{"collection":"scripture-revelation","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_59884/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_59884","id":"gutenberg_59884","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/59884","summary":null,"tags":["Ballads, English -- United States","Category: History - American","Category: Music","Category: Religion/Spirituality","Folk music -- United States","Folk songs, English -- United States","Hymns, English -- History and criticism","Hymns, English -- United States"],"text":"Produced by Stephen Hutcheson and the Online Distributed\nProofreading Team at http://www.pgdp.net\n\n\n\n\n\n\n\n\n\n                        _Spiritual Folk-Songs\n                          of Early America_\n\n\n                Two Hundred and Fifty Tunes and Texts\n                    With an Introduction and Notes\n\n                         Collected and Edited\n                                  by\n                        GEORGE PULLEN JACKSON\n\n\n                       DOVER PUBLICATIONS, INC.\n                               NEW YORK\n\nPublished in Canada by General Publishing Company, Ltd., 30 Lesmill\nRoad, Don Mills, Toronto, Ontario.\n\nPublished in the United Kingdom by Constable and Company, Ltd., 10\nOrange Street, London W. C. 2.\n\n\nThis Dover edition, first published in 1964, is an unabridged and\nunaltered republication of the work first published by J. J. Augustin,\nPublisher, New York City, in 1937.\n\nThe publisher is grateful to the University of Virginia Library for\nfurnishing a copy of the book for purposes of reproduction.\n\n\n          _Library of Congress Catalog Card Number: 64-8268_\n\n\n             Manufactured in the United States of America\n\n                       Dover Publications, Inc.\n                          180 Varick Street\n                          New York 14, N.Y.\n\n\n                            _TO THE MEMORY\n                              OF MY WIFE\n                     INEZ EMELINE WRIGHT JACKSON_\n\n\n\n\n                               Preface\n\n\nThe ancestors of the bearers of the Southern tradition of folk-music\nbegan in very ancient times the practice of singing religious songs to\nfolk-tunes. Nor must one think that this custom showed a lack of\nrespect for religion. On the contrary, it rather emphasized the\nrespect and love of the folk for their traditional music. As their\nmost loved and treasured possession, they brought this noble musical\nheritage and laid it on the altar of their worship. There is a strong\nprobability that this practice has continued unbroken for at least\nthirteen centuries. William of Malmsbury, writing in the twelfth\ncentury, gives an anecdote of St. Aldhelm, the Anglo-Saxon abbot of\nMalmsbury during the seventh century, which he took from the notebook\nof King Alfred the Great, which was extant at that time. According to\nthis story, the Saint would station himself on a bridge in the guise\nof a gleeman and would collect an audience by singing popular songs.\nHe would then gradually insert into his entertainment the words of the\nholy scriptures and so lead his hearers to salvation. The chronicler\nalso states that one of the popular songs made by St. Aldhelm and\nmentioned by King Alfred was still being sung by the folk at the time\nof his writing, almost five hundred years later.\n\nChappell, in his _Popular Music of the Olden Time_, says: \"We may date\nthe custom of singing hymns to secular tunes from this time [The\nNorman Conquest] if, indeed, it may not be carried back to the time of\nSt. Aldhelm. William of Malmesbury records of Thomas, Archbishop of\nYork (created in 1070), that 'whenever he heard any new secular song\nor ballad sung by the minstrels, he immediately composed parodies on\nthe words to be sung to the same tune.'\n\n\"In a contribution to _Notes and Queries_, Mr. James Graves gives a\ncurious list of eight songs similarly parodied in _The Red Book of\nOssory_, a manuscript of the fourteenth century, which is preserved in\nthe archives of that see. Six of the songs are English (there are two\nparodies on one of them), and the remaining two are Anglo-Norman. The\nLatin hymns seem to have been written by Richard de Ledrede, Bishop of\nOssory from 1318 to 1360. The names of the six English songs are as\nfollows:\n\n  1. Alas! how should I sing, yloren is my playinge.\n      How should I with that olde man,\n          Sweetest of all, singe,\n          Leven and let my leman.\n          Sweetest of all, singe.\n\n  2. Have mercy on me, frere, barefoot that I go.\n\n  3. Do, do, nightingale, syng ful mery\n      Shall I never for thine love longer kary.\n\n  4. Have good day, my leman _etc._\n\n  5. Gaveth me no garland of greene,\n      But it ben of wythones (withies--wyllowes?) yrought.\n\n  6. Hey, how the chevaldoures woke all night.\"\n\nIn the sixteenth century, the early Presbyterians continued this\nusage, as is evidenced by Wedderburn's hymnal published in Edinburgh\nin 1560, quaintly entitled: _Ane Compendius Booke of Godly and\nSpirituall Songs, Collected out of Sundrie Parts of the Scriptures,\nwith Sundrie of Other Ballates Changed out of Prophaine Songs, for\nAvoiding of Sin and Harlotrey_. Among these latter was a parody of\n'John, Come Kiss Me,' the wide and enduring popularity of which is\nattested by its inclusion in Queen Elizabeth's _Virginal Book_,\nPlayford's _Introduction, Apollo's Banquet for the Treble Violin_,\nWalsh's _Division Violin_, Playford's _Division Violin_ and _Pills to\nPurge Melancholy_. There are also references to it in Thomas Heywood's\n_A Woman Killed with Kindness_, _Westminster Drollery_, Burton's\n_Anatomy of Melancholy_, _The Scourge of Folly_, Braithwaite's\n_Shepherd's Tales_, _Tom Tiler and his Wife_, and Henry Bold's _Songs\nand Poems_. Allan Cunningham quotes the parody in _The Songs of\nScotland, Ancient and Modern_, as follows:\n\n  John, come kiss me now,\n  John, come kiss me now,\n  John, come kiss me by and by,\n  And make nae mair ado.\n\n  The Lord thy God I am,\n  That John does thee call:\n  John represents man\n  By grace celestial.\n\n  For John Goddis grace it is,\n  Who list till expone the same:\n  O John, thou did amiss\n  When that thou lost this name.\n\n  My prophets call, my preachers cry\n  John, come kiss me now\n  John, come kiss me by and by\n  And make nae mair ado.\n\nA similar book appeared in 1642, called: _Psalms, or Songs of Zion,\nturned into the language and set to the tunes of a strange land, by\nWilliam Slatyer, intended for Christmas Carols and fitted to divers of\nthe most noted and common but solemn tunes, everywhere in this land\nfamiliarly used and known_. That the Puritans of that century did not\ninvariably confine themselves to \"solemn tunes\" is indicated by\nShakespeare when the Clown in _The Winter's Tale_, in praising the\nvocal prowess of the shearers, assembled for the sheep-shearing feast,\nsays: \"Three-man song-men, all, and very good ones...; but one Puritan\namongst them, and he sings Psalms to hornepipes.\" In the _New\nVariorium Shakespeare_, H. H. Furness, in commenting on the passage,\nsays: \"He sings Psalms to the lively tunes to which horn-pipes were\ndanced,--a practice which, we know was extremely popular in France,\nand from allusions like the present we can infer that it was not\nunknown in England.\"\n\nIn the seventeenth and eighteenth centuries the Puritan congregations\nof New England are said to have had music committees one of the chief\nduties of which was to go among the folk and gather attractive\nmelodies to be used as hymns. And this was also the custom of the\nPrimitive Methodists, both in Great Britain and in America. In writing\nof this usage at a later date, Chappell says: \"The Primitive\nMethodists ... acting upon the principle of 'Why should the devil have\nall the pretty tunes?' collect the airs which are sung at pot and\npublic houses, and write their hymns to them ... in this sect we have\nliving examples of the 'puritans who sing psalms to horn-pipes,' They\ndo not mince the matter by turning them into slow tunes, ... but sing\nthem in their original lively time.\"\n\nThis brings us to the nineteenth century, in which appeared the\n\"shape-note hymnals\" from which the material in this volume is chiefly\ndrawn. The existence of these books was scarcely known to musicians\nand music-lovers until recently, when they were vividly brought to the\nattention of the musical world by Dr. George Pullen Jackson in his\nbook, _White Spirituals in the Southern Uplands_. Music lovers were\nastonished to learn of the existence of these old books, containing a\nwealth of uniquely beautiful hymn-tunes, largely folk-tunes and others\ncomposed in the same idiom. A majority of these are in the old modes\nand among them are the tunes of folk-songs, ballads, country-dances\nand even morris-dances. But musicians were even more surprised to\nlearn that there are literally hundreds of thousands of devotees, in\nhomes, in little gatherings and big singing conventions covering a\nbroad region which stretches from the Valley of Virginia to the plains\nof Texas, who enthusiastically preserve and practise this tradition.\nThat this usage should have lived on from pioneer times into our\npresent day, when not only what we buy but what we are, is stereotyped\nby the processes of mass production, seems little short of miraculous.\nBut it is explained by the innate vigour of the tradition itself, by\nthe great love of the tradition-bearers for the old tunes and, not\nleast, by the fact that the books embodying the material used shape\nnotes.\n\nShape notes, as is explained in _White Spirituals_, indicate their\npitch by their shapes, independently of the lines and spaces of the\nstaff. They were invented to simplify the reading of music. There are\ntwo principal systems, the Four Shape and the Seven Shape. In the Four\nShape, the first and fourth degrees of the scale are called _fa_ and\nare represented by a right triangle; the second and fifth are called\n_sol_, represented by a round shape; the third and sixth, _la_, by a\nsquare head and the seventh, _mi_, by a diamond. The Seven Shape\nsystem has a different form of note for each degree of the scale and\nthe nomenclature accords with our general practice. The nomenclature\nof the Four Shape system is of especial interest because it was known\nand practised by Shakespeare. Numerous references to it occur in his\nplays. In _King Lear_ this system is employed in an almost Wagnerian\nmanner to characterize the archvillain, Edmund, who in soliloquy says:\n\"My cue is villanous melancholy\" and then sings: \"Fa, sol, la, mi.\"\nThese four tones measure the extent of a tritone, the forbidden\ninterval called the _diabolus_ or the devil and supposed to be filled\nwith sinister, ominous and evil potency.\n\nAs shape notes increased in popularity, bitter controversy arose\nbetween their supporters and those of the ordinary staff notes. This\nwas most fortunate, for it gave the fa-sol-la folk a coherence and a\nsturdier determination to abide by their principles and practices,\nwhich enabled them to resist the erosion of modern life and so\npreserve their beautiful heritage.\n\nMany folk-tunes associated with sacred words have been passed down\nalso solely by the process of oral tradition. Mr. Ernest La Prade,\nauthor of _Alice in Orchestralia_, recently learned of two groups of\nPrimitive Baptists, one in New Jersey and the other in Philadelphia,\nwhich still use in their worship only tunes preserved by this process.\nHe was fortunate enough to record several of the hymns from a member\nof the New Jersey congregation, some of which were modal and all of\nwhich were of the type contained in the shape-note books.\n\nThe value of these books to students and lovers of our folk-music is\nincalculable. For although many of the tunes are still extant in the\noral tradition, a large portion of them, of indubitable folk origin,\nhave vanished from the oral tradition and, but for these books, would\nbe entirely lost. All who are familiar with the folk-dance revival in\nEngland realize the importance of Playford's _English Dancing Master_\nin preserving a large number of tunes and dances that were no longer\ntraditionally extant. The folk material embodied in the shape-note\nbooks is no less important and far more varied; it is, in fact,\nindispensible to all who desire a comprehensive knowledge of British\nand American folk-music.\n\nGratitude is due Dr. Jackson for making this material accessible to\nthe public, and admiration, for the painstaking and scholarly way in\nwhich he presents his fascinating subject. The tunes are historically\nimportant in showing approximately the state of the oral tradition at\nthe time they were written down in the past century. It would be\ndifficult to overestimate their esthetic value. In metrical and\nrhythmic structure, especially in balance and contrast in phrase\nlengths; in beauty and eloquence of melodic line, many are unsurpassed\nby even the best of our traditional tunes. It is not too much to hope\nthat a revival of interest in this music may result in a general use\nof it in our churches, where its native vigour, unaffected\nstraightforwardness and lyric beauty could go far in freeing us from\nthe insipid banalities of much present-day church music.\n\n                                                           John Powell\n\n\n\n\n                          Table of Contents\n\n\n  Preface                                                      vii\n  Introduction                                                   1\n      _Recent Trends in Song Search_                             2\n      _Varieties of Religious Songs_                             4\n      Religious Ballads\n      Folk-Hymns\n      Revival Spiritual Songs\n      _Folk-Song Collectors of Yore_                            10\n      _Features of American Folk-Tunes_                         12\n      Tonal Trends, Tune Families\n      Metrical Patterns\n      Scales, Modes\n      Rufty's Classification, Chart of Tunes\n      _Tunes of Religious and Worldly Folk-Songs Compared_      17\n      _Conclusion_                                              21\n      _Acknowledgments_                                         23\n  Fifty-one Religious Ballads                                   27\n  Ninety-eight Folk-Hymns                                       87\n  One Hundred and one Revival Spiritual Songs                  169\n  Bibliography                                                 241\n  List of Abbreviations of Titles                              245\n  Index of Songs by Titles                                     246\n  Index of First Lines of Texts                                250\n\n\n\n\n                                Illustrations\n\n\n  1. Typical country singers of early American spiritual\n          folk-songs                                  Frontispiece\n  2. The \"big singings\" take place at county seats and in even\n          larger centers                              Frontispiece\n  3. \"Dinner on the grounds\"                                   xii\n  4. Classification chart of tunes                  facing page 16\n  5. The Original Sacred Harp, 1911 edition                     24\n  6. The sole occurrence of 'The Babe of Bethlehem'             26\n  7. The 'Morning Trumpet' in seven-shape notation              26\n  8. Benjamin Franklin White, and Thurza Golightly White, of\n          Hamilton, Georgia                                     86\n  9. The White memorial in Atlanta                              86\n  10. The Sacred Harp appeared in 1844                          86\n  11. The Southern Harmony, 1835                               166\n  12. William (Singin' Billy) Walker, of Spartanburg, South\n          Carolina                                             168\n  13. William Walker's grave in Spartanburg, South Carolina    168\n\n\n\n\n                                 Introduction\n\n\nSince the sort of folk-song indicated by the title of this book is in\nall probability unfamiliar to many, I shall assume that my chief task\nin this Introduction is to make its nature clear. The first step in\nthis explanation will be to distinguish the present material from some\nother better known sorts of folk-song.\n\n\"Is it mountain songs you are collecting? Is it those old ballads?\"\n\"Is it the negro spirituals?\" These questions were put to me again and\nagain by interested persons while the present collection was in the\nmaking.\n\nNo, these are not mountain songs and still they are. What do we mean\nby mountain songs? The very first mountain song I ever recorded was\nsung to me on the treeless flats of North Dakota. It had arrived there\nfrom Kentucky by way of Saint Louis and Los Angeles and had been\ncarried over this circuitous route to its northwestern place of\nrecording by the singers in three generations of one family. The first\nsailor's shanty I ever heard was in the mountains of Virginia. It had\ncome from a logging camp in Michigan by way of Chicago. Every\nfolk-song hunter can tell similar tales; and all such experiences\nconvince us that the naming of a type of song after a restricted\nregion or a particular environment, while furnishing a convenient\ndesignation, may lead also to much misunderstanding.\n\nThe mountain songs designation is one of the least appropriate. Its\nonly justification lies in the fact that some types of traditional\nsong, the secular ballads among them, have persisted perhaps in larger\nnumbers in mountainous regions like those of the southern Appalachians\nand the Ozarks and are more widely sung there than elsewhere. These\nsongs were Irish, Scotch, and English across the water. They came from\nhighlands and lowlands. They were the common possession of early\nAmericans of those ethnic stocks,--those people who never left the\ntidewater parts, those who came into the highlands and settled there,\nand those greater numbers who trekked through the mountain gaps, down\nthe western slopes and spread into the rolling country and plains. The\npresent collection is of songs sung by all these people in all of\nthese parts in early and more recent times and now. Hence, to call\nthem \"mountain songs\" would be quite inadequate and misleading.[1]\n\nThose who asked if the present collection were to be of the \"old\nballads\" manifested by their question some acquaintance with one\nvariety, an important one withal, of traditional secular folk-song in\nAmerica. My answer to them was negative, as it is to my present\nreaders. This collection is made up neither of the secular ballads nor\nof their close relatives, the secular folk-_songs_, as far at least as\ntheir _texts_ are concerned. Nor is it a collection of negro\nspirituals or negro songs of any kind. And yet it is one of\nfolk-songs, and spiritual ones, as its title truthfully indicates. I\nshall now attempt to explain this; for it must seem to some an\nanomaly. The explanation will necessitate my making a brief survey\nfirst of recent trends in the activities of those interested in\nfolk-songs.\n\n\n                    _Recent Trends in Song Search_\n\nUntil recent years practically all the folk-songs published in America\nhave been those with secular texts. The existence of traditional\nspiritual folk-songs in this land seems not to have been recognized by\nfolklorists. Negro songs were, to be sure, largely spiritual and they\nhave been regarded as folksongs; but that was an entirely different\nmatter, one in which the students of the white man's culture were not\nprimarily interested. Early curiosity as to the \"slave songs\" was not\nacademic. It was rather a popular interest allied with one which was\nof a missionary-religious nature. The songs themselves, as they became\nknown in northern and eastern centers during the post-Civil War period\nthrough the activities of traveling concert groups from southern negro\nschools, were popularly believed in those parts to be the negroes' own\ncreations and to be rooted in Africa. They were regarded thus as lying\nessentially outside the sphere of the white man's cultural traditions.\nThese attitudes of mind tended to hold apart the two groups, those\nconcerned with the white man's song traditions and those interested in\nthe religious songs of the black folk. It was a negro-song apologist,\nHenry E. Krehbiel, who signed, as he thought, the decree of complete\nseparation of the two song bodies with his book _Afro-American Folk\nSongs_ in 1914; and for most people that was definitive. Even as late\nas the end of the 1920's Krehbiel's word stood practically\nunchallenged. I shall adduce evidence presently however of the error\nof his assumption.\n\nIn the mean time knowledge of our own American folk-songs deepened and\nbroadened. The earlier interest, one which grew out of the soil tilled\nby Francis J. Child and was confined to the ballads alone, shorn of\ntheir tunes, expanded in the latter part of the second decade of the\npresent century into one which included also folk-_songs_ and the\ntunes of both ballads and songs. Notable among folklorists with this\nmore comprehensive outlook was the late Cecil J. Sharp who, after long\nexperience in the English folk-song field, took up the hunt in the\nsouthern Appalachians. Even the first collection of a part of his\nfindings, published in 1917, provided a revelation as to the wealth of\nthe existing material and was recognized as a model in the matter of\nmusical recording. From then on, the gathering of folk-songs was\ncarried on with renewed enthusiasm and with greater stress laid on the\nmelodies.\n\nOne phase of song hunting began in the middle of the 1920's outside\nthe circle of the folklorists and in complete ignorance of the facts\nthat what was sought was genuine folk material. I refer to the study\nin the field of the southern religious \"country singings\". I make this\ncharge of ignorance the more unhesitatingly since it was my own, and\nsince I worked alone in that field for some years. A report of the\nearly stages of my work appeared in 1933 in a volume entitled _White\nSpirituals in the Southern Uplands_. Readers of that book have\nprobably recognized that, while I may have told the story of the\ncountry singing institution quite thoroughly, I realized then only\ndimly that the songs under observation were folk-traditional. This\nrealization has come since then gradually, first by reason of a series\nof accidental findings and more recently as the result of rather\nextended study.\n\nWhy the folklorists never came upon this material before it fell into\nmy hands is not hard to explain. One reason is that the strongest link\nbinding the songs in question to the traditional secular folk-songs is\ntheir _tunes_, and all musical considerations were generally\nneglected, especially by the earlier folklorists in this land. Another\nreason was probably that folklorists never thought, any more than I\ndid, of singing _groups_ which used _song books_, as likely\nenvironment for their search. A third reason was that the country\nsongs were _religious_, a sort which was and is still generally\nthought of as _church music_ and thus as being far removed from the\nfolk. And finally, collectors have as a rule sought folk-songs in the\nmountains and other _remote_ places; whereas the country singings are\nfound in the less sparsely populated parts of the lower uplands.\n\nCecil Sharp should have escaped much of this prejudice and\nmisconception; for his own British Isles are full of religious\nfolk-songs, as he well knew; even though they do not appear there to\nany extent in a group-singing environment. But that he did not escape\nit is indicated clearly by his experience in the southern mountains,\nas he tells of it in the Introduction to his _English Folk Songs from\nthe Southern Appalachians_. When he came to a home in the mountains\nand made known his desire to hear songs, he was generally\nmisunderstood. The mountain people thought he wanted to hear them sing\n\"hymns\". But he did not; and though he does not tell us why, he\nindicates that it was because he was convinced that the \"hymns\" were\nnot folk-songs. At any rate, he soon learned to ask for \"love songs\".\nAnd as a result there appeared but two songs of a religious nature,\nthe 'Cherry Tree Carol' and 'Hicks' Farewell', among the 122 in his\nfirst publication. In the subsequent two-volume collection of his\nAmerican findings, edited by Maud Karpeles and published in 1932, we\nfind a group of but half a dozen religious songs under the heading\n\"Hymns\". There are also a few biblical ballads in the collection.\n\nSome years after Sharp missed all but completely his opportunity to\nbecome the discoverer, or uncoverer, of American religious folk-songs,\none of his English co-workers, Anne G. Gilchrist, found some\nremarkable analogies between the secular folk-songs of England on the\none hand and the spiritual songs of the early Primitive Methodists of\nthat land and the early American revivalists on the other; and she\npublished a report of her research in the _Journal of the [English]\nFolk-Song Society_, viii (1927-1931), pp. 61-95, in an article\nentitled \"The Folk Element in Early Revival Hymns and Tunes.\" This was\na real though brief contribution to the very subject which engages us\nhere; for it demonstrated the linking of the nineteenth century\nreligious songs with the older and principally secular folk tradition\nof her land.\n\nAt about the same time, two Americans made smaller contributions.\nEthel Park Richardson recorded eleven of the white man's \"spirituals\"\nfrom oral tradition, as it seems, and included them in her _American\nMountain Songs_; and Samuel E. Asbury furnished the Texas Folk-Lore\nSociety with a group of camp-meeting songs which he had heard in the\n1880's in western North Carolina. The Society published them in 1932.\n\nOn Miss Gilchrist's pages and even more often on the pages of American\ncollectors in the late 1920's appeared indications of a growing belief\nthat the old white spirituals were the progenitors of the negro\nspirituals and that, therefore, Krehbiel's assumption as to negro\nauthorship of the slave songs was in a measure erroneous. Among those\nwho shared constructively in this belief were Newman I. White and Guy\nB. Johnson. Mr. White consulted a number of the old country-song\nmanuals to good advantage in the preparation of his _American Negro\nFolk-Songs_. His use of them was to find merely _textual_ antecedents\nof negro spiritual borrowings. Mr. Johnson used some of the same\nmanuals happily in the preparation of his _Folk Culture on St. Helena\nIsland_. His purpose, like that of Mr. White, was to show negro song\nsources; but his work had the added merit of calling attention to some\n_musical_ analogies between the spiritual songs of the white and the\nblack Americans. My own contributions to the solution of the problem\nof negro song sources are mentioned on page 9 of this Introduction.\nAll this evidence assumes considerable weight in proof of the thesis\nthat the negro spirituals, instead of lying outside the white people's\nsong tradition, represent a selective adoption and carrying-on of that\ntradition.\n\nIf the preceding paragraphs have in a measure made clear the nature of\nthe songs to be presented here, they have done so by the method of\nelimination and by a review of some of the directions taken recently\nby students of song, trends which seem to have led inevitably to the\nuncovering of the body of song found in the old manuals of the country\nsingers and to the establishing of its status as folk-song. It is the\nrevealing of this material and the establishing of its identity which\nare the chief reasons for the existence of the present volume.\n\n\n                    _Varieties of Religious Songs_\n\nThe old song books spoken of above contain various sorts of religious\npieces. Among these are the early psalm tunes, evangelical hymns,\nspiritual songs, religious ballads, \"fuguing\" songs, and anthems. Each\nof these varieties represents loosely a phase of, or a period in,\nreligious, musical, or poetic development. Some are folk-songs and\nmany are not. The psalm tunes with their Old-Testament texts--the\nsober song fare of the early Protestants in Europe, in the British\nIsles, and in the American Colonies--are probably to some extent of\nfolk origin; but since psalm singing in early America can not be\nlooked on as a free expression of the folk, and since the psalm tunes\nthemselves gave way easily to other far more folky types of religious\nsong, I have chosen to exclude them from the present discussion and\ncollection. The fuguing songs are examples of an early American art\ndevelopment in composing and in group singing in New England during\nthe latter part of the eighteenth century. Despite their enduring\npopularity in southern rural folk-singing circles and despite the fact\nthat many of them are found to be constructed on the basis of\nfolk-melodic themes, I have decided that they would be inappropriate\nto this collection. The same objection, that they are of an\nessentially _composed_ nature, holds also for the anthems and has\ndemanded their elimination.\n\nAfter making these exclusions I centered attention on three mutually\nrather distinct types of song all of which seemed to be in varying\ndegrees folk products--the _religious ballads_, _hymns_, and\n_spiritual songs_.\n\n\n                          Religious Ballads\n\nThe religious ballads by and large are folk-produced beyond any\nreasonable doubt. They are uniformly songs for individual singing, not\nfor groups. The sung _story_ was the thing. In one ballad it would be\nthe story of some bad woman, Wicked Polly for example, \"who died in\nsin and deep despair\" and went to hell; in another, of some good\nwoman, the Romish Lady for instance, who was burned at the stake for\nespousing the Protestant cause. Much ballad material was furnished\nalso by the Bible. Scriptural events like the curing of the man sick\nwith the palsy, the restoring of sight to blind Bartimeus, Daniel's\nexperience in the lions' den, the raising of Lazarus, the baby Moses\nin the rushes, the Prodigal Son parable, the birth of Christ, His\ncrucifixion and death,--all are retold in the ballads.\n\nA younger variety of song which I include under the heading of\n_religious ballads_ is that in which the singer tells his story in the\nfirst person. Such stories are those of the poor wayfaring stranger\njust a-going over Jordan, the departing preacher or missionary, a\ndying boy or girl, and even a pious gold hunter dying on his way to\nCalifornia. The story may be also the plaint of the religious\n\"mourner\", the backslider, and the criminal sinner, or the exultant\ntale of the saved. Still another group of ballads is aimed more\ndirectly at the conversion of the \"young, the gay, and proud.\" They\nusually begin by telling the religious experience of the singer and\nclose with a warning as to the tragic results of worldliness and an\nexhortation to turn from \"this vain world of sin.\" These songs are\nquite similar to the worldly ballads in form, and their tunes are, as\nwill be pointed out presently, of the common folk stock.\n\n\n                              Folk-Hymns\n\nThe ballads (excepting the _experience_ variety) probably did not\noriginate in any particular organized religious movement. The\nfolk-hymns were, on the other hand, bound up genetically with the\nprotestant evangelical activity which followed John Wesley's lead in\nEngland and then in America. The Wesleyan Revival began as an ordered\nsmall-group affair and spread and developed ultimately into a movement\nwhose aspects and practices were completely free-affairs of the\nuninhibited masses. In the same way the song of that movement,\nbeginning with merely the taste of textual freedom offered by Watts\nand the Wesleys, and of musical freedom offered by those who furnished\nthe melodies, spread ultimately far beyond the \"allowed\" tunes and\nhymn texts of the authorities until religious gatherings were\nmusically completely liberated.