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PSALMU SA OF AVID

&c. &c.

POINTED FOR CHANTING.

COMPILED FROM THE ARRANGEMENTS OF ROBERT

JANES AND JAMES STIMPSON.

SEVENTEENTH THOUBAND,

New York:
THOMAS N. STANFORD, 637 BROADWAY,

1856.

ANDOVER-HARVARD
THEOLOGICAL LIBRARY
JAN20 1919

ANDOVER
TALDICAL SEMINART

A68.548
Tift of Rw.c.6. Moteriss. DD

nov

Entered according to Act of Congress, in the year 1846, by

HENRY M. ONDERDONK & Co.,
In thc Clerk's Office of the District Court of the Southern District of

New York.

:

PRE FACE.

In presenting this work to the public, the publisher does not pretend to claim it as his own. It is compiled from the valuable English works of Messrs. JAMES STIMPSON of New Castle upon Tyne, and ROBERT JANEs, organist of Ely Cathedral. Where they differ, the compiler has followed what he considers the best reading. Both works are justly held in high estimation in England, and are in general use in the English church.

The following explanations are taken from the preface of Mr. Stimpson's work, with such alterations as adapt them to this work..

Few persons who are at all conversant with music can be at a loss to comprehend the arrangement adopted in the present work. Believing, however, that a few elucidatory observations may not be unacceptable to the general reader, it may be noticed that the Chants most generally used are of two kinds,-the single and the double. The single chant usually consists of seven bars, divided into two parts by a double bar; the first part comprising three, and the second four bars, and in singing is repeated to every verse of the words.

The double chant consists of fourteen bars, and is sung to two verses; each half being divided in the same manner as the single chant. When, therefore, the double chant is used to a Psalm consisting of an unequal number of verses, the latter half of the chant must be repeated to the last verse, or, in other words, the same music must be sung to the last verse as to the one immediately preceding it.

The verses in this work are, in like manner, divided into seven parts (thus ), corresponding exactly with the divi. sions of the chant; the double bar (thus () dividing the chant into parts as previously explained, and corresponding with the double bar in the music; and the inverted point

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