HYMNS OF THE CHURCH, ARRANGED ON A PECULIARLY NEW AND EASY PLAN, INTENDED AS A GUIDE TO CHANTING IN CHURCHES. BY THOMAS GRAHAM, LONDON: JOHN W. PARKER, WEST STRAND. MANCHESTER: T SOWLER, 4, ST. ANN'S-SQUARE. 1834. 130. TE DEUM LAUDAMUS.* "And it came to pass, when the priests were come out of the holy place: (for all the priests that were present were sanctified, and did not then wait by course: also the Levites which were the singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen, having cymbals and psalteries and harps, stood at the east end of the altar, and with them an hundred and twenty priests sounding with trumpets :) it came even to pass, as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the LORD; and when they lifted up their voice with the trumpets and cymbals and instruments of musick, and praised the LORD, saying, For he is good; for his mercy endureth for ever: that then the house was filled with a cloud, even the house of the LORD; so that the priests could not stand to minister by reason of the cloud: for the glory of the LORD had filled the house of God." 2 Chron. c. v. v. 11, 12, 13, 14. They sang together by course in praising and giving thanks unto the Lord, because he is good, for his mercy endureth for ever." Ezra iii. v. 11. THE limits and design of these pages, preclude the possibility of what might be said on the delightful subject of Chanting, further than to refer to a few respectable authorities, and observe, that it has been satisfactorily proved, that Chanting, or a species of Recitation, was the earliest and only mode of praise adopted in the public worship of Almighty God from the time of Moses; the only mode used in the temple; and the mode practised by our blessed Redeemer and his Apostles on the night of the passover; (see Matt. 26, 30.) and which, doubtless, was continued in the * See the York Psalm and Hymn Book, published by T. Marsh, Minster-Gates, York, 32mo., 1834, and which may be had of T. SoWLER, Bookseller, St. Ann's-square, Manchester. church, gradually discontinued only as the simplicity and godly sincerity of the worship of God was corrupted, or schism increased. However, let those who profess to love and worship their Creator and Redeemer, attend to the sublime scriptural sentiment of the Te Deum and other Hymns, as appointed in the Liturgy to be sung; let it be imagined a whole assembly joining heart and voice in chanting the solemn praises of the "King of glory," and uninfluenced by the prejudices of those who, wise in their own conceit, love not God; and then, let such, if they can, resist the holy flame of devotion that must irresistibly burst forth in the delightful act of grateful praise; yea, surely it is not too much to expect, (and less we should not pray for,) that instead of the cold, inert, manner of most of our Congregations, we may witness in every one, that animated and consonous unity of praise, which shall cause the house of God to resound; every heart to rejoice; and with increasing rapture assist us in soaring above the things of time and sense, until safely launched away "from all those evils which the craft and subtilty of the Devil or man worketh against us," we shall behold "with open face," astonishment and delight, in yonder bright world above, the Lamb slain for us, from the foundation of the world; and, where mingling with all the bloodwashed throng, we shall consummate an eternal bliss in adoring our Redeemer for ever. See Rev. J. A. Latrobe's Music of the Church-also his Instructions of Chenaniah-Nathan's History of Music-and the Musical Quarterly Review, Vol. 4-pages 173, to 177, 1822. The following Hymns, viz:-The Te Deum, Jubilate, &c. as chanted in St. Saviour's Church, York, and St. Paul's, Manchester,* are newly arranged, and the following explanation, it is hoped, will enable all, who * Should this mode be introduced into the various congregations in Manchester, &c., and the people put into possession of the following pages, as the key to chanting; it must be obvious to every serious, reflecting, and unprejudiced mind, that where uniformity exists, where difficulties are removed, and every one encouraged to take an active part in the public praises of their God and Redeemer, and which, in fact, is the positive duty of each, we may hope that, from so high a privilege, "this duty will become our delight." are so disposed, to chant with greater readiness, than any plan hitherto proposed. All the words, or syllables, preceding the first bar, are deliberately recited to the chanting, or sustained, note.-Those in italics, are divided among the remaining notes of the chant; and the principal accent falls upon the first word, or syllable, immediately after each successive bar. Wherever, between the bars, two words, occur without a hyphen, (-) such are to be uttered in the same time, and to the same note, or notes, that one syllable or one word is, in the corresponding part of the bar : Example-Te Deum, ver. 8, I army of When there is a deficiency of words or syllables, for the notes of the chant, in any of the verses, it is usual to sing the accented syllable to as many of the notes of the chant, as will supply the deficiency : Example-Te Deum, 2d half of ver. 22, mer Nunc Dimittis, ver. 2, th Icy. -sal-vation. Two verses are required for a double chant, and one verse, only, for a single chant-when the double chant is used, and there are an uneven number of verses, the 2d half of the chant is repeated to the last verse; except when the Gloria Patri follows, in which case it is repeated to the last verse preceding, in order to commence the Gloria Patri and the chant together : Example-Venite, ver. 11, Magnificat, ver. 9. Deus Misereatur, ver. 7. See the article on chanting, by Mr. T. Graham, Organist, York, (now of St. Paul's, Manchester,) in the Harmonicon for March, 1832, p. 55. |