William Riley: Parochial Music Corrected, 1762

Title page, Dedication and (part of) text, together with the Title page and Introduction to William Riley's Parochial Harmony of the same date, transcribed from a facsimile copy in the British Library (the two volumes having been photographed and rebound in a single volume labelled TRACTS 1762 etc. (Shelf No. 506 c.1)

[ Title page ]

[ Parochial Music Corrected: Dedication ]

GENTLEMEN,

As Part of the following Essay sets forth the Utility of Teaching Charity- Children Psalmody, I have taken the Liberty to address it to You, by whose Benevolence those Children are not only instructed in the Principles of the Christian Religion, but are also, with some degree of Understanding, taught to join in this Part of Christian Worship.

By this practice many Persons, who before used to esteem Parochial Singing a trifling concern, have been induced to bear a Part in this Angelic Exercise.

As this Religious Duty is greatly slighted in private Families, and totally neglected in most public Schools that are not under your Patronage; how much more irregular would the performance thereof be in Churches, were it not for the Instructions the Children of the Poor receive by your kind Liberality?

Seeing then, that the decent and orderly Performance of Psalmody so greatly depends upon the Children educated in the Charity-Schools, and as it must be allowed that You are the principal Encouragers thereof; these Motives have emboldened me to claim your Patronage and Protection, hoping that You will receive this well-meant Treatise as a Testimony of my Zeal and Regard for so meritorious an Undertaking, in which You have long been laudably engaged.

Though doubtless there are many who (for Reasons easily to be discerned) will ill-naturedly censure this Performance, yet I have great Reason to hope from the repeated marks of your Approbation I have long experienced, that You will give it a candid Reception, especially as there is nothing therein proposed or recommended but with a View to promote the Honour of Almighty GOD, Decency and Regularity in his Worship, and the Edification of his Church.

I am,

GENTLEMEN,

With all due Respect,

Your most Obedient,

Most Devoted,

Humble Servant,

WILLIAM RILEY

Great James-street

Bedford-Row

APRIL, 1762

[ A list of umpteen Subscribers follows (pp. v to xix) ending with a note:

N.B. At the Request of many of the SUBSCRIBERS, their Names are not printed.

Then follows the Essay referred to, divided into six Sections -

The Performance of PSALMODY in Country Churches.

The METHODISTS profane Manner of Singing.

The bad Performance of PSALMODY in London &c.

The Choice and Qualifications of PARISH-CLERKS.

The Utility of Teaching Charity-Children PSALMODY.

The Performance of ORGANISTS.

The first Section, parts of Section 2 and 3, and Section 6, are transcribed below. ]

Parochial MUSIC Corrected

THE great Neglect and bad Performance of Psalmody, have ever given me much Concern; and though an Improvement of Parochial Music is rather to be wished than expected; yet if the following Remarks should in the least contribute to it, they will fully answer my utmost Wishes. I shall therefore, as I proposed, begin with the Manner of singing of PSALMS in most Country Churches, which though they are sometimes performed by Persons of tolerable Skill, are nevertheless very improper Tunes for Public Worship, being chiefly the Productions of obscure country Teachers of Psalmody, whose Compositions (as a late learned prelate * justly observed) "are as ridiculous as they are new;" and plainly prove, that such Composers are not acquainted with the first Principles of Harmony, nor even with that Species of Music which is proper for Parochial Singing; as their Tunes mostly consist of what they call Fuges, or (more properly) Imitations, and are, indeed, fit to be sung by those only who made them.

[ * Bishop GIBSON's Directions to the Clergy of the Diocese ]

The original Psalm-Tunes were composed in an easy Stile, suitable to the Capacities of those for whom they were intended, which are chiefly such as sing only by Ear, and are (as the Title-Page of the Old Version expresses it) To be sung of all the People together. That is; those who sing by Ear, should follow the Clerk, who should always sing the Melody; and those who understand Music, should sing the Counter-Tenor, Tenor, or Bass, as their Voices will permit: But the Tunes which are used in Country Churches are too difficult to be remembred, and if they could, none are permitted to sing, unless they join themselves to those who are distinguished by the Appelation of THE SINGERS; who, being placed in a Gallery or Pew, engross this Part of Public Worship to themselves; which Practice is directly opposite to the original Design and Intention of Psalmody, and deprives many devout Christians of the holy Pleasure they would receive in this Act of Devotion.

