    mer   -   cy      up  -  on          us : 


and     in  -  cline    our       heaits      to     keep       this     law. 


.»     i"       C    -. 


yo 


Church  <!Music 


RESPONSE  X. 
A 


Lord,    have  mer-cy    up  •  on us:      and  write  all 

| \"~ 


these  Thy  laws  in  our  hearts,     we be -seech  Thee. 


Reference  may  be  made  also  to  a  little 
sheet  of  Five  easy  Plaimong  Kyries  (ist 
and  2nd  Series),  edited  by  E.  G.  P.  Wyatt, 
to  be  obtained  at  Mowbrays,  price  \d. 
each. 

Many  of  the  older  Anglican  settings 
are  badly  phrased,  with  the  strong  accent, 
for  instance,  upon  the  first  syllable  of  the 
word  "  upon."  But  there  are  many  that 
are  good  and  well  worth  singing.  For 


The  Litany  and  Holy   Communion     7 1 

example,  '  this     by    Dr.    Arnold     (1802). 
The  original  key  is  C  major  : — 


Lord,   have      mer  •  cy     up  •  on.... 


us  :    and     in 

!          1         1 


..g, „ 


i         r    r  ii 

dine       our        hearts        to  keep      this         law. 

_J_  J       .     j  J          ,_g_.*L_f=L 


i     i    r  r  f  r ixV 

Lord,  have     mer  •  cy    up  -  on. . . . 

L_J_.L_g_ 


iii       i 

us :    and   write    all 


1  -  U 


-b 1 f^t-i 1 ' 1-*-1^ ' I-T    -!~-'-r-r n 

t^    '*-«M_  J ^^—^^^^^^^^^^E^ 

i      i       i  i^TfT   f^f 

these  Thy     laws     in  our    hearts,  we    be  -  seech      Thee. 

>~i        o          r^      -*•   •••      •*•*•        •        ' 


Church  {Music 


Or  this  adaptation  of  an  ancient  plain- 
song  melody,  slightly  altered  from  the 
arrangement  by  Sir  John  Goss  for 
Mercer's  Church  Psalter  (1861): — 


II 


i     i     r .  r  r-' 

Lord,    have      nier  -  cy     np  •  on us:     and     in 

J          -'  J— J-J,   jJT*-   ' 


A, U 


«=> p? •-;£ <&-J-<s>i:> — <gr 

i        ii        i      r" 

•     cline      our        hearts      to         keep      this 


law. 


g-V 


' 


— tr~m •* 1<        i  i 1   i 1    i        i 1 T 

Lord,  have  mer -cy  up  •  on.. ..         us:     and     write     all 


£^=i 

— i — i- 


f — i    •  i  i  j—"- 

J1^^— ^i^^*^2: 


6Vt)a/<rr. 
^      _^2_,_ 


Si=i^=I=pt-^e23>ts5 

ill  '  I  S— ' 

these  Thy  laws    in  oar  hearts,     we      b«    •    seech        Thee. 


The  Litany  and  Holy   Communion     73 

It  is  suggested  that  in  many  places  it 
would  suffice  to  have  two  settings  of  the 
Responses  in  use,  a  ferial  and  a  festal 
setting  ;  and  that  they  should  be  mono 
toned  in  Advent  and  Lent. 


COLLECTS,  EPISTLE,   AND  GOSPEL 

The  ordinary  English  inflexion  of  the 
drop  of  a  semitone  is  the  simplest  musical 
ending  to  the  monotoned  Collects,  and 
the  Amen  will  then  resolve  the  cadence  : — 


People. 


These  inflexions  should  be  reserved  for 
the  Collects.  Other  monotoned  Prayers 
require  the  Plagal  cadence  for  their  Amen. 

There  is  a  more  elaborate  system  of 
inflexions  for  the  Collects  borrowed  from 
the  Continent,  which  may  be  found  at 
the  end  of  Sir  John  Stainer's  derangement 
of  Merbecke.  But  where  the  Epistle 
and  Gospel  are  sung  I  would  put  in  a 
strong  plea  for  use  of  the  Sarum  tones  in 


74  Church  {Music 

preference  to  those  modern  Continental 
ones  which  have  been  adopted  in  so 
many  places.1 

In  singing  these  inflexions  it  should  be 
remembered  that  they  should  not  be 
vocalized,  but  recited  in  terms  of  music 
quite  simply.2 

BEFORE  THE  GOSPEL 

While  the  Gospel  procession  is  taking 
place,  or  while  the  altar-book  is  being 
moved  to  the  north  side  of  the  Holy 
Table,  there  is  ample  time  for  a  short 
hymn  or  anthem.  Where  the  Gradual 
Alleluya,  Tract,  or  Sequence  is  sung,  its 
ancient  plainchant  will  probably  be  used. 

1  All  the  Epistles  and  Gospels  are  carefully  pointed 
for  these  tones  by  Dr.  Frere  in  the  Bnglish  Liturgy — 
the  large  altar-book  published  by  Rivingtons  ;  and, 
it  may  be  added  for  the  convenience  of  those  who 
have  become  accustomed  to  it,  there  is  a  careful 
adaptation  of  the  ancient  Italian  chant  contained  in 
the  book  published  by  the  De  la  More  Press  under 
the  title  "  Altar  Music."  This  arrangement  is  to  be 
preferred  to  that  in  Sir  John  Stainer's  book. 

3  "  These  are  reading-inflexions,  not  melodies, 
and  the  '  singing '  should  not  be  full  round  singing, 
still  less  clumsy  and  laboured,  but  quite  natural  and 
unobtrusive,  and  as  much  like  melodious  reading  as 
possible." — Frere,  Elements  ofPlainsong,  p.  75. 


The  Litany  and  Holy  Communion     75 

Where  this  is  not  possible,  there  may 
well  be  a  suitable  hymn  in  this  place. 
This  hymn  might  be  one  of  the  many 
English  renderings  of  an  ancient  Sequence. 
The  melodies  of  some  of  the  old  Sequences 
are  quite  simple  and  possess  a  peculiar 
beauty  of  their  own.  If  the  answering 
phrases  are  sung  alternately  by  boys  and 
men,  there  is  no  possibility  of  their  being 
accused  of  being  dull  and  monotonous.1 
It  must  be  confessed  that  the  singing  of 
Sequences  affords  a  difficulty  on  account 
of  their  great  compass  :  the  latter  half  or 
third  so  often  goes  much  higher  than  the 
first  part.  Perhaps  the  best  way  to  meet 
this  is  for  the  men  to  sing  the  first  part 
by  themselves,  and  the  women  and  boys 
the  remainder. 

At  other  times  the  choir  might  well 
sing  here — with  the  utmost  delicacy  and 

1  For  examples  within  reach  I  may  refer  to  the 
following  Sequences  printed  in  the  English  Hymnal: — 

The  Advent  Sequence  :   Salus  aeterna  (S.H.,  10). 

The  Christmas  Sequence  :  Laetabundus  (E.H.,  22). 

The  Easter  Sequence  :  Victimae  paschali  (8.H., 
130). 

The    "  Golden  "    Sequence  :    Venl,    f ancle   Spiritui 

(Z.H.,  155). 

The  "  Rosy "  Sequence  :  Jfsu,  dulcis  memoria 
(E.H.,  238). 


7  6  Church 

perfection — short  hymns  to  some  of  those 
less  congregational  tunes  which  we  ought 
to  hear  in  church  from  time  to  time,  and 
which  the  Church  must  never  let  die. 

Examples  :  Orlando  Gibbons's  Song  46. 
Its  first  strain  is  set  to  Phineas  Fletcher's 
"  Drop,  drop,  slow  tears,"  in  the  English 
Hymnal  (No.  98)  :  or  the  melody  from 
the  Munster  Gesangbuch^  set  to  Bishop 
Heber's  "  O  most  Merciful  "  (£.//.,  323)  : 
or  one  of  the  German  chorales  as  har 
monized  by  J.  S.  Bach  and  other  great 
musicians.1  The  congregation  will  not  feel 
that  they  are  deprived  of  a  hymn  in  this 
particular  and  comparatively  unused  place: 
and  it  is  well  that  there  should  be  oppor 
tunities  for  the  choir,  apart  from  the 
general  congregation,  and  without  hurt 
or  hindrance,  to  give  offering  to  God 
of  that  which  has  cost  them  something 
to  learn  and  practise.  The  hymn  or 
anthem  in  this  place,  and  the  anthems 
later  on  in  the  service  called  Eenedlctus 
and  Agnus  Dei,  afford  other  such  oppor 
tunities. 

1  In  the  Songs  of  Syon  there  are  also  a  number  of 
suitable  short  hymns  admirably  adapted  to  this  place 
in  the  service.  Note  especially  the  Doxologies  412- 
421. 


The  Litany  and  Holy  Communion      77 

GLORIA   TIBI,  DOMINE 

After  the  Gospel  has  been  announced, 
the  choir,  according  to  very  ancient  cus 
tom,  sing  thus  : — 

(On  Double  Feasts.)  (At  other  times.) 


Glory  be  to  Thee,  O   Lord.  Or,  Glory  be  to  Thee,  O    Lord. 

A  later  custom,  traced  in  England  only 
so  far  back  as  the  seventeenth  century, 
is  to  sing  the  words  Thanks  be  to  Thee, 
O  Lon/,  at  the  conclusion  of  the  Gospel. 
If  it  is  sung,  it  can  be  sung  to  the  above 
inflexions.  ! 

THE  CREED 

The  Creed  is  commonly  begun  with 
the  intonation  sung  by  the  priest  alone  ; 
after  the  organ  has  given  out  the  notes 
he  is  to  sing,  with  the  addition  of  another 
G  for  his  starting-note.  This  is  the 
almost  invariable  Creed  intonation  : — 


I       be  -  licve     in    One    God. 

1  The  Irish  Prayer  Book  orders  its  use,  as  also  the 
Scottish  Canon  XXXV,  which  adds  the  words  For 
this  Thy  glorious  (gospel. 


7  8  Church  {Music 

It  is  most  important  that  all  who  worship 
should  be  encouraged  to  join  audibly  in 
this  general  confession  of  faith.  There  is 
no  doubt  that  much  glorious  music — and, 
one  fears,  much  more  showy  and  trivial 
music — has  been  written  to  its  words  :  but, 
in  most  cases,  such  music  is  unsuitable  for 
general  use  on  account  of  its  inordinate 
length.  Another  serious  objection  to  elabo 
rate  settings  of  the  Creed  is  that  which 
can  be  offered  from  an  artistic  point  of 
view.  It  is  impossible  to  do  any  justice 
— from  a  musician's  standpoint — to  the 
many  and  varied  subjects  treated  of  in 
the  Creed  without  a  certain  amount  of 
prolixity.  Any  attempts  at  pictorial  or 
dramatic  effects  ought  to  be  led  up  to  and 
developed  :  otherwise  they  will  be  frag 
mentary,  disturbing,  and  meaningless.  We 
have  made  difficulties  by  an  encouragement 
of  the  superstition  that  every  clause  of  the 
Creed  must  be  "  illustrated  "  in  terms  of 
music. 

The  soundest  solution  of  what  ought 
not  to  be  a  great  difficulty  is  to  treat  the 
Creed  as  we  treat  Versicles  and  Responses 
and  the  Paternoster^  and  recite  it  with 
simple  inflexions.  We  should  be  encour 
aged  to  do  this  by  the  knowledge  that, 


The  Litany  and  Holy  Communion     79 

though  other  parts  of  the  music  of  the 
Ordinary  of  the  Mass  varied  in  different 
places  and  on  different  occasions,  the  Creed 
had  its  traditional  music,  and  that  "  no 
other  melody  but  this,  in  either  its  Gre 
gorian  or  Ambrosian  form,  was  in  general 
use  at  Mass  anywhere  until  the  fourteenth 
century,  and  then  alternatives  seem  to  have 
appeared  only  on  the  Continent."  J 

One  cannot  but  believe  that  this  use  of 
one  invariable  recitative  for  the  Creed  was 
adopted  for  the  reason  stated  above.  It 
was  considered  essential  -that  the  people 
should  join  in  it  without  difficulty.  The 
music  of  this  ancient  Dominical  Creed 
may  be  found  in  The  Ordinary  of  the  ^Mass.2 

When   Merbecke  wrote  his  music  for 

1  The  Ordinary  of  the  CMass,  p.  v.     "  The  melody 
of  the  Creed  is  probably  at  least  as  early  as  the  sixth 
century,  for  at  that  time  it  was  adopted  into  the  Mass 
at  the  Council  of  Toledo,  in  589,  and  the  form  in 
which  it  is  found  in  a  Mozarabic  MS.  of  the  tenth 
century  is  practically  the  same  as  that  in  the  Sarum 
Gradual." — Op.  cit.,  p.  vii. 

2  A  miniature  edition  of  the  Creed  is  published  by 
the   Plainsong  Society    in  the  Tlainsong  of  the  Holy 
Communion  (p.   11),  price  jd.     It  can  be  had  separ 
ately    from    the    Plainsong    Society    for    ^d.        The 
Edwardian   adaptation    is   published    by   Novello    in 
the  Mist  a  Simplex  (8</.). 


8o  Church  Music 

the  Holy  Communion  he  seems  to  have 
preferred  to  write  a  melody  of  his  own  for 
the  Creed,  "which  though  of  considerable 
melodic  beauty  lacks  the  simplicity  and 
repose  of  the  old  melody."  T 

Either  of  these  is  well  adapted  for  con 
gregational  singing.  But  if  Merbecke  is 
sung,  the  adaptations  by  Stainer  and  others, 
with  non-modal  harmonies,  should  be 
avoided. 

THE  OFFERTORY 

It  is  not  necessary  that  the  Offertory 
Sentences  should  be  sung.  The  rubric  is  : 
'Then  shall  the  Priest  return  to  the  Lord's 
Table,  and  begin  the  Offertory,  saying  one  or 
more  of  these  Sentences  following,  as  he  thirtieth 
most  convenient  in  his  discretion  ;  and  the 
rubric  after  the  Sentences  refers  to  them 
as  being  "  in  reading."  It  must  be  ac 
knowledged,  however,  that  there  has  been 
a  tradition  in  some  churches,  dating  from 
early  Reformation  times  and  provided 
for  in  the  First  Prayer  Book  of  1549, 
of  singing  these  Sentences.  Merbecke 
wrote  melodies  to  them  of  considerable 
merit.  Should  a  hymn  be  sung  in  this 

r  Frere,  Elements  of  Plain  song,  p.  76 


The  Litany  and  Holy   Communion     8 1 

place,  care  should  be  taken  to  provide 
one  of  sufficient  length  to  enable  "the 
churchwardens,  or  other  persons  ap 
pointed  for  that  purpose,"  to  finish  their 
receiving  of  the  alms,  and  for  the  priest 
to  present  them  before  the  final  Amen 
is  sung. 

THE  GENERAL   CONFESSION 

It  need  hardly  be  mentioned  that  har 
monized  settings  of  the  Confession  are 
intolerable.  The  rubric  refers  to  it  being 
said.  It  is  well  to  say  it  quite  simply  in 
a  very  low  tone  "  by  all  the  people." 
One  of  the  ministers  will  lead  this 
humble  saying  of  the  Confession  without 
note. 

THE  COMFORTABLE  WORDS 

The  wisdom  of  singing  the  Comfort 
able  Words  is  gravely  open  to  question. 
Dr.  Frere  (Elements  of  Plainsong,  p.  75) 
gives  two  incontrovertible  reasons  for  their 
being  said.  "First,  because  (as  is  clear 
from  the  Order  of  the  Communion  of 
1548)  they  are  closely  linked  on  to  the 
Confession  and  Absolution — a  connection 
in  which  the  use  of  music  is  of  doubtful 


82  Church  Music 

expediency  ;  secondly,  because  singing  at 
this  point  tends  to  obscure  the  prominence 
which  the  Sursum  Corda  (or  The  Lord  be 
with  you")  ought  to  have,  as  being  the 
starting-point  of  the  central  part  of  the 
Liturgy.  The  music  to  which  they  are 
commonly  sung  is  nothing  else  but  an 
attempt  at  adapting  them  to  a  lesson- 
tone,  but  based  on  foreign  models  and 
ill  carried  out."1 

THE  SURSUM  CORDA  AND  PREFACE 

There  should  be  no  music  from  the  con 
clusion  of  the  Offertory  until  the  Sursum 
Corda.  Here,  as  elsewhere,  there  is  music 
of  extreme  antiquity,  and,  even  though 
modern  music  be  introduced  elsewhere, 
it  is  of  importance  to  keep  here  to  the  old 
melodies.2  Now  <c  the  old  chant,"  writes 
Dr.  Frere,3  "  is  found  in  several  forms 
which  vary  to  a  considerable  degree  :  it  is 
a  great  pity  that  in  many  places  foreign  and 

1  Elements  ofP/ainsonz,  p.  75. 

2  It  is  regrettable  that  composers  of  Masses  have 
a  presumptuous  habit  of  providing  versions  of  their 
own  composition  in  place  of  the  beautiful  and  ancient 
traditional  chant.     These  should  never  be  sung. 

3  Elements  ofPlainsong,  p.  74. 


The  Litany  and  Holy  Communion     83 

debased  versions  have  been  adopted  instead 
of  the  English  ones,  which  are  simpler  and 
intrinsically  better,  besides  having  a  strong 
claim  on  our  allegiance."  The  Sarum 
version  has  several  times  been  adapted  to 
English  words,  and  may  be  found  best  in 
the  little  sevenpenny  Plainsong  of  Holy  Com 
munion  ;  in  the  still  cheaper  threepenny 
leaflet  of  Qioir  Responses  (both  published  by 
the  Plainsong  Society);  in  the  large  English 
Liturgy,  published  by  Rivingtons  ;  or  in 
Altar  Music,  edited  by  Francis  Burgess 
(Alexander  Moring,  Ltd.,  is.  6^.). 

Dr.  Frere  points  out  that  the  whole 
section,  closing  with  the  Preface,  forms  one 
continuous  musical  piece,  and  serves  as 
the  introduction  to  the  Sanctus.  "  It  is 
therefore  very  important  that,  musically,  it 
should  lead  naturally  into  it  without  any 
pause  or  hitch  ;  ...  if  it  is  accompanied 
the  last  notes  should  not  be  so  harmonized 
as  to  lead  into  the  Sanctus  by  a  full 
close."  * 

THE  SANCTUS 

The  Sanctus  should  be  sung  to  a 
simple  unisonal  setting:  Merbecke's,  for 

1  Elements  of  Tlainsong,  p.  74. 


84  Church 

instance.1  The  sixth  and  tenth,  at  any 
rate,  of  the  Sarum  settings  printed  by 
the  Plainsong  Society,  and  those  in 
Mowbrays'  Easy  Plainsong  Settings  of  the 
Holy  Communion  Service  (^d.\  are  within 
the  capabilities  of  almost  any  choir  in 
town  or  country.  Only  I  repeat,  let 
the  music  for  the  Sanctus  be  sung  and 
resung  until  it  is  entirely  familiar  to  the 
congregation  :  and  change  it  infrequently. 

