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UNITED PRAISE.
LONDON :
J. CURWEN AND SONS, MUSIC PRINTERS,
M.AISTOW, E.
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A PllACTICAL HAKDI300K
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F. G. EDWARDS,
Organist and Choirmaster of St. John's Wood Presbyterian Church, London.
Formerly Organist and Choirmaster of Surrey Chapel, Blackfriars, and
(its perpetuation) Christ Church, Westminster Hoad, London.
Associate of the Philharmonic Society.
FACULTY OF MUSIC
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UNIVERSITY OF TORONTO
/- f- 63
licmDon :
J. CUEWEN & SONS, 8 & 9 WAEW1CK LANE, E.G.
Price Three Shillings and Sixpence.
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" Quantum flevi in hymnis et canticis tuis, suave sonantis ecclesiae
tuae vocibus commotus acriter ! Voces illae influebant auribus meis,
et eliquabatur veritas tua in cor meura, et exaestuabat inde adfectus
pietatis ; et currebant lacrymae, et bene mihi erat cum eis."
[ " How did I weep, in thy Hymns aad Canticles, touched to the
quick by the voices of Thy sweet-attuned Church ! The voices flowed
into mine ears, and the Truth distilled into my heart, whence the
affections of my devotion overflowed, and tears ran down, and happy
was I therein." ]
ST. AUGUSTINE, 354-430.
" Sondern ich wollt alle Ktinste, sonderlich die Musica, gern sehen
in Dienst des der sie geben und geschaffen hat."
["/ would gladly see all the arts, especially Music, serving Him
who has given them and made them what they be." ]
MARTIN LUTHEK, 1483-1546.
" Music is a sacred, a divine, a God-like thing, and was given to
man by Christ, to lift up our souls to God, and to make us feel
something of the glory and beauty of God, and of all that God has
made."
CHARLES KINGSLEY, 1819-1875.
. Y !! ; >
PREFACE.
THIS is a practical age. Mere theorising in these
latter years of the nineteenth century availeth little.
Therefore, this book aims at being practical rather
than theoretical.
In order to increase its practicability, to extend
its usefulness, and, at the same time, to give it
distinctive value, it was thought desirable that
instead of stating only the views of one individual,
it should record the opinions and experiences of
several workers in the subject of which it treats.
To this end a schedule of about forty questions
(given on p. ix) was addressed to the organists and
choirmasters of representative churches in the follow-
ing denominations : Baptist, Congregational, Pres-
byterian, Unitarian, United Methodist Free Church,
and Wesleyan Methodist, in England and Wales ;
and the Church of Scotland, Free Church, and
United Presbyterian Church, in Scotland.
Answers were received from 226 churches. These
replies have been summarised and largely quoted
from. In making the selection I have chosen those
that appear to me likely to be most useful, or that
A2
VI PREFACE.
possess the charm of novelty. I have endeavoured to
be strictly impartial in the choice indeed, often
quoting an opinion which is directly opposite to my
own. I regret that the exigencies of space and
tautology have prevented me from making a more
extended use of the communications of my
correspondents. Many of them write with a joyous
enthusiasm worthy of all emulation.
My best thanks are gratefully tendered to these my
brother and sister organists, choirmasters, and choir-
mistresses for the trouble and pains they have taken
in answering the long list of queries, and which, in
many instances, have been answered so wisely and
so well.
To the quoted opinions which constitute a very
valuable part of the book I have added original
matter in which I have endeavoured to incorporate
my fifteen years' practical experience as an organist
and choirmaster of Nonconformist churches, and also
the results of a careful study of, and wide reading in
the subject. I Tiave not hesitated to point out existing
faults, and to show, what, in my opinion, are their most
effectual remedies ; also to suggest the best mode
of procedure for promoting efficiency in all that
appertains to the Service of Song.
I am a thorough believer in the value of culture,
and I hold that its proper introduction into the
musical part of the service will not detract from the
devotional spirit, any more than the high intellectual
PREFACE. Vll
status which almost all the churches consider neces-
sary for the ministerial office, will destroy earnest
piety or quench " living fire " in the " company of
the preachers." The study of music in this country
as an art instead of a schoolgirl's so-called "accom-
plishment" is a feature of the times. Therefore, it
seems to me that it is highly inexpedient to divest
our church music of its artistic garb and allow it to
enter into the gates of (rod's house clad in the
" filthy rags " of slovenliness and inefficiency. " I
would gladly see all the arts, especially music,
serving Him who has given them and made them
what they be," said Martin Luther more than three
hundred years ago. This utterance of the great
Reformer is a complete answer to those who, even
in this enlightened age, insinuate that the infusion of
art into worship must of necessity make it heartless.
I have to acknowledge the kind help of my friend
Mr. J. Spencer Curwen, to whose suggestion the plan
of issuing a paper of questions is due, and who has
read the MS. and offered some valuable hints.
My thanks are also tendered to Dr. J. F. Bridge,
Mr. Hugh McNabb, Mr. W. GK McNaught, Mr.
Fountain Meen, Dr. W. H. Monk, Dr. A. L. Peace,
Mr. Ebenezer Prout, Dr. Stainer, and Mr. "W. C.
Stockley for their respective opinions on "the
position of the organ and choir " ; to Mr. H.
Sawyer, Mr. Edwin Speight, and Mr. H. A.
Walters for their valuable letters on the subject of
" Associations of Choirs " ; to Messrs. Forster and
Vlll PREFACE.
Andrews, organ builders, of Hull, for their communi-
cation relating to the organ position, and especially
to Mr. T. C. Lewis, the well-known organ builder of
Brixton, who has kindly had the plans of organ and
choir positions drawn specially for this work, and
who has also given me some useful information upon
organ matters ; and to the Rev. W. Pulling for
the interesting statistics relating to the sale of
" Hymns Ancient and Modern."
In conclusion, I make no pretensions to literary
excellence in the following pages. The constant
claims of a busy practice have left me little leisure for
any nights in that direction, even if I had the ability.
But I have made an earnest attempt to deal practi-
cally with a subject which has been too long neglected,
but which, in this musically-educated age, is rapidly
becoming an important element in our devotional
services.
I now send forth this little book conscious of its
imperfections and shortcomings, but with the fervent
hope that it may supply a need, that those who
peruse its pages may find some hint that will prove
of value to them in improving and beautifying the
music of the sanctuary, and that thereby it may tend
to promote the PRAISE AND GTLORY OF Gron.
F. GK E.
Can-field Gardens,
London, N. W.
Mai/, 1887.
QUESTIONS.
1. What is the size of your choir, and the number of
voices in each part ?
2. Does it contain boys or ladies, or both ?
3. Do you keep a register of attendance at services and
practices ?
4. Is a test of music reading imposed on members ?
5. Are there any other points of choir organization which
you find of value ?
6. Are any members of the choir paid ?
7. In what part of the church are the choir and organ
placed ?
8. Which do you consider the best place for the choir and
the organ ?
9. Is the office of choirmaster combined with that of
organist ?
10. Does the choir hold a weekly practice ?
11. In rehearsing the choir do you, as a rule, have
instrumental accompaniment ; if so, what instrument do
you use ?
12. Do the choir practise secular music, and sacred music
other than the service music ?
13. Have you a Choral Society or Psalmody Association in
connection with your church ; if so, do its meetings interfere
with, or supersede, the ordinary choir practices ?
14. Do you succeed in infusing much expression into the
singing of hymns ?
15. Is your prose chanting fairly well done ?
16. Do you sing the canticles, Te Deum, &c., to services
or chants ; if so. please name a few of the settings 'i
17. Do you use anthems; if so, are they sung by the
choir or by the congregation and choir ?
18. Do you use choral responses or suffrages ?
19. Are organ recitals or concerts ever given in the
church ? If so, is the music sacred only or is secular music
of a good class admitted ?
20. Is admission free at these recitals or concerts ?
21. Will you kindly enclose programmes of recitals and
concerts recently given in the church ?
22. Have you had any specially musical services, at which
singing, reading, and preaching are intermingled as parts of
a whole ?
23. Have you ever combined with other church choirs in
your neighbourhood, or town, for a praise demonstation
X QUESTIONS.
after the manner of the Diocesan Choral Festivals in the
Established Church ? Do you think such services would be
productive of good in promoting congregational psalmody,
and in awakening interest in it ?
24. Have you had orchestral accompaniments at any of
your services or concerts in the church ?
25. Have solos ever been sung at the ordinary Sunday
services ?
26. Is a children's hymn ever introduced in the ordinary
services ?
27. Have you tried antiphonal singing of the hymns, men
alternating verse by verse with women, children with adults,
choir with congregation, &c. ?
28. Is the singing of your congregation satisfactory ? If
not, does it lack quantity or quality ?
29. Eoughly speaking, what proportion of the congrega-
tion use tune-books ?
30. Have you a congregational practice ?
31. Are you troubled with flattening and dragging? If
so, have you formed any opinion as to their causes ?
32. Have you a hymn and tune-book in one ?
33. Do you invariably keep the hymn to the same
tune ?
34. Do you think the fixed-tune system (as in ' ' Hymns
Ancient and Modern " ) desirable ; or do you prefer to have a
separate tune-book ?
35. Are the hymns and tunes, fixed for each month,
printed and circulated among the congregation ? Do you
think such a plan desirable ?
36. Have you tried dispersing part of the choir among
the congregation, or having several choirs take turns, month
by month, to sit in' the choir seats ?
37. Is the minister interested in the music of the
service ?
38. What style of hymn-tunes do you find best for
congregational purposes P Do you ever use the Moody and
Sankey pieces ?
Signed
Organist or Choirmaster of. Church.
Address.
* # * Answers to the above questions will be treated as confidential,
and the name of the correspondent will not be placed against hia
quoted opinions.
CONTENTS.
CHAPTER I. PAGES.
The Minister 1-9
CHAPTER II.
The Organist. The Choirmaster 10-19
CHAPTER III.
Choir Organisation and Management 20-39
CHAPTER IV.
The Choir Practice 40-52
CHAPTER V.
Congregational Hymn Singing 53-86
CHAPTER VI.
Chanting 87-108
CHAPTER VII.
Anthems, Solos, Services (Te Deum, &c.), and Responses 109-130
CHAPTER VIII.
Organ Recitals, Concerts, Special Musical Services, Orchestral
Accompaniments, and Choral Festivals ... 131-160
CHAPTER IX.
The Organ, and its position 161-187
CHAPTER X.
Organ Voluntaries , 188-194
CHAPTER XI.
Organ Accompaniments ... 195-233
CHAPTER I.
THE MINISTEK.
THE Minister of a Church, being the recognised leader of
the congregation, holds a very important and responsible
position. His interest is, or should be, manifested in
everything that can tend to edify those over whom he
ministers. Therefore, it is only right that he should have
precedence in the consideration of the all-important subject
of Worship Music, and the rendering thereof.
The question "Is the Minister interested in the music
of the service ? " received 182 definite answers. "No," 13 ;
"Fairly," or "Not very much," 30; "Yes," 139 of
these 37 are qualified with "very much." Four ministers
are their own choirmasters.
Subjoined are some of the replies.
" Yes ; and I wish ministers would more generally realize
that the praise of God is as much a part of the service as the
preaching."
' ' An enthusiast, and everything that could be desired.
Always encouraging, but never interfering or dictating. Let
me name him with reverence and honour." [Here follows
the name].
"Yes, and so is his wife."
" Not particularly so. As a rule, the ministers confess that
a good service of song helps them much."
COMMON PRAISE.
" He frequently attends the choir practice, which is a
help."
' ' Very much interested. He is very particular to have the
hymns, &c., done well."
" Very much ; but he wisely leaves everything, except the
selection of the hymns, to the organist."
" Yes. He very often comes to our rehearsals, and the
choir appreciate it, as it shows he takes an interest in our
part of the service."
" Yes ; but not to its benefit." (!)
" Yes ; and would the officers of the church but support us
we could raise a good service."
" Yes ; and so are the deacons."
" Our minister says he is very much affected by the way
the hymns are sung. If well, he is helped ; if heavily, or
dragged, or half-hearted, he is depressed."
" Extremely so, though without knowledge of music. He
considers it a great joy and assistance."
" Yes. He has often told the choir, and several times the
congregation, how much ' the beautiful singing of the choir '
helps him. What more can we wish for ? It is our sweetest
reward."
" Never knew of such a phenomenon [as a minister
interested in the music of the service] in twenty-five years'
experience."
" Very much. Our minister, though unable to sing, does
his utmost to cultivate good music, and attends most of our
practices."
" Yes. He does all he can to help us."
' ' Yes. I am glad to say he is. Although no musician he
is glad to co-operate in any reasonable way."
" All our ministers at have been interested in the
musical part of the service. I think this most desirable and
beneficial for choir-, organist, and people."
' ' I aim at making the music a powerful aid in deepening
religious impressions and emotion." [This from a minister].
" Very much; which adds greatly to the efficiency and
good feeling which belongs to our choir."
" Our minister takes great interest in the music generally,
and is always on the alert for those in the congregation who
would be able to assist in the choir."
" Very much so. And unless the ministers generally take
an interest in the praise, there is little hope of improvement,
especially in Presbyterian churches."
" Yes. He is President of our Musical Association, and
appears always at the opening and close of the season, and
drops in occasionally to the practisings."
THE MINISTER.
" I choose both words and tunes. The minister gives me
the subjects of his sermons for about a month."
" Our ministers, as a rule, are musical, it being part of
their education." (!)
" Ministers, by good judgment allied with musical taste,
can do more than others in keeping up the efficiency and
usefulness of a choir. Personally I have always had any
desired help from ministers."
' ' Very much so. His interest in our work and sympathy
with our efforts have been in no small degree the means of
helping on the great improvement which has taken place in
our psalmody during the last three years. Being himself a
thorough musician he has always known how to give us the
most effective help, and how to meet our difficulties."
"He takes great interest and delight in it. We have,
however, a special system, continued, at his desire, from the
time when we had no settled minister, and adopted then at
the request of the managers; viz., the choirmaster chooses
all the hymns as well as tunes for all services, with the
exception of the hymn after the sermon, which the minister
selects. With perfect sympathy between minister and choir-
master this is admitted to work admirably."
"When the membership [of the choir] decreases, or the
attendance is irregular, he gives the members and adherents
of the congregation a word from the pulpit, telling them that
it is their duty to support the choir. ... I think in a few
years ministers will take more interest, because last year at
^Edinburgh University a very wise plan was adopted, that of
giving Theological students instruction in singing ; and it is
my experience that when ministers are singers themselves
they give more singable hymns, and take more interest in
the choir."
"Is the Minister interested in the music of the service?"
This question might appear to some to be a superfluous
one, in that it is capable of receiving only one answer, and
that, " Of course he must be interested in the musical part
of the service." Interest, however, may be of two kinds,
active and passive. To show a real interest in any cause
is to give evidence of it in some practical way. It is
almost impossible to over-estimate the results that may
follow when the minister shows a lively personal enthusiasm
in the service music. It is to the welfare of both church
and minister that the service of praise should be done
decently and in order. To show how the minister's
COMMON PRAISE.
practical interest may best be exercised, I shall add to the
above quotations a few suggestions which may prove
helpful.
First, in regard to the Congregation. The minister has
exceptional opportunities of bringing before his people
their duties in connection with the service of praise, both
from the pulpit and in pastoral visitation. Considering
that praise and thanksgiving are as important as prayer
and supplication, it is strange that the number of sermons
on prayer, its efficacy and necessity, should far outnumber
those on praise. There still remains a tendency to look
upon the singing as a mere preliminary and adjunct to the
sermon. Ministers are sometimes apt to forget that the
singing, at least in Dissenting Churches, is almost the only
part of the service in which the congregation audibly join.
They are led in prayer, read to, and preached to. To most
of the worshippers, as it ought to be to all, the singing is
a delightful uplifting exercise, for it embodies the essence
of true worship ; and the better it is done not by a few,
but by all the more worshipful will the worshippers
become. The minister, then, should not hesitate, even
with the fear of displeasing some unfortunate office-bearer
who may have no music in his soul, to remind his con-
gregation of their responsibilities in this matter, and to
rouse them to greater zeal in the service of praise. If
the same amount of energy could be infused into an appeal
to get better singing as into a discourse on the duties of
almsgiving, especially when the funds are low, so much
the better for the singing. The fact is, people are often
indifferent and apathetic, and need stirring up in this as
in other things. The minister need not be what is called
" musical" to do this, any more than he need be a clever
financier to show that when the coffers are nearly empty
they need replenishing. The minister who fearlessly
speaks out on the importance of his congregation's doing
all they can to sing with the heart and with the
understanding, will be doing a very good thing, and he
THE MINISTER.
and they will reap a rich, reward in an increased congre-
gation, and a spirit of more fervent devotion and more
worshipful earnestness pervading it.
The minister should show practical interest in the work
of the Choir. Some ministers have so many claims upon
their time that they are unahle to pay even an occasional
visit of a few minutes to the choir practice. This is a
mistake. The choir, as I shall endeavour to show
elsewhere, ought to be impressed with the importance of
their position as leaders of the congregational song. The
presence of the minister for a short time at the choir
practice at least three or four times a year would not
only be appreciated by the choir and their leader, but it
would encourage them in their work ; and while helping
them to realize their responsibilities would show them
that the minister's interest in them is an active and not
a passive one.
The minister should endeavour to know the members of
his choir. Nothing is more helpful in this way than an
annual social gathering of minister and choir at which the
presence of some of the office-bearers might be desirable.
If such a meeting can take place at the minister's house,
where the choir could feel they were welcomed as friends
and fellow helpers, so much the better. It is not necessary
to provide a grand entertainment or to make a display. A
friendly chat over a cup of tea animates a good feeling,
and a genial hospitality allied with a kind interest in all
that concerns the choir will be productive of much benefit.
If it be necessary to make any remarks on such an
occasion, it will be well to avoid a formal address, as
however carefully it may be worded, and however good
the motive, it is liable to be construed into a lecture,
and this is objectionable at a private social gathering.
One of the most successfully organised choirs that I know
in London have very pleasant recollections of their annual
visits to the house of their minister. The evenings were
COMMON PRAISE.
spent in music, readings, conversation, &c., and these
delightful re-unions always terminated with the singing
of a hymn and prayer. Such practical interest stimulated
an esprit de corps amongst the members of the choir, and
they always felt they had the warm sympathy and active
interest of their minister. The example of this London
minister might well be followed by his ministerial
brethren.
The selection of hymns, &c., is a duty which devolves
upon the minister. No one will deny its importance. One
of my correspondents the son of a well-known minister
has well said, " I wish ministers would more generally
realize that the praise of God is as much a part of the
service as the preaching." Here lies the pith of the
whole matter. Some ministers, if they do not neglect
this part of the service, seem to show very little earnest-
ness or interest in it. Hymns are chosen without much
regard to their singableness from a musical point of view ;
or they may run too much in the same groove, all Long
Metres, or all Common Metres, for one service, and so on.
There should be variety, as well as appropriateness, in the
selection. Generally speaking there should be at least one
bright taking hymn in each service, one that has some
amount of " go " in it. It should be borne in mind that
the fatigue consequent on standing to sing a long hymn,
especially to a slow' tune, is apt to nullify all the mental
and spiritual good which ought to be derived from it. In
such a case, rather than omit any verses, the hymn might
be divided with a few verses of scripture, or a prayer,
bearing upon the subject of the hymn. Great care is
needed in the choice of hymns in fact, as much thought
should be expended on this as on the selection of scripture
lessons ; and yet how frequently it is put, as it were, into
a corner. I have heard of a minister who announced the
hymn "Brightest and best of the sons of the morning,"
adding "We will sing the first and last verses only,"
consequently the congregation had to sing the same
THE MINISTER.
words twice over, as the initial and final verses are identical,
which showed how little the hymn had been studied, or
even read through beforehand. Of course this is aa
extreme case, but it shows the importance of careful
preparation for the praise part of the service. How much
may be gained and alas ! how much may be lost by
nurturing or neglecting it. as the case may be.
The minister should always supply his music-leader*
with a list of the hymns, &c., for the Sunday services in
time for the preceding choir practice. This is only
fair. If the subject of the sermon has not been decided
upon, then all the hymns except the hymn after the sermon
should be given. When hymns have to be searched for a
few minutes before the service commences, and when
there is no time to select appropriate tunes, how can it
be expected that the service of song will be satisfactory ?
Some of my correspondents have just cause to complain
bitterly of this wretched arrangement. The whole service
should be all arranged and prepared beforehand, and not
left to the flurry and distractions of the last minute.
Nothing is more likely to unnerve or dishearten an organist
than this procrastination. A minister who really values
the help of his music-leader and choir will not do this.
However, it is done ; but the remedy is a very simple one,
and should be applied without delay.
The relations between the minister and his music-leader
should be one of mutual fellowship and confidence. Each
should regard the other as a friend and fellow-worker in
the same good cause. The minister leads the prayers,
the music-leader leads the praises and those prayers that
are sung. If the minister has occasion to criticise the
music he should be very careful to put his criticisms in
the form of friendly suggestions. Criticism, offered with
the best intention, is likely to be construed into fault-
* Throughout this chapter, the term music-leader is used in reference to the
responsible person in the music department, whether he be organist or choir-
master, or the holder of the combined office.
COMMON PRAISE.
finding, and the results may be disastrous in many ways.
Enthusiastic young organists, and possibly some older
ones, will resent it as interference, and will kick against
it ; and if they be too thin-skinned it is very possible their
enthusiasm will be chilled, and their work become half-
hearted and listless to a painful degree. Organists and
choirmasters are likely to be sadly discouraged by the
unguarded censorship of ministers, and more often of
musically-ignorant office-bearers. Yet it must not be
supposed that all music-leaders are faultless, as, after all,
they are only human beings. But they have feelings
often very sensitive ones and any suggestions which the
minister feels it his duty to make, should be offered
tenderly and in a friendly spirit, so that the music-leader
may feel he is receiving the counsel of one who is anxious
to help and encourage him in his important work. That
precious quality, tact, is an essential element in this
connection.
Finally : The minister who is really interested in the
music of the service, and is desirous of making it a real
power, has doubtless adopted the above suggestions in
addition to others, and with excellent results. I earnestly
ask those who have not done so to give some, or all, of
them a fair trial, and I feel sure they will not regret
having made the experiment.
To DEACONS, ELDERS, AND OFFICE-BEAEEES.
Do not discourage your music-leader and choir, or in any
way depreciate their services. Extend to them your warmest
sympathy, make them conscious of your deep interest in
their work, and help them as much as you possibly can.
"When necessary cheerfully grant them a small sum of
money for the purchase of music to make their practices
interesting. The music question occupies no mean
position in Nonconformist churches to-day. It is rapidly
developing, and is being recognised as a great power for
good. In this age of progress we cannot go back to the
THE MINISTER.
standard of thirty years ago. Unless your minister is a
Spurgeon or a Dale, you may find it necessary to have
good and attractive singing. If the music, vocal and
instrumental, is carefully and reverently done, it will
help to fill your church and thus gladden your minister's
heart as well as your own.
*" Kindly remember that your music-leader is only a human
being, and therefore that he cannot please everyone at
the same time. Should you at any time fail to be satisfied
with musical fatness, endeavour to console yourself with
the thought that Mr. So-and-so in yonder pew is being
" lifted up." Do not give vent to your feelings in the
vestry after the service by discharging anathemas upon
the doings of your poor, unfortunate organist. Be
charitable, and credit him with the best though from
your point of view, mistaken intentions. Rather with-
hold your critical functions and wait patiently ; fortified
by the hope that before long, you even by the aid of
those human hands and voices will be transported beyond
" Earth's green fields and ocean's wave-beat shores," and,
through the divine art of music, will enjoy a sweet fore-
taste " of that new life when sin shall be no more."
10
CHAPTER II.
THE OEGANIST. THE CHOIEMASTEE.
THE organist of any church should be a properly qualified
person. In fact, he should be a musician first and an
organ-player afterwards. The office of organist is one far
too exalted to be trifled with. Every aspirant to
it, and every holder of it, should do all in his power to
make himself more efficient for its important duties and
responsibilities.
The most essential qualification for this office, in
churches where the singing is mostly congregational, is
the knowledge of the art of accompaniment. A man who
can play Bach's fugues faultlessly, but who takes little or
no interest in "grinding out" as he would call it a
simple hymn-tune is out of place as organist of a
congregational-singing church. Organ teachers too often
neglect the tuition of accompaniments to their pupils.
This by no means easy branch of organ playing, is
supposed to be picked up and obtained by that hard task-
master-experience. If some of the time devoted to the
study of elaborate organ pieces were to be judiciously
bestowed on accompaniments to congregational and choir
THE ORGANIST. THE CHOIRMASTER. 11
singing, it would be a good thing for all young
organists.
The next essential qualification is a knowledge of
harmony. An organist is a poor tool who is not equipped
with this invaluable acquirement. He cannot possibly
"fill in" his chords properly unless he has gone through
a regular course of theory study. The fearful thickness
of some bass chords, especially when the "doubles" are
drawn, which sometimes grate on sensitive ears, can only
be attributable to sheer ignorance of the nature and
construction of chords. In all organist competitions the
knowledge of harmony should be a sine qua non. I know
of a case in which a minister was very anxious to get
a friend into the vacant organistship of his church. The
church committee engaged one of our best-known organists
to advise them in their choice. One very proper question
he put to the minister's friend was, " Have you a know-
ledge of harmony ? " The negative reply was duly
reported to the committee, when one of them said,
" Perhaps he could learn harmony." (!) However, the
minister's influence '|was strong enough to secure the
appointment of his harmonyless friend. Here was an im-
portant church with an unqualified organist, and only
one result couhi.be expected from such proceedings.
This leads to the consideration of the question, How
are organists appointed?
In some instances a member of the congregation has a
friend, or relative, who, if elected, would fulfil the duties
with conspicuous ability just the man for the post.
Should the friend not get the appointment, then offence
is probably taken because so desirable a candidate was
passed over for some one so very inferior. The friends of
the rejected one may either leave the church, or, for a time
at least, set to work to make it unpleasant for the new comer.
Another way is to advertise in the musical, sometimes
the daily, papers. The result, in either case, will be a
12 COMMON PRAISE.
deluge of letters from " all sorts and conditions " of
organists. No wonder that the deacons or committee are
bewildered. Happy are they if amongst so many
treasures they secure a gem of the first water.
Sometimes a professional organist of repute is called in
to assist and advise the committee of selection in their
choice. This may, or may not, help them to secure the
right man. If the merits of solo organ-playing are to
decide the competition the results may be disastrous to the
development of the congregational song ; for ability in
accompanying and the knowledge of harmony apart
from the indispensable qualification of choir-training when
the office of organist and choirmaster is combined are of
far greater importance than the masterly rendering of a
voluntary. A case in illustration has recently come under
my notice in connection with the vacant organistship of a
congregational church. The judge, an eminent cathedral
organist one who cannot be supposed to have much
sympathy with congregational singing recommended the
"best player" of the many who competed; and, the
result of his choice, I am told, has not been altogether
satisfactory. The question of interest in the service
music and proficiency in accompaniments was of secondary
importance, if considered at all, and the congregation
have not obtained all they hoped for and desired.
Without altogether condemning both of these methods,
it has often occurred to me why should not the organist
be selected on the ministerial plan. In the case of a
vacancy, why not invite a known organist of some other
church to play for a Sunday or two ; a small representative
committee, of the congregation having previously heard
him at his own church. The congregation might then
have an opportunity of judging his capabilities at their
church, and the decision could be taken accordingly. No
church would think of actually advertising for a minister.
The usual plan is to endeavour to find out what he has
THE ORGANIST. THE CHOIRMASTER. 13
been doing in his former charges, and then invite him to-
preach. But it would not be surprising to find amongst
the newspaper advertisements for cooks and parlour-maids
" organist wanted." In any case it is most desirable
after making sure that the qualifications of harmony and
general musicianship are present that the candidate
should play the services for a Sunday or two. In all
probability the true feelings and devotion of the man will
manifest themselves in his accompaniments, and the
congregation will quickly discern if he has real sympathy
and interest in leading their praises.
The ofiice of organist is such an important one, exerting
as it does such a strong influence upon the devotions of
the congregation, that it should be filled up with due
deliberation, and with the greatest possible care.
The question of salary is a somewhat difficult one to
advise upon. There need be no apology for defending the
payment of organists and choirmasters. So long as the
minister is paid for his services there is no reason why the
organist should not receive remuneration. A clever
organist, like a clever preacher, will naturally expect and
deserve a good salary. Generally speaking, and looking
at the question from a business point of view, it is best in
the long run to get an able minister, and remunerate him
according to his deserts ; likewise with the organist.
I think a fair salary for the organist and choirmaster
would be one tenth of the minister's stipend. When
the offices are held by separate persons, some arrangement
must be made for the division of the amount suggested.
The question as to who should have control over the
use of the organ is one that sometimes arises. The organ
legally belongs to the trustees or owners of the church or
chapel, and as it is their property, they have a perfect
right to allow anyone to use it any time. But courtesy
usually gives place to law in this connection. The
14 COMMON PRAISE.
customary etiquette is that the organist is the custodian
of the organ, and that while he holds office the instrument
is nominally his. Therefore, if the office bearers are
asked permission for the use of the organ for practice or
special purpose, they should refer such application to the
organist, and his decision, as the responsible custodian of
the organ, should be respected and upheld. When a
minister, other than the regular one, desires to preach,
the consent of the ordinary occupant of the pulpit will
naturally be first obtained. The organ and the pulpit
"bear equal relations in this matter. It is generally
accepted that the organist has the right to use the organ
for the tuition and practice of his pupils at reasonable
hours. Such is the custom, but it is well that some
definite understanding should be arrived at between the
office-bearers and organist.
Finally, the service of praise conducted carefully and with
devotional feeling will attract people to church, and help
to fill empty pews, should there be any unoccupied. To
quote a ministerial friend, " Good preaching and good
music will fill the church." Musical culture is very
different now from what it was a generation ago. The
musical faculties of the people are much more developed,
their musical knowledge is wider, consequently their
musical criticism is often severe. It stands to reason that
when they go to church they like to listen to and join in
music that is carefully and artistically done. Music is an
art. It is in its noblest and purest sphere when used in
the praise of Him who is " the Giver of every good and
perfect gift." In the Giver's own house, having regard
to the capabilities of the worshippers, it should be the
best, the sincerest, the most beautiful we can offer.
To sum up. Every would-be organist, in order to
become thoroughly efficient, should undergo a course of
training to qualify him for his office. Organ playing,
the art of accompaniment, and a knowledge of harmony
THE ORGANIST. THE CHOIRMASTER. 15
are the three cardinal requisites. To these may be added
orchestration, study of the works of the great masters,
wide and varied musical reading, and, indeed, everything
that will help him to become a cultured and thorough
musician.
THE CHOIRMASTER.
The choirmaster is, of course, chiefly concerned in
promoting efficiency in the vocal music. The training of
the choir naturally falls to his duty. He will conduct the
choir practice, at which the organist when the offices of
organist and choirmaster are separate should at all times
be present to accompany when necessary.
When the offices of organist and choirmaster are held
"by separate persons, the choirmaster should have the
full control of the musical service (except the organ
voluntaries) and be commander-in-chief of the musical
forces. The choirmaster's position is similar to that of
the conductor of an orchestra and chorus the organ
representing the band, and the choir the chorus. In all
musical performances in which numbers take part, there
must be one head upon whom the entire responsibility
should rest, and whose ruling must be decisive and final.
The choirmaster should possess a knowledge of the
different vocal registers and their proper uses. He should
have a correct ear, and be able to pattern the effects he
wishes to be realised. It is not absolutely necessary that
he should have a good voice. But he should have the
aptitude to teach others to sing. He will need a good
stock of patience and tact to become successful. The
more painstaking and exact he is, the more the choir will
appreciate and follow him. The combination of the
suaviter in modo with thefortiter in re is most desirable in
a good choirmaster.
The choirmaster should not lead the choir by singing in
advance of them at the services. If possible, it will be
well for him to occasionally occupy a seat amongst the
16 COMMON PRAISE.
congregation, so that he may have an opportunity of
hearing the choir at a distance, and of judging of the effect
in the body of the church.
It is absolutely necessary that there should be perfect
unanimity of action between choirmaster and organist.
The relations between the two (when the offices
are separated) are sometimes delicate. Any difference of
opinion should be adjusted privately, and not in the
presence of the choir. The slightest disunity or
antagonism may be productive of much harm to the choir
and to the music of the church. There should be perfect
unison in their respective actions, and yet concordant
harmony in their separate relations to each other.
THE COMBINED OFFICE OF ORGANIST AND CHOIRMASTER.
To the question " Is the office of choirmaster combined with
that of organist?" 78 reply "No;" 119 "Yes;" 23
reply "No organ;" of these 19 are in Scotland.
Here are some of the replies :
" Yes : and should never be severed. If an organist is
not qualified to act as choirmaster and train the choir, then
the sooner he vacates his post the better. No organist of
ability would be dictated to by a choirmaster. He would
simply be a machine to play, when, how, and what he was
told by the choirmaster."
" No ; and I am, strongly of opinion that where you can
have organist and choirmaster to work agreeably the offices
are much better separate." [Organist].
"No; but we work in co-operation." [Choirmaster].
" Yes. I think it is best when possible. The choir know
whom to look to for orders, also work much more har-
mon iously."
"sUnfortunately, yes. Each office should have a separate
per'on." [Organist and choirmaster].
' No. The minister of the church is an enthusiastic lover
of music and a fair musician, and he holds the office of
choirmaster."
" No. They are best kept separate, and I say so from
very long experience." [Choirmaster],
"No; I wish it was." [Organist].
THE ORGANIST. THE CHOIRMASTER. 17
"Yes; and I think it should be, generally speaking. I
think the best plan of managing choir practice is for the
organist to conduct, obtaining the help of a deputy at the
instrument."
' ' Yes. It is decidedly a mistake to have both organist
and choirmaster in a small choir, as neither will yield to the
other; consequently jealousies and disputes frequently arise."
" No ; but should be, to avoid quarrels and differences of
opinion respecting the rendering of musical compositions."
[Organist].
" No. According to my experience and opinion this plan
secures much better results than is usual when the organist
has all the work to do." [Organist].
' ' No. I fear choirs always suffer from the union of the
two functions in one person. No organist can give proper
attention to the training of the choir and play as well."
[Choirmaster].
"No. In our case the choirmaster one of the chapel
trustees holds a voluntary office, and has been re-elected
annually for fourteen years. This arrangement was entered
upon with a view to maintain as much uniformity as possible
in the services in case of change of organist. However,
only three different organists have been engaged during that
period."
"No. "We find it better to divide the duties. The
qualifications of choirmaster are distinct from those of
organist, and are seldom combined in one person, and if so
combined, cannot be properly exercised at the same time.
But when the duties are separated, who is to be at the head?
Here's the rub ! At the performance of an oratorio the
conductor is chief ; band, chorus, and organist must all obey
him. And so at church ; if there is a choirmaster he must
have the general command and be responsible for everything,
the organ voluntaries excepted. This seems to me the
correct theory, but whichever works best is best. If
choirmaster and organist cannot work together in peace and
harmony, then, as the least of two evils, let the organist be
choirmaster as well." [Choirmaster].
It will be seen that the majority of churches have the
combined office. There can be little doubt that this is by
far the best workable plan. There may be instances
when the offices are best divided, as for instance when the
organist is a lady though one fair correspondent boldly
signs herself " organist and choirmistress " but the two-
in-one is, generally speaking, the most desirable arrange-
ment, c
18 COMMON PRAISE.
First, it is very advisable that the responsibility of the
entire musical service, vocal and instrumental, should be
vested in one person. If anything goes wrong the
organist may pass the blame to the choirmaster, and vice
versd. Second, the relations between organist and
choirmaster may become strained, and one may not be
willing to give way to the other. Third, the organist
will naturally take more care and interest in accompanying
the choir he has trained, and he will feel more free to
vary and adapt his accompaniments when the choir is
under his own control and responsibility.
The oft-repeated objection to the combined office is,
" Organists are not good choirmasters ; " they " thunder
out their organ pipes" and "drown" the voices. This
objection is very easily met. No organist should be
accepted as qualified for his post unless he can train a choir.
As before stated the organist of a congregational-singing
church should be an accompanist of vocal music first, and
a solo organ-player afterwards. Many organists think
everything of their voluntaries and very little of their
choir accompaniments. If the organist trains the choir,
and they are worth the trouble and pains he expends upon
them, he will, for his own credit's sake, adapt his
accompaniments to the varied sentiment of the words and
character of the hymns and anthems which have been
rehearsed under his sole direction. It is to be feared that
the organists of a good many congregational-singing
churches think that playing hymn-tunes is a bore, to be
despised and only just tolerated because there is no help
for it. Such a state of things is deplorable for the
development of congregational singing, and the sooner
it is altered the better for the worshippers whose praises
are so mechanically and soullessly led.
Let the organist and choirmaster have the confidence of
the minister and office-bearers ; place in his hands the
whole control and absolute authority over the choir; and
THE ORGANIST. THE CHOIRMASTER. 19
make him responsible for the efficiency and smooth
working of every department of the musical service. If
he is fully qualified, and enters in his work with a joyous
enthusiasm, lofty aims, and an exalted view of his office,
then one step is secured towards a worthier and better
rendering of congregational psalmody in the sanctuary.
20
CHAPTER
CHOIE OKGANISATION AND
MANAGEMENT.
THE question, " Does the choir contain boys, or ladies, or
both?" was answered thus : "Boys, no ladies," 2; "Ladies
and boys," 100 (27 of these have boys for the alto part
only, and many have only one or two boys in the choir) ;
"Ladies only, no boys," 118.
Subjoined are some of the replies :
" No ladies. The choir used to be composed of ladies and
gentlemen, but there was no getting them to regular practice,
so they were dismissed- Their average attendance at Sunday
morning service was six or seven out of about twenty."
"Boys are little use."
"No boys. They are too much trouble, too uncertain, too
insensible to the meaning and spirit of the words, and
generally too irreverent."
"If plenty of time for practice, I consider boys good in any
choir, but not without plenty of training."
' ' No boys. My small experience of them is that, for the
small amount of music in chapel services, they are not
worth the trouble of training."
' ' I used to have boys, but whatever their advantages may
be, there are certain disadvantages in their employment in a
voluntary choir. The social nature of the choir is improved
by having ladies present. If boys are also admitted this
CHOIR ORGANISATION, ETC. 21
social feeling is to some extent lost. The boys are either
ignored and suspected of eavesdropping, or if they are
allowed the least familiarity they become very impertinent.
Older men and women would not object to the presence of
boys, but the young men and women who are usually
employed are apt to take an exaggerated view of their want
of expression, &c."
The question " Do you keep a register of attendance at
services and practices?" was answered thus: " Yes," 91 ;
"No," 129. Of the former, " boys only," 1; "services
only," 12; "practices only," 9. Of the latter 5 are
" going to."
Subjoined are extracts from the replies :
" Singers like their absence to be noticed, as it shows
their services are valued. My choir clearly understand that
a duty voluntarily undertaken is a duty all the same."
" There is no necessity. The interest the choir take in
their work dispenses with any kind of means indicating
being employed."
"No ; but we ought to."
" I think that registers of attendances are of no use in a
voluntary choir. They take up time in keeping and do no
good that I can see. You cannot lay down hard and fast
rules for volunteers to keep by."
No ; but I think it is a very desirable mode of keeping up
a voluntary choir. Thirty years ago I tried it with great
success and good results."
"No; we used to, and found members attended much
better. Shall commence it again."
" Yes. If a member is absent for some time that member
is written to, and if still continuing to be absent, he or she
is considered to have resigned their seat in the choir."
" Yes; but it has little effect."
" Yes ; I find the choir attend more regularly when their
attendance is registered."
' ' Yes ; and consider it of great benefit. It brings the
choir early. Our chapel trustees give a sum of money
annually to provide prizes for the most regular attendance."
" Yes ; and I find it very beneficial."
"Yes, as regards the boys. At the end of the year we
give two prizes (books) one for ' regular attendance and
good behaviour ' the other for ' improvement in singing.' "
' ' No ; but if absence of one month from the Sunday
services is not accounted for by a reasonable cause, the
delinquent ceases to be a member."
22 COMMON PRAISE.
The question, " Is a test of music-reading imposed on
members?" received 204 answers. "Yes," 77; "No,"
127. Of the former, 48 are variously qualified, e.g.,
"paid members only" 1; "except boys" 4; "except
sopranos" 11; "Tonic Sol-fa only" 3; "simple
psalm-tune " ; " must be able to read fairly -well," " unless
the choirmaster knows beforehand," &c.
Of the latter, 76 are qualified with reasons which will
appear in the following quotations.
"Yes. Must be able to sing a simple hymn-tune fairly at
sight." [This frequently occurs].
"Yes; though when we hear of an exceptionally fine
voice we often waive the reading."
" New members are admitted after satisfying a committee
of four who do not place so much stress on attainment in
reading as on a good ear and a fair quality of voice.
Heading is perhaps more easily acquired than these."
" No. Most of the choir are pianoforte players."
' ' No. We find that ladies especially will not come forward
if they are to be put through a music-reading test. We
have to ascertain their musical capacities in some other way
before admitting them to the choir."
" No. Most of the choir understand the Tonic Sol-fa
system, hence there is little trouble in getting new tunes to
be learnt."
" Good voice is all that is required from sopranos." [This
frequently occurs].
' ' No ; there ought to be, but I am afraid there are
dummies in every choir."
"Yes; but when anyone expresses a wish to join, and when
tried is found to possess a good voice but lacks musical
knowledge, a place is found for him in or near the choir,
and the study of music is encouraged until he is fitted to
become a member."
" Unfortunately, no. Being a voluntary choir new
members seem to think their services must be eagerly
accepted whether good or bad."
" The master of the singing class in connection with the
Sunday School recommends those he considers ready to enter
the choir."
" No. But their musical capacity is previously known to
me." [This, or a similar reply occurs very frequently],
"No. I find so much difficulty in procuring new members
that I cannot absolutely enforce this condition." [This
frequently occurs].
CHOIR ORGANISATION, ETC. 23
The question, "Are any members of the choir paid?"
received 224 answers. "Yes," 55. " Entirely voluntary,"
183. Of the former, "all paid," 3; "leading soprano
only," 7 ; " one to each part," 8 ; the remainder were not
qualified.
Samples of replies :
" All voluntary, except 10 gratuity which is allowed the
choir collectively for a yearly picnic."
' ' None paid ; but they all have given them a pleasure
trip (food and railway fare) in the summer, and a supper in
the winter."
"Not regularly salaried; but the more attentive and
valuable members, if in poor circumstances, have not
unfrequently received Christmas and other timely presents
in recognition of their services."
" We used to have a paid soprano, but discharged her, as
we found there was a certain amount of jealousy amongst
the other [voluntary] members."
" They should be, to ensue regular attendance."
"No. I wish they were. Then I should not be dependent
upon the irregularities of voluntary choristers. The parts in
a choir should be always well balanced, and this is practically
impossible with the voluntary system."
"The members of the choir are all paid alike with the
exception of the choirmaster. A yearly collection is made,
one third of which goes towards the organist's salary, one
third to the choirmaster, and the remainder is divided
amongst the members of the choir according to the number
of attendances at practices and services."
The question, " Are there any other points of choir
organisation which you find of value ? " received many
copious and varied answers. The following have been
selected as being of interest and value :
"Punctual and regular attendance and attention at
rehearsals, so that each chorister may be practically
independent of the rest, or of the organ, on Sundays. Each
member of the choir should feel it as absolutely necessary to
attend both rehearsals and services as if the success of the
services depended upon his own unaided exertions. The
difficulty I experience is in infusing this spirit of feeling and
responsibility. Where it is present the singing will be
successful, even with mediocre voices ; without it the best
24 COMMON PRAISE.
voices will but fail. The church authorities must, if the thing
is to be successful, take an active interest in the choir, from
the minister downwards, and some of them [office bearers]
should be at each rehearsal. In our town the congregation
is largest where the music is best, thus showing the
importance of it."
"Every quarter the attendances of each member are read
out, and every one who has not made 20 attendances out of
39 is requested to improve in that respect or else resign,
unless any good reason can be given, such as illness, absence
from home, &c."
" The appointment of a superintendent to each part has
been found of great value in keeping up the attendance and
in promoting an esprit de corps amongst the members ;
besides which it relieves the organist or choirmaster of a
great deal of routine work which he cannot conveniently
attend to." [This reply frequently occurs].
" My impression is that every member should be paid to
ensure good organization."
"We have a President, Treasurer, Secretary, Librarian,
and Committee. The first two offices are filled by prominent
members of the congregation, and all are elected annually by
the choir at a meeting called for this purpose. The meeting
is attended by the minister and intimate friends of the
members, and is made interesting by musical selections, &c."
[40 in choir].
" I find it is important to have a fixed night and time for
practice. A changeable practice-night causes a poor
attendance."
" "We have a picnic in summer and a social evening in
winter." [This reply is frequently given, as being a good
thing in helping to keep the choir together].
" The minister to be his own choirmaster."
"Impressing upon* the choir that they are second only to
the minister in the worship of the service."
"Backward singers we place beside those more advanced
for them to coach, and they are, in a degree, responsible for
their progress and usefulness."
' ' A choir fund of one penny per week each member, the
proceeds devoted to a social gathering, or assisting sick
members." [52 members].
