O R GA N ACCO MM

OF T HE
PA N I ENT

C H O R A L SE R V I C E .
 M M
SE C ON D T H O USA ND .

NOV E LLO E W ER ,
A ND CO .
’
S U SI C P R I ER S .

MM
E D ITE D BY DR . ST AI NE R .

ORGAN ACCO PANI ENT

C H O R A L SE R V I C E .

M
PR A C T I C A L S U GG E ST I O N S T O O R G A N I ST S A S T O

M
T HE S E LE C T I O N AND T R E AT ENT OF

C H URC H US I C .

J FR ED ER I C ! B R I D GE
M
.
,
N
M M
U S. D oc O XO

G A NI ST AN A ST E I ST E S E ST IN ST E R A
.
,

EY ;
A M M
OR D R O F T HE C HO R R OF W BB

N U N T E P IN T A T U SI ET

M
P R O T E S SO R O F H R O Y AND C O R O T HE R OY A L C O LL EG E O F C. C.

PRI C E ING
UNIVERS
‘

ITY OF TORONTO

20 .

L OND ON a N E W Y OR ! ED ‘F
W PN) J C I NQ O N ‘ '

NO V E LLO E W ER , A ND G i t: R7
 M
E LLO EW E R AND c o
M
N OV ,
.
,

T Y P OG R A P H I A L
C U S I AND G E N E A L P R IN T E R S
C R ,

I B E R N E R S ST R EE T LO N D O N ( w )
,
.

T
\q 0

fl fl f

N04
? °
-

rv a
: 10 9

g g s n s n
 P R E FA C E .

TO the s ki lful organ i st many f the Obs ervat i ons conta i ned i
o n

the fo llow ing pages w ill no doubt seem tri te i f not superfluous , .

A somewhat vari ed exper i ence however from the Vi llage , ,

Church upwards coupled w i th long pract i ce as a teacher has

, ,

shown me that many find a d i fficulty i ascerta i n i ng what i n s

the best and most e ffect ive method f render ing the var i ous O

port i ons f the Church Serv i ces wh i ch are accompan i ed by the

O

organ I have therefore at the wi sh o fmy friend D Sta i ner

.
, , , r.
,

undertaken t bri efly i nd i cate the best recogn i sed way O fdeal i ng
o

w i th those quest i ons and the hope O f supplyi ng a widely ex

,

pressed want i the i mmed i ate purpose fth i s l i ttle wor k

s O .

J . F RE D ER I C ! B RI DGE .

T H E C LO I ST E R s ,

W E S T M IN S T ER AB BEY ,

D ecem b er, 1 8 85 .
 I N D EX .

P AG E
Ag D i n us e 26
E l em e t s M u i c n s d u in r g a d m in i
A g l ic C h t
,

n an an s 4 s t ra t i o n Of

A th m
n e I
7 E ve n in g S rv ic e
e

A p o tl C r d
s es
’
ee 15

A po tl C r e d
s es
’
e , a cco m p an im e n t F r i l R po
e a es n s es
Of

A th an a s i an Cr eed

At h an a s i an Cr eed , ac c om an i
Glor i tr t m t f i P l m
a, ea en o , n sa s
p
m en t Of A
‘
. Gl g ri i E c l i a n x e s s
pp
Glor i in E i tt i g f A pp
. . I

a xc e s x
s , Se n o .

B en ed i c it e Go p l M i c b for d ft
s e , us e e an a er

B en e d ic it e, a cco m p an im e n t Of Gr t O rg
ea co m b i t io f an , n a n s O

A pp . to p of
s s

B dict
en e us Gr g or i C h t
e an an s

B d ict Q i v it
en e us u en Gr gori C h t m t h o d f
e an an s , e O

B ri l S rvic
u a e e pl y i g a nA pp .

Gr gori P lt r
e A pp
an sa e s .

C an t at e
C an t i cle s of M or n in g S rvi c
e e
H ym n s, tr t m t of
ea en
C t icl
an i es O f Ev en n g S rv ic
e e
Hym n s Proc io les s n a

C t h dr l P lt r
,

a e a sa e

C h t m th o d f p l yi g
an s , e O a n
J bb ( the C h or a l S ervi c e)
C h t A g l ic
an s ,
n an
e

J b il t
on

C h t Gr g or i
an s , e an
u a e

C h t U i o w it h v r i
an s n s n a ed
y r ie
, ,

!
c o m p an i m en t s
C han t S rv ic
C ho ir pport f , su
e es

O
M
M rr
ag n i fi c at
S erv i c e
C ho ir k p i g i t
, ee n n un e
a i ag e

C h r i t P ov r ( C t icl
s our as s e an e )
M is erer e
C om m i t io S rv i c
n a n e e

C om m i o S rvi c
un n e e N i c en e C r eed
C o firm t io S rv ic Ni c en e Cr eed , a cco m p an i m en t Of

M
n a n e e

Ap p 63
D eu s i s erea t ur 27 Nun c dim itt i s 27
v iii I ND E X .

P A GE PAG E

O c c as io n rvi c
al Se es 27 R all en t an d o in h y m n , s

Ofl
'

ert o r y S t c en en es 26 R ec i t a t i o n Not e , Gr g ori

e an

O L ord , our G o v ern o ur y

( mn
h ) 5 Ch t an s A pp .
36
R p tto
e e i i n N ot es tr t m t
, ea en Of

R po cco m p im t t
Pa rt i v r i o of
s , n e s n
es n s es , a an en o

P r gr p h P lt r
a a a sa e

P d l t m p or r y di
e a s , ef a s us e O

P d l O rg
e a co m b i t io of an , n a n s

top f
s s o

Pl i S o g
a n n

Proc io l H ym
es s n a n s Te D eu m

P lm
sa s .
To n es , Gr gor ie an

P lmsa cco m p im t w h
s , a an en en

g by m o ly
s un App en n . .

P lt r
sa e s J

Wor d d ps , u e ex res s o of
i n

Q u een
’
s A cc es s io n 5, 27 Word P i t i g a n n
 O R GA N A C C O PA N I
O F THE
MM E NT .

C HO R AL SE R V I C E .

C H AP T E R 1 .

The pr i nc ipal Object Of th i s small wor k be ing that Of

I
prov i d i ng the org n i st w i th some pract i cal gu i de for the per a

f m
or Of hi
an c e her i mportant part i the Church Serv i ce
s or n ,

no reference w i ll as a rule be made to any other port i on f , , O

the serv i ce than that wh i ch i accompan i ed by the organ s .

The first po i nt therefore wh i ch c lls for consi derat i on putt i ng

, , a ,

o t Of S i ght the use Of the organ as an i ntroduct i on to the

u

serv i ce (wh i ch wi ll be br i efly cons i dered when we come to

speak generally Of Voluntari es) i the accompa i ment to the , s n
“
Responses f wh i ch the first few occur at the conclus i on
, O
Of the L ord s Prayer and lead up to the Ven i te ’
.

2 Before cons i der i ng the part wh i ch the organ should play

.

in accompanyi ng Responses i t should be at once s t ated that ,

i t use her e on
s di y occas i ons i h i ghly undes i rab le The
or n ar s .

sett i ng i gener l use at St Paul s Cathedral Westm i nster

n a .
’

Abbey & known as the F eri al Set t i ng i

, c .
, s i mple that there , s s o

i no cho i r worthy Of the name i ncapable Of s i ngi ng i t u

s n ~

accomp i ed The r nge Of the vocal parts be i ng extremely

an . a

l i m ited there i l ittle danger Of any ser i ous fall i p i tch and
, s n ,

they read i ly adapt themselves to y reasonable i nton i ng an

note taken b y the O ffi c i at ing l g ym O n fest i val occas i ons c er an .

>< z
,

however the well known sett i ng f Tall i s i almost un i versally

.

,
-
O s

used and here t h organ i necessary The note g iven

,
e s .

to the pri est should be th k ey note (usually C ) and i t e ,

should be given t on the d i apasons w i th marked and ou

s us t i d emph s i s
a n e Th i s i dvi s ble because not only i a . s a a , s
the organ somet i mes at a cons i derable d i stance from the i n

toner but hi ear m y not always be ble to d i st i ngu i sh correctly

,
s a a

a sound S far removed i p i tch from the note upon O n

wh i ch he h been hi therto rec i t ing The first Responseas .

,

“ And mouth & h no prep r tory org n chord (

o ur , c .
, as a a a as

i the case w i th some Of those wh i ch follow ) the vo i ces enter i ng

s ,

i to d rvic i h r pr ppo d d h im port c of h pr i t

n n e se e s e e es u se an t e an e t e es
b i g b l to i to i t d k p h p itc h if y t h i g l ik t i f ctor y
,

e n a e n n e n u n e, an ee t e an n e a sa s a
c l rv i c i d ir d c ot b ov r t t d T h c ho ir w ill t h b b l
,
.

m us i a se e s es e an n e e s a e e en e a e

to i g h or di ry r po w i t h o t cco m p t d i d o i g w i ll
.
,

s n t e im n a es n s es u a an en an n n s o,

c q ir h h b it of i g i g w i t h o t d p di g po h org t p ll t h m
, ,

a u e t e a s n n u e en n u n t e an o u e

th ro gh to cov r p t h ir d fic i c i Wh r h pr i t do
u or e u t i to e e en es e e t e es es n o n n e,

org cco m p im t t c h R p o w ill b c ry

.
,

an an a an en o ea es n se e n e es s a .
2 ORG A N ACCOM PAN IMEN T O F THE CHORAL SERVICE .

upon the beat The org n i st should therefore to ensure a

. a ,

prompt d ccur te entry Of the cho i r put down and hold

an a a ,

th first b ss note for a moment before add i g the rest Of the

e a n

harmony as nearly poss i ble i the followi ng manner

,
as n

C IR HO .

An d our m o th
u s ha ll s h ew forth T hy pr ai s e .

O R GA N .

Th i s prepar t ry note should be f the shortest poss i ble le gth

a o O n

be i ng only i ntended to enable the d ifferent vo i ces to take the i r

,

proper i ntervals and to enter with prec i s i on The other .

notes must be added exactly together and no account i , on n

p gg
ar e i
o. The upper note Of the chord i somet i mes g i ven as s

a preparatory note Of th i s k i nd but the foundat i on note ( C ) i , s

cle rly the natural and proper note to be g iven
a .

The next Response O L ord make haste to help us ,

“
, ,

follows the same rule

C IR HO .

O Lord ,
ma k e h s t e to
a lp
he us .

O R GA N .
 ORG A N A CCOMPAN I M N T O F THE CHOR A L S RVICE 3 E E .

3 The Response . to the G lor i As i t w i the beg i nn i ng a,

“
as n ,

& c . i preceded by a m i i m rest

, s H ere the preparatory note n .

upon t h e organ s h ould be held down duri g i t full value Of a n s

m i i m and
n no account should a d i st i nct h d be struck ;
, on c or

f if
or there w ill be d nger lest i nexperi enced i nattent i ve
s o a or
members Of the cho i r enter before the proper t i me The same .

rule appl i es to the m in i m rest wh i ch occurs i the m i ddle f n o

th i s Response before the words And ever shall be & ,
“
,
”
c .
,

and lso to the commencement Of the followi ng Response

a ,

T h L ord s name be pra i sed These remarks w ill form a

“ ’ ”
e .

gu i de to the treatment Of the other Responses wh i ch follow the

Creed and also to the playi ng Of the Ame t the conclus i on
, n a

Of the prayers G ener lly as to the method of phras ing the . a ,

accompa i ment to these Responses i t must be rem rked that

n , a

the organ i st wh ile avo i d i ng undue repet it i on Of the chords , ,

should be careful i f he des i res to keep h i cho i r well together , s ,

not to err i the oppos i te d i rect i on The org n accompan i ment

n . a

to t h preced ing examples i nd i cates the gener l l ine wh i ch

e a ‘

should be taken I t w i ll be seen that as a rule the organ i st .