THE  HENEDICTUS  QUI  VENIT  AND  THE 
AGNUS  T)EI 

These  are  "  anthems  "  outside  the  Book 
of  Common  Prayer,  and  may  be  treated 
as  such.  If  it  is  thought  fit  to  sing 
them  to  music  that  the  choir  can  be 
taught  to  sing  well,  there  are  many 
settings  of  them,  old  and  new,  of  great 
beauty  :  and  there  is  no  reason  why  the 
choir  should  not  be  allowed  to  make  use 

1  Merbecke's  Burial  Sanctus  is  to  be  preferred  to  his 
more  familiar  setting  of  the  words.  It  is  to  be  found 
in  the  Easy  Plainsong  Settings  of  the  Communion  Service 
mentioned  above,  and  in  Mr.  Wyatt's  edition  of 
Merbecke  (Mowbrays),  and  is  only  a  simplified  form 
of  the  most  ancient  Sanctus,  which,  in  its  turn,  is 
really  only  a  continuation  of  the  Preface  chant. 


The  Litany  and  rfoly   Communion     85 

of  them  for  their  own  particular  part  of 
the  service. 

Dr.  Dearmer  suggests  that  it  may  be 
well  to  sing  the  Benedictus  qui  venit  after 
the  Prayer  of  Access  "  since  the  principle 
of  usage  to  which  Archbishop  Benson 
appealed  does  cover  a  short  pause  before 
the  Consecration  Prayer.  ...  A  short 
pause  is  implied  by  our  rubric  'when  the 
Priest  .  .  .  hath  so  ordered  the  Bread 
and  Wine,'  etc.  And  therefore  the  pause 
might  be  legitimately  filled  up  by  the 
singing  of  a  very  short  anthem.  Such  is 
the  Benedictus  ;  but  its  position  is  simply 
that  of  a  hymn  or  anthem  ;  it  is  not  in 
the  least  essential  to  the  correctness  of  the 
service  that  it  should  be  sung."  T 

Similarly  with  regard  to  the  Agnus  Dei. 
It  is  an  anthem  not  strictly  necessary  to 
the  service,  though  most  beautiful  and 
most  appropriate  in  this  connection.  It 
must  not,  however,  be  so  drawn  out  as 
to  protract  the  service.  Indeed,  some 
care  is  needed  in  order  to  fill  up  the 
time  of  Communion  of  priest  and  people 
with  suitable  music  and  with  nice  judge 
ment.  If  the  rendering  of  the  Agnus 
T>ei  takes  too  little  time,  a  short  hymn 
1  Parson's  Handboo^,  6th  ed.,  pp.  385-7. 


86 


Church  Music 


(e.g.  308  or  328  in  the  English  Hymnal, 
which  is  very  rich  in  Communion 
hymns  both  short  and  long)  can  well 
be  added.  It  is  really  important  to 
have  a  good  hymn  at  the  time  of 
Communion,  both  because  the  people  like 
and  understand  it  and  because  it  supplies 
so  excellent  an  opportunity  for  teaching 
Catholic  doctrine  and  the  principles  of 
true  worship. 

In  any  case  let  it  be  remembered 
that  it  is  not  well  to  commence  the 
singing  immediately  after  the  Prayer  of 
Consecration.  The  Amen  is  said  or  sung.1 

1  If  the  Amen  it  sung  it  might  be  well,  for  the 
sake  of  its  musical  associations,  to  sing  the  Dresden 
Amen  as  used  by  Wagner  in  his  Parsifal,  thus : — 


tnolto  rail. 


There  is  also  a  beautiful  Final  Amen  (adapted 
from  a  melody  in  the  Sarum  Gradual)  on  the  last 
page  of  Martin  Shaw's  edition  of  Merbecke. 


The  Litany  and  Holy   Communion     87 

But  after  the  Amen  there  should  be  "  a 
solemn  and  awful  silence."  ! 


THE  LORD'S  PRAYER 

The  ancient  plainsong  to  the  Lord's 
Prayer  will  be  found  in  the  Appendix  to 
this  Chapter.  It  must  be  sung  in  unison, 
very  lightly  and  easily.  Merbecke's 
melody  is  perhaps  better  known.  Stainer's 
adaptation  of  it,  in  four-part  harmony  for 
unaccompanied  singing,  is  pitched  too 
high  for  congregational  use.  At  this  part 
of  the  service  the  people  surely  have  a 
right  to  ask  for  music  that  they  can  all 
join  in. 

THE  GLORIA  IN  EXCELSIS 

This  last  choral  part  of  the  Holy 
Communion  Service  is  the  great  sum 
ming-up  of  our  praises  and  thanks- 

1  Thus  Bishop  John  Wordsworth  of  Salisbury, 
in  his  Considerations  on  Public  Worship,  etc.  (1898). 
He  adds,  "  Then  should  follow  the  Communion, 
and  this  is  a  season  or  part  of  the  service  during 
which  it  is  fitting  that  when  Christ  turns  to  minister 
to  us  we  should  turn  to  adore  Him.  Suitable  hymns 
may  be  used,  but  should  be  used  with  care  and 
moderation"  (p.  19). 


88  Church  fMusic 

givings.  Whatever  music  is  selected  it 
should  be  well  known,  not  prolix,  and 
preferably  unisonal.  Two  settings  might 
be  in  use — one  for  ordinary  occasions  and 
one  for  festivals. 

In  Lent  (and  perhaps  also  in  Advent) 
it  might  be  well,  however,  to  monotone 
it  on  a  low  note.  "  It  seems  well  to 
put  at  least  a  Lenten  or  Advent  veil  on 
to  that  part  of  the  Eucharistic  Office 
which,  by  precedent,  suggests  it  ;  and 
the  teaching  it  conveys  is  obviously  in 
valuable."  * 


THE  BLESSING 

The  Blessing  should  be  said,  not 
sung. 

In  some  churches  the  final  Amen  after 
the  Blessing  is  sung  to  more  elaborate 
music.  The  plainsong  melodies  of  the 
Kyries  are  suitable  for  the  Amen.2  An 
other  fine  traditional  music  phrase  might 
be  used  in  this  place  :  this  is  the  melody 
of  the  Versicle,  Benedicamus  Deo,  as  sung 

1  J.  B.  Powell,  Choralia,  pp.  133-4. 

2  See  The  Ordinary  of  the  Mass  (Plainsong  Society), 
pp.  49,  50  ;  and  also  in  Mr.  Croft's  book. 


The  Litany  and  Holy   Communion     89 
"in    Festis    Solemnibus"  J    which    may    be 


arranged  thus  2  : — 


ratn 


This  chapter  has  told  what  can  be 
done  with  a  good  choir  and  a  trained  con 
gregation  ;  but  it  is  certain  that  we  shall 
only  win  back  the  people,  as  a  whole, 
to  worship  by  a  very  simple  and  very 
congregational  service.  In  our  ordinary 
parish  churches — especially  in  industrial 
populations — we  should  provide  plenty 
of  hymns  :  and  in  some  working-class 
centres  it  would  be  best  to  have  (as  the 
Roman  Catholics  do  everywhere  in  Ire 
land)  the  whole  of  the  service  said  or 
monotoned  with  hymns  freely  interspersed. 

1  Vide  Mass  No.  z  in  the  Vatican  Kyriale. 

3  The  late  Cyrill  Kistler  developed  this  phrase  as 
the  triumphant  Christian  motif  of  his  opera,  Baldur's 
Ted  (Leipzig,  C.  F.  W.  Siegel).  A  capable  musician 
could  adapt  the  last  seventeen  bars  of  this  work  for 
the  purpose  of  an  Amen  that  would  be  "exceeding 
magnified." 


90  Church  Music 

There  has  been  much  success  when  this 
has  been  tried. 

The  Order  of  a  simple  Sung  Service 
would  be  as  follows  : — 

HYMN  for  Introit. 

Lord's  Prayer,  etc.,  said. 

Responses  sung. 

Collects  monotoned. 

Epistle  read  in  natural  voice. 

HYMN  for  Sequence. 

Gospel  read  in  natural  voice. 

Creed  sung. 

Bidding  Prayer  and  Sermon. 

HYMN  after  a  said  Offertory  Sentence. 

Prayer  for  Church  monotoned. 

Invitation,  to  end  of  Comfortable  Words, 
said. 

Sursum  Corda,  to  end  of  Sanctus,  sung. 
(?  Benedictus.} 

Prayer  of  Access  said. 

(?  Benedictus  or  HYMN.) 

Consecration  Prayer  in  natural  voice. 

sAgnus  T)ei  sung. 

HYMN  at  the  Communion. 

Lord's.  ^Prayer  sung. 

Prayer  monotoned. 

Gloria  in  excelsis  sung. 

Collect  and  Blessing  monotoned. 

HYMN. 


The  Litany  and  Holy  Communion    91 

NOTES 

1.  The    Sequence    may    go    on    for    a 
month  or  so  unchanged,  according  to  the 
season. 

2.  The  Communion  Hymn  may  go  on 
for  a  fortnight  at  least  unchanged. 

3.  The  other  hymns  may  be   changed 
each  Sunday,  but  must  be  well  known. 

4.  The  music  of  the  Creed  and  Pater 
noster  should  be  invariable. 

5.  Both  Creed  and  Gloria  in  excelsis  may 
be  monotoned  in  Advent  and  Lent. 

METRICAL  HYMNS 

The  most  fitting  places  for  the  insertion 
of  metrical  hymns  in  the  Holy  Com 
munion  Service  are  : — 

1.  For  the  Procession,  if  the   Litany 
is  not  used. 

2.  Before    the    Service,  if  the  Introit 
is  not  sung. 

3.  Between    the    Epistle   and    Gospel, 
where  there  is  a  necessary  interval.1 

4.  At  the  Offertory. 

1  "  It  is  in  accordance  with  the  very  earliest  and 
best  traditions  of  the  Church  to  separate  Lessons  by 
singing  just  as  we  do  habitually  at  Mattins  and 


92  Church  Music 

5.  Before   the  Prayer  of  Consecration 
(if  desired). 

6.  At  the  Communion. 

7.  After  the  Blessing. 

Evensong.  .  .  .  There  is  more  to  be  said  for  intro 
ducing  hymnody  at  this  point  than  at  any  other  point 
of  the  Liturgy." — Frere,  Elements  ofPlalnsong,  p.  70. 


APPENDIX  TO  CHAPTER  VI 


THE  PATERNOSTER  IN  THE  COMMUNION  OFFICE 
FROM   THE  SARUM   MISSAL 
(Witk  suggested  Accompaniment.) 

To  be  sung  in  Unison. 
it*.  * 


ac 


Priest.  Our  Fa-ther,  People,  which  art    in  hea  -  ven, 


Hal  •  low  •  ed    be  Thy    Name.     Thy  King-dom    come, 
i^  i  !          i        I 


d*-: 


r    r 


Thy  will    be  done,  in     earth      as      it        is     in      h*a-  ven. 


^* 


-SEL 


^F-I r 


"**"      r^    '     f*"  *    r 

Give  us  lliis  day  our  dai-ly  bread,  And  forgive  us  our  trespasses, 


93 


94 


Church  Music 


"I  1  ! 


As       we    for -give  them       that  tres- pass    a -gainst   us. 


And  lead  us   not      in- to  temp-ta  -  tion  ;  But    de  -  liv  -    er 


, 1 !- 


I  I 


us  from    e-   vil  :  For  Thine  isthekin2-dom,Thepo\ver,and 


iS__>_ -4-.—±-  4      I 

— »^m~w—  &-\  •  -• — 3^: 

i — i — i       i — i— i 1 f*- — 

W— »>— >-         I         I    *       !  j 


the      glo  -   TV,    For  ev  -  er    and   ev  -  er.      A    •    men 


CHAPTER  VII 
Morning  and  Evening  Prayer 

HT^HE  first  part  of  the  service  (added  in 
JL  1552)  being  of  a  penitential  character, 
it  need  only  be  mentioned,  in  passing,  that 
a  procession  before  the  Office  is  entirely 
out  of  place. 

With  the  possible  exception  of  the 
opening  voluntary  there  will  be  no  music 
until  the  Versicle,  0  Lord,  open  Thou  our 
lips.  Before  we  have  received  the  priest's 
invitation  to  show  forth  God's  praise 
audibly  we  have  no  right  to  indulge  in 
"  harmonized  confessions,"  however  beau 
tiful  they  may  be  from  a  musical  point 
of  view.1 

There  are  several  versions  of  the  Ver- 
sicles  and  Responses  in  vogue  in  England 

1  The  Prayer  Book  directs  that  :  (a)  the  General 
Confession  should  be  said — it  does  not  add  "or  sung  " 
— with  a  humble  *toice,  i.e.  in  a  low  tone.  (6)  The 
Lord's  Prayer  should  be  said  with  an  audible  voice  ; 
the  Prayer  Book  of  1549  more  emphatically  insisting 
upon  a  hude  voyce. 

95 


96  Church  Music 

at  the  present  time  :  the  most  commonly 
used  being  (i)  an  adaptation  of  an  old 
arrangement  by  Tallis  (seldom  sung  as 
Tallis  gave  it  to  us),  and  (2)  the  ancient 
music  as  commonly  used  in  England  up 
to  the  Reformation,  and  published  in  Mer- 
becke's  'Sake  of  Common  Praler  Noted,  in 
1550. 

"Tallis,"  it  has  been  already  remarked, 
has  the  melody  in  the  tenor  part,  has 
a  high  reciting-note,  and  is,  perhaps, 
beyond  the  capacity  of  most  choirs.  It 
suffers  from  the  fact,  also,  that  the  con 
gregation — in  its  obstinacy — will  persist 
in  following  the  treble  part  and  sing 
ing  the  accompaniment  instead  of  the 
tune.  Not  infrequently,  the  accompani 
ment  is  to  be  heard  without  any  canto 
fermo  at  all.  This  is  as  when  the  host 
should  set  horse-radish  before  his  guest 
and  say  :  "  Feed  on  my  excellent  roast 
beef!"  In  the  case  of  so  serious  a 
musical  offence  it  is  worth  while  con 
sidering  whether  it  is  not  better  (except 
in  cathedral  and  collegiate  churches)  to 
avoid  the  five-part  setting  altogether, 
also  all  adaptations  of  it  in  four  parts, 
and  deliberately  to  adopt  the  equally 
melodious  phrases  of  the  older  English 


Morning  and  Evening  Prayer       97 

use.1  The  Plainsong  Society  (44  Russell 
Square,  W.C.  i .)  publishes  these  Responses, 
in  black  notes,  price  3^.  per  copy.  There 
is  also  an  excellent  edition  in  modern 
notation,  published,  with  accompany 
ing  harmonies,  by  the  Church-Music 
Society.2 

THE  PSALMS 

Before  all  things  it  is  necessary  that  the 
choir  and  congregation  should  learn  to 
sing  the  Psalter  properly.  It  is  so  common 
to  find  the  time  set  apart  for  choir  practice 
taken  up  with  the  learning  of  services, 
anthems,  and  elaborate  hymns,  while  the 
Psalms  are  put  on  one  side  and  sung  with 
frequent  mistakes  in  pointing,  haphazard, 
and  "got  through  somehow."  It  is 
well  that  the  parson  should  be  reminded 
that  it  is  his  duty  "  to  restrain  those 

1  If  "Tallis"  must  be  sung,  the  melody  (in  the 
tenor)  must  be  made  as  prominent  as  possible.     Half 
the  boys'  voices,  at  least,  should  be  allowed  to  sing 
the  plainsong  with  the  tenors,  the  rest  of  the  boys 
singing  the  Faux -hour dons,  and  the  organ  should  not 
play  the  upper  harmonies. 

2  To  be  had  from  Mr.  Humphrey  Milford,  Amen 
Corner,   E.G.  4.     (i)    As   a   leaflet,  with   notes   by 
Dr.  Frere,   \\d.  ;  (2)  in  the  Church-CMusic  Society's 
Choir  TZook,   \s. 

H 


98  Church  Music 

promptings  of  original  sin  which  make  men 
anxious  to  show  off;  ...  to  keep  ever 
before  men's  eyes  the  simple  but  often 
forgotten  truth  that  Church  music  is  for 

O 

the  glory  of  God  and  not  for  the  glorifica 
tion  of  the  choristers  "  :  and  that  "  unfor 
tunately  there  are  many  choir-masters  who 
are  not  even  artists  enough  to  prefer 
a  simple  service  well  sung  to  a  pretentious 
one  sung  badly."  l 

The  first  test  of  a  good  choir-master  is 
whether  he  has  taught  his  choir  to  sing  the 
Psalms  with  freedom,  with  accuracy,  and 
with  intelligence.  The  Psalms,  Canticles, 
the  music  of  the  Ordinarium  Missae,  and 
some  simple  hymns,  ought  to  claim  his 
first  attention,  and  until  this  necessary 
framework  of  the  service  approaches  that 
perfection  which  is  only  born  of  constant 
practice  he  ought  not  to  be  even  dreaming 
of  further  embellishments  of  the  service. 

How  are  the  Psalms  to  be  chanted  ? 

There  are  two  alternatives  before  us 
to-day.  We  may  keep  to  the  ancient  plain- 
song  or  we  may  adopt  that  modernized 
adaptation,  evolution,  or  corruption  of  it 
which  is  known  as  the  Anglican  chant. 
Theoretically  the  English  Canon  Law 
1  The  Parson's  Handbook,  6th  ed.,  p.  215. 


Morning  and  Evening  Prayer        99 

requires  us  to  use  plainsong  :  J  practically 
we  have  taken  the  matter  into  our  own 
hands,  and  the  average  English  parish 
church  is  the  home  of  a  musical  develop 
ment  which,  however  acceptable  to  the 
present  generation  of  Church  people,  is 
without  doubt  contrary  to  the  intention 
of  the  English  Reformers.2 

One  of  the  great  beauties  of  plainchant 
as  applied  to  the  Psalter  is  its  variability 
of  accent.  Being  of  the  nature  of  recitative 
rather  than  that  of  song — that  is,  being 
based  on  the  principles  that  would  govern 
the  monotoning  of  a  Psalm  verse — the 
musical  accent  may  be  shifted  from  one 
note  to  another  to  suit  the  verbal 
accent. 3 

1  The   1 2th   and   I3th  Canons  of  the   Synod  ot 
Cloveshoo  (747)  prescribe  the  use  of  the  Gregorian 
plainsong  in  churches.     These  Canons,  accepted  by 
us  in  England,  have  never  been  formally  abrogated  ! 