" First, strict discipline. Second, always keep some-
thing on the move by way of practice, either in anthems,
&c., or vocal music lessons, thus binding choir members
together."
" To pay no attention to individual 'fads.' Choir-singing
is an earnest matter and we discourage frivolity."
CHOIR ORGANISATION, ETC.
" In giving the organist sole authority over the choir."
" We maintain that the choir is most thoroughly a part of
the congregation, and that joining the choir should be
esteemed an honour. Our aim has been to raise the choir in
every respect."
" Where practicable a room near the choir seats should be
provided, in which the choir should meet, receive the tune
lists, and from which it could file quietly into the orchestra
two or three minutes before the minister ascends the pulpit.
No one to enter the orchestra afterwards."
' ' Always keep the interest up by continually introducing
something fresh and new." [This frequently occurs].
" Plenty of work new music and preparation for concerts
and 'services of song' is the best organization for keeping a
choir together."
' ' Members should attend the practices as a privilege, not
as a duty."
' ' The whole responsibility to rest on the choirmaster ; this
we think better than having elaborate rules."
" As a rule, I think choirs are not sufficiently well thought
of and appreciated."
" It is preferable to select the choir from members of the
congregation only. To promote some amount of enthusiasm ;
to insist on decorum ; and, if possible, infuse a devotional
spirit into the work. I consider the service of praise as
important as that of preaching, that it should be rendered
to the best of our ability, and in a proper spirit,
remembering that it is an act of adoration not of mere
display."
" I find it useful to have a sort of reserve fund of young
ladies and gentlemen from the Sunday school, to train them
at the practices, and then when a vacancy occurs it can be
filled immediately."
" In the admission of members, as much importance is
attached to their taking a hearty interest in the services and
being likely to work pleasantly with the other members, as to
their musical qualifications, and I believe such a plan is
better than any code of rules."
" Treat all members alike."
"We contrive to make our choir self-supporting by having
a small monthly subscription and we have a treasurer,
secretary, and committee of four (one from each part) to man age
concerts, &c., and to consult as to the welfare of the choir."
[This reply, as to a committee of the choir, occurs frequently].
"Each member is balloted in by vote of choir, after
passing examination by organist or choirmaster."
" Each singer has his or her seat in the choir, and book
with name on."
26 COMMON PRAISE.
" Choirmaster must be in earnest, enthusiastic, keep alive
the interest of the choir by every means. Toady to none,
then no one can find i'ault in regard to favouritism, which
has killed many a choir. In short natural tact.'"
" If any member cannot attend a service, he or she will
either tell the choir secretary, or get a substitute from the
Psalmody Association, and this is very generally adhered to."
' ' No choir committee and no rules. The main thing is to
make the choir comfortable, and. find them plenty to do."
" Regular attendance at practice is our rule. Implicit
obedience to the organist's instructions as to the rendering of
different passages, and no time wasted by conversation
amongst the members of the choir."
"To seek to make the practices as pleasant and interesting
as is consistent with thorough work/'
' ' The choir work best if there is only one head ; if there
are two or three masters it cannot work well. It is very
important to keep the choir interested in their work. They
will not attend well if they have nothing but tunes and
chants to sing. I believe that more choirs are ruined by
having too little work than by having too much. I always
find that after having performed a difficult piece they work
much better."
' ' There must be new music constantly, for with something
fresh to look forward to, the choir take extra trouble to
come regularly."
" I believe in the necessity of a hearty recognition by
the church and congregation of the services of the choir, so
that his or her services are regarded as an essential part of
church work. The contrary of this is unhappily too
prevalent."
"I am allowed to draw to the extent of sixty pounds
[? per annum] for'choir purposes. This money I spend as I
see fit, as it is part of the agreement that no account of it
requires to be given. I have therefore no difficulty in doing
many things which cannot be carried out in other churches."
[Organist and choirmaster both voluntary].
' ' After an experience of nearly thirty years as organist
and choirmaster, I am of opinion that there are only two
means of keeping a choir properly organized. 1. By actual
payment. 2. In a voluntary choir by giving them a
plentiful supply of music to interest them, and by having
regularly fixed occasions for its introduction. Since the
introduction of anthems, &c., in our services the attendance
of the choir both at practices and on Sundays has been
remarkable, and such a thing as a poor attendance never
occurs."
CHOIR ORGANISATION, ETC. 27
" The vital importance of accepting persons of nigh moral
character, those, in fact, who may be considered to assist in
the ' Service of Song ' for the glory of Q-od, and not for mere
musical interest or display. The observance of this rule and
practice has led (1) to an absence of aiiy feud, disagreement,
or split in this choir during a quarter of a century's
experience, and (2) to the grateful acceptance by our
ministers and congregation of anthems sung by the choir to
the congregation, to which practice in many Nonconformist
churches there is objection arising out of scruples as to the
character, motive, or object of the singers. ... I
habitually keep the soprano part excessively strong, as the
lead (par excellence) in hymn-singing." [50 in choir].
' ' By alternating rehearsals of sacred music in chapel with
rehearsals of secular music in the schoolroom, the quality of
the choir is kept fairly satisfactory, and a certain amount of
enthusiasm is diffused among the members."
"Absentees from practice are fined one penny. Late
comers fined one halfpenny."
" A singing-class of young people from the Sunday
school is a most valuable nursery for the choir. The class
and choir to intermingle as much as possible by
some members of the choir attending the class in order to
encourage and help the young folks, and for the older
' young folks ' to remain and listen to the choir practice."
' ' In my experience much harm has been done to voluntary
choirs by the "caste" feeling. Our choir is composed of
persons in various grades of life, but a most harmonious
feeling exists and has existed for the past fif ten years during
which I have been organist. The most comfortable corner
of the choir seat is not appropriated by the lady or gentleman
who is best off, but the members are seated in the seniority
of their membership, a plan which answers well."
"The reserve choir is of great importance. In case of
foreseen absence the members of the choir communicate
with the choir secretary who then calls out the ' reserves.' "
[The "reserve choir" is frequently mentioned as being a
" good thing"].
" I hold a preparatory class for young people at which
reading at sight and elementary instruction in music is
given. Candidates for the choir who do not meet the
required standard are invited to qualify by joining the class.
I have now about 50 members." [The preparatory class is
common in Scotland].
" Always to occupy the same seats at rehearsals and
services. Sometimes it is of advantage that there should be
a committee to co-operate with, and certainly not dictate to,
28 COMMON PRAISE.
the choirmaster. When there is a disposition, towards the
latter the choirmaster had better act alone. But in many
voluntary choirs a representative committee can relieve a
choirmaster to a great extent of the odium which sometimes
follows some small details of arrangement." [43 in choir].
' ' In maintaining the efficiency of our choir we depend
more upon cultivating a good spirit and high tone amongst
the members, than upon mere mechanical regulations or
arrangements. ' '
' ' Each member has his own book, provided by the church,
and for which he is responsible. Each member to be in his
seat (allotted) before the minister enters the pulpit."
The successful management of a voluntary choir is
attended with no small difficulty and anxiety. The music
question in the churches has frequently engendered more
discord than harmony. Choir rows and choir strikes are
not altogether unknown, and are often the cause of
serious mischief. There are very few of the older churches
that could not give some unhappy experiences of the
friction caused by some wretched little squabble in church
musical matters. "With careful management, courtesy,
sympathy, and tact on the part of minister, office bearers,
and choirmaster, all such unfortunate catastrophes may
be avoided. The object of this chapter will be gained if
I am able with the help of the statistics and invaluable
quotations to smooth the way towards a better under-
standing of the music question wherein it relates to the
important matter of the choir, its organization and
management.
THE CONSTITUTION OF THE CHOIK.
The choir may be (1) entirely paid; (2) partly paid;
or (3) entirely voluntary. The first of these is almost
impracticable on the ground of expense, except in small
congregations where a quartet or sextet would be strong
enough to lead. Further, it would do away with
voluntary help which has so long rendered valuable service
in the choirs of Nonconformist churches.
CHOIR ORGANISATION, ETC.
There is something to be said in favour of a partly
paid choir. "When the soprano and alto parts are taken
by boys and there are no ladies, remuneration for
the boys is almost a necessity in order to ensure their
regular attendance and good conduct a fine being the
punishment for misbehaviour. When there are paid
members in a mixed choir (men and women) it is an
advantage to have a paid quartet one voice to each part
especially if the choir be small or newly-formed. If
one division of the choir is weak, it is desirable to
have two paid members for that particular part. On the
other hand, if the choir is stronger in one part than
another, paid help in the stronger part may be dispensed
with.
Some churches, happily their number is decreasing,
have what they call a "leader" who is generally, not
always, remunerated. The "leader" is usually a lady
with a big soprano voice, which does not, or will not,
always blend with the other voices in the choir, and which,
thus becomes disagreeably prominent and obnoxious. Tothis
"leader "the other members of the choir look for the starts,
with some such result as the following. The organ chord
will first be heard, then the " leader's " voice, followed by
the choir, while the congregation, at a respectful distance,
bring up the rear. The " leader " may therefore be the
cause of indecision and dragging, qualities bad enough in
a congregation, but unpardonable in a choir; while
precision and simultaneous attack the first essentials of
a choir are likely to be conspicuously absent.
As the result of careful observation and experience I am
convinced that it is far better to have no other leader in
the choir than the choirmaster. The organist will give and
regulate the time, and the choir must keep exactly with the
organ, and not lag behind. The whole choir with the
organ should be exactly together, neither waiting for the
other, and this united force should give such a grand,
30 COMMON PRAISE.
decisive lead as to prove irresistible to the congregation.
To realise this the choir must be thoroughly well drilled in
precision, and smart in attack, or else the congregation
will do just what they like with the time.
An entirely voluntary choir when it is composed of per-
sons of both sexes is far better inmost cases than one that is
partly paid. One objection to paid members is that they
are likely to destroy the esprit de corps of the choir, and
introduce an element that may not satisfactorily
blend with voluntary effort. Also when good singers in
the congregation know that some of the choir are paid
they are apt to shirk their responsibilities by not joining
the choir, and thus not only deprive the choir of
much valuable help, but deny themselves a great deal
of enjoyment. If a voluntary choir cannot be attained all
at once, it should be worked for, and the trouble taken in
securing it will not be labour in vain.
The employment of boys' voices to the exclusion of
women's, though common in the Established church, is not
customary in Nonconformist churches ; and there are many
reasons against the exclusion from our choirs of one of the
most beautiful, indeed, the perfection of all musical
instruments, the human voice in a woman.
The objections to boys in choirs far outweigh the
advantages. If all our churches possessed the resources of
St. Paul's Cathedral or "Westminster Abbey where the
boys are fed, clothed, and lodged under one roof and are
amenable to constant oversight and strict discipline, and
have their daily vocal practice of two hours in addition to
two services then we might do worse than have boys.
Granting that our services are not so ornate as those at
cathedrals, a boy's voice must be well trained or it will be
disagreeable even in a hymn-tune. There is no doubt that
boys' voices are penetrating and pleasant to listen to
when they do not sing through their noses but it
requires an immense amount of training to make them
CHOIR ORGANISATION, ETC. 31
mellow enough to blend with others. And it frequently
happens that after a painstaking choirmaster has
removed the rough edge from a boy's voice, the little
chorister shows his gratitude by going off to some other
church where the pay is perhaps a shilling a week more.
Of course you may legally bind him down, but he may
turn nasty, and a sulky boy is intolerable.
It is also important to bear in mind that it is imposible to
put old heads on young shoulders. A boy's singing with
rare exceptions is mechanical and soulless compared with
that of a person of mature years. You cannot expect to
get a proper appreciation of and feeling in the words by
lads under fourteen ; and even if you could there remain
the difficulties attendant upon their training and
behaviour. Some churches may be so favoured as to
secure good boys from cultured families, but the ordinary
Sunday-school boy's manners, for instance, apart from his
vocal training, require a deal of polish and cultivation
before he can be pronounced fit and proper. Choir boys
are a source of endless anxiety and trouble to most choir-
masters, and far greater results in every way can be more
easily secured when they do not take the place of women
in church choirs.
Boys are sometimes enlisted in mixed choirs, but their
voices do not always blend with those of women. In
"Wales especially they are frequently used in the alto part,
but the effect is often spoilt by a forcing of the voices.
Speaking generally, it is better to have either boys and men,
or women and men in church choirs, the latter being
the most satisfactory in every way.
Yacancies in the choir. How shall they be filled up ?
An excellent plan is to have a preparatory singing-class of
young people from which to recruit the choir. This class,
or choir nursery, may be under the direction of the choir-
master or other competent person upon whom the
choirmaster may rely for information respecting the candi-
dates for admission to the choir.
32 COMMON PRAISE.
Vacancies should be notified privately and not publicly.
An announcement from the pulpit may bring some
good-meaning people who are no use at all. A voice
and reading test is a safeguard, but unless there is plenty
of material and the choirmaster is not personally known
to most of the congregation, the enforcement of a test,
after an open invitation from the pulpit may be a disagree-
able business. A better plan is to discover who among
the congregation have the ability and willingness to help
in the praise service, and then privately ask them to join
the choir. Another way is to ask those whom you think
competent to attach themselves temporarily to the choir as
deputies to supply the places of absentees. You will soon
"be able to find out if they are desirable as regular members
and then secure them if possible. It is sad to have to
confess it, but caste feelings still exist in our choirs,
though not to the same extent now as formerly. It may
"be necessary, therefore, to act with caution as to whom
you invite. Theoretically there should be no class dis-
tinctions in any part of church work, but, unfortunately,
it is not carried out in practice.
Some choirmasters, after reporting upon the musical
abilities of the candidate, depend on the vote of the choir
as to his or her admission. This relieves the choirmaster
of the unpleasantness of having to say "no" to unsuitable
offers, and throws the responsibility upon the choir. It
works fairly well in large choirs, but it is not always
desirable, especially if the candidate has friends in the
choir. Personal considerations are somewhat delicate in
this matter, and the choirmaster will need a good supply
of natural tact to help him in this as in many other
instances.
Eeading test. Shall there be a sight-reading test?
There ought to be. Can it be enforced ? Unfortunately,
in most cases, no ! As previously stated personal con-
siderations are partly an obstacle. Then the supply of
CHOIR ORGANISATION, ETC. 33
good voices is by no means equal to the demand. Choir-
masters are often beggars in the matter of getting
assistance in the choir, and beggars cannot always be
choosers. It will be a happy time for choirmasters when
the miserable old prejudice against sitting in the choir
will be a thing of the past, and when those who have the
ability and there must be many and who are free from
family and other ties will gladly consider it their duty and
high privilege to help in the " service of praise." In the
meantime we must be thankful for, and make the best use
of available material, and not do anything to frighten it
away.
It is a matter of regret that so many musical people who
play the piano, who have good voices and can sing a song
fairly well, should be unable to read a simple hymn-tune
correctly ; but such is a fact. Then, on the other hand,
there are some good readers with no voices worth speaking
of. If you have to choose between an indifferent reader
with a good voice and a good reader with a poor voice, by
all means select the good voice, and in all probability the
reading will come. In the soprano part especially,
the voice should be the first consideration. This
opinion is confirmed by so high an authority as Mr. Henry
Leslie, who, in reference to the admission of members into
his famous choir, made "good singing the necessary
qualification ; good reading was of course an advantage,
but not a necessity."*
With regard to the parts other than the soprano much
must be left to the judgment of choirmasters and the
material at their disposal. There are, as a rule, good and
indifferent readers in most choirs. Therefore, "Those that
are strong should help the weak." Though good reading
is very desirable it is hardly wise to make it a sine qua non.
However, the indifferent readers must be roused up, and
made to feel their deficiency. A little good-humoured
* " The History of Henry Leslie's Choir," by F. A. Bridge, p. 24.
D
34 COMMON PRAISE.
criticism will go some way towards doing this. Every
effort should be put forth to make good readers, in the
hope that with the spread of musical education there
will be no lack in the future. Some of the best readers I
have met with have learnt to read the Staff notation
through the medium of the Tonic Sol-fa system. The
mental effects and the importance of key relationship
characteristic of that excellent method are worthy of the
serious study of all who wish to become good readers; and
the time spent in the acquirement of its principles and
simple methods will prove a most profitable investment to
vocalists and instrumentalists alike.
Balance of parts. Taking the Leeds Festival Choir of
1883 as a model, a properly balanced choir should have
nearly the same number of voices in each part. But a
choir in a congregational-singing church should be very
strong in the soprano and bass parts. The soprano part
needs to be well brought out and made prominent, as by
far the larger proportion of the congregation sing the
melody. ( The bass should be powerful enough to make the
moving ground-tone felt, and thus make the rhythm
pronounced and unmistakable. However, the alto and
tenor parts must not be neglected, and whenever possible
they should be proportionately represented, but the soprano
should always be the strongest part.
CHOIR MANAGEMENT.
The choirmaster should be the only recognised head of
the choir, and its entire management should unreservedly
be placed in his hands. He should have absolute power,
supreme authority, and sole control of everything relating
to the choir and its work. He should be an autocrat;
but if he is a sensible man he will take care not to abuse
his power. When a number of people work together as
a united body there must be order, method, and
discipline, and they must, each and all, be subject to some
controlling power, whose word must be law. This
CHOIR ORGANISATION, ETC. 35
regulating and controlling authority should he vested
entirely in the hands of the choirmaster, and in no other
person or persons. Firmness combined with courtesy, and
authority allied with kindness, will he sure to gain
confidence and respect. The choirmaster who possesses
these qualities and exercises them, will seldom, if ever,
have occasion to use his full power a word, or even a
hint, will he quite sufficient.
Committees of management of choirs are often the
cause of mismanagement and misunderstanding. With
a good choirmaster a committee is quite superfluous.
Their election is apt to create petty jealousies,
and to cause divisions and cliques in the choir.
However, there is no objection to the choirmaster's
relinquishing some of his minor duties. A librarian or
secretary is often a very useful and invaluable helper to the
choirmaster, especially in a large choir; but it should be
distinctly understood that he acts only under the
direction of the choirmaster and has no authority beyond
what he receives from him.
The importance here given to the supreme authority
of the choirmaster must not be understood to infer that
he is not to consult the choir on any question affecting
their happiness or welfare. On the contrary a choir-
master who respects I am almost inclined to say loves,
his choir will be only too glad to take their opinion
when occasion requires it ; and he may do this without
losing a particle of their respect or diminishing his
own authority. Let the choirmaster show his invaluable
co-adjutors that their comfort, reputation, and musical
education have the first place in his thoughts, and he
will secure far greater results from his personal interest in
them than the red-tapeisms of half-a-dozen committees.
As far as possible the choirmaster should avoid showing
favouritism. He will soon get to know which are his most
efficient helpers, but he had better not show that he does.
36
COMMON PRAISE.
When solos have to be done they should be sung in turn by
those who are competent to sing them, and the selection
should be made by the choirmaster.
Each member of the choir should have his specified
seat in church and at the choir practice Each should
have his own book provided by, and remaining the
property of the church. A good plan is for all choir
books and sheet music to be numbered, and for each
member to have a number ; by this means each one will
always use the same books. All the arrangement of
books and places should be made by the choirmaster.
A register of attendance at services and practices
should be kept by the choirmaster or someone deputed by
him. The addresses of all members and the date of
their joining should be notified in the choir attendance
book. The attendances should be summarised at the end
of every three months. This will enable the choirmaster
to see who are the most regular members, and the
members themselves, knowing that their presence or
absence is of sufficient importance to be notified, will be
stimulated to come regularly. The "Sunday School Class
Kegister," issued annually by the Sunday School Union,
price fourpence, makes a capital choir attendance book.
On the pages for "names and addresses of scholars,"
substitute "choir" for "scholars." In the "age"
column put the- member's number as suggested above.
Fill up the attendance thus :
1886.
Attendance.
January.
Total attendances.
Reg.
No.
Names.
3
10
17
Q
M.
iar
B.
xjrly.
Total.
Each Sunday.
2
Miss Jones
X X
a x
x a
19
10
22
Jan.
M.
E.
15
Mr. Lloyd
a x
X X
x x
9
13
22
3rd.
25
80
29
Mr. Santley
X X
x x
a x
8
7
15
10th.
31
2!)
Total =
M. E.
Average attendance =
CHOIR ORGANISATION, ETC. 37
This is on a reduced scale to economise space, "a"
means absent, " X " means present. The total attend-
ances of the whole choir at each service are put in the
extreme right-hand columns, and should be filled in weekly
to show how many were present at each service. At the
end of the quarter these figures should be added up and
the average attendance be ascertained. The columns next
to the dates are for the total attendances of each member
for the quarter, and should not be added up and filled in
till the quarter has expired. The latter pages of this
useful book may, with a little management, be made
available for the rehearsals. When the attendance is
getting low it will prove a stimulus to read out at the
choir practice the number of service attendances. This
may be done in a good-natured way to avoid giving
offence. A playful allusion to prizes for the most regular
members will help to make things pleasant. This simple
method of keeping the attendance will be found very
useful.
Intending absentees should previously inform the
choirmaster, and, if possible, send a deputy. As a seat is
specially reserved for each member there may be serious
gaps in the choir if two or three are away without
supplying a substitute; the importance of providing one
should be impressed on members.
There may be some efficient singers, who, being unable
to attend both services would be willing to come to one.
There is no objection to this providing seating accommo-
can be arranged, but it should be understood that these
" half-timers " attend the practices. It is frequently the
custom in Scotland to have relays of choirs, or a large
choir divided into two or three divisions, each division
properly balanced being a month on duty in the choir
seats, and the remaining division or divisions occupying
seats among the congregation. If the choirs all rehearsed
COMMON PRAISE.
together regularly, and a sufficient number of voices can
be secured, this plan might be advantageous. But in the
majority of cases it is difficult to get one choir, much more
two or three, in each church. I am inclined to think that
a regular well-drilled choir is more satisfactory in most
cases than a constantly shifting body of singers. How-
ever, there can be no harm in trying it.
Some choirs have an elaborate set of printed rules. In
many instances they are more frequently broken than
adhered to. In large choirs they may be an advantage,
but the moment they are broken they become practically
useless. With a business-like choirmaster, and a sense of
honour and responsibility among the members, there will
be no necessity for elaborate rules. One rule the rule of
duty is quite sufficient.
Fines for non-attendance at rehearsals (not services)
might be desirable if agreed to by all. A penny is quite
sufficient, and might either go into the missionary box
or towards the purchase of extra music.
The " powers that be " should grant an annual sum for
the purchase of music other than the service music.
Octavo sheet music is now so cheap that a choir can
reasonably be kept going at the rate of Is. or Is. 6d. per
head per annum.- This is not a large amount, and it is an
excellent investment. Oratorios are more expensive, and
should only be undertaken by large choirs.
A social gathering of the choir, annually or bi-annually,
is a good thing. This should be held at the residence
of some interested friend, or failing this, at the lecture
hall or school of the church. An indoor gathering in the
winter, and picnic or garden party in the summer, might
be managed, but in a matter of this kind the arrangements
must be influenced by local circumstances. The chief
thing is to make it thoroughly sociable and enjoyable,
and have as little stiffness and formality as possible.
CHOIR ORGANISATON, ETC. 39
How can I best keep my choir together and promote
their efficiency ? This question, often in the minds if not
on the lips of choirmasters is easily answered. First of
all, interest them in their work. Take no end of pains
with their training. Always " stick up " for your choir,
and remember that you are one of them. If you are
organist as well as choirmaster, put the duties of
choirmaster before that of organist. Give the choir plenty
to do outside the actual church work, though by no means
neglect the service music. Tour choir may be of great
usefulness in good works beyond the church walls.
Concerts to the poor in mission halls, workhouses, &c.,
are excellent channels of enjoyable work, and the
preparation for such will stimulate interest in the choir
practices and will do good at the same time.
Finally, help your choir to realize the importance, the
dignity, and the responsibilities of their office. Set before
them a high ideal. Fire them with earnest enthusiasm.
Inspire them with lofty motives and sincere desires.
Music, however excellent its performance, when devoid of
soul, must be cold, mechanical, and lifeless. To sing with
art, but with the heart also is the highest ideal of worship
music. To aim at the fulfilment of this should be the
sincere desire of all who take part in the service of praise,
whether he be the most eminent cathedral organist or the
humblest village chorister.
40
CHAPTER IV.
THE CHOIK PEACTICE.
THE question, "Does the choir hold a- weekly practice?"
received 219 answers. 23 reply "No." 196 "Yes." The
former are qualified thus: "once a month" 1; "fort-
nightly" 3; " not regularly " 11. Of the latter, "only
in summer" 1; "yes, on Sunday" 3; "twice a week"
5 ; and many add, " not in summer months," and " extra
practices when necessary."
Subjoined are three of the replies :
"Yes, regularly,. and that is one of the reasons for the
success we have had."
' ' Two rehearsals weekly. One for the younger members
in the rudiments of music and scale practice, and the other
for the service music." [40 in choir. Boys and ladies.]
" No, and the choir suffers accordingly."
The questions, "In rehearsing the choir do you, as a
rule, have instrumental accompaniment; if so, what
instrument do you use?" received so many equivocal
answers that it is impossible to summarize them.
Specimens of the replies are here given.
" No accompaniment, because I find that I make far better
readers, secure true intonation, have less dragging, and
altogether produce more satisfactory work."
THE CHOIR PRACTICE. 41
" I consider the pianoforte the most effective for practice,
as it induces a crisp and distinct rendering, and helps to take
the dragging propensities out of a choir."
' ' Nothing is passed till it can be sung without accompani-
ment."
' ' In summer we use the organ in the church. In winter
we use pianoforte in lecture hall. I consider the piano
superior for practice."
" The instrument hides a multitude of sins."
" The choir are made to sing independently of the organ.
I am no believer in the propping up of singers."
The question, "Does the choir practise secular music,
and sacred music other than the service music f " received
218 answers. 41 reply "No." 177 "Yes." Some of the
latter were qualified thus: "sacred, not secular," 32;
" occasionally for special concerts, soirees, &c," 45.
Samples of the replies are here given.
' ' Yes, both sacred and secular. In fact, I could not dis-
pense with them, as I find they are a great source of attraction,
and an inducement to securing a good and steady attendance."
" Yes, we have a large quantity of anthems, as well as a
number of part-songs. These are kept up and practised,
both to make our meetings more interesting, and to enable us
to give concerts, recitals, etc., when our services may be
required."
' ' Experience teaches me that unless you give occasional
performances, a voluntary choir will drop through ; 40 to 60
will turn up to rehearse for a concert, but about 8 or 9 for a
psalmody practice."
' ' Last Christmas we learnt a number of Christmas carols,
and we went out and sang them on Christmas Eve. We sang
some on Christmas Day, and on the Sunday after Christmas
we had a service of carols in the Sunday-school. The whole
service went very well."
" Yes, both, as I consider they are helpful to our worship
music by improving our singing capabilities."
The choir-practice, or rehearsal, is of vital importance to
the efficiency of every choir. This fact cannot be too
strongly emphasised. It is sometimes thought that the
choir of a congregational-singing church has little or
no need to practise the service music, because of its
simplicity and familiarity. Such a policy is fatal both to
42 COMMON PRAISE.
the efficiency of the choir and the interests of congrega-
tional psalmody. Supposing the importance of the choir-
practice to be acknowledged, there is little use holding it
unless the whole, or a large proportion of the choir attend
regularly. " How can I induce my choir to come to the
practices ? " is a question which troubles the choirmaster
more than any other. It can be answered in a sentence
" Set before the choir members their duty and responsi-
bility, and make the choir-practices as interesting and
attractive as you possibly can." To this end the following
suggestions may be useful.
The choir-practice should be held at least weekly. A
regular fixed evening should be assigned to it. When the
members join, it should be quite understood that they
are not only to be present at the services as often as
possible, but also to attend the practices. It thus becomes
a bond of honour which should not be lightly broken.
High principle should be strongly enforced and upheld in
this matter, and the members of the choir should consider
it not only a privilege, but a duty to attend the practices.
The engagement to attend is equally binding on the
choirmaster. If without previous notice he absents
himself from the practice the choir will be discouraged,
and will probably follow his example on the next
practice-night. Moreover, he should be punctual. Many
choir practices have almost been ruined by the impo-
liteness and neglect of choirmasters. If the choirmaster
cannot attend he should cancel the practice, and give
due notice beforehand.
It is much more convenient and sociable to hold the
practice in a room not too large or too small than in
the church ; moreover, far better results will be ob-
tained, and the rehearsal will be much more enjoyed.
There should be as little instrumental accompaniment as
possible. A piano is preferable to a harmonium, as it
enables the accent to be strongly marked and promotes
THE CHOIR PRACTICE. 43
brightness and lightness in the singing. If the practice
must be held in the church, a small harmonium, or a piano
not the organ should be used. At St. Paul's Cathedral
the only instrumental aid at the full rehearsals is a small
harmonium which Dr. Stainer uses only for those pieces
which require independent accompaniment ; and at the
choral rehearsals held at Exeter Hall for the Handel
festivals, the sole instrumental support for about 3,000
singers is a grand piano. The organ, unless played very
softly, hides vocal defects and covers mistakes which
should be corrected and not passed over. A choir to be
classed "good" should be able to sing without any
instrument.
The choir should sit in the same order at practices as at
services. As before stated (p. 36) each member should
have his own number, and use the books and sheet music
corresponding to it. This is most important, as any
special indication expression, emphasis, &c. given at
the rehearsals should be marked in the books, and the
choirmaster should see that it is done. Many choirmasters
have cause to regret that the instructions given at the
practice have been neglected at the services or perform-
ances on account of forgetfulness, or laziness in not
marking the books. Let each member mark his oicn look,
and the responsibility then rests with him and not with
the choirmaster.
The choirmaster should have a definite programme for
the practice, which should be drawn up and written out
beforehand. He should have everything "cut and dried"
in a business-like manner, and then there will be no
hesitation or want of continuity. He should come to the
practice full of enthusiasm and with a determination to
make it successful and enjoyable. Energy and tact will
help him immensely. He should let the choir see that he
is thoroughly in earnest, and that he expects nothing but
first-class work from them. Inattention should not be
tolerated for one moment, and apathy promptly roused.
44 COMMON PRAISE.
Listlessness, or a "don't care" sort of feeling, either on
the part of choirmaster or choir, will spoil the practice. The
common hahit of talking after " attention " has been called
should be instantly checked. It is not only exceedingly
annoying to the choirmaster, but also to those members of
the choir who wish to sing, rather than interrupt with
frivolous chatter ; and it is on the latter ground that it
can be most effectually stopped. There are usually two or
three gossips ladies and gentlemen in every choir, but
they must be firmly but kindly asked to withhold their
little conversations till after the practice. The choir-
master should not commence anything till all the places
are found and silence is secured. He should pass from
one thing to another without delay, thereby giving the
practice life and " go." A break of a few minutes for
rest may be made about half way through the practice,
when any intimations may be given.
The hymns, or portions of them, for the following
Sunday services should be rehearsed, except when they
are so familiar as to render this unnecessary. Many old
tunes of the "York" and "St. Michael's" type-
especially when sung to antiquated and colourless hymns
will scarcely need rehearsing. But the modern
hymns, for which tunes have been specially written, will
well repay diligent practice. Such, for example, as Nos.
24 (1st tune), 91, 222, 223 (2nd tune), 257, 260, 266,
285, and 436 (2nd tune), in " Hymns Ancient and
Modern," revised edition, and a hundred others, are full
of musical and poetic beauty ; and the singing of such
with expression and feeling will be an interesting and
delightful exercise.
A clear and distinct enunciation of the words is of the
utmost importance. The choirmaster should be able to hear
every word without referring to his book. The aspirate
requires careful attention, especially when applied to the
Diety. Examples :" Ifo-ly," " Praise -2"ini." Take
THE CHOIR PRACTICE. 45
care of the final consonants ; for instance, " t " and " d "
example : "Lead, Kind-ly Ligh;" and especially "g"
example: "every passing hour," not "every passin'
hour." All the vowels should be well looked after. "E"
is frequently changed into " I." Example: "Saviour,
blessed Saviour," instead of " Saviour, blessed Saviour."
"Words with three or more syllables are often indistinctly sung.
Example : "Richusness," instead of " Righ-0ous-ness."
Running one word into another is an equally bad fault
which should be promptly corrected. Example :
" Lif-tup-yr-rheads," instead of " ~L\H up your Aeads."
The special characteristics of each hymn as, for instance,
praise, prayer, reflective should be pointed out at the
practice in order to secure a natural interpretation of its
meaning. Reading the words aloud with careful elocu-
tion will often help the choir to give an effective and
realistic rendering of a hymn. No pains should be spared
to secure good hymn-singing. It holds a high place in
congregational worship, and is worthy of careful and
constant practice.
It is desirable to have variety at the practice. Hymn-
singing will become tiring if kept at too long. It should
be relieved with other work, and the hymns distributed
throughout the rehearsal and not all taken at the beginning.
Blending of voices. One of the chief faults common to
voluntary choirs is that the voices do not blend. One
shrill, nasal, or otherwise unpleasant voice will spoil a
choir. The suppression of such a one may be attended
with some difficulty, and possibly, unpleasantness. But
the choirmaster must not shrink from doing his duty. He
must " peg away," and not rest satisfied till all the voices
blend. He must be very particular almost fastidious
in everything, and should work up to a high standard of
excellence. He should not name anyone for faults at the
practices. Personal reference should be carefully avoided.
But he may give hints as broad and hard-hitting as he
likes, provided they are inoffensive and in good taste.
46 COMMON PRAISE.
Shouting, or nasal singing should be promptly checked.
A good forte can be obtained without forcing the voices.
A full, round tone both in p and / passages, should be
cultivated. One common fault in choirs is that singers do
not open their mouths sufficiently when they sing. Such
errors often become chronic unless the choirmaster per-
sistently calls attention to them.
Precision is of the utmost importance. A limp, flabby
choir is painful to listen to, and useless for leading.
There are generally two or three " slow-coaches " in every
choir who think they are doing very well if they are
not more than half-a-beat behind the others. Such
drones must be whipped up, and not spared in the least.
Dragging is simply intolerable. The choir should be
trained to keep together, and the choirmaster should
go over the same tune, or piece, or even a single bar,
again and again twenty times if necessary till the
whole choir sing as with one voice. Precision must be
insisted upon always whether in a simple hymn-tune or
a complicated anthem and no pains or patience spared to
acquire this excellent and essential qualification.
Attack is of equal importance. In the absence of a
conductor the start of the hymns, &c., is attended with
some difficulty. A simple plan is just to touch the treble
starting note a little less than half-a-beat before the com-
plete initial chord. The anticipated note should only be
necessary for the first verse ; for the remainder of the
hymn the choir should come in immediately after the first
chord, which, on the instrument, may be held a trifle
longer than it ought to be. These starts should be
practised repeatedly till the choir quite understand them.
When the offices of organist and choirmaster are separate,
and unless the choirmaster can be seen at the services by
both organist and choir, the organist must start the choir
at rehearsals in the way indicated above. Each division
of the choir should find its starting note from the final
THE CHOIR PRACTICE. 47
chord of the tune when played over, and keep it in mind
so as to enter at once on the right note with firmness and
decision.
In anthems, or in pieces commencing on wwaccented
beats (when there is no conductor or instrumental prelude)
the key-chord may he struck at the beginning of the bar.
This preliminary chord will notify the commencement of
the silent beats, and the choir having previously risen
will enter in strict time. Examples in triple and quadruple
time Stainer's "What are these?" Macfarren's "The
Lord is my Shepherd." In all these starts there must be
a clear understanding between the organist and choir, and
the plan agreed upon at rehearsal must be strictly adhered to,
or any difference of opinion may cause serious confusion,
and possibly a collapse. In this, as in other matters, the
importance of the choir-practice cannot be over-estimated.
Rhythm and Accent. Special attention must be given
to these frequently neglected matters. The different
rhythms should be carefully explained to the choir, and
illustrated with examples ; and they (the choir) should be
so thoroughly inoculated, as it were, with rhythmic
virus as to feel the natural and regular pulsations of the
music. If this is done intelligently, accent will follow
as a matter of course. Rhythmical accent is indispensable
to congregational music. It prevents dragging to a very
great extent, and if resolutely persisted in, the con-
gregation must follow. The lead of the choir should be
sharp, emphatic, and resolute, and this may be acquired
by the study and practice of rhythm and accent.
Phrasing is another necessary attribute of a good choir.
Technically it includes accent, but, broadly speaking,
in vocal music it means " taking breath." Instrumentalists
generally phrase better than vocalists. The great Malibran
said to one of her finishing pupils, "I have taught you
all I know, but now you must go and listen to my
husband's (De Beriot) violin playing for lessons in
48 COMMON PRAISE.
phrasing." Good phrasing is one test of musicianship.
To a great extent it is a natural gift, but undoubtedly it
may be acquired by careful study. Everything depends
upon the choirmaster for good phrasing. He must be
able to show the choir how to do it, and if they are at
all intelligent they will readily acquire it. It is impossible,
within the limits of this work, to give detailed rules or
examples in phrasing. Much may be learned by a study
of M. Lussy's "Musical Expression."*
However, it must always be borne in mind that in
hymn-singing the elocutionary accent must over-ride the
musical. Example, " Sun of my soul," to Sir H. Oakeley's
lovely tune " Abends " (H. A. & M.). Yerse 1, line 2,
would be musically phrased, "It is not night if Thou
be near ; " but it would be nonsense to phrase some of the
following verses in the same way ; for example, v. 2, " My
wearied eye lids gently steep." In this particular tune
each phrase-section consists of four notes, but breath-
places have frequently to be altered to suit the words.
Some may be inclined to say that this is going into the
matter too minutely, and that broad effects are more to be
desired in congregational singing than finished details. But
if a thing is worth doing at all it is worth doing well.
Phrasing in music corresponds with grammar in speech.
If grammatical speaking is desirable in the pulpit, surely
grammatical singing 'is desirable in the choir. Besides,
whatever the choir do the congregation will follow. The
choir should educate the people up, not down. Neatness
and finish in phrasing give a polish and refinement to the
music, and the time devoted to its cultivation will be time
well spent. (See chapters V and XI.)
Expression, or variety in tone, comes under the head of
phrasing, but it will be referred to in the following chapter
on Congregational hymn-singing.
It will interest and, at the same time, elucate the choir
* London : Novello & Co.
THE CHOIR PRACTICE. 49
to call attention to any specialities in the technical and
artistic construction of the music under rehearsal. And it
will also help to take the music beyond the region of mere
signs crotchets and quavers and make it a more living
and real thing ; and there is no need to go beyond the
range of ordinary hymn-tunes to furnish examples as the
following will show.
Imitation between the different parts may be illustrated
by "Tallis Canon" (23*), the canon between S. and T. ;
also by Sir A. Sullivan's fine tune "St. Gertrude" (Church
Hymns) to " Onward, Christian soldiers, 1 ' the interchange
of the S. and T. parts in lines 1 and 3, which is a mild
species of " double counterpoint." Sequences may be
exampled by " St. Matthias " (28, 2nd tune), 3rd line of
words ; also " Dominus regit me " (1 97), 3rd line of words.
Melody of inner parts. Examples : " Nicse " ( 1 60), A. and T.,
against holding notes of S. and B. ; " Maidstone " (240),
duets between S. and A., and T. and B., especially in last
line; " Nun danket" (379), tenor melody of last line;
" Irby " (329) melodious tenor part throughout, and duet
between T. and B. in last two lines. Discords, and the
reason why they should often be accented, should likewise
"be explained. Example, " Day of rest" (271), the discord
on the 4th chord, notice how naturally it falls on the
words "I," "feel," "hear," "Thou," "see," in each
verse. The list may be extended ad infinitum, but enough
has been given to prove that even the practice of hymn-
tunes may be made interesting and profitable.
It is desirable for the choir to get thoroughly familiar
with the music they sing. Singing from memory, even
simple and well-known tunes, is not sufficiently cultivated.
The practice-time is often so limited, and there is or
ought to be so much to do, that the choir should be
encouraged to familiarize themselves with the music as much
as possible at home. Each member should only be allowed
* The numbers refer to "Hymns Ancient and Modern," revised edition.
E
COMMON PfiAISE.
to take away his numbered copy and no other, and be made
responsible for its return.
There should be an understanding as to when the choir
are to rise to sing at the services. The tune should be
played over immediately before it is to be sung, and the
choir should all stand up together at (about) the penultimate
chord, so as to be prepared for a good start.
Punctuality, both at services and practices, should be
strongly insisted upon. In churches where the choir seats
are in full view of the congregation it looks very
undignified for some of the leaders of the praise-service to
arrive late. Better for them to be five minutes too soon
than one minute too late. It is well for the choir to meet
before the service in a room near the choir seats, and for
all to file in together. This is much more orderly than
straggling in one by one, and it gives the choirmaster an
opportunity of meeting the choir collectively, and
reminding them (if necessary) of any important feature
in the service. This excellent arrangement has been in
operation at Christ Church, "Westminster Road, for the
past ten years, and with good results.
Choirs in Nonconformist churches have a bad reputation
for talking during the service. It is often done through
thoughtlessness, but it soon becomes a habit which may
be difficult to cure. However, the choirmaster must
repeatedly call attention to it till it is stopped, and remind
the offenders that it is wrong, besides being undignified
and childish. There will probably be more behaviour
critics than musical in a congregation, and it will be well
for the choirmaster to keep this possibility well before
his choir.
It should not be forgotten that the choir-practice must be
made attractive and interesting, or it will be almost
impossible to keep up the attendance. Many singers
think that the practice of hymn-tunes and other familiar
church music is child's play and not worth any trouble.
THE CHOIR PRACTICE. 51
They think they know all about it, and that there is
nothing new to be learnt. It is of no use to tell them they
are mistaken, means must be taken to gild their imaginary
pill. And this may effectually and pleasantly be done by
practising sacred music anthems and easy choruses
other than the service music, and some secular part-songs
of a high class. Unaccompanied part-singing is a pleasant
and profitable exercise in expression and blending of
voices, and should be regularly introduced at the rehearsals.
As before mentioned, these extra pieces may be of useful
service at conversaziones, church socials, and especially for
concerts to the poor. There are few church choirs that
could not do some really good work in this latter direction.
For three winters my choir have given concerts to the
poor in the E. and S.E. of London, and at our own.
Mission Hall, and, to judge from a repetition of the
invitations, with great acceptance. We undertook the
entire programme solos and concerted music. The
pleasure of giving the concerts was delightful, and the
" something to do" in the preparation for them was
beneficial to the choir in every way. It first arose from a
suggestion of our minister, Dr. Monro Gibson, who
thought the choir might do some " Mission work," and it
has proved to be mission work of a very enjoyable kind.
Mendelssohn used frequently to say to his pianoforte
pupils when they were playing to him, "Be bright!"
This advice may well be given to choirmasters and choirs
at the rehearsals. "When the interest of the practice is
seeming to flag, take up something new, or some popular
anthem or part-song, and the effect will be magical. It
will prove an excellent tonic to everybody. A musical
anecdote, or some little story from the life of one of the
composers, or the period at which he lived, will always
give variety and interest to the practice. By all means
avoid dulness and formality.
Generally speaking, the choir will reflect the personality
of the choirmaster. If he has pleasant genial manners,
52 COMMON PRAISE.
is enthusiastic, painstaking, and persevering, the choir
will naturally, almost unconsciously, assimilate these
qualities. If, on the other hand, he is dull, morose and
lazy, his choir if he can keep one will be inanimate
likewise. The choirmaster should he head and shoulders
above his choir in a musical sense. He should always
keep his temper, but be firm, and enforce discipline. He
should always be courteous, and kind to a fault. Let him
show the choir that while he must be very critical, he
appreciates all good, earnest work. He should be grateful
to them for all the help they give him ; and he should so
manage and conduct the rehearsal that the choir will
regret its termination, and that he may be able con-
scientiously to say, "Thank you, ladies and gentlemen,
for your kind and patient attention."
53
CHAPTER V,
CONGREGATIONAL HYMN SINGING.
The question " Have you a Hymn and Tune Book in
one?" was answered thus : " Yes," 94. "No," 132.
The affirmative replies came almost exclusively from
Presbyterian and Wesleyan Churches.
The question " Do you invariably keep the same hymn to
the same tune? 1 ' was answered thus: "Yes," 101.
"No," 125. Many of the former are qualified with
" nearly always ; " " as much as possible ; " " special and
peculiar metres."
Subjoined are some of the replies :
' ' I attach great importance to this ; but many ministers
ring the changes on such a limited selection of hymns that it
is difficult and monotonous." [This complaint occurs over
and over again.]
" It is our ideal, but we have not quite attained to it. There
are a few characterless hymns which may be sung to almost
any tune, but had better be sung to none." [This from a
minister.]
"Yes. Except very rarely when the hymn is asked for
without notice, and the tune is unknown."
" I believe in associating a tune with a hymn so that one
shall recall the other. I have to change the tunes sometimes
because some are such rubbish that they are not worth the
paper they are printed on." [Wesleyan.]
54 COMMON PRAISE.
' ' Yes ; and I think it a very good plan. I keep a hymn-
book which I mark with tunes that are suitable." [Baptist.]
' ' No. The same tune is repeated in the book, and cases
have arisen where two hymns selected by the minister are
both written to the same tune. [Wesleyan Hymn-book. ]
" No. The same hymn constantly recurs in many cases.
We have a different minister every Sunday." [The difficulties
of the repetition of tunes in the Wesleyan Hymn-book, the
constant change of ministers, and the limited selection of
hymns is frequently referred to by Wesleyan organists.]
