suited to the design of our work, with as little deterioration as possible. But we do not say, that, in any one instance, our arrangement is as good, absolutely, as the original; we do not say, for example, that Beethoven is not always, and in every instance, better, musically or abstractly considered, than Beethoven arranged; but we do say that Beethoven arranged is vastly superior to our own productions, and to all the wishy-washy tunes of would-be composers that were ever written. We say, too, that, as a result of our labors, we are enabled to present to our readers many beautiful pieces drawn from the highest sources of musical excellence musical thoughts, ideas, or figures, expressed in elegant melodic progressions, or in soul-stirring harmonic combinations, unheard before in this department of musical composition, and, in a tune-form, adapted to the choir service of public worship, nowhere else to be found. The words "arranged from" must be taken with considerable latitude. In some instances, there is a very close adherence to the original, so near as almost to have justified the name of the author, without qualification; while in others, the departure from the author is much greater. But we believe that, in all cases, our musical readers, or such of them as are acquainted with the works from whence our tunes have been composed, will admit that we have not often misrepresented or burlesqued our authors, as has sometimes been done. The greater part of the tunes without any name affixed as author, are taken from classic writers, or have been suggested by passages from them, and have only been composed by the editors; many of these would fully justify the phrase "arranged from;" but, in general, where we have not pretty closely adhered to our author, we have preferred to let the tunes appear anonymous. It is proper for us also to add, that they have been actually thus composed as tunes by the editors, for this work; that, as tunes, they are nowhere else to be found; and that they are therefore claimed as property. The tunes in this first part of the work, while, with but few exceptions, they are strictly choir tunes, and not adapted to congregational singing, may be divided into two I. PEOPLE'S TUNES. By this term we mean to designate tunes of flowing, agreeable melody, readily performed by a choir and understood by a congregation; unlike those that are complicated, elaborate or difficult, these tunes are easy both in the measures of rhythmics and in the intervals of melodics. This is the class of tunes best adapted to general purposes; indeed, as it is the only class that can be universally or extensively popular, so it is the most useful class for choir performance, on common occasions of public worship. The German books contain many of these popular melodies, (Volks Gesänge,) from which we have made selections in this department. In the selection of these tunes, however, we have always regarded it as important to avoid, First, All such as may have acquired any association unfavorable to the purposes of worship. Second, All such as are of too light and frivolous a character for religious purposes. Third, All such as approximate to the low, coarse or vulgar, alike offensive to musical taste and to

classes.

We are not of the number, however, who suppose that because a tune is German, that it is therefore good for there are as many poor composers in Germany as elsewhere; and some few very unmeaning tunes, marked German may be found in recent American books.

religious propriety. If we mistake not, tunes belonging to each of these classes may be found to be somewhat frequent in some recent collections of church music. II. CLASSIC TUNES. This is, for the most part, the class of tunes derived from the works of the truly great composers, to which we have already alluded. Some of them are of simple structure and easy, (though never insignificant or silly,) and others present various degrees of difficulty in execution. It is quite impossible to present the musical thoughts of the great composers divested of all difficulties; there are difficulties of appreciation and of execution found, in a greater or less degree, in all their works. These authors have usually left upon their compositions an impress or likeness of their own musical existence. How easily can one trace Handel, in his choruses! No one of musical reading can mistake Handel for Haydn, or Haydn for Rossini. So also with Mendelssohn. Shakspeare has not more clearly enstamped the poetic image of himself on his pages, than has Mendelssohn his own musical impress upon his various works. But it often happens that those peculiar traits by which Mendelssohn makes himself known are connected with some considerable degree of difficulty, and suppose in the hearer, and in the performer, a corresponding degree of musical advancement. Choirs who would improve in taste, and in style of performance, must not shrink from things which are somewhat above common-place. With regard to cultivation and improvement, there is a strong analogy between poetry and music. Milton cannot be read and understood, except by those who have made some progress in poetic taste; and Mendelssohn or Beethoven cannot be read and appreciated, except by those who have made a similar progress in musical taste. As there are those who will throw aside Milton, not being sufficiently cultivated to appreciate him, so there are those who, for a similar reason, will throw aside Mozart or Beethoven. But, notwithstanding these things, the world has decided, or rather the laws of true taste and of human improvement and cultivation have decided, that Milton is one of the greatest of the English poets; and the man who does not like him, may be sure that the fault lies in himself, or in the neglect of his own education. So, also, with Mozart and Beethoven; the laws of musical taste have made them standard authors, and the man who does not like them may, with certainty, ascribe it to his own ignorance, or want of taste or cultivation. The laws of taste as certainly exist in nature as the laws of mathematics, though they may not be so easily discoverable. As it is through the power of numbers that we arrive at true results in mathematics, so it is through the productions of true genius, or the works of the truly great writers, that we are to seek for true results in musical taste. These works form a school of taste; and it is only through a knowledge, power of appreciation, practice, and love of them, that individuals, choirs, and communities, can be in any high degree improved. This department, in this very book, therefore, so far as we have been true to our own purpose, will furnish a higher test, or standard, than is usually found in similar works, by which singers and choirs may not only try themselves, and know somewhat of their present standing, but in the proper use of which they may make sure progress in tasteful cultivation, or in the appreciation, execution and love, of musical truth and beauty. See prefatory note to Congregational Tunes, p. 295

PREFATORY REMARKS.