, ,

susta i ns the chord i cases where syllables are allotted to n

crotchets The followi ng Observat i ons . th i s po i nt are well on

worth attent i on :

4 A accompan
. i ment
“ *
wh i ch i to dni rect and susta i n the s

vo i ces Of a congregat i on should be marked and dec i ded i n

character w i thout be i ng d i sjo i nted o broken Th i s comb i nat i on r .

Of d i st i nctness w i th cont i nu ity i greatly i nfluenced by the s

manner i wh i ch the p ti ti notes n tre ted Repet i t i on re e on a re a .

notes appear w i th greater less frequency i other Of or n on e or

the vocal parts Of nearly all ps lm tunes Those that a .

occur i the melody s h ould not be comb i ned ; but

n the , on
contrary should generally speak i ng be repeated w ith great
, , ,

d i st i nctness As such notes present no melod i c movement but.

,

only rhythm i c progress congregat i ons have that account , on

a tendency to w i t to hear the step from a note to i t i terat i on a s

a nnounced before they proceed so that if the repet i t i on note ,

be not clearly defined hes i tat i on among the vo i ces i apt to r i se , s ,

and the str i ct t ime i lost s .

A very l i ttle w ill suffice to steady and connect the organ

tone a s ingle note frequently be i ng su ffi c i ent for the purpose
, ,

and that even i an i nner part A repet i t i on note i

n . n

the bass part may freely be i terated the pedal part i cularly on ,

i f there sho l d be a tendency among the vo i ces to drag r u o

proceed w ith i ndec i s i on .

”

A rt icl A cco m p im t by Dr E J H p ki Grov D i ct io ry

e on
“ an en ,
”
. . . o n s .
’
e s n a ,

V l I p
o .
5 .
, . 2 .
 C H APT ER II .

5 . O ur cons i der a t i on must next be devoted to the aecom

p an Of
i m en t the Ven i te d Psalms wh i ch sung e i ther to an , a re

Angl can i G regor i n Chants F i rst as reg rds Angl i can

or a .
, a

Chants H ere so many good collect i ons exi st that i t may seem
.

i nv i d i ous to select any i part i cul r for commend t i on on e n a a .

At the same t i me th i s b k i i ntended a h nd book for , as OO s as a -

the i experi enced we need not hes it ate to y that those used
n , s a

at St Paul s Westm i nster Abbey and that publ i shed by

.
’

, ,

M essrs N ovello spec i ally ad pted to the Cathedral Ps lter

. as a a ,

are perfectly s t i sfactory d i every respect su i t ble f a an n a or

general use I t i however most i mportant that . pr i nted s , , on e

collect i on should be fixed upon d so far as c i rcumstances an ,

allow ri gi dly dhered to We m y also here ment i on

, a . a

that as reg rds po i nted Ps lters t h Cathedral Ps lter i by

, a a , e a *
s

f the best and most e sy to chant from

ar There f course a . a re , o ,

others w h i ch some m i ght prefer but i t i so d i b l t get , s es ra e o

as much un i form i ty as poss i ble i th i s department Of the n

Chor l Servi ce that the uthor m kes no further excuse for

a , a a

n m i ng
a only Of the super i or mer i ts Of wh i ch he i perfectly
on e , s

conv i nced .

§ 6 F or ge . er l purposes i t i dv i sable that the chant

n a s a

for the Ven i te be first pl yed through by the organ i st I a . n

cathedrals i t i frequently the custom to g i ve t the first s ou

phr se Of the bass Of the ch nt a pract i ce wh i ch h some

a a , as

ant i qu i ty to recommend i t but wh i ch i none the less to , s

be deprecated for var i ous reasons Tak i ng i t for gr nted . a ,

therefore th t the course w i ll b followed f pl yi g over

, a e O a n
’

th ch nt we come t once to the k i nd Of ch nt to be

e a , l t dr a a s e ec e
’

an d the manner f i g it o an n o u n c n
_
.

A s ingle ch ant should be selected for the Ven i te the ,

number Of verses be i ng uneven and not runn i ng i couplets , n

as i the c se i ma n y Of the Ps lms F or the Ven ite i

s a n a . s
subst i tuted E ster D y the Cant i cle commenc i ng Chr i st
, on a a ,
“

Pu h ed bli
N e s b y ov llo
C O , u n d e t h e edi r
s hi tor p Dr S t i r M r
of a n e
J S cc tor St l r c tor W t m i t r
. . .
,

T u rl e, t h e of Pau s , t h e P e en
’
am es u en Of es n s e
A bb y T ro t b c k
.

e , a n d t h e R ev Dr u e
T O f co r prov pr t coll ct o c o
. . .

u s e, i s
T h i s , id e d fo r i f a i n e d e i n b e h s en .
 ORGAN ACCOMPAN I ME N T O F THE CHOR A L SERVICE .
5

o ur Passover Th i s should be sung to a br ight and jub ilant

.
'

s i ngle chant S i m i larly June 0

. the d y Of the Q ueen s , on 2 , a
’

Access i on the hymn O L ord , G overnor i s d i rected to o ur

”

be sung Th i s i equally well adapted to e ither a s ingle

. s a or
double chant .

The ch nt should be played over a soft organ and as far

a on ,

as poss i ble i the t i me to be afterwards adhered to i the

n n

chant ing I pl ying over however the note known as the

. n a , ,

rec i t i ng note s h ould be g i ven only the value Of a sem i breve ,

and the melody S hould not be i any manner made m r n o e

prom i nent than the harmony .

7 W i
. th regard to the method Of play i ng a chant when
accompanyi ng vo i ces i t must be remembered that th i s as ,

pr i nted i noth i ng more than the separa t e vo i ce parts wr i tte

s n

i
n short score and that therefore t h g ,i t i not , , e , o r an s s
expected to play merely the four notes he sees before h im ,

nor and more espec i ally i

, far as the bass i concerned n s o s ,

should these alw ys be played i the pos i t i on i wh i ch they

a n n

stand on the stave To do th i s renders the accompan i ment .

weak and a poor support to the vo i ces An exper i enced organ i st .

“
fills up h i chords — w i th moderat i on Of course— and Often
”
s ,

plays the b ss part upon the ped ls an octave lower M uch

a a .
z
><
,

Of course depends here upon the chant chosen Passages wh i c h

, .

li above
e tenor C “

c an be played w i thou t alterat i on an octave lower the pedals on ,

and t h left hand may then also play the vocal b ss part and
e a

occas i on lly fill i a the i nner parts tenor and alto

n
”

be i ng d iv i ded between the two h nds as occ s i on may requ i re a a .

Basses however wh i ch li below tenor C

, ,
wh i ch start i ng e ,
”
or ,

above th i s note move downwards to a note ,

notes below or ,

should be pl yed as they stand and on no account should the

a ,

p ssage be d i storted beyond recogn i t i on both i S g h t d sound

a n I an

for the sake f an occas i onal low note or two Th s i a very

o

O . i s

i m portant matter and should be c refully borne i m i nd by all a n

who des i re to do the i r best for cho i r and organ A l i ttle study .

w i ll soon enable a player to dec i de upon the most fi t i e ec ve

I n mus i c pro p rl y rr g d for h or g

e a an e t e an , n o fill i g
n u
p or tr an s p o i tio
s n of

t he p ed a l or y ot h r p rt h o l d b p r ct
an e a s u e a i s ed .
6 ORGAN ACCOMPAN IME N T O F T HE CHORAL SE RVICE .

method so f th i s po i nt i concerned The following

, ar as s .

examples W ll i llustr te t h above observat i ons

i a e :

C H A N T A RR A N GE D FO R V OICE S ON LY
Dr RN R
.

. TU E .

The bass part Of the bove chant can be played oct ve a an a

lower (on the ped ls ) w ith the except i on Of course Of the l st

a , , , a

note The left h d would pl y the bass and tenor as t h ey

. an a

stand i t h vocal p rt bove The ri ght hand bes i des pl yi g

n e a a .
,
a n

the soprano and alto pa ts could fill up or two Of the r ,

’

on e

th i nner chords (see small notes )

The lto part can be p l ayed above the soprano but i th i s

a , n

case care must be taken to fill up the chords somewhat even ,

pl ying the alto both above and below the soprano o the
a , r

harmony would be th i n d i ne ffect i ve The pedals may be an .

s i lent m y pl y the bass i the ori gin l (vocal ) pos it i on the

, or a a n a ,
*
.

left h nd then be ing free to t ke the (vocal ) tenor and alto

a a

parts z

T h i m th o d O f b t i i g v ri ty
s e O a n n a e an d l o r l i f fro m t
a s a e e oo mu h c gr v a e
t on e s ho ld u t b ov rloo k d
n o e e e .
8 O RGAN ACCOMPAN IMEN T O F T H CHORAL SERVICE
E .

also be too much s im i l r i place Of the present e ffect i ve

“
a n

contrary mot i on between the extreme p rts g a , e . .

The bass Of the followi ng C hant would s q er much by an y

a lterat i on Of pos it i on
C o m p r ( ) wit h
a e L
RI M B A U LT .
 CHAPT ER I I I .

8 . deal ing w i th the subject Of the treatment Of the Psalms

I n
we must remark at the outset th t there are two i mportant a

Objects to be tta i ned — ( ) the due express i on Of the ever a I

varyi ng sent i ment Of the words ; ( ) the needful support Of the 2

cho i r The org n i st must be equ lly attent ive to both

. a a

o f these po i nts i f h i accompan iment i to be a help and not a s s

h i ndr nce to worsh ip As reg rds the express i on f the words

a . a o ,

i t i a m i stake to suppose as some have done that a change Of

s , ,

chant w i ll e ffect everyth i g N greater fault be comm itted n . O c an

than that Of a frequent and errat i c alterat i on i th i s respect even n

wi th the best cho irs confus i on Often ari ses from such a cause ,

wh ile i an ord inary church the e ffect i to stop at once the

n s

heart i ness Of congregat i on l s ing i ng There are but few days i a . n

the month where the Psalms allot ted to the serv i ce requ ire more
th n two
a three chants for the i r due express i on and the
or ,

organ i st has ample power at h i d i sposal i f he but use i t w ith s ,

judgment to i nfuse both i nto the s i ngi ng Of h i cho i r and i nto

, s

hi s ow a n mp im t all the express i on that

cco legi t i mately
an en c an

be des i red .

There i also another method Of express i on wh i ch Obta i ns i

s n

a ll prob b i l i ty the greatest result w i th the smallest effort

a We .

refer to the use Of ch nge ble chants those wh i ch be a a c an

used equally i e i ther the m jor m i nor modes These w ill be

n a or .

found useful where i and the same Psalm there i a sudden n on e s

ch nge f sent iment as i Psalm ii 1 8

a o Psalm lxi x 3 , n v .
, or . 1.

The q uest i on whether a s i m il r ch ge i nto the major at the a an

G lor i a i s to be des i red i at the least debateable The followi ng

‘

s , , .

observat i ons th i s subject well worth ttent i on and seem

on a re a ,

to present strong argument i favour Of s ing ing the G lor i a

’

a n

Patri to the s me chant as the prev i ous Ps lm a a z

G d i to be glor i fied under every d i spensat i on Of H i and

o s s ,

whether H e makes glad makes sorrowful whether H e g ives or or ,

takes away the name Of the L ord i to be blessed I t may

, s .
,

therefore be a matter Of doubt whether i g iv i ng vocal

, n
express i on to th i s H ymn — i G lor i a Patri— there i a un i form . e. s
propri ety i perform i ng i t i a m jor key when the Psalm wh i ch
n n a ,

precedes i t i i the m i nor The moral lesson i less Obv i ously

s n . s

exh ib i ted i f the vo i ce O f sorro w and the sent i ment Of pra i se are
B
I O ORGAN ACCOM P AN IMEN T OF THE C H ORAL S ERVICE .

thus d i ssoc i ated where s they ought to be i nseparable i f r , a , ou

sorrow be re lly that wh i ch H e who sends a perm i ts i t has or

prom i sed to turn i nto joy .