The question "Do you think the fixed tune system (as in
'Hymns Ancient and Modern') desirable; or do you prefer
to have a separate tune-look?" was answered as follows:
"Fixed tune system," 91. " Separate tune-book," 123.
Subjoined are specimens of the pros and cons.
' ' The fixed tune system is certainly convenient, but it is
sometimes very irksome. A minister who does not make a
study of the tunes as well as the hymns may give out one,
two, or even three hymns all set to the same tune."
" No. I prefer to adapt the music to the hymns myself."
" I prefer a separate book, but I don't think it produces the
best results."
"Prefer an eclectic choice. We use ' Allon's Psalmist,'
' Bristol,' and ' H. A. & M.' "
" We use two ' Bristols ' and a MS. book. When the
number of tune announced is over 1,000, the people know
that it is in the MS. book."
" No fixed tune system I have seen satisfies me, any more
than any one tune-bo'ok contains all the tunes I should like
to introduce."
"Certainly a hymn should have its special tune, at the
same time I prefer a separate book or books."
" I prefer a hymn and tune book in one, but cut across so
that any tune could be used to any hymn." [Several similar
replies.]
" No. Because the ministers frequently choose the same
hymn on consecutive Sundays, thereby causing the same tune
to be sung too often." [This is a frequent objection.]
"Yes. 'Hymns A. & M.' is a splendid book, and
the expression marks make it perfect. I should like
every denominational book done in the same way."
[Baptist.]
CONGREGATIONAL HYMN SINGING. 55
" I think the fixed tune system very desirable. It seems
a pity that the choosing of tunes should be left to the caprice
of often incompetent choirmasters."
" Yes; especially when the tune and words are so wedded
together (as most in Sullivan's ' Church Hymns ') that to
separate them would bo divorce."
" It is decidedly best for the congregation to have the tunes
and hymns always fixed, but it sometimes gets monotonous
when one is repeated often."
" For my own part I prefer the fixed tune system,
and shall certainly adopt it if possible, for I think our con-
gregational singing would be improved and a love of music
cultivated in the minds of our young people. I may also
venture to say that every member of the congregation would
then possess a copy, and consequently we should probably
have some good singers spread over all parts of the church."
[Baptist.]
"We use ' Church Praise,' which is very good andjbetter
than a separate tune book."
" Yes. Music and words well fitted together seem to me
the right and proper thing. I could give many instances
from my own experience where certain tunes are associated
with sacred words, and cannot be separated from them without
causing one to feel that a mistake has been committed."
" I have grown to like the fixed-tune system,*and I think,
for the sake of association, it is better."
" I like fixed tunes, as theii^the people .may start'a tune
almost anywhere."
" Fixed-tune system vastly preferable, ^ as generally
securing proper adaptation and other advantages in the way
of cultivating and educating the taste of the congregation,
and enabling them to take part with ease in the service of
praise from previous] familiarity with the same hymn and
tune."
"No. I use the < Bristol,' ' H. A. & M.,' ' Church Hymns,'
'TheHymnary,' 'Wesleyan Tune Book,' 'Church Praise,' Dr.
Allon's 'School Book,' and our own 'Methodist Free Church
Book.' " [Total = Eight.]
The important question " Roughly speaking, what
proportion of the congregation use Tune Books ? " received
195 answers, which have been carefully summarized as
follows.
56 COMMON PRAISE.
None 27
" Very few ; " " Infinitesimal." j g5
1, 2, or 3 per cent. )
5to7 ,. 21
10 to 12^- 16
15 7
20 to 25 ,, 15
30 to 33 ,, 17
40> 50 14
65 to 75 4
" Pair proportion ;" " Considerable number." 5
" Nearly all;" " The majority." 4
In connection with these statistics, attention is directed
to the fact that out of 195 congregations, 151 return
25 / and under, and 92 of these nearly two-thirds are
returned " none " and " under 3 %." The number of
congregations returning 30 % and upwards (including
"fair proportion," &c.), is only 44. But of these no
less than 30 are either Presbyterian (26) or Wesleyan (4)
churches using books which ^have words and music on
the same page. Opponents of the fixed-tune system
please read, mark, and LEARN.
Specimen replies :
"Hymn books are provided by the chapel authorities on
loan free to every bo'dy." [Wesleyan.]
" Our ministers don't give me their hymns till service
time, and therefore I cannot publish them to the congre-
gation. This wants altering very much in Wesleyan
chapels."
"None. We use too many tune books. We have both
editions of the ' Bristol Tune-book,' 'Hymns Ancient and
Modern,' ' Cheetham's Psalmody,' and a MS. book for any
good tunes we come across." [A similar reply, as to the use
of several books frequently occurs.]
"None! They never know where the tune would be
found."
" Microscopic. The fewer the better."
"Not a dozen out of a congregation of 500. The ministers
CONGREGATIONAL HYMN SINGING. 57
do not like announcing the tune, and therefore the people do
not trouble about it."
" Very few. The tune books are 'conspicuous by their
absence."
The question " Do you ever use the Moody and Sankey
pieces'?" was answered thus: "Yes," 54. " JS"o,"
136. 36 did not reply. Of the "yeas" many add
"very seldom," and similar qualifications. There is a
very strong feeling against the use of these tunes on the
part of the organists and choirmasters. Many of the
replies are more forcible than elegant, so it is perhaps
better not to quote them. The following is a mild
specimen, and is penned by a minister :
" No Moody and Sankey at any price. Whatever may be
the advantages of these and similar pieces for Mission
services, they are ill-adapted for the worship-music of
cultured congregations."
The question " Do you succeed in infusing much
expression into the singing of hymns ?" being addressed to
the organists and choirmasters of the several churches, is
naturally a very delicate one, and it has received so many
qualified and modest answers that any statistics would
hardly give the exact results obtained in this direction.
Judging from the very large number of " we try to," and
" fairly so," and the comparatively few outspoken
"yeas," expression is not much infused into hymn-singing,
at all events, so far as regards the congregations. The
quotations which follow will be of more real value
than a summary of the replies.
" Not satisfactory. The congregation seem to have no
idea of expression whatever, and therefore our efforts are not
of much use."
' ' Very little. The hymns are not decided upon until a
few minutes before service time, and it is difficult to choose
appropriate tunes in time without having to give directions
to the choir as to the way to render them."
"Yes. Our book 'Church Praise' is well marked,
which helps us very much."
58 COMMON PRAISE.
' ' Only last Sunday I would fain nave silenced the organ
for a few bars in order to restrain a bass singer who roared
' I am full of sin,' as if he gloried in being so."
"Fairly so. Our congregation and choir are, musically
speaking, tolerably educated, and answer reasonably well to
the expression indicated by the organist."
' ' Not very much. Both choir and people seem to lose in
earnestness and to get slow and sleepy when the music gets
soft. Besides, there are no marks of expression in our
books. That is a want."
"Yes. The choir are very amenable to the necessity of
giving proper expression, and have attained considerable
perfection in the art of singing softly when required. I hare
no difficulty in giving them the ' tip ' during the singing of
a hymn, if not before."
" I find that whatever expression the choir may put into
their singing, it is all lost by the overpowering congre-
gational singing."
" Not much. The organ does most of the expression."
"The 'hearty' singing amongst Methodists sometimes
interferes with expression as regards the congregation."
" Very little indeed, chiefly on account of the great weight
of the congregational singing. The parson talks enough
about soul, but he fails to make them have one for music."
"We endeavour to do so, and I honestly think we manage
it fairly well. The object I set before myself is to get at
the meaning of the psalms and hymns, and through the
choir convey that meaning to the congregation. The choir
have no difficulty in carrying the people on, and the
congregation have become accustomed to my style, and
follow very well indeed."
"I may say our choir sing very expressively, and when
the congregation know the tune they catch up the points very
well, as we have ' marks of expression ' in our book. At
first the expression was almost ludicrous, but now we have
overcome the mechanical part."
" This is our special feature. Singing without it is brutal,
insulting alike to writer and composer."
"I believe so, as I have heard some members of the
church say that the singing has done them more good than
the preaching."
' ' I endeavour to make a great point in this matter. I
have a plan of communicating my wishes by a slight tap of
the foot which is felt (!) by the whole of the choir, though
unobserved by the congregation."
"The choir succeed tolerably in doing so in cases when the
CONGREGATIONAL HYMN SINGING. 59
hymn greatly depends on expression, but, as a rule, our
singing is too loud and expressionless."
" I find the congregation influenced completely by the
choir and organ. If the organ is loudly played, they sing
out as -well as they can, but if the organ is soft, a great
number cease singing altogether."
"Yes; and the congregation, being an educated one,
responds very quickly to any hint or suggestion coming from
the choir and organ with regard to the delivery of particular
passages."
" The choir follow the expression marks which are put
alongside every hymn, and the congregation follow fairly
well. But a sudden pp by the choir means full stop to listen
by the people."
' ' We are improving in this direction, and think there is
room for it in many of our churches."
' ' Yes. I spend a great deal of time in marking expression
in our hymn-books, so that the choir are prepared for any
changes, &c."
' ' I am very watchful and careful in giving expression in
my playing. The expression marks for all special hymns
are indicated in the choir books. Unfortunately our new
Wesleyan hymn-book is entirely devoid of such marks."
" I find it very difficult to do so with them collectively. I
think hymn-books should be fully marked with all p*s and fs
&c., as in ' Hymns Ancient and Modern.' "
" Yes. I make it a specialite, and as far as we are able
to convey a devotional, artistic, and unexaggerated rendering
of the writer's sentiments we all do our best. Wrong
phrasing of words is, I am proud to say, almost unknown
to us."
The questions "Is the singing of your congregation satis-
factory ? If not, does it lack quantity or quality ?" have
received such a variety of replies that it is almost impossible
to classify them. However, to put it mildly, a large
majority infer that there is room for improvement. The
following selection of replies will be read with interest :
"The singing is pretty general, but it is too loud, rough,
and uncultured."
" There is much to be desired, for when a tune is well
known it is sung so heartily as to make it slightly offensive,
as no great attention is paid to the meaning of the words.
When not known the singing is weak."
60 COMMON PRAISE.
"Plenty of quantity, but poor quality. They call it
' hearty singing.' "
" No, not hearty enough, and when it is hearty it is all
wrong as far as accent is concerned."
' ' It almost appears to me that our congregation only sing
when they please, and not systematically from a sense of duty
or love of music. Wesleyans as a body do not perhaps
attach sufficient importance to music in Divine worship, and
our congregations are very lethargic in such matters."
"Lacks both. Have tried to induce the congregation to
attend practices, but for the most part failed. It is uphill
work. Lack of interest."
" If the tune be a familiar one, our congregation join in
heartily, and there is certainly no lack of quantity, but there
is a great tendency to dragging. I think this is owing to a
want of feeling for rhythm, as they dwell too heavily ou
every note, and thus sing without the slightest suspicion of
accent."
' ' Very satisfactory, and always improving in heartiness
since the organ was introduced."
' ' The universal hindrance mental laziness is always in
the way."
"With an increasing knowledge of music on the part of
young members there is a yearly improvement ; but the
' room for improvement ' is still the largest in the universe."
"When the church is only half filled the people will
not sing."
"Were the organ and choir placed downstairs in front of
the congregation instead of opposite the pulpit as at present,
the chances of the congregation dragging would be much
lessened."
"We have quantity quality doubtful. The drawback is
in some of the old tunes which are favourites with the ' old
stagers.' They like them so well, that they treat them, as the
small boy does his toffy-stick make it last as long as-
possible."
' ' The congregation sing very heartily and pay close
attention to the leading of the choir in the matter of
expression. The result, I should say, is above the average."
"We have any amount of quantity too much some-
times."
"Wants quantity, quality, energy, and interest." [Several
similar replies.]
' ' Yes, very. Our congregation has always been noted as
a well-sung congregation, and I am bound to admit that
they do appreciate expressive singing, and take an important
part in making it so."
CONGREGATIONAL HYMN SINGING. 61
"It improves, and is considered good. We wish quantity
as the first element, quality can better wait, but we aim at
both." [From a minister.]
The questions "Are you troubled with flattening and,
dragging ? If so, have you formed any opinion as to their
causes ? " received many valuable replies, of which a
selection is here appended.
" To avoid dragging I sometimes take my hands off the
keys, for no one likes to hear his voice without the organ, so
they keep well up. In regard to flattening I believe, as a
rule, it is through taking the tunes too slowly. "When I hear
a tendency to flatten I quicken the pace a little which causes
them to sing with a little more spirit, and the pitch comes all
right."
"No, because we neither sing too loud, nor too fast.
These are the chief causes of flattening and dragging."
"Dragging yes, principally with old and well-known
tunes. This habit appears to me to spring from the want of
independence almost inevitably found in untrained singers."
" Tunes in triple time usually drag more or less."
"One member flat will influence the whole choir."
[Perfectly true.]
' ' We frequently have dragging. I attribute this entirely
to the misplacing of the organ and choir, singing from the
back gallery. The sound must take time to reach those
sitting below the gallery." [Organ in gallery opposite the
pulpit.]
" Dragging is largely, I believe, owing to careless
accentuation. Mr. Curwen in his Sol-fa Educators makes
much of accent in tunes, and I am sure greater attention to
it would largely do away with dragging."
" Dragging, yes. The persistent efforts of persons in the
congregation who from early associations have contracted the
habit of dragging, who have strong voices, and will be
neither convinced nor persuaded that the habit is wrong."
" Dragging arises from the fact that many people seem
to think it pious to sing slowly. And the slower the organ
and choir take a tune, the slower still will some of the people
sing it." [A minister. J
"We think good, lively singing by the choir the best
remedy."
' ' Yes. Meteorological conditions and slurred notes.
Dragging is an ingrained vice in some temperaments." [A
minister.]
62 COMMON PRAISE.
"It is a curious fact that 'flattening' was more observable
after my organ was tuned to equal temperament, which
theorists say would have an opposite effect. Frequent
singing unaccompanied is the best drill for curing 'flatness.'"
"Yes, partly caused by the sing-song style of singing
adopted at smaller meetings and prayer meetings becoming
stereotyped on the congregation."
" Only at morning services, which I think is caused in a
large measure by late rising."
" Not much. The congregation have a tendency to drag,
but if the choir mark the rhythm, and the tempo is held by
firm chords on the organ, the pace may be kept up. It-
seems to me that due attention to the rhythm helps much in
preventing dragging."
"Flattening is caused by bodily disorders, stooping
position while singing, imperfectly opening the mouth,
indifference to what is going on, lack of natural vigour, &c."
" The mode of playing the organ is sometimes the cause
of dragging. Tunes with several repetitions of the same
chord are sure to be dragged."
' ' Very rarely troubled with dragging. When such is the
case I make them (the choir) sing the next verse half as fast
again in unison."
" If the bass is particularly low, flattening ensues."
" Drill the choir well, and sing rather too quickly than too
slowly."
" I blame my inefficient basses, who are so uncertain, that
having once got a note correctly, they are unwilling to leave
it."
" Occasionally dragging. Causes: inefficiency of organist,
and sometimes carelessness of choir." [A minister.]
" Flattening, caused by tenors forcing their voices."
' ' We notice that -we almost invariably flatten upon tunes
in the key of Gr major." [Yorkshire choir of 42 voices.]
"Dragging caused by (1) want of brightness in 'giving
out ' the tune by organist ; (2) spiritless hymns ; (3) listless-
ness on part of congregation."
" I find a heavy sermon will cause flatness. I stand facing
congregation with choir on both sides and I beat time in full
view of all, though not ostentatiously, so we seldom, if ever
drag." [No organ. Choir of 60.]
' ' Our American organ is not strong enough, and the choir
not large enough to lead, and if the people sing out they can
have it all their own way."
" Flattening is sometimes caused by careless singing, but
much oftener by un vocal arrangements of tunes, and physical
exhaustion through singing too many verses."
CONGREGATIONAL HYMN SINGING. 63
"I believe the effectual remedy for dragging is for tlie
organist to keep resolutely to the correct pace, and not (as is
often done) to play the first verse too fast."
"As to flattening, (1) many tunes are 'pitched' so that
the tenor for example may have repeated notes at the
break of the voice. (2) Insufficient breath. This is a feature
in singing that is only beginning to be studied, many ladies
and gentlemen cannot hold a tone for ten seconds."
" Dragging ensues when the hymn is of a didactic or
unsympathetic character."
' ' Rhythmical feeling is the best mechanical antidote for
dragging."
"No. We were formerly. "When I found it occurring we
sang and played in a dashing, staccato manner, which would
at once sharpen and brighten the congregation. They very
soon knew what we were after and came up with us. It is a
capital plan."
" I am of opinion that the organist has a great responsibility
in this matter. If he has a sufficiently large organ and good
judgment in using it, backed up by a good choir, he ought to
be able to effectively control both time and pitch."
The question " Have you tried antiphonal singing of the
hymns, men alternating verse by verse with women, children
with adults, choir with congregation, &fc.?" was answered as
follows: "Yes," 31; "No," 195.
Specimens of the replies here follow :
" No ; our congregation are adverse to what they call
' dramatical singing.' "
" No. Not a bad idea at all."
"It was tried, but the men's voices in a country place are
rather rough to be pleasant in singing alone."
" No. But I make a liberal use of unison singing, and
with impressive effect."
" "We sometimes have a verse, or part of a verse, by
sopranos alone."
" I think it very effective when the hymns are suitable."
" No. Any such attempt would be stigmatised as
' Ritualistic,' ' the thin end of the wedge,' &c., &c. I have
no doubt you know the sort of complaint from which a
certain class of pious people suffer."
" No. But we often sing verses in unison with free organ
accompaniment."
" Yes, in such hymns as " Come praise your Lord and
Saviour," and " The strain upraise." We also chant the
psalms antiphonally, and find the effect most satisfactory."
64 COMMON PRAISE.
" We often have trebles only for one verse (words being
suitable), and again tenors and basses in unison, and some-
times all the voices in .unison. The effect is very good
when the harmony is altered in the accompaniment."
" Yes. Men alternating with women."
" Occasionally. . . Some time since I dispatched a
portion of the choir to the extreme end of upper gallery
from whence they sang a refrain pp."
" The choir sing one hymn antiphonally at each service."
" Only in such hymns as are so marked in our hymnal
' Church Praise.' "
" We have tried it with the exception of the last arrange-
ment. We think that it adds greatly to the effect of some
hymns, the verses of which are widely different. When a
calm, soft expression is needed, sometimes the women only
sing, and when a bold, martial tone is needed the men sing
in unison."
The question "Have you ever tried dispersing the clwir
among the congregation, or having several choirs which take
turn, month by month, to sit in the choir seats ? " was
answered thus : " Yes," 20 ; " No," 210.
Specimen replies :
" We have tried the system of two choirs, but we think
one choir, where all the members have a common interest in
the church's welfare and think it an honour to belong to the
choir, works best. This is certainly our experience."
[Glasgow.]
" The month by month system was tried here, but was a
complete failure." [Large London church.]
" No. While we have so much difficulty in keeping up
our present small numbers, such an idea though very good
is impracticable." [This reply occurs over and over
again.]
" No. Such a course would have a tendency to destroy
the esprit de corps of the choir, and lead to confusion."
[Occurs several times.]
" This was tried, but without much effect. A. permanent
choir is the most satisfactory." [Large London Presbyterian
church.]
" We call by circular a choir of 30 for each month, the
other members are dispersed throughout the congregation."
The "relief," or "double choir" is almost exclusively
a Scotch custom, where the choirs, in many instances, are
larger than in England.
CONGREGA TIONAL HYMN SINGING. 65
The question "Is a children's hymn ever introduced
into the ordinary services?" was answered thus :
"Occasionally," "very seldom," &c., 28; "Yes," 59;
"No," 133.
Most of the latter add " only at special children's
services," "anniversaries," &c. ; but the question specially
said "ordinary services." Many of the "yeas" are
qualified with "at the morning service only." It may be
of interest to call attention to the fact that of the 59
affirmative replies, no less than 33 are from the various
Presbyterian Churches, whose hymn-books are well
supplied with words and music specially adapted for
children.
Specimens of the replies here follow :
" Always in the morning at the conclusion of the
children's address." [Several similar replies.]
" On the second Sunday in each month the whole morning
service is for children."
"No. It is a good idea."
" No. Children seem to be forgotten altogether except
once a year at the Sunday School Anniversary."
" Children's sermon but not hymn."
" Yes. It is much appreciated."
The question " Save you a congregational practice?"
was answered thus : " Yes," 29 ; " No," 195. Many of
the former are qualified with "occasionally."
Here are some of the replies
"We have tried in vain to get the people out." [This
answer is constantly given.]
" The congregation is ' respectfully invited,' <fcc., but very
few come." [This answer occurs over and over again.]
" I have had three. Average attendance myself and
cnoir." [!J
" We attempted this about four years ago and succeeded
for a time, but the attendance gradually fell off, and after
some time ceased." [Similar replies very frequently occur.]
*' Yes. Monthly, in the winter, after Sunday evening
service."
" No. We tried it once. Out of a congregation of 1,200
about 30 came to the first practice, about 20 to the next, and
9 to the third and last."
p
66 COMMON PRAISE.
" Yes. No one comes."
" Yes. It is held for a few weeks at the beginning of
each winter season."
" Yes, on Sunday mornings." [Wales.]
" Yes, but out of a congregation of 1,200, only about 50
or 60 attend the practice."
" Yes, once a month. Minister takes the chair." All
new tunes are first tried at them." [Large London
(suburban) church.]
The question "Have you a Choral Society or Psalmody
Association in connection with your church ; if so, do its
meetings interfere with or supersede the ordinary choir
practices?" was answered as follows "No," 180; "Yes,"
34; "Classes for instruction," 12. Of the affirmative
replies, " It does interfere," 4"; " Supersedes separate
choir practice," 14 ; " Does not interfere," 16.
Quotations from the replies follow :
" The choral society helps the choir."
" Our weekly choir practice is really a choral society. A
gentleman connected with the choir teaches a ' popular
music class ' in our Church Hall. Secular pieces are sung,
and the rudiments taught. This has been for two years a
great success. Last year over 100 attended (150 enrolled).
This year 250 enrolled and average attendance of about 200.
There is a mere nominal fee one shilling for the season.
The teacher is popular, indefatigable, and thoroughly up to
his work, and I believe the effect on our psalmody will be
good." [Glasgow; 60 in choir; congregation of 900 to
1,000.]
" For a number of years we have had a singing class in
connection with the Sunday School, which serves the
purpose of a nursery for the choir. We have found this a
very valuable society, and its meetings do not interfere with
our choir practices."
" We have had spasmodic attempts, but till this winter
the difficulty has been that so few have read music with
anything like confidence and correctness. We have now a
class of 46, three or four times as large as anyone expected,
consequently no loss financially. We hope to turn out
about 40 readers, 30 of whom will be our own people."
[From a minister.]
" A junior class has recently been formed under the
direction of two members of the senior choir, one acting as
CONGREGATIONAL HYMN SINGING. 67
conductor, the other as accompanist. Average attendance,
35 (girls, 25, boys, 10); average age, 12 years. They are
practising a simple cantata and several part-songs. It is
expected that this junior choir will be a very valuable
adjunct to the senior choir."
" No. We have abundant evidence to make us believe
that Psalmody Associations are hurtful rather than helpful,
in the majority of instances, to the interests of the music.
They only too often cause friction and irritation by
unnecessary interferences with the choir," [Glasgow.]
" We have had a Choral Society. Sometimes it brings
members to the choir, but it often interferes with the choir
practice, as persons in business have a difficulty in attending
more than once a week. If we could get congregations and
singers to consider congregational music to be as worthy of
study as choral society music, I think we should find the
singing of choirs and congregations improve."
"A Psalmody A.ssociation was formed last winter (no sign
of it this), and it very much interfered with the choir
practice. Unless the choir assisted at the practisings there
was little work done, and we could not expect the choir to
give two evenings a week to singing psalm and hymn
tunes." [A similar reply occurs several times.]
" I have found a Theory Class for the young from 10
to 16 years of age of great value. I have carried it on for
the last two years, four months at a time. I taught them
the old notation from a large blackboard, and I got MS.
books in which they had to take down everything I said and
wrote. Progress was slow at first, but I found it sure. I
gave them a little analysis of chords, and some who had
been at both sessions could set down any major or minor
chord, and also the dominant 7th. I also made them write
the solfeggi syllables to^ every piece' I wrote down on the
board. . . It is to the young that we must look for
having good and true singing in the. future."
The questions " Are the Hymns and Tunes fixed for each
month, printed and circulated among the congregation ? "
" Do you think such apian desirable?" had an important
omission. The first one should have read " Are the
Hymns and Tunes except the hymn after the sermon fixed
for each month, etc. ?" The consequence is many object to
the plan on the ground that, "Ministers do not select
their subjects so long in advance." As the question
68 COMMON PRAISE.
was a little misleading it will hardly serve any purpose to
give statistics, but a few quotations may be useful.
" The only point that would be gained is that the congrega-
tion would have a chance to become more familiar with the
tunes." [And a good point too.]
" Before we introduce a new tune it is announced from the
pulpit at least one week previous to its being used, so as to
give all who wish the opportunity to learn it."
" No. I only wish they were." [A similar reply is
frequently given.]
" Advertised every Saturday in local paper." [Minister.]
" "We never get the hymns (as a rule) until five minutes
before service."
' ' I have found the congregation to take great interest in
the hymns and tunes when they have been published in the
monthly magazine."
" This is not done, but it seems such an excellent idea that
I shall do my best to carry it out."
"Very desirable. But at Wesleyan chapels where the
minister changes his place of service week by week, it would
be practically impossible to do so." [This is almost the
universal answer from Wesleyans.]
" We have tried this plan, and found it of great advantage."
[N.B. The numbers of hymns and tunes throughout this
chapter refer to " Hymns Ancient and Modern," revised
edition.]
No one will deny that the congregational singing in a
large majority of our Nonconformist churches is capable of
improvement. It will serve no good purpose to enquire
into the causes which have hindered its proper develop-
ment. Bather let me give some practical hints towards
making it better.
The minister's influence leads the way. It has been
referred to on p. 1 et seq., so there is no need for further
details.
Next in order, and of hardly less importance, come the
office-bearers. A "word in season" has been addressed
to them on p. 8 ; but it may be well to add a " word of
caution" about them. Beware of the "influential"
CONGREGATIONAL HYMN SINGING. 69
office-bearer if he happens to be anti-musical. (The
word "influential" in the office-bearer connection may
often be spelled . s. d.) He may be such a pillar (?)
of the church as to crush all the musical enthusiasm out
of minister, organist, and congregation. He will probably
be a staunch Radical in politics, but a Conservative of
the deepest blue in matters ecclesiastical. His church
music policy may be well epitomised in the second verse
of the Gloria Patri; and such remarks as "innovations,"
"new fangled notions," "ritualistic," "apeing the
church," &c., will be freely uttered by him at the deacons'
and other church meetings. He will not hesitate to
" sit upon " his brethren of the diaconate or eldership
should they be so heterodox as to suggest some scheme for
improving the singing. This is no imaginary picture, but
true to life, as many can testify. The only thing is to
try and convince such an "erring brother" that his
opposition is a great hindrance to the development of an
important, if not vital, element in Nonconformist worship
in these days the Service of Song.
I cannot refrain from inserting here the following
authentic story which came under my notice a short
time ago. An office-bearer was very much opposed
to anything new in church matters of every kind,
unless he suggested it himself. The organist of the
church was very anxious to introduce Smart's Te
Deum in F, but knowing the fuss that would be made
by this office-bearer whom we will call Mr. D. he
resorted to strategy in order to accomplish his purpose.
One evening Mr. 0., the organist, was to dine at Mr. D's
house. Before starting he put a copy of Smart's
Te Deum in his pocket, and managed surreptitiously to
place it amongst the music in the drawing-room. After
dinner he asked permission to "look over the music"
which was readily granted. He soon came across a
Te Deuin in the key of P, by Henry Smart, and said
70 COMMON PRAISE.
"I see you have Smart's Te Deum here?" "What is
it like?" replied his host in an interested manner, "let
us try it over." Accordingly they repaired to the piano,
and went through the Te Deum to the delight of
Mr. D., who pronounced it "exceedingly fine." "Could
we not have it in church, Mr. 0?" "Certainly," he
replied, " if you have no objection." The result was that
Smart's Te deum was sung in that church unopposed by
Mr. D., and with evident pleasure to the congregation.
Whether he claimed all the credit of its introduction is
not recorded. It may not fall to the lot of every
organist to enjoy the hospitality of the influential office-
bearer or to possess the remarkable cuteness of Mr. 0.
But in any case he may do much to soften the unfortunate
prejudices of either the influential or anti-musical elder or
deacon if he will only go the right way to work ; and there
is a possibility of entirely winning him over in course of
time by the exercise of patience and tact.
The necessity of securing a properly qualified and
enthusiastic organist and choirmaster has been shown in
detail on p. 10. It only remains to add that having
obtained the services of such a one, the church authorities
should have every confidence in him, and not worry him
with a number of trivial objections and unpractical
suggestions. Pussy officials are a nuisance to a technic-
ally-qualified musician. "I like tunes that are fruity,
like old port," said an elder to an organist of my
acquaintance. What could such a remark mean, unless
it referred to tunes composed in '42 ! Gentlemen of the
diaconate or eldership should become total abstainers
from all such observations.
Hymn and tune book combined. I am convinced from
experience and observation that providing the congregation
with the words and music on the same page is a great
help towards securing better and heartier congregational
singing. Besides the inconvenience of holding two books,
CONGREGATIONAL HYMN SINGING. 71
there is the risk of not always hearing the numher of the
tune, especially if, as is frequently the case, it is indistinctly
announced, or, worse still, if it is not given out at all.
No wonder the people trouble themselves |so little ahout
using the separate tune-book, as the lamentable returns on
p. 56 unfortunately testify. Give the congregation a
carefully edited hymnal, having words and music on the
same page, and there will be more part-singing, more
heartiness, and more interest in the worship music,
not only throughout the church, but also in the
home circle. For example, take the case of a young
lady who is fairly musical. Unless she is very
enthusiastic about the tunes she will not take the trouble
to find two places and hold two books. But supply her
with the tune on the same page as the words, and if it
takes her fancy she will most likely play and sing it
again and again at home. And it will not stop here,
for the other members of the family will probably
be attracted to, and join in it to the delight of all.
If this applies to one family, why not to twenty ?
And if to twenty families, why not to the whole
congregation ?
The Church of England has set an excellent example in
this matter, as all their hymnals are issued with words
and music combined. At the head of these stands that
almost incomparable collection (from a musical point of
view) "Hymns Ancient and Modern," of which, since its
first issue in 1860 to the end of 1886, twenty-five million
six hundred and fifty thousand copies have been sold.* (The
music edition was first published in 1861.) This example
Nonconformists have been too slow to follow. The only
denominations having the fixed tune system are the
"Wesleyan Methodists, and that insignificant and unmusical
community the English Presbyterians! To these must be
* I owe this ^information to the kindness of the Eev. William Pulling,
Chairman of the Committee of "Hymns Ancient and Modern."
72 COMMON PRAISE.
added the three sections of the Presbyterian Church in
Scotland. It is astonishing that the Congregationalists and
Baptists the two largest Nonconformist denominations
should have tolerated the inconveniences of ^the dual plan
so long. The Congregational "Union is about to issue a
hymnal with music (better late than never), and Dr. Allon
has recently published an excellent collection though far
too large entitled " Congregational Psalmist Hymnal," on
the same lines. It is to be hoped these books will meet
with all the success they deserve, and that the Baptists will
not be long in following suit.
Strangely enough the objections to the fixed tune
system come from some of the organists. They say
"Ministers have such a limited choice of hymns, that
with the fixed tune system we should be singing the
same tunes over and over again." But that is the fault of
the ministers, and not of the fixed tune system. From
the experience of many of my brother organists whose
opinion is worth having, and of my own (of both systems),
I have no hesitation in saying that the hymn and tune
book combined is the right system, and that the other is
entirely wrong. Moreover, as far as possible, a hymn
should be known by its tune, and the tune should suggest
the words. For every reason, I most strongly advise any
church about to change its hymn-book to adopt a carefully -
edited hymnal which has the music on the same page
as the words.
Before giving detailed hints as to congregational hymn
singing in general, it will be necessary to call attention to
the notation of hymn-tunes.
The majority of hymnals have their tunes printed in
minims instead of crotchets. This may be because the
minims look more sedate and ecclesiastic ; or for the more
practical reason that the thin paper on which some hymn-
books are (unfortunately) printed, receives the impression
of open notes better than closed. But it must be
CONGREGATIONAL HYMN SINGING. 73
remembered that the minim or, in fact, any note is only
relatively long or short. A bar of four crotchets may
occupy more actual time in singing or playing than a bar
of four minims. Therefore, the minims must be con-
sidered only as the beat-notes of each bar, and not as
indicating any particular speed. It is a little unfortunate
that minims are so frequently used as beat-notes in church
music, as in music other than ecclesiastical the minim is
looked upon as a long note, and the tendency is so to
regard it in hymn-singing, thereby giving it a fictitious
value. Some modern editors Sir Arthur Sullivan in
" Church Hymns," and Mr. Barnby in the " Hymnary "
wisely throw off conservatism in this respect, and
print their books in a more natural notation.
The long note at the beginning of each tune is now
almost obsolete, except in Dr. Allon's " Congregational
Psalmist." It should be entirely ignored, as its observance
does more harm than good. Some of Dr. Steggall's, and a
few other composers' tunes, are, however, exceptions.
Playing over the tune. The tune should be played over
immediately before the congregation rise to sing it. The
minister should do all the announcing before the playing
over. By adopting this plan the melody, the rhythm, and
the pitch of the tune remain fresh in the minds of the
congregation.
Speed. The speed at which a hymn should be sung
depends upon (1) the sentiment of the words, and (2)
the size of the congregation. Penitential and entirely
prayer-hymns should be sung slowly and be well
sustained. Examples: "Nearer, my God, to Thee;"
" Come gracious Spirit, Heavenly Dove." On the other
hand, hymns of praise should be sung quickly and
brightly. Examples : " Let us with a gladsome mind ; "
" worship the King." Some hymns require a medium
speed. Examples: "Pleasant are Thy courts above;"
" God moves in a mysterious way." Sometimes the
74 COMMON PRAISE.
sentiment changes either in each verse, or during the
course of the hymn. Example of the former, " I heard
the voice of Jesus say " (to Dykes's familiar tune, " Yox
Dilecti," 257), in which the second half of each verse
should be sung more quickly than the first, but the change
should be gradual, and the tune worked up in speed and
tone to the last line the climax of each verse.
Example of the latter, " There's a Friend for little
children," which should be sung as brightly as possible till
the last two lines, when a slackening of speed preceded
by a slight pause should be made to give point to the
prayer of the hymn " Lord, grant Thy little children,"
&c. Martial hymns should be sung in quick-step time,
and with well-marked accent. Example : ' ' Onward,
Christian Soldiers, "to Sullivan's irresistible tune, "St.
Gertrude."
Again, speed in hymn singing must be regulated by the
size of the congregation. A body of 1,500 people cannot
sing so quickly as one of 300. Any attempt to force the
pace of a large congregation will be attended with difficulty
and possible failure. This does not infer that the con-
gregation are to dictate their own time, but it is here
mentioned in a cautionary sense.
The tune should, as a rule, be sung in strict time. The
only exceptions are when a rallentando is specially inserted
in the music or text; and when approaching the close of a
hymn, when a little slackening of speed will help to
enforce its climax, and, as it were, seal the hymn. The
too frequent use of the double bar at the end of each, or
every two lines is an immense drawback to the carrying
out of this rule. It should be clearly understood that the
double bar merely indicates the end of the line, that
it is a guide to the eye in following the lines of words,
and that it has no musical significance beyond an ordinary
bar-line. It is not, and therefore, should not be
made, a pause.
CONGREGATIONAL HYMN SINGING. 75
All S.M. tunes (except in triple time) require their
full three beats at the end of the 1st and 2nd lines,
but there must be no pause at the double bar between
the 3rd and 4th lines they should be sung in strict
time. C.M., 7.6., and 8.7. tunes (except in triple time)
must have no break in the time between the 1st and
2nd, and 3rd and 4th lines the three-beat note at the end
the 2nd line is the only (natural) pause allowable. L.M.
tunes (except in triple time) ought to be sung in strict
time, but the rule has sometimes to be relaxed for this
metre. It is so constructed that there is no natural break
as in S.M , C.M., &c., so a slight breath-pause may be
made by lengthening the last^ note of the 2nd line not
more than a beat ; but there should be no pause between
the 1st and 2nd, and 3rd and 4th lines. These rules also
apply to compound] metres, D.S.M., 8.8.8., 8.7.8.7., &c.
Tunes of 6s, 7s, and 10s, will have natural breaks at the
end of each line. Of course it must be quite understood that
the above rules are not binding when they are contradicted
by special notes or signs. For example, "St. Cross"
(114), must have four full beats at the end of each line.
The rule is also relaxed in favour of the German chorales
(379, 111), which are frequently sung in German style,
with a pause at the end of each line. The proper function
of the double bar in hymn-tunes has been explained in
detail it is to be hoped clearly in order to remove any
misconception regarding its use.
Triple rhythms in hymn-tunes require careful attention,
in order to keep them in strict time. Triple time was
called tempus perfectum of the ancients, but as regards the
congregational singing of the moderns it might well be
termed tempus imperfectum. This want of rhythmic
feeling is especially prevalent in tunes of the " Martyr-
dom" type, where a long note of two beats is preceded
and followed by a note of one beat. The long note is often
not dwelt upon enough, the weight of the note is not
76 COMMON PRAISE.
sufficiently felt, and the short note, on the other hand, is
not sung lightly, or short enough. A strong accent in all
triple measures is absolutely necessary in order to preserve
the exact rhythm.
In the rare instances of a change of rhythm in a tune,
great care is necessary. Examples : " The roseate hues of
early dawn" (229), and "Days and moments quickly
flying" (289). In the former the change to the compound
duple time must he well marked, as must also the return
to the original common time, which is frequently attended
with greater risk. A similar wrench if I may use the
word in this connection from one rhythm to another is
also equally needed in the second example.
Rests indicate silence for hoth voices and organ, and
should he so observed. Examples : " The day is past
and over" (21, 1st tune), silent beat in second complete
bar; "0 happy band of pilgrims" (224), silent beats at
the end of the 1st and 3rd lines; "Art thou weary?"
(254, 2nd tune), where the rest between lines two and
three should be strictly observed, as it makes a significant
pause between the question and answer contained in each
verse.
Special emphasis is required on certain words to enforce
their meaning. Innumerable examples could be given,
but one or two will suffice. "0 Jesus, keep me" (21,
1st tune); " Jesus 'lives /" (140, 1st tune); "Free and
faithful, strong as death" (260, v. 4); " Thy will be
done," &c.
A repeated word or phrase should be sung with
increased fervour, and the comma should be noticed as
dividing the repetition. Examples: "Hark! hark, my
soul ; " " Praise Him " "Praise Him " " PEAISE HIM "
" PRAISE HIM," each repetition should be sung with
additional tone and feeling. Examples for similar
treatment of the comma: "Ever faithful ever sure;"
" God of mercy God of grace," the dash in all these
CONGREGATIONAL HYMN SINGING. 77
examples indicates a slight break for both voices and
organ.
Expression, which is variety iu tone, is absolutely
necessary for an effective and true rendering of the words.
To sing a hymn like " Sun of my soul " right through
without varying the tone to suit the sentiment of the
words, would be mechanical and soulless in the extreme.
Natural feeling ought to dictate the places 'where loud or
soft, ores, or dim., should be introduced, but expression-
marks judiciously added to the hymn-books, are indis-
pensable in order to ensure their simultaneous adoption by
the whole congregation. Unfortunately, most of the
Nonconformist hymnals (except those of the Presby-
terians), are without expression marks, therefore the work
of the organist and choir in this direction is often
disheartening. The only thing is to call frequent attention
to " expression " at the choir practices, and get the choir
to mark their books. This, while only securing a partial
result, is far better than singing a hymn regardless of its
varied sentiments and devotional feeling. The congre-
gation will often, to a large extent, readily follow the
changes which the organist and choir make to bring out
the real meaning of the words. Great care is needed,
however, in guarding against an exaggerated expression,
which is nothing less than sheer affectation, and contrary
to common sense.
Unison, or more correctly speaking, octave singing is
very effective. Its occasional use for the initial or final
verses, or both, of a hymn, gives a bold opening and forms
a grand climax. With hearty, full-voiced singing by
choir and congregation, supported by a free organ accom-
paniment, unison hymn-singing may be made very inspiring
and thrilling. Sullivan's clever arrangement of
"St. Ann's" to " The Son of God goes forth to war"
though perhaps a little too dramatic and uncongregational
in the 6th verse is a good example. Sir John Goss's fine
78 COMMON PRAISE.
tune to "Praise, my soul, the King of heaven" with the
3rd verse by sopranos only, and sung more slowly
than the other verses is a perfect specimen. Tunes
like "Hanover," "Nun danket" (see Mendelssohn's
masterly arrangement in his " Hymn of Praise ")
are splendidly climaxed when the last verse is sung
in unison. Broad melodies to robust hymns are best
suited for unison treatment. However, care must be
taken that the melodies lie within the compass of all
the voices. The "Amens" should invariably be sung
in harmony.
Antiphonal singing gives variety to the praise service.
Although one of the oldest forms of congregational song,*
it is seldom practised in Nonconformist churches, but there
is no reason why it should not be occasionally introduced.
Its simplest form is between choir and congregation.
Example : " Let us with a gladsome mind," the first two
lines by choir alone either with a varied or without
accompaniment and the congregation responding^ 1 with
the refrain, "For His mercy shall endure, Ever faithful,
ever sure." This treatment of Milton's hymn was
exceedingly effective in Christ Church, Westminster Road,
when the response was " poured forth" by a congregation
of upwards of 2,000 people. Another form is for female
to alternate with male voices. See 295 for a good example.
However, it is almost necessary for all the books to be
properly marked to ensure good antiphonal singing, except
* "Antiphonal, or alternate singing is of very high antiquity. It was
characteristic of the Hebrew and early Christian worship, and is mentioned
by Philo in the middle of the first century, describing the Therapeutee (De
Vit. Cont.), and has always been more or less practised in the church."
Rev. T. Helmore in " Grove's Dictionary of Music and Musicians, vol. I,
page 74.
Socrates, in his ecclesiastical history (Book VI, chap, viii), gives the
following miraculous story of the introduction of responsive singing.
" Ignatius, third Bishop of Antioch in Syria from the Apostle Peter, who had
conversed freely with the Apostles themselves, saw a vision of angels hymning
in alternating chants the Holy Trinity; after which he introduced the
mode of singing he had observed in the vision into, the Antiochian churches,
whence it was transmitted by tradition to all the other churches." " Stainer
and BarretCs Dictionary of Musical Terms," page 30.
CONGREGATIONAL HYMN SINGING. 79
when between choir and congregation. For this, a clear
intimation from the pulpit ought to be quite sufficient.
The Children's Hymn should be a special feature in the
morning service. In many churches it is the commendable
custom to have a children's homily, followed by a suitable
children's hymn. The children's hymn-tune, like
children's natures, should be bright, interesting, and
simple. Sullivan's "jolly" tune as the boys call it
"St. Theresa," to "Brightly gleams our banner," is a
good specimen, and Hopkins's "Children's Voices" (336)
is equally charming. Children's hymns which tell a story
should be simply and lightly sung, and the words very
distinctly enunciated. Mrs. Alexander's " Once in royal
David's city " is an excellent example of this class.
Faults in congregational singing. These are flattening,
dragging, bad phrasing, &c., caused to a great extent by
apathy and a want of interest in the praise service. If the
lethargic manner in which some people rise to sing
may be taken as indicating their interest in the singing, it
will be no exaggeration to put it below zero. Apathy in
congregational song blights, if it does not almost kill, the
praise service. It requires the application of a powerful
galvanic battery from the pulpit in the shape of a rousing
sermon to remove it, and the disease may have taken such
deep root as to necessitate a frequent repetition of the
shock before a complete cure can be effected. The treat-
ment here suggested is beyond the province of the music-
leader ; the minister should be the doctor in this disease,
and unhesitatingly apply the remedy.
Flattening. Atmospheric conditions may often account
for it. Such contrary elements as the east wind,
and a hot, stuffy, ill-ventilated church, will cause it.
Minor tunes, chromatic intervals, wide diatonic skips,
uninteresting, dreary tunes, a long, slow hymn, will all
have a tendency to fall in pitch. I have also found that
tunes beginning on other notes than the key-note will
80 COMMON PRAISE.
start flat, and a flat start will often affect several
succeeding chords. Examples : commencing on mediant
(22); on dominant (17); octave above or below final
note of preceding verse (378, 302) ; first inversion
of tonic chord (218); chords other than tonic (125);
change of major to minor at each verse (257). These
examples have been given as cautions, so that organists
and choirmasters may be on the look out] for the
danger of flatness in these and similar instances.