\n\nWhen John Wesley picked up a popular melody here and there on his\ntravels through England and set it to a good hymn text, he little\nrealized that he was setting an example and starting a movement which\nwas to bring into existence hundreds of folk-hymns; that is, songs\nwith old folk-tunes which everybody could sing and with words that\nspoke from the heart of the devout in the language of the common man.\n\nWith the spread of this movement to America a fertile soil for its\nfurther development seems to have been found. Here it became known as\nthe Great Southern and Western Revival. Here its store of songs, made\nafter the pattern used in England, was greatly enlarged. In fact the\nmasses took the matter of what they were to sing so completely into\ntheir own hands that the denominational authorities, especially the\nMethodists, though they tried to control it, became helpless.[2]\n\nIn looking through the folk-hymns in the second part of this\ncollection one will see scores of tunes which are clearly recognizable\nas those still sung to 'Barbara Allen', 'Lord Lovel' and other ancient\nballads. This is adequate evidence, I assume, as to where the folk\nsought and found its hymn tunes. The extent of this tune borrowing\nprocess is indicated on page 18f of this Introduction. The texts, on\nthe other hand, may be from the pen of Watts or other eighteenth\ncentury English religious poets, or they may be the humbler creations\nof rural American religious verse makers, like John Adam Granade, or\nJohn Leland.\n\nIt is impossible to date the beginning of folk-hymn making and singing\nin America definitely. But on the assumption that they were a part of\nthe Wesleyan movement, we cannot place the beginning of their general\nuse in America before the 1770's. The part of the land where they\nfirst attained popularity--again judging by their Wesleyan\naffinities--was the upland and inland South; for during the last two\ndecades of the eighteenth century (the time of the first spread of the\nMethodist movement) four-fifths of the adherents to this sect were to\nbe found in that section.[3]\n\n\n                       Revival Spiritual Songs\n\nThe revival spiritual songs represent a further advance of the song\nmovement which brought forth the folk-hymns, toward the folk level. As\nthe eighteenth century expired the post-Wesleyan religious tide was\nhigh and the camp meeting, the significant institution which became\nthe cradle of the revival spiritual songs, was born. One may therefore\nget a clearer insight into this new song development if one recalls\nthe character of its early environment. One might well remember, for\nexample, that the camp meetings began and remained in nature\nsurroundings, in the wilderness; that they were immense holiday\ngatherings;[4] that they thus took on the free-and-easy aspects of the\npioneers as a whole rather than of any particular class; and that they\nwere completely free from denominational and all other authoritarian\ncontrol.\n\nBearing all this in mind it is perhaps easier to understand how the\nfolk-hymns--grown up in a less boisterous environment--failed to\nsatisfy the new conditions. At the camp meetings it was not a question\nof inducing every one to sing, but of letting every one sing, of\nletting them sing songs which were so simple that they became not a\nhindrance to general participation but an irresistible temptation to\njoin in. The tunes of the folk-hymns were adequate. But the texts\n(Watts, Wesley and their schools) still demanded a certain exercise of\nlearning and remembering which excluded many from the singing. The\ncorrective lay in the progressive simplification of the texts; and it\nwas in the main this text simplification which brought about and\ncharacterised the type of camp-meeting song which was called, in\ncontradistinction to all other types, the spiritual song.\n\nThe methods of song-text reducing are familiar. When the American\nyouth sings\n\n  Found a horse-shoe, found a horse-shoe,\n  Found a horse-shoe, just now;\n  Just now found a horse-shoe,\n  Found a horse-shoe just now\n\nhe is not only following a practice of the early spiritual song makers\nand singers--his horse-shoe song itself is a parody of a spiritual in\nthis collection--but he is singing in the infinitely older manner of\nhis race. He is singing an organically constructed tune and refusing\nto let words interfere with it, a tendency which may be observed from\n'Sumer is icumen in' to the nineteenth century songs of sailors and to\nother work-songs and children's songs, like that of 'The Big Bad\nWolf', today.\n\nThe text simplification in religious folk-songs began modestly. The\nvariety of spiritual song which is closest to the folk-hymn is that in\nwhich each short stanza of text (four short lines usually) is followed\nby a chorus of the same length, as for example:\n\n  On Jordan's stormy banks I stand\n  And cast a wishful eye,\n  To Canaan's fair and happy land\n  Where my possessions lie.\n      _Chorus_\n  I'm bound for the promised land,\n  I'm bound for the promised land;\n  O who will come and go with me?\n  I'm bound for the promised land.\n\nThe verse was mastered probably by comparatively few singers, even\nthough it may have been \"lined out\" by the song leader. But the whole\nassemblage had its chance to join lustily in singing the chorus.\n\nA simpler form of spiritual song went directly into a refrain after\nthe first text couplet:\n\n  O when shall I see Jesus\n  And dwell with him above,\n      _And shall hear the trumpet sound_\n      _In that morning._\n  And from the flowing fountain\n  Drink everlasting love,\n      _And shall hear the trumpet sound_\n      _In that morning_.\n\nThen came the chorus:\n\n  _Shout O glory_\n  _For I shall meet above the skies_\n  _And shall hear the trumpet sound_\n  _In that morning._\n\nAn offspring of this same 'Morning Trumpet' song may serve to\nillustrate the next step in simplification, one in which the singers,\ninstead of using new poetic lines in subsequent stanzas, were\nsatisfied with slight variations of those already sung:\n\n  Oh, brother, in that day\n  We'll take wings and fly away,\n      _And we'll hear the trumpet sound_\n      _In that morning._\n  Oh, sister, in that day\n  We'll take _etc._\n\n  Oh, preachers, in that day,\n\nand so on, with \"leaders,\" \"converts,\" etc. without end.\n\nThe next step is seen in those songs where one short phrase is sung\nthree times and then followed by a one-phrase refrain:\n\n  Where are the Hebrew Children,\n  Where are the Hebrew Children,\n  Where are the Hebrew Children?\n      _Safe in the promised land._\n\nThese songs were sometimes called \"choruses,\" for they are often\nreally nothing else,--detached choruses, the text varied a bit from\nverse to verse, functioning as complete songs.\n\nThe last word in brevity of text is where simply one short phrase or\nsentence, sung over and over, is made to fill out the whole tune frame\nas a stanza. 'Death, Ain't You Got No Shame', in this collection is\none example among many. Such songs as this were too meager to be\nwelcomed warmly into the old song books. They survive therefore\nchiefly in oral tradition. But meagerness of text is not, we must\nremember, any criterion of the worth of a religious folk-song. 'Hebrew\nChildren,' for example, the song from which I have just cited a\nstanza, is at once extremely chary of words and rich in tonal beauty.\nThis becomes evident when one sees Annabal Morris Buchanan's\narrangement of it for modern chorus.\n\nIt was the _spiritual songs_, rather than the _hymns_ or the\n_ballads_, which appealed subsequently most deeply to the negroes and\nhave reappeared most often among the religious songs of that race. In\n_White Spirituals_ I presented twenty different negro songs and traced\nthem, both tunes and texts, directly to as many early religious songs\nof the white people. In the present collection upwards of 60 songs\nhave been found to be the legitimate tune-and-words forebears of the\nsame number of negro spirituals. (Incidentally, all of the songs just\nused here to illustrate the steps in text simplification have been\nborrowed by the black man and made over.) These negro offspring songs\nare mentioned by title, and information as to where I found them is\ngiven in the notes under each of the songs concerned.[5]\n\nThe _tunes_ of the secular folk-songs came into the religious\nenvironment--into the folk-hymns and spiritual songs--with little\nchange. What _one_ could sing by himself to secular words _all_ could\nsing in a gathering to religious words. The new surroundings made only\none added demand,--that the singers indulge in fewer vocal liberties\nthan they might have enjoyed when singing the same tunes in their\nhomes and alone. I refer to those liberties in personal\ninterpretation, a quaint characteristic of individual folk singing\nwhich has given the collectors their numerous variants of one and the\nsame song. Group singers had now to agree on one version of a tune and\nstick fairly closely to it. I say fairly closely, for the religious\nsingers allowed but few of their tunes to become completely\nstandardized. This will become clear when one studies the variants of\ncertain folk-hymn and spiritual-song tunes in this compilation.\n\n\n                     Folk-Song Collectors of Yore\n\nIn the earlier years of the camp-meeting movement, few if any of the\nsongs produced in and for that environment appeared in print. The\nwhole body of revival song was therefore generally known as \"unwritten\nmusic.\" The first recordings were of the texts only. They appeared in\nthe form of booklets and bore some such title as \"Hymns and Spiritual\nSongs / for the Pious of all Denominations / as Sung in Camp\nMeetings.\" They were prepared first by itinerant preachers or song\nleaders who saw in the Great Revival a chance to serve the cause, and\nperhaps to make money. That these books filled a great need is\nattested by their ubiquity during the period which may be designated\nroughly as from 1800 to 1840.\n\nThe musical notation of the tunes they sang was the least concern of\nthe revival folk. It is quite probable that the camp-meeting crowds of\nthose times never saw their tunes in musical notation. It is evident\nthat the first recordings of this unwritten music were not made by the\nrevivalists themselves, and that the first book collections of such\nrecordings were not made primarily for use in revivals. The books in\nwhich these tunes first appeared were the country singing manuals of\nwhich I have spoken above. The singing masters were quick to recognize\nthe value of the rousing revival songs and saw to it that their own\ninstitution benefitted from their vogue. _The Christian Harmony_,\npublished in New Hampshire in 1805 was perhaps the first book to\nrecord the revival tunes. _The Olive Leaf_, a Georgia book of 1878 was\nthe last.[6]\n\nWe sometimes have the compiler's own story of his sources. In the\npreface to William Caldwell's _Union Harmony_ for example, the\ncompiler tells us that \"many of the airs which the author has reduced\nto system [notated] and harmonized have been selected from the\nunwritten music in general use\" among Baptists, Methodists and\nPresbyterians. William Walker says, in the preface to his _Southern\nHarmony_, \"I have composed parts to a great many good airs, which I\ncould not find in any publication or in manuscript, and assigned my\nname as the author.\" William Hauser's preface to his compendious\n_Hesperian Harp_ is lacking in my copy of his work (the only copy in\nexistence, I believe); but the compiler's method of finding songs\nbecomes clear when we peruse his pages of song. On the page with\n'Patton', for example, he notes that he first heard the Rev. William\nPatton, of Missouri, sing the song which bears his name \"at a\ncamp-meeting, North Cove, Burk Country, North Carolina, in 1831 or\n1832.\" The song entitled 'Houston' was an \"air I learned from my\nmother when a small child.\" As to 'Land of Rest' he states that the\n\"inspiration of this tune [was] caught from a female voice at a\ndistance, at Barbee's Hotel, High Point, N. C., June 9th, 1868.\" Under\nthe song entitled 'Rev. James Axley's Song,' in the same compiler's\n_Olive Leaf_, he tells who the Rev. Axley was and how he, Hauser, came\nto record the preacher's favorite tune. John G. McCurry gives a song\ncalled 'Good-By' in his _Social Harp_ and tells that he put it down\n\"as played on the accordion by Mrs. Martha Hodges of Hartwell,\"\nGeorgia.\n\nInstances like these cited above are numerous. They all go to convince\nus of the great service rendered by the rural singing masters of yore\nin the preservation of a body of song, in the collecting and\npublishing of which no one else seems to have been interested.\n\nThe country singing books on which I have drawn for most of the songs\nof this collection, are in the main those which were at my disposal\nwhile I was preparing _White Spirituals in the Southern Uplands_. From\nthe Georgia-Carolina section were _The Southern Harmony_ in its 1835\nand 1854 editions; _The Southern and Western Pocket Harmonist_ (1845);\n_The Sacred Harp_ which first appeared in 1844 but whose oldest\nedition at my disposal has been that of 1859; its three descendants,\n_The Union Harp_ (1909), _The Sacred Harp_ (Cooper edition, 1902 and\nfour subsequent printings; I consulted the fifth reprint), and _The\nOriginal Sacred Harp_ (1911);[7] _The Hesperian Harp_ (1848); _The\nSocial Harp_ (1855); _The Christian Harmony_ (1866); and _The Olive\nLeaf_ (1878). Among the books originating in the eastern half of\nTennessee I searched _The Western Harmony_ (1824); _The Columbian\nHarmony_ (1825); _The Union Harmony_ (1837); _The Knoxville Harmony_\n(1838); _The Harp of Columbia_ (1848); and _The Western Psalmodist_\n(1853). From the Valley of Virginia I used _The Kentucky Harmony_\n(1814); the German _Choral-Music_ (1816); _The Supplement to the\nKentucky Harmony_ (1820); _The Virginia Harmony_ (1831); _Genuine\nChurch Music_ (1832); and _The Union Harmony_ (1848). From Saint Louis\nI had _The Missouri Harmony_ (1820). I found also some material in two\npublications which are still in use among the Primitive Baptists, _The\nPrimitive Baptist Hymn and Tune Book_ (1902) and _Good Old Songs_\n(1913).[8] Two books, invaluable compendiums of the very sort of songs\nI was seeking, came to my hand too late for consideration in _White\nSpirituals_. They were _The Revivalist_, published in Troy, New York,\nin 1868; and Jeremiah Ingalls' _Christian Harmony_, published in New\nHampshire in 1805. The latter contains scores of religious\nfolk-songs--among them many _spiritual songs_--which duplicate, though\nin variant forms, the songs which are found in abundance in the\nsouthern country-song manuals. The _Revivalist_, more than 60 years\nyounger, is a veritable treasure trove of the same sorts of song.\nTogether the two books open new vistas as to the spread and active\nlife period of the song movement under observation. The New Hampshire\nbook, made by a Vermont compiler, proves beyond doubt that the\nmovement did not remain in the South--the section of its first\nprevalence presumably and of its present persistence--but spread early\nalso into New England. The New York book points definitely to the\npersistence of the tradition in the northeastern section far longer\nthan we would, without this evidence, have been warranted in assuming.\n\nI went song hunting also among the authored hymn-and-tune-books of the\nbig denominations, but I found little, and that little was already\nfamiliar to me from its appearance in the country-singing books.[9]\n\nFurther information as to the identity of the books mentioned above\nmay be found in the Bibliography at the end of this volume. The\nabbreviations which will be used in the body of this song collection\nwhen referring to the source song books are explained in the List of\nAbbreviations of Titles.\n\n\n                  _Features of American Folk-Tunes_\n\nEven after recognizing the three types of religious folk-song as they\nare described above, it was not always easy in particular instances,\nto decide on acceptance into this collection or on rejection as\nnon-folk material.\n\nThere are literally thousands of songs in the books searched. In the\n_Original Sacred Harp_ alone there are 609, and the _Hesperian Harp_\nholds 677. And while other books are slimmer and duplications from\nbook to book are numerous, it must still be quite evident that it was\nno easy task to identify just the songs I was after. At times I had to\napply a number of criteria. Often the folky nature of the text pointed\nto an equally folky tune. There was another hint sometimes in the name\ngiven as that of the composer of the song. When I met with the names\nMoore, Walker, Chapin, Breedlove, White, Carrell, Davisson, Hauser,\nMcCurry and a number of others, in the upper right corner of the song\npage, then I was practically certain that the song on that page was\nusable. For the men in question were, in reality, not composers. They\nwere recorders and arrangers of unwritten music.[10]\n\nWhen an example of the old unwritten music made its way into the\nauthorized church hymnals--as happened to a restricted degree from\nfifty to seventy-five years ago--it was called a \"Western Melody\" or a\n\"Southern Melody.\" Such designations became another reliable token of\nfolk source.\n\nMore important than any external indications in determining whether I\nwas dealing in a particular instance with a folk-tune, was the\ncharacter of the tune itself. The ability to recognize a folk-tune\ncomes to the student of such music gradually, somewhat as does the\nrecognition of a strange language or dialect. It came to me that way;\nbut after assembling my tunes I felt that their general folk character\nmight to some degree be reduced to a set of definite traits. I\ntherefore reexamined not only my own melodies but also those far more\nnumerous tunes in the secular collections of Sharp and others, for\nsuch characteristics as tonal trend, rhythmic trend, tonality (modal\ncharacter), and musical form. Since there is no available definition\nof a folk-tune and since probably no succinct one can be made, I am\nhoping that my deductions in the following paragraphs as to some\nearmarks of American folk-tunes may be helpful to others who are\ninterested in our traditional melodism, as they have been helpful to\nme.\n\n\n                      Tonal Trend, Tune Families\n\nThe very beginning of a folk-tune has characteristic marks. The first\naccented note is usually the tonic of its scale. In almost all cases\nthis first-accent note is preceded by an up-beat note which also is\nusually a tonic. The upbeat note coming second in frequency is the\nlower 5 of the scale, with the higher 3 even less often thus employed.\nThe interval, if any, between the up-beat and the first accented note\nis thus either an ascending fourth, an ascending third (in those cases\nwhere these first two notes are 1 and 3) or descending third. And\nthese intervals, though small, are often broken or bridged by an\nunaccented intervening note. Tunes beginning with an interval of a\nfifth (ascending 1 to 5 or descending 5 to 1) are quite rare. Common\nfolk-tune beginnings are thus:\n\nAs to melodic trend within the body of the tune, I shall speak only\nbriefly. It is a broad subject, too broad to be discussed adequately\nin this connection. A survey of my tune-thematic card catalog reveals,\nhowever, a few characteristics of this melodic trend. The first is\nthat the tunes assume usually an initial upward trend. Another is that\nthe steps or intervals employed are small, predominantly seconds,\nthirds, fourths, and fifths. Greater intervals are found however at\nthe juncture of two phrases. From these observations we may assume\nthat the American folk-singer does not like big intervals.[11] This\nassumption, based on recorded tunes, is strengthened when one listens\nto folk singing and notices their anticipatory slides or scoops in\napproaching a tone that is only a little higher or lower than the one\njust sung, a practice which may be interpreted as an anticipation of,\nand an attempt to master, that which is vocally difficult. But while\nthe individual jumps from note to note are not as a rule great, the\npitch compass of the entire tune is often surprisingly wide. The\nmelodies usually end in a descending cadence to the tonic.\n\nAlong with the great variety in form which we meet among American\nfolk-tunes, there are certain melodic formulas which seem to be\nfavorites and reappear with unimportant variations as the tonal\nvestment of many different songs, so many indeed that they might well\nbe looked on as wandering tunes (reminding one of the familiar\nwandering stanzas in folk texts) or, since they are not identical from\nsong to song, tune families.\n\nIn the present collection I have come upon six tune families of\ndifferent sizes and have named them in each instance after the song\nwhich seems to be the most representative member of the family. They\nare the 'Lord Lovel' family, cast in the ionian mode; 'I Will Arise',\naeolian and ionian; 'Hallelujah', mixolydian; 'Kedron', aeolian; 'Babe\nof Bethlehem', dorian; and 'Roll Jordan', ionian. The tunes in this\ncollection and elsewhere belonging to the 'Lord Lovel' family are\nlisted under the song 'Dulcimer'. Those belonging to the other\nfamilies are listed under the songs for which the family is named.\n\n\n                          Metrical Patterns\n\nIn the matter of metrical patterns we find also a variety, and\nfavorites. We have noted the almost universal use of the up-beat. The\nup-beat initiates two different rhythmic trends, one of which is the\niambic, the prevalent one in American folk-tunes: ^2/_4 * | *'. This\ntwo-part type of accent unit (of notes or syllables, whichever way we\napproach the matter), while occurring in series of four and three, as\nwe have seen, may be found occasionally also in twos, fives, and\nsixes. Indeed the folk-tunes not infrequently show a refreshing\nindependence of the demands of perfect quadraticality. The other\nrhythmic trend initiated by the up-beat is the less often used one\nmade up of three-part units, which appear either in three-four time, \u00be\n* | *' * or slow six-eight time, ^6/_8 * | *' *. With more notes\n(syllables) in this single amphibrachic unit, the series of such units\ngrows naturally in syllabic length. It often outgrows thus its\nfunction as a mere melodic phrase and tends to assume that of the\nmelodic sentence. A fine example of this is in Sharp's recording of\nthe 'Cherry-Tree Carol'.\n\nBut while the vast majority of folk-tunes follow one or the other of\nthe above described patterns, we must remember that metrical precision\nor mechanical adherence to any formula is the least of the folk's\nconcerns. Indeed, we should be justified in assuming such exactness,\nas seen in text lines of carefully measured lengths and in perfection\nof rhyme, to be sure signs of individual creative participation;\nwhereas greater freedom and variability in tune and text aspects are\nobviously characteristic of the folk's vocalism.\n\n\n                            Scales, Modes\n\nThe folk-tunes of America are not, in the main, built up on scales of\nthe diatonic major and minor systems which, as is well known, have\nassumed their present form under the demands of _harmony_; but on a\nmodal system which grew out of _melodic_ exigences long before harmony\nmade its conquest of the music of western civilisation. Nor do the\nfolk-tunes of this country make use of all the tones of even these\nmodal scales. They often employ but five or six of the seven available\ntones, leaving characteristic gaps in such scales.\n\nAmerican folk-tune collectors have had their troubles in the\ninterpretation of modal melodies. I have had mine. Even such a\nlife-long student of these things as Cecil Sharp met many a knotty\nproblem in classifying his Appalachian tunes. In view of this\ndifficulty I called on Hilton Rufty, a thorough musician and a\nreliable authority in the folk-music field, to lend a hand in the\nmodal classification of these tunes. He generously acceded to my\nrequest; and by the time my requests had ceased and before his\ngenerosity had been exhausted he had checked or corrected all my modal\nclassifications of the tunes in this collection. In making clear Mr.\nRufty's effective and practical method of identifying the character of\ntunes I shall reproduce his Classification Chart and quote here his\nexplanation of it.\n\n\n                Rufty's Classification; Chart of Tunes\n\n  In identifying the modal character of the \"gapped\" tunes I have\n  deemed it advisable to proceed by an entirely arbitrary method, free\n  from any sort of theoretical connotation. Should a missing tone be\n  presupposed to make either a major or minor, perfect or imperfect,\n  interval with the tonic, there arise at once ambiguities of\n  modality. For purposes of harmonic treatment it is quite necessary\n  to decide upon which particular mode a gapped tune suggests, but in\n  studying the purely melodic aspects it is reasonable to accept the\n  tune as an entity, considering it in its actual tonal structure and\n  not with regard to its possible modal permutations. To accomplish\n  this purpose I have evolved a chart, based on methods used by Cecil\n  J. Sharp in his _English Folksongs from the Southern Appalachians_,\n  which for the great majority of the tunes in this collection is an\n  adequate system of classification. The arrangement of the chart is\n  very simple: there are five columns, each beginning with one of the\n  five pentatonic scales. Immediately below each pentatonic scale are\n  four hexatonic scales which are formed by the addition of the\n  missing tones, singly and in their variable positions. The system\n  permits these variables to be read in terms of natural and flatted\n  tones. Lastly in each column are three regular heptatonic modes\n  which are the outgrowth of supplying both missing tones\n  simultaneously and in variable combination. The gaps in the\n  pentatonic and hexatonic scales are indicated by slurs and the\n  numerical positions from the tonic of the missing tones. The\n  supplied missing tones are indicated by black notes, and in fitting\n  any given tune to any scale on the chart I have endeavored where\n  possible to let these black notes indicate the weak tones. Since it\n  was possible, so far as the _actual tonal structure_ of the tunes\n  was concerned, to have a choice in the placing of them, the device\n  of indicating weak tones was a happy solution to a more careful\n  classification. Above each tune in this book I have indicated the\n  modal and, following this and in parentheses, the tonal pattern of\n  the tune with the heptatonic scale as a norm, that is, treating\n  gapped tunes arbitrarily as broken-down heptatonic tunes. A Roman\n  numeral indicates a major or perfect interval with the tonic; an\n  Arabic numeral a minor interval. In event of augmented or diminished\n  fourths or fifths I have used conventional signs. A gap is indicated\n  by a dash.\n\n  As a practical example of classification let us take at random, say,\n  'Weeping Savior', a song of the present collection. Counting the\n  tones of the melody we find six with the sixth degree missing. We\n  observe that the tune has a major second, minor third, perfect\n  fourth and fifth, no sixth, and a minor seventh. By transposition we\n  see that from a standpoint of the tonal pattern alone the tune can\n  be listed either as Hexatonic, Mode 2, A or Mode 4, b. But the\n  examination of structural detail shows clearly that 3 being a strong\n  tone and 2 being decidedly weak gives preference to the first\n  classification under Mode 2.\n\n  While pentachordal and hexachordal tunes (which do not conform to\n  this system of classification) may be perfect entities, I have,\n  nevertheless, for purposes of uniformity classified them on a\n  heptatonic basis, that is, as heptatonic tunes with the sixth and\n  seventh, or seventh alone, missing respectively. Similarly, while it\n  is somewhat tautological to say, for instance, a tune is heptatonic\n  ionian, I have prefixed the term heptatonic to facilitate\n  identification and to balance the constantly recurrent pentatonic\n  and hexatonic.\n\nAn examination of these spiritual folk-tunes reveals a great\npredominance of gapped scales. Only 23 per cent of them use the full\nseven-tone series; 44 per cent are hexatonic; 23 per cent are\npentatonic; and seven tunes use only from 1 to 5 of their scale.\n\nThe incidence of the different modes has been impossible to ascertain.\nWe are sure of a mode, as Mr. Rufty has noted, only when the scale\ntones are all represented in the melody. Proceeding however in\nquestionable instances according to the more or less clear modal\n_implication_, I have found that about 52 per cent of these tunes may\nbe interpreted as ionian (major), about 30 per cent as aeolian, 7.5\nper cent each as dorian[12] and mixolydian, and three tunes as\nphrygian.\n\nI leave the interpretation of the significance of these figures to\nothers. I venture to suggest however that they will be found to\nindicate a survival of gapped and modal tunes that is unique in the\nfolk-music of today among peoples of European stock.[13]\n\nA modally constructed tune is, as I have indicated, almost sure to be\na folk-tune. And if a melody shows the characteristic gaps, its folk\nnature is quite assured. Indeed, the complete filling-in of the gaps,\ncreating two half steps, is a sign, though not always a sure one, of\nart influence.[14]\n\nThe above paragraphs show in a general way a few of the more important\nand evident _features by which American folk-tunes may be\nrecognised_.[15] Their presence or absence in specific cases has\nhelped me to decide as to the fitness of a tune for acceptance into\nthis collection.\n\n\n         _Tunes of Religious and Worldly Folk-Songs Compared_\n\nI have indicated above (page 6) that many of the present tunes were\nborrowed outright from secular folk-songs. The tune-to-tune\nrelationships were discovered to some degree, as I have indicated, by\naccident. A spiritual tune would remind me of a secular one. I would\nlook it up in Sharp or elsewhere, verify the relationship, and note it\nunder the proper song in this collection. Such accidents, however,\naccount for but comparatively few of my related-tune discoveries. In\nmost instances they came to light as the result of a methodical\ncomparison made possible by my having catalogued my spiritual\nfolk-tunes and a large number of secular folk-melodies. I shall not go\ninto a detailed explanation of this cataloguing method here, chiefly\nbecause it is one which, though it answered my own purposes well,\nwould probably be found inadequate as a tool for students of\ncomparative melody in general. I shall say merely that the catalog was\na card index of tune beginnings, all transposed to a key which had two\nflats as its signature. The arrangement was based on the scale\nposition or relative pitch of the first few tones. At the beginning of\nthe catalog were those tunes which began on _b_-flat, then came those\nbeginning on _c_ and so on. The arrangement among those tunes\nbeginning on any one tone, followed the same pitch sequence, from\nlowest to highest, taking into consideration the second, third, and\nmore notes of the tune beginnings where necessary. That is, my\nlexicographical arrangement was like that of the dictionary, but with\nnotes on a regular staff taking the place of letters, and with the\nscale steps taking the place of alphabetical sequence.