The following exposition of the "Elements of Vocal Music," has been prepared not with reference to names, signs, or characters merely, but having also constantly and primarily in view the substance, essence, or nature of that which is to be taught. This will be observed in the propositions or axioms throughout the work. Every good teacher will endeavor to convey to the minds of his pupils, in the first place, a knowledge of things, doctrines, or facts, and afterwards, as a natural consequent, a knowledge of signs, symbols, or characters. The inversion of this order is one of the principal causes of the difficulties attending the learning of music, and of the obscurity that so often accompanies the well-meant attempts of the teacher at explanation. It is so directly at variance with the true philosophy or science of teaching that it is to be rejected by every enlightened teacher, in every department of instruction, or whatever may be the subject of his lesson. Music, the perception of which can come through the sense of hearing only, can never be taught by signs or by characters which are addressed to the eye. With as much hope of success might one attempt to teach chiaroscuro by verbal explanations or description, as the nature or relations of musical sounds by an exhibition of anything to the organs of vision. It is perhaps mostly to a misapprehension of this subject that we are to attribute the many new systems of notation which have appeared within a few years past; an attempt has been made to invert the order of nature in teaching music, and to communicate instruction through the eye, on the supposition that if the signs and characters are explained the things signified will be understood. Such unphilosophic attempts at teaching have of course been met by insurmountable difficulties, and these difficulties instead of being attributed to their true cause, have been supposed to arise out of a defective or obscure notation; and hence, new systems of notation (so called) have been invented. But how is it possible that one can be made to understand in any practical manner the signs or symbols of things, when as yet he has not become acquainted with the things signified or symbolized? Let music be taught first, and musical signs will follow easily enough afterwards. Let the teacher draw out and quicken the musical perceptions of his pupils, let him form in the ear a true idea of the scale, and let him train the vocal organs to the truthful production of that scale, and there will then be no great difficulty in teaching the notation by which it shall be represented Notation consists mostly in the representation of musical sounds by means of arbitrary written characters; one arbitrary character being made, provided it be simple and easily strike the eye, is as good as another. We see then the folly and ignorance of those who would attempt to render the learning or the teaching of music easier by adopting some new system of notation. Not more absurd would be the attempt to relieve the difficulty of teaching colors to the blind, by means of a new nomenclature, than is that of rendering easier the teaching or the learning of music by a new system of notation. It is taken for granted in the following synopsis that the teacher is familiar with his work, or that he knows how to teach; pedagogic directions have therefore been mostly omitted; not even the questions common in such elementary works have been inserted, on the supposition that the man who is qualified to teach will be able to ask

his own questions. The practical exercises too, must be regarded as specimens; for as the good teacher of arithmetic does not rely exclusively upon his text book, but often gives out original or extemporaneous questions, growing out of the immediate circumstances by which he is surrounded, so the good music teacher will write lessons impromtu upon the board whenever he meets his class. There is a freshness and lively interest in such lessons that cannot be reached by the most carefully prepared book-exercises. But while the manner of teaching has been supposed to be the teacher's own, the things to be taught are here stated or defined, so that this work is properly a text book for the teacher. The definitions, so often defective or false, and the technical terms, so often misapplied, in treatises of this kind, have received close attention, and it is believed, may be relied upon as accurate. The order of arrangement of topics, both in respect to analysis and synthesis, is in general such, as would naturally be suggested by a careful inductive investigation of the subject. It is, therefore, adapted to inductive teaching. It has been kept in mind however, that teachers of common singing schools have not usually time enough for a thorough course of instruction, and that they are often obliged to hurry through their work. This circumstance, and the fact too that their teaching is principally not in juvenile but in adult classes, has caused exceptions to the above principle, and modifications by which the work will be better adapted to the wants of those who think best to adopt the declarative or preceptive, in preference to, or in connection with the inductive method. Indeed we think that every good teacher of an adult singing class, will avail himself of both the inductive and preceptive forms of giving instruction, adapting himself to the various circumstances in which he may be placed. It is not sufficient in these days that one who teaches should thoroughly understand his subject, he must also become acquainted with the art and science of teaching. Teacher's Institutes and Normal Schools are doing much to qualify common school teachers, and to raise high the standard of teaching; they are no less valuable to music teachers, and we would urgently recommend either or both of them, to all who desire to learn to teach music well, for since the great principles of teaching are the same in all branches, an attendance at the Normal School, or on the lectures and instructions of Teacher's Institutes, where methods of teaching the common school studies are constantly brought forward, explained and illustrated, cannot fail to be of the greatest benefit to the music teacher. How shall the cause of music be promoted and elevated but through the influence of the teacher of music? And how shall the teacher of music perform this work who does not constantly labor to elevate himself? And how shall he elevate himself but by constant study, and by availing himself of all the means of improvement that come within his reach?

God prosper the cause of education in general, and of musical education in particular, throughout our country and throughout the world; so that music being joined with the more common and necessary branches of knowledge, and both with revealed truth, singers, teachers, men of science, and preachers of the gospel may all unite to promote human improvement, holiness and happiness" peace on earth and good will to men "