It is as difficult to always trace the causes of flattening
as to suggest a remedy. Of course it is of primary impor-
tance that the choir sing well in tune, and a great deal also
depends upon their giving a bright, crisp lead. Careful
watchfulness on the part of the organist is necessary, in
order that he may come to the rescue directly the pitch is
in danger. I have sometimes found transposition to be of
service. For instance, on a fine, bright morning, and
when the wind is not in the east, I play some tunes
always taking care not to exceed the compass of the voices
half a tone higher than they are written. Examples :
" Aurelia" in E instead of E flat, the original key; " St.
Peter" and "French" (or "Dundee") the same;
"Redhead, No. 47" (399) in D flat instead of C; and
especially those tunes with low bass parts. Whereas on
a miserable, raw winter's day, when colds are prevalent,
the pitch of some of the tunes may be lowered with
advantage.
A word of justification must be said for the much-
abused organist, in this connection. The common indict-
ment against him is that he plays too loudly. But what
in the world is he to do if he finds the congregation
are falling away from the pitch ? He must do one of two
things. Either increase the power of his instrument and
make the difference in pitch felt by the congregation, or
undergo the fearful torture of playing a quarter, or
CONGREGATIONAL HYMN SINGING. 81
perhaps, half a tone sharper than their singing. No one
who has sensitive ears could possibly endure the latter
unless he stopped them up. I believe the cause of the too
loud playing is to a great extent though by no means
entirely traceable to the "flattening" and "dragging"
which is far too prevalent in our congregational singing.
Tf the congregation would only throw off their apathy and
get really interested in the service of praise, there is no
doubt there would be better and brighter singing, and
consequently less flatness.
Dragging is another painful experience. Oh ! that it
were possible to inoculate the whole congregation with
rhythmic virus ! There are always some people who are
content to be a little way behind the rest. If this
slothfulness were one of the Christian virtues any
objection to it would be impossible, but in the praise
connection it is a vice which cannot be too strongly
condemned. The chief cause of dragging is the common
fault of lengthening, instead of shortening, the final notes
of phrases. The time occupied in taking breath should
be stolen as it were from the last note of the phrase,
and not from the first note of the new phrase. Unfor-
tunately, this rule is almost universally disregarded in
congregational singing, and the result is that the new note
is late in entering, and then, of course, dragging ensues.
And it is not only one phrase (or line) that suffers from
this common fault, but each succeeding one. In
fact, the whole hymn is thereby dragged. Instead of
becoming an uplifting exercise it degenerates into a
weariness of the musical flesh. No wonder if everyone
possessed with musical sensibilities is tired and thankful
when the end comes.
How are these faults to be remedied? A congregational
practice is a very doubtful cure, and for the reason
that only a very small percentage of the congre-
82 COMMON PRAISE.
gation will attend it. If the majority of the congregation
are unable, or unwilling to come to a week-evening
service at which the minister presides, they will not attend
a congregational practice. An open invitation to the
congregation to remain to the choir practice does very
little, if any good. Only enthusiasts in the service
music will accept it, and the number of these is so
small as scarcely to be of any use in leavening the whole
congregation.
Another remedial measure is to have what is termed a
" Psalmody Association," which is very general in
Scotland ; and it has also been in operation for some years
at Union Chapel, Islington, where Dr. Allon ministers.
Practically it becomes a Church Choral Society
sometimes, as at Highbury Presbyterian Church, an
amateur orchestral society is affiliated to it. Member-
ship is open to any member of the congregation who pays
a (nominal) subscription. The usual order of the
rehearsal is first to practise the church music for the
following Sunday, and afterwards to take up some cantata
or oratorio a public performance of the work being given
at the close of the season. To the majority of the members
the oratorio part of the rehearsal is more welcome than
the psalmody portion, because they do not feel the same
interest and responsibility that a well-organised choir
does, or ought to do in leading the praise service. The
Psalmody Association, unless it is carefully managed, has
two drawbacks. It will most likely supersede the choir
practice, and as in the case of Union Chapel, Islington,
referred to above it will, in all probability, develop
into an ordinary Choral Society to the exclusion of any
congregational service music. The consequence is that
the Psalmody Association may not exert that influence on
the service music which is expected from it.
Another and more potent specific is to have classes
for instruction in singing, phrasing, &c., specially
CONGREGATIONAL HYMN SINGING. 83
suitable to the young people. If a good teacher
can be secured, this is an excellent institution. It
will help to get the young folks interested in music,
which is a great point to be gained, because the juniors
will become seniors ; and for all future office bearers
to be really interested in the music of the church
would be a consummation devoutly to be wished.
Another advantage of the singing-class is that it will
become a nursery and training ground for future members
of the choir. Although primarily designed for the more
juvenile portion of the congregation ages 10 to 15
yet older folks should not be debarred from joining. The
elementaries of music notation, time, &c. should be
carefully explained ; and plenty of sight-singing exercises
from the black-board, followed by easy and tuneful
two-part songs should be introduced. A well-conducted
singing-class is a good thing, and deserves a trial.
A highly commendable plan for acquainting the
congregation with the tunes and other church music has
"been adopted by several English Presbyterian churches,
including my own. It is to print a list of hymns, &c. for a
whole month, and to circulate it amongst the congre-
gation on the last Sunday of the preceding month ;
copies are also framed and hung at the doors of the
church. The list may be drawn up by the organist
or choirmaster, and vetoed by the minister. The hymn
after the sermon is always left open, in order that one
may be chosen to suit the subject of the discourse. In
drawing up the scheme, due regard is paid to the seasons
of the year, both natural and ecclesiastical, and to any
special collections, &c., that may be coming on, such as
foreign missions, anniversaries, &c. The children's hymn
is always introduced (at the morning service), and is not
only looked forward to, but heartily enjoyed by the
young folks, and also by the children of older growth.
84
COMMON PRAISE.
Subjoined is a section of the plan.
(Satire
1887.
IIYMXS FOE,
Psalm .
3rd.
MORNING.
103
Anthem
Psalm
10th.
MORNING.
18
143
429
505
Anthem
Hymn ((
17
).) 4fi7
Hymn (C
.) ..
302
Hymn ..
EVENING.
....(1st tune) 487
Hymn
Anthem
Hymn ..
EVENING.
(2nd tune)
145
2fi
494
3^2
Psalm . .
65
Anthem
2
1st tune)
395
N.B.The
music of the following is, perhaps, the least familiar in the above
list, Anthems 2 and 18.
These numbers refer to the English Presbyterian
Hymnal, " Church Praise," which has words and music
combined, and which has all the congregational music
Anthems, Sanctuses, Chants, &c. within one cover.
Where a 1st or 2nd tune is mentioned the hymn is supplied
with a choice of two tunes. C signifies the children's hymn.
The practical results of this scheme are two, and both
are important. In the first place, it relieves the minister
of the trouble of searching for the hymns every week, and
it provides definite material for the choir practice. Thus,
with the exception of the hymn after the sermon, the
entire praise service is "cut and dried" before Sunday
comes round, to the relief of both minister and music-
leader. Secondly, as regards the congregation. If they
will not come to the practice the next best thing is to take
the practice (in a limited sense) to them. This plan
provides them with an almost complete bill of fare of the
CONGREGATIONAL HYMN SINGING. 85
praise service, in order that they may familiarise them-
selves with the music at home. Is the plan successful ?
Judging from my own experience, undoubtedly it is in
every way. From enquiries I have made I find that
families who, previous to the introduction of the hymn
list, took little or no interest in the service music, now go
over the tunes in the family circle regularly every
Sunday ; and it requires very little reasoning to show that
these home practisings must exercise a good influence upon
the singing of the congregation. Surely such a result is
worth securing, and speaking for my own congregation I
think they would be sorry to be deprived of their monthly
hymn-list. I may add that the plan has the cordial
approval of our minister. He says, " I like it ; it is a
great relief to me."
It has occurred to me whether an occasional lecture
say two or three in a season on congregational singing,
with musical illustrations, might not be tried with
advantage. There should be no possible objection to
setting apart one of the regular weekly-service evenings for
such a purpose. If this suggestion is entertained, the
lecture should have all the prestige of official sanction, and
be considered as part of the church work, and should be so
recognised. The choirmaster or organist might be invited
by the minister and deacons to give the lecture; if he feels
unequal to the task some competent outsider should be
asked. The church choir should give the illustrations to
show the congregation "how to do it." The congregation
should also sing, and any faults which they may have
should be pointed out by the lecturer. The minister
should preside, and enter into the subject with all
heartiness, and try his best to get up plenty of enthusiasm
and interest in the meeting. I am sure a very profitable
and, at the same time, pleasant evening might be
spent in this way, and with excellent results towards
improving the congregational song.'
COMMON PRAISE.
Finally, one very important, if not the chief remedy for
the singing ills that the congregational flesh seems heir
to, is to have a competent organist and a well-drilled
and efficient choir, not only to lead with precision,
but to set nothing but good models of style to
the congregation. An organist so qualified, and a choir
so constituted, can do great things in controlling, regu-
lating, and improving congregational singing. Good
examples in phrasing, accent, rhythm, expression, &c., if
resolutely persisted in and upheld, will exercise a greater
influence upon the congregational song than many would
believe. Therefore it comes to this, that the playing of
the organ and the training of the choir are the important
factors in furthering the worship music of the sanctuary.
On whom then does the responsibility rest ? The organist
and choirmaster. The moral is obvious.
87
CHAPTER VI.
CHANTING.
THE question " Is your prose chanting fairly ^vell done?''
was replied to thus : " No," 8. "Yes," 133. Of the
latter, 16 qualify "very well done," and several add
"room for improvement." 80 congregations do not
chant.
Subjoined are some of the replies :
"Yes; better than our hymn-singing." [Cathedral
Psalter used. Large Yorkshire church.]
" Yes, exceedingly well ; but we were a long time before
we succeeded in so doing."
"We use Dr. Allon's chant book, in which we think the
author to be wholly wrong as to the reciting note and the
accent."
" Yes. Much attention has been given to this department,
and it is much enjoyed both by choir and congregation."
' ' Yes. Particular care is taken about the accented words,
and the sense of the psalrn is brought out very well indeed."
"No, badly. Our leader's fault who 'rushes' a phrase
and then makes a long note before proceeding to the part in
strict time. I am trying to introduce a system of abolish-
ing that long note, and the people are taking it up well."
[A minister.]
' ' We do not chant. The hurdy-gurdy rhythms adopted
and strictly adhered to by many who go in for it, have left me
without desire to share any spoil from that field."
" We find chanting the most difficult part of our service.
88 COMMON PRAISE.
The difficulty is in getting everyone to pronounce the same
word at the same time paying attention to punctuation and
expression."
" Chanting has been adandoned for the present, as the
Psalter that was in use was so badly pointed."
" Yes, exceptionally so. Chiefly by reason of our accen-
tuating each accented syllable in the reciting portion without
laying special emphasis on the last accented syllable, as is
often done to the detriment, as we think, of the rendering."
" No. I am in darkness as to the proper method of chant-
ing. I have read various systems, and to me they seem
contradictory to one another."
' Congregations never can do it well, and as we wish
congregational singing, we do not attempt it."
' Fairly. We aim at singing the psalms as nearly as
possible as we should recite them. We often rehearse tho
words to a monotone."
" Yes; but we use Allon's book, the pointing of which is
very bad. We keep to a limited number of the most singable
chants, and have the accented word in the reciting phrases
marked in pencil."
" Excellently ; but only by means of a method of pointing
which indicates the syllable on which the strict time of tho
chant begins."
" About as well as can be expected with a ' Bible Psalter.' "
" Yes. We use the ' Magdalen Psalter ' and find it the best
and simplest."
" Yes ; provided the tempo be not too fast."
" I am beginning to think that prose chanting is beyond
the capacity of an ordinary congregation."
"We have a Psalter specially prepared for use in our
church by the present minister, and pointed on what may be
called elocutionary principles."
"Yes, when we have a good attendance at the practice."
"I may say yes, because we never venture on a chant
unless we have thoroughly practised the chanting of words
without any instrumental accompaniment. I wish you would
protest against a habit (so prevalent, I believe, in Congrega-
tional churches) of singers rushing on with the words to tho
reciting note ' helter skelter ' until they come to the last
syllable, and then no matter what the last syllable may be
emphasising it instead of some important word preceding
it. In our choir books (Dr. Allon's Psalmist) we have the
important to-be-emphasised words underlined in pencil."
"Yes; but unfortunately our Psalter has no accents
marked in it, only bars ; and though this is very well in
CHANTING. 89
theory, it fails in practice. It caused us much trouble at first,
and ultimately entailed a considerable amount of labour to
insert the accents in all the books." [Oakeley's " Bible
Psalter " used.]
"Yes, so far as the choir is concerned; but the congre-
gation seem perplexed by the pointing of the psalms, which
in Oakeley's Bible Psalter seems needlessly difficult and
eccentric,"
"Not nearly so well as I should like. Our book is so
foolishly pointed as to make nonsense of the words looked
upon apart from a religious view, and the deacons will not
allow me to change it. I tell them they are 50 years behind
the times. Should a few of them be removed I hope to
make an alteration." (!)
"We have no prose chanting; and I have not heard a
congregation like ours chant prose psalms in such a
manner as to make it desirable for us to introduce it. Congre-
gational chanting is, I fear, a matter for the next generation.''
" Poor, on account of the senseless pointing of the
Psalms."
' ' We only began to chant prose psalms last year, and find
them a most delightful addition to our service."
[Anglican chants only are referred to throughout this
chapter, as Gregorians, except in an Anglican form, are not
used in Nonconformist churches.]
Chanting in Nonconformist churches is a comparatively
modern custom. While we must go back to the period of
the Reformation for the earliest use of Metrical Psalms
and Hymns in public worship, we need only retrace our
steps to the second half of the 19th century to find the
earliest date of chanting prose psalms in Nonconformist
churches. In the comparatively short space of less
than forty years chanting, in many of our churches,
has become very popular. What our Puritan ancestors
regarded as a " Popish custom " has become a profitable
exercise to us; the "unclean thing" has been welcomed
into the services of Dissenting churches, and its aid to
devotion, when reverently and carefully done, has been
readily acknowledged. However, it cannot be said that
chanting in Nonconformist churches is by any means so
universal as hymn-singing. Hitherto, the Baptists and
90 COMMON PRAISE.
Wesleyans have not used it to the same exteut as the
Congregationalists ; and it is only within the last year or
two that the Presbyterians have introduced a practice
which their forefathers held in as great abhorrence as they
did the " kist o' whistles." Ecclesiastical bodies of all
denominations are very conservative and slow to move,
and any change, or "innovation," is viewed with great
suspicion; and when at last often after a fierce struggle
any alteration for the better is sanctioned, it is always
accompanied with grave shaking of hoary heads, and sighs
of regret that we are so rapidly "going over to Rome."
The causes which have operated against the introduction
of chanting in many Nonconformist churches are
not far to seek. There are two ; one is the objection that
it " apes the church," the other, that chanting can
never become thoroughly congregational. It is not worth
while to waste time in answering the first of these ; it is so
absurd that it can only be treated with the indifference it
deserves. The inconsistency of some people is remarkable.
They Avill sing with evident enjoyment hymns written
by Roman Catholics, but they will object to chanting
because the " church people do it." Such bigotry is
contemptible.
The second objection is to a great extent a reasonable
one. There is no. doubt good congregational chanting is
not nearly so easy as hymn-singing. Without being a
pessimist, I am inclined to think that in small churches,
where there are not an organ and good choir to lead,
chanting is better dispensed with.
One difficulty in the way of smooth chanting is
the use of the Bible words of the Psalms. The
Psalter in the "Book of Common Prayer" of the
Church of England is that of the "Great Bible"
of Coverdale, issued in 1 540, and it lends itself better to
pointing than the authorized version of King James,
which was issued in 161 1. However, this is a compara-
CHANTING. 91
tively minor obstacle. There are others more potent,
each and all of which I shall endeavour fully to meet in
the following chapter. I hope that I shall be able to
give such assistance as will minimise, if not remove, the
difficulties connected with chanting in Nonconformist
churches.
First, everything in congregational chanting depends
upon a good, unwavering vocal lead. That lead, in nearly
all churches, is the choir. In the recitation the most
difficult part of all the organ cannot help, except
to sustain the pitch. The choir must be thoroughly
well drilled in, and become perfectly familiar with,
both words and music. Each and ail must be together
all the way along the reciting note. There must be
no ambiguity about the place of the last accented
syllable of the recitation, or of the division of syllables
between it and the commencement of the cadence. One
erring voice may trip up the whole choir; and this will
not only unnerve the members who are in the right, but
will set a bad example of unsteadiness to the congregation.
Therefore, there should be constant practice of chanting
by the choir. The choirmaster who wishes to make
it successful must be prepared to give much time,
pains, patience, and btudy to it at the choir practices,
and the choir must loyally second his efforts. The
importance of a full attendance at the practice
cannot be over-estimated in this connection. Unless
the chant and psalm are thoroughly well known,
it will be far better for any members of the choir who
have not attended the practice to occupy seats amongst
the congregation, otherwise they may be more of a
hindrance than a help to the chanting. Members of
choirs too often think more of themselves than of other
people when they go on singing in their own way,
regardless of consequences to those around them. They
may think it a "joyful noise," but their fellow members
92 COMMON PRAISE.
will consider it a downright nuisance. Constant practice
by the choir is vital to good chanting, and its necessity
cannot be too strongly urged. In order to get the congre-
gation familiarized with chanting, it should be introduced
at least every Sunday, and also at the week-night service
if some of the choir attend to lead.
A single chant consists of two portions, the Recitation
and for all practical purposes the Cadence. A double
chant is two single chants combined. The recitation, or
reciting-note, may be of any length, and is unmeasured
music. The cadence - so called consists of two, or
three bars, and is metrical, or measured music.
The words of the recitation should be sung as in good
public reading, and not gabbled over and jumbled together
in the irreverent and unseemly manner so often heard.
It should be remembered that there may be one, two, or
three important words in the recitation each of which
requires an accent before the cadence is reached.
I am inclined to think that this is frequently forgotten.
It is a common fault for singers to accent with startling
emphasis some comparatively unimportant word near the
cadence, whereas some previous word of far greater
significance in the recitation has scarcely been heard at
all. For instance
All the earth shall worship Thee, and shall hing | un . to | Thee.
An accent naturally falls, and should be so observed, on
the word "sing;" but the preceding words "All,"
" earth," and " Thee " are of equal importance,
and each should surely have an accent. A good
reciter would not elocutionize the verse thus
Allth'earthsha'worshipTheean'sha' SING un . to Thee.
Such a rendering would be simply ridiculous. He would
not take almost as long to say " sing," as all the previous
words put together. He would naturally say
All the earth shall worship Thee, and shall sing unto Thee.
CHANTING. 93
Every word, every syllable, would be clear and distinct,
and the comma after the first " Thee " would be duly
regarded as a slight pause. There would be no gabbling,
or rushing the words, and no unnatural sforzando on
"sing." So it should be in good chanting, for chanting is
or should be musical reading. If a clear and distinct
enunciation of every word cannot be secured at the pace
at which the chant is usually sung, then, rather than
sacrifice one single word, slacken the speed.
Punctuation is a very important element in chanting.
Unfortunately it is too often neglected. It, likewise,
should be observed as in good public reading. Of course
it is not desirable to notice every comma, as it would
cause jerkiness and become fidgeting. For instance
I will praise Thee, O Lord, among the people
there is no need to notice the comma after " Thee."
Similar instances frequently occur ; and it would be a
great help if all unnecessary commas were deleted, as has
been done by Rev. Rigby Murray in his " Revised
Psalter."
An asterisk (#) indicating a slight pause for taking breath
in the recitation has been introduced into the Cathedral
Psalter, and its prototype the Bible Psalter (Troutbeck)
with excellent results. In long recitations its use is
invaluable not only as a breath mark but as a check
against gabbling. For a good example see Psalm 18,
v. 1 in the Bible Psalter referred to above.
So far as I know there are only three Anglican Psalters
which have marks to guide all along the reciting note.
They are (1) the "Clapton Park Psalter" 1876 (J. Curwen
& Sons) which is the development of a small collection
of " Psalms arranged in proper rhythm for chanting,"
edited by Rev. John Curwen in 1847; (2) "The Office
of Praise," chant selection of Baptist service-book,
(Hamilton, Adams & Co. ) ; (3) the very elaborate "Psalter,
with chants, for use in the Temple Church," edited by
94 COMMON PRAISE.
Dr. E. J. Hopkins, 1883 (privately issued). The great
drawback to the use of these and similar books lies in the
multiplicity of signs ; the bewilderment they create
increases, rather than diminishes, existing difficulties.
Another objection is that they produce a mechanical style
of chanting, and the attention which ought to be given
to the words is devoted to deciphering and observing the
numerous hieroglyphics. There should be as few signs as
possible. If care is exercised with the recitation, one
or two are quite sufficient.
I now come to what constitutes the chief difficulty in
chanting. It is the joining or grooving of the
unmeasured recitation on to, or into the first bar of the
strict time (cadence) of the chant. Most practical
musicians in effect say there must be a place of
rendezvous in the recitation at which the rhythmic form
of the chant commences. It is impossible however
excellent the pointing to fix a definite place for it in the
recitation which would suit ench and every verse, ;is by so
doing the sense of the words would be frequently spoiled.
Some authorities more learned in theory than wise in
practice say that their systems of pointing are so
adjusted that there is no need of any such rendezvous.
Others again are silent on the subject, expecting each and
every singer simultaneously to select the right place for
its introduction, whereas experience proves that this is
generally what they do not do. Anyone who has had
the practical training of a choir knows full well the
fallacy of these theories. Like many other theories they
will not work.
In order to correct the glaring errors which singers hud
fallen into in their chanting, Dr. Stephen Elvey
[1805-1860] issued in 1856, a "Psalter, pointed for
Chanting, upon a new principle." He spent many years
in thinking out aud perfecting his plans, and it is but
justice to his memory to say that his system has pi-actically
CHANTING. 95
been the foundation upon which most modern Psalters
have been pointed hence the importance of understanding
its principles. In his Psalter Dr. Elvey first introduces the
term "imaginary bar" in connection with the reciting-
note ; though, as a matter of fact, its use, or, to be more
exact, its abuse, had long been in operation previously.
He calls attention to the last accented syllable of the
recitation which is the beginning of the " imaginary
bar " and indicates it with an accent mark. Therefore,
the last accented syllable of the recitation (bear in mind
it is the last, not the only one that may require an accent)
is literally the point at which the unmeasured recitation
ends, and the strict time of the cadence begins. Dr.
Elvey says, "It is particularly worthy of remark, that
the last accented syllable should, according to this method,
form the commencement of an imaginary bar at the end
of the recitation-note. This appears to take off the
sudden change from the recitation-note to the metrical
part, and is the principle which the author has endeavoured
to carry out in pointing the Psalter."
So much for the doctrine of the " imaginary bar."
Before explaining its principles and guarding against its
abuses, it will be necessary to answer any possible
objections to the introduction of an accent marking its
commencement. If there is no accent mark the singers
will most probably fall into one of two errors. They
will either make an awkward pause on the last word or
syllable of the recitation no matter whether it is an
important one or not, or they will get into a rule-of-
thunib style of chanting, which may be likened to a
sharp run, followed by a hop, and then a slow march.
Many comical examples of both errors could be given to
show what ridiculous nonsense they make of the words,
but two mild ones will illustrate the points.
What is man, that Thou art | mindful . of | him ?||
There should be no emphasis, or pause on the word " art,"
96 COMMON PRAISE.
Avhich should be sung lightly ; but the important word
"Thou" should be gently accented. It should be
chanted
What is man that Thou art | mindful . of | him ?||
not,
What is man that Thou art \ mindful . of | him.||
The other error consists in constantly jerking the last
word or syllable but one before the first bar of the
cadence, regardless of the sense of the words. For
example,
O ta-te and see that the | Lord is | good,||
instead of,
O taste and see thit the | Lord is | good.||
The effect of the former will be,
O taste and see that the Lord is good.
What is "that," that we are to taste and see? Such a
rendering, when analysed, is absurd. But how often are
even worse incongruities perpetrated by misplacing the
accents in chanting?
It is in order to correct these and similar errors that an
accent mark is placed in the recitation at the point where
the metrical time of the chant commences. Its proper use
is of the greatest assistance to intelligent chanting.
There are two ways of indicating the accent mark in
pointed Psalters by a dash ' , as in the Cathedral Psalter,
or by different type, as in Dr. Elvey's. The dash is
preferable to disturbing the type. Those who use psalters
without accent marks will do well to insert the marks
in the choir books in order to secure uniformity, and
the result will amply compensate for the trouble
involved. A pencil underlining of the word will answer
every purpose, care being taken to make it perfectly
legible.
Having shown cause for the use of the "imaginary
bar" with the accent marking its commencement,
special attention must be directed to its frequent
CHANTING. 97
abuse. It is a very common thing to hear choirs
bolt along the recitation at a furious pace regardless of
the sense of the words, commas, and breathing places
up to the accent-marked syllable, which they dwell
upon and emphasize with startling energy, then make
the words between it and the first real bar of the chant
inaudible, and finally sing the few remaining words
of the verse at less than half the speed of the former.
This cannot be called chanting ; unseemly gabbling is the
only term for it, and it is astonishing how such irreverent
proceedings can be tolerated for one moment. If chanting
cannot be done more devotionally than this, the sooner
it is withdrawn the better. However, there is no
reason why it should be thus, if proper care is taken
with the recitation and treatment of the divisions of
the "imaginary bar."
It may serve some good purpose to insert here the
golden rule for the recitation before I pass on.
The words of the recitation should be deliberately recited
as in good reading aloud, every syllable and every word
distinctly and clearly enunciated. All important words
should be accented, and the punctuation carefully attended to.
If this rule is always observed there will be no
rushing up to the accented syllable of the "imaginary
bar." "When the accent-marked word is reached great
care must be taken to avoid emphasizing it too
strongly, and giving it unreasonable prominence. It
requires an ordinary, not an extraordinary accent. On
reaching the accented word the music of the chant
commences a tempo ; therefore, the accent-marked word
should receive nothing more than an ordinary first-beat
accent. It is very important that this should always be
carefully remembered.
It may be well, for the sake of completeness, to state at
this point that when there is only one word in the
H
98 COMMON PRAISE.
recitation, the musical form must override elocutional
rules. A familiar example is in the Gloria,
nd | to the | Ho . ly | Ghost.||
the word "and," though only a conjunction, must have
two full beats.
The several divisions of the "imaginary bar" must
now be considered. The " imaginary bar " is equal to
the value of a semibreve, or one whole bar of the metrical
part of the chant. It should be divided according to
the exigencies of the words. It is said, as an objection to
its use, that " the singers skip over the syllables which
intervene between the marked syllable and the cadence,
so that they are scarcely audible." If this be so it is the
fault of the choirmaster in allowing it to be done, and
not of the "imaginary bar." The words, or syllables
of the " imaginary bar " should have as nearly as
possible notes of definite length, of which every one
should be audible.
When the "imaginary bar" begins at the first word
of the reciting-note, the recitation is practically annulled.
Example,
Lord, re- | -member | David.||
Taking the preface to the Cathedral Psalter as an
authority, the " imaginary bar " will be divided into two,
three, four, or five (rarely) notes according to the number
of the words contained in it. Instead of giving a
number of perplexing rules, I think it will serve a more
practical purpose if I give some examples of the divisions
of the " imaginary har," with musical notes, from the Te
Deum as pointed in the Cathedral Psalter. The
commencement of the " imaginary bar " is shown by the
wavy bar line.
Two words, or syllables in the " imaginary bar"
H^
1. We ac- know-ledge Thee to be the Lord.
CHANTING. 99
3.To thee all an - gels cry a - loud, not an - gels.
J J r
5. Ho - ly, ho - ly, ho- ly, not Ho - ly, nor Holy.
. I_J
j
9. The no- ble army of martyrs, not no - ble.
20. We therefore pray Thee help Thy servants.
Three words, or syllables
. J J. J j
6. Heaven and earth are full of the ma - jes - ty.
j J J
7. The glorious compa- ny of the a - postles.
/
13. Al - so the Ho - ly Ghost.
~ I I
- --
26. to keep us this day with - out ein
Four words, or syllables
M I I. N I ! ! I ||
i * ^-'-H | 1|
4. To Thee cher- u - bin and ser - aph - in.
}.J_J__J^LJ__JLL 5 , II
16. When thou tookest up-6n Thee to de - liv - er man.
Although expressed in definite notes, the above ex-
amples must be sung somewhat approximately, but every
100 COMMON PRAISE.
syllable can be, and should be made distinctly audible.
It would convey a much clearer idea if they could be
illustrated vivd voce, but it is hoped they will be
understood as they are here presented. It will be
noticed that there may be two or three ways of dividing
the " imaginary bar." Natural feeling on the part of
the choirmaster, combined with a careful study of
elocutionary principles, should dictate the proper
divisions. Dr. Elvey uses four different kinds of
type to indicate the various divisions, but more recent
Psalters only mark the commencement of the " imaginary
bar," and leave it to the good sense of choirmasters to
divide it. Although I have advocated that there should
be as few marks as possible, it is sometimes a helpful
reminder to put two accent marks where the "imaginary
bar" has to be divided into two equal parts (two minims).
Example,
We therefore pray Thee help Thy servants :
in order to guard against its being rendered,
II
We therefore pray Thee help Thy servants.
Perhaps some may think the accent ought to fall on the
word " Thee," but in that case the important word
"pray" would not receive sufficient notice. Study and
experience will show the most natural rendering. It is-
important to remember there must be no break between
the reciting-note and the accent mark.
If the indications here given are followed out, every
word and syllable of every verse will be distinctly heard
in its proper sense. Of course constant study and
practice are absolutely essential to acquire smoothness ;
but when once the principles of correct chanting are
understood, and good habits are formed, all difficulties-
CHANTING. 101
will speedily vanish away, and it will be found that the
accents " will have fallen in pleasant places."
"When the recitation is once passed and the cadence
begins, the remainder of the chant is delightfully easy.
When two notes in the cadence are slurred they should not
be hurried. A beautiful effect can often be realised by the
slur being " bowed out," as it were. Example,
He that hath clean hands and a | pure | heart. ||
If the first note to the word "pure" is slightly dwelt
upon, and both notes carefully phrased, the result will be
very pleasing.
It is important to guard against what has been
termed the " rat-tat " effect produced when two
words or syllables have to be sung to the last note of the
cadence. Example,
" Holy | ho . ly | holy."
The last word should be divided (approximately) thus :
ho - ly, not ho-ly.
In practising chanting, begin by singing the words
slowly. Reading them aloud to the choir from the
pointed Psalter, slowly, naturally, and with good elocution,
will often prove very helpful. Some advise reciting the
words to a monotone before singing them to chant music.
I think it is better to wed them at once, providing they are
sung slowly to begin with. The choirmaster should make
a note of all the difficult and ambiguous verses before
going to the practice. He should be prepared to pattern
them, and should insist upon their repetition till there is
no doubt about their going smoothly and without
hesitation. Happily there are many verses that will be
so easy to sing that they will go correctly at first sight.
By picking out and noting the difficult ones much
time will be saved at the practice. When the music and
102 COMMON PRAISE.
words have become quite familiar, and there is no hitch
all the way along the recitation, the speed may he
quickened ; but directly any words begin to be indistinct,
or run into one another, or become the least bit inaudible,
the pace should be immediately reduced.
Attention should be given to the sentiment of each
psalm. A penitential Psalm like the 51st should be sung
slowly and in a very sustained manner. On the other
hand the 135th Psalm should be as jubilant and bright as
it is possible to make it. The former might be likened
orchestrally to "muted strings," the latter to the "full
orchestra." Meditative Psalms like the 23rd should be
sung in a tranquil, sustained manner. Psalms like
the 69th, which change their character from grave to
jubilant, require special treatment (see p. 104).
Before leaving this part of the subject, let me with all
earnestness emphasize the following important maxim.
Always practise your chanting without accompaniment.
THE CHANT.
The Chant exercises an important influence on the
chanting, as those who have had any experience in the
matter will readily acknowledge. A tuneful chant, easy
to sing, will carry the words along beautifully ; but a dull,
uninteresting chant, will be a weariness of the flesh of
every chanter.
Most Psalters are issued with chants on the same page
as the words. This is much the better plan, provided the
chants are carefully selected, as it avoids the incon-
venience of holding two books. Frequently there is a
choice of chants, or one on the opposite page, and one of
these should be invariably used. A chant to go well
should be interesting, tuneful, and free from chromatic
intervals. Scientific chants may delight the heart of a
CHANTING. 103
University Professor, but unless they are tuneful which
they seldom are they only become hindrances, instead of
helps, to the chanting. Chants with a number of passing
notes in the Jones in D style should be avoided.
Happily they are passing into antiquarian regions, and
their progress thither should not be retarded for one
moment.
The reciting note should be of medium pitch. It should
not be above C (second space) in the treble, unless in a
very short psalm like the 150th, when the next note above,
D, might be the limit. Low reciting notes in the bass are
often a drawback to the flow of the recitation, unless as
is frequently not the case the bass voices are excep-
tionally good in their low register. A study of the
productions of the best chant composers, Goss, Turle,
Hopkins, &c., will show how very rarely they make the
bass reciting note below C, second space of bass clef.
When there is no alternative chant, a low bass reciting-
note may be altered to the octave above, providing, of
course, that the progression of the part is not seriously
affected, and that it does not cause the bass to rise above
the tenor. For a good example see Soaper's well-known
chant in A (or G), where the use of the upper, instead of
the lower A, gives a fillip to the bass reciting-note.
It is sometimes advisable to avoid chants that have
a dotted minim in the recitation, as it may give some
trouble in dividing out the " imaginary bar." Also it
is better not to use chants with two notes (in any
part) at the last bar of the cadence using the word
cadence in the chant connection because when there
are three syllables to be sung to the two notes, the division
is frequently awkward. When there are never more than
two words in the cadence bar of the whole psalm it does
not matter. Sometimes a chant requires transposition,
either up or down, according to the sentiment of the
104 COMMON PRAISE.
psalm, the state of the weather, and other causes.
Generally speaking it should not be transposed more than
half-a-tone either way, and then care must be taken that
it does not exceed the compass prescribed for the reciting-
note.
When a separate chant book is used good judgment is
required in securing a satisfactory mating of words and
music. A jubilant chant for a psalm of praise ; a minor,
or pathetic chant for a penitential psalm, and so on. A
fine effect may be made by changing the chant from minor
to major in the course of the psalm. Example : Psalm 69,
to "R. Cooke in C minor" to v. 30, then changing it at
v. 31 to " Lawes in C. " If the first part is sung rather
slowly and meditatively, and the change to the major
chant be made suddenly with a full tone, and the time
slightly accelerated, the effect of this "flood of light,"
after the previous wailing chord, will be grand and moving
in the extreme.
Where antiphonal singing is customary, single chants
may be used if changed at each psalm when more than
one is sung. Their frequent reiteration, however,
becomes very tedious to the congregation unless they, as
well as the choir, sing antiphonally. In most Noncon-
formist churches the choirs are not strong enough, nor
are they suitably seated for antiphonal singing, so
it is much better for the reason stated above to
keep to double chants. Great care must be taken
to note the repetition of the "second half" of the
double chant when the verses of the psalm are uneven.
It is usually, though not always, repeated at the last verse
of the psalm.
When the Te Deum is chanted, two chants, a major
and a minor, should be used to heighten the effect of the
words. The change should be made at the verse
CHANTING. 105
commencing ""When Thou tookest upon Thee," and the
change back to the major at "Day hy day." Sometimes
a third chant is used at this point, hut the two chants is
the simpler arrangement. The minor part should he sung
more slowly, and at the words " Day by day " there should
be an outburst at the major chord, and the original speed
resumed. The first chant only should be played over.
"When the Te Deum has 29 verses, as in the Prayer
Book, and a double chant is used, the "second half" should
be repeated at v. 9, "The noble army of martyrs," and
not at v. 15, " Thou art the everlasting Son." Sometiines
verses 12 and 13 are sung as one, and then there is no
need to repeat the " second half." The latter part of the
last verse of the Te Deum will naturally be sung more
slowly. For some divisions of the " imaginary bars" in
the Te Deum see p. 98 et seq.
Chanting metrical psalms is an abomination, for the
reason that the first and third lines of each stanza (C.M.)
will be rendered as follows :
Ex. 1. Great is the Lord, and great - ly He.
Ex. 2. He to the cat - er - pil - lar gave.
There could be no possible objection to the division of
words in Ex. 1, but Ex. 2 would be ludicrous. This
style of chanting (as a matter of fact it is not chanting at
all) is only used in some Presbyterian churches where the
Scotch Metrical Psalms dear to Scotch hearts are still
retained ; though in consequence of the introduction of
prose chanting, metrical psalms are being more generally
sung to metrical tunes, as they always should be.
There are very few metrical hymns with chant settings.
Charlotte Elliott's beautiful lyric, " My God, my
106 COMMON PRAISE.
Father, while I stray," to Troyte's chant, is a worthy
specimen ; but it should be sung as an unmetrical hymn
to secure the proper accents, and to bring out the full
beauty of the words. For example, verse one should be
accented as follows, and each comma duly noted, instead
of in the gabbling style so frequently heard which
amounts to murdering this exquisite poem.
My God, my Father,
Far from my home, on
O teach me from my
Thy
while I
life's rough
heart to
will be
stray,
way,
say,
done.
A happy admixture of chant and metrical setting has
been provided by Dr. Stainer in his beautiful tune to
Keble's "Hail, gladdening Light," (A. & M., 18). As in
the previous example care must be taken to avoid rushing
the recitation. The first part of line one should not be
hurried, but deliberately recited and both commas noted.
It should be :
Ha"il, gladdening Light, of His pure | glory poured,
not
HailgladdeningLightHif-pr glory poured .
with a long pause on "pure" to get into the metrical
portion of the tun'e.
Similarly the following :
Worthiest art Thou at all times to be sung.
not
WorthiestThout'alltimes to be sung.
The following is a list of some of the pointed Psalters
with Bible words, with their editors' and publishers'
names and other particulars.
CHANTING.
107
O fl
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.2
J $
B
8 |
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108 COMMON PRAISE.
Of recently issued Psalters with Bible words, the
following" are undoubtedly the best, as being thoroughly
practical and useful.
(1) The Revised Psalter, containing the revised version
of Psalms (selected), canticles, responses, &c., edited by
Rev. Rigby Murray. This psalter is provided with a good
selection of chants, and is supplied with accent marks.
(2) The Bible Psalter (complete psalms, authorized
version), pointed by Rev. Dr. Troutbeck, on the plan of
the Cathedral Psalter, with accent and breath marks, but
without canticles or music.
The following collections of chants are recommended :
(1) The Cathedral Chant Book, edited by Dr. Stainer
and others. (2) The Westminster Abbey Chants, edited
by Turle and Bridge. Both published by Novello & Co.
(3) "A Collection of Chants" by Dr. E. J. Hopkins,
("Weekes & Co.) Each of these may be purchased for
one shilling.
For interesting and instructive literature on the subject
of chants and chanting, the reader is referred to the
following. Preface to Stephen Elvey's Psalter (Parker) ;
Preface to Oakeley's Bible Psalter (Msbet) ; Preface to
Cathedral Psalter (Novello) ; Preface to E. J. Hopkins's
collection of "Single chants in four-part harmony"
(Weekes & Co.). Also the articles on "Chant" in
Stainer & Barrett's " Dictionary of Musical Terms "
(Novello), and in Grove's " Dictionary of Music," by Rev.
T. Helmore (Macmillan); and to Mr. J. Spencer Curwen's
"Studies in Worship Music," 1st series, pp. 113-126
(J. Curwen & Sons).
109
CHAPTER VII.
ANTHEMS, SOLOS, SEEYICES (TE
DEUM, &c.), AND KESPONSES.
ANTHEMS.
THE question " Do you use Anthems ; if so, are they sung
by the choir, or by the congregation and choir?" was
answered as follows. "Choir alone," 91. "Congregation
and choir," 98. "No anthems sung," 35. Some of the
answers " Choir alone " are significantly qualified hy
"offertory only," 5; "Occasionally," 33. This reduces
the number regularly having anthems for " Choir alone "
to 53, and in some of these it is very possible that the
congregation have the opportunity of joining if they care
to embrace it. A great many of the 98 " Congregation
and choir" are qualified with "the congregation only
join in to a very limited extent."
Subjoined are some of the replies.
' ' We have anthems every 2nd and 4th Sunday in each
month, morning and evening of each day, by the choir
alone."
" Yes, by choir alone. We have sung Gounod's ' Send
out Thy light,' Bennett's ' God is a Spirit,' Elvey's ' Where-
withal shall a young man ? ' and others of the same class.
I consider that a service is incomplete which does not as far
as possible meet the tastes of all, and that it is quite as great
a mistake to have it all congregational as all choir. If you
have it all congregational you offend the cultured musical
110 COMMON PRAISE.
class. If you have it all choir you offend the uncultured.
The introduction of an anthem sung by the choir is a relief
and satisfaction to the musical, and is not, or ought not to
be, felt oppressive or objectionable to the unmusical, seeing
that they can join in the rest of the worship. Besides, the
anthem is the grand magnet for keeping a voluntary choir
together at practices and on Sundays." [This is excellently
put.]
" We sing an anthem at the commencement of each
service. It ensures the punctual attendance of the choir, a
great desideratum."
"Yes; the congregation are expected to join, but I can
never hear them. Our congregation is noted for criticising."
' ' Yes, two each Sabbath ; but they are mostly, and will
continue to be I fear, sung by the choir. To this I see no
objection. 1 can see no reason why if one prays for all, a
few should not sing for all. To my mind a well chosen and
well rendered anthem is frequently as good in its influence
as very many sermons. This applies to solos also."
"Yes; and the congregation in all cases very heartily
join with the choir in the singing of them." [Scotland.]
" I think anthems ought to be sung by the choir alone,
provided they are sung well and in the spirit of devotion
and with an utter absence of self-display. Otherwise they
are better tot sung at all."
"We sing two anthems at each service. The first is taken
from the ' Congregational Anthem Book,' in which the
congregation join; but the second is either an anthem or
chorus for the choir alone."
" Yes, the congregation join. I think they find them less
difficult to join in than prose chanting."
" Yes, by congregation and choir. During offertories and
on special occasion's the choir sing a longer and fuller
anthem alone, besides the ordinary anthem."
' ' Anthems are sung on special occasions, such as
Christmas, Harvest Thanksgiving, &c. We look upon an
anthem as a ' sermon in song,' and therefore not intended to
be sung by the congregation."
The anthem, as understood in its modern sense, covers
a wide range of vocal and instrumental execution. On
the one hand there is the stately, hymn-tune simplicity
of Tye and Farrant, and on the other the modern
chromaticisms of Gounod and Dvorak. A glance at the
published music reports of St. Paul's Cathedral will show
ANTHEMS, ETC, 111
the eclecticism in the choice of anthems sung there. All
schools and styles English and Foreign, Protestant and
Roman Catholic are laid under contribution to supply
the repertory of the anthem.
The average congregational anthem hook is a very
hotch-potch collection, and includes all sorts and con-
ditions of composers and their works. It contains some
very easy anthems, and others that, for an untrained
congregation, will he found difficult and, therefore,
Mwcongregational. The former usually consist of a poor,
weak melody, and the harmony (weaker still) will he
limited to the chords of the tonic, dominant, and sub-
dominant, with their inversions. Compared with literature
it is just the difference between a tale written in
monosyllables and a chapter of "David Copperfield." Of
course there are exceptions e.g., Farrant's beautiful
" Lord, for Thy tender mercies' sake," and Sullivan's
"Lead, kindly Light" but unfortunately such specimens
are far too rare. Then, on the other hand, there will
be found anthems that require careful preparation even
by a trained choir. For instance, those containing points
of imitation (W. H. Monk's "The Lord is my strength");
high notes in soprano (Gounod's ' Ave Verum"), which
will he sung by many men's voices two octaves below
their legitimate pitch ; syncopated rhythms (Goss's "
taste and see"), where the unrhythmical-feeling portion
(always a large one) of the congregation will be all out of
time; passages for sopranos only (Stainer's "What are
these?") unhesitatingly bellowed out by men at the
octave below, &c., &c. Many other instances might be
given, but the atrocities here enumerated are enough
to make any musical person's hair stand on end,
and to cause regret that the people who commit them
have so little regard for their fellow worshippers.
Another drawback to a satisfactory rendering of
anthems of this class is caused by the different
112 COMMON PRAISE.
voices S.A.T.B being promiscuously scattered about
amongst the congregation, instead of their being
concentrated as in the choir ; consequently the effect of
unity is lost.
It may possibly be said " Why not always have an
anthem so easy that all can join?" But where is the
line to be drawn ? What might be considered easy by
some, might be thought difficult by others. Most easy
anthems are so insipid and characterless that fairly
musical persons (and their number is rapidly increasing)
would far rather be without them, and would much
prefer a good hymn-tune instead.
The introduction of a more musically interesting
anthem, although it may be even more devotional than a
very easy one, will, in all probability, raise a storm of
indignation from one or two conservative office-bearers and
others who have no sympathy with music, and who
rather repress than encourage anything more than an
elementary use of it in Divine worship. They will say
"Why introduce that which the people cannot sing?"