\n\nThe actual working out of this scheme may be observed in the\narrangement of tunes in this collection. In each of the three parts\nthe tunes appear in their catalog sequence.[16]\n\nThrough a consistent comparison of the tunes in this catalog with\nthose in secular tune files made on the same plan, I have been able to\ndiscover the organic relationship of upwards of 150 melodies in this\ncollection to an even greater number of traditional folk-tunes\nassociated with _secular_ texts. This greater number is explained by\nthe fact that one and the same tune in this collection was often found\nrelated to a number of worldly songs. To one tune 'Pilgrim', for\nexample, I discovered 17 secular related melodies. The relationship\nruns in degree all the way from one which is barely recognizable to\none which consists in an almost note-for-note identity.\n\nThe catalogs were also of distinct value in bringing to light scores\nof interrelated tunes _within_ the collection, and thus in bringing to\nlight the tune families mentioned on page 14 above.\n\nThe search for kindred secular tunes was most fruitful in the case of\nthe ballads and somewhat less so for the hymns. Among the spiritual\nsongs the search yielded surprizingly meager results. The reason lay\nprobably in the nature of the spiritual-song tunes themselves. These\ntunes--whatever their source--were often altered through the arbitrary\nintrusion of refrains and choruses. Among these tunes, therefore, my\nfinding of secular analogies was limited usually to melodic _parts_\ninstead of whole tunes.\n\nTo be sure, the tune relationships, religious to secular, which I have\npointed out, touch little more than half the songs under scrutiny. But\nwhen it is taken into consideration that the related secular tunes\nwere all found in a body of British Isles-American melodies not much\ngreater than that of the spiritual tunes themselves, then it would not\nseem unreasonable to assume that a complete catalog of American\nworldly folk-tunes would reveal cognates to many more, possibly to all\nof the tunes presented here. The kinships already discovered, however,\nwarrant the assumption that _these spiritual tunes are part and parcel\nof the ancestral folk-melodism of the English-speaking peoples_.\n\nThe worldly-religious tune comparison has also shed more light on the\nmotives which led the revival folk to borrow from the store of secular\nmelody and on the manner of that borrowing. We have indicated above\nour belief that one motive was the crying need for rousing and\nfamiliar tunes. Another reason seems to have been the mere fact that\nthe borrowed tunes _were_ worldly. Worldliness was of itself an asset.\nFighting the devil with his own weapons had its distinct advantages in\nrevival technics. But just how and why a _particular_ secular tune\ncame into the religious atmosphere is not always evident. In some\ninstances, however, the examination of the secular original song makes\nthis clear.\n\nWhen the revivalist heard the Scottish-American sing\n\n  Will you go, Lassie, go\n  To the braes o' Balquhidder?\n\nhe evidently saw at once the possibilities of turning the text to his\nown evangelistic purposes, and wasted little time in making it over\ninto 'Sinner's Invitation:'\n\n  Sinners go, will you go\n  To the highlands of heaven?\n\nwhich he sang to the same tune.\n\nThe ballad tune to\n\n  O'Reilly on the rolling sea\n  Bound for Amerikee\n\nwent over easily into the song which told of the Christian voyager who\nwas 'Bound for Canaan.'\n\nThe old ballad 'Geordie' begins\n\n  As I walked over London bridge.\n\nThe revival singers took this hint, with its tune phrase, and\nproduced, in 'Victoria':\n\n  I have but one more river to cross.\n\nIn the traditional ballad 'In Seaport Town' there is a recurring\nphrase:\n\n  Till at last they came to that lonesome valley.\n\nThis \"valley\" suggested to the religious mind the emotional depression\nof the almost converted mourner as well as the valley of death; and\nthus came into existence the beautiful spiritual 'Lonesome Valley':\n\n  You got to go that lonesome valley,\n  You got to go there by yourself\n\nwhose tune is closely related to that of the secular song.\n\nThe 'Poor Stranger' of the English secular ballad who appeared also as\n\"poor strange girl,\" a \"roving soldier,\" and a \"rebel soldier,\" all of\nwhom are \"far from my home,\" exerted both melodic and textual\ninfluence on the 'Heaven-Born Soldier' who urges his comrades to\n\n  Come along and shout along\n  And pray by the way.\n\nThe melody which Johann Sebastian Bach, the great adapter of\nfolk-tunes, made a peasant sing in his _Cantata_ 'Mer hahn en neue\nOberkeet' spread to England and became there the setting of a number\nof popular texts in the first half of the eighteenth century. One of\nthese songs, dating from 1772, was 'Farewell, Ye Green Fields and\nSweet Groves' which gave birth, probably also in England, to the\nreligious song 'Green Fields', found in every old southern fasola\nbook. Its opening lines are\n\n  How tedious and tasteless the hours\n  When Jesus no longer I see.\n  Sweet prospects, sweet birds and sweet flowers\n  Have all lost their sweetness to me.\n\nWith 'Saw Ye my True Love' as a model, the task of making the\nreligious text 'Saw Ye My Savior,' sung to the same tune, was a\ngrateful one.\n\nThe happy inebriate who is his own hero in 'Way Up On Clinch Mountain'\nis reformed and regretful in 'John Adkins' Farewell' where he gives\nwarning to other alcoholics in the same melodic strain.\n\nFrom the above examples it would seem that the secular text contained\noften some hint which led the religious adapter in making his new\npoetic lines; and that the secular tune usually followed as a matter\nof course.\n\nThe comparison of tunes shed no actually new light on the age of the\ntunes. But it made clear the fact that the folk's stock of melodies is\nassembled from divers times. The tunes of two songs in this\ncollection, 'New Orleans', and 'Hark my Soul', have tonal trends\nstrikingly similar to that of melodies found in the eleventh and early\nthirteenth centuries respectively. From the early seventeenth century\nwe find 'Mourner's Lamentation' which was in those earlier times 'Wae\nis Me for Prince Charley', a Jacobite song about Charles II of\nEngland. 'Beggar' is a remake of 'A-Begging We Will Go' which has been\ntraced back to 1611. 'Captain Kidd' or 'Kidd', as it is disguised in\nthe fasola books, dates from the first part of the eighteenth century.\nIt is significant that most of the tunes mentioned in the above\nparagraphs are comparatively modern in their musical aspects. This\nfact leads to the suspicion that the really old-sounding tunes, those\nin the antique modes--dorian, phrygian, and the like, especially in\ntheir gapped forms--originated in still earlier times. Here is an\ninviting field for the student of comparative folk-melodism.\n\n\n                             _Conclusion_\n\nI have been impressed, as I have come to know these tunes better, with\ntheir variety and beauty. They are believed, by the country folk who\nstill sing them, to be \"the most beautiful music on earth.\" When I\nfirst heard this sweeping judgment I put it down as emanating from an\nunderstandable though extravagant zeal, one which was all the greater\nperhaps since the singers, mostly oldsters, felt they were fighting\nfor the very life of a dying cause. But I now see I was mistaken. The\nsongs are living vigorously without being fought for. The country folk\nclearly realized--however they may have expressed the\nrealisation--that the \"good old songs\" were ingrained in their racial\nsouls and that for this reason it was the most completely\nsoul-satisfying of all music from whatever source.\n\nIf this was and still is the firm belief of those uncounted thousands\nwho know and sing the country songs, those who are still carrying on\nthe tradition for the sheer love of it and the joy they get out of it;\nthen is there not an inspiration for us? Is that picture not an\nincentive to look into, to learn to know this _tonal tradition_, the\nchief one in our ethnic background? This quest might well lead to an\nexamination of our other _acquired_, not _inherited_, musical concepts\nand judgments, in search for reasons why, in acquiring them, we have\nignored the simpler art of the past. And from this approach we might\nopen the question as to whether these reasons are valid,--wise or\nunwise.\n\nAmerican folk-music, basing squarely on that of the British Isles, is\npurer, I assert, and more completely representative of the _peoples_\namong whom it has developed, and less representative of _individual_\ncreative activity than is the folk-music of other Western peoples. As\nevidence of this I present this collection, commending it to the\nserious consideration of those interested in fundamental phases of\nAmerican culture.\n\nThis collection challenges, I feel, the attention also of those\ninterested in the songs of the churches. Urban congregational singing\ndepends on hymnals. Hymnals are made by successions of revision\ncommittees. These committees have been either hostile to, or\nincognisant of, American folk-hymns. The perusal of almost any\nprotestant hymn-and-tune book will prove this. Thus we have the\nstrange anomaly: _groups whose prime purpose is to induce more general\nsinging by the masses, refusing recognition, in their books of songs,\nto the melodism of those masses and putting in its place the tonal\nproducts of individuals_.\n\nThere are of late some exceptions to this attitude. In the _Christian\nScience Hymnal_, where one finds numerous folk-tunes from many other\nlands, there are two variants of melodies to be found in the present\ncollection, that is, of 'Pilgrim' and 'Marion'. The editors found\nthese tunes, however, not in America but in the British Isles.\n\nThe Methodists who were, as we have seen, originally largely\nresponsible for the appearance of folk-tunes in the American religious\nenvironment, have for the past fifty years progressively eliminated\nthem from their authorized hymnals. But their latest revised edition\nof 1935 indicates that this tendency has been checked. I find in that\nvolume seven tunes which are identical with melodies in the present\ncollection, namely, with 'Green Fields', 'New Britain', 'Beloved',\n'Nettleton', 'Friends of Freedom', 'Plenary', and 'Romish Lady'. There\nare also five other tunes in the Hymnal called \"early American\nmelodies\" which I have not been able to identify as folk-melodies.\n\nIn England the evangelical protestant hymnal makers seem now to be\nfolk-minded. The English Methodists, at least, have welcomed into\ntheir latest _Hymn Book_ no less than 43 traditional folk-tunes of the\nBritish Isles. They have even used two tunes--'Rhode Island' and\n'Pisgah'--the latter of which appears in the present collection, and\nhave called them \"American\", even though one of them, 'Pisgah', came\nhither from England, as Miss Gilchrist has pointed out.\n\nThen there are the folklorists. How will they greet this collection?\nMy stressing of tunes and saying little about texts will be regarded\nby some of the old-line folklorists--especially those who still\nconceive all such material as \"popular poetry\"--with disapproval.\nOthers, those who are sure that folk-song is dying out and therefore\nsee the collector's duty simply as that of retrieving the last bits of\nit, may greet the present collection as a new acquisition to the\nmuseums. Such a response would arouse in me no enthusiasm and little\nsatisfaction; for I demur completely from narrow interpretations of\nthe status, meaning, import, and destiny of folk-lore, folk-songs,\n_these_ folk-songs. I do not participate in the pessimism of the\nfolk-song fatalists.\n\nThe lore of a folk comprehends, as I understand it, the whole of its\nbasic cultural accomplishments. Understood in this broadest and\ndeepest sense, a folk-lore is truer, more vital and more significant\nthan an art-lore. It is a clearer mirror of a people's past, a more\nreliable interpreter of its present trends, and a safer prophet of its\nculture to come. It is all this because it is the body and soul of\nthat culture, where art is merely a vestment. The art which fits best\nthis body and soul, this basic ethnic character, is the best art. The\nart of ancient Greece was great for this reason. All students of\nesthetics since Lessing and Winckelmann have recognized this. They\nhave recognized also that the great periods in the art of any enduring\npeople are those when its gifted creators are in closest harmony with\nthe genius of their race; and that its barren periods are those when\nthe masters have been faithless to their own and have sought afar \"the\ngood which lies so near.\"\n\n\n                          _Acknowledgements_\n\nI wish to express here my deep gratitude to Mr. Hilton Rufty for his\ngenerous help in verifying the musical aspects of this collection and\nin helping me solve many a knotty problem in interpreting the tunes\nwhich I have transcribed from the old singing-school books. Mr. John\nPowell has earned my sincere thanks for reading critically the entire\nmanuscript, calling my attention to a number of inaccuracies, and to\nmany secular melodies related to those in this volume.\n\nThe present collection would have been far less comprehensive without\nthe use of a number of unique source books placed at my disposal by\nfriends. I wish therefore to acknowledge gratefully the co-operation\nof Mr. Will H. Ruebush for providing me with _The Olive Leaf_ and _The\nSocial Harp_; Mrs. Annabel Morris Buchanan for _The Union Harmony_\n(Hendrickson); Mr. E. S. Lorenz for _The Revivalist_ and _Songs of\nGrace_; Mr. John Lair for the _Scots Musical Museum_; The Lawson\nMcGhee Library (Knoxville, Tennessee) for _The Church Harmony_ and\n_The Supplement to the Kentucky Harmony_; Mr. W. E. Bird for _The\nSouthern and Western Pocket Harmonist_; and Miss Lucille Wilkin for\n_The Western Harmony_. The University of North Carolina Press has\nkindly allowed me to reproduce several songs from _White Spirituals in\nthe Southern Uplands_. For this I wish to express my sincere thanks.\n\nI wish also to thank those who have furnished me with songs from oral\ntradition. Among such helpful contributors are Professor Donald\nDavidson, Mr. Don West, Mr. Samuel E. Asbury, Mr. Francis Arthur\nRobinson, and Miss Will Allen Dromgoole. My gratitude is hereby\nexpressed also to Dr. Carleton Sprague Smith, Chief of the Music\nDivision of the New York Public Library, and to Dr. Oliver Strunk,\nChief of the Music Division of the Library of Congress for their\nhelpfulness.\n\nMy daughter, Frances Helen Parker, and my sisters, Carol Jackson\nRansom and Genevieve Jackson Beckwith, have given me invaluable help\nin preparing this book for the printer and in correcting the proofs.\nFor this I am deeply and lastingly grateful to them.\n\n                                                 George Pullen Jackson\n                                                 Vanderbilt University\n\nNashville, Tennessee, April 10, 1937\n\n\n\n\n                     Fifty-one Religious Ballads\n\n\n                                No. 1\n                         ROMISH LADY, HH 257\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  There was a Romish lady, Brought up in popery,\n  Her mother always taught her, The priest she must obey.\n  \"O pardon me, dear mother, I humbly pray thee now,\n  But unto these false idols I can no longer bow.\"\n\n  Assisted by her handmaid, a bible she conceal'd,\n  And there she gain'd instruction, till God his love reveal'd.\n  No more she prostrates herself to pictures deck'd with gold;\n  But soon she was betrayed and her bible from her stole.\n\n  \"I'll bow to my dear Jesus, I'll worship God unseen,\n  I'll live by faith forever, the works of men are vain.\n  I cannot worship angels nor pictures made by men:\n  Dear Mother, use your pleasure, but pardon if you can.\"\n\n  With grief and great vexation her mother straight did go\n  T' inform the Roman clergy, the cause of all her wo.\n  The priests were soon assembled, and for the maid did call,\n  And forced her in the dungeon to fright her soul withal.\n\n  The more they strove to fright her, the more she did endure;\n  Although her age was tender, her faith was strong and sure.\n  The chains of gold so costly, they from this lady took,\n  And she, with all her spirits, the pride of life forsook.\n\n  Before the pope they brought her, in hopes of her return,\n  And there she was condem-ned in horrid flames to burn.\n  Before the place of torment they brought her speedily;\n  With lifted hands to heaven she then agreed to die.\n\n  There being many ladies assembled at the place,\n  She raised her eyes to heaven and begged supplying grace:\n  \"Weep not, ye tender ladies, shed not a tear for me,\n  While my poor body's burning, my soul the Lord shall see.\n\n  \"Yourselves you need to pity, and Zion's deep decay;\n  Dear ladies, turn to Jesus, no longer make delay.\"\n  In comes her raving mother, her daughter to behold,\n  And in her hand she brought her the pictures deck'd with gold.\n\n  \"O take from me these idols, remove them from my sight;\n  Restore to me my bible, wherein I take delight!--\n  Alas, my aged mother, why on my ruin bent?\n  'Twas you that did betray me, but I am innocent.\n\n  \"Tormentors, use your pleasure, and do as you think best;\n  I hope my blessed Jesus will take my soul to rest.\"\n  Soon as these words were spoken, up steps the man of death,\n  And kindled up the fire to stop her mortal breath.\n\n  Instead of golden bracelets, with chains they bound her fast;\n  She cried, \"My God give power, now must I die at last?\n  With Jesus and his angels forever I shall dwell;\n  God pardon priest and people, and so I bid farewell.\"\n\nThe text--undoubtedly of Inquisition times origin--indicates the age\nof the ballad. It is to be found in the _Roxburghe Ballads_, i., 43.\nIt is mentioned in Beaumont and Fletcher's \"Knight of the Burning\nPestle\" (1613). A parody on the opening words:\n\n  There was a moanish lady\n  Lived in a moanish land;\n  She had a moanish daughter\n  Could moan at the Lord's command _etc._\n\nis in Sandburg's _American Songbag_, p. 11. Another echo of this\nballad text is:\n\n  The Romish Lady, she had babes,\n\nin 'The Wife of Usher's Well', Sharp, i., 159. I recorded the tune in\nDayton, Virginia; see _White Spirituals_, 202. _The Methodist Hymnal_\n(1935, No. 436) has a variant of the tune which it calls a\n\"traditional English carol\".\n\n\n                                No. 2\n               BEGGAR or TO BEGGING I WILL GO, SOC 212.\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  I'd rather live a beggar while here on earth I stay,\n  Than to possess the riches of all America;\n  And to begging I will go.\n  And to begging I will go, will go, will go,\n  And to begging I will go.\n\n  With thoughts of keen emotion our hearts are running o'er,\n  While parting from the friends we love for China's distant shore,\n  We're off for China's shore.\n  We're off for China's shore, China's shore,\n  We're off for China's shore.\n\n  We need your prayers, your sympathies more now than e'er before,\n  For few the friends and hard the task on China's distant shore;\n  We're off for China's shore.\n  We're off _etc._\n\n  We'll heed our Master's call; He is with us ever more;\n  Then farewell, dear friends, adieu, we're off for China's shore;\n  We're off for China's shore.\n  We're off _etc._\n\nA close tune variant is 'Lost City', or 'To Glory I Will Go' in this\ncollection. Tune and words are a parody of 'A-Begging We Will Go'\nwhich was widely popular in the latter part of the seventeenth century\nand traces of whose existence are found as early as 1611.\n\nSee Chappell's _Old English Popular Music_, ii., 42-43.\n\nThe first stanza of the song as it appeared in _Choyce Ayres_ etc.,\n1676, runs:\n\n  There was a jovial beggar,\n  He had a wooden leg,\n  Lame from his cradle and forced for to beg.\n  And a begging we will go, we'll go, we'll go,\n  And a begging we will go.\n\nOther songs for which the early song became the prototype were 'A\nBowling We Will Go', 'A Fishing We Will Go', 'A Hawking We Will Go'\nand 'A Hunting We Will Go.'\n\n\n                                No. 3\n                 REVEREND JAMES AXLEY'S SONG, OL 369\n\nHexatonic, mode 4 A (I II -- IV V VI 7)\n\n                               [Music]\n\n  Tho' sinners would vex me, tho' troubles perplex me,\n  Against inclination, O what shall I do?\n  No longer a rover, my follies are over.\n  But one thing is needful, and that I'll pursue.\n\n  Vain pleasure is deceitful, and sin is all hateful,\n  But genuine pleasure in Jesus I find:\n  This world is a bubble, a life full of trouble;\n  My thoughts now fly upward, and leave all behind.\n\n  I hear the bells tolling; and wheels are now rolling;\n  Some gallant, gay, fair one goes to her long home:\n  If dead out of Jesus--the Lord will not save us,\n  And to him in glory we never can come.\n\n  Oh! pray for conversion; shun foolish diversion;\n  Adopt self-denial, and take up your cross:\n  These do for a season, and use your own reason,\n  And you will see clearly you suffer no loss.\n\n  Your time is a treasure (there's none in vain pleasure),\n  Then look up to Jesus with faith's steadfast eye:\n  Oh, haste to believe in the crucified Savior,\n  For time flies apace, and eternity's nigh!\n\n  My soul starts with wonder, to think how God's thunder,\n  Will shake all creation at Gabriel's call!\n  When time is no longer, the aged and younger,\n  Before the great Judge, in their trouble, will fall.\n\n  The Judgment decided, friends now are divided;\n  And all the ungodly are turned into hell:\n  But glory to Jesus! believing, He'll save us,\n  With angels in glory his praises to swell.\n\n_The Olive Leaf_ arranger spoiled the tune's apparent mixolydian\npurity by changing the _d_'s to _d_-sharps. As to title and source the\neditor says: \"Reverend James Axley was one of the pioneer preachers of\nthe Holston Conference, and a very holy, laborious, and successful\nminister. I learned this tune and song of Reverend Russell Reneau, who\ndied in Arkansas during our late unhappy Civil War. Crude as the song\nis, I choose to preserve it in memory of Mr. Axley and Mr. Reneau.\"\nThe tune is a variant of 'Christian Warfare', GOS 603. Further\ninformation as to the Reverend James Axley, whose period of activity\nin the methodist conferences of Tennessee, Kentucky and other states\nwas during the first decades of the nineteenth century, may be found\nin Peter Cartwright's _Autobiography_, p. 62 and elsewhere.\n\n\n                                No. 4\n                       HICKS' FAREWELL, SOH 19\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  The time is swiftly rolling on\n  When I must faint and die;\n  My body to the dust return\n  And there forgotten lie.\n\nWilliam Walker claims the tune. See 'Farewell' in this collection for\ndifferent melodies associated with this text. Cecil Sharp recorded\nfive versions of the song as he heard them in the Appalachian\nMountains in 1916 and 1918. See Sharp, ii., 142-143. The text (given\nmore fully under 'Farewell') was written by the Reverend B. Hicks of\nSouth Carolina. See _White Spirituals_, 202ff.\n\n\n                                No. 5\n                 FREE SALVATION, _Wesleyan Psalmist_\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Man at his first creation in Eden God did place,\n  The public head and father of all the human race;\n  But by the subtle serpent beguil'd he was and fell,\n  And by his disobedience was doom'd to death and hell.\n\n  While in this situation a promise there was made,\n  The offspring of the woman should bruise the serpent's head,\n  Against the power of Satan that man might only feel\n  The malice of the serpent enraging at his heel.\n\n  Now at the time appointed Jesus unveiled his face,\n  Assumed our human nature and suffered in our place;\n  He suffered on Mount Calvary and ransomed all for me,\n  The law demands attention, to pay the penalty.\n\n  They laid him in a sepulchre, it being near at hand,\n  The grave could not now hold him, nor death's cold iron hand;\n  He burst them all asunder and pulled their kingdoms down,\n  He's overcome his enemies and wears a starry crown.\n\nMiss Gilchrist finds this \"reminiscent of the old Cornish 'When God at\nfirst had Adam made', and of the style of the Manx-Gaelic carvals.\"\nSee JFSS, viii., 83.\n\n\n                                No. 6\n                        SAILOR'S HOME, SOH 182\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  When for eternal worlds we steer,\n  And seas are calm and skies are clear;\n  And faith in lively exercise,\n  And distant hills of Canaan rise;\n  The soul for joy then claps her wings,\n  And loud her lovely sonnet sings,\n  I'm going home, I'm going home;\n  And loud her lovely sonnet sings,\n  I'm going home.\n\n  With cheerful hope his eyes explore\n  Each landmark on the distant shore;\n  The trees of life, the pasture green,\n  The crystal stream, delightful scene.\n  Again for joy she plumes her wings,\n  And loud her lovely sonnet sings:\n  I'm almost home, I'm almost home!\n  And loud her lovely sonnet sings:\n  I'm almost home.\n\n  The nearer still she draws to land,\n  More eager all her pow'rs expand;\n  With steady helm and free bent sail,\n  Her anchor drops within the vale.\n  And now for joy she folds her wings\n  And her celestial sonnet sings:\n  I'm home at last, I'm home at last!\n  And her celestial sonnet sings:\n  I'm home at last!\n\n  She meets with those who're gone before,\n  On heaven's high and genial shore\n  Around the dear Redeemer's feet,\n  -- -- -- -- -- -- --\n  And loud they shout: Our God and King!\n  And ceaseless hallelujahs sing,\n  We're safe at last! We're safe at last!\n  And ceaseless hallelujahs sing,\n  We're safe at last!\n\nThe song is attributed in the _Southern Harmony_ to Wm. M. Caudill and\nWm. Walker. The tune bears some resemblance to 'Liverpool' in this\ncollection. The song is found also in REV 396, entitled 'Sonnet'.\n\n\n                                No. 7\n         LIVERPOOL or SOLEMN ADDRESS TO YOUNG PEOPLE, OSH 37\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Young people all attention give,\n  And hear what I shall say;\n  I wish your souls with Christ to live\n  In everlasting day.\n\n  Remember you are hastening on\n  To death's dark gloomy shade;\n  Your joys on earth will soon be gone,\n  Your flesh in dust be laid.\n\n  Death's iron gate you must pass through,\n  Ere long, my dear young friends;\n  With whom then do you think to go,\n  With saints or fiery fiends?\n\n  Pray meditate before too late,\n  While in a gospel land;\n  Behold! King Jesus at the gate\n  Most lovingly doth stand.\n\n  Young men, how can you turn face\n  From such a glorious friend;\n  Will you pursue your dang'rous ways?\n  O don't you fear the end?\n\n  Will you pursue that dang'rous road\n  Which leads to death and hell?\n  Will you refuse all peace with God,\n  With devils for to dwell?\n\n  Young women too, what will you do,\n  If out of Christ you die?\n  From all God's people you must go,\n  To weep, lament and cry.\n\n  Where you the least relief can't find,\n  To mitigate your pain;\n  Your good things all be left behind,\n  Your souls in death remain.\n\n  Young people all, I pray then view\n  The fountain open'd wide;\n  The spring of life open'd for sin,\n  Which flow'd from Jesus' side.\n\n  There you may drink in endless joy,\n  And reign with Christ, your king,\n  In his glad notes your souls employ,\n  And hallelujahs sing.\n\nThe earliest appearance of the text is in _Mercer's Cluster_, a\ncollection of rurally used hymns (not tunes) by Jesse Mercer,\nbenefactor of Mercer University, who lived in Powellton, Georgia, in\nthe 1820's. The editor of the _Sacred Harp_ attributes the tune to M.\nC. H. Davis, a southern rural. The song is found also UH 27, HH 83,\nHOC 113, WP 36, SOC 76, SOH I and CHH 58. The tune is a member of the\n'Lord Lovel' family mentioned in the introduction, p. 14, and is\nclosely related to 'Mermaid', Sharp, i., 291, and to 'The Broom of\nCowdenknows', SMM No. 3, and its seventeenth-century country-dance\nform 'The Bonny Bonny Broome', Playford's _The English Dancing\nMaster_, p. 74. For a list of other members of the 'Lord Lovel' tune\nfamily see 'Dulcimer' in this collection.\n\n\n                                No. 8\n                      LITTLE FAMILY, WS 195 ff.\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  There was a little fam'ly\n  That liv'd in Bethany,\n  Two sisters and a brother\n  Compos'd that family.\n\n  With shouting and with singing\n  Like angels in the sky,\n  At morning and at evening\n  They rais'd their voices high.\n\nSee _White Spirituals_ for the full text of seven stanzas about the\nraising of Lazarus. For references see JAFL, xxv., 17, and xxix., 182.\n\nAlmost the same tune is 'Johnny German', Sharp, ii., 256. 'Joe\nBowers', Cox, 527, is also similar. Another spiritual ballad using\nthis tune in variant form is 'Wedlock (A)', in this collection.\n\n\n                                No. 9\n                  MISS HATAWAY'S EXPERIENCE, HH 421\n\nHeptatonic ionian, Mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Young women all, I pray draw near,\n  Listen a while and you shall hear\n  How sin and Satan both did try\n  To land my soul in misery.\n\nThe full text is reproduced in _White Spirituals_, 186f. The tune is\nclosely related to 'McAfee's Confession', Sharp, ii., 15 and 16. John\nPowell notes in connection with this song: \"I have collected this tune\noften as 'Young People Who Delight in Sin' and it is always\nmixolydian.\" He then makes the suggestion: \"Why not take out the\n_g_-sharp from the signature? In that case the modal indication would\nbe heptatonic mixolydian, mode 3 a + b (I II III IV V VI 7).\"\n\n\n                                No. 10\n                      DYING CALIFORNIAN, OSH 410\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Lay up nearer, brother, nearer,\n  For my limbs are growing cold,\n  And thy presence seemeth nearer,\n  When thine arms around me fold.\n\n  I am dying, brother, dying;\n  Soon you'll miss me in your berth,\n  For my form will soon be lying\n  'Neath the ocean's briney deep.\n\n  I am going, surely going,\n  But my hope in God is strong;\n  I am willing, brother, knowing\n  That he doth nothing wrong.\n\n  Tell my father, when you greet him,\n  That in death I prayed for him,\n  Prayed that I might only meet him\n  In a world that's free from sin.\n\n  Tell my mother,--God assist her,\n  Now that she is growing old,--\n  That her child would glad have kissed her\n  When his lips grew pale and cold.\n\n  Listen, brother, catch each whisper,\n  'Tis my wife I'll speak of now;\n  Tell, O tell her how I missed her,\n  When the fever burned my brow.\n\n  Tell her she must kiss my children,\n  Like the kiss I last impressed;\n  Hold them as when last I held them,\n  Folded closely to my breast.\n\n  Give them early to their maker,\n  Putting all her trust in God;\n  And he never will forsake her,\n  For he's said so in his word.\n\n  Oh! my children, Heaven bless them,\n  They were all my life to me;\n  Would I could once more caress them\n  Before I sink beneath the sea.\n\n  'Twas for them I crossed the ocean,\n  What my hopes were I'd not tell,\n  But they gained an orphan's portion,--\n  Yet he doth all things well.\n\n  Listen, brother, closely listen,\n  Don't forget a single word,\n  That in death my eyes did glisten\n  With the tears her memory stored.\n\n  Tell them I never reached the haven,\n  Where I sought the precious dust,\n  But I've gained a port called heaven\n  Where the gold will never rust.