2  John  Wyclif "  specially  alleges,  as  a  reason  for  the 
decay  of  worship,  the  introduction  of  the  elaborate 
music  which  was  corrupting  the  ancient  plainsong, 
rendering  it  more  fit  for  dancing  than  for  mourning, 
and  winning  the  praise  of  the  lewd  for  '  Sir  Jack  or 
Hob    and   William    the    proud    clerk.' " — Leighton 
Pullan,  History  of  the  'Boo^  of  Common  Prayer,  3rd  ed., 
p.  156. 

3  "The  fourth  ending  of  the  fourth  tone  is  an 
extreme  example  of  the  variability  of  accent,  for,  as 


ioo  Church  Music 

This  is  the  theory  that  governs  Dr. 
Palmer's  Sarum  Psalter. !  Those  who 
have  heard  the  Latin  Psalter  chanted  by 
the  Benedictine  monks  at  Solesmes,  or 
the  English  Psalter  chanted  at  Cowley 
S.  John,  or  at  Wantage,  have  no  difficulty 
in  recognizing  the  fact  that  there  is  an 
extraordinary  and  fascinating  charm  in  the 
rendering  of  the  Psalms  in  this  way.  They 
become  almost  unearthly  in  their  remote 
and  unemotional  beauty.  They  "  seem  to 
build  up  cathedral  walls  about  you."  2 
The  music  is  so  entirely  subservient  to 
the  words  :  there  is  an  even  flow  of 
calm,  unimpassioned  recitation  with  in 
flexions  ;  and  the  worshipper  has  nothing 

it  contains  three  notes  before  the  penultimate,  the 
accent  may  either  fall  on  the  first  after  the  reciting- 

a    g       a    b      g  e 

note — as  in  imagine  a  vain  thing,  or  on  the  second — 

a  g        a    b      g        e 

as  Lord,  with  holy  worship,  and  sometimes  even  on  the 

a     g  a        b       g     g  e 

third — as  of  all  Thy  marvellous  worfy,  so  that  two 
accents  as  it  were  come  together,  or  unaccented 
syllables  fall  on  the  penultimate  note." — H.  B. 
Briggs,  Elements  of  Plainsong,  p.  29. 

1  Tsalms  and    Canticles    at  Mattins  and    Evensong 
pointed  to  the  eight   Gregorian   Tones  from  the  Sarum 

Tona/e,  by  the  Rev.  G.  H.  Palmer,  Mus.Doc.  (S. 
Mary's,  Wantage,  1916.) 

2  George  Meredith,  Richard  Ffterel,  p.  149. 


Morning  and  Evening  Prayer      101 

to  distract  him  in  his  meditation  and 
devotion.1 

It  is  to  be  questioned,  however,  whether 
the  system  is  altogether  practicable  for 
choirs  that  have  little  opportunity  of  prac 
tice  and  worshippers  who  sing  the  Psalms 
on  Sundays  only. 

Possibly,  for  the  average  parish  church 
where  the  Psalms  are  chanted  to  their 
ancient  tones,  the  simplest  and  most 
practicable  plainsong  Psalter  is  the  new 
edition  of  Helmore,  edited  by  Dr.  Frere 
and  the  late  Mr.  H.  B.  Briggs,  in  which 
the  English  accent  is  more  freely  treated, 
and  the  musical  notation  is  printed  to 
every  syllable  of  each  verse.2 

1  "  In    chanting    the    Psalms  we  must  above  all 
remember  that  we  are    dealing  with  prose  and  not 
with  poetry.     We  have  not  therefore  to  sing  them  as 
we  sing  a  metrical  Litany,  for  which  an  Anglican  chant 
is  eminently  suited,  but   to  read  them.     The  voices 
naturally  blend  together  on  one  note  for  the  greater 
part  of  the  verse,  and  by  an  easy  development  a  slight 
change  is  made  from  it  at  the  mediation  and  ending. 
At  these  inflexions,  however,  the  voice  must  not  break 
off  from  reading  into  singing.     The  whole  verse  must 
continue  in  the  same  style  without  any  increase  or 
lessening  of  the  speed  at  which  the  separate  syllables 
are  chanted." — Briggs,  Elements  of  Plainsong,  p.  3  i . 

2  Personally  I  should  advise  the   use  of  the  little 
edition  without  notes.     Not  only  is  it  cheaper,  but 


102  Church  Music 

There  are  two  Evening  Psalters  suitable 
for  use  in  churches  where  the  Psalms  are 
sung  only  at  Evensong,  edited  by  Captain 
Burgess  (Novello,  is.  6</.),  by  Hughes 
and  Goldsmith  (Faith  Press,  3^.),  and 
another  complete  Plainsong  Psalter  by  the 
Rev.  G.  H.  Tremenheere  (Faith  Press, 
25.  6d.).1 

What  is  to  be  done  in  the  church  where 
plainsong  is  almost  altogether  put  on  one 
side,  and  nothing  is  tolerated  but  modern 
music  ?  We  are  not  going  to  abolish  the 
"  Anglican  chant."  It  has  taken  very 
firm  hold  of  the  affections  of  the  people, 
and  will  not  easily  be  dethroned  from  the 
position  it  has  attained. 

The  one  most  serious  accusation  against 
Anglican  methods  of  Psalm-chanting  is 
that  in  so  many  cases  the  pointing  adopted 
reduces  the  words  to  something  not  far 
short  of  nonsense.  Our  prevailing  "  cathe- 

I  believe  that  it  is  easier  to  get  good  chanting  with 
it,  and  that  it  is  really  quite  as  easy  to  learn  to  use 
as  the  noted  book  :  and,  moreover,  it  often  gives 
a  choice  of  endings. 

1  Mr.  Tremenheere,  however,  bases  his  pointing 
upon  a  theory  of  Dom  Mocquerean,  followed  at 
Solesmes,  but  rejected  by  the  Vatican  Commission, 
by  which  the  mediations  of  Tones  2,  4,  5,  and  8  are 
never,  in  any  circumstances,  abbreviated. 


Morning  and  Evening  Prayer      103 

dral  "  system  of  pointing  teems  with  false 
accents  and  false  emphases  :  and  the  words 
of  Holy  Scripture  are  consequently,  over 
and  over  again,  made  absolutely  meaning 
less.  Little  important  monosyllables  are 
accented,1  e.g.  : — 

"  It  is  better  to  trust  |  in  the  |  Lord." 
"  Let  us  take  j  to  our  |  selves." 
"  Thou  hast  broken  the  |  teeth  of  |  the 
un  |  godly." 

Or  take  this  instance  where  the  word 
him  is  emphasized  five  times,  but  only 
three  times  rightly  : — 

"  He  delivereth  the  poor  from  him  that 
is  too  |  strong  for  |  him  :  yea,  the  poor 
and  him  that  is  in  misery  from  |  him 
that  |  spoileth  |  him" 

Or  this,  where  the  accent  is  placed  on 
a  weak  syllable  : — 

"  They  speak   un  |  righteous  |  ly  a-  | 
gainst  thee." 

"  Jor  |  dan  was  |  dW-ven  |  back." 
Many  more  instances  might  be  given. 
It  is  stated  that  in  Psalm  78,  in  the 
Cathedral  Psalter^  there  are  actually  more 
false  accents  than  there  are  verses — 
seventy-four  in  seventy-three  !  In  the 

1  For  these  instances  I  am  indebted  to  Mr.  Pott's 
Pamphlet,  Why  murder  the  Psalms  /'p.  I  o  ff. 


IO4  Church  Music 

Magdalen  'Psalter  there  are  no  less 
than  eighty-four  in  these  same  seventy- 
three  !  * 

Mr.  Francis  Pott  thinks  that  it  is  next 
to  impossible  with  our  present  Anglican 
Psalter  to  point  the  Psalms  intelligibly, 
and  has  devised  a  system  of  pointing  of 
considerable  ingenuity  in  his  Free-Rhythm 
Psalter.  He  abolishes  all  bars  and  all 
measures  of  time,  suppresses  by  diaeresis 
the  initial  accent  of  the  inflexions,  and 
selects  chants  which  are  capable  of  assum 
ing  either  a  feminine  or  a  masculine 
ending,  as  each  verse  requires.  There  is 
much  to  be  said  for  his  theory,  but  the 
great  objection  to  it  is  that  it  "  reduces 
the  chant  to  such  slender  proportions  as 
to  limit  its  scope  in  the  direction  of  rich 
ness  of  musical  expression."  2 

Dr.  Richardson  regards  Mr.  Pott's 
system,  and  that  of  Mr.  John  Heywood  3 
which  led  up  to  it,  as  the  Abana  and 
Pharphar  of  chanting  :  and  he  says,  "  If 
our  own  Jordan  has  really  become  so 
hopelessly  polluted  as  to  be  of  no  further 

1  Pott,  Why  murder  the  Psalms?  p.  13. 

2  Dr.  A.  Madeley  Richardson,  at  Liverpool  Church 
Congress,  1904. 

3  The  Art  of  Chanting,  1893. 


Morning  and  Evening  Prayer      105 

use  to  us,  then  let  us  cleanse  our  chant 
ing  in  these  strange  waters." 

It  remains,  however,  to  be  proved  that 
there  is  no  salvation  for  the  Anglican 
chant,  on  the  lines  of  ancient  tradition. 
If  so,  what  sort  of  Psalter  are  we  to 
use  ? 

Our  pointed  Psalters  fall  into  two 
groups,  the  Iambic  and  Trochaic.  Mr. 
Heywood  points  out  that  the  essential 
difference  between  them  is  that  the  former 
group,  which  he  calls  the  "Cathedral  Use," 
assumes  the  following  as  the  Anglican 
chant  form  : — 

ii         I  'i     i  I  '     II   L  ,   I  >\     i     '  i     i  I  '    || 

I|0j|0i0|-0|||0||00        £9    <9  |   0     | 

and  the  latter— the  "  Church  Use  "—falls 
into  two  divisions  : — 


in  th*  way  of 

II.        -=: 
*     J  J 

in  the  \  way  of 


\f=\        «=> 
sin-  |  -ners :  ||  in  the  |  seat  •  of  the 


sin  -  ners :     in  the  |  seat  •  of  the 


scorn-  |  -ful. 


scorn-  |  -ful. 


The  practice  of  the  former  group,  repre 
sented  by  books  edited  by  Dr.  S.  S. 
Wesley,  Mr.  Hullah,  Mr.  Warren,  Dr. 
S.  Elvey,  the  Rev.  W.  Mercer,  and  Sir 


106  Church  Music 

Herbert  Oakeley,  by  the  Oxford  and  Cam 
bridge  Psalter,  and  by  the  old  and  new 
Cathedral  Psalters,  is  full  of  contradictions 
with  its  theories,  and  has  done  little  for 
the  improvement  of  the  art  of  chanting. 

The  line  of  advance  must  be  looked 
for  in  the  second  group — in  the  Psalters 
pointed  on  trochaic  principles.  It  will 
suffice  to  mention  here  the  excellent 
Sudbury  Psalter,  the  S.P.C.K.  book  (edited 
by  the  late  Mr.  James  Turle),  and  The 
Ancient  and  Modern  Tsalter  (edited  by  the 
late  Sir  Henry  Baker  and  Dr.  W.  H. 
Monk). 

Of  all  these  books,  perhaps,  the  last 
mentioned  is  the  most  to  be  recom 
mended.  Mr.  Heywood  r  notes  two 
points  of  special  excellence  in  this  book  : 
(V)  the  extreme  care  that  has  been  taken 
to  make  the  pointing  subservient  to  the 
sense  of  the  words  ;  2  (£)  the  devotional 
tone  and  general  happy  mating  with  the 
texts  of  the  chants  employed. 

1  The  Art  of  Chanting,  p.  41. 

2  "  It   has    been    stated  .    .    .    that    the    late   Sir 
Henry  Baker  would  sit  for  hours  over  a  single  Psalm, 
studying  each  verse  with  the  aid  of  the  best  com 
mentaries,   so  anxious  was  he  to  express,   as  far   as 
possible,  the  true  force  of  the  sentence  by  means  of 
accentuation." — Ibid. 


Morning  and  Evening  Prayer      107 

Unless  great  care  is  exercised  the 
Anglican  system  of  chant-singing  easily 
lends  itself  to  a  very  unintelligent  ren 
dering  of  the  Psalter.  The  Psalms  are 
so  varied  in  structure,  in  rhythmical 
balance,  in  intertwining  of  subjects  and 
emotions,  that,  in  many  cases,  the  mean 
ing  of  the  words  is  twisted,  distorted  (if 
not  destroyed)  by  the  almost  inevitable 
double  chant. 

This  pitfall  may  be  avoided,  no  doubt, 
by  the  use  of  none  but  single  chants  ; 
but  the  congregation,  one  fears,  would 
weary  of  these,  and  would  soon  clamour 
for  the  longer  and  more  interesting 
melodies  of  the  double  chant. 

The  editors  of  the  latest  edition  of 
the  Cathedral  Psalter  l  have  deliberately 
avoided  what,  to  my  mind,  is  the  only 
rational  solution  of  the  problem.  They 
have  declined  to  do  for  their  Psalter 
what  Bishop  Westcott  2  and  Bishop  Wai- 
pole  3  both  did  so  excellently  in  theirs  ; 

1  The  New  Cathedral  Psalter,   edited  by  Doctors 
Lang,    Lloyd,     Holland,    and     Martin.       (Novello, 
1908.) 

2  The    Paragraph  Tsalter,  arranged  for  the   use  oj 
Choirs,  1890. 

3  The  Teopli s  Psalter,  1904. 


io8  Church  Music 

and  they  state  that  they  do  so  because 
the  "  choirs  adopting  their  book  will 
follow  the  traditional  use  of  Anglican 
chants."  It  is  to  be  regretted  that  a 
revision  of  the  most  popular  Anglican 
Psalter  should  have  been  issued  without 
any  attempt  to  reform  this  "traditional 
use,"  by  which  our  understandings  have 
been  obscured,  fettered,  and  incapacitated 
for  so  many  years. 

The  'Earless  Psalter1  demands,  and  de 
serves,  more  than  passing  notice.  Its 
editors  affirmed,  in  the  first  place,  that 
"  the  basis  of  all  pointing  should  be  good, 
and  therefore  deliberate,  reading."  They 
set  themselves,  therefore,  to  mark  each 
verse  so  that  the  inflexion  of  the  chant, 
when  rendered  freely,  would  not  inter 
fere  with  the  phrasing  of  the  sentence. 
The  result  of  thus  treating  the  whole 
verse  was  that,  as  a  matter  of  fact,  very 
few  pointing  indications  were  found  neces 
sary,  and  all  bars  were  omitted.  In  prac 
tice  such  simplification  was  found  to  work 
well.  The  new  S.P.C.K.  Psalter  in  course 

1  The  Earless  Psalter,  pointed  for  use  with  Anglican 
Chants :  an  Sasy  Book  for  Choirs  and  Congregation, 
edited  by  Walter  Marshall  and  Seymour  Pile.  (No- 
vello,  zs.  and  5^.) 


^Morning  and  Evening  Trayer     109 

of  preparation  will  not  be  quite  such  a 
thoroughgoing  simplification  as  was  the 
book  into  which  the  late  Mr.  Marshall 
threw  his  whole  heart,  and  will  not 
be  barless.  But  its  aims  are  what  his 
were  :  "  The  art  of  chanting  is  that 
of  SINGING  in  SPEECH-RHYTHM  to  a 
short  melody  or  chant,  of  which  the 
notes  are  fixed,  but  the  note-values  are 
all  variable."  (I  quote  from  the  note 
affixed  to  the  Canticles  out  of  this  new 
Psalter.1) 

Dr.  Madeley  Richardson's  book,2  based 
on  Dr.  Westcott's  Paragraph  Psalter, 
goes  still  further,  aiming  at  a  complete 
and  faithful  rendering  of  the  Psalms, 
unshackled  by  antiquated  and  meaningless 
traditions.3 

Dr.  Richardson  maintains  that  each 
Psalm  (or  each  paragraph  of  a  Psalm) 
should,  if  possible,  have  special  music 
written  for  it,  adapted  to  its  meaning  and 
spirit.  He  has  thus  written  original  music 
for  the  whole  Psalter,  consisting  mainly 

1  Canticles  pointed  in  accordance  with  the  natural 
speech-rhythms  for  ordinary  use  mth  Anglican  Chants. 
(S.P.C.K.  4</.) 

2  The  Southwark  Tsalter.     (Longmans,  1905.) 

3  Op.  cit.,  p.  5. 


1 1  o  Church  Music 

of  chants  in  a  variety  of  forms.  In  his 
pointing  he  often  omits  notes  ;  in  his 
chants  he  avoids  full  closes,  introduces 
triplets,  uses  double,  triple,  and  quad 
ruple  forms  where  required,  and  allows 
for  the  monotoning  of  certain  sections 
with  free  organ  accompaniment.  He 
writes  small  anthems  for  various  refrains, 
and  allows  for  the  insertion  of  instru 
mental  preludes,  interludes,  and  post- 
ludes. 

Those  who  have  heard  the  Southwark 
Cathedral  choir  recognize  to  the  full  the 
extraordinary  beauty  of  this  most  artistic 
effort  to  make  the  singing  of  the  Psalter 
intelligent.  But,  with  all  its  excellencies 
of  theory  and  its  high  aim,  it  somehow 
proved  impracticable,  and  it  is  no  longer 
in  use  at  Southwark. 

But  surely  we  are  beginning  to  learn 
this  :  that  the  whole  system  of  chanting 
is,  at  any  rate,  a  working,  a  congenial, 
and  an  attractive  system  !  The  one  thing 
that  remains  is  to  make  it  sensible  and 
intelligent.  And  that  can  be  done  if  the 
choir-master  will  only  be  himself  possessed 
of  common  sense  and  intelligence  :  (a)  by 
attention  to  the  natural  rhythm  of  the 
recitation  of  each  verse,  by  avoiding 


Morning  and  Evening  Prayer      1 1 1 

almost  entirely  what  is  known  as  "  time," 
and  by  a  careful  and  reasonable  pointing 
of  the  inflexions  of  the  melody  of  the 
chant.  (7>)  By  the  selection  of  really  appro 
priate  chants  for  each  Psalm  (or  for  each 
portion  of  a  Psalm)  according  to  the 
meaning  of  the  words  and  the  structure 
of  the  poem  concerned. 

In  order  that  each  Psalm  may  begin 
with  certainty  and  precision,  it  is  suggested 
that  the  first  two  verses  of  each  Psalm 
should  be  sung  in  unison.  The  Qloria 
Patri  may  be  sung  in  the  same  fashion. 