Doctor Cave, speaking of the Performance of Psalmody, among the Primitive Christians, says thus; * "In this Duty the whole Congregation bore a Part, joining all together in a common Celebration of the Praises of GOD." As it has been therefore thought proper to continue this Practice in all Parochial Churches, till of late Years, it is strange that those whose principal Care should be to guard against all Innovations, should suffer one so great as this to pass unnoticed and without Censure.

[ * Primitive Christianity, Part I. Chap.IX. Page 177. ]

I would not be understood, that those who delight to sing by themselves, in different Parts, should be intirely deprived of that Privilege, since that might be a Means of laying Psalmody wholly aside in those Churches; but if they have a Mind to sing an Anthem, or Hymn, it should be sung in that Part of the Service where the Anthem is appointed, or after Sermon; but in the Singing-Psalms, which should likewise be constantly used with such Tunes as are sung in London, the whole Congregation should join; and then, such as are best qualified would be a Help to those who sing only by Ear.

[ Parochial Music Corrected: pp.3-10 (section 2 of the treatise; part only transcribed here) ]

It may not be improper to make some Observations on the Tunes which are used by the Methodists, especially as some of them are creeping into the Churches, being introduced chiefly at Morning and Evening Lectures, where the Congregations, being mostly of that Cast, not only choose such Lecturers as suit their own Turn of Mind, but will also pay the Clerk and Organist to stay away, that Two of their own People may supply their Places; by which Means they have every Thing performed in their own Way: It is true they have not yet ventured to sing Ballad-Tunes, as at the Tabernacle, Foundery, and elsewhere; because by such a Proceedure they would doubtless be forbid the Use of the Church, but the Tunes they commonly use are generally too light and airy for Church-Music; and consequently have nothing in their Composure that may excite a true Spirit of Devotion.

As to the Methodists singing of Song-Tunes to their Hymns, I believe none of them will deny, since Two of their greatest Preachers so strongly recommend it; and as a Book, intitled Harmonia Sacra *, has been published by one of their own People, containing a Collection of their Hymn-Tunes, among which are the following Song-Tunes, &c. viz. the DYING SWAN. My Bliss too long my Bride denies, in the Play of The Merchant of Venice. ARNO's VALE. Busy curious thirsty Fly. Sure Jocky was the bonniest Swain. A Gavot in HUMPHREYS's Seventh Concerto, which if danced to, is an HORNPIPE. A MARCH in the Opera of RICHARD. Come let us agree. A DIALOGUE between Cupid and Bacchus, set by the late Mr PURCELL. Tell me, lovely Shepherd, where. He comes, he comes, &c. In this Book likewise, is an Hymn, wrote in Defence of singing such Tunes to sacred Words; intitled, The true Use of MUSIC, which if the Reader should not have the Opportunity of perusing, I have transcribed the most remarkable Verse of it.

"Who on the Part of God will rise,

Innocent Sound recover,

Fly on the Prey, and take the Prize,

Plunder the carnal Lover,

Strip him of every moving Strain,

Every melting Measure;

Music in Virtue's Cause retain,

Rescue the holy Pleasure?

Whoever was the Author of these lines, he seems better acquainted with the amorous Strains of a carnal Lover, than with that Species of Harmony which is contrived to take hold of the finest Part of our Affections, and to raise us above the low Satisfactions of this mortal Life; for, it is plain he cannot distinguish between sacred and profane Harmony, who calls the most lascivious Music, innocent Sound, and holy Pleasure.

[ * ? Harmonia Sacra: possibly one of the collections edited by Thomas Butts ? ]

But it may be necessary to inform such Persons, that it is the principal Concern of all good Composers, to make their Music expressive of the Sense, or Humour of the Words: If the Subject be divine, the Music should be grave, solemn and seraphic; but if gay, light or wanton, the Compositions are to be the same, and cannot afterwards be adapted to sacred Words; for the light airy Melodies, usually adapted to Ballads, have no manner of Connection with Divine Harmony; and a Composer would be thought to have lost his Reason and Senses, who would set a Penitential Anthem in the Stile of a Sonnet, in which a Lover is represented languishing at the Feet of his Mistress; or a Thanksgiving-Hymn, in that of a Bacchanalian Song.