9 I accompany
. ni ng the Ps lms wh i le avo i d i ng the a , , on on e

hand dulness d monotonous w nt Of colour the org n i st must

, an a , a

be c reful on t h other t to degener te i to mere no i se and

a , e , n o a n

fr i vol i ty O rg ns d i ffer much i the i r resources d i the

. a s o n , an n

effect f t h e i r var i ous p rts that m i nute d irect i ons t h i s po int

O a , on

ca n not be given I t may h owever be bro dly l i d down that .

, , a a

the great organ— not Of course ll the great org n— i used to , , a a s

a ccompany the full cho i r fvo i ces and the swell cho i r org ns O , or a

fur i sh t h ccompan i ment for the verses wh i ch are su g

n e a n

ant iphonally When the words are Of a plac i d d qu i et

. an

char cter the C ho i r Org n or the flue work f the swell w i ll

a ,
a O

supply ll that s necess ry wh ile verses f br ight d jub il nt

a 1 a , O an a

se t iment m y be emphas i ed by the add i t i on f the S well

n a z O

reeds & We have t h us three alternat i ves wi thout go ing very

, C. ,

m i utely i nto the matter

n .

T h ere are Of course other e ffects the value fwh i ch an xp e i

, , O e r

en c e d org i st c nnot fa i l to d i scover Verses may be left ent i rely

an a .

un accomp n i ed w i th good e ffect both to the verses thus sung

a ,

an d to t h ose wh i ch succeed them w h i le the enunc i t i on f one , a O

part on solo stop i a dev i ce Often e m ployed ; but th i s s a c an

h rdly be brought under the he d Of express i on

a . f the a O

words though i t h i t use as support to the cho i r

,
as s a as

w i ll be shown l ter on Aga i un i son s ing i ng w i th var i ed a . n ,

harmo i es upon the org n may be resorted to w i th advant ge

n a a

for spec i al firbut the rec i t i ng note Of chants selected for

v e rs e s s

such treatment must not be too h igh good ch nt i ng w ill be , or a

i mposs i ble for the tenors and b sses Both s i des also m y un i te a . a

for verse
on e for two to emph s i e a p a rt i cul r refra i n such
, or a z a ,

as that wh i ch occurs i Ps lm 07 I t h G lor i a P tr i th i s n a 1 . n e a

i as i t c le a rly s h ould be the un i versal custom ; but as regards

s , ,

th Open g verses Of the first Ps lm wh i ch i ung uses

e in a s s ,

d iffer F or m ny church cho irs the start Of the Ps lms i

. a a s

a crit i c l moment d under such c ircumst nces i t i better t h at

a , an a s

both s i des should un i te to s i ng the first verse if s i ngle the a or

first two i f a double c h ant be used I f th i s be not m tter for . a a

cons i derat i on then the quest i on should be dec i ded by the

,

sent i ment ft h e words The Open ing f a joyous Ps lm l ike the

O . o a ,

e i ghty fi t seems to call for a un i vers l burst Of pra i se wh ile

-
rs ,
a ,

that of a pen i tent i al Ps lm such as the twenty second would a ,

-

j ebb” on C hor l S rv i c of t h U it d C h rc h of E gl
t he “
a e e e n e u n an d an d
I re a n l d, s e ct io 4 p 3 5 n 2, 1

H r b rt O k l y tt i g for P l m 78
. .

T See Sir
’
e e a e e s se n sa .
 ORGAN ACCOMPAN IM EN T OF THE CHORAL S ERVICE . I I

su ffer rather than g i n by the employment Of all the vo i ces a .

Th i s matter however hav i ng been duly cons i dered by the

, ,

E d i tors Of the Psalter before referred to the i r suggest i ons o the ,

n

po i nt should be followed .

Another po i nt too frequently overlooked by organ i sts

I O .

i the temporary d i suse Of the pedal organ

s N oth i ng i more . s

d i stress i ng th n to hear the 6 ft tone Of the pedal from a 1 -

.

beg i n ing to end Of the Psalms wh ile noth ing g i n i more

n , , a a , s

i mpress i ve than the e try Of the pedals after a s ilence Often re -

n

truly golden The 6 ft on the manuals should be r rely. 1 -

. a

used to accompany vo i ces p rt i cularly the great org n 6 ft , a a 1 -

.

I f there be one the swell i t may be used w i th the full swell

on ,

but not as a rule wi th few stops As regards the use Of the

, , .
*

ped ls i t may also be here ment i oned that there ex i sts an ld

a , O

custom f playi ng the last verse Of a Ps lm i mmed i ately before

O a

th G lor i w i th a loud pedal organ I t i d i fficult to just i fy

e a . s

th i s except where the last i an Odd verse d sung to the

, s an

second part f a double chant Then the forc ible enunc i at i on

O .

Of the pedal part calls the attent i on Of poss i bly wander i ng

m inds i the cho ir to the necessary repet i t i on but to e ffect th i
n , s

the organ i st must take c re to ant i c ipate by a moment at th i s a ,

po i nt the vo i ces f h i cho i r

, O s .

I I Wh i le deal ing w i th the express i on Of the words i the

. n

P alms a t imely warn i ng must be gi ven agai nst ex ggerat i on

s , a

i the d i rect i on Of word pa i nt ing N doubt many Of those “ ’

n . O

who re d th i s l i ttle book may have heard organ i sts attempt

a

to portray b i rds s ing ing among the branches (generally

“ ”

dep i cted by means Of t h shr illest flute i the organ ) d the e n , an

a uthor has a v ivi d recollect i on Of ttempts to represent the a

“

H e vens dropp i ng and the word runn i ng very swi ftly the
a
” “
,

former by a startl ing t t chord the lowest octave f s a cca o on O

the great org n wh i le the r ight h nd susta i ned the harmony
a , a

on the swell d the latter by a run up the keyboard

, an f O
surpr i s ing rap id ity I deas such these would t i t i . as n o , s
bel i eved occur to y org n i st Of refined t ste I t i of course
, an a a . s , ,

i mposs i ble to deny that w i th i n reasonable l i m i ts an organ i st , ,

must be allowed to i ntroduce spec i l treatment suggested by a

the words he i accompanyi ng (of wh i ch the best known and s

most obvi ous i nst nce i that Often accorded to the verse a s

Pra i se H i m wi th the sound Of the trumpet see ing that with

all the resources f a large organ at hi command he i as i t O s , s ,

were i nvi ted to h t t the mus i c before h i m H ere how

, o rc es ra e .
,

ever he must use great judgment and d i splay a cult i vated taste
, , .

See A pp e n d ix B Gr gor i
. e an C h an t s .
12 ORGAN ACCOM P A N IMEN T OF THE CHORAL SERVIC E .

12 . H av ing devoted some cons i derat i on to the var i ous

modes f g iv i ng express i on t the words we pass to cons ider
O o , on
how best the org n i st can support h i cho i r H e must alw y a s . a

remember that he cts as conductor as well as accompan i st a ,

an d has therefore three dut i es to perform at

, and the s me
, on e a

t i me ; namely to regul te the pace to keep together h i force

, a , s s ,

wh i ch are usu lly d ivi ded i nto two port i o s alw ys some a n , a

d ist nce p rt d somet i mes t a cons i der ble d i stance from

a a a , an a a

h i m and last but not the le st d i fficult

, f the three to keep
, a o ,

the vo i ces well i tune wi th the org n The first two Of these n a .

requ i rements w ill be g i ed not accord ing to t h prec i s i on a n or e

wi th wh i ch the prel im i n ry pl ying over f the chant i given a a O s ,

and also i other port i o s Of the serv i ce (the Responses

n n ,

Anthem by h i method fpl yi g the be ts or symphon i es

, s O a n a .

M uch w ill depend also upon h i phras ing d the Observat i ons s , an

quoted on p 3 w y here be recalled G ood results m y also

. a . a

be Obtai ned far accent i concerned by j ud ici ous use

, s o as s , a

Of the swell ped l but th i s must be done wi th great judgment a ,

or the well known pump ing e ffect so abhorrent to ll good

-
, a

players w ill be the i nevi t ble result I t m y be well here

, a . a

to caut i on the young org n i st ag i st the m i st ke Of t t ly a a n a c on s an

us i ng the swell ped l N t only i the mus i cal e ffect produced a . o s

monotonous and bad but the hab i t i nduced Of ped lling wi th , a

on e foot only i i every way Object i on ble H e must be s n a .

c reful also never to lose touch Of h i cho i r by pl ying S

a , , s a O

loud as to render them i naud i ble to h imself i f not to the

co greg t i on
n a .

3 The more
I d ficult
if
. task Of k eep i ng a cho i r i tune calls n

for c reful cons ider t i o

a Cho i rs s i g both sh rp and fl t the a n . n a a ,

former be i ng f the two the most ter r i ble i i t e ffect and the
O n s

most d ifficult to counter ct I t i generally the result Of s ing ing a . s

too loud d forc i ng the vo i ce d the best cure i certa i nly

an , an s

not i ncre se fthe organ tone O n the contr ry any mean

an a O . a , s
wh i ch wi ll i nduce cho i r i such case to s i ng more softly a , n a ,

w ill have a benefic i al e ffect and I have known a moment ry , a

cessat i on Of the organ altogether startle an enthus i ast i c body

Of s i ngers i nto a sense Of the i r pos i t i on The use Of 8 and .

I 6 feet flue work o

-
the manuals for a short t i me i also Often n s

a ttended wi th good results M ore commonly however a cho ir .

, ,

gets flat An org n i st s h ould always be

. the watch for th i s
a on ,

and shows h i sk ill much more i prevent i on th n i cure s n a n .

The moment the sl ightest tendency to f ll i p i tch i detected a n s

i n
y an p rt he should d i
on e rect h i efforts toa counteract i t s ,

and no account delay remed i l measures unt il others have

on a

d i sco ered the fault as well h i mself O f course i t h i c se

v as .
, n ,
s a

a s imple i ncrease Of power to the organ w ill Often do much ,

 ORGAN ACCOMPAN IMEN T OF THE CHOR A L SERVIC E. I 3

part i cularly by the use Of the great organ foundat i on stops o , r

Of a 4 foot stop -
the Cho i r The swell however loud i f on .
, , s o

l ittle value i such an emergency I t should be remembered

n .

th t the members Of a cho i r frequently hear l ittle of the organ

a

accompan i ment wh ile they are s inging and the i nd i cat i ons ,

wh i ch the organ i st has to gi ve must i f poss ible be i nterpol ted , ,

a

during the momentary cessat i on Of the vo i ces F i nst nce . or a ,

susta i n i ng the organ accompan i ment somewhat prom i nently

between the phrases Of the chant the verses f the Ps lm or O a ,

i nstead Of ra i s i ng the hands as usual w i ll Often call the attent i on ,

Of the cho i r to the fault and enable t h em to rega i n the p itch ,

from wh i ch they have unconsc i ously f llen Aga i n the melody a .

,

m y be pl yed on another manual

a a an i nvers i on Of the parts . or ,

s o as to play bove the vo i ces (not necessar ily i a pronounced

a n

an d no i sy m nner ) w i l l frequently produce the des i red result

a , .