CROWDIE'S  "  FREE  CHANT  " 

The  Rev.  J.  Baden  Powell l  has  a  valu 
able  suggestion  with  regard  to  places  where 
there  are  difficulties  in  the  way  of  chanting 
the  Psalms  either  to  plainsong  tones  or 
Anglican  chants.  The  chant  he  mentions, 
known  as  Crowdie's  "Free  Chant,"  is  prac 
tically  a  double  chant  with  one  inflexion 
only  in  each  spart.  No  pointed  Psalter  is 
required  in  using  it.  With  the  Prayer 
Book  Psalter  in  their  hands  almost  any 

1  Choralia,  pp.  31,  32. 


I  12 


Church  Music 


body  of  persons  could  chant  the  Psalms 
thus : — 


My  soul  doth  magnify  the  |  Lord  :    an  1  ....  my  |  Saviour. 


i 


For  He  hath  re-  |  -garded  :  the  lowliness  of  His  |  hand-maiden. 

9«S&  f-y 


m 


Lord,  now  lettest .  .  .  .  |  peace  :     according  to  Thy  |  word. 


IK 


For  mine  eyes  have          |      seen  :        Thy  sal   •     |  -  vation. 


THE  CANTICLES 


The  Fenite  (Ps.  95),  and  the  infre 
quently  used  Jubilate  Deo  (Ps.  100),  Can- 
fa  te  'Domino  (Ps.  98),  and  Deus  misereatur 


Morning  and  Evening  Prayer      1 1 3 

(Ps.   67)  will  be  sung  to  simple  tones  or 
chants. 

We  may  treat  the  'Benedicite  and  the 
three  Gospel  Canticles  (Benedictus,  fMagni- 
fcat,  and  3\(unc  dimittis)  in  the  same  way 
also,  at  ordinary  times  :  bearing  in  mind 
the  principles  which  govern  the  pointing 
of  the  Davidic  Psalter  and  also  the  selec 
tion  of  decorous  and  appropriate  melodies.1 
The  Te  Deum  requires  altogether  special 
treatment. 

TE  'DEUM 

The  Te  'Deum  should  not  be  sung  as  an 
ordinary  Psalm.  It  is  important  to  notice 
its  structure.  Bishop  John  Wordsworth2 
points  out  that  it  consists  of  three  separate 
and  distinct  parts,  and  that  it  should  be  so 
divided  as  to  music  and  recitation.  These 
divisions  are  marked  in  this  manner  in  the 
Accession  Service  (III)  in  the  Prayer  Book 
of  the  present  reign.  The  three  parts 
are  : — 

i.  The  hymn,  Te  Deum  laUdamus,  ad 
dressed  to  the  Blessed  Trinity,  in  which 
the  threefold  Holyy  Holy,  Ho/y,  of  the  angels 

1  The   Canticles   out   of  the   Manual  of  Plainsong 
(Novello)  are  printed  separately,  price  ^i. 

2  Considerations  on  'Public  Worship,  etc.,  p.  70. 

I 


1 1 4  Church  Music 

answers  to  the  threefold  doxology  of  the 
Church  on  earth. 

2.  The  hymn,   Tu  rex  gloriae^   Christe, 
addressed  to  our  Blessed  Lord  ;  and 

3.  The  Versicles    and     Responses    be 
ginning,   0  Lord,  salve   Thy  people. 

In  the  First  Appendix  to  this  chapter 
will  be  found  a  very  simple  arrangement 
of  the  Te  Deum,  inserted  simply  as  an 
example  of  the  way  in  which  these  im 
portant  divisions  can  easily  be  marked. 
The  Versicles  are  noted  according  to  the 
principles  that  govern  those  at  Mattins 
and  Evensong  :  for  the  melody  of  the 
Responses  I  am  indebted  to  the  Rev. 
J.  B.  Croft. 

Reference  must  be  made  to  the 
Ambrosian  melody,  which  was  anciently 
prescribed  to  be  sung  like  an  antiphonal 
psalm,  verse  and  verse  about,  by  the 
two  halves  of  the  choir,  "  a  method  of 
performance,"  writes  Professor  Wagner, 
"  which  was  the  natural  result  of  its 
structure,  and  to  which  the  melody  was 
adapted."  But  I  venture  to  make  two 
criticisms  with  regard  to  this  in  many  ways 
beautiful  composition.  In  the  first  place 
— I  write  this  with  diffidence  —  it  has 
always  struck  me  as  being  on  the  border- 


Morning  and  Evening  Prayer      1 1  5 

land  of  dullness  :  the  chant  is  not  suffi 
ciently  interesting  in  itself  to  last  through 
the  whole  length  of  the  hymn,  varied  as 
it  is,  I  am  aware,  by  the  more  ancient 
melody  for  the  <tAeterna  fac  and  three 
following  verses.  And,  secondly,  to 
sing  the  hymn  in  that  Ambrosian  way 
somewhat  obscures  its  structure.  How 
ever,  for  those  who  wish  to  sing  it  thus, 
there  are  many  good  editions  of  it,1 
and  of  the  Edwardian  adaptation  of  it.2 

Merbecke's  simplified  version  of  the 
Ambrosian  music  3  is,  perhaps,  to  be 
recommended  rather  than  the  Edwardian, 
which  is  just  too  uncomfortably  like  the 
original  authentic  melody.  There  is  also 
an  arrangement  of  Merbecke  by  the  Rev. 
W.  F.  B.  Ward  which  is  a  very  clear  and 
correct  setting  of  the  music. 4  Mr.  Ward 
wisely  adds,  as  an  alternative  to  Merbecke's 
music  for  the  last  seven  verses,  the  simplest 

1  Royle   Shore,    'Diocesan    Music,    No.     5.     (No- 
vello.     2</.) 

2  F.     Burgess,      Te    Deum    laudamus.      (Novello's 
Tarish  Choir  'Book,  No.  893.     4^.) 

3  It  is  to  be  found  in  the  Manual  of  Plainsong. 

*  Merbecke's  arrangement  of  the  Te  *Dfum,  with 
Versicles  and  Responses  for  Part  3  of  the  hymn. 
(Rev.  W.  F.  B.  Ward,  Wittenham  Rectory,  Abing- 
don. 


1 1 6  Church  Music 

possible  arrangement  of  Versicles  and 
Responses.  Novello  publishes  a  well- 
considered  pamphlet  by  a  "  Choir 
Trainer,"  J  which  treats  of  the  construc 
tion,  pointing,  and  musical  setting  of  the 
Te  Deum  in  an  interesting  and  rather 
revolutionary  way.  He  abolishes  the 
colons  in  toto,  following  the  Prayer  Books 
of  Elizabeth  and  Edward  VI  (which  do 
not  use  the  colon  at  all  in  the  Te  T)eum 
proper — vv.  1-21).  The  effect  of  this 
elimination  of  the  colon  and  consequent 
free  treatment  of  the  chant  melody  is  that 
of  the  "  services  "  to  which,  of  course, 
many  congregations  are  accustomed. 

MAGNIFICAT 

The  Magnificat  may  be  sung  (a)  to 
a  tone  or  chant  (simple  or  elaborate)  ; 2 
(#)  to  a  "  service,"  i.e.  as  an  anthem  ;  or 
(V)  as  a  combination  of  the  two. 

This  last  method  has  much  to  recom- 

1  Te    Deum   and    Benedlctus  to    fourteen     Chant 
Settings,  with  improved  pointing  and  an  Introduction. 
By  "  Choir  Trainer."      (Novello.     8</.) 

2  If  a  double  chant  is  used  for  the  Magnificat,  the 
second  half  of  the  chant  should  be  used  for  verse  5,  as 
a  new  paragraph  begins  at  verse  6. 


Morning  and  Evening   'Prayer      1  1  7 

mend  it.  The  congregation  are  given 
their  share  in  the  singing  :  they  arc  re 
sponsible  for  all  the  uneven  verses  of  the 
Canticle  :  their  part  is  simple,  familiar, 
and  unisonal.  The  choir  take  the  even 
verses  :  they  may  chant  in  Faux-bourdons^ 
i.e.  singing  a  varied  accompaniment  to 
the  melody  (which  ancient  custom  gives 
to  the  tenors),  or  they  may  sing  some 
other  suitable  music  for  their  alternate 
part.  In  the  Second  Appendix  to  this 
chapter  will  be  found  examples  of  this 
treatment  of  the  Magnificat.1  A  consider 
able  number  of  English  faux-bourdons 
are  now  available.  See  Third  Appendix 
to  this  chapter. 

"  SERVICES  " 

The  Committee  of  the  Church-Music 
Society  2    has    done    a    useful    work    in 

Reference  may  be  made  to  some  exquisite 


bourdons  by  ancient  masters  arranged  for  the  alternate 
verses  of  the  Vesper  Psalms  and  Magnificat,  published 
in  the  Anthologia  (Nos.  63,  73,  and  69)  of  the  Chan- 
teurs  de  Saint  Gervais,  at  1  5  Rue  Stanislas,  Paris. 
(Choir  parts,  I  5^.  each.) 

2  Founded  in  1906,  "to  facilitate  the  selection 
and  performance  of  the  music  which  is  most  suitable 
for  different  occasions  of  Divine  worship  and  for 


1 1 8  Church  Music 

publishing  a  First  List  of  "Recommended 
Services."  l  These  include  settings  of 
the  Te  T^eum,  Jubilate,  Benedictus,  Mag 
nificat,  and  Nunc  dimittis  ;  and  they  are 
divided  into  three  classes  :  (A)  "  Easy," 
(5)  "  Moderately  difficult,"  and  (C)  "Dif 
ficult."  The  list  includes  the  names  of 
the  publishers  and  the  prices  of  the  music. 
In  a  note  published  with  the  list  the  Com 
mittee  remark  that  "  it  not  infrequently 
happens  that  a  village  choir  attempts  a 
service  which  is  too  elaborate  for  its  re 
sources  because  the  choir-master  has  no 
means  of  discovering  how  many  composi- 

different  kinds  of  choirs."  The  Church-Music  Society 
expresses  no  partizanship  for  any  particular  style  of 
composition  ;  but  wishes  to  gather,  and  to  make 
available  for  use,  the  best  music  of  all  styles — old 
and  new,  simple  and  elaborate.  The  Hon.  Secretaries 
of  the  Society  are  Miss  Eleanor  Gregory,  Mary  Monk's 
Close,  Whitchurch,  Aylesbury  ;  The  Lady  Mary 
Trefusis,  Trefusis,  Falmouth  ;  and  Miss  Saumarez 
Smith,  116  Westbourne  Terrace,  W.  2.  Members 
pay  5/.  yearly,  and  receive  one  copy  of  each  reprint 
and  publication  free.  Associates  (who  may  be  clergy 
and  organists  and  all  who  are  engaged  in  the  cultiva 
tion  of  Church  music)  pay  is.  a  year  for  postage,  etc. 
More  subscribing  members  are  needed  if  the  Society 
is  to  continue  its  work  efficiently. 

1  To   be    obtained    of   Mr.    Humphrey   Milford, 
Amen   Corner,   E.C.  4,  price  zd. 


Morning  and  Evening  Prayer      1 1 9 

tions  exist  which,  while  they  are  less 
exacting,  are  equally  worthy  of  perform 
ance."  The  list  already  published  (of 
over  fifty  services)  is  the  beginning  of 
a  valuable  catalogue  which  will,  when 
completed,  give  the  much-needed  infor 
mation.  It  should  be  added  that,  so  far, 
the  works  of  living  composers  are  not 
included  in  the  list. 


THE  ANTHEM 

The  singing  of  an  anthem  after  the 
Third  Collect  at  Morning  and  Evening 
Prayer  is  not  enjoined  by  the  rubric  upon 
a  parish  church.  If  it  is  thought  advisable 
to  have  an  anthem  in  this  place  it  should 
be  treated  as  a  solemn  meditation  in 
music,  and  the  congregation  might  well 
be  allowed  to  sit  during  its  performance. 
They  will  be  more  attentive,  and  probably 
more  devoutly  recollected,  if  they  are  not 
fatigued  by  the  strain  of  listening  in  a 
standing  position.1 

1  "  Anthems  .  .  .  are,  like  the  sermon,  mainly 
for  the  edification  of  the  people,  who  should  there 
fore  adopt  the  position  best  suited  for  hearing  them. 
No  outward  action  of  the  body  should  be  without 
meaning,  if  it  is  to  be  '  pious  in  itself,  profitable  to 


I2O  Church  Music 

As  to  the  choice  of  suitable  anthems, 
the  Church-Music  Society  has  published 
two  lists.1  The  first  contains  a  catalogue 
of  anthems  "  classified  according  to  de 
gree  of  difficulty,  and  recommended  for 
the  seasons  of  (i)  Advent,  (2)  Christmas 
and  Epiphany,  (3)  Easter,  and  (4)  for 
Harvest  Festivals  and  other  occasions  of 
rejoicing."  The  second  list  contains  a 
similar  catalogue  of  anthems  suitable  for 
(i)  Lent  and  Seasons  of  Penitence,  (2) 
Whitsuntide,  (3)  Trinity,  and  (4)  Festivals 
of  Dedication  or  of  the  Commemoration 
of  Anniversaries.  These  anthems  are 
selected  from  those  which  are  most  readily 
accessible  in  a  cheap  form,  and  the  names 
of  publishers  and  the  prices  are  given. 

To    these    lists   the    following  extracts 
from  well-known  oratorios,  etc.,  may  be 

us,  and  edifying  to  others.'  Standing  has  always 
been  a  solemn  act  of  reverence  in  church,  as  solemn 
as  kneeling,  and  there  can  be  no  place  less  appro 
priate  for  such  an  act,  and  no  place  where  its 
adoption  is  more  likely  to  destroy  its  meaning, 
than  at  the  listening  to  the  anthem.  The  parson, 
therefore,  should  ask  the  people  to  sit,  and  himself 
set  the  example." — The  Parson's  Handbook,  6th  ed., 
pp.  273-4. 

1  To   be    obtained   of   Mr.   Humphrey    Milford, 
Amen  Corner,  E.G.  4,  price  zd.  each. 


Morning  and  Evening  Prayer      121 

added  simply  as  examples  of  what  may  be 
sung  by  well-trained  parochial  choirs. 

ADVENT  : 

Mendelssohn,  "  Sleepers,  wake  "  (S. 
Paul]. 

Mozart,  T)ies  irae. 

Handel,  Messiah,  Nos.  i  to  7  (in 
clusive). 

Spohr,  Choruses  from  Last  Judge 
ment. 

Brahms,  Choruses  from  Qerman 
Requiem. 

CHRISTMAS  : 

Bach,  "Come  and  thank  Him" 
(Christmas  Oratorio]. 

Handel,  Messiah,  Nos.  8  to  17  (in 
clusive). 

EPIPHANY  : 

Mendelssohn,  "  Ye  nations  !  "  (Hymn 

of  Praise]. 
"Then  shall  a  Star"  (Christus}. 

PASSIONTIDE  : 

Handel,  Messiah,  Nos.  22  to  32 
(inclusive).  Nos.  53  and  54. 


122  Church  Music 

EASTER  : 

Handel,  Choruses  from  the  Messiah 

and  Israel  in  Egypt. 
Spohr,    Choruses    from    Last  Judge 
ment. 

ASCENSION  : 

"Thou    art    the    King    of    Glory" 

(Dettingen  Te  Deum}. 
Messiah,   Nos.  33   to  36   (inclusive). 

Nos.  44  and  55  to  the  end. 

WHITSUNTIDE  : 

Mendelssohn,  "  Behold,  God  the 
Lord"  (Elijah}. 

Sterndale  Bennett,  "  Whosoever 
drinketh,"  and  "Therefore  with 
joy"  (Woman  of  Samaria}. 

TRINITY  : 

Spohr,  "  Holy,  Holy,  Holy  "  (Last 

Judgement}. 
Handel,     "  To     Thee     Cherubim  " 

(T)ettingen  Te  Deum}. 

WHERE  HYMNS  SHOULD  BE  SUNG 

The  word  "  Anthem  "  may  cover  a 
metrical  hymn  or  a  setting  of  sacred  words 
from  the  Scriptures  or  other  sources.  In 


{Morning  and  Evening  Prayer      123 

most  parish  churches  a  metrical  hymn  is 
usually  sung,  as  "Anthem,"  after  the 
Third  Collect  at  Morning  and  Evening 
Prayer.1  There  can  be  no  objection  to 
this  :  and  the  custom  has  firmly  estab 
lished  itself. 

The  Office  Hymn — i.e.  the  hymn  that 
strikes  the  key-note  of  the  service  that 
follows — should  not  be  sung  in  the  place 
of  the  "Anthem."2 

Its  place  is  either  (a)  before  the 
commencement  of  service  ;  3  (£)  before 
the  Psalms  ;  4  or  (V)  before  Benedictus 

1  "  In  those  churches  where  one  anthem  (in  the 
modern  sense)  is  sung,  Evensong    is  a  better  service 
for   the   purpose    than    Mattins,    both    for    practical 
reasons  and    because    of    ancient    precedent." — The 
Parson's  Handbook,  6th  ed.,   p.   218.     Dr.   Dearmer 
says  rightly  that  we   must  always  postulate  that  the 
choir  has  first  mastered    the  singing  of  the  essential 
parts  of  the  service  ;    the  churches  where  this  can 
be  done  and  two  anthems  learnt  also  for  each  Sunday 
are  few  indeed. 

2  Frere,  Elements  ofPlainsong,  p.  70,  n.  I. 

3  This  was  allowed  by  the  Injunctions  of  1559. 
See  The  "Parson's  Handbook,  6th  ed.,  p.  2  i  7  and  n.  4. 

*  As  in  the  Ambrosian  Breviary,  and  in  the 
Reformed  Breviary  of  Quignon.  In  the  scheme 
which  Cranmer  drew  up  before  the  publication  of 
the  First  Prayer  Book  the  hymns  have  this  position 
both  at  the  Morning  and  Evening  Service.  See 


124  Church  Music 

at  Mattins,  and  Magnificat  at  Even 
song.1 

Excellent  translations  of  the  whole  series 
of  Office  Hymns  are  to  be  found  in  the 
English  Hymnal,  set  both  to  their  ancient 
and  also  to  more  modern  and  popular 
melodies.  Care  should  be  taken,  in  places 
where  the  words  of  the  Office  Hymns  are 
not  in  the  hymn  books  in  use,  that  this 
important  liturgical  position  is  filled  by 
some  really  good  hymn  that  is  full  of 
teaching  and  impressive  in  its  dignity  and 
reverence.2 

If  the  Litany  or  other  prayers  are  said, 
there  may  be  a  hymn  after  the  Grace.  If 
there  is  a  sermon,  another  hymn  may  be 
sung  at  its  conclusion.  If  there  is  cate 
chizing  after  the  Second  Lesson,  a  hymn 
may  be  sung  before  it  begins. 

To  sum  up,  so  far  as  Morning  and 
Evening  Prayer  are  concerned,  the  suitable 

Cranmer's  MS.  in  the  British  Museum,  published 
by  the  Henry  Bradshaw  Society  in  their  publication 
Cranmer's  Liturgical  Projects  (ed.  Wickham  Legg). 

