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music of this hymnal is divided into two main sections; the plainsong melodies and the comparatively modern music. The modern music only is dealt with here. The plainsong is discussed separately.

The music is intended to be essentially congregational in character, and this end has been kept in view both in the choice of tunes and in the manner of setting them out. Fine melody rather than the exploitation of a trained choir has been the criterion of selection: the pitch of each tune has been kept as low as is consistent with the character of the melody.

Where there is congregational singing it is important that familiar melodies should be employed, or at least those which have stood the test of time: therefore the 'specially composed tune'—that bane of many a hymnal—has been avoided as far as possible. There are already many hundreds of fine tunes in existence, so many indeed that it is impossible to include more than a small part of them in any one collection.

The task of providing congregations with familiar tunes is difficult; for, unfortunately, many of the tunes of the present day which have become familiar and, probably merely from association, popular with congregations are quite unsuitable to their purpose. More often than not they are positively harmful to those who sing and hear them. The committee were therefore placed in the hard position of having to decide whether they should risk momentary unpopularity by discarding certain tunes, or whether they should sacrifice the greater ultimate good for the lesser and more immediate advantage. The problem, however, solved itself in a happy and unforeseen manner because the insertion of several of the tunes in question was not allowed by the owners of the copyright. Thus the committee, while regretting that they are not able for a few years to