Th i s l tter course doubtless requ i res some l ittle theoret i c l

a , ,
a

k nowledge grave grammat i c l errors w i ll be comm i tted but

, or a ,

i t i to be hoped that every organ i st w i ll endeavour to acqu i r

s e

the small knowledge Of harmony wh i ch such a s imple remedy

demands I the Append i x pp 30 3 3 w i ll be found two
. n , .
-
,

Psalms w ith suggest i ons for the i r e ffect i ve accompan i ment .

4 1The dv
. i ce already g i ven as to the
a treatment Of
the Psalms when sung to Angli can Chants will be equally
appl i cable when G g i are used As the s inging here i i re o r an s . s n

un i son the accompan i ment i usually more free than i poss ible i
, s s n

Angl i cans Th i s greater freedom carri es w i th i t greater p

. re s on

s i b i li t i and an organ i st who has but a moder te theoret i cal

es , a

knowledge should t be tempted to i ndulge i extempore n o n

accompan iments but should adhere to the well cons i dered ,

h m ar i c of such recogn i sed author i t i es as those named i the

on s n

A p pend ix p 3 4 I t i too Often the case that chords Of the

, . . s

most far fetched and i ncongruous C haracter are employed to

-

produce that var i ety wh i ch s i mpler means would better

ccompl i sh F further remarks th i s subject s e Append ix
a . or on , e ,

34 .

The Psalms may be sung i un i son to s i ngle Angl i can Chants n ,

and th i s pract i ce i very effect ive where there i a defic i ency s s

Of treble vo i ces where as i s omet imes the case the serv i ce

, or , s ,

has to be rendered by men s vo i ces only An adm i rable ll ’

. co ec

t i on Of such ch nts w i th an ample supply Of v r i ed amp i , a ac c o an

ments su i table for th i s method Of renderi ng the Psalms has ,

been prepared by D E j H opk ins a specimen page o fwh i ch r . . .

,
*

w ill be found i the Append ix n .

Pub l i h d by S t l y L c
s e an e u as , W b r8 e e : CO .
 C HAPT ER IV .

I 5 The Te . eum i usually rendered i f the three

D s n on e O
follow i g w ys ( I ) to ch nts ; ( ) to what are known as ch nt
n a : a 2 a

serv i ces ; (3 ) to serv i ces properly so called Where i t i su g . s n

to c h ants two w i ll generally su ffice, d then the s implest , an

an d most s t i sfactory po i nt Of change i

a t verse 4 Thou t s a 1 ,
“
ar

the ! i ng Of G lory & return ing to the or ig inal C h nt at verse ,

”
c .
, a

2 4 , D“
y by d y Should
a double chants be chose
a . verse
”
I 3 n , ,
“
Also the H oly G host should be sung to the second half ,
”
,

th i s be i ng a preferable method for th i s cant i cle than the

postponement f the i nevi table repet i t i on to the last verseO .

Chant serv i ces are when carefully chosen f more des i rable , , ar

th n s i mple chants and need present no greater d ifficulty to

a ,

organ i st cho i r Although many such arrangements ex i st

or .
,

there are i Op in i on no more s i mple and yet effect ive

, n our ,

sett ings f the Te D eum i ch nt form to be found th n those

o n a a

Of M r F reder i c k H lm f We need not here speak Of the

.
“ e o re
“
Serv i ce proper s i nce such w i de field Of cho i ce ex i sts th t
”
, a a

no org n ist can exper i ence y d ifficulty i select ing those best
a an n

su i ted to the C p b i l i t i es Of h i cho i r d the resources Of hi

a a s an s

i nstrument I the two l tter f the three classes enumerated

. n a O

above the composer has h imself as a rule already i nd i cated

, , ,

the m rks f express i on and general treatment wh i ch should

a O

be followed As to the cl ss wh i ch rem i ns the methods Of

. a a ,

g iv i ng express i on already treated Of when de l ing w ith the a

a ccompan i ment Of the Psalms should be followed i the Te n

D eum .

6 The Bened i c i te i generally sung to a select i on Of chants

1 . s 0

Of spec i al form i character much resembl ing the ch ant forms

a , n

for the Te D eum ment i o ed i cl ss bove The d iv i s i on n n a 2 a . or

the words i th i s cant i cle wh i ch i recommended by C non

n s a

W estcott i the Paragraph P lt fr seems to be beyond all

, n s a er

quest i on the best F or a sett ing wh i ch follows th i s arr nge . a

ment Of the verses see Append i x p 44 , , . .

7 T hIe Bened i.ctus and the J ub i late call for no spec i al

rem rk save that i f the s imple chant form be employed the
a , ,

Pu bli r M tr s h ed by M es s s as e s

1 A w or k w hi c h ll or g i t h o l d p o i c i t h d m c h l ig h t
. .

a an s s s u s s es s s n e s e s u on
h co tr ct i o of h P l m mo t v l b l g i d to h prop
,

t e n s u d i n t e s a s an s a s a ua e u e t e er
p r io O f t h w or d P b l i h d t t h C m b r id g U iv r i ty Pr
,

ex es s n e s . u s e a e a e n e s es s .
I O ORGAN ACCOM P AN IM N T OF THE CHORAL SERVICE E .

the author has found that to s ing i t i un i son and to the n ,

follow ing form g i ves a far more sat i sfactory result

,

V I O CE S I N UN IS N
O .

It S hould
be Observed that the th i rd note wh i ch i mmed i tely , a

follows the w vy l ine i only sung when there

a t w syllables
, s a re o

to the word wh i ch comes last i the first h lf f every verse n a O .

The two followi ng examples w i ll make th i s cle r a

V RS 3E E .

An d t h e C at h ol i c F it h i
a s t hi s : th t w
a e w or h ip
s in un i ty .

V RS E E 4 .

t r f i di g t h P
Nei he c on o
ou i d iv id i g th
n e bt c er s n s , n or n e su s an e .

Th i s Creed dm its Of cons i derable vari ety i it

a mp n s ac c o an i

ment as will be seen from the complete sett ing to be found i

, n

Append i x F .

0 After the Creed follow several Responses to be

2 .

accompan i ed i the manner suggested i Chapter I

n n .
 C H AP T E R V .

The Anthem comes n ext i the order Of servi ce The n .

d i rect i ons Of the composer w i ll ord i nar i ly be a su ffi c i ent

i nd i cat i on Of the accomp n i ment wh i ch i appropr i ate here a s ,

an d therefore Of the A them proper we do not p Op

, ,
n r os e
to treat But before th i s i reached there comes an ex
. s

c ee d i g ly i mportant po i nt for cons i derat i on

n namely the ,

Voluntary w h i ch i almost un i versally played as an i t d

, s n ro uc
t i on to i t The character Of th i s prelude however short
.
,

i t may be should be str i ctly i , keep i ng w i th that Of the n

compos it i on wh i ch i to follow and at the same t i me should s ,

serve as a Clear i nd i cat i on to the cho i r Of the t ime i wh i ch i t n

i to be sung
s I t should as a rule conclude upon the dom i nant
.
, ,

Of the key SO as to appe r lmost ,

i ntegral part Of the a a an

Anthem i t precedes Should i t happen that t h organ i s t . e

h asnot suffic i ent confidence i h i power to attempt an xt m n s e e

pore i ntroduct i on he should select some lead i ng phrase from

,

the Anthem i tself and th i s as a prelude r ther th n take

, us e a a

refuge i the str ik i g f a S ingle bald chord to rouse the

n n o

a ttent i on f h i cho i r The open i ng phr ses Of the Anthems

O s . a
“
L ord f Thy tender merc i es sake ( F arrant ) and O t ste
, or
’ ”
,
“
a

an d ( G
s ee O SS ) wh i ch end upon the
, dom i nant could be used ,

i n th i s manner and w i ll serve to i llustrate th i s po i nt

Lord for T hy t
, en de m e r rc i es
’
s a e. k F A RRA N T .

GO S S .
 ORG A N ACCOMPAN IMEN T OF THE CHORAL SERVICE .

The more lengthy and elaborate the Anthem the more ,

leg it i mately may the organ i st use th i s prelude as an opportun i ty

for the exerci se Of h i s w talent and for th i s reason may gl dly o n , a

sacr ifice the Old m i ddle voluntary — now happ i ly almost “ ”

, ,

Obsolete— i f i t should st ill be customary i the servi ce at wh i ch n

he ffi i tO I
c a es y case however
. the perform nce nOf a an t , , a s e

p i ece wh i ch however class i cal and well pl yed has no connec

, , a ,

t i on e ither i style
,
sent i ment with the nthem wh i ch i
n or , a s

to foll o w must be condemned as i llegit i m te and t f pl ce

,
a ou O a .

At th i s po int i the servi ce H ymn i Often subst ituted

M
2 1 . n a s

for the Anthem and th i s le ds us to speak generally Of the kind

,
a

Of treatment wh i ch th i s most i mport nt part Of C h urch ic a us

should rece ive The tune when first pl yed m y Of course .

, a , a , ,

be t re ted i the s me manner as that suggested i the case f

a n a n O

a chant— pl yed soft stops without any attempt at v ri ety

a on a

in the way Of solos & — but i t greater length c lls for som e , c . s a

further attempt at express i on and the f ct t h at i many cases , a n

th e t
~

has to be learnt by the congregat i on w i ll just i fy t h

un e e

enunc i at i on f the melody upon a solo stop I employ i ng

o . n

th i s l tter method the org n i st must use some care for t h

a a , e
'

removal f h nd to a d i fferent m n ual will Often make

o on e a a

i t d i ffi cult even perhaps i mposs ible to pl y the other p rts

, or , , , a a

as they wr itten Th i s pr ct i cally ent ils r r rangement

a re . a a a e a

o f the h rmon i es wh i ch c nnot be ess yed w i thout some

a , a a

theoret i cal knowledge d i f the pl yer does not possess t h i s , an a

he must content h imself wi th the more s imple method f wh i ch o

we h ve spoken There are however m ny tunes wh i ch

a .
, , a c an

be e s ily played i the manner suggested — L the b ss by

a n a , a

the ped ls the tenor and alto by the left h nd and the
a ,
a ,

m elody a separate manual by the right The fol lowing i

on . s

z ui ex an fl
q e

ST . S T E P H EN
I . So lo s top .
 ORGAN AC C OM P AN I MEN T OF THE CHORAL S ERVICE . I 9

Ithe treatment Of the hymns the words Of course gu ide the

n ,

express i on and i recent ed i t i ons Of hymn books suggest i ons

, n -

a re ,as a rule g iven as to the su i table method Of pl yin g

, a .

“
Word pa int ing must be stud i ously avo i ded H ymns should
-
.

usu lly be pl yed at a moderate pace but th i s w ill de

a a ,

pend very greatly upon the character f the hymn tune o or ,

an d also upon the s i e Of the congregat i on for i t i z im , s

poss ible to drag a large number Of untra i ned vo i ces t

on a

th pace at wh i ch a sm ll number would s i ng The cho i r

e a .

should l d the congregat i on not run away from i t A very

ea , .

i mportant po i nt i that f the length Of the p use wh i ch S hould

s o a

be allowed between the verses Th i s must be un i form through .

ou t and should not vary accord i ng to the t i me requ i red by the

,

organ i st to readjust h i stops for noth i ng d mps t h ardour o f

s , a e

a congregat i on much as a feel i ng Of uncerta i nty when t

s o o

begi n the com i ng verse As a rule a rest f m i n i m should

.
, O on e

be llowed i the case f common metre tunes wh i ch beg i n

a n O on
the last beat Of a bar thus ,

th i s rest be ing Obta i ned by hold i ng the last note for t w o beats
only i nstead f three O .

