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(Tone 2, Te Deum, p. 2,) the first half of the verse, as far as the syllable in italics, is said on the recitation-note G, which note is distinguished from those that follow by being drawn longer than the rest. The same holds with respect to the second half of the verse. Thus:

Holy, Holy, Ho - ly : Lord God of Sa - ba - oth. II. After the recitation-note in both divisions of the verse, a change follows more or less simple; and, according to the number of notes following the recitation-note, more or fewer syllables must be taken : this rule being always observed, that not more than one syllable is to be taken to each single note at the middle or end.

III. It is in accordance with this rule that the Canticles, &c. are here marked : the syllable in italics shews where the recitation-note is left; and this syllable, with the syllables that follow, are sung to the notes which follow the recitation-note. Thus in the second Tone, (given above,) the two syllables of the word “ Holy” are sung to the two last notes before the bar in the Music; and the three syllables of the word “ Sabaoth” to the three last notes which close the chant. The same explanation holds where there are more notes after the recitation-note than there are in the foregoing chant. Thus in the eighth Tone, (which is the same with the second in

its first half.) four syllables must be taken at the end of the second half instead of three: thus, (p. 15.)

The Father eternal,

the Son e-ter-nal : And the Holy Ghost e- ter - nal. The same holds in the sixth Tone, (see p. 8.) where further it is to be observed, that in the second half occurs a slur ( ) of two notes, to which only one syllable is to be sung : e. g.

O be joyful in
the Lord, all ye lands : serve the Lord

with gladness,
and come be-

fore his pre-sence with a song. where “ with" in the second half is to be sung to the two notes F and G under the slur. With this explanation, there will be no difficulty in chanting any of the other Tones, as the seventh, (see p. 9.) where there are four notes, and therefore four syllables, to be taken at the close of the first half; and four syllables at the close of the second half, the last of which is sung to two notes under a slur. Again in the third Tone (see p. 12.) there are four syllables at the close of each half, and in both cases one of the syllables is slurred.

IV. Sometimes the number of syllables in one of the half-verses is fewer than the number of the notes for that half-verse: e. g. in the Te Deum, (p. 3.) “ The noble army of Martyrs : praise Thee.” Here the second half of the verse has only two syllables, viz. “ praise Thee,” while that part of the Tone to which they are to be sung consists of four notes, viz.

In these cases it will be observed (as here) that the first syllable, which is usually printed in Roman letters, as belonging to the recitation-note only,-is printed in italics, which are usually the sign of the first changing-note only. This means, that the same syllable, which is sung to the recitation-note, is in this instance to be held on and sung to some of the changing notes also, which follow it, in order to make up the deficiency of the syllables in comparison of the notes. The number of notes to which this first syllable must be sung, will be different in different cases; e. g. in the above example, the syllable praise" belonging properly to the recitation-note, - the syllable “ Thee” is the only one left for the three changing notes: this syllable, however, belongs to the third and last of these notes: and therefore the previous syllable “praise,besides being sung to its proper note, the recitation-note,

must be eked out to extend also over the two first of the changing-notes, which would otherwise

be unprovided with syllables. thus :

As if it were written

pra - a - ise thee; The rule then is, to look how many syllables at the end of a half-verse are provided with a note apiece: reserve those that are so provided, for their own notes ; and let the syllable sung to the recitation-note stretch over all the rest. In the above example we have seen that it has to stretch over two of the changing notes; as it has also in a subsequent verse of the Te Deum, (p. 3.) “ Thou art the king of Glory : 0 Christ,” (to be sung 0-0-0 Christ.) So again with the eighth Tone, in the Athanasian Creed, (p. 16.) “And yet they are not three Gods : but one God,” (bu - U- ut one God.) Again, with the 4th Tone, Ps. lii. 5. (p. 101.) “O thou false tongue,” (0-0-0 thou false tongue.) The same principle holds where the syllable sung to the recitation-note has to stretch over only one note besides, instead of two: E. g. in the Athanasian Creed again, (p. 17.) “But the whole three Persons are co-eternal together : and coequal," (a - and co-equal); or, with the 3rd Tone, Ps. Ixvii. (p. 12.) “ God shall bless us,” (Go - od shall bless us :) or, with the first Tone, Ps. xlviii. 6. (p. 94.) through the east wind,” (thro - ough the east wind.) But if the rule above given is borne in mind, it is hoped there will be no difficulty in any instance.

V. With respect to the holding of the recitation. note; sufficient time must be taken for the reverent intonation of praise; and the time required will necessarily vary with the length of the verse. When the length of a verse is such as to render it necessary to take breath during its intonation,-in order that all may do so together, an asterisk (*) has been added to indicate where breath may be taken. See pp. 7, 8.

VI. With respect to the time of the changingnotes which follow the recitation-note; the only rule is, to take care that each syllable is distinctly and reverently enunciated.

VII. In four of the Tones, where at the close of the first half of the verse the voice falls after rising, viz, : in the second, (p. 2.) the fourth, (p. 10.) the fifth, (p. 7.) and the eighth, (pp. 4, 15.) in the case of a monosyllable the Tone is chanted with the omission of the final note in the first half. For instance, (p. 7.) while we chant the first verse of the Benedictus thus,

J Blessed be the
Lord God of Is-ra-el : for he hath visit-

ed and redeem-ed We chant the second verse of it thus,

his peo - ple:

J And hath raised up a mighty sal

vation for us: in the house of his ser - vant Da - vid. with the omission of the G, which ordinarily closes

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