If they are a specimen of "the people," the answer
would naturally be "If we waited till you could sing
it as it ought to be sung, we should have to wait a
very long time." Men of this stamp are far too
narrow in their sympathies. They seem to forget that
there are a large number of young people in the
congregation to whom a dull service is not only an infliction,
but one that offers them every inducement to go elsewhere,
or worse still, to abstain from attending a place of
worship altogether. Instead of helping to extend the
church, their policy only hinders its progress, though
it may be unconsciously to themselves. Their intentions
may be good, but they are sadly mistaken ones. Unless
the minister has exceptional preaching gifts, office-
bearers and others will do well to encourage a bright,
attractive service, or the consequences in the future
ANTHEMS, ETC. 113
may be very serious to the life and prosperity of
their church.
But to return to the anthem. Experience proves that
unless the anthems are very easy a certain proportion
of the congregation (more or less large according to its
musical culture) cannot possibly join in them without
spoiling the musical and devotional effect. Xo wonder
that a well-known musician said that, while attending
a service during his vacation and sitting among the
congregation, "I was obliged to pinch myself in order
to counteract the effect of the discordant noises around
me." An easy anthem, is all very well now and again,
but a continuous round of such is undesirable for the
reasons already given.
But what about the anthems that require more careful
singing, and that are beyond the musical capacities of the
majority of the congregation? Must they never be sung?
If so, there is no need to discuss the matter further.
Popular opinion will, however, decidedly say they should
be sung. What then ?
Is there any good reason either scriptural or of
principle why the choir of the church should not
sing some, if not all, the anthems, and the congregation
praise in spirit ? The minister is the deputy of the
whole congregation in speaking their prayers. Cannot a
section of the congregation, who are specially qualified by
natural gifts and training, be allowed to sing some of
the praises of the remainder ? Surely one is as logical
as the other. Here, then, is a suggestion for the solution
of many difficulties. Let the choir alone sing the anthem,
and while it is being sung let the congregation " make
melody in their hearts."
One derivative claimed for the word anthem is the
Greek Anthos, a flower, on the ground that it is the
"flower" of the musical service. Is it not much better
to enjoy to the full the fragrance of this "flower,"
i
114 COMMON PRAISE.
instead of destroying its bloom and distorting its form
and beauty? There can only be one common-sense
answer to such, a question, and that, of course, an
affirmative one ; but the mere putting of it may raise
a storm of objections. Some of these I shall now
endeavour to meet.
It will be said that when the choir sing alone it
becomes a "mere performance." Now the real meaning
of the word "perform" is "to do thoroughly." There-
fore, the better the performance the more thoroughly it
is done. But "performance" in this connection is
generally said in such a manner as to insinuate that the
performers (the " thorough doers ") are not actuated by
proper motives in the doing thereof. In fact, it is no use
disguising the matter, all members of choirs have been
looked upon in the past more as singing heathen than
worshipping Christians. Such a calumny deserves to
recoil upon the heads of those who make it. There is
just as much reason to infer that the minister's public
prayers and sermons are "performances" in the sense
here indicated. My firm belief is that if church and
chapel choirs are treated with courtesy and consideration,
if they are made to feel the responsibilities of their
important duties and high office, they will add to all
their performances, ("thorough doings") that fervour and
devotional feeling without which all religious exercises
are mere shams.
Another objection may be "that anthem singing by
the choir is not scriptural." I am inclined to think
that it is sanctioned in scripture, nay, that we are
even commanded to " admonish one another in psalms,
and hymns, and spiritual songs." Moreover, are there
not many things done as matters of convenience and
expediency in church services and organizations for
which there is no scriptural authority whatever ? There
is no Bible warrant for the organ, yet that particular
ANTHEMS, ETC. 115
kind of instrument is almost universally admitted to
be a great assistance in the praise service. Or for a
more striking and familiar example take that modern
institution the Sunday School. Eut this is trenching
upon ground beyond the scope of this work.
Then there is the objection on the ground of tradition.
4 ' It never has been so, "why should it be done now ?
How many more innovations?" and so on. Time has
altered many practices and methods of church life and
work, and even theology is not what it used to be in
the "good old days." Tradition is only a matter of
sentiment, and not of practical utility. The tradition
of the stage coach is all very well ; but how many
"business men would be willing to spend 19 or 20 hours
on the journey from London to Manchester on a winter's
day, when they could travel from Euston in 4 hours and
1 5 minutes ? In matters of expediency, tradition stands
a very poor chance. What our great-grandfathers did
in their days no doubt suited their capacities and emotions
very well, but it does not follow that it is expedient for
us to keep in the same groove and to follow their
example either in our mode of travelling or in our
mode of worship.
Then I can imagine some saying, "This is the thin
end of the wedge, we shall have the church turned
into a concert room and all congregational music will
be done away with." Not so, I am suggesting that the
anthems only should be sung by the choir, and their
doing so will not deter the whole congregation from
joining in the three or four hymns which should always
be included in every service. If there is any fear of
doing all the praise of the congregation by deputy
in the same manner as the prayers, even to the
extent of the Lord's prayer in some churches,
are offered by deputy then, by all means banish the
anthem entirely.
116 COMMON PRAISE.
Then there may be some ministers who, on reading
these pages, will say, ' ' These organ fellows will be
turning us out of our pulpits before long. We shall
have to give up everything to these musical enthusiasts.
The sermon will sink into insignificance, and our
supremacy over the service will be a thing of the past."
I believe it to be the earnest desire of my brother
organists, or at least the majority of them, to be the ready
helpers of their minister by making the musical service
bright and attractive to those who worship, and by
this means to cheer and stimulate him in his important
duties and ministrations without any thought of rivalry.
Supposing these objections where they exist to have
been met, and the suggestion be adopted that the choir
alone sing the anthem as an experiment, there are one
or two important points to be considered. First, care
must be taken that it is sung well, both musically and
devotionally. If it is sung for mere display and without
any earnestness of purpose, the sooner it is put a
stop to the better. Secondly, in "giving out" the
anthem the minister should not announce it thus :
"The choir will now sing the 19th anthem," but rather,
" Let us join in silent worship while we listen to the
singing of those well-known words (or, that earnest
appeal) ' taste and see how gracious the Lord is,' &c."
It may possibly allay any friction caused by the first
introduction of an anthem to be sung by the choir alone,,
if it can be sung while the offertory is being taken.
After a time, when the choir-anthem has become an
institution, it may be transferred to some other part of
the service. The offertory is now frequently taken
while an organ voluntary is played, there ought not,
therefore, to be any objection to a vocal voluntary
during its collection. Some offertory sentences might
be appropriately introduced, the minister reading out
each sentence before it is sung.
ANTHEMS, ETC. 117
Another plan which was introduced at our monthly
services of song at old Surrey Chapel is for the anthem
to be immediately followed by a well-known hymn the
hymn, in fact, being a sequel to the anthem. The words
of the hymn should be in sympathy with those of the
anthem, and the tune a familiar one and in the same
or some related key. For instance, Stainer's "What
are these?" followed by "How bright those glorious
spirits shine ; " Macfarren's " The Lord is my Shepherd,"
followed by "The King of Love my Shepherd is;"
Hopkins' s "Let us now go even unto Bethlehem,"
followed by "Hark, the herald angels sing;" many
other anthems may be similarly and effectively treated.
A grand example of linking anthem and hymn together
is afforded in Mendelssohn's masterly " Hymn of Praise,"
where, after the brilliant and exciting chorus "The
night is departing," comes the calm and stately
chorale "Let all men praise the Lord." The chorale is
not felt to be by any means an anti-climax to the chorus,
in fact, the chorus would be sadly incomplete without
its beautiful sequel. Mr. G. B. Allen's " worship
the Lord " is written on this plan. It is in the key
of F, and should be followed by the congregation's
singing " We praise, we worship Thee, God," to the
tune " Innocents," in F, of course. Nos. 59 to 64 of
the " Church Choralist " anthems are similarly treated ;
these and the above mentioned are published by Messrs.
J. Curwen & Sons.
In addition to the musical and devotional advantages
accruing from the plan of delegating the anthem to
the choir while the congregation silently join, there
is yet another in its favour. It helps to secure
a better and more regular attendance of the choir
at the services and practices. Choirs should always
be zealous and ambitious, provided these qualities
are tempered with discretion, and it is a satisfactory
118 COMMON PRAISE.
outlet for their zeal and ambition to allow them to-
sing the anthem by themselves. Only those who have
had experience in the management of voluntary choirs
know how difficult it is to keep up interest in the work
when there is only very little to be done in the musical
service, and anything in reason that will stimulate that
interest should be encouraged.
Finally, if all the conditions herein put forward
are fulfilled, and if the anthems are considered to be
devotional worship and not musical displays by those
who sing and those who silently join, I am sure'
churches who decide to give these supfestions a fair
trial will have little cause to regret it. The following
extracts on this subject will be read with interest
as confirming what has been stated above. The first
is from the leader column of a staid Wesleyan news-
paper* in reference to worship music, and is as
follows
"We remember a large congregation in a fashionable
north-country watering-place awed into breathless silence
by the singing of ' Peace, doubting heart,' to the tune
' Nathaniel.' The minister had taught the choir to under-
stand the words, and to throw spiritual force into the tune,
in his own house. At first the congregation joined in the
praise. But presently, by a strangely spontaneous instinct,
the people stood in rapt silence, many with tearful eyes,
while those sweet young voices all consecrated sang the
pathetic words :
' When darkness intercepts the skies.' "
The second, from an interesting article on "German
Protestant Church Music," by Mr. J. Spencer Curwen,j-
is very much to the point.
* The Methodist Rf carder, Sept. 3rd, 1886.
t " Studies in Worship Music," 2nd Series. J. Curwen & Sons.
ANTHEMS, ETC. 119
" In England, at the present time and especially among
the Nonconforming bodies great mischief is done by the
want of a bold separation between choir music and congre-
gational music. The formation and improvement of choirs
is a feature of the times, but the notion still lingers that
whatever music is sung in the service, the congregation
ought audibly to join in it. Choir and congregation are
like an ill-matched pair of horses; the one wants to go
fast, the other to go slow. The choir have a natural and
praiseworthy desire to offer the best in the service ; the
congregation, with an ever-changing personnel, including
many unmusical persons, seldom or never meeting for
rehearsal, must, if they are to sing, be content with a few
simple tunes often repeated. How unreasonable, then,
either for the choir to be confined to a few familiar hymn-
tunes, or for the congregation to join in an anthem by Goss
or Barnby ! A separation of the duties of each would be
a gain to both. The choir would then lead the congregation
in a limited round of fairly simple hymn-tunes and chants,
and once in each service would sing by itself an anthem,
a chorus, a more difficult and less familiar hymn-tune, or
one of its members would contribute a solo. This, as it
seems to me, is the present-day lesson to be learnt by
English people from the German Protestants. I do not stop
to argue that singing in which we do not ourselves join, may
be spiritually profitable. This form of employing music in
worship is more liable to abuse than the purely congre-
gational song, but the Nonconformists are the last people
who should object to it, for they follow almost all prayers
without audibly joining. If we can follow speech, we may
surely follow song. Do we not derive spiritual blessing
from an oratorio, or failing that, from Mr. Sankey ? "
A list of the best known anthem books for congregational
use is here appended. Mention must also be made of
the large variety of excellent anthems, in separate
numbers, published by Novello & Co. ; Metzler & Co. ;
Boosey & Co. ; and by J. Curwen & Sons in their
"Choral Handbook," "Church Choralist," and other
series.
120
COMMON PRAISE.
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ANTHEMS, ETC. 121
It will be noticed that the Free Church and the United
Presbyterians in Scotland call their anthems "sentences,"
which is a distinction without a difference. Why they
are so called is not quite apparent to a Southerner.
SOLOS.
The question " Have solos ever been mng at the ordinary
Sunday services?" was replied to as follows. "No,"
136. "Yes," 88. The latter have some important
qualifications ; e.g., " Only Sankey's," 1 ; " Evangelistic
services only," 5; "Frequently," 13; "Occasionally,"
16 ; " Only when they occur in anthems," 25.
Subjoined are some of the replies.
"Often, and sometimes solo hymns solo every other
verse."
" Yes. I find it works well to let the leading voices of
each part occasionally take a solo."
" Yes, frequently, and they are much appreciated."
"Yes, with considerable misgiving as to its reception.
We tried it in Tours's "While the earth remaineth," and the
tenor solo, sung by a lady (! !), was received with great
approval."
" Thank God ! No ! ! " [A minister.]
" No, but they are coming directly."
" No. In an anthem like Spohr's ' As pants the hart '
the first trebles sing the solo, and it answers very well."
" Yes, at special services for the working-classes." [A
minister.]
"No ; and I am sure they would be strongly objected to."
" No ; being a Congregational Church such a measure
would not be in harmony with its principles."
"Yes. We have considerable liberty as to what we intro-
duce. On one occasion after the minister had given a special
sermon on 'Home,' 'Home, sweet home' was sung as a
soprano solo, the whole choir joining in the chorus."
"No. I think it would be a draw if one could be', sung
during the offertory."
" No. Our people are too puritanical ; they would think
I wanted to desecrate the place if I mentioned it."
" Once only, and it raised such a storm that it is thought
desirable not to repeat it."
122 COMMON PRAISE.
"Very rarely indeed. They are objected to by some on
the ground that it partakes of the nature of a concert that
is if the solo occurs in an anthem. If it is a Moody and
Sankey thing the very same people like the solo verse. This
shows the amazing inconsistency of some people."
"No; but such a course has been contemplated as an
alternative to the collection voluntary."
Previous to the advent of Mr. Sankey in this country
about twelve years ago, there was very little solo singing
at ordinary public worship, except in the Established
Church. However much organists of Nonconformist
churches disappove of Mr. Sankey 's American pro-
ductions, they must give him credit for having broken
through stereotyped customs in their services in regard
to the vocal solo. However, it must be acknowledged
that solos are very much the exception and not the rule
in ordinary Nonconformist services. ' rest in the
Lord " may be played on the organ, but it must not be
sung. The melody may be heard, but not the words.
The vocal solo is considered to be of excellent use
at a mission or special Evangelistic service, but only at
such.
There can be no doubt that a solo devotionally as
well as artistically sung, may be a " sermon in song,"
but it is important that both, these conditions should
be fulfilled. Airs like Handel's " He was despised,"
Mendelssohn's " If with all your hearts," Coenen's
''Come unto Me," Gounod's "There is a green hill,"
if sung with heartfelt fervour can hardly fail to exercise
a wonderful power for good upon some hearts.
If the solo is admitted it should not be used too
frequently, and then the air selected should be appro-
priate to the occasion and in keeping with devotion.
All sacred songs and airs are not necessarily suited
for Divine worship, so care should be exercised in the
choice. The air may be followed by a quartet, a
chorus, or a hymn for the congregation, in harmony
with it.
ANTHEMS, ETC. 123
When a solo occurs in an anthem it ought to be
sung by one voice, and not by all the voices of the
particular part in chorus. A good effect may be produced
by having one verse of a hymn sung as a solo, following
the example of Mr. Sankey, another as a quartet,
each alternate verse, or the refrain (where there is one)
of each verse being sung by the congregation. A solo,
if suitably selected, sung while the people are kneeling
would become a prayer in song, and that attitude
might prevent the worshippers from looking at the singer,
and help to keep their thoughts concentrated upon the
words that are being sung.
The power of the solo has been acknowledged in
the modern Revival, or Mission services ; in fact,
it has now become an institution. Therefore, it
would seem as if there could not be any reasonable-
objection to its occasional use in ordinary services,
within certain defined limits. Many a gospel invitation
might well be sealed with "Come unto Him" from
Handel's immortal " Messiah," or " that thou hadst
hearkened " by Sullivan, and similar solos. How many
earnest ministers would only be too glad to have such a
carrying power for their sermons if they could get it and
dare use it. The Rev. H. R. Haweis* relates an incident
how that on one occasion he noticed a very poor and aged
woman in tears during the service. He spoke to her at
the close, and enquired the cause of her grief. "Oh,
sir." she replied, "that blessed, blessed song in the
middle of the prayers!" She could say no more ; but she
was alluding to Sterndale Bennett's pathetic solo from
the "Woman of Samaria" "0 Lord, Thou hast
searched me out."
I have sometimes thought it would remove prejudice
from the introduction of a solo, and at the same time
be an immense help to him, if the minister were to sing
* " Music and Morals," 13th edition, p. 117.
124 COMMON PRAISE.
one himself in the course of, or in addition to, his sermon.
However, I hardly thought such a desideratum had
been reached until I read the following in connection
with the proceedings of the "Wesleyan Conference in
1886.
" At the young men's gathering in connection with
the recent Wesleyan Conference, the Rev. Joseph Rhodes,
precentor of the conference, said : ' 1 have a great message
from my Master, and I pray God will help me to deliver that
message to you in such a way that you may remember
it. It seems to me that there are many in this congregation
to-night to whom the Lord has been speaking by many voices.
May the Lord grant to-night the ear and the understanding
heart.' He then sang with great expression the song,
' If with all your hearts,' from Mendelssohn's Elijah."
"What a splendid opportunity for the consecration and
power of song when coming from an understanding
heart ! All ministers do not possess the natural qualifi-
cations for the singing of solos, but they might seek the
assistance of some sympathetic friend who does, and
who would willingly help in sending the message home
to the hearts of those who, if they "truly seek Him,
shall ever surely find Him."
SERVICES.
The question "Do you sing the Canticles, Te Deums,
Sfc., to services or chants ? If so, please name a few of the
settings' received 221 definite replies. 75 "Do not
sing them ; " 44 "To chants only ; " 102 " To services,
and sometimes to chants." The Te Deum only is sung to
a service in the great majority of instances.
Most of the replies are statements of fact and not of
opinion, so these are scarcely answers to quote from.
Several speak very disrespectfully and contemptuously
of Jackson in F, others apologetically add " We have
Jackson now and then just to please the old people."
ANTHEMS, ETC. 125
One correspondent makes some excellent remarks on the
subject which deserve to be quoted :
" The Te Deum is the only Canticle we sing to a service.
Jackson's is, of course, popular because it is well known.
Dykes's and Smart's (both in F) are also liked ; but the
congregation are rather impatient in learning a new service,
and rather uncharitable if they cannot sing at once what the
choir have taken weeks to prepare."
The word Service is here spoken of in its musical sense
a setting of one or all of the Canticles. The etymology
of the word in this limited application is somewhat
obscure. Dr. Stainer, in a valuable article on the subject,*
endeavours to explain it in connection with a popular
use of the word "service." He says :
" Originally signifying the duty rendered by a servant
or slave, it afterwards became used roughly for the persons
rendering the service, just as we now hear people speak of
the ' Civil Service,' meaning the body of men who do the
the service, and of a ' service ' of railway trains, meaning a
regular group or succession. From this conception the
word obtains a further meaning of a ' set ' of things having
a definite use ; for example, a ' dinner-service,' a ' set ' of
things for use at dinner ; or, again, a ' service ' of plate, a
' set ' of gold or silver vessels, &c. Although an analysis
meaning of the musical term seems not hitherto to have
been suggested, its correctness appears so highly probable
that we shall in future understand by ' service ' merely a
set of canticles or other movements prepared by a composer
for use at a complete function."
The Te Deum is almost the only canticle sung to a
service in Nonconformist churches, and, judging from the
returns already quoted, the number of composers whose
names are given more than four times is exceedingly
limited. An analysis of the different settings of the Te
Deum mentioned may be of interest :
* Grove's "Dictionary of Music," vol. iii, p. 471 (Macmillan).
126 COMMON PRAISE.
Jackson in F 79 times.
J. L. Hopkins in G 17
Dykes in F 17
Smart in F 12
Goss in A or F 10
Vaughan in D or G 7
Sullivan (no key given, probably D) . . 4
Macfarren in G (unison setting) .... 4
Tours in F 3
Stainer (no key) 3
To tbese must be added 44 other composers, too numerous
to mention in detail.
From this list it will be seen that Jackson in F
decidedly leads the way. The question may fairly be
asked, "Is it not time to let tbis effete, insipid, and
antiquated production rest from its long labours ? " While
most of the old tunes have given place to a more modern
and, at the same time, more sympathetic style of melody
and harmony, Jackson in F to a large extent holds the
field in regard to Te Deums. A few details about its
composer may prove interesting.
William Jackson, known as Jackson of Exeter (to
distinguish him from his namesake of Mashani), was born
in that city in 1730, where his father was a grocer. He
became in 17-18 a pupil of John Travers in London;
returning to his native city to earn his living. In 1777
he was appointed organist of Exeter Cathedral. He died
of dropsy, July 12th, 1803. Jackson wrote a set
of "Twelve songs" which were so simple, elegant,
and original, that they immediately became popular
throughout the kingdom. In addition to other vocal
and instrumental music including two operas he
also produced some literary work which was well
received. His church music, all of which is exceedingly
feeble, was published in 1820 by James Paddon, organist
of Exeter Cathedral.*
* For further details, see Grove's " Dictionary of Music," vol. ii, p. 27.
ANTHEMS, ETC. 127
From this it will be seen that Jackson in F is sixty-six
years old. Considering its weakness from its birth and
the hard life it has led, it might surely give place to some
more worthy settings. Good music will always keep, but
this renowned Te Deum cannot possibly be placed in such
a category.
The most popular and, at the same time, congre-
gational Te Deums next to Jackson are J. L. Hopkins in
G and Dykes in F. Both are easy, melodious and
interesting to sing, and immeasurably superior to Jackson.
Smart in F is a noble specimen of Te Deum music. It is
rather more elaborate and difficult than either Hopkins or
Dykes, but it is not beyond the capacities of a cultured
congregation. When well sung it is thrilling, and it
brings out the great beauty of the grand Ambrosian hymn
clearly and effectively.
Hubert Parry in D is well suited for congregational
purposes and deserves to be better known. It is chiefly
in unison, but tuneful, effective and easy. Garrett in
F also deserves honourable mention. Beyond those already
named there are very few easy yet popular Te Deums.
The hymn itself is so grand and so full of varied senti-
ment that composers, both ancient and modern, have
naturally lavished upon it the fullest resources of their
art. Dr. Stainer, in the article already mentioned (p. 125)
referring to " congregational " settings of the Canticles in
chant-services, says, "their need is still so pressing
that composers of ability who are willing to lay aside
their own artistic aims and don the strait-jacket of a
congregation's limited requirements and powers deserve
all encouragement and gratitude." Omitting the qualifi-
cation "chant-service," and still keeping to "congre-
gational" settings, will not Dr. Stainer be good enough to
put on the " strait-jacket " (he need not divest himself of
his artistic raiment) and give us a melodious, easy, taking
setting of the Te Deum, which shall hold the field against
128 COMMON PRAISE.
all comers, and in due time thoroughly purge us of our
too familiar friend, Jackson in F. We sadly want a good
setting of the Te Deum that shall become thoroughly
popular, and Dr. Stainer is the man who can supply the
need.
The oft-repeated objection that a new Te Deum is
unknown to the congregation and therefore ought not to
be introduced, is not a very rational one. The same thing
was doubtless said between the years 1820-30 in regard
to a certain Te Deum composed by one Jackson, and yet
it has outlived all objections cf this kind. If a congre-
gation will not take any trouble to learn a new Te Deum
it will naturally be some time before they become familiar
with it. For the purpose of interesting and acquainting
the congregation with it a notification might be made
that a "new Te Deum by so-and-so will shortly be
introduced," and that "copies of the music may be
obtained, price (a few pence), in the hope that the
congregation will purchase it and make themselves
familiar with it in their homes ; " a supply of copies
having previously been ordered.
Chant-services are for the most part feeble, and they
will not bear any comparison with an ordinary setting.
There are scarcely any two alike in the pointing, and
their use is very likely to upset the pointing prescribed
in the Psalter when the Te Deum, &c., are sung to
ordinary chants. Dr. Stainer says, " It must be admitted
also that the weakest chant-service is an improvement on
the system of singing the canticles to single or double
chants." It may seem very presumptuous on my part
to differ from such an acknowledged and respected
authority, but for the reason stated above, and judging
from most of the popular settings (i.e., those that
have the largest sale) which Messrs. Novell o publish,
I think an arrangement of two or three well-known
chants is decidedly preferable for congregational purposes.
ANTHEMS, ETC. 129
Dr. Stainer's clever arrangements of the Canticles
to the Gregorian tones, to those who like these ecclesi-
astical melodies, are excellent. Directions for singing
the Te Deum to chants are given on p. 104, et seq.
The following are some of the best known chant-
services (Te Deum) : Boyton Smith in E flat, Barnby
in B flat, Goss in C, Best in G.
Entirely unison services become monotonous to alto,
tenor, and bass singers, so they should only be used
occasionally. This objection does not apply to unison
services that have some portions in harmony.
Bunnett's melodious Magnificat and Nunc Dimittis in
F are good specimens of this kind of service.
The Benedictus, Jubilate, Magnificat and Nunc
Dimittis are not so often sung as the Te Deum. There
is a scarcity of simple, yet interesting settings. Those
of the Ebdon in C and King in F type have become
antiquated and are giving place to a more modern
and sympathetic style of music. Bunnett in F (including
Cantate and Deus) referred to above, and the same
composer's setting of the Benedictus and Jubilate in E,
and Magnificat and Nunc Dimittis in A, are excellent
for congregational use.*
RESPONSES.
The question " Do you use Choral Responses or
Suffrages?" was answered thus: "Yes," 18; "No,"
204. The former are qualified with " Eesponses to
Commandments only," 11; "at evening service," 1;
" sometimes," 3.
Responses in Nonconformist churches are, for the most
part, limited to those to the commandments and
* For much valuable information about church composers, and " service "
music, see Mr. W. A. Barrett's interesting little book, "English Church
Composers" (Sampson Low & Co.).
K
130
COMMON PRAISE.
a very occasional use of Tallis's responses. It would
be a pleasing variety in the service if the commandments
were more frequently read as one of the lessons, and each
commandment followed by the usual response " Lord
have mercy upon us," &c. sung by the people sitting.
There are many beautiful, yet simple settings of the
responses to the commandments (Kyries). A good
selection, in cheap form and separate numbers, is
published by Novello & Co.
Tallis's responses are printed in Dr. Allon's " Congre-
gational Psalmist Anthem-Book " and in Eev. Bigby
Murray's " Revised Psalter," and they can be purchased
separately for I think one penny. Their occasional
use, likewise the responses to the commandments, would
help to procure that variety which is wanting in
Nonconformist services.
The Beatitudes (St. Matthew v. 3-10) furnish an
excellent opportunity for introducing a Choral Response.
The minister might read the first part of each Beatitude,
and the choir and congregation respond, to the following
cadence.
MINISTER (reading}. " Blessed are the poor in spirit; "
CHOIR AND CONGREGATION (singing].
for theirs is the kingdom of
L
heaven.
and^so on through each Beatitude, the last being followed
by Amen sung to the plagal cadence.
131
CHAPTER VIM.
OEGAN RECITALS, CONCEBTS, SPECIAL
MUSICAL SEKVICES, OECHESTEAL
ACCOMPANIMENTS, AND CHOEAL
FESTIVALS.
THE question " Are organ recitals or concerts ever given
in the church ? If so, is the music sacred only, or is
secular music of a good class admitted ? " was answered
as follows. "No," 82; "Yes," 142. Of the latter
26 qualify " Sacred and Secular; " 111 " Sacred only ; "
5 give no definite reply. Several add, " Concerts, &c.,
are only given occasionally."
Subjoined are a few of the replies.
" Yes. The ' Messiah,' ' Dettingen Te Deum,' ' Creation,'
have been given on Sunday afternoons. Lancashire people
are musical and critical, and upon these occasions a large
audience (perhaps 2,000) is assembled."
"Yes, only sacred. But with organ music it is confessedly
difficult to draw the line between sacred and secular as
regards Fugues, Toccatas, &c."
"We have just spent 1,200 on a new organ, and we
intend to introduce mid-week choral services."
"We have had illustrated musical lectures on 'Handel,'
and other composers, when portions of their works have
been given."
"I have given organ recitals once or twice a year
interspersed with sacred vocal solos."
132 COMMON PRAISE.
"An organ recital on the last Sunday evening in the
month after service."
"The choir give a few 'musical evenings' during the
winter in the church for sacred music, in the lecture hall
for secular."
The question " Is admission free at these recitals or
concerts ? " was answered as follows. " Sometimes free,
sometimes by payment," 19; "Free," 29; " Free, but with
collection," 51 ; " Payment only," 40.
Here follow some of the replies.
" In order that the poorest may hear, we make no charge,
but an optional collection is taken at the door."
"A ' collection in silver ' is expected from everyone on
entering the church. It is much easier to get it filled in this
way."
" No. Admission, sixpence."
"Admission by ticket at a nominal charge so as to exclude
no one of the congregation."
" For a concert in aid of the ' unemployed' we charged 3s.,
2s. , and Is., but no seats were reserved, and no difference, in
fact, made respecting them."
" A uniform charge of Is.''
" Sometimes free, sometimes by ticket (bought). The
object determines this."
' ' Sometimes by payment, sometimes free. The latter
plan brings a larger audience, but the former pays best."
' ' Voluntary collection ' in silver. ' ' ' [The important addition
' in silver ' is of Scottish origin.]
Organ recitals, ' sacred concerts, &c., have become a
prominent feature in the musical life of the churches,
especially, as is frequently the case, when money is
required to be raised. In arranging details of these
musical feasts much, of course, depends upon local
circumstances and available material, but a few general
hints may be of service.
The organ recital is increasing in popularity, though
it often develops into a sacred concert, the organ taking
the largest share. It is well that it should be so,
because a number of organ solos alone, unrelieved by
vocal music, is apt to become monotonous. Considering
SPECIAL MUSICAL SERVICES, ETC. 133
the sacred associations of the church, it may be thought
well for the recital to be opened with a short prayer
or collect, led by the minister or some office-bearer,
and closed with a familiar hymn in which all could join.
Programmes, with all the words sung, should be supplied,
ven though it may be found necessary to make a small
charge for them. An audience will be put into a more
sympathetic mood for listening to vocal music if they
are provided with the words. Dates of the composers
drawn upon, or a brief analysis of the pieces played,
always proves interesting, and is valuable from an
educational point of view. The programme should not
exceed two hours (one hour and thirty minutes is
preferable), as it is better for the audience to go away
refreshed with what they have heard, rather than tired
out. A point to be gained is, that the interest shall
be so sustained that all, or nearly all, will remain to
the end.
In the winter time the church should be warmed
to a temperature of not less than 60. It is unreasonable
to expect an audience to enjoy music while suffering
from the miseries of cold feet ; besides, a cold atmosphere
is fatal to any good vocal performances.
When a special organist is engaged to give the recital,
the choral accompaniments should be played by the
regular organist, unless an opportunity is afforded for a
rehearsal with the solo organist and choir beforehand ;
and this arrangement provides the solo organist with
a needed rest in the course of the evening.
In drawing up a programme, attention should be paid
to diversity of style in the organ pieces, to the accuracy
of the composer's name, and the exactness of the
several titles. I have seen a recent programme (in
London, sad to say) which contained the information that
"If with all your hearts" was composed by that
prophet of old Elijah, instead of by Mendelssohn.
131 COMMON PRAISE.
It is also important to arrange the numbers in such
a way as to make as much variety as possible instru-
mental alternating with vocal, &c. A vocal solo should
not commence or finish the programme. "When there
are lady and gentlemen vocalists, the ladies, of course,
should have the best positions in the programme. If a
vocalist sings twice, and his first solo be placed near
the beginning of the recital, the second should not be the
last item, or too near the end, but should be in a
better place. Yery few vocalists like to sing first, so
a little tact and management are required in order to
smooth this as well as other difficulties. To draw up
a programme successfully is not so easy a matter as
many might suppose. Some of these details may appear
too minute and superfluous, but experience has proved
to me that they are sometimes overlooked.
I append a specimen programme of an organ recital
which occupied about one hour and forty-five minutes.
(Dates of living composers are omitted).
PROGRAMME.
The audience are invited to join in singing the hymns, and in
responding to the prayers.
Hymn.
Tune Old 100th ... Attributed to Claude Goudimel, d. 1572
" All people that on earth do dwell."
[Words printed in filll ; four verses, 2nd and 4th marked unison,
with free organ accompaniment.]
The General Thanksgiving.
The Lord's Prayer.
Organ Concerto in B flat, No. 2 G. F. Handel, 1685-1759
Andante. Allegro. Adagio. Allegro.
Anthem (unaccompanied) " Lord, for Thy tender mercies' sake."
[Words follow in all cases.] [Farrant, d. 1580
Organ Allegretto in B minor Alex. Guilmant.
Prayer "To Thee, great Lord " (Moses in Egypt] Rossini, 1792-1868
(with harp accompaniment.)
Organ Andante in D E.
SPECIAL MUSICAL SERVICES, ETC. 135
Prelude in B flat Mendelssohn, 1809-1847
Arranged for harp, violin, and organ, by John Thomas.
Anthem (unaccompanied) " Send out Thy light " C. Gounod
Organ Toccata and Fugue in C major J.S.Bach
Johann Sebastian Bach, "to whom," in Schumann's words, "music
owes almost as great a debt as religion owes to its founder," was
born at Eisenach, March 21st, 1685 (the same year as Handel), and
died at Leipzig, on July 28th, 1750. The introductory Toccata
(from tocarre, to touch, to play), with its elaborated pedal solo, and
the melodious Andante, with clarionet solo, prepare the listener
for the climax, where Bach, as usual, asserts his pre-eminence in a
Fugue (from the Latin fugare, to put to flight), constructed on a
striking series of notes, and wrought out with the facility only
granted to a great master. [Specimen of short analysis.]
Meditation, or Ave Maria, for voice, violin, harp, and organ,
founded on the 1st prelude of J. S. Bach. C. Gounod
Soprano solo, Miss .
Organ Andante con variazioni, in A Dr. W Rea
Anthem " Blessed are the merciful " ... Dr. H. Hiles
Largo Handel
Arranged for violin, harp, and organ by Hellmesberger.
Organ War March of the Priests (Athalie) Mendelssohn, 1809-1847
An Evening Hymn.
Tune "Abends" Sir H. Oakeley
" Sun of my soul, Thou Saviour dear," &c. ... J. Keble
[Four verses, with expression marks, jo,/, &c., in the margin.]
The Benediction.
[The following may be inserted on the first page of programme.]
N.B. It is particularly requested that there be no applause ; also,
that persons who are unable to remain to the close of the recital,
will be kind enough to retire between the pieces, so that those who
wish to hear the whole may not be disturbed.
From, the above it will be seen that two orchestral
instruments, the harp and the violin, were introduced,
and with excellent effect. The arpeggios of the harp
against the sustained chords of the organ, with the
violin soaring above both, was much enjoyed, and the
combination was exceedingly good. It is necessary to
point out the desirability of securing good orchestral
players who will play in tune, or the result will be
torture to sensitive ears.
136 COMMON PfiAISE.
As to whether admission shall be by payment or
a collection be taken, much depends on local circum-
stances. "When money is an object it is, perhaps'
advisable to make sure of the coin beforehand, as
collections are often precarious. If, however, the recital
is given in connection with any part of church work
(not an outside affair), and it is considered necessary
to make different charges of admission, I think there
should be no division of seats, reserved or unreserved-
There ought to be no distinction between rich and poor
in purely church matters, whether it be a service or
a concert. Those who can afford two shillings ought
to pay two shillings, but all rich and poor should
be allowed to sit just where they like. It is a far better
policy to have the place full at " sixpence " than to
have a beggarly array of empty "reserved" seats at
" two shillings." Rather than have distinctions of seats,
by all means announce " admission free," and let a
collection be made, so that both rich and poor may give
according to their respective means.
A word of caution must be given about "payment at
the doors." If money is actually taken at the entrance
of the church, lecture hall, or schoolroom, the building
is liable to be rated parochially. The authorities are
generally very lenient in not noticing these cases, but
knowing the risk, it is better to be on the safe side. The
purchase of a ticket beforehand is, I believe, perfectly
legal, so long as money is not tendered at the door.
The questions of applause, and sacred music only
(to the exclusion of all secular music), when the recital
is given in the church, are capable of different answers
by different people. Applause, or audible appreciation,
is very pleasing to a performer, but it seems to me
to be quite out of keeping with a building dedicated
to sacred uses ; and it is specially distressing in fact,
almost revolting after a solo such as, " There is a green
SPECIAL MUSICAL SERVICES, ETC. 137
hill far away." Thoughtful consideration will show
that clapping of hands and stamping of feet should
he reserved for buildings less associated with hallowed
influences. It is very possible that many will disagree
with me in this opinion, but I have long since arrived
at the conclusion that it is a right one. I believe the
time is not far distant when audiences will show their
appreciation of sacred music when sung with sacred
surroundings, in golden silence, instead of in a mild
form of rowdyism. If it is decided that there be no
applause, the prohibition should be printed on the
programme, in order to avoid any misunderstanding.
Encores, involving repetitions, should not be tolerated
for one moment whether in church or concert room.
The encore system is a most pernicious one ; it is opposed
to all artistic canons, and it should be stamped out by
all true lovers of music. Nothing can be said against
the recall of a performer (when applause is allowed),
but it should stop here, and no repetition should, on
any account, be permitted. If necessary, a notification
to this effect should be printed on the programme, and
the performers' attention be specially called to it.
If the recital or concert be held in the church,
shall the music be entirely sacred, or a mixture of
sacred and secular? This question suggests another,
What is secular music ? The answer is, Music which
has other than sacred associations. For instance, vocal
music with secular words, or instrumental music associated
with operas or other stage performances, are anything
but sacred, though they may be perfectly unobjectionable
in their proper places. Some portions of Sullivan's comic
operas would serve as very good organ voluntaries,
but to those who know the extracts with their original
surroundings, their introduction into Divine service would
be bordering upon profanity.
138 COMMON PRAISE.
All instrumental music, pure and simple (with the ex-
ceptions noted above), may be classed as sacred, though
some quick movements had better not be played for fear
of suggesting other than sacred associations. In instru-
mental music good taste should distinguish between what
should and what should not be introduced. It is very
difficult to draw the line, but if there is any doubt
as to the suitability of a piece to harmonise with
sacred surroundings, it had better be omitted ; likewise
should all secular vocal music, even though it be of
a high class. To sing love ditties and sentimental
part-songs in God's house seems to me to show very bad
taste, to say the least of it ; others, however, may think
differently.
Sacred concerts are so much akin to organ recitals-
that the above suggestions will hold good in regard to
them. Concerts in the lecture hall or schoolroom
are usually of a more general kind and do not come
within the scope of this book.
SACKED Music FOE THE PEOPLE.
Considering that almost every church has an organ,
an organist, and a musical staff of some sort or another,
and that it is frequently closed from Sunday to Sunday,
the question naturally suggests itself, cannot the
musical staff and the building be utilised for giving
selections of sacred music on week evenings (periodically)
during the winter months ? In largely populated
districts it seems almost a shame that the majority of
Nonconformist churches and, indeed, Established
churches as well should only be used for the Sunday
services, and be shut up for 164 out of 168 hours in
each week. "Why not extend their usefulness by
throwing open their doors and inviting people in
to hear a little music, and thus provide an opportunity
whereby they may rest awhile from the busy haunts
SPECIAL MUSICAL SERVICES, ETC. 139-
of life, amidst pleasant and comfortable surroundings,
while they listen to the purifying strains of sacred
music. There is abundant need for anything that will
counteract the evils that abound in populous districts,
and this use of the churches opens up a wide field of
usefulness and a splendid channel for doing good. The
question of expense gas, warming, and printing
would be comparatively trifling, and there are always
some public spirited people who would gladly contribute
to such a worthy undertaking. There are also plenty
of people ever willing to help, either as vocalists or
stewards, when there is a prospect of doing good, if
you can only get at them. Such a scheme would be
a means too of rousing up the church choir, and giving
them something to do beyond their Sunday duties.
Many church choirs are simply rusting and losing their
vitality because they have not half enough to do.
Supposing such a plan as here suggested is considered
a feasible one, who ought to take the initiative ? The
church authorities, undoubtedly. It should become as
much a church affair as a Missionary or Sunday School
meeting, and should be officially recognised as part
of the church work. There should be a small working (not
standing) committee consisting of minister, organist, or
choirmaster, one or two office-bearers, and one or two
from the congregation, all of whom would be willing to go
heart and soul into the matter in order to make it a
thorough success.
The " Musical Evenings " should be made widely known,
admission entirely free, and the collection, if possible, dis-
pensed with. A staff of stewards should be organized,
whose duty it would be to conduct people into seats and to
see that each person is provided with a programme. It is
not necessary to have a spoken sermon or address, as the
pieces sung should provide several sermons in song.
Such a plan as here proposed would undoubtedly help
140 COMMON PRAISE.
to remove the prejudice which so many especially among
the poorer classes have against " going to church."
If they can he enticed into the church on a week-day,
there is some probability that they may find their
way thither on Sunday. Some London churches have
periodical "musical evenings" in the lecture hall.
This is all very well when the hall is a large one, but
there are sufficient people to more than fill the churches
if they can only be induced to come in.
A movement in this direction has recently been
initiated by Dr. Montague Butler, Dean of Gloucester,*
which is deserving of emulation in cathedrals and
churches of all denominations where there is a population
large enough to warrant the attempt. Dean Butler
writes to the Editor of the Gloucester Journal under date
September 23rd, 1886, as follows :
"May I be permitted to invite attention through your
columns to an arrangement which may, we trust, be
acceptable to all classes of our fellow-citizens, and not least
to the poorest and those \vho have least leisure ? During the
next six months a performance of sacred music . . will
be given in the nave of the Cathedral on the evenings of
the second and fourth Thursdays of each month. The
music will consist partly of singing and partly of playing
on the organ. Our object is not so much to advance the
cultivation of this great and noble art for which important
and other means are -elsewhere provided as to bring under
the notice of those who are least instructed in music the
simplest, most pathetic, and most majestic passages from
oratorios, anthems, chorales, and hymns. It is believed that
such passages, as they become familiar, will prove to many
hundreds of our citizens a delight at all times, a comfort
in sorrow, and a real help to religious devotion. Offers of
assistance from competent singers will be gladly welcomed.
. . . In all cases the assistance will be given gratuitously.
Those who offer it will, it is hoped, recognise and value the
Christian privilege of enabling others to share those treasures
* Dr. Butler has since been appointed Master of Trinity College,
Cambridge, but I believe the scheme he so happily inaugurated at
Gloucester is still being carried on.
SPECIAL MUSICAL SERVICES, ETC. 141
of refined enjoyment and spiritual refreshment which have
become precious to themselves. The success of our plan
will depend largely on ministers of religion, employers of
labour, and masters and mistresses of families. It is in
their power to notify and recommend to those whom we
chiefly have in view the opportunity which is now offered
to them. I venture respectfully to ask for their kind
sympathy and co-operation in what they feel, I think,
to be a Christian work. . . . The performance will
begin punctually at eight p.m., and last for about an hour.
Printed copies of the words sung will be found in the seats.
Admission will, of course, be free."
This letter is couched in language that speaks for
itself. Comment is needless, as everyone will sympathise
with the Dean in his proposal, and will not fail to recognise
his wisdom and the excellence of the example he has
so worthily set. With due reverence, one might say
to all ministers of religion deans, rectors, pastors,
whatever their designation who have the opportunity
"Go, and do thou likewise."
The Gloucester scheme has worked admirably so far,
as the following (condensed) report from a local newspaper
in reference to the first musical evening will show :
" The nave of the Cathedral was crowded; three thousand
persons were present, and hundreds had to be turned away.
The proceedings were opened with a short collect and the
Lord's Prayer. The organ pieces (played by Mr. C. L.
Williams, the Cathedral organist), included selections from
Haydn's " Creation,' Beethoven's ' Funeral March,' Handel's
' Pastoral Symphony ' (Messiah], and a selection from
Mendelssohn's 'Hymn of Praise.' The vocal music was
Mendelssohn's ' O rest in the Lord,' Handel's ' I know
that my Eedeemer liveth ' (solos) ; and Malan's ' O Lord
my God,' and Handel's ' Since by man came death.'
Simple, easily understood music, well executed, was the
distinguishing feature. At the close the Evening Hymn
was sung kneeling, each alternate verse being sung by a
quartet, who were placed in the organ loft ; immediately
after it a prayer and the Benediction concluded the first
experiment of bringing music to the people in the shape
of absolutely free concerts in the Cathedral an experiment
crowned with abundant success. A body of honorary
142 COMMON PRAISE.
stewards assisted in the work of seating the great congre-
gation. The admonition printed on the programme that
those who attended the recitals should observe the reverence
due to the house of God, proved totally superfluous, as the
vast audience could give many points to a ' fashionable
congregation ' in the matter of reverence and decorum.
The recital occupied exactly an hour."
To conclude this part of the subject, I have emphasised
the limitation sacred in connection with these suggested
"Musical Evenings," because the words sung at them
should be as Dr. Butler puts it "a delight at all
times, a comfort in sorrow, and a real help to religious
devotion." If secular words are once introduced there is
no knowing to what extent they may run. The senseless
twaddle of most of the songs of the present day are
the reverse of edifying ; they suggest such a sickly
sentimentality, both as regards words and music, as
almost to make all sensible people loathe them. Therefore,
when a " Musical Evening " is given in the church,
it is the best safeguard to strongly enforce the limitation
sacred music only.
SPECIAX MUSICAL SERVICES.
The question " Save you had any specially musical
services, at which singing, reading, and preaching are
intermingled as parts of a whole ? was answered thus :
" Yes," 102 ; " No'," 122. Many of the former are
qualified with " Services of Song for Sunday School
children," " Harvest Festivals," " Christmas Day," &c.