1  Its  place  in  the  ancient  English  Breviary. 

2  This   "  Office   Hymn "    should,   at   the   outset, 
give  the  right  seasonal   or  festal  flavour  to  the  whole 
service.      It   does   not   seem  necessary,   however,  to 
keep  to  the  same  hymn  for  the  long  succession   of 
Sundays  after  Trinity. 


Morning  and  Evening  Prayer      125 

places  for  hymns  (which,  it  should  be 
added,  "rest  upon  a  long  standing  custom 
which  has  always  been  sanctioned  by  autho 
rity  "  !)  are  as  follows  : — 

1.  The  Office  Hymn  (a}  before  the  ser 
vice  ;  (£)  before  the  Psalms  ;  or  (c)  before 
Benedictus  or  Magnificat. 

2.  After  the  Second  Lesson  at  Evensong 
before  catechizing. 

3.  After  the  Third  Collect. 

4.  After  the  Grace. 

5.  After  the  Sermon. 

1   The  Parson's  Handbook,  6th  ed.,  p.  216. 


FIRST  APPENDIX   TO 
CHAPTER  VII 


(i.) 


The  Te  Deum. 


HARMONY. 


34^1 

«T         f~         : 

We  praise 

All  the       1 
earth  doth  f 

To  Thee  .  . 

To  fhee  .  . 
Holy, 
Heaven  .  .  . 

T~o  r 

r\r*  B 

Thee,  O  God  :    | 
worship  Thee  : 

ICherubin  and  \ 

\     Seraptun  :       f 

Ho  •  ly,  Holy  : 
1  full     of     the  ) 
\    Majesty:     f 

-^  '^   -    H- 

i 

Weac  -  1 
knowledge  { 

the  Father 

Con 
Lord 

J 

i    '"    F    ^  -*      %H 
III          1 
Thee  to  be  the  Lord. 

ev-er-last      -      ing. 
all  the  powers  therein. 

tin-  ual-ly  do  cry. 
God  of  Sa-ba-oth. 
of     Thy    glo-ry. 
|  J     1      1 

T~^~^~i     "^r      "S~tl 

~   1  f  —  i  1  —  If- 
UMISON. 

-1  
\  p 

•4—i  —  i  —  i  —  ^-11 

The  glorious  ...  of  the  A- 
The  goodly    ...  of  the 
The  noble  ....      of 

rJLr    '^r 

•  postles  :           praise 
Prophets  :         praise 
Martyrs  :         praise 

Thee. 
Thee. 
Thee. 

Ci_i  

-r-  —  * 

126 


{Morning  and  Evening  Prayer      127 


A^    UNISON. 

1 
The  ... 

all  the 
The 

world  : 
Father  : 
true  : 
Ghost  : 

i 

doth  ac- 
of  ... 

i    |»  •    p    ^        « 
•knowledge  Thee  ; 

and 
the 

on    -  ly     Son  ; 
Com-  fort  -  er  ; 

Also  the 

! 

Holy 

E  —  I 

ii.) 

HARMONY. 

1 

*                 I 

1 

\=^ 

Thou  art  the  King  of 
Thou  art  the  everlasting 

Glory  : 
Son: 

O 

of  the 

Christ. 
Father. 

i 

4 

^ 

jOL 

HARMONY. 


2t5h        -^—  1 

n^'-  —  !•  ^  ^i  — 

—  =s-i  —  i  —  i  —  y 

WF-B  S  
t  *             V 

When  Thou  .  .  de- 
When  Thou  
Thou  sittest  .... 
We  believe  that 
We  therefore  .  .  . 
Make  

-2™  "  ;r=  «  — 

r^r  •   r 

•  liv     •     er  man  : 
sharpness    of  death: 
right  hand  of  God  : 
Thou    shall  come  : 
help  Thy  servants: 
with    Thy  Saints  : 

r 

Thou  .  .  . 
Thou  .  .  . 
in  
to 
whom  .  . 
in  glory 

Wr1 

Vir-^in's  womb. 
all     be-lievers. 
of  the  Father, 
be  our  Judge, 
pre-cious  blood, 
ev  -  ei  -listing. 

1 

1               1         1 
si            ^      el 

•«5»- 

3J              d    „ 

r     r  r 

j*    • 

(III.) 

MBN  (UNISON). 


II         J                   "Jj, 

3=EB 

®d-  —  
17 

O  Lord,  save  .  . 

Day  
Vouchsafe.  .  .  . 

he-ritage  : 

magni-fy  Thee 
with-  out  sin  : 

-H  

1  Govern  them  and  \ 
\     lift  them  up  for  f 
:  And  we  worship  .  . 
O  Lord,  have  .  .  up- 

ev     • 

end.  . 
on 

er. 

vu. 

128  Church  Music 

FULL  (UNISON). 
i  I 


O  Lord,  let  Thy  mercy  lighten  up- 1  on  us:  as  our  trust  is  in  |  Thee 


* 


O  Lord,  in  |  Thee  have  I  i  trusted  :     let  me  nerer  be  |  confounded. 
-r-»-i»^*-: _    "*" — t    g 


SECOND   APPENDIX   TO 
CHAPTER   VII 

Magnificat  with  Faux-bourdons. 

ist  Example.  An  Anglican  Chant,  with  Canto  Per  mo 
in  the  Tenor  for  the  even  verses.  (NOTE. — This  Chant 
is  in  itself  a  Faux-bourdon  of  a  form  of  the  5th  tone, 
3rd  ending.)! 

Chant  by  DR.  P.  HAYES. 

(a)  ist  verse  and  Gloria  Full ;  the  other  uneven  verses  by 
Congregation. 


(b)  Even  verses  by  Choir  only  :  unaccompanied  if  possible. 
i i  i  —   i 

_J        *     I     J-~J 


2.  For  He  hath      re    -  garded : 

4.  For  He  that magni-  fied          me  : 

6.  He  hath  shewed   .    .    .  with     His         Arm : 

8.  He  hatb  filled  ....  good  things : 


129 


130 


Church  Music 


*5= 

1 

r  cr 

|tf 

2. 

the  lowliness 

61    His 

h8.nd       -       maiden. 

4- 

and 

bo  -  ly 

is        His       Name. 

6. 

He  halb  .  .  . 

na  -  tion 

of      their       hearts. 

8. 

and  the    ... 

sent 

empty     a     -     way. 

SY  — 

—  J  

r-d  —  J- 

|    J        J 

i    J^J    .i 

—  i       ^  — 

and  Example.  An  independent  melody  for  the  even 
verses,  for  Choir  alone ;  the  uneven  verses  and  Gloria  being 
sung  to  the  4th  Plainsong  Tone. 

(a)  The  4th  Tone  (ist  ending).  Sarum  Tonale. 

(This  is  the  intonation  of  the  4th  Tone,   and  this  is  the 


mc-di  -  a- tion :     and    this   is      the     end    -    ing.) 
(b)  Even  verses  by  Choir  only ;  unaccompanied.     * 


=*=iq 


2.  FOr  He  hath   re  -   gard 

4.  For  He  that magni-fied    me 

6.  He  hath  shewed  .  .    with  His    Arm.... 
8.  He  hath  filled  .  .  .  good things. 


ed 


„ 

.III.,       I.I 

i 

"•>   »J.J^J_^ 

tJ                      1     1 

2.  the  16wliness  of  His 
4.      and             ho  -  ly 
6.  He  hath  .  .   -  na-tion 
8.  and  the  .  .       sent 
i      i 

SO:           —                 \  a,  -^- 

hand 
is  

maid 
....  His! 

-en. 
^ame. 
icarts. 
way. 

-£>- 
^=\ 

of      . 

their! 

emp                     ty         a  - 

-       jU-L^e 

L        1  1  1    '   bb 

H 

THIRD   APPENDIX  TO 
CHAPTER  VII 

Faux-bourdons^  etc. 

A.  For  the  Psalms. 

Fa-burden  Chant  Book  :  Sceats  and  Burgess.  (No- 
vello.  is.  6d.} 

B.  For  the  Evening  Canticles. 

The  (Canticles  from  the  Evening  Plainsong  Psalter. 
Set  I,  with  faux-bourdons  by  Byrd,  Crowley, 
Heath,  Morley,  and  Tallis.  (Faith  Press.  9^.) 
Set  II,  with  faux-bourdons  by  Carolus  Andreas, 
Caes.  de  Zachariis,  and  others.  (Faith  Press. 
»/.) 

Fourteen  dncient  Faux-bourdons  set  to  the  Song  of 
the  blessed  Virgin  Mary  in  English  together  with 
the  Eight  Tones.  Selected  and  arranged  by 
Edmund  W.  Goldsmith.  (Plainsong  and 
Medieaval  Music  Society,  ^s.  Sd.  ;  voice  parts, 
is.  id.} 

Little  Plainchant  Canticle  Book,  with  faux-bourdons 
by  F.  Burgess.  (Novello.  6d.) 

Parish  Choir  Book,  Nos.  888-899,  edited  by  F. 
Burgess  and  Royle  Shore,  with  faux-bourdons 
by  Tallis,  Tompkins,  Holmes,  Morley,  Byrd, 
Gibbons,  etc.1  (Novello.  ^d.  or  \d.  each.) 

1  These  were   English  polyphonic  composers  who 
were    well    acquainted   with    the   old    forms   of   the 
131 


132  Church  Mime 

{Magnificat  and  Nunc  dimittis,  set  to  the  fourth  and 
third  tones  by  Geoffrey  Shaw.  (Curwen,  No. 
80575.  W-) 

{Magnificat  and  Nunc  dimittis,  set  to  chants  by 
Croft  and  Hayes,  with  descants  :  edited  by  Mary 
Trefusis  and  Geoffrey  Shaw.  (Faith  Press. 

2d.) 

C.  Canticles,  etc.,  set  to  later  forms  ofPlainsong. 

Magnificat  and  Nunc  dimittis,  set  to  Tones  6  and  5 
by  Charles  Wood.  (Year  Book  Press.  6d.) 

Canticles  at  Bvensong  set  to  Parisian  Tones  by  Dr. 
Hayne.  (Mowbrays.  zd.) 

Magnificat  and  S^unc  dimittis  (Parisian  Tones) : 
Tallis  Trimnell.  (Novello's  Parish  Choir  Book, 
No.  97.  4</.) 

Magnificat  and  Nunc  dimittis  :  Luard  Selby.  (No 
vello's  Parish  Choir  Book,  No.  587.  4^.) 

^enedicite  omnia  opera  (from  Merbecke,  edited  by 
G.  C.  Martin).  (Novello's  Parish  C/ioir  Wool:, 
No.  770.  3^.) 

Miserere  (to  the  Tonus  ^egalis}.     (Novello,      id.) 

D.  Canticles  set  to  modern  music  in  free  rhythm. 

The  Society  for  Promoting  Christian  Knowledge 
have  lately  issued  some  settings  of  the  Te  'Deum 

Gregorian  tones  familiar  in  England  up  to  the  Refor 
mation — e.g.  Byrd's  version  of  the  Peregrine  tone, 
which  is  by  no  means  the  well-known  but  corrupt 
following  of  that  fine  melody  which  I  heard  a  famous 
Church  musician  state,  in  a  lecture  before  the  Church- 
Music  Society,  was,  "  note  for  note,  the  actual  music 
sung  by  our  Lord  and  the  Apostles  at  the  Last 
Supper "  ! 


Faux-bourdons,  etc.  133 

and  Magntficat  which  are  well  worth  trial. 
Nos.  I  (6</.)  and  2  (3^.)  are  by  Martin  Shaw, 
Nos.  3  (4^.)  and  4  (3^.)  by  C.  Hylton  Stewart. 
They  are  a  praiseworthy  effort  to  provide  con 
gregational  music  in  free  rhythm,  with  or  with 
out  accompaniment,  with  sections  which  may, 
if  desired,  be  sung  by  the  choir  alone. 

The  following  are  also  worthy  of  consideration, 
though  not  on  quite  the  same  lines  : — 

Magntficat  and  ZN^unc  dimittis  in  A  Flat,  for  men 
or  boys  in  unison  :  Charles  Wood.  (Year  Book 
Press.  3</.) 

^Magnificat  and  Nunc  dimittis  set  to  simple  phrases 
in  the  Key  of  G,  and  intended  for  congrega 
tional  use  :  Charles  Macpherson.  (Novello's 
Parish  Choir  Book,  No.  978.  4^.) 

Simple  Morning  Service  in  D  :  Martin  Shaw. 
(Curwen,  No.  80582.  6d.} 

Magnificat  and  S^unc  dimittis,  from  the  Chant 
Service  in  F  :  S.  S.  Wesley.  (Novello.  is.) 


CHAPTER   VIII 
Hymns 

SUGAR  is  an  important  article  of 
food  ;  but  a  diet  entirely  consisting 
of  sugar  would  afford  neither  satisfaction 
nor  pleasure  to  the  consumer.  We  are 
popularly  suffering  in  England  from  a 
musical  diet  of  this  kind.  There  is  much 
music  in  our  homes,  as  well  as  in  our 
concert  rooms  and  churches  ;  but  a  very 
large  part  of  it  is  what  Mr.  Bernard  Shaw 
calls  "  confectionery."  l 

We  have  learnt  from  the  great  masters 

C  •  1 

or  music  to  appreciate  beauty,  but  we  are 
in  danger  of  being  content  to  wallow  in 
mere  beauty  in  forgetfulness  of  the  fact 
that  the  obviously  pretty  has  only  super- 

1  "  When  the  work  of  a  great  artist  had  survived 
the  scorn  of  his  own  generation  and  the  people  of 
the  next  were  beginning  to  understand  it,  then  came 
a  generation  of  lesser  artists,  whom  he  described  as 
confectioners.  Thus,  Schubert  came  after  Beethoven 
and  Bach.  He  wrote  songs  which  were  a  delight, 
but  which  were  really  only  sugar." — Daily  Nezvs, 
October  9,  1908. 

'34 


Hymns  135 

ficial  charm.  We  need  much  more  of  the 
music  that  will  strengthen  and  uplift.1 

There  is  a  wealth  of  good  music,  ancient 
and  modern,  that  can  be  used  in  the 
service  of  the  Church.  Much  of  it  has 
been  neglected  or  overlooked  owing  to 
the  prevalence  of  such  vast  masses  of 
other  music,  also  "  ancient  and  modern," 
which  has  succeeded  in  driving  away  a 
number  of  intelligent  people  from  church 
altogether.  In  our  churches  we  should 
be  ashamed  to  assuage  our  musical  thirst 
with  weak  draughts  of  sentimental  tunes 
that  have  long  lost  what  little  life  they 
had,  that  have  done  their  work  and  have 
no  further  message  to  give  us. 

God,  we  believe,  does  His  work  in 
ways  that  are  not  our  ways  :  and  for 
the  work  of  conversion  He  may  use 
the  flimsiest  words  and  the  most  trivial 
tunes,  as  He  uses  ignorant  and  painful 
preachers,  if  He  wishes  to  do  so.  God 
will  not  be  tied  down  to  this  or  that  agent 

1  "  It  is  supposed  that  music  can  never  be  other 
than  beneficial.  Music  can  be  very  much  the  reverse. 
.  .  .  The  poor  weak  hymns  most  of  us  hear  on 
Sundays  are  not  calculated  to  nerve  anybody  for  any 
fight  at  all." — Sir  Walter  Parratt  in  an  address  to 
the  Conference  of  Teachers,  January,  1909. 


136  Church  Music 

or  means.  He  "  fulfils  Himself  in  many 
ways."  But  it  is  not,  therefore,  to  be 
conceded  that  God  wants  us  to  content 
ourselves  with  and  to  offer  Him  the  least 
worthy  and  the  meanest.  The  strengthen 
ing  of  the  religious  life  must  be  carried 
on  in  men's  minds  by  means  of  better 
intellectual  pabulum  than  is  commonly 
given  to  them  ;  and,  on  the  artistic  side 
of  man's  being,  by  architecture,  painting, 
poetry,  and  music  that  is  virile,  powerful, 
and,  in  the  truest  sense  of  the  word, 
edifying. 

The  Church  for  centuries  distrusted 
hymns.  Heretics  so  often  were  able  to 
spread  their  errors  by  means  of  hymns. 
It  was  not  until  the  time  of  S.  Benedict 
that  they  began  to  gain  a  formal  place  in 
the  Divine  Office  :  and  even  then  they 
were  rigidly  excluded  from  the  Eucharist. 
It  was  not  until  the  middle  of  the  ninth 
century  that  the  Sequences — which  seem 
to  have  been  words  set  to  help  people's 
memories  in  the  singing  of  certain  longis- 
simae  melodiae  at  the  end  of  the  Alle- 
luya — began  to  appear  in  the  Mass.1 

1  Dr.  Wagner,  Introduction  to  the  Gregorian  Melodies, 
p.  221.  Translation  published  by  the  Plainsong 
Society. 


Hymns  137 

Even    these   Sequences  were   not  at  first 
metrical. 

The  Church  of  Rome  has  now  dropped 
all  but  five  of  the  old  Sequences  ;  but  in 
the  Middle  Ages  we  had  hundreds  of 
them  in  England.  Many  are  of  incom 
parable  beauty.  Witness  the  Salus  <eterna 
(before  the  eleventh  century)  for  Advent 
(English  Hymnal,  10),  the  Laetabundus 
(eleventh  century  or  earlier)  for  Christmas 
(E.H.,  22),  the  Victimae  paschali  of  Wipo 
for  Easter  (£.//.,  130),  the  Veni^  sancte 
Spiritus,  or  "  Golden  Sequence,"  said  to 
have  been  composed  by  Pope  Inno 
cent  III  (E.H.y  155),  Lauda,  Sion,  Sal- 
Ipatorem  of  S.  Thomas  Aquinas  (£.//., 
317),  the  Dies  irae  of  Thomas  of  Celano 
(E.H.y  351),  the  Stabat  mater  dolorosa 
of  Jacopone  da  Todi  (£.//.,  115),  and 
the  Jesu,  dulcis  memoria,  to  which  is 
attached  so  lovely  a  melody  in  the 
Sarum  Gradual,  where  it  is  called  by 
the  name  of  the  "Rosy  Sequence"  (£.//., 

238). 

The  Sequences  can  be  sung  in  either  of 
two  ways  :  (<?)  by  choirs  alternating  with 
one  another  ;  and,  in  the  case  of  the  longer 
Sequences,  singing  the  introduction  and 
conclusion  together.  (£)  By  the  whole 


138  Church  Music 

choir  throughout,  "  to  symbolize  the  har 
mony  of  love."  * 

Leaving  the  Sequences,  we  come  to  a 
consideration  of  hymnody  proper. 