[ pp.5-10 of this Section not yet transcribed here, except that the Section ends (p.10) as follows: ]

... some lines wrote by an Organist in the City (on hearing the Gloria in Excelsis sung in the Opera Stile).

Let no unhallowed Airs presume

T'approach this awful Place!

(Th'accustomed Levities of Rome,

Devoid of Sense and Grace:)

Let solemn Hymns of sacred Praise

To solemn Notes be join'd:

They then Devotion's Flame will raise

And elevate the Mind.

[ Parochial Music Corrected: pp.11-15 (section 3 of the treatise; part only transcribed here) ]

As the singing of improper Tunes in Public Worship is attended with such Conseuences, let us consider whether the irregular Performance of our own PSALM-TUNES, has not in a great Measure been the Occasion of it.

The Psalm-Tunes then, though the most plain and easy of all Musical Compositions, are nevertheless, in general, performed in a very shocking Manner, particularly in small Congregations, where there is no Organ, an unskilful Clerk, and no Charity-Children, or perhaps such only as are not regularly taught; here the Melodies are constantly used, without so much as the Addition of one single Part, (unless by Accident) with numberless disagreeable Tunes and improper Graces, and falling from the Treble to the Bass, which last Instance may be almost constantly observed, particularly in Windsor Tune, in the first and third Lines of which, instead of falling a Semitone on the last Note, they usually fall a Fourth, and sing the last Line entirely wrong, as likewise the third and fourth Lines of Southwell, and the CXLVIIIth almost throughout; and indeed I cannot recollect any one of the old Tunes that is sung correctly.

The appointing of Tunes suitable to the different Subjects of the Psalms, though very material, is however very little regarded; and it is often observed that Tunes in flat Keys have been sung to Thanksgiving Psalms, and those in sharp Keys to Penitential Psalms; both which are very improper when thus adapted, because those Keys operate very differently on our Passions, the former produces in us a melancholy Disposition of Mind, the latter a cheerful one. This Impropriety mostly happens when the Clerk leaves the choice of the Tunes to the Organist, for which (if he is diffident of his own Judgment) he is to be commended, provided he likewise acquaints him what Psalms he intends to sing, that one may be suited to the other; otherwise if he should happen to set a Thanksgiving Psalm, and the Organist play a Tune in a flat Key, such a Contradiction must appear very absurd to every judicious Person; and though it may not be taken so much Notice of by others, yet it is certain that it cannot have its proper Effect, neither is it possible it should contribute to that Decency and Order, so necessary to keep up the Dignity of Religious Worship.

In Churches which have no Organs, or on Days in which they are not played, some Clerks find a great Difficulty in pitching the Tunes properly, for want of knowing their Compass of Voice: to such I would recommend the use of a Concert Pitch-Pipe as a sure Guide, by which, though they do not understand Music, they might be taught, in one Hour, to begin every Tune in its proper Key, that is, so as not go higher than E, or lower than D, which, indeed, should be the Compass of all Psalm-Tunes. The Method is so very easy, as well as useful, that I have taught it with great Success at several Charity-Schools, at which Places, though the Children could sing the Psalm-Tunes very well, yet they could not pitch them with any Certainty, till at my Request their Trustees had furnished them with Pitch-Pipes, and which they now constantly use, when they sing Psalms in their Schools, at Morning and Evening Prayer.

This prevents the many Inconveniences which attend such as are not skilled in Psalmody, because it gives the very same Sound that an Organ should, and which none can mistake that has a tolerable Ear. But when a Tune is pitched at random by an unskilful Person, it is a very great chance if he does not begin above, or below the proper Key, (for a Mistake of this Kind is sometimes committed even by a Person whose Judgment in every other Respect might be depended upon, if his Voice be a Contra Tenor, or a Bass) by which Means the Tune will generally be found to be out of the Compass of most Voices; and the People, rather than sing in Pain, will sometimes leave off in the Middle of a Verse, and let the Clerk go through the Remainder as well as he can by himself, who, being out of Breath, and quite hoarse with straining, does it with great Difficulty, and is then obliged to begin the next Verse either higher or lower, as the Case requires, and then perhaps is as much out of the Key as before.