In the majority of instances these " special services "
are spoken of as being very satisfactory and highly
successful ; and in no single case is testimony given in
the opposite direction. Some of the replies may be
useful.
" The entire service has been altered on several occasions.
The service opens with a hymn for the congregation,
followed by prayer and short address by the pastor, and the
remainder of the time is occupied with music, such as
Mendelssohn's Psalms, for which we enlarge the choir."
SPECIAL MUSICAL SERVICES, ETC. 143
" These are getting more common in Glasgow on Sunday
evenings."
" Yes. Representations of tlie old-fashioned Methodist
Psalmody of 30 to 50 years ago."
" We have during winter season ' Song Services ' for the
people at which there are singing, reading, and preaching."
[Large London Church.]
" A ' Service of Praise ' has been frequently held, when a
certain theme was taken, and the various points remarked
upon are connected by a hymn in illustration."
" Frequently ; and they are very successful."
"Yes. We gave Mendelssohn's ' Come let us sing,' and
Schubert's ' Song of Miriam.' The choruses, &c., coming in
at various places during the sermon."
" We sometimes give a ' Service of Praise' in connection
with our mission district. These are usually given on
Saturday evenings."
' ' Several ' Services of Praise ' on Sunday evenings, and
these have been much appreciated. On these occasions the
congregation do not take part in all the items. The chou-
sing several anthems and sacred part-songs, and individual
members sing solos from the oratorios, &c., and the congre-
gation remain seated."
"We have a special Evangelistic service on the second
Sunday in the month when Sankey's ' Hymns and Solos ' are
sung by the choir, and the choruses are taken up by the
congregation."
" No ; but in my opinion this style of service ought
to be more generally adopted. It allows the service to flow
continuously without awkward breaks caused by announcing
the hymns, &c., and you can rouse the enthusiasm and
feelings of the people by its means much more readily."
I append a list of " Services of Song " and other works
sung at the services, not concerts, referred to in the
replies omitting those quoted above. " Jessica's First
Prayer," "Christ and His Soldiers" (Farmer), "Euth"
(Gaul), "Eva," " Our Father's care," "Luther," "Coming
of Immanuel," "Under the Palms" (Root), "The
Desire of all nations " (Longbottom), " Pilgrim's Pro-
gress," "Daniel" (Root and Bradbury), "Redemption"
(Gounod), "Woman of Samaria" (Sterndale Bennett),
"Elijah" (Mendelssohn), "Messiah" (Handel).
144 COMMON PRAISE.
Special musical services differ from organ recitals and
concerts in that they are of a more devotional character,
and must of necessity be conducted hy the minister ;
and his co-operation, sympathy, and interest in them
is absolutely necessary to ensure their success. I have
known an occasion when, to judge from his address, the
minister's sympathy was conspicuous by its absence,
for he (figuratively) poured abundance of cold water
on the musical part of it. Therefore, unless the minister
enters heart and soul into them these musical services
had better not be held, or they may prove a failure.
The most usual occasions for their introduction are
Sunday School Anniversaries, Christmas Services, and
Harvest Festivals. It is hardly necessary to refer to the
former, as the music generally consists of children's hymns
or one of the many " Services of Song," with music
suitable and easy for the young folks to sing, that are
now to be had.
The Harvest Festival, or Harvest Thanksgiving Service,
provides a good opportunity for a hearty demonstration
of praise. Its popularity in Nonconformist churches is
rapidly increasing, and if the music is good it rarely fails
to attract a large congregation. It is well to hold it on a
week evening, and to repeat it on the Sunday evening
following. The praise service should consist of appropriate
thanksgiving music. Psalms 65, 104, and 145 are suitable
for chanting. For anthems, the following are suggested
as being easy and within the capabilities of ordinary
choirs : Barnby's " Lord, how manifold," Stainer's
" Te shall dwell in the land," Goss's " I will magnify
Thee," Sydenham's "0 give thanks," Garrett's "The
Lord is loving," Farebrother's " give thanks " (all
published by Novello) ; A. E. Fisher's " give thanks "
(published by J. Curwen and Sons). There should be two or
three hymns in which all the congregation can join. It is
desirable to have the ' order of service,' with allj the
SPECIAL MUSICAL SERVICES, ETC. 145
words, printed and distributed throughout the church.
The whole service should be bright and redolent with
thanksgiving and praise.
Christmastide also affords an appropriate season for a
special musical service. By conferring together, minister
and organist can arrange one of their own, but I append
two draft programmes (music only), as a guide.
PROGRAMME.
1. Hymn ... " As with gladness men of old "
2. Chorus ... " And the glory of the Lord " (Messiah] Handel
3. Carol " The first Nowell "
5. S<jlo (bass, with chorus of male voices)
"Nazareth" ... ... ... Gounod
5. Hymn ... " Oh, come, all ye faithful " ...
(Tune " Adeste Fideles " second verse choir alone)
6. Carol ... " See amid the winter's snow "... ... Goss
7. Anthem " Let us now go even unto Bethlehem " E. J. Hopkins
8. Hymn ... " Once, in royal David's city "...
9. Anthem " Arise, shine "... ... ... Elvey
or " Behold I bring you good tidings " ... Goss
10. Hymn ... " Hark ! the herald angels sing "
ANOTHER PROGRAMME.
1. Hymn " Hark, the glad sound ! the Saviour comes "
2. Anthem (sopranos and altos)
" There were shepherds " ... M. B. Foster
3. Carol ... " When Christ was born " ... A. H. Brown
4. Hymn " It came upon the midnight clear "
(two verses by choir alone.)
5. Anthem " Zion that bringest good tidings " ... Stainer
6. Carol ..." Good Christian men, rejoice "...
7. Anthem... ... "Bethlehem" ... ... ... Gounod
or, " There were shepherds," and the following recitatives and
chorus, " Glory to God," from Handel's Messiah.
8. Hymn " Brightest and best of the sons of the morning "
(to E. J. Hopkins's tune " Epiphany.")
9. Anthem... ... " Adeste Fideles "
(Vincent Novella's arrangement)
10. Chorus ... " Hallelujah (Messiah) " ... ... Handel
11. Hymn ... " Hark ! the herald angels sing "
Besides the Nativity, other scriptural subjects may be
treated as " Services of Song." There are so many services
of this kind now issued in book form by the various pub-
lishers that it would occupy too much space to mention the
good ones, to say nothing of those that are bad. The chief
L
146 COMMON PRAISE.
fault in most of them is that the musical part is of too
easy and (if I may use the word) too sugary a character to
suit the appetite of a fairly competent choir, in addition
to its being somewhat monotonous and mawkish. However,
it is not always necessary to seek the aid of one of these
books, though they save a great deal of trouble, as the
whole service (music and readings) is contained in one
cover. Ministers and organists can mutually arrange a
service on some particular line of scriptural thought, and
select their own music.
Two novel " Services of Song," on a most interesting
subject, are, " The House of God," consisting of old
Methodist hymns set to old Methodist tunes, with
accompanying lecture, arranged by the Rev. Allen Rees
(Wesleyan Sunday School Union); and "Hymns and
Tunes of Long Ago,'' with biographical sketches of
hymn writers, by "W. J. Harvey (J. Curwen & Sons).
The biographical or lecture part of either of these
services could be read by the organist or some lay helper
(supposing the minister is not available) ; the musical
portion would prove most enjoyable to the "old people,"
in awakening sweet memories of the ' ' days that are no more ' *
and the juveniles of the audience would be interested in,
and possibly a little amused at, the " twists, turns, and
repeats" of "long ago." The first of these services
has the following significant notices on the title-page :
"N.B. The old harmonies have been preserved as far as
it was possible to do so. No organ. Three Violins (two
First and one Second}, Violoncello, Double Bass, two
Clarionets, and a Bassoon." "What an attraction such a
feast would provide !
A " Service of Song" might well be given periodically
at a Sunday evening service. This plan was in operation
at Old Surrey Chapel some years ago, and proved very
successful, and it is still continued in Christ Church
(perpetuation of Surrey Chapel) during the winter
SPECIAL MUSICAL SERVICES, ETC. 147
months. On the second Sunday evening in the month
the ordinary service was shortened, and at its close the
Rev. Newman Hall intimated that "those who would
like to remain to hear some music were cordially invited
to do so, while those who wished to retire could leave
during the voluntary." It was seldom that more than
a very few persons out of a large congregation (say
1,500 people) made their exit ; even those who might not
be considered to have much sympathy with music
remained. The extra service occupied from 30 to 40
minutes, and consisted of hymns, anthems, and vocal
solos. The minister preceded each piece with short
comments explanatory of, or in harmony with it, and
an occasional prayer (short) was introduced, especially
after a penitential or supplicatory anthem ; sometimes
a short scripture lesson was read. A good effect was
produced by the congregation joining in the refrain
of a well-known hymn, e.g , " Let us with a gladsome
mind," while the 1st and 2nd lines were sung by the
choir alone. These were felt to be delightful evenings ;
and they afforded a pleasant and profitable half -hour to those
living in lonely lodgings or in houses of business, who
perhaps had little or no opportunity for the enjoyment
of sacred music. One thing is very important in
arranging these services. On no account neglect the
people, let them have some share in the music. There
should be at least one popular hymn and tune e.g.,
" All hail the power of Jesu's Name " in which all
can heartily join. A musical minister of my acquaintance
was recently telling me of a great mistake he made in
connection with a special musical service he held in
his church one Sunday evening. All the music was
to a great extent unfamiliar to the congregation (which
included many strangers) that crowded the church.
He said to me, " I missed a grand point, I omitted
to have a well-known tune in which all could let out
148 COMMON PRAISE.
their voices." Such an experience is of immense value,
and should he duly noted.
ORCHESTRAL ACCOMPANIMENTS.
The question " Have you had orchestral accompaniments
at any of your services or concerts in the church?" was
replied to as follows: " Yes," 41, "No." 185. Several
of the former add " Concerts only."
Some of the replies are subjoined :
" Not at services. I have given Rossini's ' Stabat Mater'
with band and chorus of 85 performers in the church. The
performance evoked much criticism in the local papers ; we
were charged with going over to ' Rome.' "
" No ; this would shock the feelings of our ' brethren.' "
"Yes; as an experiment we have had some half-dozen
violins at our evening services, and the idea has met with
such success that no doubt it will be continued."
"Never but once; and that was a double bass played
inside the organ owing to the temporary indisposition of the
pedal organ. Good effect too !"
" At the performance of a cantata we had piano, six violins,
flute, cornet, 'cello, and double bass. Very successful."
"At the Sunday School Anniversary our own string band
accompanied the singing for the first time, and it proved
successful."
" Volunteer brass band at annual Volunteer service."
" Cornet occasionally." [Trumpet is also mentioned.]
' ' At two special services we dispensed with the organ and
had a small band to imitate the style of 40 years ago, with
the same peculiar old tunes."
' ' Yes ; sometimes strings and such wind instruments as
can be played with a low-pitch organ. I specially recom-
mend the combination of strings, trumpets, and drums with
the organ and grand piano, if pitch admits."
" I should like to see a string quartet in every church."
It is not necessary to be the possessor of grey hairs in
order to remember the time when violin, clarionet, flute, and
" bass viol " were used to lead the praise service. Twenty
years ago it was quite a common thing in country villages
to find a small yet goodly company of instrumentalists,
who would fiddle (or scrape), or " blow high, blow low "
SPECIAL MUSICAL SERVICES, ETC. 149
most enthusiastically. There is an old yet authentic story of
a certain 'cello player, who, when coming to the accompani-
ment to the words " Who is the King of Glory ?" said to
his neighbour, " Throw us th' rosin, Tom, an' I'll show
'em who th' King o' Glory is." In the present day our
aestheticism in worship music, even in villages, prefers
the accompaniment of a harsh harmonium often very
badly played to the worthy efforts of the " players on
instruments " of a generation ago. Sic transit gloria
mundi.
Although orchestral instruments have given place to the
organ or harmonium in leading the praise service, they
are still in request for special occasions. When a
cantata or selections from the oratorios are given in the
church, it is a great advantage to have orchestral accom-
paniment. However much the organ may be used as a
substitute for the orchestra, it can never produce the effect
realised by stringed instruments. Supposing, however,
it is not possible to obtain a complete orchestra, any
available help in the string department should be cordially
welcomed, provided always that the players are fairly
competent and that they can play in tune. In such
instances, the organist can play the wood-wind parts on
the organ, as the combination of string and organ tone is
very effective. It is important that, as far as possible,
the strings should be properly balanced. There should be
about an equal number of 1st and 2nd violins, and a due
proportion of violas, violoncellos, and double basses. Most
amateur violinists have a decided preference for " first
fiddle," so this little weakness should, if possible, be over-
come. The viola (or tenor) and double bass are less played
in amateur circles than the other instruments of their
class, so it is sometimes necessary to engage professional
players in order to secure a balance of parts.
I have had some sad experiences in playing the organ in
oratorios with amateur orchestral players, so that I think it
150 COMMON PRAISE.
important to issue a word of caution in regard to enlisting
their services, especially when they form a "scratch"
orchestra. First, there should he a leader for each part, upon
whom the conductor can place perfect reliance. Second,
only the hest players should he allowed to accompany the vocal
solos. Third, plenty of rehearsals are necessary, hoth for
chorus and orchestra together, and hand alone. Fourth,
the abominable habit of amateur fiddlers " tuning up," or
feeling if their " Strads " are in tune, at every conceivable
pause should be put a stop to. Give them convenient
opportunities for tuning, and let these suffice. The tone,
precision, and tune of eight good players are worth the
the feeble, meandering discordances of twenty duffers.
The distressing agony which some amateur scrapers of the
violin cause is something dreadful to think of, and unless the
conductor is sure of getting fairly competent players, the
best advice I can give him as to the employment of an
amateur orchestra is, "don't."
Strings, trumpet (or cornet), and organ make a very
good combination. Handel's organ concertos are complete
with strings, oboes, and the solo instrument, and in this,
their original form, they should be more frequently
played.
When it is proposed to use wind instruments with the
organ, care must b'e taken in regard to similarity of
pitch, as wind instruments are now constructed to
what is called " Philharmonic " pitch, which is half-a-tone
or more higher than the ordinary church organ.
It is not often that one hears of an orchestral society
being officially recognised as a church institution, but
such is the case at Highbury Presbyterian Church. The
Amateur Orchestral Society there numbers about 45
members, including eight or ten ladies, who meet for
practice once a week. There is also a Psalmody Associa-
tion connected with the church which meets for practice
SPECIAL MUSICAL SERVICES, ETC. 151
on a separate evening, but the combined forces meet
together for rehearsals preparatory to a public per-
formance. Their concert performances are exceedingly
creditable, and such vigorous orchestral and choral organiza-
tions are worthy of all emulation by other churches.
These societies mark a new departure in the Presbyterian
church, and go a long way towards removing the
stigma which has so long rested on the musical capa-
cities of that venerable (though, in the past,
somewhat anti-musical) church. The senior elder
at Highbury is Vice-president of the society and one
of the leading basses, and one of the minister's daughters
plays the violin in the band. shades of John Calvin
and John Knox !
ASSOCIATIONS OF CHOIRS.
The questions "ITave you ever combined with other
church choirs in your neighbourhood, or town, for a Praise
Demonstration after the manner of the Diocesan Choral
Festivals in the Established Church ? Do you think such
services would be productive of good in promoting congre-
gational psalmody, and in awakening interest in it?"
were answered as follows.
First question "Yes," 36. "No," 175.
Second question " No," 31. "Yes," 129. "No
opinion," 50.
Some of the replies may be useful.
"No. I should prefer a periodical lecture upon
" Psalmody " with illustrations by a carefully trained choir.
The tunes being selected from those in use, and attention
being drawn to the sad inattention of the congregation to
this, their only, part in the service of the sanctuary."
_ " They would doubtless be productive of good if enthu-
siastically taken up, and if choir leaders were all sufficiently
well up in their work ; otherwise, I fear, the scheme would
not work well. As a rule in Nonconformist churches there
is not the talent at the head of the musical department
which you find in the Established Church. If the first
152 COMMON PRAISE.
festival was conducted properly tinder one leader, the next
might be conducted in precisely an opposite way, and chaos,
or something like it, would be the result."
"No, to both questions. We have a Gospel Temperance
Choir formed from all denominations, and some of the best
singers in the town are in it. But there is a great want
of loving sympathy amongst some of the conductors. I,
for one, don't feel it, as I am on good terms with all, and
strive for ' unity in the bond of peace,' but I hear of it."
"I suppose they ought to be, but the conditions differ so
in different churches regarding books, music, and systems,
that I am rather sceptical on the point."
' ' No, but I think it of very little good except when only
choirs of the same denomination join."
" I think it would not serve a much greater purpose than
socially uniting the churches." [Surely this is worth
accomplishing.]
"I think they would do more harm than good to well-
trained choirs, as delicacy and finish would have to be
sacrificed to power." [Not necessarily.]
"No. They might be beneficial; but the different
collections of psalmody books would be an obstacle."
" Yes, once. Difficulty in meeting for rehearsals has
hindered a repetition."
"Yes. There is a 'Choirs Association' here composed
of 200 to 300 members of choirs of Congregational, Baptist,
and a few Wesleyan Churches."
" On Christmas Day the choirs from all our Congre-
gational Churches in Halifax meet at a united service in
one of the churches."
" Not unless organised on a large scale, and with a
committee of management. I think there would be too
much of an exhibition of one conductor's superiority over
another if such services were held promiscuously ; this
seems to be a matter for discussion. A form of rules and
regulations should be made to satisfy all."
"Yes; but there is always a great amount of jealousy
connected with them. [This objection is given several
times.] Some churches will not join. Then again there
is the question of leadership, which I will not discuss."
"From what I have seen of services of this kind, I do
not think that the interest of the congregation is aroused by
them, but the choirs certainly do take pleasure in them."
"I believe it would be very useful, and I would gladly join
any other choir in a Choral Festival." [Several similar
replies.]
SPECIAL MUSICAL SERVICES, ETC. 153
" Yes ; and I think the Wesley ans should organize Circuit,
or District Choral Unions."
" Yes, I think it would do good, but difficult of accom-
plishment on account of the small amount of interest taken
in music by either office-bearers or congregation."
" Yes, we have a musical festival annually. It is termed
by the Welsh ' Y Gymanfa Gerddoral,' when all the Baptist
choirs unite together to sing hymns and anthems. It is
generally held on Whit-Monday. The choirs rehearse sepa-
rately, and at certain periods unite together under the
leadership of the conductor, selected by the association for
the festival. (2). Yes, very much, as members of our
congregation either stay to listen to the rehearsals, or unite
in the singing."
"The 'Wesleyan Choir Association' in Manchester
District have an annual festival. I think they are productive
of much good in congregational Psalmody and general
interest therein."
" It is possible such services might be productive of good, as
they might induce choirs to try to excel their neighbours,
and so the singing would be improved."
" Yes, if you carried the people and the ministers along
with you."
' ' The awkwardness would be that each denomination has
its own tune-book, the harmonies varying, and, indeed, the
melodies also in some instances."
" It ought to include all the choirs in the neighbourhood to
get the full benefit."
' ' I am making arrangements for a festival service by the
Nonconformist choirs of this city. I think such services
(with proper management) tend to awaken better feeling,
and hence more general interest. [Other similar replies.]
" No, but starting on a sound basis, such a combination
would, in my opinion, be decidedly advantageous." [The
importance of management and sound basis are frequently
referred to.]
' ' Yes, we combine yearly with the Wesleyan choirs of
Durham and Northumberland in giving a Service of Song in
Newcastle. It consists of hymns and anthems by the united
choirs, and solos, &c., from vocalists usually obtained from the
nearest Cathedrals. The service is exceedingly popular, and
I think it does good in the way indicated in the question."
The Diocesan Choral Unions of the Established Church,
with their successful and inspiring festivals in the Cathe-
dral, or central parish church, offer a good example of
154 COMMON PRAISE.
the strength which comes from unity, and show what may
be done, though, perhaps, in a smaller way, hy Nonconformist
choirs. There are upwards of eighty of these Choral Unions
in the Established Church, all of which have their patrons,
committees of management, and staff of officers. The
annual festival is a great event in the musical life of every
humble village chorister who takes part, and the interest
it excites and the necessary preparation for it, give an
impetus to more efficient choir work in each church
associated.
Is it not possible for Nonconformists to do some-
thing of a similar kind in every central town ? What a
splendid opportunity a meeting of all the neighbouring
choirs Baptist, Independent, Presbyterian, and Wes-
leyan would afford for showing that though there are
differences of church organization and government, yet
they could all meet together on the harmonious platform
of worship-music. An annual Praise Demonstration, or
Choral Festival would form a powerful stimulus to the musi-
cal services in many churches, and in addition, it would afford
all the ministers an excellent opportunity for "assembling
themselves together with one accord in one place." To
make such a festival a success, enthusiasm and interest, as
in everything else,, must be forthcoming. Ministers,
organists, choirmasters, and choir members, each and all,
must enter heart and soul into the scheme, or it will prove
a failure. The initiative might be taken by some leading
minister or organist of the district, or even by some
influential layman. The manner of procedure must vary
according to local circumstances, but everything should be
done with an aim to secure smooth working of details, and
no pains should be spared in the endeavour to make it a
thorough success. The " Association of Choirs" project
should rest on a firm, sound basis, and should include all
the choirs in the district. Everything depends upon good
SPECIAL MUSICAL SERVICES, ETC. 155
management and tact on the part of the organizers, as by
this agency, combined with careful administration, much
good can be done in the way of improving the choirs, and
through them their congregations.
The oft-repeated objection to the success of such a
proposal is contained in that wretched word jealousy.
It is said that "there is a want of sympathy among the
organists," and such like trivialities. How intensely
small and miserable they appear. It is hard to
believe that there can be such a want of brotherly love
and Christian charity amongst the music-leaders in our
churches. Surely the time for enmity and " want of
sympathy " is past ; all petty jealousies in matters of
this kind should be considered contemptible and
unworthy of the brotherhood of organists. Supposing,
however, there should be a difficulty as to who should
conduct or play the organ, it would be far better to obtain
the services of an outsider in sympathy with the demon-
stration or festival, as is frequently done in the church
associations before referred to. This would remove all
occasions of jealousy among the different organists and
choirmasters ; and as the stranger might possibly
point out faults which a local man would hesitate to do,
the advantage to all who take part would be obvious.
The music chosen for the festival could be well practised
by each choir at their ordinary rehearsals, and unless it
was very complicated (which it ought not to be) one full
rehearsal, at which every singer should attend, would be
sufficient.
I am quite sure that such a combination of choirs at an
annual festival must be productive of good if it is under-
taken in the right_spirit. I could give the results of my
own experience of a Praise Demonstration of Presby-
terian choirs in the North of London, but I prefer to
quote the experiences of others. The following gentlemen,
156 COMMON PRAISE.
residing in different paits of the country, have afforded
very valuable information on this important subject, and
I am sure their practical experiences will be perused with
interest and profit.
Mr. Edwin Speight, organist of Airedale College,
Bradford, writes :
" Two years ago a few friends and myself initiated an
' Association for the promotion of Congregational singing ' in
Bradford and district, and which now comprises some 20
choirs Congregational, Baptist, and Presbyterian. The
Wesleyans were pressed to join, but they have since started
a Union of their own. We hold quarterly meetings, at
which a paper is read, discussed, and illustrated by music.
We have had the following subjects : ' Chanting ; ' ' Short,
common, and long metre hymn-tunes ; ' ' Anthems ; ' ' Use
of organ in worship ; ' ' Choir training ; ' &c.
"To the second question [Do you think choral festivals would
be productive of good in promoting congregational Psalmody,
and in awakening interest in it ?] Yes, decidedly ; but our
experience is that special music must be got to interest the
choirs
"The first choral festival of the ' Association for the promo-
tion of Congregational singing,' was held in St. George's
Hall, Bradford, 1886. Twenty-seven choirs of different
denominations in the neighbourhood took part under the
conductorship of Mr. A. L. Cowley. All the words, and the
music of the hymn-tunes, were printed. Financially the
affair was a failure, as we lost 20, but I explain this : 1. We
engaged too large and expensive a hall (holding 5,000).
2. A large number of singers failed to take the music they
had engaged to buy, leaving us a heavy loss that way.
Musicially, it was, on the whole, a success. We had, of
course, amongst the 200 to 250 singers a number of very
inefficient musicians, and perhaps we overrated the general
standard of ability in fixing the programme. We wished
not alone to show the public what good congregational tunes
can be made to do, but also to give the singers something
difficult to make them work. The hymn-tunes and anthems
went capitally , but ' Come let us sing ' (Mendelssohn) was
too difficult and not so effective. I am, personally, no advo-
cate of such anthems as 'By Babylon's wave' (Gounod);
' Sing, O heavens ' (Sullivan) ; ' Hallelujah ' (Beethoven) ;
all sung at the festival for use in ordinary services, but
' The radiant morn ' (Woodward) has since been frequently
used in several local chapels, and the choirmasters report
SPECIAL MUSICAL SERVICES, ETC. 157
' with success and pleasure to the congregations. ' The Te
Deum was J. L. Hopkins', in Gr, which has also been similarly
introduced. . . I have been told on all sides that the hymn-
tunes, Litany, &c. , produced a great impression, and I believe
increased interest in the work of our choirs will result.
" As to our Association, we have just elected officers for the
coming year. . . We are trying to start a series of meet-
ings during the winter at different chapels. My original
idea in suggesting this Association was mostly educational
and social, to enable choirs to meet, confer, and help each
other, and I hope we shall not cease to have lectures and
discussions ; but I find many friends seem to think general
' practices ' of the combined choirs, as being more popular,
are the things to aim at. However, we have decided to have
a paper read by Mr. Cowley on ' the relation of Churches to
Choirs ' at our first meeting.
" In a busy town like Bradford, with political, social, and
religious meetings of every kind every night, it is no easy
matter to keep up the interest in a new society, and we are
often discouraged, of course ; but I believe that good has
already come of our endeavours, and that more good will yet
come. To sol-faists we are much indebted, our secretary,
Mr. Murgatroyd is one, and is full of energy and resource."
Mr. H. Sawyer, choir secretary. Congregational Church,
"Wellingborough, writes :
"We have a large mixed -voice choir. For several years
the attendance was very irregular, both at practices and
Sunday services, and I found the cause was mainly that
they wanted something more than ordinary Psalmody
practice ; so I suggested we should take up a small work,
such as ' Christ and His Soldiers,' Gaul's ' Ruth,' and
selections from the ' Messiah,' &c. Our attendance increased
at once, fresh applications were made to join the choir, and
this has continued up to the present time (with little fallings
off occasionally), till now we have upwards of 80 in our choir.
But I must tell you we have a small chapel as well as our
large church, where service is held only in the evening, so
about twenty form the choir for that place of worship. Still we
endeavour to keep it as one choir. About five years ago, at
our annual choir tea and business meeting, I suggested the
holding of a Choral Festival of the Nonconformist choirs
of the town only in our church being the largest Non-
conformist place of worship here. Many were afraid I
should not be able to carry it out, but at length they adopted
a resolution that one be held, and that the arrangements for
158 COMMON PRAISE.
the same be left to me. . . . This first festival was a
great success. We had about six hymns, two chants, and an
anthem, and concluded with the singing of the ' Hallelujah
chorus ' by the united choirs. The Wesleyan, Independent
Wesleyan, and Primitive Methodist choirs joined us, and we
had nearly 200 voices.
" The next year I invited a few choirs from the surrounding
district, and found them all willing and delighted with the
idea of taking part in such a festival. Our then organist
visited each choir once, and again the festival was a grand
success. We have found it better to have the hymn-tunes
printed in a book, and to buy the anthems or choruses
separately, as the charge for printing the anthem was much
greater than the cost of purchasing
" This year (1886) I had the management again. I invited
22 choirs, of whom 21 accepted. The organist and myself
visited all the choirs. When there were two in a village or
town they rehearsed the music together, and those in adjacent
villages I arranged to meet at a place nearest Welling-
borough. . . In many of these village choirs there seemed
to be no knowledge of music, all singing by ear ; but they
are very enthusiastic in their practices, and seem to like the
idea of having a centre to look to. I have received letters
from several ministers expressing thankfulness that some-
thing is being done for the village choirs.
" Some time ago I wrote a letter to our Country Association
recommending the formation of a Nonconformist choral
association, with an executive, conductor, &c., the latter of
whom should visit all the choirs, and train them for festivals
in the district ; also that one system of pointing be adopted
in chanting ; and that for ' ways and means ' each church
should contribute a sum annually to pay expenses. I was
thanked for my letter, and was invited to introduce the
question at the next quarterly meeting of ministers, but I was
reluctant to face a number of ministers. However, I think
something of this kind would be very helpful to choirs, and
form a union which would help us to forget our little denomi-
national differences. I have found all denominations willingly
take part in our festivals, and thoroughly enjoy them.
" I have found the collections just about pay the expenses.
This year we had a larger offertory, and as we had a preacher
who did not charge us any fee, we have a balance in hand of
over five pounds. We have always collected sufficient money
among our own people to provide a free tea for all the
choirs coming from a distance. . . We always select
double chants ; and we divide our choirs Decani and Cantoris
down both sides of our church, leaving the centre and
SPECIAL MUSICAL SERVICES, ETC. 159
galleries for the congregation. I enclose you one of this
year's service-books, which we sold to the choirs at 3d. each,
upon which we were able to make a small profit after selling
the anthem at a reduced price. . . .
" I have written you a long, rambling statement, but I hope
you may be able to get a few hints which may prove useful.
I know our young people especially like music, and if the
Christian Church will not provide it, they will get it from
sources which will not help or benefit them."
[The festival of 1886 included six hymns, two chants, and
the anthem was Smart's "The Lord is my strength." The
hymns were printed with expression marks throughout, and
the Psalms were marked for antiphonal chanting.]
Mr. H. A. Walters, choirmaster of Croydon Presby-
terian Church, writes :
" Thinking that a Choral Service undertaken by a
combination of choirs might be productive of good in many
ways, we arranged for a meeting of organists, choirmasters,
and others to talk the matter over. The outcome of this
meeting was the formation of the C.N. C. C. A. , on the following
basis. Resolved 1. That a union of the Nonconformist
Church Choirs of Croydon be formed, to be called ' The
Croydon Nonconformist Church Choir Association.' 2. That
the object of the Association be the holding of an annual
festival, in the shape of a Choral Service, with a view to
(a) promoting a friendly feeling between the different
denominations, and (b) improving the singing and en-
couraging a taste for good music in the churches. 3. That
the festival be held in rotation at such of the churches
represented as are suitable in every respect, provided they
are available for the purpose. 4. That the service be
conducted by ministers of various denominations, and a
well-known and popular man be procured to preach on each
occasion. 5. That each year, not later than March, the
secretary shall call a meeting of organists and choirmasters
to arrange the details of the festival. 6. That the offertory
at each festival be devoted to defraying expenses, any
balance to be handed to some local charity."
[The first festival was held in 1 885, at Croydon Presbyterian
Church, in which nine choirs (Baptist, Congregational, Presby-
terian, and Wesleyan) took part. The music included four
hymns, three chants, Jackson's Te DeuminF, and foranthems,
Tours' s " Blessing and Glory," and Himmel's " come, let
us worship " all of which (excepting the anthems and Te
160 COMMON PRAISE.
Deum) were printed, with, expression marks, &c., in the
" order of service."]
In reply to my enquiry as to the continued existence
of the C.KC.C.A., Mr. Walters writes :
" The C.N.C.C.A. is still in existence and working satis-
factorily. We held our second festival in June of the present
year (1886). The order of service was practically the same
as hefore, the principal anthem was Gounod's ' Unfold, ye
portals everlasting' (Redemption). . . . The minister of
the church (this time Congregational} presided, giving out the
hymns, &c., the rest of the service being taken by ministers of
Tarious denominations. Next year we are hoping to hold
the festival at another church.
" We have not at present found any very great difficulty
in working this united service, making up our minds to give
and take a little, so to speak, and to conform in some slight
measure to the style of service in use at the church where
the festival is held."
161
CHAPTER IX.
THE OKGAN, AND ITS POSITION.
THE organ has been honoured with the designation
" King of Instruments." However, many musical
monarchs, like their human prototypes, are often deficient
in regal attributes. If a census of all the church organs
in this country (especially those in Nonconformist
churches) could be taken and classified under the headings,
"good," "bad," and "indifferent," the "good" record
would be a miserably small one compared with the "bad"
and " indifferent." Organs naturally become decrepid
with age though a well-built organ, under good
conditions and with fair wear and tear, will last a long
time; but the majority of the wretched specimens that
are constantly to be met with, suffer from a variety
of internal complaints from their very birth. Their
elaborate cases and gaudily-decorated fronts give them
a healthy appearance ; but like a diseased man with a
ruddy complexion, their facial rubicundity is no index
to their disorganised insides.
English organ builders have, in some instances, con-
siderably degenerated from the glorious traditions of
their predecessors. The prefix "jerry" is not inapplicable
to some of the craft, whose first, and often only con-
sideration is to make money rather than substantial
and artistic organs. A "cheap and nasty" organ is
M
162 COMMON PRAISE.
an infliction both to players and hearers. Organ
committees are just as much if not more to blame
than the jerry organ builders for encouraging them
in manufacturing a cheap instrument, which means
nothing more than inferior quality of materials combined
with scamped workmanship. If all who have the
ordering of organs would be content with getting a small
good organ from a builder of repute, they would receive
far greater value for their money than if they spent
it on an inferior, albeit a larger instrument. It cannot
be too emphatically stated that a cheap organ is in reality
a dear one in the long jun ; therefore, the prevailing
custom of running after cheap things should not be
followed in selecting an organ builder. There are several
ways whereby an organ can be cheapened in manufacture
and yet not be noticeable to the general run of organ
committees, but it would take too much space and be
too technical to enumerate them here ; some of the
more glaring "dodges" in this direction will be referred
to in the remarks on organ specifications.
Supposing an organ is considered inefficient for the
duties required of it, that it is out of repair, too old,
too small, or generally unsuitable, the questions will
naturally arise, " Shall we have our present organ
repaired, rebuilt, ' or modernized, or shall we have a
new one?" Supposing there is no particular difficulty
as to funds, only an expert who has actually played upon
and examined the existing organ can satisfactorily answer
the questions. As a rule, if both the tone and the
mechanism are bad, nothing short of a new organ will meet
all requirements. If, however, the tone is fairly good and
the mechanism generally defective, then some of, perhaps
all, the pipes might be incorporated in the renovated
instrument. It is often more expedient (financially and
otherwise) to sell the old instrument out and out for
its fair value, and to start clear with an entirely new one.
THE ORGAN AND ITS POSITION. 163
The cost of the organ. This, of course, has to be
governed by the question of "ways and means;" but
a guide as to what it ought to cost has been furnished
by so eminent an .authority on organ matters as Dr.
Stainer, who says* (I suppose he refers to a first-class
builder) :
" Some years ago I made a very rough and ready rule
by which you can always find out roughly the cost your
organ ought to be by the number of sittings. It ought to
be 1 a head. If you have a church holding 500 people,
if you spend 500 on the organ, you will have one large
enough for the purpose. If you have a church holding
1,000 people, spend 1,000, and if you have a very fine
church, which holds 2,000, you may spend 2,000 on the
organ. From 3,500 to 4,000 people can be accommodated
under the dome of St. Paul's [Cathedral] within hearing of
the preacher, and our organ cost 3,500. The Albert Hall
[London] holds about 9,000 or 10,000 people, and I believe
that is exactly the cost of the organ there."
In accepting this, much depends upon the position of
the organ, and the kind of building in which it is placed.
A small organ well placed in a lofty, resonant building
without galleries will be far more effective than a larger
organ in a low-roofed church with heavy galleries and
which is devoid of good acoustical properties. The ravishing
effect of the old organ in "Westminster Abbey was due
not so much to the instrument, as it was a comparatively
poor one as organs go now-a-days, as to the magnificent
resonance of the glorious old minster.
Suppose a sum of money say 450 is about to
be spent on the organ in a church seating 600 people.
It will be a far better and wiser policy to order an organ
from some trustworthy builder to cost when completed
600 ; but only to spend 450 upon it at first, leaving
some of the stops to be added at some future period,
instead of employing an inferior builder who would,
apparently, .build the instrument complete for 450.
* " Proceedings of the Musical Association," 1885-6. p. 85. (Stanley
Lucas & Co.).
164 COMMON PRAISE.
To explain this it must be remembered that the
sound-boards (upon which the pipes stand), the mechan-
ism, bellows, &c., have to be made their complete size when
the organ is first erected, but all the pipes need not be
inserted at first, only those that are absolutely necessary and
that can be procured for the sum which the committee
are able to afford. By this arrangement all the mechanism
is prepared for at the beginning, it is only some of
the stops (sets of pipes) that are omitted. Again, this
plan provides those who have the necessary means with
the opportunity of giving certain stops to complete
the instrument. Mr. Brown might call the harmonic
flute his stop; Mr. Jones might refer to the clarionet
as " my stop ; " Mr. Robinson might pride himself on
knowing that he paid for the trumpet stop, and so on.
This leads to the consideration of the specification
of the organ. The specification should be submitted
to some qualified professional man, who has had
experience in the ways and doings of organ builders,
so that the organ committee may be prepared for
the little weaknesses that some organ builders, at least,
are guilty of. For instance, a specification may show
a list of 20 stops ; but an expert will quickly see
that some half-dozen of them are only what are called
"half -stops," *'.<?., 'they do not run through the entire
manual, but only to tenor C. Double diapason and
bourdon on the swell of most organs would appear to
be two stops on paper, whereas in reality they are only
equal to one, as the former affects 44 notes only (counting
from the top), and the latter the remaining 12, on a
manual of CC to Gr compass. Again, some of the
important stops are what are called " grooved;" i.e.,
the lowest 12 notes of the open diapason on the swell,
for instance, are grooved into the stopped diapason,
so that the notes below tenor C are of different
quality and power from those above it. As the pipes
THE ORGAN AND ITS POSITION. 165
of the lowest 12 notes on the manual cost almost as much
as the remaining 44, it will readily be seen that the
builder can save a great deal by the practice of this
little "dodge." Again, there is the paramount importance
of having good, ample bellows, large wind trunks, well
constructed sound-boards, perfect and quiet mechanism
as regards the key and draw-stop action, good spotted
metal in the pipe work, excellence in the voicing of
the pipes, &c. It stands to reason that a builder who
sinks a large capital in wood so that it may be thoroughly
well-seasoned (a most important factor in organ building),
who employs none but skilled voicers and efficient
workmen, and who constructs his instrument as a work
of art, will naturally expect a larger remuneration
than he who will turn out an instrument as a jerry-
built piece of cheap furniture. One is an artist who
prides himself upon every detail of his work, and gives
his personal attention in seeing that it is thoroughly
well done ; the other looks only at the large number
of organs he can " turn out," and for the cheque which,
so far as he is concerned, finishes the transaction. It
cannot be too emphatically laid down that a cheap organ
is usually a dear one. In any case I strongly advise
organ committees before deciding, to hear the organs
and see the specimens of the different builders' work
other than their "show organs," and to seek the aid
of some technically-qualified musician as their organ-
architect.
The size of the organ is of necessity regulated by its
cost and the capacity of the building in which it is placed.
However, there are one or two general ideas which occur
to me that may be useful in the consideration of
the plan for an organ, especially for a congregational-
singing church. Many organs lack a good, solid founda-
tion tone (8ft.) After all, this is the backbone and
chief characteristic of the organ. Oboes, flutes, clarionets,
166 COMMON PRAISE.
and trumpets are instruments common enough, but the
peculiar quality belonging to the open diapason stop is only
to be found in the "King of instruments"; therefore,
the open diapason the Prime Minister of this musical
monarch should have a full, sonorous, grand tone.
In the 8ft. diapason department (excluding gambas) of
an average great organ there are usually an open diapason, a
stopped diapason, or lieblich (which is almost the same thing) ,
and a dulciana, or salcional. Now it seems to me that
this is a mistake. First, there is scarcely any difference
in power between the dulciana and stopped diapason.
The dulciana is only of use as an accompaniment stop to
the oboe on the swell, and of no value as a solo stop.
"When the open diapason is drawn, the dulciana might just
as well be absent, and, to some extent, so might the
stopped diapason. Neither of these stops is requisite for
soft, sustained chords, as, generally speaking, they can be
played on the swell. Second, the open diapason is
generally fully voiced, as it ought to be ; but when it is
put in nearly all the tone seems to be gone, and when
it is drawn it is often startling in its effect. In these
days when expression in hymn singing has become a sine qud
non, what is wanted is that the three 8ft. stops on the
great organ shall be equal to /, mf, and p; instead of
f, p, and pp, as they are usually found. To secure this I
would have the stops thus : open diapason, No. 1 (large
scale) ; open diapason No. 2 (small scale), or harmonic
flute (8ft.) ; and lieblich, or stopped diapason. This plan
would permit of a gentler contrast, instead of such
a violent one ; and the three together, if they properly
blended, would make a fine, penetrating ground-tone.
An objection might be that when there are only two
manuals it would deprive the oboe of any accompanying
stop ; but, as a matter of fact, unless the oboe is particularly
good and the dulciana is very soft and mellow, there will
be very little lost, as very often the accompaniment is
THE ORGAN AND ITS POSITION. 167
heard above the solo, especially if the swell is placed
behind the great organ and when the swell box is closed.
I would also treat the 4ft. stops (the octave above) in a
similar manner. The principal would be octave to the open
diapason No. 1, and a bright, telling harmonic flute would
be octave to open diapason No. 2, or harmonic flute (8ft.).
An effective great organ of only 6 stops could be con-
structed on this basis, if all the stops were carried
through ; there would be, as a primary condition, a good
"chorus" organ, with variety in tone, yet without violent
contrast; in addition, there would be three good solo stops
open diapason No. 2 (for solos in the tenor and bass
octave), lieblich, and harmonic flute (4ft). Then I would
add a trumpet, and to get brilliancy, a super octave
coupler for both manuals. The swell could be arranged
on a slightly different plan to produce variety.
Here is a specimen specification on the above lines,
which would also serve as the nucleus of a larger
instrument.
GREAT. SWELL.
Open Diapason, No. 1. 8
Open Diapason, No. 2. 8
Lieblich gedact 8
Principal 4
Harmonic flute 4
Lieblich gedact J6
Open diapason 8
Lieblich gedact 8
Harmonic flute 4
Piccolo-harmonic 2
Oboe 8
Trumpet (reed) 8
PEDAL.
Open Diapason 16 | Bourdon 16
COUPLERS.
Swell to Great
Great super octave
Swell super octave
Great to pedal
Swell to pedal
Manual compass CC to a 111 58 notes
Pedal compass CCC to F 30 notes.
One or two general remarks before I pass on to consider
the position of the organ.
168 COMMON PRAISE.
Where funds and space permit, I should advise the
purchase of a three manual organ with a few stops on each
manual, rather than one with only two manuals. For
instance, in an organ of sixteen manual stops, it is hetter
to have three manuals with six stops on both great
and swell (as above), and four on the choir ; than a two
manual organ with eight stops on each key board.
With the addition of super octave couplers an immense
variety of solo and other effects can be produced ; yet,
at the same time, the chorus work of the organ which
is absolutely necessary to support congregational singing
would not be neglected. If it is a question of funds,
the entire third manual (choir organ) could be prepared
for and added at some future time.
There should be two stops at least on the pedal, except
in very small instruments an open diapason and a bourdon.
If it is only possible to have one stop, a large scale
bourdon is preferable to the boom of an open diapason, as
the latter becomes an infliction when used with the soft
manual stops ; but every effort should be made to have
at least two pedal stops.
The selection of stops is not always happily made.
The first consideration should be given to the founda-
tion stops, as they are of far greater importance than
fancy stops of the 'voix celestes and vox humana class.
It should be remembered that numbers are not everything ;
a mere multiplication of stops is often undesirable.
Quality, not quantity, should be the desideratum. Each
stop should have its own distinct individuality, and should
so manifest itself when added to others already drawn ;
and, while doing this, it should blend with its confreres so
beautifully that they all seem to be one happy family,
while each and all retain their special characteristics.
The customary arrangement of organ key-boards makes
it almost impossible for the organist to hear his instrument
THE ORGAN AND ITS POSITION. 169
properly. The swell is usually at the back of the instru-
ment, while the great organ often overhangs the player's
head. It is an immense advantage for the key -boards to
be away from the organ. The arrangement of the organ
at Westminster Abbey is excellent in this respect. The
key-boards are placed on the choir screen and the organ
is divided and located on the north and south sides of the
nave.
In large organs, the pneumatic action should be applied
to the great organ, and also to the swell and pedal organs if
their respective soundboards are at some distance from
the keys. It is a somewhat expensive outlay at first, but
it is a great saving of labour to the player. It is very
important that the pneumatic action be thoroughly well
made in the first instance, or it will be easily affected by
damp or heat, and will thus cause more trouble and an-
noyance than the ordinary tracker action.
An excellent_substitute for the usual long tracker and
draw-stop movements, &c., in large or separated organs, is
the " pneumatic tubular transmission system." Willis's
divided organ in St. Paul's Cathedral is a good example.
The pedal-organ is under one of the arches of the chancel,
the great and solo organs and the key-board are on the
north side, and the choir and swell on the south side of
the church ; yet the response of each pipe to the touch on the
key is instantaneous, although so great a distance intervenes.
