His deep religious instincts and superb literary taste led him to select for his compositions the finest of modern hymns, so that we have in his productions the union of the best in hymnody with the best in music. For example, Bishop Heber's "Holy, Holy, Holy,” is the finest hymn of adoration in the language. It is set to Nicæa, one of Dykes's finest tunes. It thus becomes in its twofold aspect a positive standard of the perfected hymn-tune in time, pitch, movement, range, and harmony. Again, Bonar's "I heard the voice of Jesus say" is a sweet, persuasive evangelistic hymn. Dykes has united it to Vox Dilecti, a remarkable composition, in which the Saviour's quest and the soul's joyful answer as set forth in each verse are very beautifully expressed in the music in the change from the minor to the major. These and other tunes by Dr. Dykes should be carefully examined. Then let the student review the history which has been given and survey the road by which he has been led to this splendid height of popular praise. Let him recall the many mistakes committed, the many experiments tried, the many improvements made. The road has not been unlike that by which the mountain top is reached-now up steep ascents, now across broad plains, now down through deep gorges; but ever tending upward and on towards the glorious summit. We know not what may be the surprises of the future, but whatever may be in store for us, let us thank God for the present and rejoice in the treasures of praise which we possess. CHAPTER XIX THE BEST TUNES [NOTE. From the large number of excellent hymnals recently published, the author has selected the Presbyterian Hymnal and In Excelsis for his chief illustrations in this chapter. The student should procure and make use of them.] No one has yet done for our tunes what King and Benson have done for our hymns in the Anglican Hymnology and The Best Church Hymns, but no doubt the same general principles will apply to both words and music. The best tunes may be determined by usage, but usage must be defined in this case, as it has been in the case of our hymns, by reference to those hymnals which have been compiled by competent authority, indorsed by leading denominations, and used in the stated worship of regularly organized congregations. When a large number of such hymnals shall have been collated, we shall be furnished with a standard by which to determine our best hymntunes. For the present, however, we may note the drift of sentiment as indicated in the kinds of tunes which are the more and more discountenanced and in the kinds which are the more and more indorsed by accredited compilers. Take, for example, the successive editions of the Robinson series. Wherein is the advance from the Laudes Domini to the New Laudes Domini, and thence to the In Excelsis? Or take the old and the new Presbyterian Hymnal, and what are the differences? Then compare these books with those in use a generation ago. A superficial examination will supply a fairly satisfactory answer; a careful study will reveal a wealth of suggestion, into which we may not enter, but which will prove exceedingly profitable to him who undertakes it. We must content ourselves with a few illustrations: I. The fugue-tune has almost disappeared. The older hymnals contained a considerable number, the newer ones contain only two or three. Some that were once great favorites have disappeared. Northfield, for example, a stirring tune, usually set to "Lo! what a glorious sight appears," and sung by our fathers with great zest, is missing from the later publications. Even Geneva, still retained in the Presbyterian Hymnal, is cast out of the New Laudes Domini and In Excelsis. Some tunes, once written as fugues, have been modified and the fugue eliminated. So it is with Lenox-our sires would scarcely recognize it. This would indicate that few if any fugue-tunes are suitable for congregational purposes; the consensus of the best judgment is against them, and for reasons given before. 2. New tunes are offered for hymns to which old familiar tunes are wedded. This is hazardous business for the compiler, and frequently his very best efforts are ignored, or even indignantly condemned. The writer was recently engaged in teaching a choir one of these new tunes when an old minister who was present, rudely shocked by the displacement of his favorite melody, shook his finger in my face and solemnly said, "What God hath joined together let not man put asunder'; a zeal for the antique which might remind one of "Daavit's Psaams to Daavit's tunes!" We may be very sure that when, in a serious collection, an alternate tune is offered for a given hymn, there is good reason for it; and much more so when a new tune is offered in lieu of an old one. It is because competent judges believe it to be betterusually it is better-it marks some distinct advance. This is not to advocate the hurried substitution of new tunes for old ones. There is sometimes a world of holy associations connected with an old tune which it were almost a crime to sunder. Sometimes old words have been fused together with old music and a sort of "one flesh" has been created in the holy wedlock. In such a case divorce is not permissible. If the tune is not positively bad, let it alone. We are not to encourage mere novelties in sacred music. The passion for such things is too intense as it is. Certain irresponsible publishing houses thrive upon it and succeed all too well in imposing a lot of periodical trash upon credulous congregations. But we are not to stand in the way of genuine reform, honestly attempted; and the hymnals that are published with this in view should be welcomed. When old associations are not emphatic, when certain hymns have been sung to more than one tune, or more especially, when even the tune which we have been accustomed to sing, however much we are attached to it, is manifestly unsuitable, we ought not to resist the adoption of the new tune. least to be examined and considered. It ought at The later hymnals furnish many illustrations of the changes indicated above. Let us select those that are associated with the most familiar hymns. [1.] "All hail the power of Jesus' name" is generally sung in the United States to Coronation, but there is no positive wedlock in this case. It is sung in England and Canada to Miles Lane, a tune much admired by our British cousins. It has one remarkably fine feature-the feature the thrice-repeated acclaim, "crown him!" in the last line. In Excelsis gives the first place to this tune, follows it with Coronation, and then adds a third tune, Southwich. This is as much as to say that Coronation is not satisfactory. The Presbyterian hymnal does not contain Miles Lane, but gives the first place to Smart's St. Leonard and follows with Coronation. What is the student to conclude? Whatever may be his pious prejudices he cannot fail to note that competent judges agree that Coronation is not one of our best tunes. If he asks Why not? he will find his answer in the principles already revealed. The "rapport" is not good form; the repetition does not add to the effect-it is an anti-climax. The movement does not accord with the sentiment and the passing notes-particularly those of the last bar-are weak almost to insipidity. There is a question still as to which is the best tune for this hymn; but either of those preferred by |