\n\n  Tell my sisters I remember\n  Every kind and parting word,\n  And my heart has been kept tender\n  By the thoughts its memory stirred.\n\n  Urge them to secure an entrance,\n  For they'll find a brother there.\n  Faith in Jesus and repentance\n  Will secure for them a share.\n\n  Hark! I hear my Savior speaking;\n  'Tis--I know his voice so well,\n  When I'm gone, O don't be weeping,\n  Brother, hear my last farewell.\n\nThe song seems to have been inspired by the fate of one of the\n\"forty-niners.\" It made its first appearance in fasola circles in the\n1859 edition of the _Sacred Harp_ where it is attributed to Ball and\nDrinkard. For references as to its origin see Hudson, _Folksongs of\nMississippi_, 221.\n\n\n                                No. 11\n                    JOHN ADKINS' FAREWELL, SOC 200\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Poor drunkards, poor drunkards, take warning by me,\n  The fruits of transgression behold now I see;\n  My soul is tormented, my body confin'd;\n  My friends and my children left weeping behind.\n\n  Much intoxication my ruin has been,\n  And my dear companion I've barbarously slain;\n  In yonder cold graveyard her body doth lie,\n  And I am confined and must shortly die.\n\n  A solemn death warning to drunkards I leave,\n  While my poor body lies cold in the dark grave;\n  Remember John Adkins, his death and reform,\n  Lest justice o'ertakes you and sorrow comes on.\n\n  A whole life of sorrow can never atone,\n  For that cruel murder that my hands have done;\n  I am justly condemned, it's right that I should die,\n  Therefore, let all drunkards take warning hereby.\n\n  Farewell, my dear children, wherever you be;\n  Though quite young and tender and dear unto me;\n  I leave you exposed in nature's wide field,\n  In which God is able poor orphans to shield.\n\n  No mother to teach you, no mother to guide\n  Your tender affections from sin's awful tide;\n  No portion to shun you from hunger or cold,\n  My poor little orphans are cast on the world.\n\n  When sorrows oppress you and sickness comes on,\n  You'll cry for your mother, but, oh, she is gone;\n  Your father, in anger, struck her on the head,\n  She bled, groan'd, and languish'd, and now she is dead.\n\n  My heart swells with sorrow, my eyes overflow,\n  Soon, oh my dear children, I'll bid you adieu;\n  Oh may my kind neighbors your guardians prove,\n  And heaven, kind heaven, protect you above.\n\n  My soul to His pleasure I humbly submit,\n  And with my last burthen fall down at His feet;\n  To plead for His mercy that flows from above,\n  That pardons poor drunkards, and crowns them above.\n\nJohn G. McCurry, compiler of the _Social Harp_, claims this song and\ndates it 1851. The tune is identical with that of 'When Boys Go\nA-Courting', Sharp, ii., 206. The \"drunkard\" theme may have been the\ntextual source of 'Way Up On Clinch Mountain', where, to the same\ntune, the singer glories in his excesses including that of whiskey\ndrinking. See Sandburg, 307. Miss Scarbrough has a negro adoption of\nthe same tune in 'Noble Skewball'; see _On the Trail of the Negro\nFolk-Song_, 63. An English folk-song 'Sweet England' has a variant\ntune. See _English Folk-Songs for Schools_, 46. For an Irish variant\nsee Petrie, No. 1172. A Scotch variant is 'My Ain Fireside', _Lyric\nGems of Scotland_, 186, which in turn borrowed its tune from 'Todlen\nHame'.\n\n\n                                No. 12\n                       REDEMPTION (C), KHN 185\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Come all ye young people of every relation,\n  Come listen a while and to you I will tell,\n  How I was first called to seek for salvation,\n  Redemption through Jesus which sav'd me from hell.\n  I scarcely was sixteen when I was first called\n  To think of my soul and the state it was in;\n  I saw myself standing a distance from Jesus;\n  Between him and me was a mountain of sin.\n\n  The devil perceived that I was convicted,\n  And strove to persuade me that I was too young,\n  That I would get wearied before my days ended,\n  And wish that I had not so early begun;\n  Sometimes he persuaded me that Jesus was partial,\n  When he was a-setting of poor sinners free,\n  That I was forgotten and was reprobated,\n  And there was no mercy at all for poor me.\n\n  But glory to Jesus, his love's not confined,\n  To princes or men of a nobler degree;\n  His love it is boundless to all human creatures,\n  He died for poor sinners when nail'd to the tree.\n  For while I lay groaning in sad lamentation,\n  My soul overwhelmed in sorrow and grief,\n  He drew near in mercy, looked on me in pity,\n  He pardon'd my sins and he gave me relief.\n\nThe tune is practically the same as 'Grenadier and the Lady', JFSS,\nviii., 194.\n\n\n                                No. 13\n                         WEDLOCK (A), SOC 188\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  When Adam was created,\n  He dwelt in Eden's shade,\n  As Moses has related,\n  Before a bride was made.\n\n  Ten thousand times ten thousand\n  Things wheeled all around,\n  Before a bride was formed,\n  Or yet a mate was found.\n\nAnother tune and additional stanzas of the text are given in this\ncollection under the title 'Wedlock (B)'. The song is attributed, in\nthe _Social Harp_, to Henry F. Chandler and is dated 1854. The tunes\nof 'Johnny German', Sharp, ii., 256; 'I Rode My Little Horse',\nBaring-Gould, _Songs of the West_, No. 101; 'The Auld House', _Lyric\nGems of Scotland_, 49; and 'Joe Bowers', are similar to the above air.\nAnother ballad in this collection using this tune in variant form is\n'Little Family'. Stephen Foster's song 'Virginia Belle' leans\nmelodically on 'Wedlock (A)'. (See my article in _The Musical\nQuarterly_, xxii., No. 2.)\n\n\n                                No. 14\n                            PATTON, OL 40\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Young people all, attention give,\n  While I address you in God's name,\n  You who in sin and folly live,\n  Come hear the counsel of a friend.\n  I sought for bliss in glitt'ring toys,\n  And ranged th' alluring scenes of vice,\n  But never found substantial joys\n  Until I heard my Savior's voice.\n\n  He spake at once my sins forgiven\n  And wash'd my load of guilt away;\n  He gave me glory, peace and heaven,\n  And thus I found the heav'nly way.\n  And now with trembling sense I view\n  The billows roll beneath your feet;\n  For death eternal waits for you\n  Who slight the force of gospel truth.\n\n  Youth, like the spring, will soon be gone\n  By fleeting time or conquering death;\n  Your morning sun may set at noon\n  And leave you ever in the dark.\n  Your sparkling eyes and blooming cheeks\n  Must wither like the blasted rose;\n  The coffin, earth and winding-sheet\n  Will soon your active limbs enclose.\n\n  Ye heedless ones that wildly stroll,\n  The grave will soon become your bed,\n  Where silence reigns and vapors roll\n  In solemn darkness round your head.\n  Your friends will pass the lonesome place\n  And with a sigh move slow along;\n  Still gazing on the spires of grass\n  With which your graves are overgrown.\n\nThe compiler of _Olive Leaf_ gives the following notes: \"From\nMcAnally's _Western Harp_\" and \"Called after the late Wm. Patton, of\nMo. Heard him sing it, first, at a camp-meeting, North Cove, Burk Co.,\nN. C., in 1831 or 1832. Published by the admirable A. S. Hayden,\nperhaps in 1829.\" The Celtic melodic influence is clearly felt in the\nabove tune.\n\n\n                                No. 15\n                          DYING BOY, OSH 398\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  I'm dying, Mother, dying now,\n  Please raise my aching head;\n  And fan my heated, burning brow,\n  Your boy will soon be dead.\n  Turn o'er my pillow once again,\n  And kiss my fever'd cheek;\n  I'll soon be free from all the pain,\n  For now I am so weak.\n\n  Now light the lamps, my mother dear,\n  The sun has pass'd away;\n  I soon must go, but do not fear,\n  I'll live in endless day.\n  I'm sinking fast, my mother dear;\n  I can no longer dwell;\n  Yet I'll be with you, do not fear;\n  But now, O now, farewell.\n\n  A band of angels beckon me,\n  I can no longer stay;\n  Hark! how they sing: \"We welcome thee;\n  Dear brother, haste away.\"\n  The hour has come, my end is near;\n  My soul is mounting higher.\n  What glorious strains salute my ear\n  From heaven's angelic choir.\n\n  Their flowing robes in brightness shine;\n  A crown is on each head;\n  Say, mother, will not such be mine\n  When I am with the dead?\n  Then do not weep, sweet mother, now,\n  'Twill break this body frail;\n  Those burning tears fall o'er my brow,\n  Farewell, O fare thee well.\n\nThe _Sacred Harp_ says this was \"composed by H. S. Rees, 1859\". Is it\nperhaps a parody of Wm. Haines Lytle's 'I'm Dying, Egypt, Dying'?\nLytle was a cousin of Stephen Collins Foster whose own song 'For the\nDear Old Flag I Die' shows close kinship in words and tune to 'Dying\nBoy'. (See my article in _The Musical Quarterly_, xxii., No. 2.) There\nis a resemblance also between the 'Dying Boy' tune and a seventeenth\ncentury psalm tune called variously 'Bella', 'Leeds', 'Needham' and\n'Derby'; see _Hymns Ancient and Modern_, Historical ed., London,\nClowes, 1909, p. 79.\n\n\n                                No. 16\n                       SAW YE MY SAVIOR, CH 42\n\nHeptatonic ionian, mode 1 A + B (I II III IV V VI VII)\n\n                               [Music]\n\n  Saw ye my Savior, saw ye my Savior,\n  Saw ye my Savior and God?\n  Oh! he died on Calvary to atone for you and me\n  And to purchase our pardon with blood.\n\n  He was extended, he was extended,\n  Painfully nailed to the cross;\n  Then he bowed his head and died, thus my Lord was crucified,\n  To atone for a world that was lost.\n\n  Jesus hung bleeding, Jesus hung bleeding,\n  Three dreadful hours in pain;\n  Whilst the sun refused to shine, when his majesty divine\n  Was derided, insulted and slain.\n\n  Darkness prevail-ed, darkness prevail-ed,\n  Darkness prevailed through the land;\n  Oh, the solid rocks were rent, through creation's vast extent\n  When the Jews crucified the God-Man.\n\n  When it was finish'd, when it was finish'd,\n  And the atonement was made;\n  He was taken by the great, and embalmed in spices sweet,\n  And was in a new sepulchre laid.\n\n  Hail, mighty Savior, hail mighty Savior!\n  Prince and the Author of peace!\n  Oh, he burst the bars of death, and triumphing left the earth,\n  He ascended to mansions of bliss.\n\n  Now interceding, now interceding,\n  Pleading that sinners might live;\n  Saying, \"Father, I have died, (O, behold my hands and side!)\n  To redeem them, I pray thee, forgive.\"\n\n  \"I will forgive them, I will forgive them,\n  When they repent and believe;\n  Let them now return to thee, and be reconciled to me,\n  And salvation they all shall receive.\"\n\nThis song occurs also in _Olive Leaf_, p. 203, where it is called \"a\nScotch air\". Miss Gilchrist tells us, in the article often cited here,\nthat 'Saw Ye My Savior' is 'Saw Ye My Father', or 'The Grey Cock',\nfound in both Scotch and English versions. A text is in Herd's\ncollections of 1769 and 1772, and another with the tune, in Chappell's\n_Popular Music_. Chappell's version begins:\n\n  Saw you my father, saw you my mother,\n  Saw you my true love John?\n  He told his only dear that he would soon be here,\n  But he to another is gone.\n\nThe melodic phrase above, which coincides with the text \"Oh ... me\",\nis used to build up the tune for 'Simple Ploughboy', Sharp, i., 369.\nAs to the influence of this impressive text on the crucifixion songs\nof the negroes, see _White Spirituals_, 277. Stephen Foster seems to\nhave been influenced by the 'Saw Ye My Savior' tune or its secular\nrelatives in composing his 'Old Black Joe'. (See my article in _The\nMusical Quarterly_, xxii., No. 2.) For further references as to 'The\nGrey Cock' see _British Ballads from Maine_, 310ff.\n\n\n                                No. 17\n                            ESTER, OSH 437\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Young ladies all, attention give,\n  You that in wicked pleasures live;\n  One of your sex the other day\n  Was call'd by death's cold hand away.\n\n  This lesson she has left for you,\n  To teach the careless what to do;\n  To seek Jehovah while you live\n  And everlasting honors give.\n\n  Her honored mother she addrest,\n  While tears were streaming down her breast;\n  She grasped her tender hands and said,\n  \"Remember me when I am dead.\"\n\n  She called her father to her bed,\n  And thus in dying anguish said:\n  \"My days on earth are at an end,\n  My soul is summoned to attend;\n\n  Before Jehovah's awful bar,\n  To hear my awful sentence there;\n  And now, dear father, do repent,\n  And read the holy testament.\"\n\nThe _Sacred Harp_ ascribes the song to John S. Terry and dates it\n1869. Terry was a singing-school teacher of Georgia and later lived in\nAlabama. The singing-school teacher took for his warning song the\n'Lord Lovel' tune type that has been used for many secular ballads.\nAmong them are 'Barbara Allen', Sharp, i., 195, tune O; 'Gypsy\nLaddie', Sharp, i., 237, tune F; 'Come all Ye Fair and Tender Ladies',\nSharp, ii., 135, tune P. For other tunes of the same type see\n'Dulcimer' in this collection.\n\n\n                                No. 18\n                        LONE PILGRIM, SOH 256\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  I came to the place where the lone pilgrim lay,\n  And pensively stood by the tomb,\n  When in a low whisper I heard something say,\n  \"How sweetly I sleep here alone.\"\n\n  \"The tempest may howl and the loud thunder roar,\n  And gathering storms may arise,\n  Yet calm is my feeling, at rest is my soul\n  The tears are all wiped from my eyes.\n\n  \"The cause of my master compelled me from home,\n  I bade my companions farewell;\n  I blessed my dear children who now for me mourn,--\n  In far distant regions they dwell.\n\n  \"I wandered an exile and stranger from home,\n  No kindred or relative nigh;\n  I met the contagion and sank to the tomb,\n  My soul flew to mansions on high.\n\n  \"O tell my companion and children most dear,\n  To weep not for me now I'm gone;\n  The same hand that led me through scenes most severe,\n  Has kindly assisted me home.\n\n  \"And there is a crown that doth glitter and shine,\n  That I shall for evermore wear;\n  Then turn to the Savior, his love's all divine,\n  All you that would dwell with me there.\"\n\nThe text is attributed, by the 1911 editor of the _Sacred Harp_, to B.\nF. White, original compiler of that book. He wrote it \"on the lone\nprairie in Texas\", while standing \"at the grave of a friend who once\nlived in Georgia\". In _Folksongs of Mississippi_ Hudson gives a\nvariant text from oral tradition and tells of a local legend as to its\nsource which agrees in the main with that given in the _Sacred Harp_\nwhich book, I suspect, was the source of the Mississippi legend.\n\nThe tune, variously claimed in the fasola books, is identical with the\n'Braes o' Balquhidder'. See Gilchrist, JFSS, viii., 77. Other\nderivatives of the same tune are 'Sinner's Invitation', 'Florence',\nand 'Orphan Girl' in this collection. In _The Musical Quarterly_,\nxxii., No. 2, I have shown the relationship between this tune and\nStephen Foster's 'Linda Has Departed'.\n\n\n                                No. 19\n                         ORPHAN GIRL, CSH 506\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  \"No home, no home\", plead a little girl,\n  At the door of a princely hall,\n  As she trembling stood on the polish'd step,\n  And lean'd on the marble wall.\n\n  \"My father, alas, I never knew\",\n  And a tear dimmed her eyes so bright;\n  \"My mother sleeps in a new-made grave,\n  'Tis an orphan begs tonight\".\n\n  Her clothes were thin and her feet were bare,\n  But the snow had covered her head;\n  \"O! give me a home\", she feebly said,\n  \"A home and a bit of bread\".\n\n  The night was dark and the snow fell fast,\n  But the rich man closed his door;\n  And his proud face frowned as he scornfully said:\n  \"No room, no bread for the poor\".\n\n  The morning dawned, and the orphan girl\n  Still lay at the rich man's door;\n  But her soul had fled to a home above,\n  Where there's room and bread for the poor.\n\nThe Cooper edition of the _Sacred Harp_ gives the note: \"Music by Eld.\nC. G. Keith, Nov. 1, 1906.\" See Henry, JAFL, vl., 66f, for further\nreferences as to its occurrence. The tune is a derivative of 'The\nBraes o' Balquidder'. See 'Lone Pilgrim' for references to related\ntunes in this collection.\n\n\n                                No. 20\n                           PARALYTIC, REV 4\n\nHeptatonic aeolian; mode 4 a + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Review the palsied sinner's case\n  Who sought for help in Jesus;\n  His friends conveyed him to the place\n  Where he might meet with Jesus.\n  A multitude were thronging round\n  To keep them back from Jesus;\n  But from the roof they let him down,\n  Before the face of Jesus.\n\n  Thus fainting souls by sin diseased,\n  There's none can save but Jesus;\n  With more than plague or palsy seized\n  Oh! help them on to Jesus.\n  Oh! Savior, hear their mournful cry,\n  And tell them thou art Jesus;\n  Oh! speak the word, or they must die,\n  And bid farewell to Jesus.\n\n  Now let them hear thy voice declare,\n  Thou sin-forgiving Jesus,\n  That thou didst die to hear their prayer,\n  And give them help in Jesus.\n  The great Physician now is near,\n  The sympathizing Jesus;\n  He speaks the drooping heart to cheer,\n  Oh! hear the voice of Jesus.\n\n  All glory to the dying Lamb,\n  I now believe in Jesus;\n  I love the blessed Savior's name,\n  I love the name of Jesus.\n  And when to that bright world above\n  We rise to see our Jesus,\n  We'll sing around the throne of love\n  The blessed name of Jesus.\n\nThe author of the text is given as Wm. Hunter. The tune is a variant\nof 'London Pride', Sharp, _Morris Dances_, Set vii, No. 6. Its proper\nmode would seem to be dorian and its correct signature therefore one\nflat.\n\n\n                                No. 21\n                    VILLULIA or BARTIMEUS, OSH 331\n\nPentatonic, mode 4 (I II -- IV V -- 7)\n\n                               [Music]\n\n  Mercy, O thou son of David,\n  Thus poor blind Bartimeus pray'd;\n  Others by thy grace are saved,\n  Now to me afford thine aid.\n\n  Money was not what he wanted,\n  Though by begging used to live;\n  But he asked and Jesus granted\n  Alms which none but he could give.\n\n  \"Lord, remove this grievous blindness;\n  Let mine eyes behold the day.\"\n  Straight he saw and, won by kindness,\n  Followed Jesus by the way.\n\nTune attributed to J. M. Day, a Georgian. Doubt as to the correctness\nof this source is cast by the appearance of both tune and text in the\n_Christian Lyre_ of 1830, No. 4. Variants are 'Invocation', GOS 67,\nand 'Lord Revive Us', PB 198. The _Sacred Harp_ editor evidently\nlooked upon this tune as one in _a_-minor, whereas it is probably a\ndorian melody with _f_-sharp as its tonic, and should have also a\n_d_-sharp in its key signature.\n\n\n                                No. 22\n                       MOULDERING VINE, UH 101\n\nHeptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Hail! ye sighing sons of sorrow,\n  Learn from me your certain doom;\n  Learn from me your fate tomorrow,\n  Dead perhaps laid in your tomb.\n  See all nature fading,\n  dying, silent all things seem to pine;\n  Life from vegetation flying,\n  Brings to mind the mould'ring vine!\n\n  See in yonder forest standing\n  Lofty cedars, how they nod!\n  Scenes of nature how surprising,\n  Read in nature, nature's God.\n  Whilst the annual frosts are cropping\n  Leaves and tendrils from the trees,\n  So, our friends are early dropping,\n  We are like to one of these.\n\n  Hollow winds about me roaring,\n  Noisy waters round me rise,\n  Whilst I sit my fate deploring,\n  Tears fast streaming from mine eyes.\n  What to me is autumn's treasure,\n  Since I know no earthly joy?\n  Long I've lost all youthful pleasure,\n  Time must youth and health destroy.\n\nThe tune was recorded, from oral tradition evidently, by William\nCaldwell (of eastern Tennessee) in the 1830's. His source was\ndoubtless some variant of 'Banks of Inverary'. Cf. JFSS, viii., 198.\n\nThe unique opening melodic phrase is to be found also in 'Young\nBeeham' or 'Ship's Carpenter', Cox 528. Another tune variant in the\nfasola environment is 'Sons of Sorrow', OSH 332.\n\n\n                                No. 23\n                     CONVERTED THIEF (A), COH 147\n\nHexatonic, mode 4 A (I II -- IV V VI 7)\n\n                               [Music]\n\n  As on the cross the Savior hung\n  And wept and bled and died,\n  He pour'd salvation on a wretch\n  That languish'd at his side.\n\n  His crimes with inward grief and shame,\n  The penitent confess'd\n  Then turn'd his dying eyes on Christ\n  And thus his prayer address'd.\n\nThe poem, given in full under 'Converted Thief (B)', is attributed to\nStennett. William Moore of Tennessee, compiler of _Columbian Harmony_,\nlays claim to the tune, and probably did record it from oral sources.\nFound also SOH 9, OSH 44, GOS 140. The tune is a member of the\n'Hallelujah' family. See the song with that title in this collection.\n\n\n                                No. 24\n                          TENNESSEE, HH 140\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Afflictions, though they seem severe,\n  In mercy oft are sent;\n  They stopp'd the prodigal's career\n  And caus'd him to repent.\n\n  Although he no relenting felt,\n  Till he had spent his store;\n  His stubborn heart began to melt,\n  When famine pinched him sore.\n\n  \"What have I gained by sin?\" he said,\n  \"But hunger, shame, and fear?\n  My father's house abounds with bread,\n  While I am starving here.\n\n  \"I'll go and tell him all I've done\n  And fall before his face;\n  Unworthy to be called his son,\n  I'll seek a servant's place.\"\n\n  His father saw him coming back;\n  He saw and ran and smiled,\n  And threw his arms around the neck\n  Of his repenting child.\n\n  \"Father, I've sinned, but O forgive!\"\n  \"Enough,\" the father said;\n  \"Rejoice, my house, my son's alive,\n  For whom I mourned as dead.\n\n  \"Now let the fatted calf be slain;\n  Go spread the news around;\n  My son was dead, but lives again,\n  Was lost, but now is found.\"\n\n  'Tis thus the Lord his love reveals,\n  To call his children home;\n  More than a father's love he feels,\n  And bids the needy come.\n\nThe tune is a member of the 'Roll Jordan' family which is described\nunder the song by that name in this collection. The 'Tennessee' tune's\nresemblance to Foster's 'Susanna' is evident. The melody, or some near\nrelative of it, may well have furnished Foster with his inspiration in\ncomposing the latter. It had been sung widely in America for at least\nfifty years before the Pittsburgh composer published his minstrel\nsong. (See the author's article 'Stephen Foster's Debt to American\nFolk-Song', _The Musical Quarterly_, xxii., No. 2.)\n\nThat the 'Tennessee' tune was \"unwritten music\" in the South, and\ntherefore free for all, is indicated by the many claimants to its\nauthorship; Chapin, J. Robertson, L. P. Breedlove, William C. Davis,\nand William Walker were among them. In various forms and with\ndifferent texts the tune is found also, CHI 84 (published in 1805),\nSKH 23, GCM 134, SOH 28, GOS 229, HOC 114, WP 96, TZ 94, SOC 78, SOC\n81, SOC 145, SOH 105, OSH 501, SKH 23. The second part of the tune is\nsimilar to 'Jamaica', Sharp, _Country Dances_, Set IV, No. 12.\n\n\n                                No. 25\n                           FAREWELL, HOC 32\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  The time is swiftly rolling on,\n  When I must faint and die,\n  My body to the dust return,\n  And there forgotten lie,\n  And there forgotten lie,\n  And there forgotten lie,\n  My body to the dust return,\n  And there forgotten lie.\n\n  Through heats and colds I've ofttimes went,\n  I've wandered in despair,\n  To call poor sinners to repent\n  And seek their Savior dear.\n\n  My brother preachers, boldly speak\n  And stand on Zion's wall;\n  Confirm the drunk, confirm the weak\n  And after sinners call.\n\n  My loving wife, my bosom friend,\n  The object of my love,\n  The time's been sweet I've spent with you,\n  My sweet and harmless dove.\n\n  My little children near my heart\n  My warm affections know.\n  Fer each the path will I attend.\n  O from them can I go?!\n\n  O God, a father to them be\n  And keep them from all harm,\n  That they may love and worship Thee\n  And dwell upon thy charm.\n\n  How often you have looked fer me\n  And often seen me come;\n  But now I must depart from thee\n  And nevermore return.\n\n  My loving wife, don't grieve fer me,\n  Neither lament nor mourn;\n  Fer I will with my Jesus be,\n  And dwell upon his charm.\n\nThe tune is attributed in the _Harp of Columbia_ to W. Atchley. It\nbelongs to what I have called (Introduction, p. 14) the 'Hallelujah'\ntype of melody. See 'Hallelujah' for other related spiritual tunes. A\nsecular song using the same melodic formula is 'Virginia Lover',\nSharp, ii., 150. The text of 'Farewell' is recorded from oral\ntradition and reproduced from _White Spirituals_, 202. See 'Hicks'\nFarewell' in this collection as to the authorship of the words.\n\n\n                                No. 26\n                         WICKED POLLY, WS 190\n\nHexatonic mode 4, b (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Young people who delight in sin,\n  I'll tell you what has lately been:\n  A woman who was young and fair\n  Died in sin and deep despair.\n\nFor the full text and much data as to the source and occurrence of\nthis song, see _White Spirituals_, 189-193. A tune variant is\n'Supplication', in this collection. Another is 'Lord Bateman', Sharp\n_One Hundred English Folksongs_, No. 6.\n\n\n                                No. 27\n                                MOSES\n\nHexatonic, mode 1 A (I II III IV V VI --)\n\n                               [Music]\n\n  An' Phareoh's daughter went down to thee water\n  An' foun' there thee beauteeful child,\n  Among thee tall bushes thee reeds an' thee rushes\n  Thee babee look'd sweetlee an' smil'd.\n\nRecorded from singing of Miss Will Allen Dromgoole, Nashville,\nTennessee, as she remembered it sung in 1890 by Mr. Tate, stage driver\nfrom Beersheba to Beersheba Springs on Cumberland Mountain in\nTennessee. The unusual spelling is an attempt at reproducing the\nemphatic rhythmic pronunciation of Mr. Tate. The one stanza given\nabove was all Miss Dromgoole remembered. The full text, however, was\nrecorded by Mr. Fred Haun of Newport, Tennessee, from the singing of\nhis mother, Mrs. Maggie Haun, and placed at my disposal by Miss\nMildred Haun, his sister. This rather defective text is as follows:\n\n  The ladies were wending their way\n  As Pharo's daughter stepped down to the water\n  To bathe in the cool of the day.\n  Before it was dark she opened the ark\n  And found the sweet infant was there.\n\n  She took him in pity and thought him so pretty;\n  That made little Moses so glad.\n  She called him her own, her beautiful son,\n  And sent for a nurse that was near.\n\n  By the side of the river so clear\n  They carried that beautiful child\n  To his own tender mother, his sister and brother;\n  Little Moses looked happy and smiled.\n\n  His mother so good done all that she could\n  To hear [rear?] him and teach him with care.\n  Then away by the sea that was red\n  Stood Moses the servant of God.\n\n  While in him confided the deed [sea ?] was divided\n  While upward he lifted his rod.\n  The Jews safely crossed while Pharo's host\n  Was drounded in the water and lost.\n\n  Then away by the mountain so high\n  Stood Moses with trembling an' awe;\n  With lightning and thunder, great signs and wonders,\n  While God was giving the law.\n  He wrote it down on two tables of stone\n  Before he returned to the sky.\n\n  Then away on the mountain so high\n  Stood the last one he ever might see.\n  While Isreal victorious, his hope was most gloriest,\n  Would soon over Jordan be free.\n  His neighbors did cease, he departed in peace,\n  And rest-es in heaven above.\n\n\n                                No. 28\n        MOURNER'S LAMENTATION or CHURCH'S DESOLATION, CHH 265\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  Poor mourning soul in deep distress,\n  Just waken'd from a slumber,\n  Who wanders in sin's wilderness,\n  Out of the condemned number.\n  The thunder roars from Sinai's mount,\n  Fills him with awful terror;\n  And he like nought in God's account,\n  All drown'd with grief and sorrow.\n\n  Oh, woe is me that I was born,\n  Or after death have being;\n  Fain would I be some earthly worm,\n  Which has no future being;\n  Or had I died when I was young,\n  Oh, what would I have given!\n  Then might with babes my little tongue,\n  Been praising God in heaven.\n\n  But now may I lament my case,\n  Just worn away by trouble;\n  From day to day I look for peace,\n  But find my sorrow double.\n  Cries Satan, \"Desp'rate is your state,\n  Time's been you might repented,\n  But now you see it is too late,\n  So make yourself contented!\"\n\n  How can I live, how can I rest\n  Under this sore temptation,\n  Fearing the day of grace is past,\n  Lord, hear my lamentation!\n  For I am weary of my life,\n  My groans and bitter crying;\n  My wants are great, my mind's in strife,\n  My spirit's almost dying.\n\n  Without relief I soon shall die,\n  No hope of getting better;\n  Show pity, Lord, and hear the cry\n  Of a distress-ed sinner.\n  For I'm resolv-ed here to trust\n  At thy footstool for favor,\n  Pleading for life, though death be just,\n  Make haste, Lord, to deliver.\n\n  \"Come, hungry, weary, naked soul,\n  For such I ne'er rejected;\n  My righteousness sufficient is,\n  Though you have long neglected.\n  Come, weary soul, for right you have,\n  I am such soul's protector;\n  My honor is engaged to save\n  All under this character.\n\n  \"I came to seek, I came to save,\n  I came to make atonement,\n  I lived, I died, laid in the grave\n  To save you from the judgment.\"\n  By faith, my glorious Lord I see;\n  Oh, how it doth amaze me\n  To see him bleeding on the tree,\n  From death and hell to raise me.\n\nThe above homespun text points to the rural preacher or revival song\nleader of the late eighteenth century as its source. It is a\nconversion story in dramatic form, the Savior, the Sinner and the\nDevil having parts in the drama.\n\nThe earliest known occurrence of the tune is in the Vermont book,\nIngalls' _Christian Harmony_ of 1805, p. 77. In the _Sacred Harp_ of\n1844, p. 89, it is found with a different text and is entitled\n'Church's Desolation'. It is claimed there by J. T. White, and in the\n_Christian Harmony_ of 1866, by William Walker. Both were South\nCarolinians, from which territory Reed Smith recorded the tune in 1913\nas one of the 'Barbara Allen' settings; SCB 130. This tune was\nprobably adopted for 'Church's Desolation' and for the 'Barbara Allen'\nballad from the Scotch ballad 'Wae's me for Prince Charlie'. See\nKennedy's _Handbook of Scottish Song_, p. 20. The London _Era_ in the\nearly 1860's speaks of this as the \"celebrated Jacobite song.\" The\n'Prince Charlie' of the song is Charles II of England. Hence the song,\nthe text at least, is nearly 300 years old. The same tune is used also\nfor 'Geordie', _Last Leaves_, p. 133; 'Locks and Bolts', Sharp, ii.,\n19; 'Lazarus', Sharp, ii., 30; an old Irish tune in Petrie, No. 363;\n'Johnny Fa'', SMM, No. 62; and 'Hynd Horn', Motherwell, Appendix,\n_Musick_, No. 13.