Lewis has applied it to the pedal organ at Eipon Cathedral,
where the distance is 30 feet from the manuals direct. The
same builder's organ at Hillhead Baptist Chapel, Glasgow, is
entirely tubular pneumatic manual, pedal, and draw-
stop. It is possible to get instantaneous speech at a
distance of from 40 to 50 feet by this wonderful mechan-
ical power. A serious obstacle to its general adoption is
its great expense. I am told upon excellent authority that
the cost is about 75 per manual extra, and pedal 50.
The distance from key to pallet does not greatly affect the
170 COMMON PRAISE.
cost. Possibly it may become cheaper by-and-by, as
several English organ builders are giving much attention
to this very important matter of organ mechanism.
The well-known organ builder, Mr. T. C. Lewis, is now
using a patented electric action, which is admirably fulfill-
ing its purpose at St. John's Church, Norwood, and St.
Paul's, Onslow Square, London. It can be applied to all the
manuals and draw-stop action, it requires very little
attention, and it is not liable to get out of order
nor to be seriously affected by atmospheric disturbances,
The cost is the same as the "tubular pneumatic" about
75 per manual extra.
Every organist has felt that the one great drawback to
organ playing, and especially organ practice, is in being
obliged to depend upon the blower. It would be a
happier existence for him if he could entirely dispense with
the services of this necessary functionary. The manual
labour of the player, even with the full organ without
pneumatics, is nothing compared with the hard labour of
the perspiring individual who blows the bellows. It
would not be very surprising to find among the records of
coroners' juries such a verdict as "Death from exhaus-
tion in organ blowing," with possibly a rider censuring
the organist who ha'd been partly instrumental in prema-
turely dispatching the deceased.
The use of mechanical instead of human power to work
the bellows would be of immense advantage, and would ease
many qualms of conscience. There are two kinds of
engines in occasional use hydraulic and gas. Hydraulic
engines are attached to the organs in the Temple Church
and the Crystal Palace (Handel orchestra) ; also in many
churches and concert rooms in Glasgow and the provinces,
where, unlike London, water is cheap and always to be
had in rich abundance.
THE ORGAN AND ITS POSITION. 171
Gas engines are sometimes to be preferred to hy-
draulic, as so much depends upon the water pressure, and
the vagaries of those monopolists (in London) the water
companies. An " Otto " gas engine which is the best
kind is in constant use in St. Paul's Cathedral, and has
superseded one driven by hydraulic power; another is
applied to the organ in Westminster Abbey, and others
are in use in various churches. The first outlay of these
mechanical appliances is, of course, somewhat heavy, but
the cost of the gas to work them is comparatively trifling ;
but then the blower's wages would be saved. At
all events, organ committees would do well to make en-
quiries about mechanical aids to bellows-blowing, and
where possible, to adopt them in preference to human
assistance.
THE POSITION OF THE ORGAN AND CHOIE.
The questions "In what part of the church are the choir
and organ placed" ? and " Which, do you consider the best
place for the organ and choir"? received many various replies
specimens of which are here given. (The statistics of the
answers will be given later on).
" We have just spent 300 in moving the organ from the
other end (opposite the pulpit), and the improvement is
great. "
' ' The choir should sing out to the congregation as the
preacher preaches out to the people." [A minister.]
" We are in a gallery at the pulpit end of the church, but
intend soon to take the gallery down, lower the organ, and have
the choir amongst the congregation. Most organs that are
put up here now have it situated behind the pulpit, keyboard
in front of pulpit, and choir round about the organist; it
seems to answer well for leading." [Large Presbyterian
Church in Glasgow.]
" I prefer the organ in a chamber at the side of the pulpit,
or divided and placed on both sides. Keyboard so arranged
that organist shall have some control of choir. Choir in
front of pulpit and arranged as Cantoris and Decani. By
no means organ and choir behind the people in a gallery."
[Several similar replies.]
172 COMMON PRAISE.
" The organ is raised about eight feet from the floor behind
the pulpit. The choir sit in front of the pulpit facing the
congregation."
" The organ is in a very tall recess behind the rostrum.
The choir are in two rows in front of the organ trebles and
basses in front row, altos and tenors in back row. The choir
gallery projects sufficiently for almost all the voices to be
clear of the recess. Singing there is easy : the voices tell,
and really lead the congregation."
" The west-end [facing the pulpit] for effect, but for con-
venience, temperature, and perhaps greater assistance to the
congregation, the east, or pulpit end. I mention temperature
because my organ is always out of tune during the evening
service."
" The pulpit end is the best; for there both choir and organ
have a much greater command over the congregation, and
can lead more efficiently." [Organ and choir are opposite
the pulpit.]
" My organ and choir are at the end gallery of the church
facing the pulpit the worst possible place. The choir should
be in front of pulpit; organ behind pulpit and keyboard
brought in front, so that the organist can sit in the centre of
his choir." [Several similar replies.]
" In most cases at the opposite end to the pulpit. The
organ has then free scope for sounding, and the choir imme-
diately in front of it."
" The gallery is certainly the best place in our church for
effective singing; but the congregation would sing better
were the choir placed in the area before the congregation and
facing them."
" Unfortunately we are in the gallery a fatal blunder in
most Dissenting chapels. We hope to get this position
altered. The best place is to the right or left of the pulpit,
if the latter be in a central position."
" When possible in the chancel, which is being introduced
into new churches. A most advantageous plan has recently
been introduced into one of our churches. The organ is on
the new electric system, by which the organist turns his back
on the speaking part of his instrument and faces the choir.
The key-board is arranged like an American organ."
[Huddersfield.]
" We are in a recess at the back of the pulpit, on an archi-
tectural abomination called an orchestra, frequently found in
chapels."
" I have seen a suggestion to place the organ and choir at
the opposite end to the pulpit, so that the congregation may
THE ORGAN AND ITS POSITION. 173
be better encouraged to sing, but the one case I know has
not, I think, had that effect."
"The choir is divided into two complete portions which
sit, facing each other, on either side of the nave. The choir
pews are raised about a foot from the ground. As there is no
chancel our organ is placed in one of the transepts that on the
right hand looking towards the pulpit. ... I think the
choir should certainly be in front of the congregation and the
organ as near to the choir as practicable. I do not like a
choir facing the congregation, and in order to get the proper
effect of antiphonal singing there is, in my opinion, no better
arrangement than the divided choir." [English Presby-
terian Church.]
" We are in a shell-chapel recess of excellent acoustic
proportions behind the pulpit and facing the congregation.
I consider this the best position in a chapel of the old
"Wesleyan model like ours which has a gallery all round with
central ' well.' "
" When our new organ was being erected the choir, with an
American organ, were on the ground floor on either side of
the pulpit. We found this position very effective. There
was no room to put the organ downstairs or we should have
brought it down with the choir." [Organ now in gallery
behind pulpit.]
" We have no organ. The choir sit in front of the pulpit
or platform, rather far forward and to an outsider appear part
of the congregation. This seems a good arrangement."
" I think it advisable that an amateur choir should see the
organist."
' ' In front of the congregation, raised a step or so above
the floor of the church, is best, as being of greater assistance
to the congregation, and tending to preserve proper behaviour
in the choir." (!)
' ' The organ is in a recess behind the pulpit, the choir
occupies the first three pews in the nave. Probably this is
the best place for organ in a Presbyterian Church. In my
church the above place for the choir is the most suitable."
[English Presbyterian Minister.]
" I like position of my choir and organ. It is in a gallery
(behind the pulpit) for the choir and organ only. The
manuals stretch out so far from the pipes that with three
rows on each side and boys in the centre I am almost in the
same position as a conductor would be, and can beat time
with one hand while placing with the other. I think this
position is exceptional and has many advantages."
" Choir and organ should be together. It is very difficult
to obtain precision when the organ is situate in a different
part of the church from the choir."
174 COMMON PRAISE.
" The pipes of my organ are behind the pulpit and the
keyboard below it. The choir sit round this on a platform
raised about 18 inches above the floor of the church. The
organ being an afterthought this was the only part of the
Church where it could be satisfactorily placed. On the
whole, I believe this position to be the best for Presbyterian
Churches such as ours, although it is not so pleasant or com-
fortable for the minister."
STATISTICS OF QUESTIONS.
Question 1. " In what part of the church are the
organ and choir placed? received 201 definite replies, distri-
buted thus :
" Choir mixed throughout the congregation " . . 1
" In one of the transepts " 1
" Organ one end, choir the other " 2
" In the gallery opposite the pulpit," behind
the congregation " 32
" Pulpit end, in front 0/the congregation." 165.
Of those " In the gallery opposite the pulpit," 27 out
of 32 are of opinion that the " Pulpit end " is the best
place.
Question 2. " Which do you consider the lest place for
the organ and choir?" received 193 definite replies, as
follows :
" Centre of church " 2
" Organ one end, choir the other " 2
" Opposite the pulpit, behind the congregation "18
" Pulpit end, in front of the congregation" 170
One correspondent, calling himself a New Testament
Presbyterian," thinks "the best place for the organ is
outside the church"
THE ORGAN AND ITS POSITION. 175
Reducing these statistics to two issues, it will be found
that while 18 prefer the "west gallery" behind the
the congregation 152 are in favour of the pulpit end of
the church in front of the people for the position of
the organ and choir. A majority of 152 on a poll of 170
is a very substantial one, and as it records the opinions of
practical organists and choirmasters of congregational-
singing churches of various denominations in all parts of
the country, it carries great weight with it, and leaves
very little doubt as to where the organ and choir ought to
be placed in order to lead the singing of the congregation
efficiently and satisfactorily.
After such a decided expression of opinion from my
brother organists it might seem presumptuous to state my
own preference in the choice of situation ; but having
tested three different positions in the three separate
churches in which I have held appointments, there is,
perhaps, less need of apology for recording my own ex-
perience in each instance.
In the first church octagonal in form, with a gallery all
round the organ and choir were in the gallery behind
the pulpit. In the second a magnificent Gothic cruci-
form edifice with chancel and transepts the organ was on
the left of the chancel (looking towards the pulpit), and
slightly raised above the floor of the church, while the
choir (40) were seated on the opposite side to the organ,
not facing the congregation, but looking towards the key-
board side of the instrument, so that, by the aid of a mirror
all the singers could see any movement of the organist's
hand. In the third a long, narrow T-shaped building,
devoid of all resonance, with transepts at the pulpit end
the choir are in the shallow gallery opposite the pulpit ;
and behind them is the organ almost buried in a chamber
which is really the first floor of the steeple, consequently
the instrument is practically beyond the four walls of the
church ; and as the only opening to the main building
176 COMMON PRAISE.
is a low arch, much of its beautiful tone is lost, and in
the transepts where the congregation are generally about
a note behind the choir some of the soft stops in the swell
can scarcely be heard.
My experience of these three different positions of organ
and choir enables me without the slightest hesitation to
heartily endorse the opinion of the majority of my brother
organists, who state that the best and most satisfactory
position for the organ and choir is at the pulpit end of the
church, in front of the congregation.
In order to gain further information on this important
subject I thought it might prove interesting and valuable
to elicit the opinions of some of the greater lights of
the organist and choirmaster world for this work. I
therefore put this question to some of our eminent church
musicians, " "Which do you consider the best place for the
organ and choir for leading the congregation the gallery,
behind the congregation ; or the pulpit end of the church,
in front of the congregation?" In response came the sub-
joined replies from the following well-known musicians.
Dr. Stainer, organist of St. Paul's Cathedral, writes :
" Speaking generally, I should say that an organ placed
behind a congregation gives more support to their voices than
when in front ; but I also think that there are other reasons
besides musical reasons for this. There can be no doubt
when a congregation can see a choir (whether surpliced or not)
there is a natural tendency to listen rather than to take part.
"When, however, a choir and organ are behind a congregation,
this temptation ceases to exist, and the congregation feels
compelled (I might almost say driven] to exert itself in the
music.
" You ask about St. Paul's ; it is in many ways an excep-
tional place. In hymn-singing I find that the sound of the
choir and organ (as now placed) passes up the dome and down
again to the ears of the people sitting between the centre and
the back of the dome-floor, hence they 'drag' dreadfully; and
I can see no remedy for this. But nevertheless we sometimes
have some magnificent congregational singing in St. Paul's,
especially at our simple quasi-parochial Sunday evening
services."
THE ORGAN AND ITS POSITION. 177
" I do not think a west-end organ would mend matters,
unless the nave were ' seated ' and used as a separate
church."
Dr. W. H. Monk, musical editor of "Hymns Ancient
and Modern," writes ;
" I have no doubt that the place of both choir and organ
in a modern church is right, i.e., in front of the congregation;
but the choir should not sing towards the people ; the position
of the choir (Decani and Cantoris) as in a cathedral is the
only sensible one."
Dr. J. F. Bridge, organist of Westminster Abbey,
writes :
" My own preference is for the organ and choir to be at
the east-end. ; but for leading congregational singing which
would not, of course, be elaborate I do not think it greatly
matters. One thing is important the choir and organ
should always be placed together not as in some places,
choir in the east and organ in the west. This never
does."
Dr. A. L. Peace, organist of Glasgow Cathedral,
writes :
" In reply to your note, the best position for the organ
depends much upon the size and character of the building.
As a rule, it would be better on the ground floor for the sake
of height either behind the pulpit, with the organist in front
(so as to be near the choir) or at the side; or, better still,
divided on either side. This position is also the best for the
choir, as they are better heard and better followed by the
congregation. Should this arrangement necessitate cramping
of the instrument, however, the west gallery should have the
preference, although it is not satisfactory for either organ or
choir to be placed behind the congregation, and should only
be adopted when the space is too limited at the pulpit end of
the church."
Mr. W. C. Stockley, organist and choirmaster of Carr's
Lane Chapel, Birmingham (Rev. Dr. R. W. Dale,
minister) writes : :
"I very much prefer the organ and choir behind the
congregation."
Mr. Ebenezer Prout, B.A., organist of Union Chapel,
Islington (Rev. Dr. Allon, minister) from 1861 to 1872,
writes :
178 COMMON PEAISE.
' ' My opinion is that the best place for organ and choir is
in a gallery behind the pulpit ; in any case, the organ and
choir should always be together never the organ at one end
of the chapel and the choir at the other."
Mr. Fountain Meen, present (1886) organist of Union
Chapel, Islington, writes :
' ' I am decidedly in favour of the organ and choir being
placed in front of the congregation."
Mr. W. G. McNaught, A.R.A.M., Her Majesty's Assist-
ant Inspector of Music, writes:
' ' I led the singing for ten years at Stepney Meeting
(London) in Dr. Kennedy's time. "We had a choir. We
tried it all ways at the back, at the side, and in front of
the congregation. Opinions differed as to the relative ad-
vantage of these positions, but I thought it best for the
choir to be with me under the pulpit (there was no organ
then); and so it was finally settled."
Mr. Hugh Mc^abb, Glasgow, writes :
' ' My opinion is that when the choir and organ have to
lead the congregational singing the most effective place is in
front of the congregation."
The Eev. Sir Frederick A. G. Ouseley, Bart., and
Mr. Joseph Barnby courteously intimated that they were
unable to give definite answers to the questions, the former
referring to the substance of his paper " On the position
of organs in churches " read before the Musical Association
on February 1st, 1886, extracts from which are quoted in
this chapter.
As the consensus of opinion is strongly in favour of
the pulpit end of the church, with a preference for the
key-board in front of the pulpit while the instru-
ment itself is behind, I thought it would serve a prac-
tical purpose if I could obtain some drawings to show
what has actually been done in this direction. Mr. T. C.
Lewis kindly consented to carry out my suggestion, and,
through his representative in Glasgow, has furnished
me with some scale plans of organs in Glasgow Churches
two of which as representing the rest, are added to the
text. These plans are of churches which were not originally
> [
-Scale
- PLAN A -
Tew
Peel-
P ews
O RC AN
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P L
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THE ORGAN AND ITS POSITION. 179
built for the reception of organs, so for the present pur-
pose they are all the more valuable as illustrations,
especially as their respective organs were erected by
different builders.
PLAN A. Free College Church, Glasgow. Italian
style. Organ of three manuals by Messrs. T. C. Lewis and
Co., Limited. Twenty-two sounding stops. Tubular pneu-
matic action to pedals. Blown by one of Bamford's hydraulic
engines.
PLAN B. Wellington United Presbyterian Church,
Glasgow. Classic style. Organ of three manuals, and (when
completed) 34 sounding stops, by Messrs. Foster & Andrews,
Hull. Blown by hydraulic engine. Pneumatic (not tubular)
machines are applied to the great aud swell organs. The
choir and pedal are acted on by trackers only. Length of
trackers from keys to pull-downs, 19ft.
In sending these plans Messrs. Lewis's representative
writes as follows, and as he is practically acquainted with
the working of these details, his remarks are valuable :
' ' With regard to position of organ, there is no doubt that
the central one i.e., immediately in front of the pulpit with
organ behind pulpit gives mo-t general satisfaction. . . .
The arrangement at Free College Church (Plan A) appears to
have given, from enquiries I have made, as great satisfaction
as any I know of; more particularly as it is an old
church, built without provision for an organ, and therefore
an adaptation example.
" At Bellhaven U.P. Church (Glasgow) the organ is placed
(with choir) in a gallery behind pulpit, over the vestries,
likewise at Queen's Park U.P. Church (Glasgow) ; but in
both instances the position is considered too high, and the
question of lowering them has been discussed with a
probability of its being carried out.
" Willis's new organ at Kelvinside Free Church is placed
behind pulpit with keys in front, a small chamber being built
out specially for it."
Messrs. Forster and Andrews, the well-known organ
builders of Hull, write :
" We prefer the organ to be on the floor raised about two
feet and not in a gallery, as the tone ascending from a
gallery gets smothered and lost. The position you prefer
' Behind the pulpit, keys in front, and choir round about '
is also our choice. We have organs in Scotland arranged in
180 COMMON PRAISE.
this way [see plan B] the last one is at Elgin Free Church.
This arrangement suits the Scotch choirs, as they are usually
selected from the elite of the congregation, and the choir
pews are carpeted and the seats made specially comfortable."
The advantages of the ground floor position with the
organ as much in the main building as possible as at
Union Chapel, Islington, and Stepney Meeting are
obvious. If there is any objection to its being behind
the minister, it may be placed on the right or left of the
pulpit (when that is in the centre of the church), but this
position is not so good for diffusing the sound equally
throughout the church as the central one. As to whether
the organ should be raised or stand upon the ground-floor
much depends on the structure of the building, galleries,
&c., and also the height of the sound-boards, but for most
reasons, especially that of temperature, it should not be
too much elevated.
The central position for the organ and choir in front of
the congregation is undoubtedly the best for leading the
Praise Service. Another advantage of this position is that
the organ is more conveniently situated for the sacred
concerts, recitals, and special musical services which are
now so much in vogue. If it is behind the audience those
in the body of the church have to turn round to see what
is going on ; and it is a most unsatisfactory arrangement
for the choir toloe at one end of the church and the organ
the other all competent judges are unanimous on this
point.
Supposing the central position be decided upon, the
key-boards should be brought out from the organ and
the organist will then sit just behind the minister when
he occupies his chair at the communion table. The
organist could have a screen at his back to hide him from
the public gaze, and at its reverse side the minister's chair
(Communion) could be placed. This arrangement has
been carried out in the new organ (Willis) in the Hamp-
stead Congregational Church. The connection between
THE ORGAN AND ITS POSITION. 181
keys and pallets could be made by trackers running under-
neath the pulpit, or, better still, by tubular pneumatic or
electric action.
The choir should be in the immediate vicinity of the
organist's seat. It is very desirable that they should not
face the congregation. The best arrangement is a divided
choir, not too far apart, sitting sideways to the congre-
gation one half facing the other (as shown in the
accompanying plans) so that antiphonal singing may be
exercised. If there is no accommodation for them on or
round about the platform in front of the pulpit, they could
occupy some seats in the first two or three pews in
the body of the church.
To sum up the advantages of this position, (1) it would
give the organist the opportunity of hearing the effects of
his organ at a distance from the instrument, instead of his
being deceived in its power when he is close to it; (2) it would
enable him to be in the midst of his choir, and when
necessary, to occasionally conduct with a disengaged hand ;
(3) it would secure better time, greater precision, and
prompter attack by choir and congregation ; and (4) in
every way it would promote efficiency in the rendering of
the " Service of Song."
One objection that is offered to this position is, to some
extent, a reasonable one. It is said that it gives the
minister a little too much of the organ tone, and that,
therefore, it is distracting to a sensitive man. But, sup-
posing him to be sensitive, if he is of a self-sacrificing
nature and could see that the placing of the organ behind
him would materially increase the efficiency of the praise
service in his church, he would willingly suffer a little
inconvenience rather than stand in the way of doing any-
thing that would further its natural development. Again,
a minister does not always remain in the same charge all
his life ; he sometimes changes his sphere of labour. I
know of a case in point. A new organ, costing about
182 COMMON PRAISE..
800, was about to be erected to replace an old instru-
ment that occupied the " west gallery." Several of the
church committee were very anxious to have- the new
organ placed at the pulpit end of the church. Some -of
the office-hearers objected to an organ altogether, and
especially to any change of position, as did also the
minister, to the latter very strongly indeed. One of the
committee begged the minister to withdraw his oppo-
sition, and himself offered to defray the necessary expense
of the alterations, but the minister was inexorable and
would not give way. If the erection of the new organ
had been delayed, it is just possible it might have had a
better resting place than the hole which it now occupies,
and where much of its beautiful tone is sacrificed, for
within seven months of its opening the minister in question
removed to another church where he found the organ
behind the pulpit, and there it still remains. Such a tale
needs no adornment, but it points a very instructive moral.
It only remains to refer briefly to other positions than
the central one at the pulpit end.
The gallery position, in whatever part of the church,
should be avoided if possible, chiefly on the ground of
variation of temperature, which seriously affects the pitch
and tune of the organ. If the instrument is placed in the
"west gallery " (facing the pulpit) it covers up the west
window and darkens the church, unless the organ is
divided. Moreover, with all due respect to some authori-
ties, a congregation will be more easily led than driven.
Most chorus singers will admit that it is much easier to
sing with the instrumental accompaniment in front of them
than behind them ; and if this holds good with trained
choristers, who have the additional advantage of a con-
ductor, surely it is most desirable in fact, almost
necessary for an untrained congregation to have the
musical forces in front of them to encourage them on,
instead of propelling them from the rear.
THE ORGAN AND ITS POSITION. 183
Galleries all round the church frequently destroy the
resonance of the building. Happy is the church (acous-
tically) that is without them. The magnificent effect of
the divided organ in All Saints', Margaret Street, London,
is primarily due to the absence of galleries, and secondly
to the loftiness of the church.
Organ chambers, apses, and recesses are generally un-
suitable receptacles, unless there is plenty of height both as
regards the chamber itself and the arches which form its
open sides. The tone of many a fine organ has been simply
ruined by being placed in what the Rev. Sir F. Ouseley
calls "an abomination of modern invention," an organ
chamber. Sir Frederick says further on this point :
' ' Organs are obliged to be voiced much louder than is
consistent with fine tone, in order to make themselves heard
at all under such unfavourable conditions ; and not only so,
but the large sixteen feet pipes are usually so hidden away
behind the instrument that they are scarcely audible in the
church, while the mixtures seem doubly shrill and strident by
contrast. Moreover, the mechanism is often inconveniently
crowded, causing frequent derangement and cyphering, and
the bellows are often injured by damp in so confined a space.
I must, once for all, utter my' indignant protest against
organ chambers."
There are very few organists who will not endorse
every word of what Sir Frederick has here uttered, and
who will not heartily second him in his outspoken protest.
It only remains to refer to the vexed question of
temperature as it affects the organ. Most organists are
sorely troubled by the organ's being out of tune when the
church becomes very hot. The variations of temperature
in churches, especially in the winter, are extraordinary.
Unless the building is regularly warmed it will be
within the mark to say that it varies from 40 one day
to 75 another ; no wonder that the pitch and tune of the
organ suffer in consequence. That lete noire of architects
and church committees ventilation, or absence of venti-
lation is to a great extent the cause of the trouble, for, as
184 COMMON PRAISE, .
Dr. Pole truly says, " In small buildings no doubt
ventilation is far too little attended to."
Even so eminent an authority and experienced a
church, musician as the Rev. Sir Frederick Ouseley is
apparently unable to solve the difficulty which tries so
many organists and listeners. The Oxford Professor, in
relating his own experience as a listener, says :
' ' I remember once being called upon to preach a sermon
on a choral occasion in a very large church, where the organ
was erected in the triforium. It was an organ of two
manuals, the great organ was placed very much in the front,
but the swell box was quite behind, and was very much shut
out from the rest quite in the roof, in fact the result being
that when the church got hot the great organ was nearly a
semitone sharper than the swell, and it was impossible to
couple them together. I should like to have some suggestion
as to whether a plan could be adopted to neutralise the very
evil result of a rise in pitch from heat. It is monstrous that
singers, when they are themselves exhausted by the heat,
should have to sing half a tone sharper than they otherwise
would have to do. It is also monstrous that the reed pipes
should be a different pitch from the flue stops, which must be
the case when the pitch rises in that way. If there is any
way of furnishing the bellows with wind from the outside,
BO as to get a cool blast of air through the organ pipes, it
might prevent that evil. I am not sufficiently conversant
with these matters myself to know if this could be done, and
I should like to have some information about it."
Some authorities: including the late Henry Smart
consider it of great importance for the bellows to be
always supplied with wind from the outer air, instead of
pumping in the heated atmosphere usually found in
churches. In an organ at Aix-la-Chappelle, there is an
apparatus for cooling the air when necessary ; and at
Stahlut there are contrivances for heating or cooling the
air for the bellows. A. scientific friend has suggested to
me the use of a Tobin ventilator for the organ which shall
communicate with the open air. The whole subject is such
an important one to scientists, architects, organ builders,
and organists, that it is a thousand pities it should not be
thoroughly investigated with a view to providing some
THE ORGAN AND ITS POSITION. 185
practical and efficient remedy, instead of leaving it in its
present unsatisfactory condition.
Finally, much, of course, depends on the construction of
the church as to where the organ can be situated. All
other things being equal, it should be placed on the floor
of the church slightly raised in front of the people, and
every effort should be made to enable the organist to be at
some distance from his instrument instead of being close to
it, and the choir as near the organist as possible.
One word to church building committees in this con-
nection. Beware of architects. Some of these gentlemen
seem to have a supreme contempt for organs, judging from
where they put or would like to put them. In some
instances the place for the organ is their last thought if
it is a thought at all consequently it is not surprising to
find it stowed away in some hole and corner place in the
church, instead of in a position only second to that of
the pulpit. It should be distinctly understood that the
organ is not a piece of ornamental furniture to fill up some
recess, but a musical instrument. It should be thought of
as an integral part of the worship of the church, and
treated accordingly. Building committees should insist
upon a good position for the organ in any plan that is sub-
mitted to them, and they should make it a stringent condi-
tion as to their acceptance of any design. By this means
architects would be taught a salutary lesson which might
be profitable to them, and which they so frequently need in
connection with the position of the organ in churches.
Tor interesting literature on the subject of the organ,
its history, and its position, the student is referred to the
following :
"The Organ, its History and Construction," by E. P.
Eimbault and E. J. Hopkins (E. Cocks and Co., London);
articles on " The Organ" in Stainer and Barrett's Dictionary
(Noyello and Co.), in Grove's "Dictionary of Music and
Musicians," by E. J. Hopkins (Macmillan and Co.), in the
" Encyclopaedia Britannica," ninth edition, by Professor
186 COMMON PRAISE. .
Bosanquet (A. and C. Black); Dr. Stainer's "Organ. Primer"
(Novello); " On the position of organs in churches," by the
Eev. Sir Frederick A. Gore-Ouseley, Bart, in the "Pro-
ceedings of the Musical Association, 1885-6" (Stanley Lucas,
Weber and Co., London) ; and the " Music of the Bible,"
by Dr. Stainer (Cassell and Co.)
The following communication (received while these
pages were in the press), dated Jan. 4th, 1887, from
Mr. "W. J. Ions, organist of the Cathedral Church of
St. Nicholas, Newcastle-on-Tyne, in reference to the
mechanical blowing of his organ, and also in regard to the
important matter of equalising the pitch throughout the
instrument, will doubtless be read with interest.
" We have just completed a new organ-blowing apparatus
of a very important character ; we have now conquered every
difficulty, and nothing could be more satisfactory than the
way our engine and feeders work. The following is the
result. Noise there is none, not a sound is audible, the
engine being placed in the further division of a stone crypt
of great thickness of masonry with double doors. Smell
not the least gassy odour, perfectly pure air in the division
of crypt where the feeders are placed, and air almost free
from smell in the engine-room. In order to effect this, great
care has been necessary. The ventilators (four) in the engine-
room are large and of the very best description. The partition
between the engine and the feeders is perfectly air-tight,
even the moving lever having an air-tight slide to it. The
fumes of the Otto gas engine are neither allowed to go into
the open air nor get into the church, but are exhausted into a
kind of pit filled with rubble stones and gravel on the top ;
while the little chimney over the touch jet has a conical
receiver and tube to convey the slight fumes from it away
outside. Our last difficulty was an obstinate one, viz. to
prevent an audible overblow from the safety valve in the high
pressure bellows up in the organ when the machinery was
first set in motion. It was unpleasant to hear a rush of air
just as the sermon was about to close. That can now be
entirely prevented when, by hand, down in the engine-room,
the throw-off gearing is operated upon, so all is quiet. I
five signals to the engineman by electric bell by touching a
utton under the keyboard. Many of these contrivances have
been tried for the first time. We have left no stone
unturned for the sweets of success, and we are well rewarded
for our patience.
THE ORGAN AND ITS POSITION. 187
"In regard to that very important matter the comparative
pitch of flue and reed work when the cathedral is hot from gas
and breath of enormous congregations I am again able to give
a favourable account. The cool air brings the flue work very
much nearer the pitch of the reeds, and I can now couple
the swell to great or choir, at times (evening) when formerly
it was unbearable to any musical ear. There are in this cold
supply of wind some variations caused by the weather, viz.,
dry and warm, moist and warm, dry and cold, moist and
cold, &c., so the results are not always the same. During
some fine weather lately we had the whole organ dead in tune
for two or three evening services running, and I hope in the
summer that it will always be so."
[Messrs. Lewis and Co., Limited, are the builders of the
organ and its blowing apparatus.]
188
CHAPTER X.
OEGAN VOLUNTAEIES.
OKGAN voluntaries for church use may be divided into
two classes soft and loud. The former are generally
used as opening, offertory, and, sometimes, closing pieces ;
the latter are usually played after the benediction as the
congregation retire. The opening voluntary is sometimes
an extemporaneous one. There can be no objection to
this form of it when the organist really can extemporize ;
but in ninety cases out of every hundred the extemporaneous
performances of the average Nonconformist organist are
simply execrable. Of melodic invention there is hardly
a trace, and harmonic perspicuity is conspicuous by its
absence. No wonder that sensitive ears are tortured when
listening to a series 'of meandering, disconnected chords
which are devoid of all inspiration, and faulty in their
progressions. To be able to extemporize well is a precious
gift which is not possessed by every musician. Even
some eminent organists are indifferent extemporizers.
Therefore, the "smaller fry "need not be disheartened
if they are not largely endowed with this faculty.
To those who desire to extemporize publicly, and who
are unable to do so efficiently, I would most earnestly
say don't. Rather than distress your hearers with
a number of musical platitudes, devoid of all form
and beauty, play some piece which is the outcome of
ORGAN VOLUNTARIES. 189
another man's mind, and which has the merit of mature
thought and skilled musicianship.
As an alternative to extemporaneous crudities I append
a list (by no means exhaustive) of soft voluntaries of
various lengths all of which I have tested which may
be of service to some of my readers. With a few excep-
tions, all of them are legitimate organ pieces, having been
written expressly for the instrument with pedal obbligato.
Moreover, they have another recommendation they are
for the most part quite easy, and, with a little manage-
ment, they can be effectively rendered on a two-manual
organ.
[Except where otherwise stated, Messrs. Novello & Co. are
the publishers.]
Henry Smart Kate "Westrop
Voluntary in B flat Andantes in E flat (2)
Andante grazioso in G /-, T -p>
-i-ini-no-rxG. J. -Bennett
Con moto in E flat, F, & D . ,, , , . ~
n n /o\ Allegretto in
Andantes tranqmllo in G- (2) . , , . .
-on*. Andante in F
Soprano melody in > flat
Grazioso in F II. Hiles
Evening Prayer Impromptu in G
Andantes con moto in A (2) -- -ry /-, ,
Poco adagio in D Allegretto in 0.
Andante grazioso in Jj
Prelude in A, and F S. S. Wesley-
Andante in F (Ashdown) Andante in G
Andante in D (Boosey] G R Griffiths (Chappell)
Con moto m B flat (Boosey) Andante past orale in E flat
Mendelssohn. Adagio in E flat
Slow movements (6j from Andantes in E, F, and B
the organ sonatas edited by fl a ^
Spark (Ashdown].
Prelude in G (op. 37). C. H. Lloyd
B. Tours Allegretto in E
Allegretto grazioso in D E. T. Chipp (Pitman)
0. Dienel 24 sketches for the organ
Andante in C, op. 13 Nos. 5, 6, 8, 14, 22
190 COMMON PRAISE.
G. Merkel E. Silas
Pastorale in G, and D Melody in E minor, and
Adagio in F Andante in G minor (Ash-
Allegretto in A down)
Prelude in B flat, and G A. Guilmant (Scliott)
E. J. Hopkins (WeeJces) Communion in G
Siciliano in G Melodie in A flat
Allegretto in D T ,,.
A , . , . -r> n , J . Kinross (Curwen)
Andante piacevole in B flat . , . . ,'
T\ i 4. 1^-1 A a 4. Adagio in A flat
Dolce cantabile in A flat
A , , , ., . - Musette in .b
Andante cantabile in F
W. Eea (Augener) ^legy and prayer
A j j. -L-I -n (Jradle song
Andante cantabile in F ,,, , nA , , ,
T i_ i L -n .a i (tne above irom 24 sketcnes
Larghetto in E flat \ ,. . . . , . ,
, A , for the narmonium, book 1.)
F. Archer
Andante in F J - E - West
Prelude in G Prelude in F, and A
J. B. Calkin J* Lemmens (Schott)
AUegretto religiose in C Communion in F
For Holy Communion in G E. Bunnett
Andante con moto in G Larghetto espressivo in D
C. W. Pearce Air in C
Four short and easy pieces, Larghetto in F
set 1 Andante in D
84 Pieces in all.
From the above it will be seen that there is little need
to go beyond the range of original organ music for soft
voluntaries. In addition there are also available a large
number of extracts frem the works of the great masters,
known as "organ arrangements." Those by Best, from
the composers' orchestral scores, are masterly and unsur-
passable for minuteness of detail, but, for the most part,
they are exceedingly difficult for ordinary players ; more-
over, they require a large three-manual organ to do them
justice. Other capable arrangers are Hopkins, Martin,
Prout, Stainer, and "Westbrook. Mr. Ebenezer Prout's are
model arrangements in that they preserve intact all the
intentions of the composer as regards outline, without
ORGAN VOLUNTARIES. 191
bristling with surperfluous difficulties. But however
masterly all those arrangements, however comprehensive
the instrument, however accomplished the player, these
transcriptions can never realize on the organ the effects
which are obtained from their legitimate interpreters.
"Without condemning arrangements altogether for many
of them are excellent and should occasionally be performed
it is far better to let original pieces be the " bread and
butter" of the soft voluntary for church purposes.
The restriction as to the use of arrangements cannot
be placed upon vocal solos from the oratorios e.g., "
rest in the Lord," " He was despised," &c. as these
gems of sacred music can be appropriately played as
voluntaries, especially before a communion service. They
are so well known to the majority of attendants at
Divine service that their introduction will always give
pleasure. Young organists, especially, should be careful
as to playing pianoforte music on the organ. The genus of
the household instrument its tone, touch, sensibilities,
&c. is so very different from the organ, that to transfer
its music to the "king of instruments" is, in many
instances, merely to distort it. This also holds good
with very few exceptions in regard to Mendelssohn's
" Songs without words ; " in fact, Mendelssohn was so
very particular about these special creations of his, that,
in all probability, he would have protested against their
being played on any other instrument than that for
which they were written.
In selecting and playing the opening voluntary, it must
be borne in mind that it should be such music, and be so
rendered, as to prepare the minds of the worshippers for
that which is to follow, and not to disturb or distract
them. It should be a medium for turning the thoughts
from material to Diviner things. Therefore, all operatic
and purely secular music, as well as all music which
192 COMMON PRAISE.
suggests other than sacred associations, should be most
rigorously excluded.
Organists should time their opening voluntaries so as to
finish them when the minister is ready to commence the
service. If the voluntary is commenced too late it may
have to be curtailed, and thus lose much of its effective-
ness ; on the other hand, the organist will have to tack on
a few bars of his own to fill up the time, and this im-
promptu coda, unless it is very well done, may spoil the
entire piece.
The opening voluntary should be in the same key as the
first praise portion of the service, or in some related key.
The outgoing, or closing voluntary, or postlude, is less
restricted as to choice than that at the commencement of
the service. Selected choruses by Handel, Haydn, Mozart,
Beethoven, Spohr, Mendelssohn, and others, make excel-
lent outgoing voluntaries. It is hardly necessary to men-
tion the march, as it is so well perhaps, too well known.
The good marches could almost be counted on one's fingers,
but the bad ones would fill a long list, as every dabbler
in composition writes or tries to write a march. Some
of Bach's fugues make excellent voluntaries, but as they
are " caviare to the general " they should not be too fre-
quently introduced. However, the greatest fugue-writer
should not be entirely neglected ; his matchless composi-
tions should occasionally be heard, for to play them is only
fulfilling a duty which all organists owe to the renowned
Cantor. The six short preludes and fugues in volume viii
of Peters's edition,* are interesting and easy to play ; the
St. Ann's fugue is too well-known to need any recommen-
dation. Enthusiastic admirers of Bach, who lament the
non-appreciation of his works by the general public, may
be interested in the following little story. Someone was
was asked to define & fugue. He replied, " A fugue is a
* See also a new issue of Bach's organ works, edited by Bridge and Higgs,
(Novello).
ORGAN VOLUNTARIES. 193
musical composition in which all the parts run away from
each other, and the hearer from them all." Verlum sap.
Other outgoing voluntaries are movements from
Mendelssohn's six organ sonatas good, solid stuff, though
somewhat difficult and postludes by Guilmant, Smart,
Silas, Salome, and other modern composers. Dr. Spark's
" Organist's Quarterly Journal " also furnishes some
useful closing voluntaries.
Organ music of the French school (with a few
worthy exceptions) should he sparingly used. It is very
seductive and easy to play, but much of it is too flippant
and undevotional for English service-music, besides
being too undignified for the majestic character of the
organ.
In conclusion, I must enter a strong protest against the
common habit of invariably using loud voluntaries at the
close of the service. If the sermon has any significance
at all, then some of the voluntaries which almost imme-
diately follow it are simply outrageous. I am not alone
in this opinion, as it is shared by so eminent an
authority as Mr. Walter Parratt, organist of St. George's
Chapel, Windsor, who said at the Carlisle Church Con-
gress, 1884, "at the end of a solemn sermon, to hear
elaborate pieces of fireworks let off upon the organ was
scarcely calculated to have the effect desired by the
preacher." Those who look at the subject in a proper
light can hardly fail to agree with Mr. Parratt in his
observation. Without doubt it is a great temptation to an
organist, especially a young one (I have transgressed in
this particular over and over again myself) to show off his
instrument and his playing at this part of the service, but
no amount of reasoning will destroy its inconsistency.
To follow a sermon upon the Holy Spirit, or upon prayer
with one of Batiste's pyrotechnics or the march from
" Athalie," is to display the worst possible taste, and such
a proceeding cannot be too strongly condemned.
194 COMMON PRAISE.
The organist should have a music cuphoard within easy
access of the organ, so that, if necessary, he can change
the voluntary he has prepared ; failing this, he should
have ready two or three pieces of various styles, one of
which would be in keeping with the subject of the sermon.
Better still for the minister to tell the organist the subject
and character of his discourse beforehand, so as to avoid
any incongruities in regard to the organ piece which so
closely follows it. The organist who values his position
as the " chief musician" of the church at which he offici-
ates, cannot be too particular as to the selection of his
voluntaries both opening and closing ; for they should
be consistent with all that precedes or follows them. All
the music of the service is important, and although the
closing voluntary is played during the egress of the con-
gregation, there can be no excuse for making it the glori-
fication of the organist and his instrument at the expense
of destroying any good effect which has been produced
upon the retiring worshippers. To quote a well-known
authority "the organist should rise to the spiritual
importance of his duty, and seek to make his voluntaries
harmonize with the spirit of the worshippers."
195
CHAPTER XI.
OKGAN ACCOMPANIMENTS.
[N.B. Chapters IV and (especially) V should be read in
connection with the following.]
OEGAST accompaniments to congregational singing are
often looked upon as so much organ grinding. The sing-
ing of an untrained body of people, it is said, is
nothing more than a disagreeable noise (musically), therefore
the organ should be unsparingly used in order to drown this
cacophony. Artistic feeling and musical expression, being
absent in the uncultivated voices of the people, should
have no place in the organ accompaniment to the con-
gregational song. Broad, massive effects are more to be
desired than refinements of light and shade ; quantity of
organ before quality, and so on. Prom all such theories I
most thoroughly dissent. Music is an art, and whether
one perfect voice sings or 2,000 imperfect voices are uplifted
in praise, I hold that the accompaniments should not be
robbed of one atom of their proper artistic functions. A
cultured musician would doubtless prefer to accompany
a well-trained choir than a miscellaneous multitude whose
artistic temperament, taken collectively, is very low.
But that is not the point. If a thing is worth doing
at all, it is worth doing well. Artistic feeling should
manifest itself as much in playing a simple hymn tune as
in accompanying one of the " queens of song." Accom-
196 COMMON PRAISE.
paniments to congregational singing need not be the hum-
drum, hurdy-gurdy business that some imagine it to be.
In competent hands it can be made exceedingly interesting
and effective, and at the same time to satisfy the cultured
musician. I shall endeavour to point out some methods
whereby the use of judicious and varied accompaniments
to congregational song may help to raise the service of
praise from the dead level of monotonous dreariness into
the region of emotional feeling and artistic expression.
As a preliminary, it will be necessary to consider briefly
the great change which has come over organ playing in
recent years, and this in a great measure is traceable to
the wonderful improvements which have been effected in
the mechanical arrangements of the organ. The touch of
the old instruments was very heavy and decidedly un-
sympathetic. So great was its resistance to the finger
that the key had literally to be pushed down, often with
great pressure ; whereas now-a-days a pneumatic-touch
organ is as light, often lighter than a grand piano, even
when all the stops are drawn. Anyone going diiect from
an old organ with its antiquated mechanism to a modern
specimen by one of our leading builders will readily
appreciate the vast difference between the two instruments,
one soon produces physical exhaustion and irritability, the
other nothing but delightful pleasure. Although there is
still room for improvement in lightening the touch of
organs with tracker action, no one will deny that the
modern mechanism is a vast improvement upon the old,
and that it has had a very remarkable influence upon the
style of present-day organ playing.
The formula of the old school of organists seemed to be,
' ' Place your hands on the keys and keep them there till
you are obliged to lift them off," which in effect meant
that no notice was to be taken of the natural musical
phrases of a hymn, for instance, but that the player was
ORGAN ACCOMPANIMENTS. 197
to go straight on very legato to the end of the verse.
Again, "When you extemporize do so in the strict style,
be sure you put in plenty of suspensions and sequences, and,
above all, do not fail to be contrapuntal."
This was strikingly brought home to me by a visit which
the late lamented James Turle paid to my church a few years
before his death. I invited the venerable organist he
was then about seventy-five to try the organ, built by Lewis
in 1876. He extemporized upon the great diapasons in a
masterly manner for some minutes, but I do not think he
lifted his hands from the keys once during the whole time.
Suspensions, sequences, and imitation were there in rich
abundance, but of phrasing there was hardly any trace.
He made no use of the solo stops, and concluded with a
few chords on the full organ. At the close he said, " Ah !
this is more brilliant than I have been accustomed to."
His style of playing was characteristic of a by- gone
age ; and judging from his observation, he would probably,
had he lived, have looked upon the rebuilding of his old
organ at the Abbey as an act of vandalism.
This leads to the consideration of a most important element
in all artistic musical performances, in which is included
modern organ-playing a careful study of the art of
phrasing. Rousseau (1712 1778), in his Dictionnaire de
Mmique, defines it thus : " The singer who feels what
he sings, and duly marks the phrases and accents, is a
man of taste. But he who can only give the values and
intervals of the notes without the sense of the phrases,
however accurate he may be, is a mere machine." This,
of course, is equally applicable to instrumentalists. The
pianist, for instance, " takes breath " by raising his hand,
or hands from the keys. The vocalist marks the accent by
singing one note with greater emphasis than another ; the
pianist by extra pressure of his finger upon the key ; the
violinist by increased bite of his bow upon the string ;
198
COMMON PRAISE.
the flautist by a stronger breath ; the drummer by a
louder tap on his intrument, and so on.
But a moment's thought will show that the organ is the
only instrument upon which it is impossible to get accent
by varied pressure of the finger or increase of breath.