First,  there  are  the  ancient  plainchant 
melodies.  There  are  many  varieties  of 
these. 

i.  The  Iambic  'Dimeter. 

This,  the  most  usual  metre  of  these 
hymns,  is  commonly  known  as  "Long 
Metre."  Our  example  is  the  Advent 
Morning  Office  Hymn,  Verbum  supernum 
prodienS)  as  printed  in  modern  notation  in 
the  English  Hymnal. 


High  Word  of    God,  Who  once  didst  come,  Leav-ing  Thy   Fa 


ther  and  Thy  home,  To    suc-cour  by      Thy  birth  our  kind, 


When,  towards   Thy        ad   •    vent,     time        de  •  clined. 


1  Rationale   iv.   22,  quoted   by   Professor  Wagner, 
Introduction  to  the  Qregorian  {Melodies,  p.  231. 


Hymns  139 

But  the  melodies,  it  must  be  remem 
bered,  are  never  to  be  sung  in  the  measured 
manner  in  which  we  sing  modern  tunes  of 
the  same  metre,  but  in  an  unfettered  style 
of  vocalization,  following  the  accent  of  the 
words  rather  than  of  the  music.  Here  is 
a  suggested  approximation  to  the  way  in 
which  the  first  verse  of  this  hymn,  as 
translated  by  Dr.  Bigg  (£.//.,  p.  2),  should 
be  sung.  It  will  be  noticed  that  the 
rhythm  is  freer  than  in  ordinary  barred 
music,  possessing  Binary  and  Ternary 
forms  as  demanded  by  the  sense  of  the 
words.1 


High  Word    of    God,  Who  once  didst  come,     Leav-ing   Thy 

--^j^Hr-J  i  T  '.    N   i==' 


Fa  •  ther     and   Thy    home,      To    suc-cour     by       Thy 


birth  our    kind,  When,  towards  Thy  ad- vent,  time  de  -  clined. 


1  Captain  Burgess  has  an  interesting  chapter  on 
Plainsong  Rhythm  in  his  Rudiments  of  Plainchant. 
(Reeves,  price  is.) 


140 


Church  {Music 


2.  The  Iambic  Trimeter.    Example,  E.H., 
p.  252,  Annue  Christe  saeculorum  Domine. 


i 


Lord   of  cre-a-tion,  bow  Thine  ear,  O  Christ,   to   hear 


The  in    -    ter  -  ces  -  sion    Of  Thy  ser-vant  true  and  dear. 


That  we    un  -  wor-thy,  who  have  tres-passed  in  Thy  sight, 


I 


May    live     be-fore  Thee  where  He  dwells  in  glorious  light. 


3.  The  'Trochaic  hymns':  the  verse  con 
sisting  of : — 

(a)  Three   trochees.     Example,  E.H.y 
p.  310,  vfve,  marts  Stella. 


Hail,       O Star,       that    point  -  est 


Towards  the      port    of        hea  -  ven  ;  Thou    to   whom 


as      maid-  en     God    for    Son    was      giv    -    en. 


Hymns  1 4 1 

(b)  Four  trochees.     Example,  £.//.,  p. 
158,  Stabat  mater  dolorosa. 


French  Church  Melody. 


At  the  Cross,  her  sta-tion  keep-ing,  Stood  the  mourn-ful 
Tho' her  soul,  of    joy   be- reav-ed,  Bowed  with  anguish, 


-z^-fsJ- 
mother  weeping,  Close  to     Je-sus     at      the   last. 

deep-ly  griev-ed,     Now  at  length  the  sword  hath  passed, 


(c)  Eight    trochees.     Example,    £.//., 
p.  4 58, \Pange  lingua. 


.  fa  f=>\  &-?>.  &  .    & 


*3f.—& — & — & — ^ — 1= — s^ — j^j  n — i-i*— — i 1 1 — 

Of  the  glo-rious  Bo-  dy     tell-  ing,      O,    my  tongue,  its 

^ 


^    ' 


I 


mysteries     sing  ;    And  the  Blood,  all  price  ex  -  cell-  ing, 

\ 1 : 1 1^     i 1 1 1 


Which  the  world's  e-ter-nal   King,    In      a     no-ble 
womb  once  dwell-ing,  Shed  for   this  world's  ran-som-ing. 


142  Church  u(dusic 

4.  The  Sapphic  hymns.    Example,  £.//., 
p. 23  8,  Nocte  surgentes. 


Fa-  ther,    we  praise  Thee,  now  the  night  is      o  -  ver, 


fu)7  _  _  ==; 
•& — *9 — 19 ^ r 
--£-r-F-l 


Ac-tive  and  watchful,  stand  we  all  be-fore  Thee ;  Sing-ing 

1 1 l—H- 1 1 : 1 1 Hi 


rj-  |   <S>     ^—& 


we  of-fer  prayer  and  med  i-ta-tion :  Thus  we  adore  Thee. 


$.  Hymns    in    asclepiads    and  glyconics. 
Example,  £.//.,  p.  266,  Sanctorum  mentis. 


The  mer-its  of  the  Saints,  Bless-ed  for    ev    -    er-more, 

i      i      ^   I    J  i     ,      r*    \      N^H    i     ,  n 

j     ^  ^  i  ^  '  -' 


Their  love  that  nev-  er  faints,  The  toils  they  brave-ly  bore  ; 


ForthesetheChurch  to-day  Pours  forth  her  joy-ous  lay- 

g^^T^rn~i    nJ-^S^ 

&^        f^        gj-rj     I    ^J        g£  r£   ^        ^^f^    aj_ 


These   vie    -    tors     win       the    no    -    blest    bay. 


Hymns  143 

6.  Hymns  in  hexameters  and  penta 
meters.  Example,  £.//.,  p.  804,  Sa/ve, 
festa  dies  : — 


Hail thee,    Fes  -  ti  -  val  Day  I  blest    day  that    art 


hal   •  lowed      for      ev   -  er  ;     Day  where  -  in        God 


I 


'•  |      P  P 


o'er     -     -     came      hell,  and     a  •  rose  from  the  dead. 

The  English  Hymnal  supplies,  for  those 
churches  where  plainchant  is  not  sung, 
modern  but  stately  and  appropriate  melo 
dies  for  these  Office  hymns.  Many  of 
these  are  those  interesting  and  popular 
tunes  which  pass  for  plainchant  in  many 
of  the  churches  of  northern  France. 
They  are  eminently  singable. 

All  the  wealth  of  melody  that  accom 
panied  these  ancient  hymns  was  put  aside 
and  neglected  in  England  for  nearly  three 
hundred  years  :  and  it  is  only  very  slowly 
that  we  are  beginning  to  restore  it  and 
to  appreciate  it  at  its  true  value.  One 
wonders  why  it  was  that  the  compilers  of 


144  Church  Music 

our  Prayer  Book  omitted  to  incorporate 
translations  of  those  Latin  hymns  which 
were  an  integral  part  of  the  Offices  they 
remodelled.  There  is  extant  a  letter  of 
Cranmer  to  Henry  VIII,  in  which  he  tells 
the  King  that  he  had  made  a  translation  of 
one  of  the  old  Processionals  in  the  same 
metre  as  the  Latin,  so  as  to  fit  the  old 
Latin  tune,  and  suggests  that  some  other 
should  be  asked  to  make  a  better  version 
"in  more  pleasant  English"  than  his  own. 
But  nothing  was  done  ;  and  the  Common 
Metre  setting  of  Veni  Creator  (1549),  and 
the  Long  Metre  setting  by  Cosin  (1662), 
are  the  only  traces  of  the  Latin  hymns  in 
the  successive  editions  of  the  Book  of 
Common  Prayer. 

Since  the  Reformation,  much  has  been 
done  to  popularize  the  metrical  hymn. 
To  Luther,  no  doubt,  belongs  the  chief 
credit  of  introducing  the  Chorale ',  although, 
fifty  years  before  Luther  was  born,  an  old 
writer  tells  us  "  the  voice  of  the  turtle 
began  to  be  heard  in  the  land  of  Bohemia." 
(The  Moravians  published  their  first  col 
lection  of  hymns  in  the  Bohemian  language 
in  1504.)  There  are  few  tunes  that  can 
be  undoubtedly  ascribed  to  Luther  ;  but 
every  one  knows  the  glorious  melody  he 


Hymns  145 

set  to  his  own  rendering  of  Psalm  46,' 
introduced  by  Mendelssohn  into  the  last 
movement  of  his  Reformation  Symphony, 
by  Meyerbeer  into  his  Les  Huguenots,  and 
by  Richard  Wagner  into  his  ^aisermarcb. 
There  is  also  the  melody  that  he  heard 
from  a  "  wayfaring  man,"  known  com 
monly  as  "Luther's  Hymn,"  and  sung 
in  our  country  for  the  last  hundred  years 
to  the  words,  Qreat  God,  what  do  I  see 
and  hear  ?  Of  the  other  great  German 
Chorales,  Johann  Cruger  (1598-1662)  is 
said  to  have  written  Nun  danket  alle  Gott 
(E.H.,  533),  the  "  Te  Deum "  of  Ger 
many  ;  and  Philip  Nicolai  (1556-1602), 
the  Wachet  auf  (E.H.,  12),  introduced  by 
Mendelssohn  into  the  overture  to  S.  Paul. 
After  Luther's  death,  for  at  least  a 
century  and  a  half,  many  collections  of 
Chorales  were  issued,  the  most  noticeable 
of  these  being  the  Vierstimmige  Chorale- 
gesange  of  J.  S.  Bach.  Coverdale  tried  to 
introduce  these  "  sweet  psalms  and  spiri 
tual  songs"  into  England,  but  Henry  VIII 
put  his  book  on  the  list  of  prohibited 

1  Luther's  great  hymn  was  translated  by  Carlyle,  in 
a  work  of  inspiration  that  reads  like  an  original  com 
position.  It  is  to  be  found  in  the  English  Hymnal 
(36*). 

L 


146  Church  Music 

works,  and  it  was  not  until  the  publication 
of  the  Lyra  Davidica  in  1708  that  the 
German  Chorales  became  well  known  in 
our  country.  John  Wesley  made  great 
use  of  them,  and  since  the  beginning  of 
the  nineteenth  century  they  have  been 
gradually  winning  their  place  in  the  hearts 
of  religious  English  people. 

Another  source  of  English  hymnody  is 
the  French  Psalm-tune.  These  tunes,  under 
the  influence  of  Calvin,  were  only  set  to 
metrical  versions  of  the  Psalms  and  other 
portions  of  Scripture,  and  were  written 
invariably  on  the  principle  of  only  one 
note  to  a  syllable.  It  was  Bourgeois  who 
adapted  or  constructed  the  "  Genevan 
tunes  "  for  Calvin  to  Marot's  and  Beza's 
Psalms.  These  tunes  were  introduced 
into  England  in  the  1556  edition  of 
Sternhold's  Psalter ;  and,  on  the  accession 
of  Queen  Elizabeth,  great  encouragement 
was  given  to  them  by  the  injunctions  she 
issued  for  the  use  of  the  clergy,  allowing 
a  hymn  to  be  sung  "in  the  beginning  or 
at  the  end  of  Common  Prayer."  The 
complete  edition  of  Sternhold  and  Hopkins 
was  published  in  1562  under  the  title  of 
Day's  Psalter.  (Day  was  the  publisher.) 
These  tunes  are  distinguished  by  the  title 


Hymns  147 

"  Old,"  with  the  number  of  the  Psalm 
added.  They  are  German,  French,  and 
English.  Nothing  is  known  of  the  com 
posers  of  the  fine  old  English  tunes  in 
this  compilation.  Some  of  them  are  of 
great  beauty.1 

Ten  years  earlier  a  collection  of  original 
short  motets  (the  material  of  many  fine 
hymn-tunes)  had  been  published  byDr.Tye, 
organist  of  Ely  Cathedral,2  and  twenty 
years  later  William  Hunnis  set  original, 
music  to  some  original  words. 3  Hunnis 
was  the  first  in  modern  times  to  set  an 
Amen  at  the  end  of  hymns. 

The  well-known  hymn-tunes  by  Tallis, 
the  Canon  (£.//.,  267)  and  the  Ordinal 
(£.//.,  46),  were  written  about  this  time 
(1560)  ;  and  Psalters  were  issued  by 
Damon  (1579),  Este  (1592),  and  Allison 
(1599)  ;  but  it  is  not  until  the  accession 
of  James  I  that  we  find  any  considerable 
musical  progress. 

Thomas  Ravenscroft  published  a  new 
Psalter  in  1621,  in  which,  for  the  first 

1  e.g.,  the  Old  8ist  (E.H.,  211),  the  Old   i37th 
(S.H.,  404),  and  the  Old  2 5th  (E.H.,  149). 

2  The  dctes  of  the  Jlpostles  translated  into  Englyshe 
Metre  (1553). 

3  Srten  Sol>s  of  a  Sorrowful  Soul  (1583). 


148  Church  Music 

time,  we  find  the  melodies  classified. 
Ravenscroft  gives  us,  in  addition  to  the 
"Old  tunes,"  l  other  tunes  that  he  asserts, 
without  giving  his  authorities,  are  English, 
Northern,  Scotch,  Welsh,  Dutch,  Italian, 
and  French.  In  the  same  reign  George 
Wither  published  two  books  of  original 
hymns,  to  which  Orlando  Gibbons,  amongst 
others,  fitted  tunes.  The  most  famous  of 
these  is  his  Angels'  Song^  restored  to  its 
original  form  in  the  English  Hymnal  (259) 
and  in  the  new  edition  of  Hymns  Ancient 
and  Modern  (6). 

After  a  period  of  inactivity  following 
the  Restoration  we  find  King  William  III 
sanctioning  the  use  of  a  new  Psalter  by 
Nahum  Tate  and  Nicholas  Brady  (1696). 

The  book  ran  through  several  editions, 
and,  in  the  supplement  to  the  sixth  edi 
tion,  we  find  for  the  first  time  S.  Anne 
(E.H.,  202),  Hanover  (£.//.,  466),  and  S. 
Matthew  (£.//.,  526),  all  most  probably 
the  work  of  Dr.  Croft,  who  was  its 
musical  editor.  In  the  year  1708  we 
have  the  publication  of  the  little  Lyra 
Davidica,  to  which  we  owe  the  celebrated 
Easter  Hymn  (E.H.,  133),  and,  incident- 

1   Ravenscroft's  "  Old  I  O4th,"  however  (E.  H.,  1 7  8  ) 
is  not  the  original  iO4th  of  Day's  'Psalter. 


Hymns  149 

ally,  many  of  the  more  florid  hymns  that 
became  increasingly  popular  during  the 
eighteenth  century.  The  Methodists 
were  noticeable  for  the  attractiveness 
and  melodious  character  of  the  hymns 
they  sang.  In  Wesley's  Select  Hymns 
(Sacred  Harmony\  1781,  we  find,  for 
instance,  the  popular  Helmsley  (£.//.,  7), 
known  at  that  time  as  Olivers.  The 
eighteenth  century  teemed  with  com 
posers  of  hymn-tunes,  but  only  a  score 
or  two  have  survived.  Some  of  these 
are  of  the  very  first  rank.1 

It  must  be  remembered,  also,  that 
Handel  wrote  at  least  three  fine  tunes — 
Qopsall  (E.H.,  276),  Cannons  (£.//.,  66), 
and  Fitzwilliam  (£.//.,  448  ;  and  Haydn 
gave  us  the  Austrian  Hymn  (£.//.,  393), 
and  one  of  the  melodies  that  we  have 
adopted  for  "Onward,  Christian  Soldiers" 
(£.//.,  643). 

In    the    latter    part    of  the   nineteenth 

-century   the  Church  of  England,   stirred 

by    the    enthusiasm    of  the    Methodists, 

roused  herself,  and  began  to  march  with 

1  e.g.,  Knapp's  Wareham  (6.H.,  52),  Wainwright's 
Yorkshire  or  Stocfyort  (6.H.,  21),  Lockhart's  Carlisle 
or  Invocation  (E.H.,  190),  and  DarwalPs  I48th  (E.H., 
517). 


150  Church  Music 

the  times.  Dr.  Miller,  organist  of  Don- 
caster  Parish  Church,  and  adaptor  of  one 
of  the  most  popular  hymn-tunes  that  ever 
was  written  (Kock^ngham  or  Caton,  E.H., 
107),  had  published  two  books  of  Psalrn- 
tunes  as  early  as  1790  ;  but,  in  this 
period  of  decadence  little  was  achieved 
until  the  publication  of  Mr.  Havergal's 
Old  Church  Psalmody  (1847),  and  Dr. 
Gauntlett's  Comprehensive Tune-Eook(\ 846), 
and  Church  Hymn  and  Tune-Book  (1852). 
Dr.  Gauntlett  is  said  to  have  himself 
composed  10,000  tunes  !  Many  of  them 
are  by  this  time  woven  into  the  stuff 
of  the  religious  life  of  the  English 
Church.1 

In  1854  Sir  John  Goss  edited  the 
music  for  Mercer's  Church  Psalter  and 
Hymn  2?<?0^,  in  the  first  edition  of  which, 
however,  he  embodied  no  new  tunes. 
His  successor  at  the  organ  of  S.  Paul's, 
Sir  John  Stainer,  was,  on  the  contrary, 
a  prolific  writer  and  publisher  of  hymn- 
tunes.  The  music  of  Stainer  (as  of 
Barnby  and  Sullivan,  his  contemporaries) 
is  as  popular  as  it  is  devotional  and  melo- 

1  e.g.,  5.  Alb'mus  (£.//.,  134  alt.),  S.  Fulbert 
(£.#.,  139),  University  College  (E.H.,  177),  S.  Mphege 
(E.H.,  348),  and  Irby  (£.//.,  605). 


Hymns  1 5 1 

dious  ;  but  it  must  be  confessed  that  it 
is,  for  the  most  part,  wanting  in  strength  ; 
"  gentlemanly  "  is  a  term  that  has  recently 
been  applied  to  it.  Dr.  E.  J.  Hopkins, 
of  the  Temple  Church,  wrote  some  fine 
original  tunes  ;  and  many  of  those  by 
Samuel  Sebastian  Wesley  and  Henry 
Smart  will  not  readily  be  forgotten  by 
the  Church  they  served  so  well. 

In  1 86 1  appeared  the  first  edition  of 
Hymns  Ancient  and  Modern,  an  extra 
ordinarily  successful  compilation,  which 
has  since  gone  through  many  editions 
and  added  to  itself  many  supplements. 
Seven  of  Dr.  Dykes's  hymns  saw  the  light 
for  the  first  time  in  its  first  edition,  and 
twenty- four  more  in  those  of  1868  and 
1875.  They  reflected  the  spirit  of  their 
time  and  achieved  a  popularity  which  is 
not  yet  exhausted.  But  they  have  been 
found  to  lack  power,  and  their  charm  is 
fading. 