\n\nThe noted composer of hymn tunes, J. B. Dykes, was influenced by the\n'Prince Charlie' melody in the building up of 'Lindisfarne'; see\n_Hymns Ancient and Modern_, No. 156, second tune.\n\n\n                                No. 29\n                       ADDRESS FOR ALL, CHH 101\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  I sing a song which doth belong\n  To all the human race,\n  Concerning death which steals the breath\n  And blasts the comely face.\n  Come listen all unto my call\n  Which I do make to day,\n  For you must die as well as I,\n  And pass from hence away.\n\n  No human power can stop the hour\n  Wherein a mortal dies;\n  A Caesar may be great today,\n  Yet death will close his eyes.\n  Though some do strive and do arrive\n  To riches and renown,\n  Enjoying health and swim in wealth,\n  Yet death will bring them down.\n\n  Though beauty grace your comely face\n  With roses white and red,\n  A dying fall will spoil it all,\n  For Absalom is dead.\n  Though you acquire the best attire,\n  Appearing fine and fair,\n  Yet death will come into the room\n  And strip you naked there.\n\n  The princes high and beggars die\n  And mingle with the dust,\n  The rich, the brave, the negro slave,\n  The wicked and the just.\n  Therefore prepare to meet thy God\n  Before it be too late,\n  Or else you'll weep, lament and cry,\n  Lost in a ruin'd state.\n\nWilliam Walker claims this song. See 'Church's Desolation', a variant\nof the tune, for source references. See also 'Sweet William and Lady\nMargery' (Wyman and Brockway, p. 94) for a secular tune variant.\n\n\n                                No. 30\n                        CONDESCENSION, GOS 656\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  How condescending and how kind\n  Was God's eternal Son!\n  Our mis'ry reach'd his heav'nly mind\n  And pity brought him down.\n\n  When justice by our sins provoked,\n  Drew forth its dreadful sword,\n  He gave his soul up to the stroke,\n  Without a murmuring word.\n\n  Here we behold his bowels roll,\n  As kind as when he died;\n  And see the sorrows of his soul\n  Bleed through his wounded side.\n\n  This was compassion like a God,\n  That when the Savior knew\n  The price of pardon was his blood,\n  His pity ne'er withdrew.\n\n  Now though he reigns exalted high,\n  His love is still as great;\n  Well he remembers Calvary,\n  Nor let his saints forget.\n\n  Here let our hearts begin to melt,\n  While we his death record,\n  And with our joy for pardoned guilt,\n  Mourn that we pierced the Lord.\n\nThe words are attributed to Isaac Watts. I have supplied the second\nand third stanzas from _The Olive Leaf_, p. 129. The tune is from the\neighteenth century; found also OSH 286, PB 38, HH 63, UHH 13. The\ntune's frame is found with the text of 'Good Morning, My Pretty Little\nMiss', Sharp, ii., 90, also in 'Ibby Damsel', Sharp, ii., 137. I\nsurmise that we have, in the last line of the second stanza above, the\nsource of the negro spiritual refrain:\n\n  An' he never said a mumblin' word.\n\n\n                                No. 31\n                        GOOD PHYSICIAN, SOH 49\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  How lost was my condition,\n  Till Jesus made me whole;\n  There is but one Physician\n  Can cure a sin-sick soul.\n  Next door to death he found me,\n  And snatch'd me from the grave,\n  To tell to all around me,\n  His wondrous pow'r to save.\n\n  The worst of all diseases\n  Is light compared with sin;\n  On every part it seizes,\n  But rages most within.\n  'Tis palsy, plague, and fever,\n  And madness, all combin'd;\n  And none but a believer\n  The least relief can find.\n\n  From men great skill professing,\n  I thought a cure to gain;\n  But this proved more distressing\n  And added to my pain.\n  Some said that nothing ail'd me.\n  Some gave me up for lost;\n  Thus every refuge fail'd me,\n  And all my hopes were cross'd.\n\n  At length this great Physician\n  (How matchless is his grace!)\n  Accepted my petition\n  And undertook my case.\n  First gave me sight to view him,\n  For sin my eyes had seal'd;\n  Then bid me look unto him,\n  I look'd, and I was heal'd.\n\n  A dying, risen Jesus,\n  Seen by the eye of faith,\n  At once from anguish frees us\n  And saves the soul from death.\n  Come, then, to this Physician,\n  His help he'll freely give;\n  He makes no hard condition,\n  'Tis only--look and live.\n\nThis tune is found also in GOS, No. 227. A remake is in OSH 176. It is\n'Banks of Sweet Dundee', Sharp i., 399. Related also to 'Pinery Boy',\nShoemaker, 262; and 'Virginian Lover', Sharp, ii., 150. The negro song\n'Sin-Sick Soul', SS, No. 66, is based textually and melodically on the\nabove song.\n\n\n                                No. 32\n                 LOOK OUT or WHEN I WAS YOUNG, OSH 90\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  When I was young of tender years,\n  My Savior did arrest me;\n  I then was fill'd with many fears,\n  But Satan still did tempt me.\n  He told me that I was too young\n  To leave my earthly pleasure;\n  That I might live till I was old,\n  And serve God at my leisure.\n\n  Again the spirit came one day\n  With his almighty power,\n  Which caused me to forsake my way\n  And tremble every hour;\n  And he caused me to weep and mourn,\n  Saying, Lord Jesus, save me,\n  If mercy thou canst me afford,\n  And to thy glory raise me.\n\n  When Jesus heard the rebel cry,\n  He sent his kind compassion;\n  Down at his feet my soul did lie,\n  There pleading for a blessing.\n  My heart was filled with tenderness.\n  My mouth was filled with praises,\n  While Abba, Father, I did cry,\n  And glory to my Savior.\n\nB. F. White, compiler of the _Sacred Harp_, is given as the composer.\nIt is dated 1842. The text is supplied from _Good Old Songs_, No. 154.\nA secular setting is 'Three Crows', Davis, p. 562, tune \"P\". Both\n'Look Out' and 'Three Crows' are adaptations of 'Ye Banks and Braes',\nor 'Bonnie Doon', see Kennedy, _Handbook of Scottish Song_, p. 27. In\n_Church Harmony_, p. 134, we find the 'Bonnie Doon' tune in its\noriginal form under the little 'Star of Bethlehem'. A variant tune in\nthis collection is ''Tis a Wonder'.\n\n\n                                No. 33\n                       SAINT'S REQUEST, OSH 286\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Young people all attention give\n  And hear what I shall say;\n  I wish your souls with Christ to live,\n  In everlasting day.\n  I want you to go to that bright world,\n  To dwell with saints forever there.\n\nThe _Sacred Harp_ gives but one stanza of this ballad. The rest of the\ntext is to be found in _Zion Songster_. The tune is widely used among\nthe secular ballads. See 'Barbara Allen', Sharp, i., 183; 'Geordie',\nSharp, i., 240; 'False Young Man', Sharp, ii., 52; 'Lord Thomas and\nFair Eleanor', Smith, 115; 'True Lover's Farewell', Sharp, ii., 114;\n'Lizzie Wan', Sharp, i., 89; and 'Little Musgrave and Lady Barnard',\nSharp, i., 164 and 166.\n\n\n                                No. 34\n                 NEWBERRY or LONESOME GROVE, SOC 131\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  One day while in a lonesome grove,\n  Sat o'er my head a little dove;\n  For her lost mate began to coo,\n  Which made me think of my mate too.\n\n  Ah! little dove, you're not alone,\n  For I, like you, can only mourn;\n  I once, like you, did have a mate,\n  But now, like you, am desolate.\n\n  Consumption seized my love severe\n  And preyed upon her one long year,\n  Till death came at the break of day,\n  And my poor Mary he did slay.\n\n  Her sparkling eyes and blooming cheeks\n  Withered like the rose and died;\n  The arms that once embraced me round\n  Lie mould'ring under the cold ground.\n\n  But death, grim death, did not stop here;\n  I had one child, to me most dear;\n  He, like a vulture, came again\n  And took from me my little Jane.\n\n  But, bless the Lord, his word is given,\n  Declaring babes are heirs of heaven.\n  Then cease, my heart, to mourn for Jane,\n  Since my small loss is her great gain.\n\n  I have a hope that cheers my breast,\n  To think my love has gone to rest;\n  For while her dying tongue could move,\n  She praised the Lord for pardoning love.\n\n  Shout on, ye heavenly pow'rs above,\n  While I this lonesome desert rove;\n  My master's work will soon be done,\n  And then I'll join you in your song.\n\n  O hasten on that happy day,\n  When I must leave this clod of clay,\n  And soar aloft o'er yon blest plain\n  And there meet Mary and my Jane.\n\nThe song is attributed in the _Social Harp_ to Wm. C. Davis. The first\nstanza was evidently inspired by the lines in the traditional English\nballad entitled 'Giles Collins', Sharp, i., 196, which reads:\n\n  Look away, look away, that lonesome dove\n  That sails from pine to pine;\n  It's mourning for its own true love\n  Just like I mourn for mine.\n\nFour recently recorded (1917 and 1918) variants of the 'Newberry'\ntune, with one stanza of text each are in Sharp, ii., 197f. See also\nJAFL, xxv., 276. 'Lonesome Dove', Thomas, 162, has the same text but a\ndifferent tune. 'Heavenly Dove' in this collection is a variant tune,\nbut it is more closely related to the 'Barbara Allen' tune in Sharp,\ni., 183ff. 'Newberry' belongs to the 'Lord Lovel' type of tune\nmentioned in the Introduction, p. 14. Other melodies of the same type\nare listed under 'Dulcimer' in this collection.\n\n\n                                No. 35\n              DEEP SPRING or CONVERTED THIEF (B), KNH 90\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  As on the cross the Savior hung, and wept and bled and died,\n  He pour'd salvation on a wretch that languish'd at his side;\n      That languish'd at his side,\n      That languish'd at his side,\n  He pour'd salvation on a wretch that languish'd at his side.\n\n  His crimes, with inward grief and shame, the penitent confess'd;\n  Then turn'd his dying eyes to Christ and thus his prayer address'd:\n\n  \"Jesus, thou son and heir of heaven! Thou spotless lamb of God!\n  I see thee bathed in sweat and tears and welt'ring in thy blood.\n\n  \"Yet quickly from those scenes of wo, in triumph thou shalt rise,\n  Burst through the gloomy shades of death and shine above the skies.\n\n  \"Amid the glories of that world, dear Savior, think on me,\n  And in the vict'ries of thy death let me a sharer be.\"\n\n  His prayer the dying Jesus hears and instantly replies:\n  \"Today thy parting soul shall be with me in paradise.\"\n\nThe tune is found also UH 89, SOC 249, HOC 93, OSH 44. It is\nreminiscent of 'Little Musgrave and Lady Barnard', Sharp, i., 166;\n'Lord Thomas and Fair Eleanor', Sharp, i., 118; and 'O Land of Rest'\nin this collection.\n\n\n                                No. 36\n         SALUTATION or GOOD MORNING BROTHER PILGRIM, GOS 298\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Good morning, brother pilgrim, What, bound for Canaan's coast?\n  March you to Jerusalem To join the heav'nly host?\n  Pray, wherefore are you smiling, While tears run down your face?\n  We soon shall cease from toiling And reach that heav'nly place;\n      And reach that heav'nly place,\n  We soon shall cease from toiling And reach that heav'nly place.\n\n  To Canaan's coast we'll hasten, to join the heavenly throng;\n  Hark, from the banks of Jordan, how sweet the pilgrims' song!\n  Their Jesus they are viewing, by faith we see him, too,\n  We smile and weep and praise him, and on our way pursue;\n      (_repeated as above_)\n\n  Though sinners do despise us and treat us with disdain,\n  Our former comrades slight us, esteem us low and mean;\n  No earthly joy shall charm us while marching on our way,\n  Our Jesus will defend us in the distressing day.\n\n  The frowns of old companions we're willing to sustain,\n  And, in divine compassion, to pray for them again;\n  For Christ, our loving Savior, our Comforter and Friend,\n  Will bless us with his favor and guide us to the end.\n\n  With streams of consolation, we're filled as with new wine,\n  We die to transient pleasures, and live to things divine,\n  We sink in holy raptures, while viewing things above,\n  While, glory to my Savior, my soul is full of love.\n\nThis is evidently a marching tune and from the eighteenth century\nvintage. It occurs also OSH 153, SOC 216, HH 387. 'Walking on the\nLevy' (Newell, _Games_ _and Songs of American Children_, p. 231) has a\nsimilar beginning. Echoes of the text are found in Dett, p. 8:\n\n  Good mornin', brother trav'ler,\n  Pray tell me where you're bound,\n  I'm bound for Canaan's happy land,\n  And de enchanted ground.\n\nStephen Foster's 'Farewell My Lily Dear' and 'The Soldier's Home' show\nrelationship to the tune. (See my article in _The Musical Quarterly_,\nvol. xxii., No. 2.) For the English source of this _dialogue_ type of\nsong, see the note under 'Warrenton' in this collection.\n\n\n                                No. 37\n                 HEAVENLY UNION or EXPERIENCE, REV 42\n\nHeptatonic aeolian, mode 1 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Come, saints and sinners, hear me tell,\n  The wonders of Immanuel\n  Who saved me from a burning hell,\n  And brought my soul with him to dwell,\n  And gave me heav'nly union.\n        Union, union,\n  Who sav'd me from a burning hell,\n  And brought my soul with him to dwell,\n  And gave me heav'nly union.\n\n  When Jesus saw me from on high,\n  Beheld my soul in ruin lie,\n  He looked on me with pitying eye,\n  And said to me as he passed by:\n  \"With God you have no union.\"\n\n  Then I began to weep and cry;\n  And looked this way and that to fly;\n  It grieved me so that I must die;\n  I strove salvation then to buy,\n  But still I had no union.\n\n  But when I hated all my sin,\n  My dear Redeemer took me in,\n  And with his blood he washed me clean;\n  And oh! what seasons I have seen\n  Since first I felt this union.\n\n  I now with saints can join to sing,\n  And mount on faith's triumphant wing\n  And make the heavenly arches ring\n  With loud hosannas to our King,\n  Who brought our souls to union.\n\nThe tune seems dorian in character. If so classed, the key signature\nshould be natural. A variant of tune and text is in CHI 30 and SWP 69.\n\n\n                                No. 38\n             MARION or I'LL RAMBLE AND I'LL ROVE, SOC 228\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  I have a loving old father at home,\n  I've cost him many a tear;\n  And to make lament to him,\n  I'll travel ten thousand year.\n\n  I'll ramble and I'll rove and I'll call upon my God.\n  They may all say what they will,\n  Resolv'd as I am so long as I live,\n  For to be a rover still.\n\nFurther stanzas are made merely by the substitution of \"mother\" etc.\nfor \"father\". The song, tune and words, was probably parodied from\n'Seven Long Years'. See Sharp, ii., 79. From the latter song I quote\nthe second stanza.\n\n  I have a good old father at home,\n  And I've cost him many a pound,\n  And now to make amends for this,\n  I'll travel the whole world round.\n        _Chorus_\n  I'll romp and I'll rave, and I'll call for my bode,\n  They may all say what they will;\n  Resolved as I am, just as long as I can,\n  For to drink good liquor still.\n\nCompare also 'Lord Thomas and Fair Eleanor', Sharp, i., 124, tune 'N'.\n'Marion' belongs to the 'Babe of Bethlehem' group of tunes. See the\nsong by that title in this collection. 'Kingsfold', No. 270 in the\n_Christian Science Hymnal_ is the same. In the English _Methodist Hymn\nBook_, 'Kingsfold' is given as a traditional melody of England. See\nalso Petrie, Nos. 193 and 863.\n\n\n                                No. 39\n                            UNION, OSH 116\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Come, brothers and sisters who love one another\n  And have done for years that are gone;\n  How often we've met him in sweet heav'nly union\n  Which opens the way to God's throne;\n  With joy and thanksgiving we'll praise him who loved us,\n  While we run the bright shining way;\n  Though we part here in body we're bound for one glory,\n  And bound for each other to pray.\n\n  There was Joshua and Joseph, Elias and Moses,\n  That pray'd, and God heard from his throne;\n  There was Abraham, and Isaac, and Jacob, and David,\n  And Solomon, and Stephen, and John,\n  There was Simeon, and Anna, and I don't know how many,\n  That pray'd as they journey'd along;\n  Some cast among lions, some bound with rough irons,\n  Yet glory and praises they sung.\n\n  Some tell us that praying, and also that praising\n  Is labor that's all spent in vain;\n  But we have such a witness that God hears with swiftness,\n  From praying we will not refrain.\n  There was old father Noah, and ten thousand more,\n  That witness'd that God heard them pray;\n  There was Samuel and Hannah, Paul, Silas, and Peter,\n  And Daniel and Jonah, we'll say.\n\n  That God, by his spirit, or an angel doth visit\n  Their souls and their bodies while praying,\n  Shall we all go fainting, while they go on praising,\n  And glorify God in the flame?\n  God grant us to inherit the same praying spirit,\n  While we are journeying below,\n  That when we cease praying, we shall not cease praising,\n  But round God's white throne we shall bow.\n\nJames, editor of the _Original Sacred Harp_, 1911, says: \"The hymn is\nfrom a very old edition, 1820. It is not in any of the hymn books\nfound since that date.\" The quick triple time of the tune indicates\nIrish influence and, probably, source. Similar is 'Royal Band', OSH\n360.\n\nAs to the remarkable rhyme or assonance in the text--see for example\nthe repeated \"o\" assonance in the first lines--I am reminded of what\nCecil Sharp said of this feature in Anglo-Irish ballads of this sort,\nnamely, that \"They imitate with more or less success in an alien\ntongue the assonantal Gaelic rhymes with which their makers, whether\nhedge-schoolmasters or peasants, were doubtless familiar.\" The same\nmetrical trend is in 'Green Grows the Laurel', Sharp, ii., 211.\n\n\n                                No. 40\n                   POOR WAYFARING STRANGER, GOS 714\n\nPentatonic, mode 2 minorized (I -- 3 IV V -- VII)\n\n                               [Music]\n\n  I am a poor wayfaring stranger\n  While trav'ling through this world of woe,\n  Yet there's no sickness, toil nor danger\n  In that bright world to which I go.\n  I'm going there to see my father,\n  I'm going there no more to roam;\n  I'm only going over Jordan,\n  I'm only going over home.\n\n  I know dark clouds will gather round me,\n  I know my way is rough and steep;\n  Yet beauteous fields lie just before me\n  Where God's redeem'd their vigils keep.\n  I'm going there to see my mother,\n  She said she'd meet me when I come;\n  I'm only going over Jordan,\n  I'm only going over home.\n\n  I'll soon be freed from every trial,\n  My body sleep in the church-yard;\n  I'll drop the cross of self-denial\n  And enter on my great reward.\n  I'm going there to see my class-mates,\n  Who've gone before me one by one;\n  I'm only going over Jordan,\n  I'm only going over home.\n\n  I want to wear a crown of glory,\n  When I get home on that good land;\n  I want to shout salvation's story,\n  In concert with the blood-wash'd band;\n  I'm going there to see my Savior,\n  To sing his praise forever more;\n  I'm only going over Jordan,\n  I'm only going over home.\n\nThis is a comparatively recent recording (around the beginning of the\npresent century) of an extremely widely sung folk-tune. It appears in\n_Good Old Songs_ as a bare melody, no harmonic parts. I suggest, as an\nexplanation of the d-flat in the fifth measure from the end, the\nintrusion of dorian influence. The earliest known recording among the\nfasola folk was in the first edition of the _Sacred Harp_, 1844. The\nnegro adoptions and adaptations are reviewed WS 251ff.\n\nThe tune is quite evidently borrowed from secular environment. I list\nhere a number of secular songs whose tunes are variously related:\n'Barbara Allen', Sharp, i., 194 and 195; 'In Old Virginny', Sharp,\nii., 232-234; 'Come All Ye Fair and Tender Ladies', Sharp, ii.,\n128-136; 'Katie Morey', Sharp, ii., 120; 'Dear Companion', Sharp, ii.,\n109; 'George Reilly', Sharp, ii., 26; 'Awake, Awake', Sharp, i.,\n358-364, and Petrie, Nos. 1222 and 265.\n\nA note on this song in the _Social Harp_ says that the compiler, John\nG. McCurry, Hartwell, Georgia, \"when eight years old, learned the air\nof this tune from Mrs. Catherine Penn.\" That was therefore in the year\n1829.\n\nText passages in the secular ballads which remind of those in the\nfasola song are seen in 'In Old Virginny', where we read:\n\n  I am a man of constant sorrow,\n  I have seen troubles all my days.\n  I'll bid farewell to old Virginia,\n  The place where I was partly raised.\n\nWe see also in 'Awake, Awake', how the poor wayfaring stranger appears\nas \"your true love\" who \"is going away.\"\n\n\n                                No. 41\n                       ZION'S SOLDIER, SWP 118\n\nHeptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7).\n\n                               [Music]\n\n  Christ is set on Zion's hill; He receiveth sinners still:\n  Who will serve this blessed King? Come, enlist, and help me sing.\n  This soldier sure will be Happy in eternity,\n  This soldier sure will be Happy in eternity.\n\n  I by faith enlisted am in the service of the Lamb;\n  Present pay I now receive, future happiness he'll give.\n  This soldier _etc._\n\n  Zion's King my Captain is, conquest I shall never miss;\n  Let the fiends of hell engage, fret and fume and roar in rage.\n\n  Let the world their forces join, with the fiends of hell combine;\n  Greater is my King than they, through him I shall win the day.\n\n  Wicked men I scorn to fear, though they persecute me here;\n  True, they may my body kill, but my King's on Zion's hill.\n\n  What a Captain I have got! Is not mine a happy lot?\n  Hear, ye worldlings, hear my song, this the language of my tongue.\n\n  When this life's short space is o'er, I shall live to die no more;\n  Therefore will I take the sword, fight for Jesus Christ, my Lord.\n\n  Come, ye worldlings, come enlist; 'tis the voice of Jesus Christ:\n  Whosoever will may come; Jesus Christ refuseth none.\n\n  Jesus is my Captain's name, now, as yesterday, the same;\n  In his name I notice give, all who come he will receive.\n\n  Be persuaded, take his pay, all your sins he'll wash away;\n  Now in Jesus' name believe; future happiness he'll give.\n  (_last chorus_)\n  Yes! in heaven you sure will be praising God eternally. (_repeat_)\n\nFor a related chorus text see 'O Ye Young and Gay and Proud' in this\ncollection. The tune, claimed by William Walker, is keyed in the\nnatural minor (aeolian) of _a_. I suggest the signature of one sharp,\nbringing the tune into the dorian mode, as more natural.\n\n\n                                No. 42\n                    FEMALE CONVICT, SOH (1835) 160\n\nHeptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  O sleep not my babe, for the morn of tomorrow\n  Shall soothe me to slumber more tranquil than thine;\n  The dark grave shall shield me from shame and from sorrow,\n  Tho' the deed and the doom of the guilty are mine.\n  Not long shall the arm of affection enfold thee;\n  Not long shalt thou hang on thy mother's fond breast;\n  And who with the eye of delight shall behold thee,\n  And watch thee and guard thee when I am at rest?\n\n  And yet it doth grieve me to wake thee, my dearest,\n  The pangs of thy desolate mother to see;\n  Thou wilt weep when the clank of my cold chains thou hearest;\n  And none but the guilty should weep over me.\n  And yet I must wake thee, and whilst thou art weeping,\n  To calm thee I'll stifle my tears for a while.\n  Thou smil'st in thy dreams whilst thus placidly sleeping,\n  And O how it wounds me to gaze on thy smile.\n\n  Alas, my sweet babe, with what pride I had press'd thee\n  To the bosom that now throbs with terror and shame,\n  If the pure tie of virtue's affection had bless'd thee,\n  And hail'd thee the heir of thy father's high name.\n  But now with remorse that avails not I mourn thee,\n  Forsaken and friendless as soon thou wilt be,\n  In a world, if they cannot betray, that will scorn thee,\n  Avenging the guilt of thy mother on thee.\n\n  And when the dark thought of my fate shall awaken\n  The deep blush of shame on thy innocent cheek,\n  Then by all but the God of the orphan forsaken,\n  A home and a father in vain thou wilt seek.\n  I know that the base world will seek to deceive thee\n  With falsehood like that which thy mother beguiled;\n  Deserted and helpless, with whom can I leave thee?\n  O God of the fatherless, pity my child!\n\nThe tune shows remarkable similarity to 'As I Was A-Walking' or\n'Grenadier and the Lady', see JFSS viii., 194; also to 'Westron Wynde'\nfrom the early 16th century, see Jackson, _English Melodies from the\n13th to the 18th Century_, p. 11. 'Female Convict' was widely sung in\nthe early nineteenth century. The full title reads: \"A Female Convict,\nAfter receiving pardon in the sight of God, thus addrest her infant.\nSet to music by R. Boyd.\"\n\n\n                                No. 43\n                         WEDLOCK (B), OSH 115\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  When Adam was created, he dwelt in Eden's shade,\n  As Moses has related, before a bride was made.\n  Ten thousand times ten thousand of creatures swarm'd around,\n  Before a bride was formed or any mate was found.\n\n  He had no consolation, but seemed as one alone,\n  Till, to his admiration, he found he'd lost a bone.\n  This woman was not taken from Adam's head, we know;\n  And she must not rule o'er him, 'tis evidently so.\n\n  This woman she was taken from near to Adam's heart,\n  By which we are directed that they should never part.\n  The book that's called the bible, be sure you don't neglect,\n  For in every sense of duty, it will you both direct.\n\n  The woman is commanded to do her husband's will,\n  In everything that's lawful, her duty to fulfill.\n  Great was his exultation to see her by his side;\n  Great was his elevation to have a loving bride.\n\n  This woman she was taken from under Adam's arm;\n  And she must be protected from injury and harm.\n  This woman was not taken from Adam's feet, we see;\n  And she must not be abus-ed, the meaning seems to be.\n\n  The husband is commanded to love his loving bride,\n  And live as does a Christian, and for his house provide.\n  The woman is commanded her husband to obey,\n  In everything that's lawful, until her dying day.\n\n  Avoiding all offenses, not sow the seed of strife,\n  These are the solemn duties of every man and wife.\n\nA variant of the third line of the first stanza, found in SOC 188,\nreads:\n\n  Ten thousand times ten thousand things wheel-ed all around.\n\nThe tune is especially announced in the _Sacred Harp_ as \"original\"\nand by Elder E. Dumas, a Primitive Baptist. And it is dated 1869. An\nolder tune to the same text is given in this collection as 'Wedlock\n(A)'. See also 'Wedlock', Sharp, ii., 272. 'The Banks of\nNewfoundland', a capstan shanty, is essentially the same tune. See\nJFSS, v., 300.\n\n\n                                No. 44\n                         LEP'ROUS JEW, SWP 43\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Behold the lep'rous Jew, Oppress'd with pain and grief,\n  Pouring his tears at Jesus' feet, For pity and relief,\n  For pity and relief.\n\n  \"O speak the word,\" he cries, \"and heal me of my pain:\n  Lord, thou art able, if thou wilt, to make a leper clean,\n  To make a leper clean.\"\n\n  Compassion moves his heart, he speaks the gracious word;\n  The leper feels his strength return, and all his sickness cured,\n  And all his sickness cured.\n\n  To thee, dear Lord, I look, sick of a worse disease;\n  Sin is my painful malady, and none can give me ease,\n  And none can give me ease.\n\n  But thy almighty grace can heal my lep'rous soul;\n  O bathe me in thy precious blood and that will make me whole,\n  And that will make me whole.\n\nA tune quite similar to the one above, though cast in two-four time,\nis 'Dependence', HH 250.\n\n\n                                No. 45\n              SPRING PLACE or CHURCH OF MY YOUTH, GOS 44\n\nHexatonic, mode 2 b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  I'm thinking today of the church of my youth,\n  Where first I rejoic'd at the sound of the truth,\n  Where oft I assembled with those that I love,\n  And join'd them in praising our Father above.\n\n  Ah! well I remember, when youthful and gay,\n  In mirthfulness sporting while time sped away,\n  With my parents went to the house of the Lord,\n  And wonder'd what made them rejoice in His word.\n\n  But when my dear Savior, so precious to me,\n  My blind eyes did open, my sins all to see,\n  With fearfulness, trembling, too great to express,\n  I went to that house fill'd with woe and distress.\n\n  When Jesus, my blessed Redeemer and Friend,\n  Reveal'd that He was the Beginning and End,\n  I long'd for the season of worship once more,\n  That I might join His saints, His dear name adore.\n\n  And when in that dear place of worship and praise,\n  My voice with His saints I endeavor'd to raise,\n  My heart fill'd with love and my hope bright and clear,\n  I thought surely trouble could no more appear.\n\n  When deeply impress'd with a sense of His love,\n  When this world could no more a resting place prove,\n  I went with a feeling I could not control,\n  And told what my Savior had done for my soul.\n\n  With loving caresses they welcomed me home,\n  And bade me no longer in darkness to roam;\n  The great joy of that hour I never can tell,\n  When I with such friends was permitted to dwell.\n\n  Though now sunder'd far from that blessed abode,\n  I feel, that I'm still with the children of God.\n  Dear brethren, I love you in deed and in truth,\n  Yet my heart oft goes to the church of my youth.\n\n  Ah! well I remember their kindness to me,\n  In my memory now their kind deeds I can see;\n  Wherever my lot is to publish the truth,\n  I'll never forget the church of my youth.\n\nThe oldest occurrence of the text seems to be in the _Hesperian Harp_,\n1848. This song is a parody (words and music) of 'In the Days of My\nYouth', _Beggars Opera_, No. 42; Act 3, Scene 1. The tune there was\nthat sung earlier to 'A Shepherd Kept Sheep'.\n\n\n                                No. 46\n                       REDEMPTION (B), OSH 501\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Come, friends and relations, let's join hearts and hands;\n  The voice of the turtle is heard in the land.\n  Let's all walk together and follow the sound,\n  And march to the place where redemption is found.\n\n  The place it is hidden, the place it is seal'd,\n  The place it is hidden till it is reveal'd;\n  The place is in Jesus, to Jesus we'll go,\n  And there find redemption from sorrow and wo.\n\n  That place it is hidden by reason of sin;\n  Alas! you can't see the sad state you are in!\n  You're blind and polluted, in prison and pain;\n  O how can such rebels redemption obtain!\n\n  But if you are wounded and bruised by the fall,\n  Then up and be doing! For you he doth call;\n  And if you are tempted to doubt and despair,\n  Then come home to Jesus, redemption is there.\n\n  And you, my dear brethren, that love my dear Lord,\n  Have witness for pardon, thro' faith in his blood;\n  Let patience attend you wherever you go,\n  Your Savior has purchased redemption for you.\n\nThe tune of 'Redemption (C)' is a variant of the above, as is also\nthat of 'Redemption (A)'. See the last named song for mention of its\ntune relationship to the 'Grenadier and the Lady'.\n\n\n                                No. 47\n                      WEEPING MARY (B), SWP 102\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  When weeping Mary came to seek\n  Her loving Lord and Savior,\n  'Twas early in the morning she\n  In tears to gain his favor.