the first half of the verse. Cases of this kind are very frequent in English; and in the Benedicite, (p. 4.) every verse is of this kind. Hence an apparent irregularity in the italic marking of the Canticles, &c. in this book, (as in the second verse of the Benedictus given above,) which renders this explanation necessary. Compare also the verses of the Nunc Dimittis, (p. 11.) VIII. The Gregorian Tones are sung in unison; and though instrumental accompaniment may perhaps be in some cases necessary in the first instance, the sooner it can be dispensed with the better. It is also recommended that, when possible, the Canticles, &c., should be chanted responsorially,-the persons on either side of a Church singing a verse by turns,—as a security against fatigue, as well as for other reasons. But all should join together in the Gloria,-as also in the last verse of the Te Deum. 5. With regard to the arrangement of the Psalter, -the Tones have been adapted to the different Psalms on the following theory of (what may be called) the moral character of each Tone, as compared with the moral character of each Psalm respectively. The 1st, the grave and serious Tone, is suited principally to express trust and confidence in God. The 2nd, the solemn Tone: reverence. The 3rd, the plaintive Tone; bewailing and complaint. The 4th, the thankful Tone; celebration of God's wonderful works and mercies. The 5th, the joyous Tone; praise. The 6th, the majestic Tone; triumph. The 7th, the gentle Tone, (sometimes called "Angelicus ;") supplication and lowly thanksgiving. The 8th, the noble Tone; sureness, firmness, and fixedness. This is the general principle of adaptation and arrangement. In some instances it may seem to be departed from, as e. g. where the shortness and fewness of the words in many of the verses prevented the adoption of the Tone most suited otherwise to the general character of the particular Psalmı: but these instances of departure, it is believed, are few. 6. The several Tones have various endings: the simplest form of each is the only one used in this book; as it was thought, 1st, that it was doubtful whether the fuller forms would suit well the English language, such syllables as "ble" (for instance) being often required to be stretched over three or four notes, e.g. ble, although the Latin language, with the foreign pronunciation, has less difficulty of this kind;—and 2ndly, that persons unused to Gregorian chanting would perhaps be puzzled if the whole variety were presented to them at once; and that it would be better for them to learn thoroughly one form first, after which it would be easy to adopt the other endings by degrees, as might be wished. To enable C persons to do this, a table of all the other endings to the several tones is appended to the Psalter, (p. 266.) as the pointing of any Psalm given to any Tone in this book will suit the fuller forms, provided that only one syllable be sung to each slur, whether the slur extends over two, three, or even four notes. And this is the proper method of using the fuller forms. It should be observed, that the quickness of the slur increases with the number of notes over which it extends; so as to keep the proportion of the chant. 7. With regard to the Doxology, or Gloria, to be sung after each Psalm;-as the same pointing will suit the 1st, 3rd, and 7th Tones,-and again the 5th and 8th, the rest being peculiar,-the Gloria has been given on the last page of this book, pointed in six different ways, so that it may be easily turned to in chanting, and the form required found there at once for any tone. OXFORD, LENT, 1845. W. B. H. |