L ong metre tunes also beg i n as above on the last beat Of a ,

bar but the durat i on Of the last note i s on ly that Of a M i n i m

, ,

See M elco m b e p , . 22 .
 ORGAN ACCOMPAN IMEN T OF THE CHORA S RVIC L E E.

and to preserve the rhythm i t w ill be necessary to m ke a pause a

of two beats i nstead of one .

A pause f t w m i n i ms w i ll also be necessary when the tune

o o

commences on the first beat Of the bar for i stance i the , as ,

n , n
follow i g ex mpl e n a

In the case f a tune wh i ch i i tri ple t ime pause f three

o s n , a o

m n ms m ight be made i f the tune be t ken at a qu i ck pace

i i a .

Th s however would be too long if only a moderate speed b

i , ,
e

adopted and then i t would seem advi sable to shorten the last
,

note of the hymn by a beat hold i ng the last note a as

sem ibreve i nstead f a dotted sem i breve the beat be i ng o ,

Observed as a rest between the verses .

These p uses wi ll be qu i te su ffici ent and g ive ample t i me to

a ,

the org n i st t d change when he deems it necess ry to do

a ,
a s o,

hi keybo rd
s h i stops a or s .

2 E 2xcept
. i spec i al cases — as f r i nstance at the words
n , o , ,

N ow above the ky H e s ! i ng i the well known E ster s

’

, n -
a

hymn Jesus C h r i st i r i sen to d y where a moder te ll

, s -
a ,
”
a ra en

tan d oi very e ffect i ve — no

s ll t d should be made i ra en an o n

playi ng the verses f a hymn other than that naturally called o ,

for at t h last verse just before t h Amen All the suggest i ons
e , e
“
.

as to the use fthe organ i the accompan iment f chants wh i ch

o n o

have been given at p ge w ill pply equally to the m a I O a ac c o

p ani m t of the
en hymns not forgett i g even an occ s i onal ,
n a un

a ccompan i ed verse though f course th i s last m ent i oned ,

o
-

e ffect must depend much upon t h power f the cho i r to e o

prese rve the true p i tch w ithout the help Of the org n I a a . n

chant there i but l ittle fe r f a f ll i pi tch dur i ng

s a o a n on e or

even two verses but a hymn tune be i ng f greater le gth t here

,
-
o n

will be greater danger f th i s fault ri s i ng St ill wh ere i t i o a .

,
s

poss i ble unaccompan ied verse may have a valuable and

, an

i mpress i ve effect .

SO too the remarks made on page 5 as to the pl yi ng Of the

, ,
a

bass p rt f the chant an octave lower the tak i ng f the alto

a o , or o

part above the soprano apply equally to hymn tunes some ,

-
,
 ORG A N ACCOM PAN I M EN T OF THE CHORAL S ERVICE . 21

well known examples

-
of wh i ch as they may be played
, , are

appended :

l p rt
a a .

The first th i rd and fourth l i nes can be taken an oct ve

, , a

lower on the ped ls more espec i ally as they do not go below

a ,

tenor C (see p The second l ine should be played as i t

.

stands i t h
n l part so far as the bass i concerned but we
e v oca , s ,

may fill up some of the chords (see small notes )

 M
ORGAN ACCOMPAN IMEN T OF THE CHORAL SERVICE .

ELCOM B E .

The alto part may here be played above the soprano I t may .

perhaps be advi sable to keep the l melody note t the top rea a

for the first chord and beg in the i nvers i on f the parts at the
, o
second chord

I connect i on w ith th i s subject the followi ng v lu ble

n , a a

remarks from the pen f D H opk i ns may be quoted

o r .
*

“
I accompanyi ng E ngl i sh Psalm tunes i t i usual to m ke
n -
, s a

Grov '
e s
“
D ict io ry
n a of M us i c an d M u ic ia
s n s ,
”
A rt . A cco m p an im en t .
”
24 . ORGAN ACCOMPAN IMEN T OF THE CHORAL SE RVICE .

as to keep wi th h i ch o i r I t i advi s ble to give out t h first l i ne

s . s a e

o f the tune well m rk i g the t i me but th i s should not be f t

a n , as .

M uch depends upon the tune c h osen wh i ch should be f a broad , o

an d sol i d not f a flor i d ch r cter
, o F or a process i onal hym n
, a a .

i wh i ch the cho i r
n dv nc i g from a d i sta t po i t tow rds
a re a a n n n a

the organ i st fter gi vi ng t the first l ine 17 the org n should

, a ou , a

be reduced y to the D i apasons d th power i cre sed

, s a , an e n a as

the cho i r get nearer By t h i s me s the process i o l ga ins i

. an n a n

e ffect and the organ gives the ne ess ry help without be ing
, c a

obtrus ive The contr ry method s h ould be pursued when the

. a

cho i r leave the organ and ret i re to a d i stant po i nt the organ

should commence f t d end p i or even leave the cho i r
or e an an o,

un ccomp n i ed All these po i nts depend

a a . largely upon the s o

bu i ld ing and the pos i t i on f the org n that noth ing very prec i se o a

c an be asserted but good org n i st ,

render v lu ble i d and
a a c an a a a

much e h ance the e ffect f process i onal hymns wh ile a b d

n o , a

pl yer generally ma k es the use of them i fnot i mposs ible at least

a ,

an i nfl i ct i on .
 C HAPT ER VI .

24 The Commun i on Servi ce comes next i order f

. n o r o ur

cons i derat i on Where it i s possi ble a complete sett ing f th i s

.
, o
very i mportant part f the Church Serv i ce should be selected
o .

I f th i s be done the composer s own d i rect i ons w i ll gu i de the

’

orga i st w i th respect to the most i mportant po i nts As regards

n .

the ! yr i e it wi ll be found useful to s i ng an alternate sett i ng

, , or

Often the same sett i ng may be used i t w w ys response n o a , on e

be ing i harmony and i t h next the same melody may be sung

n n e

i un i son w i th
n v r i ed accompan iment O f altern te sett i ngs
a a . a ,

those are preferable— espec i ally when f them i sung i on e o s n

un i son— wh i ch commence with a d ifferent chord for the organ .

In the author s servi ce i G for i nstance the setti ng for the

’
n , ,

first th i rd fifth seventh and n i nth responses begi ns

, , , , the on
chord o f G m ajor wh ile that for the second fourth s i xth and
, , , ,

e ighth commences o the chord f B m i nor I t i a good plan

n o . s

to leave the i nth response unaccompan i ed the tenth bei ng

n ,

played upon a somewhat louder organ than the earl i er

responses These two facts help to rem i nd the cho i r that they
.

have arri ved at the last response and may often s ve a m i shap , a

at a po i nt where m i stakes are somewhat l i able to occur Fi nally .

,

i t must be remarked that the accompan i ment o f the ! yr i e

should be as a rule qu i et and unobtrus i ve .

After the givi ng t f the G ospel G lory be to Thee O

ou o ,
“
,

L ord and at the end f the G ospel Thanks be to Thee O

,
”
o , ,

L ord are often sung and the mus i c i usually to be found

, , s
i
n complete sett i ngs of the o ff ce I the bsence o f spec i al i . n a

sett ings they may be taken to the follow ing

T AL Li s .

26 . F or the N i cene Creed modern composers have furn i shed

many beaut i ful sett ings of all shades of d ifficulty . It may , of

c
26 ORGAN AC C OMPAN IMEN T OF THE C H ORAL SER V ICE .

course be sung s imply to a monotone the accompan im ent

, ,

be ing vari ed as i the Apostles Creed and a sett i ng i s

, n
’

g iven i Append ix G But i t i s far more e ffect ive and not

n .

more d ifficult to s i ng i t to a uni son sett ing w ith occas ional

i nflect i ons such as G o s s well kno w n sett i ng i The ’

, D s -
n .

O ffertory Sentences are som et i mes chorally rendered each ,

on e be i ng first read by the pri est and then sung by the cho i r I . n

other cases they are s imply read the organ i st playing a S hort ,

voluntary between each F or the former pract i ce several o m . c

p l t
e e sett i ngs f only moderate d i f
f
oi culty are ava i lable
The Sursu m Corda i s the next part of the Serv ce wh i ch i

requ i res an organ accompan i ment These two sentences w ill .

be found i all complete sett i ngs o f th i s o ffice but i t may be

n ,

well to rem ind the player here that the note must i n all cases
be given to the pri est .

The Sanctus i the second part o f the clause wh i ch begins

s
Therefore w i th Angels and Archangels and should follow ,
”

the words Pra i s i ng Thee and sayi ng as promptly as poss ible

“ ”
.

Although not i n the Prayer Book i t i now very usual to s ing s

the Agnus D i ( O L amb o f G od) & and Bened i ctus q i
e , c. , u

ven it (Blessed i he that cometh ) i mmedi ately after the

s , c on
l io
c us f the Prayer o f Consecrat i on and the mus i c for these
n o
will be found i most modern sett ings o f the Commun i on
n

Servi ce D uri ng the adm in i strat i on f the E lements hymns

. o ,

are somet imes sung but it i more usual to play a soft , s

voluntary I t i best to select some qu iet and appropri ate

. s
p i ece as Often a consi derable t i me i occupi ed by th i s port i on
, s
o f the Serv i ce and even i f the organ i st , extempori se fai rly c an

well he can hardly avo i d ted i ous monotony part i cularly as he

, ,

i confined to the use f soft stops only

s o .

The G lori a i E xcels i s i the most elaborate port i on f the

n s o
Commun i on Servi ce and should be rendered wi th all poss ible ,

care Sett i ngs f all shades f d ifficulty may be found a d

. o o ,

for a s impler k ind wh i ch would be i n sp i ri t wi th such cree s

,
'

a s t ha t o f G oss m ent i oned above s ee Append i x H , .

rtory S t c
T he Of
fe en en es a s u s ed in W t m i t r A bb y by J F Br idg
es n s e e e.
Nov llo Co
. .
, ,

e .
 C HAPT E R VI I .

27 .the E ven i ng Serv i ce we have only t o cons ider the

I n
Cant i cles as the d irect i ons already gi ven with respect to the
,

M orn ing Servi ce apply equally to th i s i dent i cal i almost o n e, n

all po i nts w ith i t The Cant i cles f the E ven ing Servi ce m y
. o a

be rendered any fthe methods quoted for the Te D eum— i

In o . e .

M
e ither to chants to C hant servi ces as they are called
, ga i to , , or a n

the more elaborate servi ces I f sung to chants a s i ngle chant

“
.
”
,

i best su i ted to the

s g ifi t the number f verses be i
a ng n ca , o un

even and the new departure at the s i xth verse seems to render a
,

double chant i nappropr i ate as it would have to be sung to the ,

second half ; moreover the verses wh i ch follow are not i couplets

, n ,

but are themselves d ivi ded i nto halves h vi ng a k i nd of ant iphonal , a

e ffect A double chant may well be used for the Cantate as the
.
,

number of verses i even and therefore the fifth verse wh i ch

s , , , ,

M
repe ats the sent iment f the first not rendered i ncongruous o , is ,

as i t would be were i t sung to a d ifferent half Of the chant .

The N unc D i m i tt i s and D eus i t are both well su i ted s ere a u r

to s ingle chants and the former to , o f a more plac i d on e

character than the latter .

28 We may bri efly refer to such mus i cal treatment as may

.
'

be needed i what are termed the occas i onal servi ces f

n
“ ”
o
the church —v i the Confirmat i on and Comm i nat i on Serv i ces
z .
, ,

the M arr i age Serv i ce and the B uri al Serv i ce After what has
, .

been sa i d p revi ously i t will not be necessary to treat i deta i l f n o

the organ st s dut i es here I t may however be useful to

i
’
.
, ,

state that s i mple mus i c for the Responses the M i serere & , , c .
,

i
n the Comm i nat i on Servi ce ed i ted by D Sta i ner may be , r .
,

read ily o b t i d fi as also the Responses for the M arr i age

a n e
'
<

Serv i ce and for the Queen Access i on the latter bei ng found ’
5 ,

i the m ll book f responses as used i Westm i nster Abbey

n s a o n .