\n  With guards and soldiers placed around\n  The tomb that held the body\n  Of him whom she thought under ground,\n  By wicked hands all bloody.\n\n  But how her aching heart was torn,\n  To find the tomb was empty,\n  In solemn silence did she mourn,\n  As onward she did venture.\n  'Twas angels in bright raiment shone,\n  Anticipate [imagine?] her sorrow,\n  And said, why doth this creature mourn,\n  And why this gloomy horror.\n\n  Whom seek'st thou, Mary, they did say,\n  And why this solemn mourning?\n  Because they've took my Lord away,\n  I thought to see this morning.\n  He, standing by her, though unknown,\n  She thought it was the gardener;\n  In flowing tears she made her moan,\n  Not knowing 'twas her partner.\n\n  I'll grieve, and my poor Mary said,\n  'Till I know where they laid him;\n  And quickly turning round her head,\n  Began for to upbraid him.\n  Whom seek'st thou, Mary? said the Son;\n  She then perceived her Savior,\n  And quickly to his feet she run,\n  Not fearing harm or danger.\n\n  And now, like Mary, let us go\n  And kiss the feet of Jesus,\n  That we may hear his word also,\n  Which he delights to give us.\n  From God we have the word of life,\n  Through Christ the Mediator;\n  Like him we hope to die and rise,\n  And dwell with the Creator.\n\nA version of both tune and words is found in Ingalls' _Christian\nHarmony_ of 1805, p. 73. Its seventh and eighth stanzas, reminding of\nthe above text, are:\n\n  When weeping Mary came to seek\n  Her Lord with a perfume,\n  The napkin and the sheet she found\n  Together in the tomb.\n\n  The angels said, he is not here;\n  He's risen from the dead;\n  And streams of grace to sinners flow,\n  As free as did his blood.\n\nThe tune shows unmistakable family resemblance to a number of secular\nfolk-melodies. See for example the score of 'Daemon Lover' tunes,\nSharp, i., pp. 244-258; 'Lady Maisry', Sharp, i., 97; 'Locks and\nBolts', Sharp, ii., 17; 'Betty Anne', Sharp, ii., 37; 'Swing a Lady',\nSharp, ii., 379.\n\n\n                                No. 48\n                        REDEMPTION (A), WH 101\n\nHeptatonic aeolian, mode 4 a + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Come, friends and relations, let's join heart and hand,\n  The voice of the turtle is heard in our land.\n  Let's all join together and follow the sound,\n  And march to the place where redemption is found.\n\nThe tune was perhaps the inspiration of R. Boyd in making the melody\nfor 'Female Convict', which is in this collection. (Or did the\ninfluence flow in the opposite direction?) The 'Grenadier and the\nLady', as sung in England, is practically the same tune. See JFSS,\nviii., 194. Full text and a variant melody are given under 'Redemption\n(B)'. An ancestor of all these tunes seems to be 'Westron Wynde' of\nthe early part of the sixteenth century. See Jackson, _English\nMelodies from the 13th to the 18th Century_, p. 11.\n\n\n                                No. 49\n                           PRODIGAL, SKH 35\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Afflictions, tho' they seem severe, Are oft in mercy sent;\n  They stopt the prodigal's career And caused him to repent,\n  Altho' he no relenting felt Till he had spent his store;\n  His stubborn heart began to melt When famine pinch'd him sore.\n\n  What have I gain'd by sin, he said, but hunger, shame and fear;\n  My father's house abounds with bread, while I am starving here.\n  I'll go and tell him all I've done, fall down before his face;\n  Unworthy to be called his son, I'll seek a servant's place.\n\n  The father saw him coming back, he looked, he ran, he smiled;\n  He throws his arms around the neck of his rebellious child.\n  Father, I've sinned, but O forgive; enough, the father said.\n  Rejoice, my house, my son's alive for whom I mourn'd as dead.\n\n  Now let the fatted calf be slain, go spread the news around;\n  My son was dead, but lives again, was lost but now is found.\n  'Tis thus the Lord his love reveals, to call poor sinners home.\n  More than a father's love he feels and welcomes all that come.\n\nDavisson, the compiler of the SKH, claimed this tune. It functioned as\nthe melodic material out of which the \"fuguing\" tune 'Alabama', in the\n_Sacred Harp_, was built.\n\n\n                                No. 50\n                       HAPPY SOULS (A), OL 145\n\nHexatonic, mode 4 A (I II -- IV V VI 7)\n\n                               [Music]\n\n  O happy souls, how fast you go,\n  And leave me far behind!\n  Don't stay for me, for now I see,\n  The Lord is good and kind.\n  Go on, go on, my soul says go;\n  And I'll come after you;\n  Tho' I'm behind, I feel inclin'd\n  To sing hosanna too.\n\n  God give you strength your race to run\n  And keep your footsteps right;\n  Though fast you go and I so slow,\n  You are not out of sight.\n  When you get to that world above,\n  And all God's glory see,\n  On that bright shore, your journey o'er,\n  Then look you out for me.\n\n  I'm coming on fast as I can.\n  Nor toil nor danger fear;\n  God give me strength!--may I at length\n  Be one among you there.\n  Then all together we shall meet--\n  Together we will sing;\n  Together we will praise our God\n  And everlasting King.\n\nThe tune is one of the comparatively few correct dorian\nrecordings--not minorized--in the fasola song books. The compiler of\nthe _Olive Leaf_ gives the following note below the song: \"I learned\nthis air of Rev. Samuel Anthony, of Georgia, more than thirty years\nago, Wm. Hauser, M. D., March, 1878.\" See Introduction, p. 14, as to\nthe 'Babe of Bethlehem' tune family to which 'Happy Souls' belongs. An\nIrish variant is 'The Peevish Child', Petrie, No. 591.\n\n\n                                No. 51\n                      BABE OF BETHLEHEM, SOH 78\n\nHexatonic, mode 4 a (I II -- IV V 6 7)\n\n                               [Music]\n\n  Ye nations all, on you I call,\n  Come hear this declaration,\n  And don't refuse this glorious news,\n  Of Jesus and salvation.\n  To royal Jews came first the news\n  Of Christ the great Messiah,\n  As was foretold by prophets old, Isaiah, Jeremiah.\n\n  To Abraham the promise came,\n  And to his seed forever,\n  A light to shine in Isaac's line,\n  By scripture we discover;\n  Hail, promised morn, the Savior's born,\n  The glorious Mediator--\n  God's blessed word made flesh and blood,\n  Assumed the human nature.\n\n  His parents poor in earthly store,\n  To entertain the stranger\n  They found no bed to lay his head,\n  But in the ox's manger;\n  No royal things, as used by kings,\n  Were seen by those that found him,\n  But in the hay the stranger lay,\n  With swaddling bands around him.\n\n  On the same night a glorious light\n  To shepherds there appeared,\n  Bright angels came in shining flame,\n  They saw and greatly feared;\n  The angels said, \"Be not afraid,\n  Although we much alarm you,\n  We do appear good news to bear,\n  As now we will inform you.\n\n  \"The city's name is Bethlehem,\n  In which God hath appointed,\n  This glorious morn a Savior's born,\n  For him God hath anointed;\n  By this you'll know, if you will go\n  To see this little stranger,\n  His lovely charms in Mary's arms,\n  Both lying in a manger.\"\n\n  When this was said, straightway was made\n  A glorious sound from heaven,\n  Each flaming, tongue an anthem sung,\n  \"To men a Savior's given,\n  In Jesus' name, the glorious theme,\n  We elevate our voices,\n  At Jesus' birth be peace on earth,\n  Meanwhile all heaven rejoices.\"\n\n  Then with delight they took their flight,\n  And wing'd their way to glory,\n  The shepherds gazed and were amazed,\n  To hear the pleasing story;\n  To Bethlehem they quickly came,\n  The glorious news to carry,\n  And in the stall they found them all,\n  Joseph, the Babe, and Mary.\n\n  The shepherds then return'd again,\n  To their own habitation,\n  With joy of heart they did depart,\n  Now they have found salvation.\n  Glory, they cry, to God on high,\n  Who sent his son to save us,\n  This glorious morn the Savior's born,\n  His name it is Christ Jesus.\n\nThe tune, evidently dorian, is of a type that was widely used and\nvaried by folk singers. I mentioned this type in the Introduction,\npage 14, and called it the 'Babe of Bethlehem' family of tunes because\nthe above seems to have been one of its best members. Other members,\nin either the dorian or the aeolian mode, are 'Happy Souls (A)',\n'Marion', 'Atonement', and 'Enquirer' in this collection; related\nspiritual tunes not included here are 'Help me to Sing', OSH 376;\n'Staunton', SKH 26; 'Melody', PB 313; 'Brownson', OL 259; 'Howland',\nREV 73; and 'Sweet Prospect', OSH 65.\n\nRelated worldly songs are 'The Peevish Child', Petrie, No. 591; a song\nwithout title, Petrie, No. 193; 'When First I Left Old Ireland',\nPetrie, No. 863; 'Lowlands of Holland', Sharp, i., 200; 'Virginian\nLover', Sharp, ii., 149; and 'The Little Red Lark of the Mountain',\nPetrie, No. 383. John Powell has set 'Babe of Bethlehem' in a\nbeautiful dorian-mixolydian form for mixed chorus. It is published by\nJ. Fischer and Brother, New York.\n\n\n\n\n                       Ninety-eight Folk-Hymns\n\n\n                                No. 52\n                         WASHINGTON, OSH 147\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Dismiss us with thy blessing, Lord,\n  Help us to feed upon thy word.\n  All that has been amiss forgive,\n  And let thy truth within us live.\n  All that has been amiss forgive,\n  And let thy truth within us live.\n\n  Tho' we are guilty, thou art good,\n  Wash all our works in Jesus' blood;\n  Give every fetter'd soul release\n  And bid us all depart in peace.\n  Give every fetter'd soul release\n  And bid us all depart in peace.\n\nThe text is credited to Joseph Hart, tune to Munday, in the _Original\nSacred Harp_. Melodic relationship is to be seen between this and 'Ye\nMariners of England'. See Dolph, _Sound Off_, p. 228.\n\n\n                                No. 53\n                           STEPHENS, PB 338\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  From whence doth this union arise,\n  That hatred is conquer'd by love?\n  It fastens our souls in such ties\n  That nature and time can't remove.\n  It cannot in Eden be found\n  Nor yet in a paradise lost;\n  It grows on Immanuel's ground,\n  And Jesus' dear blood it did cost.\n\n  My friends are so precious to me,\n  Our hearts all united in love;\n  Where Jesus is gone we shall be,\n  In yonder blest mansions above.\n  O! why then so loath for to part,\n  Since we shall ere long meet again,\n  Engraved on Immanuel's heart,\n  At distance we cannot remain.\n\n  And when we shall see that bright day,\n  And join with the angels above,\n  Leaving these vile bodies of clay,\n  United with Jesus in love.\n  With Jesus we ever shall reign,\n  And all his bright glories shall see,\n  Singing hallelujah, Amen,\n  Amen, even so let it be.\n\nThis is probably a homespun text. Its tune is called a \"popular old\nmelody.\" I find it almost identical with a 'Kilrush Air' in Petrie,\nNo. 167, and with a close variant of the latter, Petrie, No. 283.\nOther related tunes are 'Tweed Side', SMM, p. 9; 'Inkle and Yarico',\n_The English Repository_, p. 226; 'O I'm So Happy', 'Faithful\nSoldier', and 'Sawyer's Exit' in this collection.\n\n\n                                No. 54\n                          SEPARATION, UHH 27\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Our cheerful voices let us raise\n  And sing a parting song;\n  Although I'm with you now, My friends,\n  I can't be with you long.\n  For I must go and leave you all;\n  It fills my heart with pain.\n  Although we part perhaps in tears,\n  I hope we'll meet again.\n\nFound also SOH 30. The tune is like that of the English morris dance\n'I'll Go and Enlist for a Sailor', Sharp, _Morris Dances_, Set No.\nVIII., 6; 'Gilderoy', SMM, No. 5; and 'Come all ye Faithful\nChristians', JFSS, ii., 115-120.\n\n\n                                No. 55\n                   VESPER, _Baptist Hymnal_, No. 65\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  The day is past and gone, the evening shades appear;\n  O may we all remember well, the night of death is near.\n\n  We lay our garments by, upon our beds to rest;\n  So death will soon disrobe us all of what we here possess.\n\n  Lord, keep us safe this night, secure from all our fears;\n  May angels guard us while we sleep, till morning light appears.\n\nMiss Gilchrist compares this tune with 'Sprig of Thyme'. See JFSS,\nviii., 70. Lowell Mason calls it an \"Old American Tune\" in using it in\nhis _Harp of the South_, p. 123.\n\n\n                                No. 56\n                    MISSIONARY'S FAREWELL, OL 333\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Yes, my native land, I love thee;\n  All thy scenes I love them well;\n  Friends, connections, happy country,\n  Can I bid you all farewell!\n  Can I leave you, can I leave you,\n  Far in heathen lands to dwell?\n  Can I leave you, can I leave you,\n  Far in heathen lands to dwell?\n\n  Home, thy joys are passing lovely,\n  Joys no stranger heart can tell;\n  Happy home! indeed I love thee;\n  Can I, can I say, \"Farewell!\"\n  Can I leave you, _etc._\n\n  Scenes of sacred peace and pleasure,\n  Holy days and Sabbath bell--\n  Richest, brightest, sweetest treasure--\n  Can I say a last farewell?\n  Can I leave you, _etc._\n\nThe words are ascribed to \"Rev. Samuel F. Smith, Baptist, Boston,\nMass.\" The tune was \"learned [by William Hauser, compiler, of the\n_Olive Leaf_] in Burke Co., Ga., 1841.\"\n\n\n                                No. 57\n                            KEDRON, SOH 3\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Thou man of grief, Remember me,\n  Thou never canst thyself forget\n  Thy last expiring agony,\n  Thy fainting pangs and bloody sweat.\n\nThe tune is attributed in the southern books to \"Dare\". Found also GCM\n165, OSH 48, SOC 175, HOC 45, WP 16. The tune is of a type which was\nwidely sung to texts of the extremely solemn sort. The introduction of\nslight variation in the expression of this melodic idea led to tunes\nwith other titles and various composers (?). I have called this tune\nfamily the 'Kedron' group. Its members are 'Distress', OSH 50;\n'Solemnity', MOH 40; 'Salem', UH 22; 'French Broad' in this\ncollection; 'Child of Grace', KNH 74; and 'Messiah', VH 30. Secular\nsongs showing the same general melodic trend are 'McAfee's\nConfession', Sharp, ii., 16, and Cox, p. 525; 'A Brisk Young Sailor',\nSharp, _One Hundred English Folksongs_, No. 94; 'Lord Bateman', ibid.,\nNo. 6; and 'Samuel Young', Sharp, ii., 271.\n\n\n                                No. 58\n                         ALL IS WELL, OSH 122\n\nHexatonic (6th missing, cannot be classified but obviously ionian) (I\nII III IV V -- VII)\n\n                               [Music]\n\n  What's this that steals, that steals upon my frame?\n  Is it death, is it death?\n  That soon will quench, will quench this mortal flame?\n  Is it death, is it death?\n  If this be death I soon shall be\n  From every pain and sorrow free.\n  I shall the King of glory see,\n  All is well, all is well.\n\n  Weep not, my friends, weep not for me,\n  All is well, all is well!\n  My sins forgiv'n, forgiv'n, and I am free,\n  All is well, all is well!\n  There's not a cloud that doth arise,\n  To hide my Jesus from my eyes.\n  I soon shall mount the upper skies,\n  All is well, all is well!\n\n  Tune, tune your harps, your harps ye saints on high,\n  All is well, all is well!\n  I too will strike my harp with equal joy,\n  All is well, all is well!\n  Bright angels are from glory come,\n  They're round my bed, they're in my room,\n  They wait to waft my spirit home,\n  All is well, all is well.\n\nAs to sources we quote the 1911 editor of the _Original Sacred Harp_.\nAfter attributing tune and words to J. T. White, nephew of B. F.\nWhite, compiler of the 1844 _Sacred Harp_, the editor states: \"The\ntune had been published before it was printed in the [1844] _Sacred\nHarp_.\" A negro version of the song was recently recorded in Texas and\nappears in the _Publications of the Texas Folk-Lore Society_, vii.,\n109.\n\n\n                                No. 59\n                   FAITHFUL SOLDIER, SOH (1835) 122\n\nHexatonic, mode 1 A (I II III IV V VI --)\n\n                               [Music]\n\n  O when shall I see Jesus and dwell with him above,\n  And from the flowing fountain drink everlasting love?\n  When shall I be deliver'd from this vain world of sin?\n  And with my blessed Jesus drink endless pleasures in?\n\n  But now I am a soldier, my Captain's gone before;\n  He's given me my orders and bids me ne'er give o'er;\n  His promises are faithful--a righteous crown he'll give,\n  And all his valiant soldiers eternally shall live.\n\n  Through grace I am determined to conquer tho' I die,\n  And then away to Jesus on wings of love I'll fly.\n  Farewell to sin and sorrow, I bid them both adieu,\n  And O, my friends, prove faithful, and on your way pursue.\n\n  Whene'er you meet with troubles and trials on your way,\n  Then cast your cares on Jesus and don't forget to pray.\n  Gird on the gospel armor of faith and hope and love,\n  And when the combat's ended He'll carry you above.\n\n  O do not be discouraged for Jesus is your friend,\n  And if you lack for knowledge, he'll not refuse to lend.\n  Neither will he upbraid you, though often you request,\n  He'll give you grace to conquer and take you home to rest.\n\n  And when the last loud trumpet shall rend the vaulted skies,\n  And bid th' entombed millions from their cold beds arise;\n  Our ransomed dust, reviv-ed, bright beauties shall put on,\n  And soar to the blest mansions where our Redeemer's gone.\n\n  Our eyes shall then with rapture, the Savior's face behold;\n  Our feet, no more diverted, shall walk the streets of gold.\n  Our ears shall hear with transport the hosts celestial sing;\n  Our tongues shall chant the glories of our immortal King.\n\nWilliam Walker, compiler of the SOH, claims the tune. A recent variant\nof it, orally transmitted, is 'O I'm So Happy', in this collection.\nAnother variant here is 'Stephens'. All these tunes seem to derive\nfrom an old one recorded in Kilrush, Ireland, and found in the Petrie\ncollection in two variants, Nos. 167 and 283. Compare also the similar\n'Hallelujah' tune family with its members listed under the tune by\nthat title in this collection.\n\nThe text is by John Leland and was uniquely popular--as sung in its\npurity or associated with various refrains and revival\nchoruses--during the early part of the nineteenth century. The negroes\nhave borrowed freely from this poem in making the texts for their\nspirituals, especially from the fourth and fifth stanzas. Cf. WS\n217ff. and 286.\n\n\n                                No. 60\n                         GREEN FIELDS, SOH 71\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  How tedious and tasteless the hours,\n  When Jesus no longer I see;\n  Sweet prospects, sweet birds and sweet flow'rs\n  Have all lost their sweetness to me.\n  The midsummer sun shines but dim,\n  The fields strive in vain to look gay;\n  But when I am happy in him,\n  December's as pleasant as May.\n\n  His name yields the richest perfume,\n  And sweeter than music his voice;\n  His presence disperses my gloom,\n  And makes all within me rejoice.\n  I should, were he always thus nigh,\n  Have nothing to wish or to fear;\n  No mortal so happy as I,\n  My summer would last all the year.\n\n  Content with beholding his face,\n  My all to his pleasure resigned,\n  No changes of seasons or place,\n  Would make any change in my mind.\n  While blessed with a sense of his love,\n  A palace a toy would appear;\n  And prisons would palaces prove,\n  If Jesus would dwell with me there.\n\nThe tune is to be found in S. Baring-Gould's _Songs of the West_, No.\n100, as recorded before 1890 from the singing of an old man in\nLamerton, England. We are informed by the editor of the collection\nthat the song, 'Both Sexes Give Ear to My Fancy' which used this tune,\nhad been very popular with aged people residing in the North of\nEngland, but that it was then \"long out of print and handed down\ntraditionally\". The earliest form of the tune seems to have been 'Es\nnehme zehn-tausend Ducaten' in Johann Sebastian Bach's cantata _Mer\nhahn en neue Oberkeet_ (Cf. Bach-Gesellschaft, Vol. 29, p. 195). The\nearliest printed form of the Bach tune in England, according to\nBaring-Gould, was in _The Tragedy of Tragedies_, or _Tom Thumb_, 1734,\nas the setting of the song 'In Hurry Posthaste for a License'. The\nearliest occurrence of the tune with the 'Both Sexes' text was in _The\nLady's Evening Book of Pleasure_, about 1740. The air is also found in\n_Vocal Music, or the Songster's Companion_, second edition, 1782, to\nthe song entitled 'Farewell, Ye Green Fields and Sweet Groves'. This\nwas probably the song whose tune was taken over bodily and whose words\nwere parodied to make the above song 'Green Fields'. The author of the\nparody text was sometimes given in the fasola books as John Newton.\nThe incidence of the song in southern song books of the first half of\nthe nineteenth century (MOH 52, GCM 144, UH 112, KNH 80, OSH 127, HH\n345, SOC 30, CM 24, HOC 16, TZ 237, SKH 18, PB 312, GOS 303, etc.)\nindicates its one-time wide popularity also on this continent.\n\n\n                                No. 61\n                       SAINTS' RAPTURE, REV 17\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  High in yonder realms of light\n  Dwell the raptured saints above,\n  Far beyond our feeble sight\n  Happy in Immanuel's love.\n  Pilgrims in this vale of tears,\n  Once they knew like us below,\n  Gloomy doubts, disturbing fears,\n  Torturing pain and heavy woe.\n\n  Days of weeping now are o'er,\n  Past those scenes of toil and pain;\n  They will feel distress no more,\n  Never, never weep again.\n  'Mid the chorus of the skies;\n  'Mid angelic choirs above;\n  They now join the songs that rise,\n  Songs of praise to Jesus' love.\n\nThere are two more stanzas of the text in the _Revivalist_. The tune\nand the text are obviously a parody on 'Reuben, Reuben, I've Been\nThinking'.\n\n\n                                No. 62\n                       ANIMATION, SOH (1835) 85\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Drooping souls, no longer grieve,\n  Heaven is propitious;\n  If in Christ you do believe,\n  You will find him precious.\n  Jesus now is passing by,\n  Calls the mourner to him,\n  Brings salvation from on high;\n  Now look up and see him.\n\nFor the complete text see 'Lebanon' in this collection. This song was\ntaken into the _Southern Harmony_ from the _Dover Selection_. The tune\nis related to 'Maid Freed From the Gallows', Thomas, p. 164, and to\nthe old Irish 'Tell Me Dear Eveleen', in _A Select Collection of\nOriginal Irish Airs_, No. 6, composed by Beethoven.\n\n\n                                No. 63\n                          INVITATION, OL 247\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Hark, I hear the harps eternal\n  Ringing on the farther shore,\n  As I near those swollen waters\n  With their deep and solemn roar.\n  Hallelujah, hallelujah,\n  Hallelujah, praise the Lamb;\n  Hallelujah, hallelujah,\n  Glory to the GREAT I AM!\n\n  And my soul, tho' stain'd with sorrow,\n  Fading as the light of day,\n  Passes swiftly o'er those waters,\n  To the city far away.\n  Hallelujah _etc._\n\n  Souls have cross'd before me, saintly,\n  To that land of perfect rest;\n  And I hear them singing faintly,\n  In the mansions of the blest.\n  Hallelujah _etc._\n\nThe compiler of the _Olive Leaf_ found this song, as he tells us, in\nF. R. Warren's _Dream Music_. The tune shows unmistakable family\nrelationships, especially in the chorus, to 'Nettleton' in this\ncollection.\n\n\n                                No. 64\n                        HARK MY SOUL, CHH 224\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Hark, my soul, it is the Lord;\n  'Tis thy Savior, hear his word!\n  Jesus speaks, he speaks to thee:\n  \"Say, poor sinner, say, poor sinner,\n  Say, poor sinner, lov'st thou me?\n\n  \"I deliver'd thee when bound,\n  And, when wounded, healed thy wound;\n  Sought thee wand'ring, set thee right;\n  Turned thy darkness, turned thy darkness,\n  Turned thy darkness into light.\n\n  \"Can a mother's tender care\n  Cease toward the child she bare?\n  Yes, she may forgetful be,\n  Yet will I re-, yet will I re-,\n  Yet will I remember thee.\"\n\nThe song was \"Arranged by James Christopher, of Spartansburg, S. C.\",\naccording to the _Christian Harmony_. Richardson has a variant of this\ntune used with a text which is a recent mountain eulogy on the whiskey\nof the hills under the title 'Moonshine', see _American Mountain\nSongs_, page 94. A hint of the antiquity of this tune form is given by\nthe 'Ass's Sequence' or 'Orientis partibus' from the beginning of the\nthirteenth century, a tune which was apparently cast in the\nfolk-manner of that age.\n\n                               [Music]\n\n  Orientis partibus\n  aduentauit asinus\n  pulcher et fortissimus\n  Sarcinis aptissimus.\n  Hez, hez, sire asnes, hez.\n\nIts modern representative is:\n\n                               [Music]\n\nSee _Hymns Ancient and Modern_, No. 413.\n\n\n                                No. 65\n                         FROZEN HEART, OSH 93\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Lord, shed a beam of heav'nly day\n  To melt this stubborn stone away;\n  And thaw, with rays of love divine,\n  This heart, this frozen heart of mine;\n  This heart, this frozen heart of mine;\n  This heart, this frozen heart of mine.\n\n  The rocks can rend; the earth can quake;\n  The seas can roar; the mountains shake;\n  Of feeling, all things show some sign,\n  But this unfeeling heart of mine.\n\n  To hear the sorrows thou hast felt,\n  Dear Lord, an adamant would melt!\n  But I can read each moving line,\n  And nothing move this heart of mine.\n\nThe text is attributed, in the _Sacred Harp_ of 1844, to Joseph Hart\nand it is dated 1759. The tune is ascribed to E. J. King. The melodic\ntrend of the refrain brings to mind 'The Campbells are Coming'.\n\n\n                                No. 66\n                           LEBANON, KNH 88\n\nHexatonic, mode 5 A (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  Mourning souls, no longer grieve,\n  Heaven is propitious;\n  If on Christ you do believe,\n  You shall find him precious.\n  Jesus now is passing by,\n  Calls the mourner to him;\n  He hath died for you and I,\n  Now look up and view him.\n\n  He has pardons, full and free,\n  Drooping souls to gladden;\n  Still he cries: \"Come unto me,\n  Weary, heavy-laden.\"\n  Tho' your sins, like mountains high,\n  Rise and reach to heaven,\n  Soon as you on him rely\n  All will be forgiven.\n\n  Precious is the Savior's name,\n  All his saints adore him;\n  He to save the dying came--\n  Prostrate bow before him;\n  Wand'ring sinners, now return;\n  Contrite souls, believe him!\n  Jesus calls you--cease to mourn;\n  Worship him--receive him!\n\n  From his hands, his feet,\n  his side, runs the healing lotion;\n  See the consolating tide,\n  boundless as the ocean!\n  See the healing waters move\n  for the sick and dying!\n  Now resolve to gain his love,\n  or to perish trying.\n\n  Grace's store is always free,\n  drooping souls to gladden;\n  Jesus calls: \"Come unto me--\n  weary, heavy laden.\"\n  Though your sins like mountains high,\n  rise and reach to heaven,\n  Soon as you on him rely,\n  all shall be forgiven.\n\n  Now methinks I hear one say:\n  \"I will go and prove him;\n  If he takes my sins away,\n  surely I shall love him.\n  Yes, I see the Father smile,\n  now I lose my burden;\n  All is grace, for I am vile,\n  yet he seals my pardon.\"\n\nThis text is found HH 413, and also COH 122.\n\n\n                                No. 67\n                       SOLDIER'S RETURN, SOH 36\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Bright scenes of glory strike my sense,\n  And all my passions capture;\n  Eternal beauties round me shine,\n  Infusing warmest rapture.\n  I live in pleasures deep and full,\n  In swelling waves of glory.\n  I feel my Savior in my soul\n  And groan to tell the story.\n\nFurther stanzas are given under 'Mecklinburg'. The tune was borrowed\nfrom 'When the Wild War's Deadly Blast', SMM, No. 131. See also for\nmelodic similarities 'The Mill Mill O', SMM, No. 157; and 'Blue-Eyed\nStranger', Sharp, _The Morris Book_, Part I, p. 91. See Greig-Keith,\n_Last Leaves_, p. 181, for the tune's wide use in the British Isles\nduring the eighteenth century.\n\n\n                                No. 68\n                      CHRISTIAN SOLDIER, GOS 207\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Here at Thy table, Lord, We meet To feed on food divine;\n  Thy body is the bread we eat, Thy precious blood the wine.\n  He that prepares the rich repast, Himself comes down and dies;\n  And then invites us thus to feast, Upon the sacrifice.\n\n  The bitter torments he endured upon the shameful cross,\n  For us his welcome guests procured these heart-reviving joys.\n  His body torn with rudest hands becomes the finest bread,\n  And with the blessings he commands, our noblest hopes are fed.\n\n  His blood that from each opening vein in purple torrents ran\n  Hath filled this cup with generous wine, that cheers both God and\n              man.\n  Sure there was never love so free, dear Savior, so divine;\n  Well thou may'st claim that heart of mine, which owes so much to\n              thine.\n\nThe text is one of those which rationalize religious rites; in this\ncase, that of the communion. The tune is credited to Freeman Price.\nIts second part reminds of 'The Merry, Merry Milkmaids', Sharp,\n_Country Dances_, Set No. 5.\n\n\n                                No. 69\n                         TRIBULATION, MOH 46\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Death, 'tis a melancholy day\n  To those that have no God,\n  When the poor soul is forc'd away\n  To seek her last abode.\n\n  In vain to heaven she lifts her eyes;\n  But guilt, a heavy chain,\n  Still drags her downward from the skies\n  To darkness, fire and pain.\n\n  Awake and mourn, ye heirs of hell,\n  Let stubborn sinners fear;\n  You must be driv'n from earth and dwell\n  Alone forever there.\n\n  See how the pit gapes wide for you,\n  And flashes in your face;\n  And thou, my soul, look downward too,\n  And sing recov'ring grace.\n\nThe text has been attributed to Watts. Recent hymnals have been purged\nof this doleful ditty and of all other songs which make hellfire too\nrealistic. The tune was attributed to Chapin in some books and to\nDavisson in others. Davisson claims it in his _Kentucky Harmony_\n(1815). It is practically identical with 'Little Musgrave and Lady\nBarnard', Sharp, i., 182, a tune which Sharp heard in Greenwood,\nAlbemarle County, Virginia, Davisson's own territory and near where he\nis buried. An early variant which is practically identical with both\nthe Sharp and the Davisson tunes is in Motherwell, Supplement, No. 30,\nassociated with 'The Bonnie Mermaid' text. Found also, KYH 43, SOH\n119, UH 37, KNH 38, OSH 29, HH 55.\n\n\n                                No. 70\n                         VOLUNTEERS, CHH 110\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Hark, listen to the trumpeters! They sound for volunteers!\n  On Zion's bright and flow'ry mount Behold the officers;\n  Their horses white, their garments bright, With crown and bow they\n              stand,\n  Enlisting soldiers for their King, To march for Canaan's land.\n\n  It sets my heart all in a flame; a soldier I will be;\n  I will enlist, gird on my arms and fight for liberty.\n  They want no cowards in their band (They will their colours fly),\n  But call for valiant hearted men, who're not afraid to die.