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PREFACE OF EXPLANATION.
The bar marks ( 1 ) correspond to the bars of the music; and the colon (:) and the concluding stop of each verse, to the double bars.
The point (-) divides between the syllables which are to be sung to each minim, or its equivalent, when there are three separate syllables between the bars.
The horizontal line (-) signifies that the preceding syllable is to be prolonged for the time marked by the line.
An asterisk (*) at the beginning of a verse shows that the second part of the chant, if it be a double one, should be repeated. This is not marked when it is the last verse that is the odd one.
All that precedes the first bar mark of each half verse is called the recitation. It should be sung distinctly, and with the natural emphasis of the words; without hurry, but not in slower time than that of clear and deliberate reading.
The close of the recitation, beginning with the syllable on which the accent is marked, should be sung in time, equal to a measure of two beats, or minims, of the Chant.
This metrical close of the recitation should be divided into equal or unequal notes, as may best ensure a clear and fluent rendering of the words ; and care should be taken, from first to last, to pronounce every word distinctly, not laying an exaggerated stress on the accented syllable, or slurring over any unaccented ones which may follow.
As a rule, when the accented syllable is followed by as many as three unaccented ones, (léad me in the 1 ), it should not be paused upon.
In some other instances in which it is especially desirable that the close of the recitation should be sung to equal notes, the accent has not been marked ; the close consisting then of the last word, or of the words connected by hyphens.
The circumflex accent, (crowneth), is marked on words of more than one syllable when the accented syllable should be paused upon. In other cases, (blessing), the pause will be upon the end of the word. When, however, a Chant is used, in which the reciting note is divided into a dotted minim and crotchet, this latter rule will necessarily be modified.
When the recitation consists of only one syllable, it has not been considered necessary to accent it.
The comma, in the course of the recitation, previous to the accented word, is always to be observed as a short pause.
The TE DEUM (No. 82) is adapted for singing to any of the settings composed for the original
version. A few of those which are within the scope of congregational singing are enumerated in a note to the Index.
The Te DEUM is given also in an alternative form, (No. 96), in which there are fewer deviations from the original, except by way of omission. This version has already been adopted to some extent, and it has been added here for the use of those who may prefer it.
The Hymn known as the ALLELUIATIC SEQUENCE, (No. 90), is given in the translation of Dr. Neale, with one or two alterations. It is sometimes arranged, by a repetition of some of the Aleluias, to be sung to a metrical chant (TROYTE, No. 2), the regular form of which is, however, ill-suited to the varied measure of the hymn. If, as is probable, the original melody, dating, like the hymn itself, from the eleventh century, be considered too quaint and peculiar, the setting by Mr. Arthur Sullivan is to be recommended. Both are published by Messrs. Novello and Ewer.
The Canticle No. 89 is included by permission of Mr. F. W. Newman ; and the eight Canticles, Nos. 84 to 88, and Nos. 93 to 95, are taken from the Ten Services of Public Praise, with the sanction of the Editors.