"Choir." By this is meant the Diapasons with the "Flute." Diapasons with Dulciana. Diapasons alone in the Swell. Stopt Diapason alone. Great and Swell Organs coupled. "Full Organ.” When the "Swell" is directed to be used alone, both hands "Crescendo," means that the power must be increased by opening the “ continued to the end of the verses thus marked Swell," and so "=" This sign will be often met with at the end of certain verses, where it is intended to signify a slight pause before proceeding with the next verse. At the last verse of a Psalm, the left hand can be employed with good effect on the Bass of the Great Organ; in Cathedrals generally this practice prevails. It is recommended not to play the "Glorias too loud when the Psalm preceding has been accompanied with a Soft Organ. All the "Glorias" to be played in the Major key. * When this stop is directed to be used, an agreeable effect is sometimes produced, by gradually leaving the voices unaccompanied, or at most with the Pedal Bass alone. TO THE SINGER. When a Psalm or Canticle, consisting of an unequal number of verses, is sung to a Double Chant, the latter half of the Chant is repeated to the last verse. The first note, or bar, of each part of a Chant is called the Chanting or Reciting note, and is not to be sung or played (like the other parts) in strict time, but is to be held by the Organ for a space of time varying according to the length of the verse, or number of words which are sung to such note, so as to afford sufficient time for the words to be pronounced in a clear, steady, deliberate, and reverential manner. * The words or syllables printed in capital letters† (see examples) are to be slightly sustained. By a little attention to this, good and uniform Chanting will be attained.‡ A word or syllable succeeding the one in capital letters is to be passed over rather quickly. These remarks apply to all portions of a verse wherein capital letters are to be found; and Amongst the causes which have contributed to the unpopularity of Chanting, may be mentioned, the slovenly manner in which it is often hurried over. So far back as in the sixteenth century, Erasmus censured the "confused and disorderly chattering of words' in Church Music; and it must be admitted, as a correspondent in the Harmonicon observes, "that chanting, even in our Cathedrals, is not unfrequently performed in a careless irreverent manner, without a spark of feeling or expression; and, in consequence, is neither understood nor appreciated by the congregation." Often during the Chanting note, the singers are striving to get before each other, and slur over the syllables, without any articulation. There is no excuse for this want of distinctness and precision. When the Litany is well Chanted by two persons in unison, the syllables are simultaneously pro nounced by each; and what is there done by two voices, might easily be done by twenty. Perhaps the chief cause of the defective performance of the Chant, is its apparent facility. Due attention is usually paid in choirs to the practice and rehearsal of difficult and elaborate compositions; but the Chant being so easy, is left by organists and choristers to take its course. The fact, however, is, that Chanting cannot be brought to precision and uniformity, without carefully drilling the performers in private, so that wherever irregularity or inarticulation exists, it may be noticed and corrected. The rules which the Rev. J. A. Latrobe suggests are excellent. "Pronounce each syllable distinctly, so that you may not only understand yourselves, but be understood by others. Avoid singing the first part of the clause in too great haste. The very design of the one long note, upon which the first part runs, is to afford time for the steady and clear pronounciation of each syllable and word; and for this purpose the organist should vary its duration according to the length of the verse."-Remarks on Chanting, by Mr. J. Gray, of York. + It is a prevailing error with some persons using this work, to suppose that all the words printed in Capitals are to be accented. This must be avoided, or the proper reading will be destroyed. It may not be out of place here to state, that the author of the "National Chant Book," having taught Chanting to numerous and large choirs in various parts of the kingdom, feels proud to be able to state, that in every instance, the most complete success has been the result of this system, and that by it the several choirs have been enabled to Chant any Psalm in the Psalter with perfect uniformity, although previously unacquainted with the art of Chanting. the word or syllable printed in Italic letters is governed by the same rule, except that they (the Italics) are to be sung emphatically, as well as being sustained. The small Roman letters, as (thou) with a line under them, are also to be sung emphatically, but in a Staccato manner. To give a good and harmonious effect to Chanting, great attention should be paid to the variations in expression of the Organ accompaniment, by allowing the voice to rise or fall accordingly. Where Antiphonal singing is adopted, the author would recommend that all verses marked for the Full Organ should be sung by the whole choir, especially those in the 107th Psalm. EXAMPLES. From PSALM 5th. med- · -i- | -tation. 1. Pon-DER my | words, O Lord: || CON- -sider my 2. O hearken thou unto the voice of my call-iNG, my | King, THEE will I make my prayer. I 8. Lead me, O Lord, in thy righteous-NESS, be- | -CAUSE of WAY PLAIN be--fore my face. 10. Their throat is an | o- -pen | sepulchre : || THEY | flat-· -TER | with their | tongue. N. B. The reciting bars having been treated of before, it will be sufficient here to take notice of the other bars as set forth in the above examples. In the second bar of verse 2 the word "King" would be equal to the first minim, the word "AND" to a dotted crotchet, and the word “my” to a quaver. " In the second bar of the 8th verse the syllable CAUSE would be equal to a dotted crotchet, the word "of" to a quaver, and the word "mine to the second minim. In the same verse, the word " PLAIN would be equal to a dotted minim, and the syllable "be" to a crotchet. Gt.O.D. S.P. Choir. 2. Let us come before his pre-sENCE | with thanks- | -giving: || and shew ourSELVES glad in | him with | Psalms. 3. For the LORD is a great | God: || and a GREAT | King a- | -bove all | gods. 4. In his hand are all the cor-NERS | of the | earth: || AND the | strength of the hills is his also. 5. The sea is HIS land. and he | made it ; || and his HANDS pre- | -pa-·-red | the dry | 6. O come, let us wOR-ship, and fall | down: || and KNEEL be- | -fore Lord our | Maker. the 7. For he is the | Lord our God: || and we are the people of his PAS-ture, | and the SHEEP of his hand. 8. To-day if ye will hear his voice HARD-en not your hearts: || as in the provocation, and as in the day or temp- | -ta--tion | in the wilderness; 9. WHEN your fa--thers | tempted me : || PROV-ed | me and saw my works. 10. Forty years long was I grieved with this GE-ne- |-ration and | said: || It is a people that do err in their hearts, FOR they have not known my ways. 11. Unto WHOM I | SWARE in my | wrath: || that they SHOULD not | en- · -ter | into my rest. |