\n\n  The armies now are on parade, how martial they appear!\n  All armed and dressed in uniform, they look like men of war;\n  They follow their great General, the great Eternal Lamb,\n  His garments stained with his own blood, King Jesus, is his name.\n\n  The trumpet sounds, the armies shout, and drive the hosts of hell;\n  How dreadful is our God in arms! The great Immanuel!\n  Sinners, enlist with Jesus Christ, th' eternal Son of God,\n  And march with us to Canaan's land, beyond the swelling flood.\n\n  There is a green and flow'ry field, where fruits immortal grow;\n  There, clothed in white, the angels bright, our great Redeemer know.\n  We'll shout and sing forever more in that eternal world;\n  But Satan and his armies too, shall down to hell be hurled.\n\n  Hold up your heads, ye soldiers bold, redemption's drawing nigh,\n  We soon shall hear the trumpet sound; 'Twill shake both earth and\n              sky;\n  In fiery chariots then we'll fly, and leave the world on fire,\n  And meet around the starry throne to tune th' immortal lyre.\n\nThe tune is attributed to Wm. Bradshaw. Found also HH 159 and SWP 90.\nDett, p. 180, and SOH 301, have the same words but different tunes.\n\n\n                                No. 71\n                         BACKSLIDER, REV 208\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  How can I vent my grief? My comforter is fled!\n  By day I sigh without relief And groan upon my bed.\n\n  How little did I think when first I did begin\n  To join a little with the world it was so great a sin.\n\n  I thought I might conform, nor singular appear,\n  Converse and dress as others did, but now I feel the snare.\n\n  My confidence is gone, I find no words to say,\n  Barren and lifeless is my soul when I attempt to pray.\n\nThe tune is similar to those used with several text variants of 'The\nWife of Usher's Well'. Sharp, i., 150ff. The oldest American song book\nrecord of the 'Backslider' tune is in Ingalls' _Christian Harmony_ of\n1805, p. 55, where it is entitled 'The General Doom' and begins:\n\n  Behold! with awful pomp,\n  The Judge prepares to come;\n  Th' archangel sounds the awful trump\n  And wakes the general doom.\n\n\n                                No. 72\n                        GOOD OLD WAY (B), OL 8\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Lift up your heads, Emmanuel's friends,\n  And taste the pleasure Jesus sends;\n  Let nothing cause you to delay,\n  But hasten on the good old way.\n\n  Our conflicts here, tho' great they be,\n  Shall not prevent our victory,\n  If we but watch, and strive, and pray!\n  Like soldiers in the good old way.\n\n  O good old way, how sweet thou art!\n  May none of us from thee depart;\n  But may our actions always say\n  We're marching in the good old way!\n\n\"A tune and song [words] of the Granade period\", William Hauser,\ncompiler of the _Olive Leaf_ suggests. John Adam Granade was an\nevangelist of the \"wild\" sort who lived 1775 to 1806. A negro tune\nwhich combines elements of the above and 'I Went Down to the Valley',\nin this collection, is in _Slave Songs_, No. 104.\n\n\n                                No. 73\n                        REST IN HEAVEN, OL 358\n\nHexatonic, mode 2 A minorized (I II 3 IV V -- 7 [VII])\n\n                               [Music]\n\n  My rest is in heaven, my rest is not here,\n  Then why should I murmur at trials severe.\n  Be tranquil, my spirit, the worst that can come\n  But shortens thy journey and hastens thee home.\n\n  Let trouble and danger my progress oppose;\n  They'll only make heaven more bright at the close;\n  Come joy, then, or sorrow--whate'er may befall--\n  One moment in glory will make up for all.\n\n  A scrip on my back, and a staff in my hand,\n  I march on in haste thro' an enemy's land;\n  The road may be rough, but it cannot be long;\n  I'll smooth it with hope, and I'll cheer it with song.\n\nThe tune is related to 'Be Gone Unbelief', in this collection, and to\nthe worldly tunes listed under that song. Negro adoptions of the tune\nare Marsh, pp. 144 and 173, and SS 33.\n\n\n                                No. 74\n                       TO DIE NO MORE, GOS 363\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  My heav'nly home is bright and fair,\n  No pain nor death can enter there;\n  Its glitt'ring tow'rs the sun outshine,\n  I hope that mansion shall be mine.\n  _Chorus_\n  I'm going home to Christ above,\n  I'm going to the Christian's rest,\n  To die no more to, die no more,\n  I'm going home to die no more.\n\n  My Father's house is built on high,\n  Far, far above the starry sky;\n  When from this earthly prison free,\n  I hope that mansion mine shall be.\n  _Chorus_\n\n  I envy not the rich and great,\n  Their pomp of wealth and pride of state;\n  My Father is a richer King,\n  That heav'nly mansion still I sing.\n  _Chorus_\n\nThe tune is identical with one used with the worldly ballad 'Three\nRavens', see Davis 562.\n\n\n                                No. 75\n                           COLUMBUS, OSH 67\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Oh, once I had a glorious view\n  Of my redeeming Lord;\n  He said, I'll be a God to you,\n  And I believ'd his word.\n  But now I have a deeper stroke\n  Than all my groanings are;\n  My God has me of late forsook,\n  He's gone I know not where.\n\n  Oh, what immortal joys I felt\n  On that celestial day,\n  When my hard heart began to melt,\n  By love dissolved away!\n  But my complaint is bitter now,\n  For all my joys are gone;\n  I've strayed! I'm left! I know not how;\n  The light's from me withdrawn.\n\n  Once I could joy the saints to meet,\n  To me they were most dear;\n  I then could stoop to wash their feet,\n  And shed a joyful tear;\n  But now I meet them as the rest,\n  And with them joyless stay;\n  My conversation's spiritless,\n  Or else I've nought to say.\n\nThe words appeared in _Mercer's Cluster_, a Georgia hymn and\nspiritual-song collection of the 1820's. The earliest appearance of\nthe tune seems to have been in the _Southern Harmony_ (1835). Found\nalso in HH 128, UH 57, KNH 42, HOC 37, SOC 109, GOS 380, PB 343. The\ntune is a variant of 'Antioch', in this collection.\n\nFor negro tune derivatives see _White Spirituals_, 259. Among the\ntunes in secular environment, 'Virginian Lover', Sharp, ii., 149, tune\nB, shows closest relationship to the above. See also 'Flat River\nGirl', Rickaby, p. 6; and 'Driving Saw Logs on the Plover', Rickaby,\np. 89.\n\n\n                                No. 76\n                            YONGST, BS 203\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Father, I sing thy wondrous grace\n  And bless my Savior's name,\n  Who bought salvation for the poor,\n  And bore the sinner's shame.\n\n  His deep distress has raised us high;\n  His duty and his zeal\n  Fulfilled the law which mortals broke,\n  And finished all thy will.\n\n  Zion is thine, most holy God;\n  Thy Son shall bless her gates;\n  And glory, purchased by his blood,\n  For thine own Israel waits.\n\nThe tune is attributed to W. B. Gillham. It is member of the 'Lord\nLovel' group mentioned in the Introduction, page 14. Noteworthy in\nthis connection is a variant of the above tune as sung by a negro in\nNorth Carolina; see Scarbrough, p. 55. Further tunes belonging to the\n'Lord Lovel' group are listed under 'Dulcimer' in this collection.\n\n\n                                No. 77\n                     DOWN IN THE GARDEN, REV 108\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Dark was the hour, Gethsemane,\n  When through thy walks was heard\n  The lowly Man of Galilee,\n  Still pleading with the Lord.\n  Down in the garden, hear that mournful sound;\n  There behold the Saviour weeping,\n  Praying on the cold damp ground.\n  Jesus, my Saviour, let me weep with thee;\n  Mercy, O thou Son of David,\n  Mercy's coming down to me.\n\n  Alone in sorrow see him bow,\n  As all our griefs he bears;\n  Not words may tell his anguish now,\n  But sweat and blood and tears.\n  Down in the garden _etc._\n\nFour more stanzas of the text are given in the _Revivalist_. The last\npart of the tune and the whole text are obvious parodies of the Foster\nsong 'Massa's in the Cold, Cold Ground'. For possible folk sources of\nFoster's song, see my article \"Stephen Foster's Debt to American\nFolk-Song\", _The Musical Quarterly_, xxii (1936), No. 2, p. 159.\n\n\n                                No. 78\n                            ALBION, MOH 49\n\nPentachordal, cannot be classified (I II III IV V -- --)\n\n                               [Music]\n\n  Come, ye that love the Lord,\n  And let your love be known;\n  Join in a song of sweet accord\n  And thus surround the throne,\n  And thus surround the throne.\n\n  The sorrows of the mind\n  Be banished from this place;\n  Religion never was designed\n  To make our pleasures less,\n  To make our pleasures less.\n\n  Let those refuse to sing,\n  Who never knew our God;\n  But fav'rites of the heav'nly King\n  May speak their joys abroad,\n  May speak their joys abroad.\n\nThe words are by Watts. The tune is ascribed to R(obert) Boyd. It is\nfound also, KYH 18, GCM 171, SOH 23, UH 21, GOS 126, KNH 51, OSH 52,\nHH 201, HOC 12. It sounds like one of the old psalm tunes.\n\n\n                                No. 79\n                       DUNLAP'S CREEK, SOH 276\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  My God, My Portion, and my Love,\n  My everlasting all,\n  I've none but thee in heav'n above,\n  Or on this earthly ball.\n\n  What empty things are all the skies,\n  And this inferior clod!\n  There's nothing here deserves my joys,\n  There's nothing like my God.\n\n  In vain the bright, the burning sun\n  Scatters his feeble light;\n  'Tis thy sweet beams create my noon;\n  If thou withdraw, 'tis night.\n\nThe words are Watts'. The tune is given as by F(reeman) Lewis. Found\nalso, GCM 63, SOC 238, WP 44, TZ 77, GOS 650, SKH 83, CM 120, _Baptist\nHymn and Tune Book_ (1857), p. 106, where it is called a 'Western\nMelody'. It is practically the same as 'Wife of Usher's Well', Sharp,\ni., 160, Q. See Introduction, page 14, for mention of the 'Lord Lovel'\ntype of tune to which 'Dunlaps' Creek' belongs.\n\n\n                                No. 80\n                     SINNER'S INVITATION, OL 211\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Sinner go, will you go\n  To the highlands of heaven,\n  Where the storms never blow\n  And the long summer's given,\n  Where the bright blooming flow'rs\n  Are their odors emitting\n  And the leaves of the bow'rs\n  In the breezes are flitting.\n\n  Where the rich golden fruit\n  Is in bright clusters pending,\n  And the deep laden boughs\n  Of life's fair tree are bending;\n  And where life's crystal stream\n  Is unceasingly flowing,\n  And the verdure is green,\n  And eternally growing.\n\nThe tune and words which are parodied here are those of the 'Braes o'\nBalquhidder'. The text is attributed, by the compiler of the _Olive\nLeaf_, to \"Rev. Wm. McDonald, I guess\". The Scotch song begins:\n\n  Will you go, lassie, go to the braes o'Balquhidder,\n  Where the blackberries grow in the bonnie blooming heather.\n\nSee Gilchrist, JFSS, viii., 77. Another variant of the 'Braes o'\nBalquhidder' tune in this collection is 'Lone Pilgrim'. Gilchrist\ntraces the Scotch tune back still farther to 'Brochan Buirn', an old\nGaelic air. See JFSS, viii., 76. It influenced Stephen Foster in his\nmaking of the tune 'Linda Has Departed'. (See my article in _The\nMusical Quarterly_, vol. xxii, No. 2.)\n\n\n                                No. 81\n                         LAND OF REST, OL 117\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  There is a land of pure delight\n  Where saints immortal reign,\n  Infinite day excludes the night\n  And pleasures banish pain.\n  O the land of rest, O the land of rest,\n  Where Christ and His people meet;\n  The land of the blest, all in beauty drest,\n  Where the saints all their lov'd ones greet.\n\n\"Inspiration of this tune,\" says the compiler of the _Olive Leaf_,\n\"caught from a female voice at a distance, at Barbee Hotel, High\nPoint, N. C., June 9th, 1868.\" The mountain woman must have been\nsinging 'Lord Lovel'; for the tunes of that ballad, as found for\nexample in Davis, p. 574, O; and Sharp, i., 148, are practically the\nsame as 'Land of Rest'. See Introduction, page 14.\n\n\n                                No. 82\n                          FLORENCE, OSH 121\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Not many years their rounds shall roll,\n  Each moment brings it nigh,\n  Ere all its glories stand revealed,\n  To our admiring eye.\n  Ye wheels of nature, speed your course,\n  Ye mortal pow'rs decay;\n  Fast as ye bring the night of death,\n  Ye bring eternal day.\n\n\"It is an old melody\", J. S. James, editor of the 1911 _Original\nSacred Harp_, says. \"Prof. T. S. Carter of Georgia took the outlines\nand arranged it in 1844.\"\n\nThe tune is found also, SOC 77, GOS 178. A variant is GOS 165,\nentitled 'Lonesome Dove'. Another variant is 'The Weary Soul', OSH 72.\nI find this tune to be a member of the group which I have called the\n'Roll Jordan' family of melodies. See the song with that title in this\ncollection.\n\n\n                                No. 83\n                           ALBERT, SOC 153\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  My brethren all, on you I call,\n  Arise and look around you,\n  How many foes bound to oppose,\n  Who're waiting to confound you;\n  How many foes bound to oppose,\n  Who're waiting to confound you.\n\nCredited in the _Social Harp_ to E. R. White and dated 1855. The tune\nis a clear adaptation of 'The Girl I Left Behind Me'.\n\n\n                                No. 84\n                     ROYAL PROCLAMATION, SOH 146\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Hear the royal proclamation,\n  The glad tidings of salvation,\n  Publishing to every creature,\n  To the ruin'd sons of nature.\n      Jesus reigns, he reigns victorious,\n      Over heaven and earth most glorious,\n      Jesus reigns.\n\n  See the royal banner flying,\n  Hear the heralds loudly crying:\n  \"Rebel sinners, royal favour\n  Now is offer'd by the Saviour.\"\n      Jesus reigns, _etc._\n\n  Hear, ye sons of wrath and ruin,\n  Who have wrought your own undoing,\n  Here is life and free salvation,\n  Offered to the whole creation.\n      Jesus reigns, _etc._\n\nAlthough Ananias Davisson claims, in the _Supplement to The Kentucky\nHarmony_, to have made the tune, no subsequent user of the song seems\nto have looked on him as its author. It has all the earmarks of an\neighteenth century fife-and-drum-corps tune which was appropriately\nset to the religio-martial text. Found also, UH 91, KNH 91, HH 468,\nSKH 107, GOS 643.\n\n\n                                No. 85\n                   CARRY ME HOME or PENICK, OSH 387\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  While trav'ling through this world below,\n  Where sore afflictions come,\n  My soul abounds with joy to know\n  That I will rest at home.\n  Carry me home, carry me home,\n  When my life is o'er;\n  Then carry me to my long sought home where pain is felt no more.\n\n  Yes, when my eyes are closed in death,\n  My body cease to roam,\n  I'll bid farewell to all below\n  And meet my friends at home.\n  Carry me home _etc._\n\n  And then I want these lines to be\n  Inscribed upon my tomb:\n  \"Here lies the dust of S. R. P.,\n  His spirit sings at home.\"\n  Carry me home _etc._\n\nThe initials in the third stanza belonged to \"Professor S. R. Penick,\na devoted Christian man, and one who was very fond of music,\"\naccording to James, 1911 editor of the OSH. But he ascribes tune and\nwords to M. Sikes, a singing-school teacher in Georgia before the\nCivil War. The tune is a variant of 'Dying Boy' in this collection.\n\n\n                                No. 86\n                            JORDAN, SKH 86\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  On Jordan's stormy banks I stand\n  And cast a wishful eye,\n  To Canaan's fair and happy land\n  Where my possessions lie.\n\n  O the transporting rapt'rous scene\n  That rises to my sight,\n  Sweet fields arrayed in living green\n  And rivers of delight.\n\n  There generous fruits that never fail\n  On trees immortal grow;\n  There rocks and hills and brooks and vales\n  With milk and honey flow.\n\n  (_Four stanzas omitted._)\n\n  Soon will the Lord my soul prepare\n  For joys beyond the skies,\n  Where never-ceasing pleasures roll,\n  And praises never die.\n\nThe tune belongs to the 'Roll Jordan' group; see Introduction, page\n14. See also the song by that title in this collection.\n\n\n                                No. 87\n                           ENQUIRER, OSH 74\n\nHexatonic, mode 4 a (I II -- IV V 6 7)\n\n                               [Music]\n\n  I'm not asham'd to own my Lord,\n  Or to defend his cause,\n  Maintain the honor of his word,\n  The glory of his cross.\n  Jesus, my God, I know his name;\n  His name is all my trust;\n  Nor will he put my soul to shame,\n  Nor let my hope be lost.\n\n  Firm as his throne his promise stands,\n  And he can well secure\n  What I've committed to his hands,\n  Till the decisive hour.\n  Then will he own my worthless name,\n  Before his Father's face,\n  And in the new Jerusalem\n  Appoint my soul a place.\n\nThe words are attributed to Isaac Watts; the tune to B. F. White of\nGeorgia, and dated 1844. The tune is a member of the 'Babe of\nBethlehem' group. See Introduction, p. 14, and, 'Babe of Bethlehem' in\nthis collection. A secular related tune is 'Lowlands of Holland',\nSharp, i., 200. Since the tune has clear dorian implications, its\nproper key signature is one flat.\n\n\n                                No. 88\n                        WONDROUS LOVE, OSH 159\n\nHexatonic, mode 4 a (I II -- IV V 6 7)\n\n                               [Music]\n\n  What wondrous love is this, O my soul, O my soul;\n  What wondrous love is this, O my soul;\n  What wondrous love is this That caused the Lord of bliss\n  To bear the dreadful curse for my soul, for my soul,\n  To bear the dreadful curse for my soul.\n\n  When I was sinking down, sinking down, sinking down;\n  When I was sinking down, sinking down;\n  When I was sinking down beneath God's righteous frown,\n  Christ laid aside his crown for my soul, for my soul;\n  Christ laid aside his crown for my soul.\n\n  To God and to the Lamb I will sing, I will sing;\n  To God and to the Lamb I will sing;\n  To God and to the Lamb who is the great I AM,\n  While millions join the theme, I will sing, I will sing;\n  While millions join the theme I will sing.\n\n  And when from death I'm free I'll sing on, I'll sing on;\n  And when from death I'm free I'll sing on.\n  And when from death I'm free I'll sing and joyful be,\n  And through eternity I'll sing on, I'll sing on,\n  And through eternity I'll sing on.\n\nThe song is found also, SOH (1854) 252, GOS 436, PB 384, OL 371, and\nin various tune books of the Baptists up to the present time. The\n_Southern Harmony_ attributes the tune to \"Christopher\"; _Good Old\nSongs_, to \"J. Christopher\"; and the _Hesperian Harp_ attributes the\nwords to the \"Rev. Alex Means, A. M., M. D., D. D., LL. D.\", a\nMethodist minister of Oxford, Ga. It looks as though tune and words\nwere born together, so beautifully they fit. The stanzaic form is that\nof the 'Captain Kidd' ballad which has been widely sung and parodied\nsince the beginning of the eighteenth century. A spiritual song tune\nrelated to 'Wondrous Love' is 'Villulia' in this collection. I have\nheard the country folk sing this tune with the dorian raised sixth.\n\n\n                                No. 89\n                        SALVATION (A), BS 127\n\nHexatonic, mode 1 B (I II -- IV V VI VII)\n\n                               [Music]\n\n  O thou God of my salvation,\n  My Redeemer from all sin,\n  Moved by thy divine compassion,\n  Who hast died my heart to win.\n  I will praise thee, I will praise thee;\n  Where shall I thy praise begin?\n\n  Angels now are hov'ring round us,\n  Unperceived amid the throng;\n  Wond'ring at the love that crown'd us,\n  Glad to join the holy song;\n  Hallelujah, hallelujah,\n  Love and praise to Christ belong.\n\nThe tune is evidently a remake of 'Locks and Bolts'. Compare, for\nexample, Sharp, ii., 19. The difference between the two tunes is\nprobably due in part to their structure, which provided real\ndifficulties for their recorders, and in part to the efforts of the\n_Bible Songs_ arranger to make the apparently dorian tune fit into\ncurrent scale formulas. Compare also 'Bed of Primroses', Thomas, p.\n176.\n\n\n                                No. 90\n                         MOUNT WATSON, OL 272\n\nHeptatonic dorian, mode 2 A + B (I II 3 IV V VI 7)\n\n                               [Music]\n\n  Death shall not destroy my comfort,\n  Christ shall guide me thro' the gloom;\n  Down he'll send some heav'nly convoy,\n  To escort my spirit home.\n  _Chorus_\n  O hallelujah! how I love my Savior,\n  O hallelujah! that I do;\n  O hallelujah! how I love my Savior!\n  Mourners, you may love him too.\n\n  Jordan's stream shall not o'erflow me,\n  While my Savior's by my side;\n  Canaan, Canaan lies before me!\n  Soon I'll cross the swelling tide.\n  O hallelujah _etc._\n\n  See the happy spirits waiting,\n  On the banks beyond the stream!\n  Sweet responses still repeating,\n  \"Jesus! Jesus!\" is their theme.\n  O hallelujah _etc._\n\nWilliam Hauser, compiler of the _Olive Leaf_, informs us that \"this\ntune [is] called after Rev. John H. Watson, whom, in my youth [in the\n1820's], I used to hear sing [it]\". It is a variant of the beautiful\ntraditional secular ballad 'The Poor Little Fisherman Girl' or 'Green\nWillow'.\n\n\n                                No. 91\n                       CROSS OF CHRIST, GOS 504\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Did Christ the great example lead\n  For all his humble train,\n  In washing the disciples' feet\n  And wiping them again?\n  And did my Lord and Master say:\n  \"If I have wash'd your feet,\n  Ye also ought to watch and pray\n  And wash each other's feet.\"\n\n  O blessed Jesus, at thy board\n  I have thy children met;\n  The bread I've broke, the wine I've poured,\n  We've washed each other's feet.\n  In imitation of my Lord\n  Whose blood for me did sweat,\n  I yield unto his sacred word\n  And wash the pilgrims' feet.\n\n  Yea, blessed Jesus, I, like thee,\n  Would Christians often meet;\n  The least of all the flock would be,\n  And wash his children's feet.\n  For this let men reproach, defame,\n  And call me what they will;\n  I still would follow Christ the Lamb,\n  And be his servant still.\n\n  The loving labor I repeat,\n  Obedient to his word,\n  And wash his dear disciples' feet\n  And wait upon the Lord.\n  Shall I, a worm, refuse to stoop?\n  My fellow worm disdain?\n  I give my vain distinctions up,\n  Since Christ did wait on man.\n\nThe words were quite evidently made to go with the celebration of the\nfootwashing rite still observed by the Primitive Baptists, from whose\nhymn book the song is taken. The tune is ascribed to L. P. Breedlove\nof Georgia. I find it to be a close variant of 'James Harris' (or\n'Daemon Lover' or 'House Carpenter') turned around; that is, with the\nsecond part of the above tune coming first in the secular ballad tune.\nFor versions of the 'James Harris' tune see Thomas 172, Davis 592-594,\nCox 524, and Sharp, i., 244-258. The oldest variant tune known to me\nis that in Motherwell associated with 'Blue Flowers and Yellow'\n(Appendix, _Musick_, No. 17.) After comparing the above tune with its\nworldly relatives, it becomes evident that the GOS signature of\n_b_-flat should be changed to that of _f_-natural, raising the sixth\nand restoring what was evidently a dorian tune.\n\n\n                                No. 92\n                          ROSE TREE, KNH 165\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  There is a land of pleasure\n  Where streams of joy forever roll;\n  'Tis there I have my treasure,\n  And there I long to rest my soul.\n  Long darkness dwelt around me\n  With scarcely once a cheering ray,\n  But since my Savior found me,\n  A lamp has shown along the way.\n\n  My way is full of danger,\n  But 'tis the path that leads to God,\n  And like a faithful soldier\n  I'll march along the heav'nly road.\n  Now I must gird my sword on,\n  My breast plate, helmet and my shield,\n  And fight the host of Satan,\n  Until I reach the heav'nly field.\n\n  I'm on the way to Zion,\n  Still guided by my Saviour's hand,\n  O come along dear sinners\n  And see Emanuel's happy land.\n  To all that stay behind me,\n  I bid a long, a sad farewell.\n  Come now, or you'll repent it\n  When you do reach the gates of hell.\n\nEchoes of 'Turkey in the Straw' (see Sandburg, p. 94) are heard in\nthis tune. Compare also 'My Grandma Lived on Yonder Little Green', WS\n166. The immediate ancestor of the tune, and the source of its title,\nis the secular song 'A Rose-Tree in Full Bearing', _The English\nMusical Repository_, Edinburgh, 1811, p. 127. It appeared in William\nShield's ballad opera 'The Poor Soldier', 1783. The 'Rose Tree' air\nwas known in Ireland also as 'Moreen O'Cullenan' and was associated,\namong other texts, with Moore's 'I'd Mourn the Hopes that Leave Us'.\nSee Joyce, p. 40.\n\n\n                                No. 93\n                           CLAMANDA, OSH 42\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Say now, ye lovely social band,\n  Who walk the way to Canaan's land;\n  Ye who have fled from Sodom's plain,\n  Say do you wish to turn again?\n  O have you ventured to the field,\n  Well arm'd with helmet, sword and shield?\n  And shall the world with dread alarms,\n  Compel you now to ground your arms?\n\n  Beware of pleasure's siren song,\n  Alas, it cannot soothe thee long.\n  It cannot quiet Jordan's wave,\n  Nor cheer the dark and silent grave.\n  O what contentment did you find,\n  While love of pleasure ruled your mind?\n  No sweet reflection lulled your rest,\n  Nor conscious virtue calmed your breast.\n\n  O, come, young soldiers, count the cost,\n  And say, what pleasures have you lost?\n  Or what misfortune does it bring,\n  To have Jehovah for your king?\n  Shall sin entice you back again,\n  And bind you with its iron chain?\n  Has vice to you such lovely charms,\n  That you must die within its arms?\n\n  Is folly's way the way of peace,\n  Where fear, and pain, and sorrow cease?\n  Does pleasure roll its living stream,\n  And is religion all a dream?\n  Say, what contentment did you find\n  When love of pleasure ruled your mind?\n  No sweet reflection gave you rest,\n  Nor conscious virtue calm'd your breast.\n\nTune found also in CHI 12, KNH 109, UH 63, SOC 168, HH 28, SKH 47, GOS\n26. The text, taken from the _Dover Selection_, as well as the tune,\nattributed to 'Chapin', seem to be closely related to a Christmas\ncarol in JFSS, ii., 115. Its first stanza begins: \"Come all ye\nfaithful Christians, That dwell within this land. That pass your time\nin rioting, Remember you are but man.\" The English folk-song, 'Just as\nthe Tide Was a-Flowing', has an almost identical tune. See Gould and\nSharp, _English Folk-Songs for Schools_, p. 52.\n\n\n                                No. 94\n                         MECKLINBURG, SKH 30\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Bright scenes of glory strike my sense,\n  And all my passions capture;\n  Eternal beauties round me shine,\n  Infusing warmest rapture.\n  I dive in pleasure deep and full,\n  In swelling waves of glory;\n  And feel my Savior in my soul,\n  And groan to tell my story;\n  And feel my Savior in my soul,\n  And groan to tell my story.\n\n  I feast on honey, milk and wine,\n  I drink perpetual sweetness;\n  Mount Zion's odours through me shine,\n  While Christ unfolds his glory.\n  No mortal tongue can lisp my joys,\n  Nor can an angel tell them;\n  Ten thousand times surpassing all\n  Terrestrial worlds [words?] or emblems.\n\n  My captivated spirit flies,\n  Through shining worlds of beauty;\n  Dissolv'd in blushes, loud I cry,\n  In praises loud and mighty;\n  And here I'll sing and swell the strains\n  Of harmony delighted,\n  And with the millions learn the notes\n  Of saints in Christ united.\n\nThe compiler of the SKH attributes the tune to Lowry. See _White\nSpirituals_, p. 167, for a secular relative of the tune. See also 'St.\nPatrick was a Gentleman', Petrie, No. 346; and I'm Seventeen Come\nSunday', JFSS, ii., 269f.\n\n\n                                No. 95\n                        SALVATION (B), SOH 84\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Come, humble sinner in whose breast\n  A thousand thoughts revolve;\n  Come with your guilt and fear opprest\n  And make this last resolve.\n\n  I'll go to Jesus though my sin\n  Hath like a mountain rose.\n  I know his courts, I'll enter in,\n  Whatever may oppose.\n\n  Prostrate I'll lie before his throne,\n  And there my guilt confess;\n  I'll tell him I'm a wretch undone,\n  Without his sovereign grace.\n\n  I'll to the gracious King approach,\n  Whose sceptre pardon gives;\n  Perhaps he may command my touch,\n  And then the suppliant lives.\n\nOf the text which the compiler of the _Southern Harmony_ found in\n\"Rippon\", three further stanzas are found in Caldwell's _Union\nHarmony_, p. 35. The tune, ascribed to Robert Boyd, is found also KYH\n22, GCM 136, UH 34, KNH 32, HH 71, HOC 24, TZ 101, and GOS 144. A\nvariant tune is 'Come All Ye Worthy Christian Men', Sharp, _One\nHundred English Folksongs_, No. 91. Note similarity in the opening\nwords of both songs. See also Sharp's note as to other old related\nsongs. The first melodic sentence is quite similar to that of the tune\nto 'The Three Ravens' as Motherwell gives it in _Minstrelsy Ancient\nand Modern_, Edition 1873, Appendix, _Musick_, No. 12:\n\n                               [Music]\n\n\n                                No. 96\n                        FRENCH BROAD, SOH 265\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  High o'er the hills the mountains rise,\n  Their summits tow'r toward the skies;\n  But far above them I must dwell,\n  Or sink beneath the flames of hell.\n\n  Although I walk the mountains high,\n  Ere long my body low must lie,\n  And in some lonesome place must rot,\n  And by the living be forgot.\n\n  There it must lie till that great day,\n  When Gabriel's awful trump shall say,\n  \"Arise, the judgment day is come,\n  When all must hear their final doom.\"\n\nFour more stanzas in the _Southern Harmony_. Found also GOS 218, CHH\n208. William Walker, compiler of the _Southern Harmony_, appends the\nnote: \"This song was composed by the author in the fall of 1831, while\ntraveling over the mountains, on French Broad River, in North Carolina\nand Tennessee\". Walker must have been referring simply to the words.\nHe was melodizing, probably unconsciously, in beaten paths. For his\ntune is almost identical with the older 'Kedron' (this collection)\nwhich was attributed to \"Dare\". Walker declares, in his later song\nbook, _Christian Harmony_, 1866, p. 208, that he \"learned the air of\nthis tune from my mother when only five years old.\" That would have\nbeen 1814. Both the Dare and the Walker tunes are closely related to\nthe melody of 'McAfee's Confession', Sharp, ii., 16, lower tune, a\nwestern North Carolina recording of 1918; and to the Old World song,\n'The Wraggle Taggle Gipsies O', _One Hundred English Folk-Songs_, p.\n13.\n\n\n                                No. 97\n                    DAVISSON'S RETIREMENT, KNH 117\n\nPentatonic, mode 4 (I II -- IV V -- 7)\n\n                               [Music]\n\n  Jesus, and shall it ever be\n  A mortal man asham'd of thee,\n  Asham'd of thee whom angels praise,\n  Whose glories shine through endless days.