Dr.  W.  H.  Monk  was  the  first  musical 
editor  of  Hymns  Ancient  and  ^Modern,  and 
contributed  to  the  book  many  fine  tunes. 

Hymns  Ancient  and  Modern  has  not  been 
without  rivals.  More  than  forty  other  col 
lections  of  hymns  have  been  issued  during 
the  last  half-century  in  the  Church  of 


152  Church 

England  alone.  "  The  chief  danger  now 
to  be  avoided  is  the  over-multiplication  of 
new  tunes  and  the  desire  for  novelty,  thus 
leading  to  the  neglect  of  the  grand  old 
Psalm-tunes  and  stately  measures  beloved 
by  our  ancestors.  Let  our  organists  and 
choir-masters  strive  to  foster  a  taste  for 
such  tunes  only  as  are  worthy  to  be  sung 
in  the  House  of  God,  ever  remembering 
that  to  Him,  and  to  Him  alone,  should 
be  dedicated  all  that  is  noblest  and  best 
in  the  realm  of  Church  music."  l 

In  his  Preface  to  the  third  edition  of 
that  magnificent  collection  called  Songs  of 
SyoHj  Mr.  Woodward  expresses  his  opinion 
that  the  tide  is  setting  in  the  direction  of 
melodic  and  harmonic  work  of  bygone 
ages.  His  irreproachable  taste  has  given 
us  a  mine  of  good  things,  many  of  which 
can  be  used  (by  way  of  supplement)  in 
churches  which  cannot  afford  to  buy  his 
rather  expensive  book.  Other  mines  are 
the  Tattendon  Hymn  'Boof^  (for  which  we 
are  indebted  to  Dr.  Robert  Bridges),  the 
New  Supplement  to  Hymns  Ancient  and 

1  Hymn-tunes  and  their  Story,  by  James  T.  Light- 
wood.  The  present  writer  is  indebted  to  Mr.  Light- 
wood  for  much  valuable  information  contained  in 
this  chapter. 


Hymns  153 

Modern,  the  Oxford  Hymn  Boo^  (for  which 
the  present  Bishop  of  Ripon,  Dr.  Strong, 
and  Dr.  Harwood  were  mainly  respon 
sible),  and  the  Public  School  Hymn  Book, 
which  the  compilers,  with  some  justice, 
believe  to  be  "the  strongest  collection  of 
tunes  suitable  for  school  use  that  has  yet 
been  published,"  and  commend  to  the 
Public  Schools  "  with  the  hope  that  it 
may  carry  with  it  the  atmosphere  of 
reverent  worship,  and  may  contribute 
thereby  to  the  greater  glory  of  God." 

Of  late  years  another  source  of  hymn- 
melody  has  been  tapped  with  signal  success. 
Through  the  labours  of  the  Folk-song 
Society  there  have  been  unearthed  in  many 
parts  of  England  songs  of  the  people, 
centuries  old — many  of  them  associated 
indeed  with  sacred  words.  Some  of  these 
tunes  have  been  adapted  by  Dr.  Vaughan 
Williams  for  use  in  church,  and  may  be 
found  in  the  pages  of  the  English  Hymnal. 
They  have  proved  their  power  to  touch 
the  hearts  of  the  English  people  by  their 
survival  after  so  many  generations,  and 
are  a  welcome  addition  to  our  store  of 
hymn-tunes. 

It  is  to  be  noted  that  the  Church- Music 
Society    publish    a    List   of   Recommended 


154  Church  {Music 

Hymn-tunes,  with  a  valuable  Foreword  by 
Sir  Henry  Hadow  (4^.).  Both  Foreword 
and  List  will  assist  the  selector  of  hymns 
to  distinguish  gold  from  tissue. 

NOTE 

In  some  copies  of  Wesley's  Sacred 
Melody  are  printed  the  following  excellent 
directions  to  singers  : — 

1.  Learn  these  Tunes  before  you  learn 
any  others  ;  afterwards  learn  as  many  as 
you  please. 

2.  Sing     them     exactly    as    they    are 
printed  here,  without  altering    or  mend 
ing  them  at  all  ;  and  if  you  have  learned 
to  sing  them  otherwise,  unlearn  it  as  soon 
as  you  can. 

3.  Sing  All.     See    that  you  join    with 
the  congregation  as  frequently  as  you  can. 
Let  not  a  slight  degree  of  weakness  or 
weariness  hinder  you.     If  it  is  a  cross  to 
you,    take    it    up,    and    you    will    find  it 
a  blessing. 

4.  Sing  lustily,    and  with  a  good  cour 
age.       Beware    of  singing  as  if  you  are 
half  dead  or  half  asleep  ;  but  lift  up  your 
voice  with  strength.     Be  no  more  afraid 
of  your  voice  now,  nor  more  ashamed  of 


Hymns  1 5  5 

its  being  heard,  than  when  you  sung  the 
songs  of  Satan. 

5.  Sing  modestly.     Do   not  bawl,  so  as 
to  be  heard  above  or    distinct  from    the 
rest  of  the  congregation — that   you  may 
not  destroy  the  harmony — but  strive   to 
unite  your  voices  together  so  as  to  make 
one  clear  melodious  sound. 

6.  Sing   in    time.       Whatever    time    is 
sung,  be  sure  to  keep  with  it.     Do  not 
run  before  nor  stay  behind  it  ;  but  attend 
close    to    the    leading  voices,    and    move 
therewith  as  exactly  as  you  can  ;  and  take 
care  not  to  sing  too  slow.     This  drawling 
way  naturally  steals  on  all  who  are  lazy  ; 
and  it  is  high  time  to  drive  it  out  from 
among    us,    and    sing   all  our  tunes  just 
as  quick  as  we  did  at  first. 

7.  Above    all,    sing    spiritually.      Have 
an  eye  to  God  in  every  word  you  sing. 
Aim  at  pleasing  Him  more  than  yourself, 
or  any  other  creature.     In  order  to  this, 
attend  strictly  to  the  sense  of  what  you 
sing,    and    see    that    your    Heart    is    not 
carried  away  with   the   sound  but  offered 
to  God  continually  ;  so  shall  your  singing 
be  such  as  the  Lord  will  approve  of  here, 
and  reward  you  when  He  cometh  in  the 
clouds  of  heaven. 


APPENDIX  TO  CHAPTER  VIII 

Faux-bourdons  and  Descants  to 
Hymn  Melodies 

The  Tenor  Tune  'Book.  Descants,  old  and  new,  by 
Harvey  Grace,  H.  V.  Hughes,  H.  R.  Norton,  Geof 
frey  Shaw,  Martin  Shaw,  and  Becket  Williams. 
(Faith  Press,  is.  bd.)  Each  of  the  tunes  can  be 
had  separately,  price  id. 

*,{  Collection  of  Faux-bourdons  and  'Descants  jrom  the 
French  Ecclesiastical  Melodies  and  other  tunes  in  the 
English  Hymnal,  by  Athelstan  Riley.  (Mowbrays. 
7/.  6d.  net.) 

e/  Hoofc  °f  'Descants,  by  Alan  Gray.  (Cambridge 
University  Press.  3/.  6d.) 


156 


CHAPTER   IX 
The  Music  of  the  Catechism 

WE  have  seen  that  Church  music, 
apart  from  the  solitary  excursions 
of  the  performer  on  the  organ-stool, 
divides  itself  under  two  main  heads  : 
(a)  that  which  is  set  to  the  liturgical 
forms  of  the  Church  service — Fersicles 
and  Responses,  Psalms,  Canticles,  and  the 
like — and  (£)  that  which  has  grown  up 
in  more  or  less  recent  times  as  people, 
in  lieu  of  the  occasional  set  anthem  "  in 
Quires  and  places  where  they  sing,"  have 
demanded  metrical  hymns,  and  those 
without  stint. 

At  the  time  of  Catechism,  the  singing 
that  we  invite  the  children  to  take  part 
in  will  include  hymns  ;  but  the  singing 
ought  not  to  consist  of  hymns  only.  After 
all,  hymns  should  be  of  the  nature  of 
foot-notes  or  appendices  to  the  main  body 
of  any  service  in  church.  They  may 
explain  ;  they  may  ornament  ;  they  may 
enliven  and  afford  relief:  but  they  are 
157 


158  Church  Music 

not  the  service  proper.  And  the  musical 
part  of  the  liturgical  Office  in  use  is 
of  the  first  importance  :  hymn-singing 
must  take  a  worthy  but  subordinate 
position. 

The  structure  of  the  Catechism  Office 
varies  very  considerably  in  different  places. 
In  one  church  the  catechist  will  have 
Evensong  for  the  children  in  full,  ques 
tioning  before  the  opening  Our  Father, 
instructing  after  the  Second  Lesson,  and 
giving  the  Homily  after  the  Collects. 
Other  catechists  incorporate  a  portion 
only  of  Evening  Prayer  into  the  Cate 
chism.  But,  in  any  case,  it  would  be  well 
to  use  a  portion  of  Evening  Prayer  with 
whatever  Office  is  determined  upon.  The 
children  should  be  familiar  with  the 
Versicles  and  Responses,  and  should  be 
taught  how  to  chant  a  few  selected  Psalms 
and  the  Magnificat.1 

There     is    no    necessity    to    teach    the 

1  I  would  like  to  call  attention  to  the  excellent 
large-type  sheets  of  selected  hymns,  together  with 
portions  of  the  Prayer  Book  Catechism,  Canticles, 
Psalms,  etc.,  published  by  John  Wright,  of  Bristol, 
and  to  be  obtained  at  the  C.E.T.S.  Depot,  or  at  the 
Sunday  School  Institute.  Twenty-five  sheets  for 
19^.,  on  roller  complete. 


The  {Music  of  the   Catechism       159 

children  a  great  number  of  chants  or 
tones  :  two  or  three  will  be  amply  suffi 
cient,  and  the  music  to  the  Magnificat 
should  be  invariable.  In  one  church  in 
London,  for  instance,  the  catechist  has 
taught  his  children  to  sing  the  ^Magnificat 
to  that  fine  melody  known  as  the  Tork 
Tone,  which  they  sing  with  ease  and 
appreciation. 

*  York  Tone. 

*       J  J  J-"'.  ii       J  J  J— jiz^sfl 


.J.  A. 


i    r~         r^r 

*  This  extra  note  is  required  in  verses  2,  3,  5  and  9. 

S.  Francis  Xavier,  for  the  children  of 
his  converts,  set  music  to  the  words 
of  the  Angelic  Salutation,  the  Apostles' 
Creed,  and  the  Lord's  Prayer.  The 
Lord's  Prayer,  at  any  rate,  should  be 
familiar  to  our  children  as  set  to  its  own 
ancient  plainsong.1 

Bishop  Dupanloup  considered  that  the 
children  ought  to  learn  in  Catechism — set 
to  simple  music — the  Kyrie,  the  Qloria  in 
excelsis^  and  the  Nicene  Creed.  "  It  is 
important,"  he  says,  "  that  the  children 

1  See  Appendix  to  Chap.  VI,  p.  93. 


160  Church  Music 

should  know  these  by  heart."  To  know 
by  heart  is  easiest  when  there  is  the 
association  with  familiar  and  invariable 
music.  But  whatever  else  is  taught,  the 
music  of  Versicles  and  Responses  occur 
ring  in  our  daily  Offices  ought  to  be 
familiar  to  our  children.  These  things 
can  be  taught  as  forming  part  of  the 
regular  Catechism  Office.  It  has  been 
found  well  to  accustom  the  children  to 
sing  the  Acts  of  Faith,  Hope,  and  Love 
to  simple  music.  A  useful  and  easily 
learnt  setting  of  these  will  be  found  in 
the  Appendix  to  this  chapter. 

As  to  hymns,  there  will  be  a  constant 
succession  of  them  at  intervals  during 
the  hour  of  Catechism.  To  quote  Bishop 
Dupanloup  once  more  :  "  It  is  hymn- 
singing  that  makes  children  love  the 
Catechism,  that  quiets  them,  that  charms 
without  ceasing  to  edify,  that  both  re 
creates  them  and  carries  them  towards 
God,  that  keeps  things  going  with  plenty 
of  movement,  and  produces  upon  their 
child  souls  impressions  which  are  amongst 
the  most  profound  that  they  receive." 
He  quotes  S.  Augustine's  beautiful  saying, 
Cantat  amor.  "The  world  of  nature  is 
a  song,"  he  adds,  "and  in  heaven  all  join 


The  fMusic  of  the   Catechism       1 6 1 

in  singing  ;  and  I  could  tell  you  of  a 
thousand  experiences  of  my  own,  each  one 
more  and  more  astonishing  and  more  and 
more  consoling.  It  is  by  singing  that 
I  have  at  last  come  in  touch  with  children 
that  I  have  almost  despaired  of.  When 
a  child,  of  whom  we  have  been  able  to 
make  nothing,  begins  all  of  a  sudden  to 
sing  his  hymns  we  say  he  is  saved  :  and 
then  we  go  on  to  see  in  him  day  after 
day  the  most  wonderful  transformations." 
One  need  hardly  say  that  the  good  bishop 
makes  it  quite  clear  that  hymn-singing 
is  a  religious  exercise,  and  not  a  mere 
letting  off  of  vocal  steam.  "  The  children 
must  not  shout,"  he  says  ;  "  the  younger 
ones  will  want  to,  but  you  must  put  your 
foot  down  on  this  at  once."  He  bids  us 
remind  our  children  frequently  that  it  is 
a  form  of  prayer  not  to  be  hurried  into 
and  not  to  be  dragged  out.  Slow  hymns 
are  quite  intolerable  for  children.  The 
hymns  must  be  intelligible  to  them.  They 
must  understand  their  meaning,  and  "taste 
the  words,"  i.e.  get  the  full  flavour  out 
of  them.  The  words  then  must  be  worth 
"  tasting."  Here  is  a  tremendous  re 
sponsibility  placed  in  our  hands  !  What 
we  give  our  children  to  sing  may  become 

M 


1 62  Church  ^Mustc 

part  of  their  lives.  Memory  in  after  years 
will  recall  the  first  impression  of  church,  of 
instructions  and  homilies,  of  questionings 
and  prayers  ;  but  clearest  of  all,  of  the  sing 
ing  and  of  the  hymns  sung.  The  force  of 
these  childish  impressions  is  tremendous  ; 
the  atmosphere  caused  by  them  pervad 
ing  and  lasting.  The  future  of  English 
Christianity,  it  is  hardly  too  much  to  say, 
is  intimately  connected  with  the  choice  of 
hymns  we  allow  our  children  to  sing 
to-day. 

We  must  aim  at  Sincerity,  at  Simplicity, 
and  at  Dignity. 

i.  At  Sincerity.  One  has  been  at  chil 
dren's  services  where  the  young  people 
have  been  asked  to  sing  Mr.  Lyte's  death 
bed  poem,  "  Abide  with  me,"  or  the 
grotesquely  incongruous  "  Lead,  kindly 
Light,"  with  its  autobiographical  hints 
about  previous  love  of  the  garish  day 
and  still  earlier  musings  on  angel  faces.1 
Whatever  excuses  may  be  made  for  the 
adult,  to  allow  children  to  sing  such 
hymns  is  culpable  insincerity. 

1  Dr.  Newman,  in  a  letter  published  by  his  sister 
(vol.  ii,  p.  278),  speaks  of  those  lines  as  being  the 
expressions  of  "  transient  states  of  mind  which  came 
upon  me  while  sea-sick." 


The  {Music  of  the   Catechism       163 

2.  At    Simplicity.       If    children     are 
given  hymns  to  sing  which  contain  senti 
ments  involved  in  complicated  language, 
they  will   certainly  read   their  own  ideas 
into  them  in  a  way  that  will  probably  give 
pause  for  thought.     Simplicity,  however, 
is  not  the  same  thing  as  feebleness.     We 
must  avoid  the  temptation  to  write  down 
to  what  is  supposed  to  be  the  level  of  the 
childish  intellect.    Children  will  appreciate 
many  a  poetic  phrase  that  the  adult  mind 
finds  difficult  of  comprehension. 

3.  The   third   requisite  for  children's 
hymns  is  Dignity.     Nothing  that  we  sing 
should  present  any  violent  contrast  to  that 
noble    Liturgy,    "  every    single    word    of 
which "   (I  quote  Thackeray)  "  has   been 
previously  weighed  with  most  scrupulous 
reverence."     That,  it  must  be  repeated, 
does  not  imply  that  it  is  in  anyway  neces 
sary  to  give  the  children  childish  hymns. 
The  child  will  outgrow  the  merely  childish 
hymn  and  will  put  it  aside  with  its  merely 
childish    forms    of  private    prayer.     We 
shall  be  very  sparing  in  the  use  of  hymns 
specially  written  for  children.     We  shall 
rather    train   our    children   to    know   and 
love    the    words    of  those    many   hymns 
which,  being  perfectly  sincere  and  simple 


164  Church  Music 

and  dignified,  we  never  can  outgrow,  for 
they  seem  to  have  in  them  the  seeds  of 
immortality.1  Similarly,  we  shall  fail — 
and  fail  most  lamentably — if  we  allow  the 
melodies  of  their  hymns  to  be  less  than 
simple,  sincere,  and  dignified. 

The  plastic  child-mind  is  about  to  be 

1  e.g.  Hymns  for  the  Christian  Year  : — 

Great  Qod,  what  do  I  see  and  hear  ;  Christians,  awake  ; 
O  come,  all  ye  faithful ;  As  with  gladness  ;  TSethlehem,  of 
noblest  cities  ;  Forty  days  and  forty  nights  ;  Glory  be  to 
Jesus  ;  O  Sacred  Head ;  When  I  survey  ;  Jesus  Christ 
is  risen  to-day  ;  Hail  the  day  that  sees  Him  rise  ;  Come, 
Holy  ghost ;  Holy,  Holy,  Holy. 

Or  evening  hymns  : — 

Glory  to  Thee  ;  (jod,  that  madest  earth  and  heaven  ; 
Sun  of  my  soul. 

And  such  hymns  as  : — 

All  people  that  on  earth  do  dwell ;  Be  Thou  my 
Guardian  ;  Blest  are  the  pure  in  heart ;  Firmly  I  believe 
and  truly  ;  Jesu,  meek,  and  gentle  ;  My  God,  how  wonder 
ful  Thou  art ;  O  happy  band  of  pilgrims  ;  Oft  in  danger  ; 
Praise  to  the  Holiest  ;  Rock  of  ages  ;  The  Church  ofGjod 
a  Kingdom  is  ;  The  Church's  one  foundation  ;  The  Lord 
mil  come,  and  not  be  sloiv. 

The  above  list  is  made,  almost  at  random,  from 
hymns  out  of  an  excellent  List  of  Simple  Hymns  in  the 
Bnglish  Hymnal.  Thus  the  Catechism  hymns  will  be 
chosen  partly  from  that  section  in  our  hymn  books 
which  is  labelled  At  Catechism,  or  Hymns  for  Children, 
but  even  more  largely  from  the  simpler  hymns  in  the 
body  of  the  book. 