Wi th regard to the Buri al Servi ce we may ment i on the sett ing

o f Croft and Purcell and a more modern an d perhaps more ,

S mple sett i ng by G oss

i .

P ub l i h d by M r
s e es s s . N ov llo
e CO .
 C HAPT ER VIII .

V O L U N TA R I E S .

29 . quest i on as to the cho i ce Of Voluntari es depends

T he
mai nly upon the amount f execut i ve ab i l ity possessed by the o

organ i st There i an i mmense field f C ho i ce and th i s po int

. s or ,

i i tself causes d i fficulty to those w h ose exper i ence f org n

n o a

playing i i the m n l im ited to the i r w e fforts

s n aid who o n , an

have to depend for the i r gu idance upon the catalogues f mus i c o

publ i shers O ne th i g however certa i n that t uns fe for

. n is , , i is a

t h i nexper i enced orga i st to add to the d i f

e f cult i es of perform n i

ance by playi ng from mere p i anoforte scores wh i ch necess it te , a

hi s
“
arranging as well as execut i ng the p iece before h im .

M us i c f the s implest character yet properly arranged for the

o ,

player can read i ly be obta i ned not only i the case Of compos i
, , n

t i ons origi nally wri tten for the organ but also f those wh i ch , o
have been adapted to i t and th i s should be sought by all those ,

who des i re to make e ffect i ve f the i r i nstrument i a us e o n

legi t i mate manner The Volunta ry selected o any part i cular

. n

occas i on w i ll depend i great measure up on the t ime and n

place where and when i t i s re qu i red I t i Obvi ous that an . s

appropri ate p i ece for E ster D y would not be su itable to a a

A h Wednesday r G ood F r i d y
s The nature f the servi ce
o a . o

S hould not be lost s i ght f and wh i le not attempt i ng too o ,

much to po i nt a moral adorn a tale the player should or ,

take care that h i i ncom ing and outgo i ng voluntari es are not
s
at var i ance with the sent i ment o f the servi ce wi th wh i ch they
are assoc i ated .

I t may be useful to g ive some comb i nat i ons o f organ sto p s

wh i ch are ord i nari ly used accompan i ment In .

RE A T O R G AN G .

O pen and Stopped D i apasons .

O pen and Stopped D i apason wi th Pr inc i pal 4 ft . or F lute

4
-
ft .

The fifteenth and perhaps occas onally an , Reed i 8 ft-

. .

The F ull G reat— only to be used w i th a large vocal force

and for speci al effects .

F or f rt h r i form t io
u Dr S t i r O rg Pr im r
e n a n s ee a n e
’
8 an e
dm y P r p o o t o l r ll ll ort
.
,

i F N ( m im C p t S w ) w i pp t h o e su e
F n C }:i
o or af u s es o. 2 s e es u e
u o t.
 ORGAN ACCOMPAN IMEN T OF THE CHORAL SERVI C E . 29

S W E LL O R G A N .

Salc i o n
’

al o r G amba .

O pen and Stopped D i apason o r H ohl F lute .

D i apasons w i th F lute 4 ft o r Pr i nc i pal 4 ft -

.
-
.

D i apasons Pr i nc i pal o r F lute and O boe 8 ft

, ,
-
.

S me as NO 4 wi th Cornopean
a . or Trumpet .

The F ull Swell .

CHOIR O RG AN .

r
-
Dulc i ana .

o
i Dulc i ana L i ebl i ch G edacht and F lute 4 ft
,
-
.

p
t
Same as N o 2 wi th O pen D i apason and Pr inc ipal
.
,
.

i
s
.
Same as N o 3 w ith F i fteenth r P i ccolo
.
, o .

I organs f two manuals only the Ch i r O rgan must be

n o o

s uppl i ed by the G reat wh i ch then usually conta i ns a D u lc i ana ,

or some s i m ilar soft 8 ft stop Th i s together with the Stopped -

. . ,

D i apason and F lute should be looked upon as the Cho i r O rgan

”
,

and th i s cho i r comb i nat i on m ight be thrown out by a Compos i t i on

Pedal The soft stops f the Swell i S l i l D i apasons
. o , . e
.
, a c on a , ,

F lute Pr i nc ipal and O boe also comb i ne well wi th the suggested

, , ,

Cho i r and i f Coupled to these stops o the G reat M anual w i ll

, n

be an e xcellent support to the vo i ces .

PED AL O RG AN .

I . B ourdon and soft 8 ft ( F lute ) -

. .

2 . O pen S i xteen and Pri nc i pal 8 ft -

.

3 . Add Reed but only when F ull G reat

-
is used e xcep t for
,

spec i al e ffect s .
 APPE N D IX A .

AN G L I C A N C H AN TS .

O rg an Arran g em en t N0 I
AV A G E
. .

S .

O rg an A rra n g em en t No . 2 .

P ed . ad l ib .

P SALM xxx .
— E x a l ta b o te , D o m i n e.

Gt mf (A rr
. . w ill magn i fy thee O L ord for t h hast
1 I
’

ci u

s t me I up
e and not made my fO to I tr i umph I es

over I me .

C h mf (A rr
. . I
) . 2 O L ord my G od I cr i ed I unto I thee a d , n

thou hast I healed I me .

3 Thou L ord hast brought my O l I o t f

, , s u u o

hell thou h st kept my l i fe from th em that go

a

down I to the I p it .
 ORGAN ACCOMPANI MEN T OF THE CHORAL S ERVICE .

O rg an Arra n g em en t No . I .

M
R
O LE Y .

O rg an A rran g em en t No . 2 .

P SALM ii i — D om in
. e, qu i d m u lt ip li ca t i .
"
f

Ch .
p (A rr . I
)
. 1 L ord how are they in c ré a s ed that I trouble
me m any are they that I r i se a I ga inst me
-
.

2 M any o n e there be that ’

s a
i
y I of my I s oul

There i s n o h elp I for hi m I i n his I G od .

 ORGAN ACCOMPAN IMEN T OF THE CHORAL SERVI C E .
33

Sw mf(A rr
. .
3 B u thou O L ord art I my de I fender thou
t ,
-

art my worsh i p and the li fter I up o f I my I head .

4 I d icall upon the L O d I w ith my vo i c e

d r

and he e rd m e I o u t o f h i I holy I h ill

b ai
’

s .

Sw w i tho u t P ed
. .
5 Ila i d me down and slept and r ose up a
(A rr . I) . ga n fo the I L ord u s I t
i r s -
a in ed I Ine .

Sw w i th F ed
. . 6 I wi ll not be afr i d for ten t h O d s I f the
a u s an o

(A rr . people that have s t thems elves a I ga i nst me

e -

round I bout
a -
.

G t D i ap . .
7 Up , L ord and ,me I O my I G od f r thou
h é lp o

I) s test all m i n enem i es upon the chee k bone

_

( A rr . . mi e
-

thou hast b Ok the I teeth o f I the u I godly

r en n -
.

8 Salvat i on b lO g t h I untoe the I L ord and

n e

thy bl ess ing I i p I thy I p eople

s u -
on .

G t to P ri n
. .
G lory be to the F ather &C , .

( A rr
. I )
.
 APPE N D IX B .

G REG O RI AN C H AN TS .

(F or t h ob rv t ioes e d h m plsew hi c h follo w

a In sm i d bt d
an t e ex a e s a n e e
to M r W S H oy t O rg i t f A ll S i t M rg r t Str t W )
, ,
’
. . . e, an s o a n s , a a e ee , .

The G regor i an Chant ; now o much in use i n the E ngl i sh s

Church at first found many organ i sts qu ite unprepared for it ;

,

conse quently some adopted a style utterly o t f keep ing wi th

, u o

the grandeur f the Pl i n Song wh ilst others accompan ied

o a ,

the tones by s uch crude and ugly harmon i es to render as

them almost repuls ive to modern ears The treatment f . o

the accompan iment f G g i i an all i mportant top i c and o re o r an s s ,

the remarks to be found i the preface to manual f G re n a o

gori an publ i shed at Rat i sbon and ent i tled M agi ster
Ch o rali are well worth careful attent i on I t i there sa i d
s , . s
th t The organ i st should employ and va y the stops f hi
a
“
r o s

i nstrument accord i ng to c i rcumstances and take spec i al care ,

that the del ivery f the chant may be enri ched w ith ll that o a

l ight and shade wh i ch the text demands and a well played ,

-

i nstrument i mpart And aga i n The playi ng of the

c an .
,
“

organ must be earnest and appropri ate that i t may Ot , s o n

by i t agreeableness draw to i tself and monopol i se the whole

s

attent i on of t h soul but rather furn i sh mot ives and an p p

e , o or

tun i t y for med i tat i ng o the words that are be ing sung and n ,

thereby promote feel ings f true devot i on o .

The oft repeated charge f monotony brought aga i nst G re o

g i
o r an s cannot be ma i nta i ned if the organ i st varies h i har s

mon i es i a jud i c i ous and mus i c i an l ike manner ; and i f h i

n -
'

e s

unable to do th i s by hi w una i ded ab i l it i es he should use s o n

a book i wh i ch vari ous harmon i es are given to each tone

n .

O f these the best are M r Warwi c k Jordan s O ne hundred and

, .
’
“

fifty H armon i es for the G regor i an t I and M r Brown s

” ’
o n es .

O rgan H armon i es for the G regor i an Psalm tone : C re s

”
a

must of course be taken that the harmon i es are i keep ing n

W i th the vary i ng character o f the words but i . following the , n

Brow P lt r p b l i h d b y Bo w orth
See n
’
s sa e u s e s Co
f P b l i h d by N ov llo E w r
.
,

u s e C e e o.

l T o Bo ort Gr t R ll Str t Bloo m b ry

,

1 P b i h
u d by sh w e h C s . s o .
, ea us s e ee , s u .
 ORGAN AC COM P AN IM E N T OF THE CHORAL S ERV ICE .
35

sent iment f the verse all scal e passages arpeggi os &c wh i ch

o , , .
,

are utterly o u t f place should be avo i ded The temptat i on to

o , .

i ndulge i such d i spl ys should be repressed

n With regard to a .

the accompan iment the remarks made i the body f th i s , n o

work concern ing Angl i can Chants are equally appl i cable
"<

to G regori an tones w ith the except i on that i the latter the i r , n

un i son character calls f a somewhat h i accompan i ment or ea v er ,

and a jud i c i ous use o f the I 6 foot double i the swell cho i r -
n or

together w i th the d i apasons and a 4 foot stop i often very -

s

ef fect i ve .

There are five d iv i s i ons i n the G regor i an Chant— v i z ( ) the , I

i ntonat i on ; ( ) the first rec i t i ng note ; (3) the med i at i on ; (4) the
2

second rec it i ng note ; (5 ) the end i ng

I n to t io n a n . M ediat io n . E n di n

M
The i ntonat i on i s sung to the first verse f the Psalm and o ,

in some churches also to the G lor i a I the Bened i ctus . n ,

ag ni fi t and caN unc D i

, m i tt i s Sundays and fest i vals the , on ,

i ntonat i on i s used to each verse ; on other days these are treated

i n the s me manner as the Psalms
a I the e ight ton es the first . n ,

four d iv i s i ons f each chant othe same vari ety be ing found a re ,

i the end ings

n f wh i ch i some i nstances some Psalters g i ve
, o , n ,

as many as th i rty I many cases the med i t i on i var i ed also

. n a s ,

but th i s v r i at i on i generally o fmodern growt h and i a fore ign

a s s

i mportat i on from F rance Belgi m both f wh i ch countri es or u , o

are remarkably clever i the adulterat i on f Pla i n Song We n o .
,

however need not here concern ourselves with the advi sab il i ty
,

o f th i s pract i ce but must make the best o f ex i st i ng Psalters

, as

they are .

