no one congregation probably will ever use all of them. On the other hand, it is to be hoped that it contains no hymn or tune for which some congregation will not be able to find occasional use. It remains only for me to speak of a subordinate, though not unimportant matter. The notation employed in this Hymnal, though long since universally adopted in Germany-so rich in hymns and hymn-tunes-has as yet been rarely employed in English publications like the present. As an innovation, it will doubtless be received, by many whose sympathies I should be most anxious to enlist, at first somewhat coldly: when once fairly tried, I believe that it will find general favour, and, sooner or later, be universally adopted. Such an innovation should not for a moment be confounded with any attempt to supersede the present musical alphabet— the only alphabet with the slightest pretence to be called universal-by another, even by a better one, could it be found. It is simply a step onward, in a direction taken by musicians centuries ago, and followed up hitherto, slowly, no doubt, but always without deviation. The musical beat was once represented by the breve, afterwards by the semibreve, and more recently by the minim; and now, it is generally, though not always, represented by the crotchet. As a form of musical expression, a bar of four crotchets presents many advantages over a bar of two or even four minims. The heaviness resulting from the emphasizing of each alternate note, unavoidable in duple time, has of late been partially remedied by the almost universal adoption of quadruple or common time; but the retention of the minim as the representative of the beat in some publications is a tribute to mere habit, attended with many disadvantages. It suggests and often induces a sluggish pace, and an expressionless manner, in performance. Moreover, the same musical phrase, expressed in time, occupies considerably more space than where expressed in 4 time: and this is not merely an inconvenience in itself, but the cause of a greater one that the phrase is less rapidly, and therefore less easily, appreciated as a whole by the performer. Of minor disadvantages connected with time, such as the impossibility of grouping notes forming parts of beats, it is needless to speak. The pauses, so frequent in the following pages are not to be taken in their ordinary musical acceptation, but merely as indications of the ends of lines. They are substitutes for the double bars commonly used in English hymnals. Where each line (of the words) forms a complete clause, the break in the rhythm ordinarily indicated by the pause may be made with good effect. Where the sense of the words is suspended from line to line, the pause (as such) should be entirely disregarded. JOHN HULLAH. LONDON, November 1867. CONTENTS. Preface Musical Editor's Preface.. .... Table of Holy Seasons of the Church, with appropriate Hymns |