Now if those who sing in Country Churches, being chiefly tolerable Proficients in Psalmody, will not attempt to begin either Psalm, Hymn or Anthem without first receiving the Pitch from a Pipe: I wonder how a Person can presume to stand up in a Parish Church, and exhort the People to sing to the Praise and glory of God, when he, (whose Business it is to lead them) so far from knowing the Note on which he should begin, is often at a loss for a Tune; the Consequence of which is, the People are obliged to guess at his Meaning, so that three or four Tunes are often sung at one Time. No Person, however qualified, can sing until the Clerk has begun some Tune or other, and many who (though not qualified, but having good Ears) might perform very well, are obliged to remain silent for want of an intelligible Leader.

It may here be objected, that the introducing of any thing new or uncommon, might give many People Offence, and from such as were not acquainted with the Intent or use thereof, it might extort a Smile, or be made a Jest of; but these Objections could be made by such only, whose Ears being unmusical, look on the Performance of Psalmody as a Matter of Indifference, and who perhaps would be better pleased if there was no singing at all, unless to keep up the old Custom, for which People are too often greater Advocates than for Things of more Consequence: And in my Opinion, those who lead the People wrong, by the repeated Blunders they commit in this Particular, are more liable to be the Subject of Ridicule, than those whose modest Diffidence obliges them to be governed by the certain Sound of a Pipe.

Let it not be supposed that a Pitch-Pipe in a Parish Clerk's Desk, would be a new Thing, because I have known them to be used by several of my Acquaintance; and there is one in the Clerk's Desk at St Peter's, Cornhill, to pitch the Tunes by when the Organ is not played, which sounds by the Wind it receives from small Bellows, both of which are out of Sight, and can be heard by few beside the Clerk; such a one as this I would recommend. A Pipe is likewise constantly used in the Chapel of the ASYLUM, or House of Refuge for Orphan Girls, near Westminster-Bridge, at the Instance of one of the Governors, a Gentleman who looks on Psalmody as a principal Part of Divine Service, and therefore takes care to have it performed in a regular and decent Manner.

The Reading of the Psalm Line by Line, is a very ancient Practice, and has formerly been recommended by many Reverend Ministers, for the Benefit of the Illiterate; and it has been as much condemned by others, as a very absurd Custom, because it sometimes occasions the Clerk to lose not only the Key in which he is singing, but very often the Tune; for this is certainly the most difficult Part of a Clerk's Duty, as it requires a very good Voice, and more Judgment than ordinary, two Requisites rarely to be found in one Person. Each Line should be read distinctly and audibly, in one continued solemn Tone, after the Manner of chanting the general Confession in Cathedrals but rather more deliberate; and in reading each Line, the Tone should sometimes be varied, and that accordingly as the first Note rises or falls, and sometimes a Third, Fourth or Fifth above, or below it, as shall appear most musical in the Judgment of the Singer:

And though this would contribute much to the Regularity of the Performance, yet, in order to preserve Decency, Sense and Harmony, it is much to be wished, that this irregular Practice was intirely laid aside, and that we might sing like the foreign Protestants.

I acknowledge there might formerly be a Necessity for reading every Line before it was sung, by which the ignorant received both Instruction in their Duty, and Improvement in their Devotion: But in this enlightened Age, there are so many Charity-Schools, in which the Children of the Poor are taught to Read, &c., that it is now become altogether needless; and if the Illiterate are so much to be considered in this Part of Worship, I think it should be performed in every Church alike, especially since it may be more commendably practised with an Organ than without; for it is certainly as proper for the Organ to stop while each Line is read, as it is for the People, while the Organist is making a long Shake, or breaking the Connection of the Lines by a tedious Interlude, though both are equally bad: And though we have an Instance of Psalmody being thus performed with an Organ in White-Hall Chapel, yet, I hope it will spread no further, since, (as the late ingenious Dr Watts justly observed) so "many Inconveniences must always attend this unhappy Manner of singing." Unhappy indeed, for I know no other purpose it now answers, than to spoil the Sense of the Words and Harmony of the Tune; to embarrass the Clerk, to protract the Service, and to render the Peoples Books useless, which is indeed unnecessary, for they are already too apt to neglect the Use of them in this Part of Worship.