Before the Psalm i commenced the organ i st should play

, s

the i ntonat ion first rec it i ng note and med i at i on i oct ves w i th
, , n a

h i left hand and pedals and then touch aga i n the first note f
s , o
the i ntonat i on thus ,

Gt . I 6, 8 , ( 5 4 ft .
. c an } . to Sw .

Ped . 16 8 ft . c oa t . to G t .

P .
4 .
3 6 ORGAN ACCOM P AN I MEN T OF THE CHORAL SERVICE .

O ne correspond ing port i on the first verse i then su ng of

~

s
without the organ by ll the men a cantor the offic i at ing
a , , or

pri est the congregat i on and organ jo i n ing i at the second half
, n

o f the verse I f however there are no men i

.
, the cho i r as , n ,

may often be the case i week day serv i ces and the pri est be n ,

un ble to S ing i t w i ll be well for the organ i st to play the

a ,

i nton t i on and first rec i t i ng note w i th h i left hand and ped ls

a s a ,

thus
G t to . P ri n . w i th F ul l Sw .

and for the trebles to commence with the organ , as shown by the
followi ng example

mf T he Lor d i s m y ig h l t an d my sa lv t io
a n wh m o th en s ha ll I f r ea .

and then for the organ ist to play the second half of the verse
o n the great organ the congregat i on jo i n ing then w ith the
,

c ho i r .

After start ing a Psalm Cant i cle and playi ng the first verse or ,

on the great organ i t i better to change to nother manual for

, s a

the second at leas t the th i rd verse ; and i t has Often a good

or

e ffect bes i des vary i ng the harmon i es to play the alto o tenor
, , r
i the upper part and
n obta i n var i ety by i nvers ion O n th i s
, s o .

po i nt the remarks the accompan i ment Of Angl i can Chants

on

are very appropri ate M oreover many f the tones will bear .
, o
harmon i s i ng e i ther a ton i c dom i n nt b ss
on or a a .

When there i long sentence to be rec i ted a good e ffect i

s a , s
produced by givi ng to the rec i tat i on note a i o f chords s er es ,

t k i ng care however that that note should always form part

a , ,

o f each chord .

The rec itat i on note should as a general rule be A but for , , ,

Psalms o f a pen iten ti al character F r G may be chosen and o ,

A B I? for those o f a jub i lant sp i r i t

or I some cases t h key . n e
may be changed i a Psalm wh i ch begi nn ing i a pen itent i al
n , n
form suddenly changes i t s character a f i nstance Psalm lx ix
, , s , or ,
 OR G AN ACCOMPAN IMEN T O F T H CHORAL S RVICE E E .
37

wh i ch i s usually sung to the th ird tone Th i s c an be co m menced .

i G ; and at verse 3 ( I w i ll pra i s e the name

n & the key
1
“
c

can be ra i sed to B I) Somet imes i t i a good plan at the las t

. s

verse of the G lor i a to pl y the melody o the full pedal organ a n ,

us ing the manuals fo r a free accompan iment E xamples of th i s .

,

and f the var i ous forms f treatment suggested i the above

o o n

remarks w i ll be found i the books f harmon i es previ ously

, n o

ment i oned .

O f the vari ous G regor i an Psalters the best known are those
o f H elmore Brown W T Best N ott i ngham D oran Redhead
, , . .
, , , ,

and G ray H lm . Psalter i the s i mplest and i perhaps

e o re s
’
*
s , s

i most general
n Where more vari ety i requ i red
us e . a s

change of tone to e ch Psalm and the occas i onal i ntroduct i on f

a o
vocal harmony) Brown s P lt i w i ll be found a most excellent
,
’
-
s a er
L

book i every way

n .

The following i s an e xample o f a P salm accompan ied

accord ing to the above suggest i ons

G t to P ri n
. . w i th F u ll Sw
P S AL
.
M XLI I I .

M EN A LO NE .

t c t
w i h m e, O G o d, d de en d f
j
s en en e an
my c au s e a g ain s tt he n u g od 1Y P6 0 -
p le
.

O de i l v r m fre e om t h e de c it
e fu l an d wi ck ed m an .

Pu i s h e d bl by N ov llo E w r e e Co
bl by Bo w ort h
.
,

1 Pu is h ed s Co .
 OR G AN ACCOMPAN IMEN T OF THE CHORAL SERVICE .

For Tho u art t h e Go d of my s t ren g t h , w hy h as t T ho u p ut me fro m T h ee,

E a g
le .

an d w hy go I so v ly
h ea i , w hi l e t h e en e my o p pr es s et h me?

0 s en d o ut T hy i h lg t an d T hy tr t h t h t t h y
u , a e m ay l ead m e,

s en z a P ed .
40 OR G AN ACCOM P AN IMEN T OF THE CHORAL SERVICE .

Ch . or Sw .

s en z a P ed .

me ? 0 p u t t hy tr t
us .
ia

H
EP .
°

P ed . n 8 v es .
 ORGAN ACCOMPAN IMEN T OF THE C H ORA L SE R VI C E .
4 1

Glo -
ry
m
! g
u s } an d t o t h e Son , an d to t he H o ly
-
G ho t ;s

As it w as i n t h e b gi
e n n in g , is n o w , an d cv er s ha ll b e,

A d d P od . reed .

w orl d w i tho t u
 APPEN D IX C .

M
U N I S ON C H AN T ,
ENTS
W ITH
DR
VA

H
RIED
O P ! I N
AC C O

S
M P AN I

BY . E J
. . .

LL M
W I IA T U RN R M D
E , . .
,
— 740
1 65 2 1 .
 ORGAN ACCOMPAN I MEN T O F T H E C H ORAL SER V ICE .
43

V . R ela ti v e m i n o r.

d d 3 :
 A P P E ND I X D

M
.

B E N E D I C I TE O N I A , O PE R A H ”

FU L L.

0 AL L yeWork fth s o e bl es s ye t he Lor d

E

2 0 yeA g l of t h
n e s e bl es s ye t he Lor d
C AN
H v bl Lord
.

3 O ye ea en s es s y e t he
W t r t h t b b ov F ir m m t bl Lord
,

4 O ye a e s a e a e t he a en es s t he
o r of t h Lord bl Lord
,

5 0 all ye P w e s e , es s ye t he

O ye Su n an d
7 O ye a s S t r of
S o r
8 O y e h w e s an d
9 O ye W of
i n ds
1 0 O ye Fr
i e an d
1 1 O ye W tr
i n e an d
1 2 O ye D
ew s a n d

1 3 O ye F ro t
s an d
1 4 O ye I c e a n d
t
1 5 O y e N i g h s an d
1 6 O ye L t
i g h an d
Lg t g
O ye i h n i n s an d
FU LL.

M ay b e h ad i n a se p r t for m of M r
a a e es s s . N ov ello E w er
, CO .
 OR G AN A CC O M P AN I MEN T OF T HE C H ORAL S ERVI C E .
4

JA MS E T U R LE .

p ra s e
i Him , an d m ag n i -
fy Him for CV
p rais e Him , an d m ag n i -
fy Him for CV
pr i e
a s H im , an d m ag n i fy Him for CV
pr i e
a s Him an d m ag ui fy H im for CV
p rai s e for
,

Him , an d m ag ii i fy Him CV

J F . . B RI D G E.
46 ORGAN A CC OM PAN IMEN T O F T HE C H ORAL SERVICE .

19 O ye Mo t un ai n s an d b l es s ye the Lord
Gr T hi g po i
,

2 0 0 all ye een n s u r

t he E rt h
a bl es s y e t he Lor d
W ll bl Lor d
,

21 O ye e s es s ye t he
F loo d bl Lor d
,

22 O ye S eas an d s es s ye the
Wh l th t
, ,

23 0 yo d ll
a es an a a

m ov i Wtr bl s s Lor d
,

e n t h e a e s e ye the
ll y F o w l of h bl Lor d
,

24 0a e s t e Ai r, es s
y e t he
0a ll y Be t d
eas s , an C ttl a e, ble s s ye t he Lor d

26
27 0 l et
C l r of
O y e h i d en
I r l
M
s
en
ae
, bl
bl
es s

es s
ye t he
t he
Lord
Lord
r t O Lord bl Lord
,

2 8 O y e P i es s ft h e es s e t he
y
S rv t of Lor d bl Lord
,

M
2 9 O ye e an s t he es s ye t he
Sp r t of Rig h t o bl Lord
,

3 0 O ye i i s an d So u l s t he e us es s
ye the
ol y bl of h rt bl Lor d
,

3 1 O ye h an d hu m e en ea es s ye t he
A Az r Mi l bl Lor d
,

32 O n an i a s , a i as , a n d s ae es s t he
, ye

Glory b to t h F th r
e e a e , an d to t h e So n , an d to th e H o ly-
G ho t ;
s
 APPE N D IX E .

APO S TLE S C R EE D
’
.

J . F . B RIDG E.

I b el i ev e in G o d t he F t h r A l m ig h t y
a e ,
Mof
aker h ea v en an d earth

Bor of
n t he Vi rg i M ry
n a , S uf r
fe ed u n r o ti
de P n us Pi lt
a e, W as cr c ifi
u ed ,
 OR G AN ACCOM P AN I MEN T OF THE C H ORAL S ERVICE .

t he F t h r Al m i g h t y
a e

F ro m t h c en e He s ha ll co m to j dg
e u e
I bl v t he H ol y G ho t
i ck
e ie e i n s
t h e qu an d th d d
e ea .
,

T he R es u rr ct io of t h b o dy ;
e n e l f v rl t i g
An d t h e i e e e as n . A m en .
 APPE N D IX F .

AT H AN A S I AN C REE D .

A rr g d b y J S A IN R
an e . T E .

B AS S E S AND TE N R S U NI S N
O IN O .

V I
O C E.

Wh o o v rs e e wi ll be s av ed

O R GA N .

ALL VI O CE S IN U NI S N
O A ND O C TAV E S .

b for
e e all t hi g
n s it is c
n e es s a ry t h t h h ol d t h
a e e Ca
t t ho -
lic F it h
a .

W hic h F it h c pt v ry
a ex e e e on e do keep w hé le a n d
'

un de fil ed
 OR G AN A C COMPAN I MEN T OF THE C H ORAL S ERVICE .
51

t o t do b t h 2 2
3123
An d t h e ( 2
wi h u u e s ha ll p er -
i s h cv -
er -
l tias -
n g ly
-
.
1 2

s en z a P ed .

Th t wa e w or h ip
s on e G o d in T ri it y n an d T ri i t y i
n n Un i ty ;

N eit h er c on fOu n di n g t h e Per -

s o n s , n or di -
vid in g t he Sub -
s t c
an e .

F or t h r i
e e s on e Pe r o of h
s n t e
An d oth r of th H O ly G ho t
F th r a e
.y
, an ot h r f t h
e o e
So n , an e e s .
 ORGAN ACCOM P AN I MEN T OF THE C H ORAL SERVICE .

B ut t h e Godh ead of t h F t h r of th So n d of h H ol y
G ho t i 111}
e a e , e , an t e
* s on e
s , 3

G t D i ap So l o
. . . L H.
.

