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Entered according to Act of Congress, in the year 1864, by


in the Clerk's Office of the District Court for the District of Massachusetts.

SOME of the Tunes in this book are ascribed to authors whose names are annexed, because the Melodies are essentially theirs. In such cases credit is scrupulously given. Yet these Melodies have all been harmonized for this work, and many of them are more or less newly arranged. The Tunes inserted by permission, and those from Hymns Ancient and Modern, are excepted from these remarks. All other Tunes in the book are, in their present forms, claimed as private property.



Music Typographers, Electrotypers, and Printers,


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ATTS and the WESLEYS give the prevailing character to the Hymns in this book. Doddridge, Newton, Cowper, Steele, Toplady, Josiah Conder, Montgomery, and Hymn-writers of kindred spirit, are largely represented. Materials have also been drawn, as the Index will show, from a wide compass of Hymnology, ancient and modern.

No amendment has been attempted in the phraseology of a single Hymn. Authentic editions having to a large extent been used in preparing this Book, the original phraseology has in numerous instances been restored. Changes long in use have occasionally been adopted, even in some cases where the whole form of a Hymn has been altered. From Hymns of great length, and from Poetry not originally intended to be sung, stanzas have been taken and new Hymns made. The rhythm of certain Hymns not generally known, and perhaps never sung, has been changed by omitting or inserting unessential expletive words. The six-line stanzas of a Hymn have now and then been reduced to four.

Leaving out of view these arrangements, should the reader find the phraseology of well-known Hymns varying here from that to which he has been accustomed, he may safely infer that the authors of the Hymns are alone responsible for the present forms of expression. The same may be said of old melodies in familiar use with modern arrangements. Mottoes over the Hymns, and figures at their sides, have been omitted, as cumbersome and needless.



The Tunes comprise more than is usual of the old Chorals, or Tunes with equal notes, and also more of such as give freer expression to Christian joy and gladness than many have felt it safe to grant.

A chief object has been to provide Tunes which are Melodies, such as fix themselves in the memories of the people, and constantly recur without effort at all times and seasons. It is hoped that compositions will not be found here which are dreary successions of notes without meaning, never revisiting the thoughts, tuneless, monotonous, and instantly forgotten. Access has been had to large original sources of Ecclesiastical Music in several languages, and the search has constantly been for Melodies. While we have here the grand old German Choral which will bear any number of voices, and the more the better, there are other Tunes which from their structure are better adapted to the Choir, but are still within the ability of the Congregation.

And since the enjoyment of music is greatly promoted, whether the Choir or the Congregation sing, by arranging the Harmony with as much Melody as may be in each of its three parts, instead of letting the part run upon

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nearly the same degrees of the scale, a principal aim has been to make the Bass, Tenor, and Alto inviting to those who sing those parts, that so the volume of musical sound may be enriched. Trained ears hear the four parts together, and all who are susceptible to impressions from Music feel a difference, though they may not be able to explain it, when, on the one hand, the Harmony of a Tune is monotonous, and when, on the other, by its flowing motion it heightens the effect of the Melody.

The old practice of placing the first line of a Hymn over a Tune, has been adopted in this book.

The following Books of Music have been used in preparing this work, one or more Tunes having been taken, wholly or in part, from each of them, except in cases where the same Tune was found in more than one of the Books. They are named with abbreviations in the Index, and are here described in full.

Allgemeines Choralbuch. August Blüher. 1825.
Brown's Robertson's Sacred Music. Glasgow. 1854.
Chants Chrétiens. Paris. 1834.

Chants de Sion. By Rev. Cæsar Malan, D. D.
Christliches Gesangbuch. Hans Georg Nägeli.
Choralbuch für Evang. Kirche in Würtemberg.
Choral Harmony. By Rev. Peter Maurice, D. D., New College, Oxford.
Church Musician and Library of Church Music, London.
Cologne Hymn and Tune Book.

Comprehensive Tune-Book. London. 1846.

Geneva, Switz.
Zurich. 1828.

Cooper's (William) Collection. London.

Dibden's (Henry É.) Standard Psalm-Tune Book. Edinburgh. 1852.
Dyer's (Samuel) New York Selection of Sacred Music. 1828.