There is a Custom, which, though a very prevailing one, is certainly very absurd, as it either occasions many good Tunes to be very little used, or several of the Psalms to be too often repeated; and this is by confining several Tunes to certain particular Psalms in common Measure, such as the XVIIIth, the LXXXIst, &c. both which Tunes I believe are seldom if ever sung to any other Psalms, being known only by the Names of the XVIIIth and the LXXXIst proper; which signifies, that they are proper to be sung to these Psalms only; so that if a Person wants to hear the LXXXIst, it being a great Favourite, he asks the Clerk to oblige him with the LXXXIst Psalm, by which Means the same Psalm is constantly sung to that Tune, or else, where the Tune is not so much regarded, that Psalm is seldom sung, whereas the Tune may be sung to any other Psalms in common Measure, provided they consist of Praise and Thanksgiving.

In order therefore to render this Tune more universal, I have printed it with other Words, and have likewise taken the Liberty to dedicate it to St Paul, that it may no longer be confined to, or known only by the Name of the Psalm to which it has been hitherto constantly sung, but distinguished by a general Name, like every other Tune in that Measure.

I cannot help taking notice ...

[ Transcription ends here, temporarily, at page 15 para.4 -- to be completed at a later date with the further transcription of the rest of p.15, the whole of pp.16-29, and the top half of p.30.

The final Section (pp. 30 to top of 34) is as follows: ]

I cannot conclude without taking Notice of the Duty of Organists, which, if decently performed, adds greatly to the Solemnity of the Worship, heightens Devotion, and keeps the whole Congregation in Tune; but the false Taste in Music, too often practised by some of them, intirely overthrows the good Intent of such Parishes who, for the better Performance of this coelestial Duty, have furnished their Churches with Organs; for in giving out the Psalm-Tunes (in order to shew their Finger as well as their Taste) they make such tedious Variations in every Line, that it is often difficult for any but themselves to know what Tune they are playing. The original Design of playing the Tunes before the People begin to sing, was intended to direct such of the Congregation as perform by Ear, how they should be sung; therefore it would add much to the Reputation of the greatest Master, to condescend even to the meanest Capacity, by giving them out as plain as possible, with only a few necessary Graces, since the Design of it is to instruct, and not to amuse.

In the same Manner likewise should they play while the People sing; for it is no uncommon thing for a Congregation to be put intirely out of a Tune by an ill-timed Flourish, and a great Regard should be had to the Loudness of the Organ, for the Full Organ is too loud for Congregations in general, which not only overpowers the Voices, but is also too apt to mislead them; therefore the same number of Stops should not always be used, but such a Quantity only as are proportionable to the Bulk of the Congregation, and to the size of the Fabrick; for Art is intended only to assist Nature, and not to overbear it. I mention this because I have known some who, in this Particular, have made no distinction between a Congregation where not above Fourscore People usually sing, and one of Five of Six Hundred, besides an Hundred Charity-Children.

The making of a Shake at the End of every Line is also very often improper, because the Sense is not always complete in single Lines; in this Case the succeeding Line should begin without a Shake, rather than disturb the Sense. The following Verse will shew the Impropriety of shaking at the End of every Line.

The LORD's Commands are righteous, and

Rejoice the Heart likewise;

His Precepts are most pure, and do

Give Light unto the Eyes.

In this, and many other Verses of the Psalms, a Shake cannot be properly introduced, but after the two first Lines; and yet I have sometimes heard not only long Shakes but Interludes, while the People have impatiently waited to sing the second Line, in order to render the Sense of the First complete. Both Shakes and Interludes are extremely useful, as they give the People some relief, who are often tired and out of Breath, by that idle custom of holding out every Note so excessively long; but then they should be introduced at the End of such Lines and Verses only where the Stops will admit of them.