F th r
!
T he
an d the H ol y G hO t
s un cr t
ea e .
a e
t he So n i n c om
h en s i b le,
-

Sw .
p re

Gt o
fi fi
 O GAN ACCOMP A N IM N T O F T H E C H ORAL SE RV ICE
R E .
53

C h b o th han ds
. .

s en z a P ed .

an d t he H ol y GhO t t r l
s e -
e n a . An d yet he t y are n o t t hré e e t er l
i a s
r ,

17 H
"
P ed .
g H

’
n aI .
As l o th r
a s e e are n o t t hr ee in c om
0I I e e t eI
t hr
'
0

b
I

eh s l s * n or ee u n c re
p r en r e ,

s en z a P ed .
54
. ORG A N ACCOMPAN IMEN T OF T HE CHORAL SERVIC .
E .

an d the H ol y G hO t Al m ig h ty
s - v
. An d yet h e t y are n o t t hré e Al m ig h -
ti
es ,

fi
'

Gt LH .

b ut On e Al m i g h t y
- -
. S o t h e F at her is G o d , * t h e SOn i s Go d ,

C h b o t h ha n d s
. .

s en z a P ed .

an d t he H ol y G h O t i s s Go d . An d y et h e t y are n o t t hr Go d
ee s , b u t On e Go d .

F u ll Sw .
>

So l k
i ew i s e t h e F t r a h e is Lor d ,
*
th e Si m Lord , an d th e H ol y G h Os t Lor d .
 ORGAN A CC OM P AN I MEN T OF THE CHORAL S ERVICE .

Ch . M a n ua l .

s en z a P ed .

F u ll Sw .

s en z a P ad .

gr t r or l e th th B u t t he w h ol t h r to —
o t r l} t her
e ee
n n e 15 ea e ss an a n o
- -
er
Pe ro
s n s a re c o e e n a - g e ,
 ORGAN A CCOM PAN I MEN T OF THE CHORAL SERVICE .
57

an d co e qu a l . t t
SO h a i n all t hi g
n s , é s is a for e s aid ,

F u ll Sw . c res .

t r for t h t w i ll b
H e he e e a e s av ed m us t t h t hi kus n o f t he T ri ity
n .

F rth r m or c ry t h t h l o b l i v i g h tl y th
t io ! I c r t io of Lor d
u e e, it is n e es s a a e a s e e e r e

to e v rl a t i g
e s n s al
va n
n a n a n our

s en z a Pc d .
5 8 ORG A N ACCOMPAN IMEN T OF T HE CHORAL S RVICE E .

Je s us C hri t F or t h rig h t F i th i t h t w b l i v
s . e a s , a e e e e an d c on f es s

F ul l Sw .

Go d, o ft h e S b s t c e of t h F ath er b eg ott e
u an e ,
*
n b efOre t h e w orl d s

Sw . R. H.

Ped t o Sw w i th
. .
ft
so 1 6 th .

s
an
t
d
an
M of
an

c of M ot
e
,

hi s
t he Sub
he r b 6rn in t h e w orl d ; Pe rf ct G
e o d, an d p er fec t
-
M an

M pl y
ay be a ed in oct v for t h p rp o
a es e u s e o f s us t ain in g t he vo ic es .
 ORGAN ACCOM P A NI MEN T OF THE C H ORAL SE RV I C E L

F u ll Sw .
\ - e

s en z a P ed .

b ut by t k i g of t h
a n e M
é n ho o d i n t o G o d ;
-

2
£ 1; 2 136f}
3552 S b t a c
8
. i
><

u s n e
,
60 O R G AN ACCOMPAN IMEN T O F T HE CHO RAL SERVI C E .

b ut by ’

ii n i ty-
of P r o F or
e s n . as r o bl o l
t h e ea s n a es u an d fl es h is on e m an

so Go d an d M an i s On e C hr i t
s W ho s uf
fe edr for o u r s al va t io n ,

d es c en ded in to h ll ro
e , s e a g a in t r
the hi d d ai y
'

fro m t h e d ea d .

F u ll Sw . c res .

He as c en d ed i n to h v ea en He s i tt th
e on the ri bg h t ty
of F th r m ig h
,

h an d t he a e , G Od Al ’
 ORGAN ACCOMPAN IME N T O F T HE CHORAL SE RVICE . 61

fro m w h c
en e H e s h all co m e to ju dge t he qu i ck an d t h e dead .

At w h o co m i g
se n all m en s ha ll ri se a g ai n w i h hei t t r bo d i es ,

s en z a P ed .

R H . F u ll Sw .

L II. . Gt .

s en z a Ped
O! ORGAN ACCOM P AN IMEN T OF THE CHORAL SERVICE .

Glory b e t o t he F a -
th r
e , En d to t he So n , an d to the H O ly G ho t ;
s

b g
}
AS it was i n t h e eg in n in ,
is n o w an d é v er
s ha ll be w orl d wi ht -
out en d
. A m en .
 ORGAN ACCOM P AN IMEN T OF THE CHORAL S ERVICE .

B y wh o m al l t hi g r W li o for us m en and for lv t io

o ur s a a n
m ad e ,
c o fro m h v
,
n s we e
am e d wn ea en S

s en z a P ed .

d im .
 ORGAN AC C OM P AN IMEN T O F T HE CHORAL SERVICE . 65

t he gh t h
jgf
h ifj ll co m g t lory
An d Sl t t et h o n fi am t
r
An d H e s h a e a a in wi h g

to j
u dg e b ot h t h e qu i ck an d t h e d ead W h o k i g do m
se n s ha ll h v a e n o en d .

I b li v H ol y G h o t W ho proc d t h fro m t h
Lor d }
in t h e
I
An d e e e s ee e e
d GW “ O f l‘f
F th r d h S
,
an c’
T he a e an t e on ,
66 OR G AN ACCOMPAN I MEN T . O F T HE CHORAL SERVICE .

W li o t F th r d )w or hipp ed a n d
p k by th
j ro p h t
w i h t he a e an s
W ho
t he So n tog th r
e e is I g l o ri fi ed ,
s a e e P e s .

I b li v C th ol i c d I c k owl B pti m for

A p o tol i c C h rc h }
An d e e e on e a an a n ed g e o n e a s

r m i io f i
,

s u the e s s n o s n s ,

s en z a P ed .

for t he
l f of t h w orl d to co m
g fiégggg?
A n d I l00k es l r
An d t he i e e e
. A m en
t
 APPEN D IX H .

G LO RI A I N E XC E L SI S .
it

A l leg ro m o d era to . V I
O CE S I N U NI S O N. J
. F . B RIDG E.

Glo -
ry be to G od on g
h i h, an d in ea rt h

we g iv t h ke an s to Th ee

F ro m N o 8 of S h”ort S tt i
“
e of h O ffic f H ol y C o m m io for P ro
ngs t e e or un n a
c hi l G r lU E t b y G C M rt i P b l i h d b y N ov llo C
.

a an d en e a se
. d i ed .
. a n . u s e e o .
68 O G AN ACCOMPAN IMEN T
R O F T HE C HORAL SERVICE .

for Thy gr t ea g l o O Lord G o d,

v
h ea en ly ! in g , God t he Fa th r Al
e m ig h

O Lor d , t he on ly b g ott
e en So n
’

J
e su C hri t ; 0 s

0763 .

Lor d G o d, L m b of
a G o d , So n of t he F a
‘
-
th r th t
e , a t ak - es t a

C Y CS .
 ORGAN ACCOM PAN IME N T O F T HE CHORAL SERVICE . 69

w ay t he s in s of t he w orl d ,
v
ha e m er cy up -
On us , T ho u ha t t

t ak es t a w ay t he s in s of t he w orl d , ha v e m er cy up

s en z a P ed .

(378 5 .

s en z a P ed .

c ei v e o u r p ray er . t t
T ho u h a s it -
t t
es at t h e r ig h t h an d of Go d t he
 ORGAN ACCOM P AN IMEN T OF THE CHORAL SERVICE .

F or T ho u ou ly a rt

s en z a P ed .

ho ly ; T h o u on -
ly art t he Lor d ; Tho u on -
ly , O

l
g o ry Of Go d t he Fa m en .
R

7
E S PON S E S T O T H E C O M
E
1.J H op k i F n s in
M BM
AN D
1 22.
E NT S
Lu ard S l by i E flt
e n a
L H o C
. . . . .

J pk i n s In 1 23 in
i C G
. . . .

n . 1 24 .
J Sh aw in
G
.

i E flt n a . 1 25 . in .

W S H oy t i D e n
E S il F r p m i or
H m m l i B flt
. . .

1 26 as in s ha n
G J Sk lto G
. .
u
.
e n a

i D m i or
.

1 2 7. e n in
H ry S m rt F
. . .
n n

G F J c k m i E fl t
.

1 28 . en a in .
. . a an n a .

W J ck o E a s n in H ry S m rt i F en a n
i F m i or
.

Boy to S m it h i E flt
.

n n n
A H J ck o C
.
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LO ND O N NEW Y O R! : V
NO ELL O , E W E R C O.
 G
'

PO I N T ED F O R C H AN T I N

I
M D pt
I

n
O! 1

4
'
2
. Im
i i th P p
t o, w
l h
eri a l
P l m C l th
32m 0
ro
.
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C
er
ot

sa s . o
:
3 ° D em y l g typ i th P p P lm C l t h
8v o , ar e
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e, w ro er sa s . o

P p P l ro m
er P p
,
sa m s , 32 0. a er p ov er

D i t t 0, 8 v 0 ' o

P s alt r an d C an t i cles 4t o w i th C han t s

e , ,

X 1 0 13 ' Can ti c l es 4t o wi t h C h an ts
, ,

C HANT S O NLY
‘ ’

p v

M
a
°
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u 9~ D i tt o.
"

Clo th
10. Fcap 4t o . .
~
Pap er c o v er

THE H Y NA RY
A B OO! OF C HU R C H S ON G .

'

N0 . y
H mn s on ly R y l m B g i A ig
. o a 24 0 . o ur eo s n t u e. C l th d dg
o , re e es

Hym n s on y R l m N p i A ti
l oy D bl C l m
a 24 0 on are
‘

l n qu e ou e o u n s

C l th
. . .
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od , red r g es
Hym n s on
l y R y l N p i l A ti o D b l é C l m Li m p
a 24m o. on are n que ou o u n s
C l th
0! n . . .

H ym n s ly R y l 4m N p il A ti
on o a D l C i 2 0.
'

on are n qu e
“

o ub e
‘

O um n s .

P p C v
. .

o er
r
a er

wi th T D y C l th
!
i
l,

1
n
4
n
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mn
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s

wi th T D y
un es

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.

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em

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8 v0
8v0
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dg
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w
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u n es o n . e v 0. o

6 T s un e ly D y
on . C l h b v ll d b d g i lt l tt d d g
em 8v 0 . ot , e e e o ar s ,
e ere , re ed es

7: Hy '

mn s i hT
w t T b l p t ly R y l 4
‘

un e s . re e ar on . o a 2 111 0

Hym n s wi th T s T bl e p t ly R y l m C l th b v ll
un e re ar on o a 24 0. o e e ed .

b d g lt l tt
fl . .

o ar s,g i e ere d , red e d e

Hym n s wi th T e S ll p t b i i th P l P y
un s ma os 8v o, t o n d w t he ear 8v c ra er

C l th
.

B o o k. o

Hy i h T s D i tt C l th b v ll gi le tt d d ‘
, ‘
h

a
'

mn s w t un e . o . o , e e ed bo rd s , lt ere , re

ed g es z

1 0. Hym n s wi th T L g yp I p i l 8 C l th b v ll d bo d
u n es
‘

ar e t e m er a v 0. o e e e ar s

g lt l tt
. .
, ,

i g e ered , red e d es 1»

ON D O