Gesangbuch zum gottesdienstlichen Gebrauche für Protestantisch-evangelische Christen. Zweibrucken. 1839.

Gossner's (Johannes) Choralbuch. Leipzig. 1825.


Hallelujah; or Devotional Psalmody. By John Burder, A. M. Hymns Ancient and Modern. With accompanying Tunes. By William Henry Monk. London.

Katholisches Choralbuch. Franz Joseph Kunkle. Mainz und Antwerpen.
Kern des Deutschen Kirchengesangs. Dr. Friedrich Lairiz. Nordlingen. 1854.
Lithgow's (W. H.) Parochial Sacred Music.

Melodien zum Wildheimischen Liederbuche.



Old Church Psalmody. Rev. W. H. Havergal, M. A. 1847.

Original Psalm and Hymn Tunes. By W. Arnold, of Portsea, Eng. London. Psalmo-Doxologia. A New and Complete Collection of Psalm and Hymn Tunes.


Select Psalms and Hymns for the Use of the Parish Church of Cardington, in the County of Bedford, Eng. London. 1786.

Sacred Harmony: a Collection of Three Hundred and Fifty Standard Psalm and Hymn Tunes, Ancient and Modern. By J. A. Hamilton. London. Stimmen aus dem Reiche Gottes. Conrad Kocher. Stuttgardt. 1846. The Scottish Psalter. Glasgow and London.

The Seraph. By John Whitaker. London.

The Union Tune-Book: A Selection of Psalm and Hymn-Tunes. Arranged by Thomas Clark, of Canterbury. 1843.

Vierstimmige Schullieder. Hans Georg Nägeli.



IN meetings for prayer and conference, the introduction of an appropriate stanza or two, sung without the instrument, is frequently of good effect. This practice, however, should, for obvious reasons, be under control, being directed by the Minister, presiding member, conductor of the singing, or some


one or more to whose judgment it may be confided. Thus we shall have a regulated liberty. Stanzas with the first line of a familiar Tune annexed (the Air only) have here been arranged for this purpose.

At Baptisms, parents offering their children are comforted and encouraged if the Congregation in the same informal way unite in singing a stanza or two, appropriate to the Ordinance. This has also been provided for among the Impromptus.

At the Lord's Supper, silent meditation and prayer guided by the prayer of blessing and of thanksgiving, with the singing of a Hymn at the close, seems most in accordance with the Scriptural account of the Last Supper, as it is also generally felt to be the most edifying way of celebrating it. At prayer-meetings preparatory to the Communion, and also in approaching the Ordinance, and at other times, if circumstances seem to call for it, the stanzas which are designated for the Lord's Supper may be found appropriate and useful, in addition to the Hymns for the Lord's Supper in another part of the Book.




To promote that sublime act of Worship, the singing of the Christian Doxology, a large number of Doxologies, embracing all the metres, are here presented. The Tunes to which they are set are some of them among the choicest pieces of Music ever written. They are mostly Old English and German Chorals, with simple Airs, and can easily be learned by a Congregation. The Harmonies of these Tunes, it is believed, are unsurpassed. Modern Tunes are mixed with these, to satisfy every taste.

The singing of these Doxologies by the Congregation at the Opening of Worship, with the strictly Ecclesiastical Music which is set to many of them, would not only be as appropriate and useful then as at the close of Divine service, but it would also raise the standard of musical taste, making the people justly dissatisfied with much of the sentimental music which finds its way into the sanctuary; while the more frequent use of the Doxology, in many pleasing forms, will assist us in the worship of the FATHER, SON, and HOLY GHOST, the practical belief and heart-felt adoration of whom, it is admitted, is the foundation of growth in Christian experience and knowledge.



THESE will enable one who chooses and pitches the Tunes in social relig ious meetings, to select from a larger number of such as have hitherto been familiar. Many of these Tunes have a deservedly strong hold upon the popular mind. It is grateful to aid in perpetuating them, which is here done without infringing upon the rights of others.



THESE, it will be seen, have been comprised in one, presenting to the eye at once the first line of the Hymn, name of the Tune, with the page, the authorship or source of the Hymn and Tune, and the Metre.

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