The Custom of playing Interludes in Common Time, to Psalm-Tunes in Triple-Time, I cannot think is altogether regular, because they are not of a Piece with each other; and common Hearers are apt to be at a Loss for the Time when the next Verse begins; and this often happens to be the Case by closing the Interlude on the first Note of the Tune; where the making of a final Cadence in the Key, seems to be a much surer Guide for People who sing by Ear; and by this Means, as the Time is more strictly preserved, it certainly appears more musical to common Ears, so that they are better prepared to begin the next Verse, especially when the Interlude is played on the Chair-Organ or Swell; but when it closes on the first Note of the Tune, which does not always happen to be the Key-Note, the People are disappointed; and the Organist, instead of beginning the Tune with an odd Minim, is obliged to hold it out the length of three, before the People are acquainted that he has begun the next Verse; and this is often the Occasion of their making so little Distinction between Tunes in Common Time and those in Triple Tine, which naturally renders it the more difficult for the Organist to accompany such irregular Performers. This Opinion however is most freely submitted to the superior Judgment of every eminent Performer on that Instrument.

With regard to the Stile of Interludes, as well as Voluntaries, it should be such as becomes the Sanctity of the Place; but sorry I am to observe, that this is too often neglected; and that while we are addressing the Divine Majesty, with Grace in our Hearts and Melody on our Tongues, our Devotion is suddenly interrupted with an Interlude in a loose profane Stile, to which the Divine Harmony must give Place, till the Organist thinks proper to begin the next Verse. At this the more grave and devout Part of the Congregation begin to blush, and appear in the utmost Concern, as well they may, at such irreligious Practices being blended with the Public Worship of GOD; while the more Gay, with a Smile of Approbation, applaud the Organist, and think him a good Performer.

This Levity of Stile has been very justly condemned by most Persons who have wrote on the Subject of Church-Music. The late Reverend Mr Bedford, in the Tenth Chapter of the Second Part of his Great Abuse of Music has fully exposed the Folly and Wickedness of this Practice. And the SPECTATOR, in Vol. V. No 338, with much Concern laments, "That after having heard a good Sermon, and a Psalm proper to the Subject, culled out by the judicious Clerk; his good Thoughts and Dispositions have been in a Moment dissipated by a Jig from the Organ-Loft." Mr POPE likewise, in one of his Ethic Epistles, inscribed to the Earl of BURLINGTON, has justly and ludicrously satyrized such Performances in the following Lines; viz.

Light Quirks of Music, broken and uneven,

Make the Soul dance upon a Jig to Heaven.

However these Abuses are not so frequent as formerly; and though we may always expect to find some giddy Performers, who neither consider Time, Place, nor the Intent of Church-Music; yet I am very sensible that there are many eminent Professors of that Instrument, (whose Names I avoid mentioning to prevent a Suspicion of Flattery) who would scorn to abuse the Public Worship of their GOD with Practices so impious and irregular. Therefore let it not be supposed, that what I have wrote on this Head was done with a View to calumniate or ridicule the whole Profession, since such a charge would be equally false and scandalous; however, it must be acknowledged, that if they were to lay their Deputies under greater Restrictions, by confining them to play nothing but Approved Set Voluntaries, &c. there would be still less Cause of Complaint.

I shall only still farther observe, that as all Church-Music should be for THE GLORY OF GOD, as also for the Edification of the Hearers: so ought the Organist, as the ingenious Author of the SPECTATOR very properly hints in the aforesaid Letter, "to keep to the Text as much as the Preacher;" by which Means he would not only excite their devotional Passions, but at the same time set aside all the Objections which some Party-Cavillers usually make against that delightful Instrument in this Part of our Public Devotions.

[ Parochial Harmony: Title page ]

[ `Editer' - sic. ]

[ Parochial Harmony: William Riley's Preface ]

I had several Reasons for publishing a Collection of Psalm Tunes, which are as follow, (viz) that, in opposition to the opinion of some modern Enthusiasts, who have adopted certain ludicrous Melodies for Divine Worship; a set of more proper Tunes might appear, to inform the World how far those People are mistaken in this particular, and by their being composed by the most eminent antient and modern Masters, they will further shew how exactly They agree in the Composition of this kind of Music.