The organist has not the slightest regulating control over
the wind which goes into the wind chest. Omitting the
swell pedal which does not effect the question of accent
the organ is far more expressionless in a rhythmical sense
than the big drum, or even the triangle. Therefore, it is
all the more necessary to give special and constant atten-
tion to the only available means of marking the phrase
sections upon the organ, and which can only be done by
lifting the hands from the keys. I cannot too strongly
impress upon my younger readers the importance of this
principle. If they will always carefully follow it out
they will acquire a lightness and elasticity in their play-
ing which will invest it with a new charm, and which will
be in strong contrast to the monotony resulting from invari-
ably " gluing " the hands to the keys. One is a musicianly
performance, emotional, artistic, and full of soul ; the
other is a dreary mechanical business equal only to the
efforts of a barrel-organ grinder.
As an example in phrasing I take the following :
Ex. 1. Andante grazioso. Written (melody only). H. SMART.
ORGAN ACCOMPANIMENTS.
199
Which should be played :
Choir clarionet.
j^j MJ.:
All educated musicians agree as to the importance of
phrasing in artistically interpreting a musical composition.
But if it is so desirable in solo or concerted playing, much
more does it become an absolute necessity when the organ
has to lead a number of untrained voices. The congrega-
tion, taken collectively, seem to have not the slightest
idea of natural phrasing, and rhythmical accent appears
to be almost entirely absent in their vocal utterances. To.
judge from their singing they think it is perfectly right to
take breath wherever they like, to endeavour to turn minims
into crotchets, crotchets into minims, triple time into quad-
ruple time, clip the dots from dotted notes, &c. &c., and all
this without the slightest compunction. Nor does this
exhaust the musical outrages of which they are guilty.
200
COMMON PRAISE.
To say nothing of ignoring the first beat of the bar
to secure natural accent, they prolong the final notes of
the phrases instead of shortening them, and consequently
are obliged to take breath at the initial note of the new
phrase, whereby the rhythm is broken, and dragging
ensues. As one of my correspondents has humorously
remarked, " They hold on to their notes for the same
reason as the boy does his toffee-stick, to make it last as
long as possible." The organist, therefore, knowing the
shortcomings of the congregation, should rather exaggerate
his phrasing when accompanying hymns and anthems in
which the people join.
Example of phrasing applied to ordinary hymn tunes.
Ex.2. ST. FLAVIAN. C.M. Written (melody only) .
Day's Psalter, 1563.
1
SS*3
^M
Q o rJll eJ
^rU
^
^^
Played.
ORGAN ACCOMPANIMENTS. 201
Ex. 3. From tune " Feniton Court," by E. J. Hopkins, to " Lead
us, Heavenly Father, lead us."
Written (melody only) .
_j-fad=e^
Played.
I i J n i J
:4v, J ^ U J "EHJ g g
~r^3 r~ ~r~n^j ~"ir^~~ j i
i II IO(
Guard, us, guide us, keep us, feed us, For we have, &c.
Rj^I_^^^
Examples 1 and 2 will show that it is not always
necessary to raise both hands and to rest the feet. The
withdrawal of the right hand alone, or of the melody
note, or both hands while sustaining the pedal note, will
often suffice, especially when the words necessitate a break
in the middle of aline (Ex. 3), or when the last note of aphrase
is a one-beat note (Ex. 2, 8th chord), &c. This modified
form of marking the phrase sections prevents jerkiness
or any approach to a chronic staccato, which is contrary to
the spirit of good organ playing.
These examples only broadly illustrate the prin-
ciple of phrasing as applied to hymn-tunes. Study and
experience will open up the way to its further develop-
ment both in regard to solo playing and accompaniment.
Its influence on the more efficient rendering of the service
music generally can hardly be over-estimated. Although
I shall give further illustrations of its application in
hymn-singing later on, it is beyond the scope of this work
to give minute details of the various kinds of phrasing.
The subject is an intensely interesting one, and the
student is advised to consult Lussy's " Musical Expres-
sion" (Novello); and especially the excellent article on
"Phrasing "by Mr. Franklin Taylor in Grove's "Dic-
tionary of Music and Musicians."
202 COMMON PRAISE.
Let me also strongly recommend plenty of pianoforte
practice with special attention to phrasing. I have met with
some organists who say that they do not play the piano,
the organ is their instrument. If any of my readers
should give a similar reply I advise them to set to work
at once at their pianoforte playing real, earnest, careful
study, and they will find it will greatly help them in
getting good phrasing on the organ. I most strongly
emphasize the good that results from listening to first-rate
instrumentalists. To spend a few shillings in listening
to the phrasing of Charles Halle, Joachim, Piatti, or any
real artist-musician, is an excellent investment, and it
will yield a better return if the hearer provides himself
with the music performed and carefully marks his copies
as the player proceeds.
Having referred to the general principles of phrasing
and its importance, it will be well to consider in detail the
organ accompaniments to congregational hymn singing.
PLAYING OVER THE TUNE.
The tune should be played over in strict time, and so
distinctly that all may have a clear idea what the tune is
to be. If it is at all unfamiliar the melody should be made
very prominent. The following are some of the various
methods in playing over the tune.
1. To play the melody on one manual using some
solo stop, or stops, 8 and 16, or 8 and 4 ft., and the
alto and tenor part softly on another manual, and the bass
with a soft pedal stop. This plan has the advantage of
bringing out the melody, but in the case of a familiar
tune it is not always necessary, and it is apt to become
stereotyped.
2. To play the melody in the tenor octave (an octave
below its written pitch.) The oboe or horn on the swell
(if they are of good quality in this part of the register)
ORGAN ACCOMPANIMENTS.
203
accompanied by a dulciana on the great, or choir, are
suitable for plaintive tunes. Examples "Rockingham,"
"Holley." The great open diapason, similarly treated,
with swell accompaniment, is very effective for tunes with
broad melodies. Examples: " Leoni," "Stephanos"
(" Art thou weary?")
3. The soprano and alto as a duet on one manual with
soft accompaniment on the other (Ex. 4). If the alto notes
do not always make good two-part harmony a note or two
can be borrowed from the tenor.
Ex. 4. ST. ALKMUND.
Sw. Oboe.
Ancient Melody.
204
COMMON PRAISE.
" Wells " ma also
similarly
" Carey's " and
treated.
4. Great diapasons (8ft.) uncoupled, but with pedals
coupled, playing in simple four-part harmony for broad,
massive tunes of the " St. Ann's " and " Old Hundredth "
type, also the German chorales.
5. The full organ, though very occasionally. Exam-
ples : " Luther's Hymn" to " Great God, what do I see
and hear ?" " Ein' feste Burg," or " Worms " when sung
to a hymn of the type of Luther's, "A safe stronghold
our God is still " (translated by Carlyle).
6. The full swell (closed) in extended chords by playing
the right hand an octave higher, with pedals coupled.
Examples : "Regent Square," H. Smart, to " Glory be
to God the Father;" "Deerhurst," J. Langran, to "Hark
the sound of holy voices."
7. Trumpet-stop (solo) in octaves (melody note and
octave below}, especially for martial tunes. Examples ;
"St. Gertrude" by Sullivan, to "Onward, Christian
Soldiers;" "Hanover."
8. Great diapasons and 16ft. (manual) with pedals
coupled, for slow, minor tunes . Examples : "St. Mary, ' '
" Bangor."
9. Swell diapasons, with or without pedals. Exam-
ple : " Redhead No. 47," to " When our heads are bowed
with woe," in which the pedal (soft ]6ft.) can be intro-
duced with good effect in bars 2, 4, 6, and 8 the
remaining bars without pedal.
ORGAN ACCOMPANIMENTS.
205
10. Tunes with repeats. Example : " Austria," or
"Hymn to the Emperor," by Haydn, to " Glorious things of
thee are spoken," or " Praise the Lord ! ye heavens,
adore Him," furnishes a good example. First and second
lines (of words), solo clarionet, accompanied on soft
swell ; third and fourth (repetition of lines one and
two) on swell diapason, without pedals; fifth, great
diapason coupled to swell reeds, with pedal open diapason ;
sixth, gradually increase great, and open swell ; seventh,
full organ (initial hass note A, on lower part of pedal
board) ; eighth, gradually reduce organ and conclude
with soft 8ft. on great.
11. Special tunes require special treatment. Two
well-known ones will serve as illustrations. (Exs. 5 & 6.)
Ex. 5. Vox DILECTI (" I heard the voice of Jesus say ").
Eev. J. B. DYKES, Mus.D.
~R.JI.Gt. 16 ^ 8ft. soft, uncoupled. /^ Open Diap. only.
^jljl^
T3T3"
L. H. Sw. to 4ft.
Sw. to 8ft. p
206
COMMON PRAISE.
isse
jSo/if ff/. coupled to
Sw. both hands.
[_
I^f r r r
t. to fed.
Gradually increase Gt. Sw. ores -
m
52-
i3E
cen - - do.
^ L
'''wW Organ.
r
WF^-
i
m
m
-<&-=-
Ex. 6. ST. AELEED. Eev. J. B. DYKES, Mus.D.
Gt. to mixtures (without reeds) coupled to full swell open.
=L
ia
m
-*-+-
coup, to Gl.
ORGAN ACCOMPANIMENTS
207
Gt. soft 8ft.
coupled to Sw.
Diaps. $ Oboe.
coupled to
6ENEEAL HINTS IN ACCOMPANYING.
The tune should not be played over till the minister has
completed all his announcement of it, as thereby the tune
and its pitch is fresh in the ears of the choir and congre-
gation. The choir having risen, no time should be lost
in starting. The first melody note may be struck just
before the other notes of the chord, as a signal for an
immediate departure. Generally speaking this prelimin-
ary note should only be necessary for the first verse
and not for the remainder of the hymn. A similar
advance-note on the pedals is not nearly so effective
in securing a prompt " getting away together." The
old-fashioned style of making the first melody note
with the semitone below an acciaccatura is hideous, and
should be consigned to the oblivion it deserves.
Although the organ has to lead the voices it should not
habitually overpower them. It should be an accompany-
ing and sustaining instrument. But there are times and
208 COMMON PRAISE.
places when the organ may legitimately assert its power
by flooding the building with sound. "Unless, however,
this is done judiciously and sparingly it will lose all its
effectiveness. The general rule should be not to use more
power than is absolutely necessary, but to obtain plenty
of variety in the accompaniments. If the loud stops are
constantly used there is no reserve power for special and
peculiar occasions.
Therefore, be sparing with the reeds. They are excel-
lent servants, but treacherous masters. Their occasional
introduction is delicious (if they are good and in
tune), but their ceaseless din becomes nauseous, and
it vulgarises the playing. By all means let the diapason
tone the backbone of the organ have the first con-
sideration, but be careful not to destroy it by the constant
blare of the reeds. For this reason the manual
couplers should not always be drawn, as is frequently the
case. It is a delightful relief to hear the great organ flue
work alone without the swell reeds. The use of the 8ft.
stops on the great even the open diapason alone in
simple four-part harmony, and without pedals, is an enjoy-
able change. Some organists couple the manuals together
at the commencement of the service and keep them so to the
end. This is a great mistake. Contrast and variety should
be aimed at in the accompaniments, and monotony and ruts
should be strenuously avoided.
Great care is needed in the treatment of the pedal
organ, both in regard to its judicious employment and in
the progression of the bass part. As in the case of the
reeds, a constant use of the pedals is undesirable. It
affords a welcome change for them to be silent in one or
more verses of a hymn. The entry of the pedal after a tem-
porary cessation gives it new life, dignity, and power.
Therefore, give your feet and the pedals an occasional
rest, and thereby add further variety to your accompani-
ments.
ORGAN ACCOMPANIMENTS. 209
The progression of the bass part should not be altered
except in special cases, principally cadences. The upper
part of the pedal board should be more frequently used
than it is. The constant boom of the lower notes becomes
monotonous and irritating. A left-legged pedaller de-
serves to be taken by his offending extremity and made to
share the same fate as befel the gentleman in the nursery
rhyme who neglected his devotions. Examples of pedal
progressions.
Ex. 7- Bass of the first two lines of ST. GEORGE'S (Elvey) as
written.
A JB
-f 3-
A may be pedalled an octave lower, thus :
F~(f*)-'Jt , ~ , ~H ~~
' J- J J J fcjf^ 1 ^^
But not B, as it would spoil the progression, e.g.
Many other similar examples may easily be found.
The swell pedal in accompanying, as well as in solo
playing, should be used in strict moderation. It certainly
detracts from the dignity of an organist when he turns his
right leg into a species of pump-handle for, in many
cases, that is actually what it comes to. No part of the
organ is more abused than the swell pedal. Dr. Stainer
in his excellent "Organ Primer" (Novello) relates the
following story.
' ' On one occasion I remember to have heard an organist
performing on an instrument having a very prominent swell
organ case with highly-decorated shutters. He was playing
upon the choir organ with both hands, and without using the
pedals, but so strong was the force of habit, that his right
leg was busily engaged working the swell pedal. The absurd
effect can be imagined ; the tone remained level and passion-
less to the ears of the hearers, while their eyes were annoyed
by the meaningless ' gaping ' of the swell shutters."
p
210 COMMON PRAISE.
Dr. Stainer also gives the following useful advice as to
the use of the swell pedal, which deserves to be "writ
large," framed, and hung up above a good many organ desks.
" Never use the swell pedal unless the proper expression
of the music demands a crescendo or diminuendo."
"Never sacrifice the proper performance of a pedal
passage for the sake of using the swell pedal."
' ' Be as careful of the way you let the pedal return up-
wards as of the way you press it down."
' ' Observe carefully the length of the passage marked
crescendo, and do not get the swell fully open till the climax
unless you are prepared to carry on the crescendo by adding
stops."
" The swell crescendo is the more effective, if not used too
frequently."
Mr. Walter Parratt in Grove's " Dictionary of Music and
Musicians" (article on "Treatment of the organ") says:
"The swell pedal is still treated too convulsively, and it
should be remembered in putting it down that the first inch
makes more difference than all the rest put together."
The question of supplementing the voice parts called
"filling in," or "doubling" opens up a wide subject.
A whole chapter could be written on this one point alone,
and then it would fail in its purpose unless the student
had a thorough knowledge of harmony and the construc-
tion of chords. When the four parts only are played
there can be no fear of the organist's going wrong in this
direction, but then unless the 16ft. manual stops are used,
the chords will sound miserably thin.
"When the 16ft. manual stops the " doubles " are
drawn great care is necessary in "filling in," especially in
the left hand chords. Generally speaking, it is safer to
play only the vocal parts.
JL Ex. 8. Bad.
m i I J <!
ORGAN ACCOMPANIMENTS.
211
n Vr -it Good - 1
/k | * - ! J -g
1 <5 ^J _
JFiM. 16//!. 1 , , , 1 i
G 1
((j) .1 JlTrdt fl 1? JT3
H -H
^ jjr IT 1
r->
Mendelssohn is an excellent pattern to us in this matter-
In the organ part of his oratorios he frequently directs
the use of the " doubles " (mit. 16) and in these places it
is not uncommon to find chords in four, sometimes three
parts written in "close position," even in the fortes. See the
organ part (in the full score, not the octavo copy) of
"St. Paul" and the "Hymn of Praise," both of which
are full of interesting and effective points.
It is an agreeable change for a verse to be sung in
unison with a varied accompaniment. Unless the organist
is quite aufait in producing a different, at the same time
correct, harmony on the spur of the moment he should
prepare it beforehand and commit it to paper. To show
how he may do it, I give (Ex. 9) the organ part (with a few
necessary compressions) of the second verse of "Let all me
praise the Lord " from Mendelssohn's " Hymn of Praise."
The tune is the familiar " Nun Danket." I have kept to
Mendelssohn's beautiful design in the last line, where the
voices break into harmony with the simple accompaniment
of the flute and basses (strings), the organ re-entering at
the tonic chord.
Ex. 9. NTJN DANKET.
Voices in unison.
German.
fed. 16ft.
212
COMMON PRAISE.
'elli $ Bassi p
The following is set to Professor John Stuart Blackie's
fine hymn, "Angels holy, high and lowly," hy the late
Henry Smart. The tune is first given in its original
harmonized form, followed hy a version with free har-
monies hy Dr. E. J. Hopkins, to show what may he done
in the way of introducing suspensions and passing notes
in the organ part.
ORGAN ACCOMPANIMENTS.
Ex. 10. SERAPHIM. 4.4-7.8.8.7. HENRY SMART.
Original harmony for four voices.
i i J J
:t=
3
^^L f^ ^^ Jfa^f-f^-
r i i ]*jfi
i.^ nJ
S
r-> P p=
The above with Organ harmonies by Dr. E. J. Hopkins.
Vocal melody. i
A
-Q Gi-
An - gels ho - ly, high and low - ly,
Both hands on Great.
o ~rJ
Organ.
-rl
214
COMMON PRAISE.
fe
f*
Sing the prais - es of the Lord !
:J=t
Aj pj 4 J J
3
~C3 c= *
Earth and sky, all liv - ing na - ture,
T*^
i i i
-<S> P 0-,j
^
Man, the stamp of thy Cre - a - tor,
^
J.
ORGAN ACCOMPANIMENTS.
215
See also Dr. Hopkins's setting of " Saviour, again to
Thy dear name we raise " (Novello).
The merest tyro knows that in organ playing a note
common to two or more successive chords (the melody
notes and the ends of phrases excepted) is not usually
struck a second time, but held down, as follows :
Ex. 11. I
" F=^i 1 J=g
r
*
But in tunes with reiterated chords, especially those in
triple time, it is frequently necessary to play all the notes
(except the pedal notes) slightly detached, as a check
against dragging. Examples : " Aurelia/' in quadruple
time, and the following in triple rhythm.
Ex. 12. From " HESPERUS." H. BAKER, Mus.B.
216
COMMON PRAISE.
If the choir is strong in the soprano part, a nice rich
effect may sometimes he obtained hy transferring the
melody-note to an inner part of the organ chords, and
playing chords having their upper notes helow the vocal
melody (Ex. 13).
Ex. 13. QUAM DlLECTA.
Vocal melody.
BISHOP JENNER.
si
We love the place,O God, Wherein Thine honour dwells ;
:t
ie
>-
G<*.8/*. j v 1
coupled to i
M7. reeds. I .J U
1 Hzp
|Q I Q
Without pedal throughout.
The rule in regard to striking the initial melody note of
each line is temporarily broken here, but the choir should be
prepared for an accompaniment of this sort at the
rehearsal.
The use of pedal notes alone occasionally, coupled to some
soft 8ft. manual stops, is an agreeable change, especially at
a " pedal bass," but, as in the previous instance, the choir
should be powerful, and their lead decisive and strong.
ORGAN ACCOMPANIMENT. 217
The thought suggested by a single line or verse may be
emphasized by employing a stop of pronounced quality.
Examples: "The trumpet sounds; the graves restore,"
in "Great God, what do I see and hear?" and "The
silver trumpet calls" in"0 day of rest and gladness,"
using the great trumpet; "Fierce raged the tempest,"
using up to the great mixtures (without reeds).
The full organ may be used for a similar purpose with
good effect, even in a single word, e.g., "Let there be
light I" in " Thou, whose Almighty word." Other exam-
ples are, " All Thy works shall praise Thy name in earth,
and sky, and sea" (complete line), in "Holy, holy, holy."
The last five chords in the final verse of " All hail the
power of Jesu's name!" if sung to "Miles' Lane."
" Christian soldiers, onward go!" which is the last line of
" Oft in sorrow, oft in woe." The following (Ex. 14) is an
excellent specimen ; note the grand burst of the full organ
at the word " majesty."
Ex. 14.
Gt. 8 $ 4ft. to sw. reeds.
"W. G. Cusixs.
Full organ.
\ J ii
$ 1/4- |
I a
1 ^j . * 2|
vl) J
c) fJ
I K-j m rrl rl
Ride
7^ , J ,
on, ride on
-I ' r^/~^i
in ma - jes - ty ! &c.
T 1 T
-\ '. *' \\
K 2
-i
f {? H
No ped.
f> 1 ^-A
Ped.
Passages of vocal unison (really octaves) are generally less
weighted if they are accompanied without the 1 6ft. pedal,
as the pedal enters with greater freshness at the resumption
of the harmony (Ex. 15). Sometimes, however, the
pedal may be appropriately introduced at the last note of
the unison phrase.
218
COMMON PRAISE.
Ex. 15. WIB PFLUGEN.
Ex. 16.
German.
JW.
7 *-# 3 e?
p^ <S
And
took their
J J
flight.
fos -4f o
lW-# Q
>^"
1 1
No ped.
Ex. 17.
SlR A. SULLITAN.
~ n
^ e
^ E-"^ H
cloud of light, &c.
A J. ^L
He is gone,
a
i
*
JVo /'erf. Perf.
As examples of the way in which the accompaniment may
be varied I give the following : The first two (Exs. 18 & 19)
are applicable when a verse is sung softly, and the new
melody, made up from the inner parts, is played on a promi-
nent solo stop (not the trumpet) while the accompaniment is
taken on another manual. In arranging these " counter
melodies ' ' the student is warned against taking one particular
part, e.g., the tenor, and making it the new melody, as very
often an inner part may be very tuneful for the first fewnotes
OEGAN ACCOMPANIMENTS.
219
but afterwards it may have one note several times repeated,
which, of course, would not be very melodious. In such a
case the alto, tenor, and occasionally, the soprano part
should be drawn upon to supply the new melody. (N.B.
Not a single note of the vocal harmonies of the following
tunes has been altered. In Exs. 20, 21, 22, 27, and
28, the vocal melody is given on the uppermost line as a
guide to the voice parts, but of course, is not to be
played).
Ex. 18. EOCKINGHAM. Vocal harmonies f rom " Church Praise."
-ff. H. Solo stop. (Vocal melody in upper notes of L.H. part).
220
COMMON PRAISE.
Ex. 19. CAPETOWN. 7.7.7.5. (A. & M., 163.)
R.H. Swell with 4ft. $ Oboe.
German.
*
i J J
j ^__l
31
_ _& e
-<&- -cS- 1
//. H. Great Diapasons 8ft. uncoupled.
.. A n f* O- " ^
r
fed. 16ft., coupled to Swell.
1
JS1
^==P
-or
^
e
:p
52= : ^ ::= S
.g3
1
1
IC2I
ORGAN A CCOMPANIMENTS.
221
Example 20 introduces an ''inverted pedal," or holding
note in the upper part, while the voices sing on ; the original
harmony has not been altered in the arrangement.
Ex. 20. NEWTON FERNS.
Vocal melody.
SAMUEL SMITH.
F^
Praise the Lord.ye heavens, adore Him,Praise Him,angels in the height ;
I
Gt. both hands.
^/^iia
Fed.
Sun and moon rejoice before Him ; Praise Him all ye stars and light.
-&
- BL
Another excellent example of "holding notes" may be
found in Sir Arthur Sullivan's popular tune ' ' St. Gertrude ' '
(Church Hymns), to "Onward, Christian soldiers," where
the harmony admits of one of the two principal trumpet
notes, tonic or dominant (F, C), being held down
throughout an entire verse.
The next example (21) is Mr. Barnby's beautiful tune to
"Jesus, my Lord, my God, my all," from the "Hymnary"
and other collections, also published separately in the
Musical Times.
222
COMMON PBAISE.
Ex. 21.
Vocal melody.
J. BARNEY.
Je-sus,my Lord,my God, my all, Hear me,blest Saviour,
33
^
SrS=itS
Gt.
--
'
hands. \ \
?4 j Lp
JW. to <?(.
^
E^
when I call ; Hear me, & from Thy dwelling-place,Pour
I .III .1
a ' \^\ 1
slower.
-jj- * -++
a3=s
down the rich -es of Thy grace. Jesus my Lord, I
JU^
a^
at*
U
ft?
JVb
ORGAX ACCOMPANIMENTS.
223
dim.
Thee a - dore ; let me love Thee more and more.
. H. Solo stop uncoupled.
Tr . ,
Voices only.
J J
-
L. H. Siv. to Oboe.
Ex. 22. HANOVER.
Vocal melody.
Soft Fed. to Sw.
Oh, worship the King, All glo-rious a - hove.
^y '
Z2I
2:
&i
hands on Great, 8
i i
t^^-
I I ri^.
^^ ^ ^'
-&-
o r-> Q
Oh, gratef ul-ly sing His power and His love !
rt
^
I"
224
COMMON PRAISE.
J-
-J _1 I Q
i
Our Shield and De-fender, The An - cientof days,
^A
^
i
^:
Pa - vil - ion'din splen-dour,And gird-ed with praise.
--ri-
^
A J
The above are only specimens of what may be done to
add variety to the accompaniments. Organists are, how-
ever, cautioned against a too frequent use of these varia-
tions, or they will lose much of their freshness.
The natural pauses between the lines may be filled up
by passing notes (Exs. 23, 24,), arpeggio (Ex. 25),
-or reiterated notes (Ex. 26, 27, 28).
ORGAN ACCOMPANIMENTS.
225
Ex. 23. From HOLLEY.
G. HEWS.
^U Jgr6m
1 '
&c.
Perf. 16/i!.
Ex. 24. From ADESTE FIDELES.
, JL , t/y.
&
o ?
i i -I ' y \ (or in
to Beth - le - hem,
'
bin*
Come, &c.
3
J-
Ex. 25. From PILGRIMS.
H. SMART.
Org.
3z-&
Q gffit>
An-gels of Je-sus, an - gelsof light, Sing-ing,&c
l!*r>_lt llol! _K|
3rd
Ex. 26. From ST. GERTRUDE.
Gt. Trumpet.
Sir A. SULLIVAN.
^
(Voices sustain.^ On ward, Christian sol - diers.
3- rg o 1 G. o \ff 5%^
j r - "^~
y^i 1 r-* \ f-i-^=f^-[^
fed.
\ * L- 5
I N *^ ^J
226
COMMON PRAISE.
Ex. 27. ST. ALBINUS. (A. & M., 1st tune.) Dr. GAUNTLETT.
Last line only. /TN
5
Hal - le -
lu
- jab !
J_i
Qt.
~ff rail - en -
tre-a-
c>
Fed.
Ex. 28. EASTER HYMN.
,, 1st & 2nd lines.
HENRY CAREY.
Hal
fSf-Hs*
E3
with 8ft. reeds.
JJTJ
* - -*-*
@
^
: . coupled.
3rd line.
I
le - lu
jah!
I
ORGAN ACCOMPANIMENTS.
227
4th line.
It is almost impossible to give definite directions as to
registering, because organs vary so very much in size and
stop nomenclature. The great thing is to avoid monotony,
and to get contrasts in the accompaniments. Balance of
tone and the charm of variety in organ playing may, to a very
large extent, be acquired by listening to good orchestral
performances. It is an excellent education for an organist,
not that he is to attempt to imitate orchestral effects on his
instrument but simply that he may learn how to colour
and diversify his accompaniments.
There only remains to refer to unaccompaniment. An
old German proverb says " Speech is human, silence is
divine." Applying this to organ pipes, their temporary
cessation for a verse, or even one or two lines, while the
singing goes on, is a delightful relief. Great care is needed
in its practical application when the congregation are
singing. Atmospheric conditions and the necessity of a
strong choir are important considerations. The greatest
anxiety is whether the pitch will be sustained without the
instrument. For this reason heavy, slow tunes, or hymns
with long lines are scarcely suitable for unaccompanied
singing, as are also tunes bristling with chomatic intervals,
and those in minor keys. But short metre, 6's, and
similar short-line hymns (also common metres if not too
228 COMMON PRAISE.
slow) may be made very effective by some of the verses
being sung without the organ. For example, Reinagle's
" St. Peter " (in E or F, not E flat) to " How sweet the
name of Jesus sounds." First verse, organ ; second,
without organ; third, organ; fourth, organ/"; fifth, with-
out organ ; sixth, organ, making a gradual crescendo to the
end. The first two lines of some of the verses of " Let us
with a gladsome mind" may be sung without the organ,
which will enter with point at the refrain "For his mercies
shall endure," &c. I sometimes drop the organ after the
first verse of a hymn, i.e., if it has only a few verses, and
allow the voices to go on and finish without accompani-
ment; but I always take good care not to attempt this
experiment on a raw cold day with an easterly wind, or
unless I have a full attendance of my best voices. More-
over, familiar and noisy tunes of the "Miles' Lane " and
"Hold the fort" type are not in my category of unac-
companied strains.
EXPRESSION.
Much has already been said on this subject in pre-
vious chapters (IV and Y) in regard to expressive singing
which is equally applicable to accompaniments. Following
the excellent example set in "Hymns Ancient and Modern,"
it is now the custom to issue the new hymnals with
expression marks. These indications of light and shade,
if carefully made in the first instance, are an immense
help towards securing more tasteful singing by both
choir and congregation. But some recent books that
have come under my notice have been somewhat over-
done in this respect, especially in the direction of
seizing upon some line or word regardless of its
context, and I find that ministerial editors are re-
sponsible for this false doctrine of expression. In thus
divorcing an idea from its legitimate associations they
follow the example of a certain cleric of the Common-
ORGAN ACCOMPANIMENTS. 229
wealth period. This eloquent divine preached a furious
discourse against the current fashion of female hairdressing,
and, with characteristic profundity, took for his text part
of the 17th verse of the 24th chapter of St. Matthew's
Gospel " lop not come down." Example of false and
exaggerated expression in two recent hymnals "How
sweet the name of Jesus sounds," the last verse
commencing "Till then I would Thy love proclaim"
is marked mf, or/, and the last line "Refresh
my soul in _ death" is marked dim. If there is any
meaning in these words and their context, it is
unnatural to sing them more softly. It seems to
me that the soul's refreshment in death should he
in rich abundance and not in diminished quantities,
therefore, the passage ought to he sung with increased
force to the end.
Word painting should be very cautiously indulged in, and
the colours laid on very gently, or the (musical) picture will
be spoiled and become a daub. For example, take Lyte's
hymn, "Abide with me." The last line is "In life, in
death, Lord, abide with me," but to signal out "in
death " to be played and sung very softly is to my mind the
perversion of an idea. As in the former instance the context
is "the abiding presence of the Lord, ' which is as much if
not more needed in death as in life. Many other exam-
ples could be given, but these well-known ones will
serve as danger warnings against indiscriminate and
senseless word painting.
FLATTENING AND DRAGGING.
These are the chief thorns in the flesh of an organist
of a congregational-singing church, and how they do
prick ! Is it possible to remove them ? To some extent
yes. For example, if the congregation seem to be
getting flat, put in the 16ft. manual stops, draw
those of 4ft. and 2ft., and play the melody in octaves.
230 COMMON PRAISE.
Continue this till the pitch is righted. If the
congregation are slow in responding, sustain the last
chord of the tune at the end of a verse for three
or four beats, making a longer pause than usual. This
will be equivalent to the following message from the
organist to the congregation: "You are singing very
flat. Please endeavour to keep in tune. This is the
pitch." This treatment is far more effective than using
the reeds, and, in most cases it will be found to answer
its purpose admirably.
Dragging on the part of the congregation must be
promptly checked. The organist should show that he,
and not the congregation, regulates the speed. The
simplest plan is to play a few chords staccato, and at the
same time increase the organ tone, which, with the help of
the choir lead, will prove an excellent fillip, and will
generally have its effect. If this fails a stronger dose is
necessary in the form of the full organ, which should be
continued (two or three bars will generally suffice) till the
sluggards are made to go on. The use of the full organ
in this connection will be as a communication from the
organ loft to the pew as follows : " My dear people
you are singing very slowly and apathetically. You really
must not spoil the time in this manner. This is the speed.
Now, please, come along." The full organ should only
be used in extreme cases of dragging, or it will lose much
of its potency.
CHANTING AND ANTHEM ACCOMPANIMENTS.
What has already been said in reference to accompani-
ments to hymn-singing applies also to chanting. As the-
voices do not require to be so much supported as in hymn-
singing there will be many opportunities for a lighter
accompaniment, also the occasional use of the solo stops.
The verses of the chant should run on with scarcely any pause,
ORGAN ACCOMPANIMENTS. 231
and the organist should not withdraw both hands and feet
from the keys between the verses, except for special effects.
The following are some of the various combinations for
use in accompanying the chant. Great 8 and 4 ft. (for
the first verse of the Psalm and the Gloria Patri} ;
diapasons uncoupled ; soft 8 and 4 ft. (flute), if the
latter is not too soft. Swell full, closed, with 16ft.
pedal open diapason coupled ; reeds ; diapasons ; all the
flue stops, including mixtures and 16 ft., without reeds,
with box closed, which produces a weird effect. If there
is a choir organ, the 8 and 4 ft. for chords, and other
stops for solo work. The pedal should not be constantly
used. Playing the melody as a solo on the great diapasons
an octave lower than written is a delicious change.
The thoughtful organist will readily find out how best
to combine the stops for chanting accompaniments. Let
me emphasize one important feature in the accompani-
ment to chanting zmaccompaniment.
The varied sentiments of the words of the Psalms
"joy and gladness," "sorrow and heaviness, "praise, prayer,
adoration, penitence, "joyful noise," "trumpets and
shawms," "psaltery and harp," "the raging of the sea,"
" still waters," &c., open up a fine field for exercising the
talents of a poetical and imaginative organist. There only
remains to add one parting word of advice to the accom-
paniment of the Psalms. Always " play skilfully," but
not necessarily " with a loud noise."
( See also Chapter VI. " Chanting "p. 87, et sey.J
ANTHEMS that have no independent instrumental accom-
paniment are like unto hymns and should be similarly treated.
When there is no written introduction the organist may
extemporize one from the leading theme or themes in the
anthem, and work it into a prelude of four, eight, or sixteen
bars. The introduction may close on the dominant, or on the
chord with which the anthem commences. A Christmas
232
COMMON PRAISE.
anthem may appropriately have a part of the Pastoral
Symphony (Handel) worked into the prelude . If the organist
doubts his powers at extemporizing introductions he should
write them down. The following opening (Ex. 29) by Sir
John Goss to Crotch's "Comfort, Lord, the soul of Thy
servant " serves as an excellent model of a four-bar intro-
duction to an anthem. Notice its melodic and sequential
simplicity, and how beautifully it leads into the first
vocal phrase of the anthem. The prelude to Gounod's
" Ave Yerum " is also a good example.
Ex. 29.
v
?iliW&
5^
ores - cen - do. dim. Comfort, Lord,&c.
Some full anthems have a separate organ part, which
will, of course, be played in accompanying the voices.
Many composers refrain from giving detailed directions as
to registering, but leave it to the good taste and judgment
of the organist to^ produce a sympathetic accompani-
ment. In many instances it is well that they do so,
for organs vary so much in stop nomenclature and in
voicing, that what would be a proper balance between
instrument and voices on one organ might be unsuitable on
another. Moreover, the strength of the choir, the position
of the organ, and the blending qualities of its stops should
be carefully taken into account in registering. As in
hymn tunes, it is well to remember that senza pedal is a
welcome relief. Exs. : Goss's " taste and see," with-
holding the pedal (except the initial bass note) till the
repeat of the opening theme in bar 21 ; and Sullivan's
" love the Lord," without pedal from bars 36 to 49,
ORGAN ACCOMPANIMENTS. 233
when it will enter with fine effect at the return of the
first subject with dominant harmony. Portions sung
without accompaniment, especially passages of vocal unison,
also make a pleasing contrast. Exs. : Goss's "0 taste
and see," ten bars from the end (the return of the first
subject), to be without organ, resuming it at "blessed is
the man;" J. L. Hopkins's "Lift up your heads," the
unison passages in bars seven and eighteen from the end
("The Lord of Hosts") without organ, which will re-enter
with point where the voices break into harmony. The
late Dr. S. S. Wesley's fine anthem " Blessed be the God
and Father" is a model specimen of organ registration,
constructive design, melodic beauty, and depth of expres-
sion, and is worthy the careful perusal of the student.
It deserves to be widely known beyond the choirs of the
Established Church, with whom it is a great favourite.
Finally, the organist should not fail to carefully adapt
his accompaniments to the varied sentiments expressed
in the words that are sung. This is a most important
and necessary consideration, and should on no account ever
be neglected. Study, experience, and a highly cultivated
taste allied with technical knowledge are most essential
requisites, but to these combined qualifications should be
added an earnest sympathy with the service music he is
called upon to perform. His aim and endeavour should be
to do his very best. He should set up for himself a very
high standard of excellence, never forgetting the import-
ance of his ministrations to the worshippers whose
praises he leads, and always maintaining a consciousness
of the dignity and responsibility attendant upon his exalted
office.
" The fineness which, a hymn or psalm affords
Is when the soul unto the lines accords."
INDEX.
PAGE
Accent in triple rhythms 76
marks in chanting 96
Accompaniment of anthems ... ... 231
of chants 230
of hymns 207
Amen singing 78
Anglican chants 89
Anthems for Choir 109
and congregation 109
Antiphonal singing 63,78
Arrangements from Oratorios . . . 191
Associations of Choirs 151
Beatitudes 130
" Bible Psalter," Troutbeck's 93, 107
, Oakeley's 89,108
Boys' voices 30
Cadences of chants 92
Canticles sung to services or chants... 124
' Cathedral Chant Book '
' ' Cathedral Psalter "
Change of rhythm
Chant Book, separate from words
Chanting
,Aceent marks
accompaniment
of Te Deum
rules
without accompaniment
108
93, 98
... 76
... 104
96
230
98
97
102
Chant, musical form of
Services 127
Chants, Antiphonal singing of ... 104
.Choice of 103
, Uneven verses 104
Children's hymns in ordinary ser-
vices 65,79,83
Choir, Absentees fined 27, 38
, Absentees informing choir-
master 37
, Absentees sending deputies... 37
, Admittance by music-reading
test... 22, 32
> Attractions, lessons, anthem-
practice 24, 51
, Balance of parts 34
, Boys or ladies 20
, Committee and Oflicers 24, 35
, Concerts to poor ... 39, 51
PAGE
Choir, Devotional spirit 25
dispersed among congregation 64
expression overpowered by
congregation 58
, Grant for purchase of music 38
, Gratuity for picnic 23
, Half-timers 37
, Jealous of paid members ... 23
, Meet in room before service 25, 50
, Members balloted in ... 25, 32
, Members' fund 24
, Minister's interest and help. . . 5
, Notifying vacancies 32
, Paid and voluntary members23, 28
, Paid from yearly collection ... 23
, Paid quartet 29
, Position of 171
, Preparatory singing class 27, 31
, Printed rules of 38
, Punctuality of 50
, Register of attendance 21, 36
, Relays, month on duty 37, 64
Reserve members to fill va-
cancies
, Selected from congregation
only.
-, Soprano leader . . .
-, Special concerts
-, Talking during service
, Voluntary members irregular
Choirmaster, Confidence of office-
bearers helps
leading choir with his voice
25
25
29
41
50
23
18
15
15
1
43
, Qualifications .?. ... 15, 52
, Reasons for combining office
with organist 18
, Relations with Organist ... 16
Choir Practices, Accompaniment of 40, 42
, Cancelled when choirmaster
away 42
for congregation 65
in separate room 42
, Instructions written in
music books 43
, Secular music ... 41, 51
, Statistics 40
listening among congregation
, Minister as
, Programme for practices
236
INDEX.
PAGE
Choir Practices, Variety of work de-
sirable 45
Choosing tunes for hymns 54
Choral Festivals 151
Church, Applause in 136
Choral Society 66
" Church Hymns " 73
of Scotland Anthems 120
" Church Praise " 84,120
Church, Temperature in winter ... 133
" Clapton Park Psalter" ... 93, 107
Concerts 138
Congregation, Home practicings of
hymns ... : 85
Congregation.Ministerurgingsinging 4
, Quantity and quality of sing-
ing 59
Congregational chanting 90
" Congregational Anthems " 120
- Anthems and Collects "
Church Music" Chants
Psalmist," anthems ...
, Chants
-, Hymnal "
... 120
.. 107
120, 130
... 107
... 72
Congregational Psalmody practice 65, 81
singing, aids for improving ... 86
use of tune book 55
Cost of Organ 163
Deacons, support and sympathy from 8
" Dictionary of Musical Terms " ...108
Diocesan Choral Festivals ..." ... 151
Dispersed choir among congregation 64
Double bars in hymn tunes 74
choirs 37, 64
Dragging the tune, &c 61, 81, 230
" Easy Anthems " 120
Elders, support and sympathy from. . . 8
Elvey's" Psalter" 94,108
Emphasized words 76
Encores 137
" English Church Composers " ... 129
Expression in congregational singing 57
marks 57,77
in hymn-books ... ... ... 59
of repeated or emphatic words 76
Faults in singing
Fixed tune system
Flattening, Causes of
, Removal of
... 79
54,70
61,79
... 229
German Protestant Church Music ...118
Gloria, Musical form of 98
Grove's " Dictionary of Music."
108, 201, 210
" Handbook of Anthems " 120
Hopkins' s " Collection of Chants "... 108
Hymn and Tune Book in one. . . 53, 70
"Hymnary" 73
" Hymns Ancient and Modern " 44, 54, 68
Hymns and Tunes, monthly printed
list 67,83
fixed to one tune 53
for children in church ... 65, 79, 83
PAGE
Hymns, Limited selection by ministers 53
, prepared list from minister 7, 83
, Selection neglected till service
time 56
, Variety in selection 6
Jackson's Te Deum
... 126
Lectures on congregational singing... 85
Leeds Festival Choir 34
Metres of hymns 75
Metrical hymns chanted 105
Psalms 89,105
Minister as a vocal soloist 123
selecting and printing hymns 68
, Influence and duty in worship
music 1
, Number interested in the
music 1
Mission Services, solos 123
Moody and Sankey pieces 57
Musical Evenings 139
Notation of hymn-tunes, miniTna or
crotchets 72
Office-bearers, Anti-musical influence 69
, Support and sympathy from 8
" Office of Praise," Anthems 120
, Chants 93, 107
Orchestral Accompaniments 148
Organ Accompaniments 195
, Chants and Anthems ... 230
, Counter melodies 218
, Doubling the parts . . . 210
, Emphatic phrases ... 217, 229
, Expression 228
, General hints 207
, Phrasing 197
, Playing over the tune ... 202
, Registering 227
-, Temporary cessation of ... 227
, Vocal unison passages ... 217
Organ, and its position 161
blowing 170,186
, Cost of 163
-literature 185
, Position of 171
specification 164, 167
Voluntaries 188
Organ Recitals 131
, Charge for admission 132, 136
.Programmes 133
Organist and Choirmaster 16
, Skill in choir-training re-
quired 12
, Appointment of 12
, Art of accompaniment 10, 195
Organist, Course of training 14
, Cure of flattening and drag-
ging 229
, Custodian of Organ 13
, Incompetence of some in
vocal matters 18
, Knowledge of harmony
necessary 11
IXDEX.
237
PAGE
Organist, Loud playing ... 80,207
, Playing tune over ...50, 73, 202
, Pupils allowed to practise ... 14
, Qualifications 10
, Salary gauged by minister's
stipend 13
, Selection of voluntaries ... 194
, Special, for recitals 133
Pauses at double-bars
Position of Choir
Position of Organ.
' ' Presbyterian Psalter "
Printed list of hymns and tunes 7,
Programmes
Pronunciation
"Psalmist," Anthems
Psalmody Associations
Psalter in Book of Common Prayer
used at Temple Church
Punctuation in Chanting
.. 75
.. 171
.. 171
.. 107
67,83
... 133
... 44
.. 120
.. 66
.. 90
... 93
.. 93
Reciting notes of Chants ... 91,103
Relief choir 37,64
Repeated words, Expression of ... 76
Responses 129
Rests in hymn-tunes 76
" Revised Psalter," by Rev. R. Mur-
ray 93, 107, 130
Rules for Chanting 97
Sacred Concerts ... 138
music, definition of 137
Sankey's Solos, &c 57,122
PAGE
" Scripture Sentences and Chants"... 120
Secular music, definition of 137
Separate tune-book 54
Services of Song 145
" Short Anthems " 120
Singing Classes 27,31,83
Social gathering of minister and
choir 5,38
Solos at Sunday services 121
in Anthems 123
Special musical services 142
Specification of Organ 164, 167
Speed in singing 73
" Studies in "Worship Music " ...106
Te Deum, Chanting of 98, 104
Transposition 80
Triple rhythms in hymn-tunes ... 75
Tune books in congregations 55
Unison services 129
singing 64,77
Voice training, Blending of voices ... 45
, Enunciation 44
, Phrasing 47
, Precision and attack ... 46
, Rhythm and accent ... 47
, Sequences, discords, &c.... 49
, Singing from memory ... 49
, unaccompanied part-sing-
ing 51
Voluntaries, List of 188
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Staff, 3s. ; in Tonic Sol-fa, 2s.
Solo Singer's Vade Mecum. By
Sinclair Dunn. Both Notations, Is.
Oakey's Counterpoint : all examples
and exercises in both notations, Is.
Oakey's Harmony: all examples and
exercises in both notations, 3s.
Apollo Club and Apollo Leaflets:
Part-songs for Men's Voices in Staff Nota-
tion. Also to be had in Tonic Sol-fa.
Blue Ribbon Songs, Parts I and n, 6d.
each, in either notation.
J. CURWEN & SONS, 8, WARWICK LANE, E.G.
1900
KL
3131
E49
1900
Edwards, Frederick George
United praise
306135
EDWARDS, Frederick George
United praise
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UNIVERSITY OF TORONTO
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