The  ^Music  of  the   Catechism       165 

impressed  with  an  indelible  heritage  of 
ideas  in  rhyme  and  metre,  but  the  impres 
sion  made  upon  that  mind  by  music  will, 
in  all  probability,  be  far  deeper  and  equally 
indelible.  Music  searches  out  the  inner 
most  recesses  of  our  being  where  there  is 
no  sound  of  words.  Who  can  calculate 
the  effect  of  a  good  tune  upon  a  child's 
soul  in  association  with  religious  ideas  ? 
Who  can  estimate  the  harm  done  to 
a  child  by  the  linking  together  of  verbal 
expressions  of  great  and  mysterious  truths 
with  feeble,  insincere,  or  meretricious 
tunes  ?  Here  r/e  come  face  to  face  with 
"  a  moral  rather  than  a  musical  issue."  1 
Good  music  is  healthy,  bracing,  invigorat 
ing,  and  uplifting.  There  is  music,  on  the 
other  hand,  which  is  degrading,  miasmatic, 
and  unwholesome.  It  is  our  duty  to 
establish  a  better  tradition  than  has  existed 
hitherto.  Especially  should  this  be  the 
case  with  children's  hymns.  Whatever 
may  be  our  difficulties  in  dealing  with 
inferior  tunes  that  have  found  a  place  in 
other  services  from  which  it  is  difficult  to 
dislodge  them,  it  is  clear  that  children  can 
have  no  very  old  associations  with  any 

1   Dr.  Vaughan  Williams  in  his  admirable  Preface 
to  the  Music  Edition  of  the  Snglish  Hymnal. 


1 66  Church  <Music 

particular  tunes  ;  and  incalculable  good  or 
harm  may  be  done  by  the  music  that  they 
sing  in  their  most  impressionable  years. 

With  regard  to  modern  tunes,  it  is  not 
always  easy  to  decide  off-hand  what  is  good 
and  what  is  bad  music.  But  it  may  be 
said  that  the  best  hymn  melodies  are 
planned  horizontally,  and  that,  as  a  rule, 
those  should  be  avoided  that  depend  upon 
vertical  lines.  It  should  be  equally  pos 
sible  and  pleasing  to  sing  a  good  hymn- 
tune  with  or  without  accompaniment. 
The  tune  should  stand  by  itself ;  and 
should  not  be  dependent  upon  the  adven 
titious  aid  of  accompanying  harmonies. 

We  have  been  accustomed  to  palm  off 
upon  our  children  pretty  tunes  lacking  in 
strength  and  virility.  The  really  good 
tune,  while  equally  attractive,  has  in  it 
a  living  power  ;  we  shall  not  readily  tire 
of  it.  After  all,  that  is  not  a  bad  test  of 
the  worth  of  a  hymn.  When  we  have  so 
vast  an  inheritance  of  noble  and  inspiring 
hymn-melodies  it  is  a  crime  to  give  our 
children  music  of  an  ephemeral  and  flimsy 
nature.  "Anything  will  do  for  the  children  " 
is  as  mistaken  and  as  harmful  a  policy  with 
regard  to  their  music  as  it  is  with  regard  to 
their  instructions  or  their  homilies. 


The  dMusic  of  the  Catechism       167 

For  the  art  and  practice  of  hymn- 
singing  the  study  of  Bishop  Dupanloup's 
great  work  *  is  of  the  utmost  value.  He 
speaks  of  two  very  important  matters  by 
which,  he  says,  "  we  achieve." 

1.  If  you  want  children  to  sing  well, 
you   must   sing  with   them.     Each   cate- 
chist  must  have  his  hymn  book  and  make 
use    of  it.     Children    who    are    standing 
inattentive,  with  their  mouths  close  shut, 
will    begin    to    sing    when    the    catechist 
turns  towards  them,  as  a  conductor  faces 
his  orchestra,  and  says,  "  Now  sing,  chil 
dren,  sing  "  ;  and,  singing  himself,  inspires 
them  to  sing  also. 

2.  The   number  and   the  first  line   of 
each  hymn  must  be  given  out  very  clearly, 
and  the  children  must  be  taught  to  begin 
at  once  with  no  hesitation. 

1  Dupanloup,  Uceuvre  par  excellence,  livre  ii, 
6me  entretien.  Translations  of  Mgr.  Dupanloup's 
Ministry  of  Catechizing  and  Method  of  5.  Sulpice  are 
published  by  Griffith,  Farran  &  Co. 


APPENDIX  TO  CHAPTER  IX 


ACTS  OF  FAITH,  HOPE  AND  LOVE. 

French  Melody  adapted. 


.- 

My  God,        I     be-lieve  in    Thee  and     all     Thy 


J   • 


F^M^I 

±±^jg  —  ?--=*  •  ?>  !  —  iH  — 

^r-rV-^ 

Church  doth     teach  ;       be 

-  cause  Thou  hast  said  it, 

1 

~TTg  j- 

^pJ  ,  J    J  - 

p^-J-j 

—  H^  4  L—  i  1  

—  i  1  ' 

<BjPt>'>~y^'     J    I      I-J    ^ 

'^i*  irX.  *  J*   T 

and  Thy  word  is 

true.             My  Go 

1  .                 1 

d,  I 

J   .           J   . 

J 

-g-.     - 

III 


r- 

hope   in     Thee for    grace       and    for   glo 


&=& 


<B 


168 


The  <uVlusic  of  the  Catechism       1 69 


ry,    be-cause      of  Thy  mer    -    cy,  Thy  pro-mis  es, 


I          I 
^ 


r         i 


I  \  *J    * 


and  Thy  power. 


r  r  r   r  r   «     i 

My  God,  because  Thou  art  so 

4-, 1 , 1 r— J- 


5B 


.good,  I  love  Thee  with  all  my       heart,     and  for  Thy 

— ^  -    — i — ^ — 


:at 


I"- — "I     I      I 


sake  I  love  my  neighbour  as my -self..... 


CHAPTER  X 
Occasional  Services 

I.  THE  OFFICES  FOR  PUBLIC  BAPTISM 


Sacrament  of  Baptism  forms, 
J-  strictly  speaking,  an  occasional  part 
of  the  Offices  of  Mattins  or  Evensong.1 
There  is  no  occasion,  therefore,  to  have 
any  special  music  for  its  celebration,  with 
the  exception  of  hymns. 

A  hymn  may  be  sung  while  the  priest 
and  choir  proceed  from  the  chancel  to  the 
font.  The  Amens  (with  the  exception  of 
those  after  the  Baptism  and  after  the 
reception  of  the  newly  baptized)  will  be 
said  or  monotoned  after  the  priest.  The 
choir  and  congregation  join  in  the  Pater 
noster.  On  the  return  to  the  chancel 

1  "  The  Godfathers  and  Godmothers,  and  the  people  with 
the  Children,  must  be  ready  at  the  Font,  either  immediately 
after  the  last  Lesson  at  (Morning  Tracer,  or  else  im 
mediately  after  the  last  Lesson  at  Evening  Prayer,  as  the 
Curate  by  his  discretion  shall  appoint"  —  Rubric  in  Prayer 
Book. 

170 


Occasional  Services  171 


another  hymn  may  be  sung,  or  the 
dimittis.  If  the  Canticle  is  preferred,  the 
service  in  choir  will  be  continued  with  the 
saying  of  the  Apostles'  Creed. 

II.  THE  ORDER  OF  CONFIRMATION 

This  short  Office  is  commonly  divided 
up,  by  episcopal  directions,  into  several 
portions,  with  the  addition  of  many  hymns, 
so  that  the  integrity  of  its  structure  is 
destroyed  and  its  meaning  obscured. 
During  the  Laying  on  of  Hands  it  might 
be  expedient  to  sing,  very  softly  and 
reverently,  a  hymn  or  hymns,  or  a  metrical 
Litany.  But  no  other  hymns  ought  to 
mar  the  simplicity  of  the  Service.  When 
the  bishop  has  entered  the  church  the 
Veni  Creator  may  be  sung  ;  and,  after  the 
Blessing,  another  short,  suitable  hymn. 
But  the  interpolation  of  other  hymns  is 
most  undesirable. 

III.  THE  SOLEMNIZATION  OF  MATRIMONY 

A  hymn  may  be  sung  while  the  bride 
proceeds  to  the  chancel  step  ;  and  the 
Psalm  Beati  omnes  (or  the  Deus  misereatur) 
while  the  married  couple  go  to  the  altar. 


172  Church  Music 

The  Holy  Communion  should  follow  the 
Marriage  Service,  so  that  other  hymns  will 
occur  in  their  proper  places  (see  p.  91). 
But  if  there  is  no  Celebration  of  the 
Eucharist  a  hymn  may  be  sung  while 
the  registers  are  being  signed. 


IV.  AT  THE  BURIAL  OF  THE  DEAD 

According  to  the  rubric  the  opening 
Sentences  may  be  said  or  sung.  If  the 
choir  sing  them  they  have  the  choice 
between  the  beautiful  music  of  Croft  and 
Purcell  and  the  plainsong  of  Merbecke.1 
If  there  is  no  choir  and  the  priest  is  able 
to  sing  them,  he  may  well  do  so  to 
Tone  VI,  thus  : — 


J\fr     1  —  -j  — 

\M7            ^J            C* 
•7 

am 
I    know 
We  brought 

the  Resurrection  .  . 
that  my  Redeemer  . 
nothing.  . 



.  yet 

.  up- 

shall  he    live  . 
on  the  earth  : 
no-thins  out    : 

^-^.—•^•—^ 


And me         shall     ne  -  ver  die. 

And not          an    -    o  -  ther  .   .   . 

The  Lord  ....  the        Name    of    the  Lord. 

1  See  the  easy  plainsong  arrangement  compiled  by 
Mr.  E.  G.  P.  Wyatt,  which  includes  Merbecke's 
Anthems  and  the  'Dies  irae.  (Mowbrays,  6d.} 


Occasional  Services  173 

A  hymn,  or  Psalm  130  (De  profundis), 
may  be  added  if  there  is  any  distance  to  be 
traversed  between  the  "  entrance  of  the 
churchyard  "  and  the  church  or  grave.  If 
there  is  no  Celebration  of  Holy  Com 
munion,  another  hymn  may  be  sung  after 
the  Lesson;  or,  preferably,  Psalm  114 
(In  exitu  Israel}^  according  to  ancient 
usage.  Care  should  be  taken  that  the 
hymns  at  the  Burial  Service  are  not  of 
the  usual  lugubrious  type  that  depresses 
while  it  neither  consoles,  teaches,  nor 
edifies.  "  We  would  not  have  you  ignor 
ant,  brethren,  concerning  them  that  fall 
asleep  ;  that  ye  mourn  not,  even  as  the 
rest,  which  have  no  hope"  (i  Thess. 
4-  13). 

V.  THE  COMMINATION 

In  this  penitential  Office  it  is  well  to 
sing  the  Miserere  to  a  very  simple  tone 
— the  Tonus  Regalis  is  commonly  used — 
and  the  Versicles  and  Responses  to  their 
ordinary  inflexions.  Anything  in  the 
nature  of  elaborateness  should  be  avoided. 
The  Confession,  Turn  Thou  us,  O  good 
Lord,  is  to  be  "  said "  by  the  people 
"after  the  Minister,"  and  not  sung. 


174  Church  Music 

NOTE    ON    THE    GOOD    FRIDAY   ANTHEM, 
COMMONLY  CALLED  THE  REPROACHES 

The  plainsong  melodies  to  the  Re 
proaches  are  beautiful,  but  somewhat 
elaborate.  It  has  been  suggested l  that 
they  "  might  be  monotoned  in  churches 
where  the  proper  plainsong  is  found  too 
difficult,  the  hymn  only  being  sung,  with 
its  chorus."  Palestrina's  music  is  not 
difficult,  but  there  seems  to  be  no  arrange 
ment  published  to  the  English  words. 
There  is  another  setting  in  Novello's 
Octavo  Anthems,  No.  1044,  by  W.  S. 
Vale.  But  it  partly  follows  the  Roman 
version  of  the  Anthem.  For  churches 
where  modern  music  is  in  vogue  Dr. 
Dykes's  setting  can  be  used,  and  another 
still  simpler  setting  will  be  found  in  the 
Appendix  to  this  chapter. 

1   The  Parson's  Handbook  6th  ed.,  p.  523,  n. 


APPENDIX  TO  CH/TPTER  X 


GOOD  FRIDAY!   THE  REPROACHES. 

Set  to  simple  music. 


\J 

nt  Voice,  i.  O,  my  peo-  pie,     What  have  I  done 

3.  Because  I  led  thee  through 
3.  What  more  could  I  have  done 


r  v 


-fan  —  r 

1  J_ 

—  !  —  J  —  d  —  f 

i.    un  -  to    thee,    or  wherein  have  I    wea 
3.  the    de  -  sert     for       - 
3.   un  -  to   thee     that  I                       have 

ried  thee? 
ty    years, 
not  done? 

tr      ,           T 

n  ' 

¥r 

A 

F 

A 

I 

^= 

VIS 

1.  Testify , 

2.  And  fed  thee 

/"I.  indeed,  did  plant  thee,  O  my  vineyard,  with  ex-1) 

3.  <  ceeding  fair  fruit,  and  thou  art  become  exceeding  V 

bitter  I 


* 


'75 


Church  Music 


joco  rail,    ff,        ttmpa.        ^^ 


l/i?  -,         g>  II  u    *    *  •  .  —  j-r   i 

1  1  1 

y  f  r     ii    '  u  u  '    _  —  «-^—  ^ 

I.    a-  gainst  me.            Be  -cause     I  brought  thee  forth 
2.  with  man-na,         And  brought  thee  in  -  to  a     land 
3.  un  -  to    Me:          for   vin-e-gar,  mingled  with  gall, 

from  the    land        of         E  -  gypt,  thou 

ex    -     ceed   -   ing          good,  thou 

thou    gav-est  Me  when  thirst-y,  and  hast 


•—  «  —  «>  — 

-f  !  — 

>«—  *  —  1  1    1 

i.    hast 

2.      hast 

3.  pierc'd  v, 

gfe£=J^ 

pre  -  pared 
pre  -  pared 
ith  a  spear 

j    J    .i  ;  *>    *)-[ 

z  Cross  for  thy  Sa  -  viour. 
a  Cross  for  thy  Sa  -  viour, 
the  side    of  thy  Sa  -  viour. 

[  r    .   i  —  r^   i    i  B 

1'    ji 

i 
t.         js. 

f  r  r 

-  i   I 

^    ^-Tl 

-•-  r    i  —  f    '  '•.     ^^H 

Occasional  Services  177 


After  each  verst  tht  2nd  Voice,  repeated  by  Chorus,  sings :— 


Z&51 

P 

Ho-ly    God, 

ho- 

ly  andmigh-ty, 

-&  r    r^ 

&  —  r 
\ 

^s^~\»- 

ho-lyandim-mor-tal,        have  mercy  up-on  us. 

4-     -\         -1  --  1 


foic*.  r  whereon  the"j 

Behold  the  Cross  display'd,  \    Saviour  of  ^did  hang : 
^   the  world   J 


CHORUS. 


O  come  ye,  let  us  worship :  We  venerate  Thy  Cross,  O  Lord, 


i78 


Church  Music 


and  praise  and  glori-fy         Thy  ho-ly  Re-sur-rec-tion  : 

-&-r*  J    J      J  1  1  -,  1  1  P=!  , 

^QE 

~*     g     g  

*~*~~5=  

jiJJJj'j1 

1     r  i  — 
i   , 

•••  M. 

i  x_| 

pL-r  * 

r       i 

S 


for  by  vir-tue  of  the  Cross  Joy  hath  come  to  the  whole  world. 


nr-rn*— r 


7*/4#  Chorus  repeats  the  Antiphon,  "  We  venerate,"  afte* 
each  verse  of  Psalm  6^  (without  Gloria}. 


v.  6. 


."    :     i 

i                   , 

1        -.        r     ^ 

i.    God    be 

merciful  unto  us,     and  bless  us 

2.   That  Thy 
3.    Let    the 

way  may  be  known   up  -  on   earth 
people  praise         Thee,  O    God 

4.     O      let    the  nations  rejoice  and 

be    glad 

5.    Let    the 

people  praise         Thee,  O    God 

6.  Then  sliall 

the  earth  bring      forth 

her    in  -  crease 

7- 

/F6  '  ^ 

God                 shall  bless  us            , 

g  1  1  F^r 

FP 

*J 

i   '  i 

1 

Occasional  Services 


179 


and  show  us  the  light  of  His  coun 
tenance,  and  be  merciful 

Thy  saving  health  among    .    . 
yea,  let  all  the  peo    -     -     -     - 

for  Thou  shalt  judge  the  folk  righ 
teously,  and  govern  the  nations 

let  all  the  peo  -    -    -     • 

and  God,   even  our  own  God, 
shall  give  us 

and  all  the  ends  of  the  world  . 


•    un  -  to     us. 

Antiphon. 
.    all    na-tions. 

Antiphon 
pie  praise  Thee. 

Antiphon. 
\    up  -  on  earth. 

Antiphon. 
pie  praise  Thee, 
-j  Antiphon. 

His  bless -ing. 

Antiphon. 
.  shall  fear  Him. 

Anliphon. 


lg= 

!      I         f 

—  «  

n  ' 

Here,  sung  by  the  ist  Voice,  follow  the  Hymns,  Pange 
lingua  gloriosi  protlium  eertaminis  ;  and  Lustra  sex  qui 
jam  p-racta  (E. H.,  95  and  96,  Part  I.),  opening  with  the 
following  verse  (which  is  repeated  after  each  verse  as 
Chorus),  and  ending  with  the  Doxology  and  Chorus  and 
Amen. 


Faith -ful  Cross  1  a  -  bove  all 


ther, 


One  and  on-ly      no  -  ble  Tree  !  None  in  fo-liage, 


0   b       !•"""  1       1                      1  —               /*^ 

rrr]=ji^ 

'        1 

ts  .                .  a      «=»   J 
g.b     P3  ga  p.    ^ 

La^g—ar^ 

-P—  r  —  :S  — 

-!  — 

180  Church  Music 


none    in       bios  -  som,     None      in        fruit       thy 


~> 


peer  may  be ;  Sweetest  wood  and  sweetest    i   -   ron ! 


i       1      T 
I  1        1 

l^rJ     g     gjj-gi    gj   ^^fcfpj 
1                                      i 

Sweet-est  Weight  is     hung    on  thee.  [A  -  men ] 


Printed  in  England  by 
A.  R.  Mowbray  &  Co.  Ltd.,  London  and  Oxford 


i  >vi