Secondly, That though there are some who object to so great a number of Tunes, and recommend the use of five or six only, yet it is well known that so few are not sufficient, because that number must be repeated almost every Sunday for want of greater variety, and a great number of the Psalms, especially the new Version, being in particular Measures, would therefore never be used; or else, those who use the new Version, must almost constantly sing the old 100dth and 133th Psalm Tunes, the greatest part of that Version being in those Measures.

Thirdly, That though the Supplement to the new Version of Psalms has supplied us with several good Tunes, which are now in common use, there were still more wanting, as will plainly appear upon a due examination of it.

This deficiency is here abundantly supplied, & several Tunes in the Supplement, & other Collections that were incorrectly printed, and in improper Keys, as also in but two Parts; are here corrected, and Parts added to them.

The * Melody, or Air of each Tune is put in ye treble Cliff, agreeable to the design of the Composers, which in fact, is agreeable to the Rules of Composition; though most Publishers of Psalm Tunes have put the Air of the Tunes in the Tenor Cliff, and made the Treble a kind of inner Part to fill up the Harmony, but this is entirely wrong, because the treble Part being the highest, always claims the Melody as its own Property, and every Scale of Voice has something peculiarly relative to its Kind; for as M.r Galiard observes, *

`The Soprano has generally most Volubility, and becomes it best, and

`also equally the Pathetick. The Contr'Alto more of the Pathetick

`than the Volubility; the Tenor less of the Pathetick, but more of

`the Volubility than the Contr'Alto, though not so much as the

`Soprano. The Bass, in general more pompous than any, but should not

`be so boisteroous as now too often practised.'

[ `boisteroous' - sic. ]

How ever, it is certain that the Melodies of all the Psalm Tunes were originally set in the Treble Cliff, with the other Parts under them, as appears by the first Publication of them by their several Composers, and the alteration before mentioned, has been made by some of the greatest Novices in the Science, who have published them so, in opposition to the opinion of the most eminent Masters.

Nothing is more common than for Practitioners in plain Psalmody not to be taught the use of the Appoggiatura, wh'ch was invented to adorn the Art of singing, and is a little Note placed immediately before a great one, for the arriving more gracefully to it; it is therefore hoped that those who think proper to introduce any of the following Tunes, will make use of the Appoggiaturas where ever they are marked.

There are proper Words put to every Tune, but as it is improper to sing any Tune constantly to one set of Words, except such as are in particular Measures, it is necessary to sing ye Tunes to other Psalms as often as occasion shall serve.

[ The Index follows, with reference numbers omitted here. Many of the tune names are now in use for different tunes unconnected with those in Wm Riley's Collection; some of his tunes, still in current use, are now known by other names or in a different form (e.g. his tune ANGEL is a uniform 3/2 version of the tune now known as Angels Song). The Index is given here re-arranged in columns for viewing convenience, not as set out in Riley's book. ]

Apostle's Tune	Deptford Tune	St. Magnus's Tune
Angel's Tune	Evangelis's Tune	St. Matthew's Tune
Alhallows Tune	Eversley Tune	St. Mark's Tune
St. Alphege's Tune	Ewel Tune	Mecklenburg Tune
Burford Tune	Eltham Tune	St. Martin's Tune
Bedford Tune	Fulham Tune	St. Michael's Tune
St. Barnabas's Tune	St. Gregory's Tune	St. Mildred's Tune
St. Bridget's Tune	St. Giles's new Tune	St. Nicholas's Tune
St. Bartholomew's Tune	St. George's Tune	Norfolk Tune
St. Bennet's Tune	Hanover Tune	St. Patrick's Tune
St. Chad's Tune	St. Helen's Tune	St. Paul's Tune
St. Catharine's Tune	St. John's Tune	St. Peter's Tune
St. Christopher's Tune	Kingston Tune	St. Pancras's Tune
St. Clement's Tune	St. Luke's Tune

[ The Tunes follow in open score, with words of one verse, interlined under each of the vocal parts. ]

.END

[ Return to Notes on Wm Riley's Parochial Harmony &c. ]

(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 25/10/00)