\n\n  Ashamed of Jesus! sooner far\n  Let evening blush to own a star;\n  He sheds the beams of light divine\n  O'er this benighted soul of mine.\n\n  Ashamed of Jesus! just as soon\n  Let midnight be ashamed of noon:\n  'Tis midnight with my soul till he,\n  Bright morning star, bid darkness flee.\n\nThe poem is by Joseph Grigg (b. 1720). Ananias Davisson of the Valley\nof Virginia named and claimed the tune in his _Kentucky Harmony_\n(1815). Annabel Morris Buchanan has found a tune with the title\n'Retirement' in a manuscript tune book which she judges to be from the\neighteenth century. No text accompanies the tune, and no source is\ngiven. It follows:\n\n                               [Music]\n\nA comparison of the two tunes indicates rather plainly that Davisson\nwrote the tune down from oral tradition, and that his noting was\nindicative of the manner in which it was actually sung.\n\n\n                                No. 98\n                           PILGRIM, OSH 201\n\nHexatonic, mode 2 b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  Come, all ye mourning pilgrims dear,\n  Who're bound for Canaan's land,\n  Take courage and fight valiantly,\n  Stand fast with sword in hand.\n  Our Captain's gone before us,\n  Our Father's only Son;\n  Then pilgrims dear, pray do not fear,\n  But let us follow on.\n\n  We have a howling wilderness\n  To Canaan's happy shore,\n  A land of dearth and pits and snares,\n  Where chilling winds do roar.\n  But Jesus will be with us\n  And guard us by the way,\n  Though enemies examine us,\n  He'll teach us what to say.\n\n  Come all you pilgrim travelers,\n  Fresh courage take with me;\n  Meantime I'll tell you how I came\n  This happy land to see:\n  Through faith, the glorious telescope,\n  I view'd the worlds above,\n  And God the Father reconciled,\n  Which fills my heart with love.\n\nThe tune is found also CHI 54, MOH 147, KNH 57, HH 392, SOC 117, and\nWP 46. Among the many secular songs using this tune are 'Daniel\nMonroe', dating from around 1785, Rickaby, pp. 184 and 229; 'Lady and\nthe Dragoon', Sharp, i., 337, recorded in North Carolina in 1918;\n'Sheffield Apprentice', Sharp, ii., 66; 'Loving Reilly', Sharp, ii.,\n81 and 82; 'Rebel Soldier', or 'Poor Stranger' Sharp, ii., 215; 'Sons\nof Liberty', Sharp, ii., 225; 'John Barleycorn', noted by Sharp in\nEngland in 1909; 'Gallant Poachers' or 'Van Diemen's Land', also in\nEngland, see JFSS, vii., 42, for references; 'I Wish I Was in Dublin\nTown', or 'The Irish Girl', JFSS, viii., 263; and 'Barley and the\nRye', JFSS, viii., 273; 'High Germany' and 'Erin's Lovely Home', _One\nHundred English Folk-Songs_, pp. 124 and 127; 'King's Lynn',\n_Christian Science Hymnal_; and 'Rise Up Young William Reilly',\nPetrie, No. 510. Stephen Foster's tune 'Way Down in Ca-i-ro' shows\ninfluence from this tune formula. See _The Musical Quarterly_, vol.\nxxii., No. 2.\n\n\n                                No. 99\n                         MISSISSIPPI, SKH 34\n\nHeptatonic aeolian, mode A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  When Gabriel's awful trump shall sound,\n  And rend the rocks, convulse the ground\n  And give to time her utmost bound,\n  Ye dead arise to judgment.\n  See lightnings flash and thunders roll;\n  See earth wrapt up like parchment scroll,\n  Comets blaze, sinners raise,\n  Dread amaze, horrors seize\n  The guilty sons of Adam's race,\n  Unsav'd from sin by Jesus.\n\n  The Christian, fill'd with rapturous joy,\n  Midst flaming worlds he mounts on high,\n  To meet his Savior in the sky\n  And see the face of Jesus.\n  The soul and body reunite,\n  And fill with glory infinite.\n  Blessed day, Christians say,\n  Will you pray that we may\n  All join that happy company\n  To praise the name of Jesus.\n\nThe compiler of the _Supplement to the Kentucky Harmony_ attributed\nthe song to \"Bradshaw\". I find distinct ancestral traces of its tune\nin 'Princess Royal' given in a number of traditional forms as a morris\ndance tune in Sharp, _The Morris Dance Book_. Assuming these to be the\noldest forms of the tune, the next younger form seems to have been\nwhat was called in Walsh's _Compleat Dancing Master_ (_ca._ 1730),\n\"The Princess Royal, the new way\". In 1796 Shield adapted the air to\nthe words of 'The Saucy Arethusa' in the ballad opera _The Lock and\nKey_. It may be found entitled 'The Arethusa' in _The English Musical\nRepository_, p. 32. At about the same time--around the end of the\neighteenth century--the tune was used also for 'Bold Nelson's Praise'\na version of which was recently recorded by Sharp, _One Hundred\nEnglish Folk-Songs_, No. 88. The as yet unidentified \"Bradshaw\" seems\nto have taken one of these late-eighteenth-century tunes--probably\n'Arethusa'--as his model when he made the 'Mississippi' song as it\nappeared in the _Supplement to the Kentucky Harmony_ in 1820.\n\n\n                               No. 100\n                       PLEADING SAVIOR, OSH 234\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Now see the Savior stands pleading\n  At the sinner's bolted heart.\n  Now in heav'n he's interceding,\n  Undertaking sinners' part.\n  Sinners, can you hate this Savior?\n  Will you thrust him from your arms?\n  Once he died for your behavior,\n  Now he calls you to his arms.\n\n  Sinners, hear your God and Savior,\n  Hear his gracious voice today;\n  Turn from all your vain behavior,\n  Oh repent, return, and pray.\n  Sinners, can you hate this Savior?\n  Will you thrust him from your arms?\n  Once he died for your behavior,\n  Now he calls you to his arms.\n\nThe first line of the text above should probably read\n\n  Now the Savior stands a-pleading.\n\n_The Methodist Hymn Book_ of England, London, 1933, has the above tune\nunder the title 'Saltash', and its source is given as the _Plymouth\nCollection_, 1855.\n\n\n                               No. 101\n                   NETTLETON or SINNER'S CALL, PB 4\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Come, thou fount of every blessing,\n  Tune my heart to sing thy grace!\n  Streams of mercy never ceasing,\n  Call for songs of loudest praise.\n  Teach me some melodious sonnet\n  Sung by flaming tongues above:\n  Praise the mount! O fix me on it,\n  Mount of God's unchanging love.\n\n  Here I raise my Ebenezer;\n  Hither by thy help I'm come;\n  And I hope, by thy good pleasure,\n  Safely to arrive at home.\n  Jesus sought me, when a stranger,\n  Wandering from the fold of God;\n  He, to save my soul from danger,\n  Interposed his precious blood!\n\nThe words are the widely sung ones of Robinson. Metcalf (Frank J.,\n_Stories of Hymn Tunes_, p. 141) thinks the tune belongs to John Wyeth\n(1770-1858). It is the tune that has been used for the Parody 'Tell\nAunt Rhody.' And its close relative 'Sweet Affliction' or\n'Greenville', in this collection, has been used for the 'Go Tell Aunt\nRhody' parody.\n\n\n                               No. 102\n                       CHARIOT OF MERCY, HH 290\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  The chariot of mercy is speeding its way,\n  Far, far through the shadowy gloom,\n  Where the lands that in death's dark obscurity lay,\n  Are bursting the bars of their tomb. _etc._\n\nThis familiar tune continues with the words:\n\n  I see where 'tis shedding its luminous ray,\n  Dispersing the shadows of night;\n  And wondering nations are hailing the day,\n  And rejoice in its glorious light.\n\nThe _Hesperian Harp_ gives the tune as an \"Irish Air\". We recognize it\nas the melody to which 'Believe Me, If all Those Endearing Young\nCharms' is sung universally. Woolridge tells us it is the setting for\nthe popular ballad 'My Lodging, It is on the Cold Ground' as printed\n\"on all broadsides, with music, of the last century\", meaning the\neighteenth century. The ballad, in connection with a different tune,\nhad been popular from around the middle of the seventeenth century in\nEngland. With the above tune its singing vogue seems not even yet to\nhave abated. See Chappell's _Old English Popular Music_, ii., 137ff.\nAn old Irish version of the tune is 'Oh Shrive me Father', Petrie, No.\n632. Stephen Foster undoubtedly had this popular tune formula in mind\nwhen he composed 'Old Folks at Home'. See _Musical Quarterly_, vol.\nxxii., No. 2, pp. 158-160.\n\n\n                               No. 103\n             STOCKWOOD or SISTER THOU WAST MILD, OSH 118\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Sister, thou wast mild and lovely,\n  Gentle as the summer breeze,\n  Pleasant as the air of evening\n  When it flows among the trees.\n  Peaceful be thy silent slumber,\n  Peaceful in the grave so low;\n  Thou no more wilt join our number,\n  Thou no more our songs shalt know.\n\n  Dearest sister, thou hast left us,\n  Here thy loss we deeply feel;\n  But 'tis God that hast bereft us,\n  He can all our sorrows heal.\n  Yet again we hope to meet thee,\n  When the day of life is fled,\n  Then in heaven with joy to greet thee,\n  Where no farewell tear is shed.\n\nThe words are attributed in the _Sacred Harp_ to Samuel Francis Smith,\nauthor of 'My Country, 'Tis of Thee'.\n\n\n                               No. 104\n                            ROSE, REV 332\n\nHeptatonic aeolian or dorian minorized, cannot be classified (I II 3\nIV V [VI] 6 [VII] 7)\n\n                               [Music]\n\n  O tell me no more Of this world's vain store,\n  The time for such trifles With me now is o'er.\n  A country I've found Where true joys abound,\n  To dwell I'm determined On that happy ground.\n\n  The souls that believe, in paradise live,\n  And me in that number will Jesus receive;\n  My soul, don't delay, he calls thee away;\n  Rise, follow the Savior, and bless the glad day.\n\nFour more stanzas of the text are given in the _Revivalist_. The tune\nwas recorded \"as sung by Rev. A. C. Rose\" from whom it got its title.\nThe oldest recording of the melody known to me is on page 38 of\nIngalls' _Christian Harmony_, 1805. The Reverend Rose's song appears\nin this collection also as 'O Tell Me No More', in its standardized\ntune-book form, whereas the recorder of the above variant has caught\nmuch of the folk-singing manner. Both of the tunes in question are\nrelated to the 'Lord Randal' melodies which are found in Sharp, i.,\n43, G.\n\n\n                               No. 105\n                         SUPPLICATION, OSH 45\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  O thou who hear'st when sinners cry,\n  Tho' all my crimes before thee lie,\n  Behold them not with angry look,\n  But blot their mem'ry from thy book.\n\n  Create my nature pure within,\n  And form my soul averse to sin;\n  Let thy good spirit ne'er depart,\n  Nor hide thy presence from my heart.\n\n  I cannot live without thy light,\n  Cast out and banished from thy sight;\n  Thy holy joys, my God, restore,\n  And guard me that I fall no more.\n\nWords attributed to Watts; tune to Chapin. Found also, _Choral-Music_,\np. 48, KYH 20, MOH 26, GCM 110, SOH 5, GOS 589, UH 14. See WS 190 for\nthe tune's use with the 'Wicked Polly' ballad which is also to be\nfound in this collection. It is a variant also of 'Lord Bateman',\nSharp, _One Hundred English Folk-songs_, No. 6; and of 'Hind Horn',\n_British Ballads from Maine_, pp. 73 and 78. _The Singer's Companion_\n(New York, 1854) has a strikingly similar tune under the title 'Hame,\nHame, Hame', a Jacobite song whose words tell of a Scotch exile and\nhis longing for home. The editor of that collection found it in the\n_Garland of Scotia_. The old Scotch tune is doubtless the source of\n'Supplication'.\n\n\n                               No. 106\n                         PRAISE GOD, OSH 528\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Oh, for a heart to praise my God, A heart from sin set free;\n  A heart that's sprinkled with his blood, So freely shed for me,\n  Oh, for a heart submissive, meek;\n  Oh, for a heart submissive, meek, My great Redeemer's throne,\n  Where only Christ is heard to speak, Where Jesus reigns alone.\n\n  Oh, for an humble, contrite heart, believing, true and clean,\n  Which neither life nor death can part from him that dwells within.\n  A heart in every thought renewed, and full of love divine;\n  Perfect, and right, and pure, and good, a copy, Lord, of thine.\n\nSeaborn M. Denson composed this tune as a setting to Charles Wesley's\ntext and inserted it, in a fuguing-tune setting, in the _Original\nSacred Harp_ of 1911. The tune is testimony to the fact that its\ncomposer was steeped in the traditional Anglo-American folk-melodism\nand in that particular direction which it took in the hands of the\neighteenth century fuguing-song makers. Compare for melodic\nsimilarities 'Geordie', JFSS, iii., 191. _White Spirituals_ tells more\nabout Mr. Denson who died in 1936.\n\n\n                               No. 107\n                           LEANDER, SOH 128\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  My soul forsakes her vain delight,\n  And bids the world farewell,\n  Base as the dirt beneath thy feet\n  And mischievous as hell.\n  No longer will I ask your love,\n  Nor seek your friendship more;\n  The happiness that I approve\n  Is not within your pow'r.\n\n  There's nothing round this spacious earth\n  That suits my soul's desire;\n  To boundless joy and solid mirth\n  My nobler thoughts aspire.\n  O for the pinions of a dove\n  To mount the heav'nly road;\n  There shall I share my Savior's love,\n  There shall I dwell with God.\n\nThe tune is ascribed to \"Austin\", and the words to Watts. Found also,\nUH 66, OSH 71, HOC 61, WP 52, TZ 100, MOH 129. The second part of the\ntune reminds of the second part of 'When Johnny Comes Marching Home'.\nVariants of the melody are 'Jubilee', CHI 62 and REV 355; and 'This Is\nthe Jubilee', OL 113.\n\n\n                               No. 108\n                   THERE IS A REST REMAINS, REV 135\n\nHexatonic, minorized, cannot be classified (I II 3 IV [IV'] V -- 7\n[VII])\n\n                               [Music]\n\n  Lord, I believe a rest remains\n  To all thy people known;\n  A rest where pure enjoyment reigns,\n  And thou art loved alone.\n\n  There is a rest remains,\n  There is a rest remains,\n  There is a rest remains\n  For all the people of God.\n\n  A rest where all our soul's desire\n  Is fixed on things above;\n  Where fear, and sin, and grief expire,\n  Cast out by perfect love.\n\n  O that I now the rest might know,\n  Believe and enter in;\n  Now, Savior, now the power bestow,\n  And let me cease from sin.\n\n  Remove this hardness from my heart,\n  This unbelief remove;\n  To me the rest of faith impart--\n  The Sabbath of thy love.\n\nA remarkably close remake of this peculiar song by the negroes is\ngiven in Dett, p. 108, under the title 'Go Down, Moses', where we see\nthe melodic setting of the above words \"To all thy people known\" and\n\"For all the people of God\" fitted note for note to \"Let thy people\ngo\". The tunes of 'Rejected Lover', Sharp, ii., 96ff., show\nsimilarities.\n\n\n                               No. 109\n                           BOURBON, COH 67\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  'Twas on that dark and doleful night,\n  When pow'rs of earth and hell arose\n  Against the Son of God's delight,\n  And friends betray'd him to his foes.\n\n  Before the mournful scene began,\n  He took the bread and blest and brake;\n  What love through all his actions ran,\n  What wondrous words of love he spake.\n\n  \"This is my body, broke for sin,\n  Receive and eat the living food;\"\n  Then took the cup and bless'd the wine--\n  \"'Tis the new cov'nant in my blood.\"\n\n  \"Do this,\" he cried, \"till time shall end,\n  In mem'ry of your dying Friend;\n  Meet at my table and record\n  The love of your departed Lord.\"\n\n  Jesus, thy feast we celebrate,\n  We show thy death, we sing thy name.\n  Till thou return, and we shall eat\n  The marriage supper of the Lamb.\n\nWords attributed sometimes to Watts. Tune attributed to Freeman Lewis.\nFound also, HH 8, GCM 159, SKY 61, MOH 60 and 143, UH 17, GOS 575.\nThis is the same tune which is used for 'McFee's Confession', Cox, p.\n525; 'Samuel Young', Sharp, ii., 271; 'Come, Father Build Me' (as sung\nin England), JFSS, viii., 212; and it is similar to 'Lord Bateman',\n_One Hundred English Folksongs_, No. 6. For further tune relationship\nsee 'Kedron' in this collection.\n\n\n                               No. 110\n                      GLORIOUS PROSPECT, OL 363\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  My soul's full of glory, which inspires my tongue;\n  Could I meet with angels, I'd sing them a song;\n  I'd sing of my Jesus and tell of his charms;\n  And beg them to bear me to his loving arms.\n\n  Methinks they're descending to hear while I sing;\n  Well pleased to hear mortals sing praise to their King.\n  O angels! O angels! my soul's in a flame!\n  I sink in sweet raptures at Jesus' dear name.\n\n  O Jesus! O Jesus! thou balm of my soul!\n  'Twas thou, my dear Savior, that made my heart whole;\n  Oh bring me to view thee, thou precious, sweet King,\n  In oceans of glory thy praises to sing!\n\nThe author of the _Olive Leaf_ tells us: \"This is the first tune I\never harmonized; about 1833. I had learned the air--which I suspect\nJohn Adam Granade originated, before I was born--when a boy, to these\nwords.\" That the tune went earlier with some secular ballad, seems\nevident from the resemblances found, for example, in 'Pretty Nancy of\nYarmouth', Sharp, i., 379; 'Lamkin', Sharp, i., 201ff.; 'The Silk\nMerchant's Daughter', Sharp, i., 383f.; and 'Green Grows the Laurel',\nSharp ii., 211.\n\n\n                               No. 111\n               O YE YOUNG AND GAY AND PROUD or ETERNITY\n\nPentachordal, cannot be classified (I II III IV V -- --)\n\n                               [Music]\n\n  O ye young and gay and proud,\n  You must die and wear the shroud,\n  Time will rob you of your bloom,\n  Death will drag you to the tomb.\n      _Chorus_\n  Then you'll cry and want to be\n  Happy in eternity.\n  Eternity, eternity,\n  Happy in eternity.\n\n  The white throne will soon appear,\n  All the dead will then draw near.\n  Then you'll go to heav'n or hell.\n  There you must forever dwell.\n      _Chorus_\n\nRecorded by the author from the singing of Mrs. Elizabeth\nShowalter-Miller, Dayton, Virginia, Jan. 20, 1930. Further stanzas of\nthe text and variant melodies may be found in Thomas, p. 118, and\nRichardson, p. 73.\n\n\n                               No. 112\n                      FRIENDS OF FREEDOM, CH 285\n\nHeptatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  Friends of freedom, swell the song!\n  Young and old, the strain prolong!\n  Make the temp'rance army strong,\n  And on to victory.\n  Lift your banners, let them wave;\n  Onward march, a world to save;\n  Who would fill a drunkard's grave\n  And bear his infamy?\n\n  Shrink not when the foe appears;\n  Spurn the coward's guilty fears;\n  Hear the shrieks, behold the tears\n  Of ruined families!\n  Raise the cry in every spot:\n  \"Touch not, taste not, handle not!\"\n  Who would be a drunken sot,\n  The worst of miseries.\n\n  Give the aching bosom rest;\n  Carry joy to every breast;\n  Make the wretched drunkard blest,\n  By living soberly.\n  Raise the glorious watchword high:\n  \"Touch not, taste not till you die\"\n  Let the echo reach the sky,\n  And earth keep jubilee.\n\n  God of mercy, hear us plead,\n  For thy help we intercede;\n  See how many bosoms bleed!\n  And heal them speedily.\n  Hasten, Lord, the happy day,\n  When, beneath thy gentle ray,\n  Temp'rance all the world shall sway,\n  And reign triumphantly.\n\nEvidently the time should be six-eight. It is found, measured thus, in\nthe 1859 edition of the _Sacred Harp_, p. 152, under the title\n'Bruce's Address, Spiritualized', and begins,\n\n  Soldiers of the cross, arise!\n  Lo, your Captain from the skies,\n  Holding forth the glitt'ring prize,\n  Calls to victory.\n  Fear not though the battle lower,\n  Firmly stand the trying hour,\n  Stand the tempter's utmost power,\n  Spurn his slavery.\n\nThe earlier tune is given, in _Lyric Gems of Scotland_, p. 242, as\nthat of 'Hey tutti tattie'. It is there associated with the text\n'Scots wha ha'e wi' Wallace bled', the same as 'Bruce's Address', of\nwhich both the texts cited here are parodies.\n\n\n                               No. 113\n                       PILGRIM'S SONG, REV 369\n\nHeptatonic mixolydian, mode 1 A + b (I II III IV V VI 7)\n\n                               [Music]\n\n  Oh, brethren I have found a land that doth abound\n  With fruit as sweet as honey;\n  The more I eat, I find, the more I am inclined\n  To shout and sing hosanna.\n\n  And as I pass along I'll sing the Christian's song,\n  I'm going to live forever.\n  My soul doth long to go where I may fully know\n  The glories of my Savior;\n\n  Perhaps you think me wild, or simple as a child;\n  I am a child of glory;\n  I am born from above, my soul is filled with love;\n  I love to tell the story.\n\n  My soul now sits and sings, and practices her wings,\n  And contemplates the hour\n  When the messenger shall say: \"Come quit this house of clay,\n  And with bright angels tower.\"\n\nThe tune is a variant of 'The Winter it is Past', Petrie, No. 439.\n\n\n                               No. 114\n                         HOLY MANNA, HOC 122\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Brethren, we have met to worship\n  And adore the Lord our God,\n  Will you pray with all your power\n  While we try to preach the word?\n  All is vain unless the spirit\n  Of the holy One comes down;\n  Brethren, pray, and holy manna\n  Will be showered all around.\n\n  Brethren, see poor sinners round you,\n  Trembling on the brink of wo;\n  Death is coming, hell is moving,\n  Can you bear to let them go?\n  See our fathers, see our mothers\n  And our children sinking down;\n  Brethren, pray, and holy manna\n  Will be showered all around.\n\n  Is there here a trembling jailor\n  Seeking grace and fill'd with fears?\n  Is there here a weeping Mary,\n  Pouring forth a flood of tears?\n  Brethren, join your cries to help them;\n  Sisters, let your prayers abound;\n  Pray, O pray that holy manna\n  May be scatter'd all around.\n\nTwo more stanzas are in SOH 103. This rousing song, still immensely\npopular, was claimed (probably first recorded) by William Moore,\ncompiler of the _Columbian Harmony_, in 1825. Subsequent compilers\nhave allowed his claim to stand. Found also, KNH 88, OSH 59, HH 244,\nSOC 191, HOC 107, WP 89, TZ 301, GOS 340, PB 291. The numerous\nimitations which flattered this tune are exemplified by GOS 243 and\n633, and REV 148. For negro adoptions see WS 268.\n\n\n                               No. 115\n                        WAR DEPARTMENT, SOH 94\n\nChinese pentatonic, cannot be classified (I II -- IV V 6 --)\n\n                               [Music]\n\n  No more shall the sound of the war-whoop be heard,\n  The ambush and slaughter no longer be fear'd,\n  The tomahawk buried shall rest in the ground,\n  And peace and goodwill to the nations abound.\n\n  All spirit of war to the gospel shall bow,\n  The bow lie unstrung at the foot of the plow;\n  To prune the young orchard the spear shall be bent,\n  And love greet the world with a smile of content.\n\nThe words were found by the _Southern Harmony_ compiler in _Mercer's\nCluster_. The tune is found also HH 277, OSH 160, SOC 167. It is\npossibly related to Petrie, Nos. 1030 and 1285.\n\n\n                               No. 116\n                        DROOPING SOULS, OL 184\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Drooping souls, no longer grieve,\n  Heaven is propitious;\n  If on Jesus you believe,\n  You will find him precious.\n  Jesus now is passing by,\n  Calling mourners to him;\n  Drooping souls, you need not die;\n  Now look up and view him.\n\nFor complete text see 'Lebanon'. The song is inscribed \"Wm. Hauser, M.\nD., May 29th, and July 18th, 1874.\"\n\n\n                               No. 117\n                       BE GONE UNBELIEF, OL 187\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Be gone unbelief, my Savior is near,\n  And for my relief will surely appear;\n  By prayer let me wrestle and He will perform;\n  With Christ in the vessel I smile at the storm.\n\n  Tho' dark be my way, since He is my guide,\n  'Tis mine to obey, 'Tis His to provide;\n  Tho' cisterns be broken, and creatures all fail,\n  The word He has spoken will surely prevail.\n\n  His life in time past forbids me to think\n  He'll leave me at last, in trouble to sink;\n  Each sweet Ebenezer, I have in review,\n  Confirms His good pleasure to bring me quite thro'.\n\n  Since all that I meet shall work for my good;\n  The bitter, the sweet; the medicine, food;\n  Tho' painful at present 'twill cease before long,\n  And then, O how pleasant the conqueror's song!\n\nWilliam Hauser, compiler of the _Olive Leaf_ tells that this \"air\n[was] learned of Reverend Samuel Anthony, of Georgia, in 1841.\" The\ntune of a Virginia version of the 'Brown Girl' (Sharp, i., 303) is\nvery close to this in note-trend and character. Also 'Pretty Saro',\nSharp, ii., 10-12; 'Cuckoo', Sharp, ii., 180; 'Green Bushes', Sharp,\nii., 155; 'Farewell, Dear Rosanna', Sharp, ii., 243 and 244, are the\nsame type. Negro adoptions of the tune are Marsh, pp. 144 and 173, and\nSS, p. 33. A variant in this collection is 'Rest in Heaven'. For its\nrelationship to the 'I Will Arise' tune family, see the song with that\ntitle in this collection. The errors in Hauser's notation of the tune\n(second, fourth, sixth measures etc.) have been left uncorrected.\n\n\n                               No. 118\n                       PILGRIM'S TRIUMPH, OL 61\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  To see a pilgrim as he dies,\n  With glory in his view;\n  To heav'n he lifts his longing eyes\n  And bids the world adieu.\n  While friends are weeping all around,\n  And loth to let him go,\n  He shouts with his expiring breath,\n  And leaves them all below.\n\n  O Christians, are you ready now,\n  To cross the rolling flood?\n  On Canaan's happy shore to stand,\n  And see your smiling God?\n  The dazzling charms of that bright world\n  Attract my soul above;\n  My tongue shall shout redeeming grace,\n  When perfected in love.\n\n  Come on, my brethren in the Lord,\n  Whose hearts are join'd in one;\n  Hold up your heads with courage bold,\n  Your race is almost run:\n  Above the clouds behold Him stand,\n  And smiling bid you come;\n  And angels whisper you away,\n  To your eternal home.\n\n\"This enrapturing song [the text] was written by Rev. Jno. Adam\nGranade, about 1802\", the compiler of the _Olive Leaf_ says. And he\nadds, \"Structure of this air learned of a negro, Mark Hull, 1843.\" The\ntune belongs to the 'Hallelujah' group, which see for many related\ntunes.\n\n\n                               No. 119\n                      TO BE WITH CHRIST, REV 14\n\nHexatonic, mode 2 b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  This world is beautiful and bright,\n  O scarce one cloud has dimmed my sky,\n  And yet no gloomy shades of night\n  Are gath'ring 'round me though I die;\n  Yet there's a lovelier land of light,\n  Illum'd by Bethle'm's beaming star;\n  E'en now it bursts upon my sight,\n  To be with Christ is better far.\n\n  True, life is sweet and friends are dear,\n  And youth and health are pleasant things;\n  Yet, leave I all, without a tear,\n  No sad regret my bosom wrings.\n  The ties of earth are broken all,\n  My chainless soul, above yon star,\n  Shall wing its way beyond recall,\n  To be with Christ is better far.\n\n  And is this death? My soul is calm,\n  No sting is here, the strife is done;\n  Glory to God and to the Lamb!\n  Sweet triumph! I have won, I've won!\n  A crown immortal, robes of white,\n  For me, for me in waiting are;\n  Arrayed in glory, clothed in light,\n  To be with Christ is better far.\n\nOne more stanza of the text is in the _Revivalist_. The tune is\nnotated \"as sung by Rev. B. I. Ives.\"\n\n\n                               No. 120\n                           DEVOTION, OSH 48\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Sweet is the day of sacred rest;\n  No mortal cares shall seize my breast;\n  O may my heart in tune be found,\n  Like David's harp of solemn sound.\n\n  Then shall I share a glorious part,\n  When grace hath well refined my heart,\n  And fresh supplies of joy are shed,\n  Like holy oil, to cheer my head.\n\n  Then shall I see, and hear, and know\n  All I desired and wished below;\n  And ev'ry power find sweet employ,\n  In that eternal world of joy.\n\nWatts wrote the words. The tune is ascribed in the _Sacred Harp_ to\nAmerick Hall. Found also, MOH 34, GCM 91, SOH 13, UH 48, WP 17, SKH 9,\nGOS 548; and in _Social Hymn and Tune Book_ (Philadelphia, 1865) under\nthe title 'Penitent'.\n\nIn JFSS, viii., 72, Miss Gilchrist calls attention to the likeness of\nthe above tune to Sharp's Appalachian versions of 'Little Musgrave and\nLady Barnard'. She also notes Miss Broadwood's discovery of its\nlikeness to two Gaelic tunes, 'Tearlach Og' in the _Gesto Collection_,\nand 'Muile nam Morbheann' in the _Celtic Lyre_. I append also 'Lost\nBabe', Sharp, ii., 161, as a further relative.\n\n\n                               No. 121\n                         TENDER CARE, GOS 291\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  When all thy mercies, O my God,\n  My rising soul surveys,\n  Transported with the view, I'm lost\n  In wonder, love and praise.\n  Unnumber'd comforts on my soul\n  Thy tender care bestow'd,\n  Before my infant soul conceiv'd\n  From whom those comforts flow'd.\n\n  When in the slippery paths of youth,\n  With heedless steps I ran,\n  Thine arm, unseen, conveyed me safe,\n  And led me up to man.\n  Ten thousand thousand precious gifts\n  My daily thanks employ;\n  Nor is the least a cheerful heart,\n  That tastes those gifts with joy.\n\n  Through every period of my life,\n  Thy goodness I'll pursue;\n  And after death in distant worlds,\n  The pleasing theme renew.\n  In all eternity to Thee\n  A grateful song I'll raise;\n  But! O eternity's too short\n  To utter all thy praise.\n\nAscribed to P. M. Atchley who was a singing-school man in eastern\nTennessee in the early part of the nineteenth century. The tune\nbelongs to the 'Hallelujah' family. See the song by that name in this\ncollection for many related melodies.\n\n\n                               No. 122\n                         REFLECTION, MOH 444\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  No sleep nor slumber to his eyes,\n  Good David would afford,\n  Till he had found below the skies\n  A dwelling for the Lord,\n  A dwelling for the Lord.\n\n  The Lord in Zion placed his name,\n  His ark was settled there;\n  And there th'assembled nation came,\n  To worship twice a year,\n  To worship twice a year.\n\n  We trace no more those toilsome ways,\n  Nor wander far abroad;\n  Where e'er thy people meet for praise,\n  There is a house for God,\n  There is a house for God.\n\nThe tune is usually attributed to Davisson, and this probably as a\nresult of Davisson's own claim in the _Kentucky Harmony_. Found also,\nKYH 42, UH 31, KNH 22, HOC 13, WP 36.\n\n\n                               No. 123\n                            PISGAH, OSH 58\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Jesus, thou art the sinner's friend, As such I look on thee,\n  Now in the bowels of thy love, O Lord remember me.\n  O Lord remember me, O Lord remember me;\n  Now in the bowels of thy love, O Lord remember me.\n\n  Remember thy pure words of grace, remember Calvary,\n  Remember all thy dying groans, and then remember me.\n  O Lord remember me, O Lord remember me;\n  Remember all thy dying groans, and then remember me.\n\n  Thou wondrous advocate with God, I yield myself to thee,\n  While thou art sitting on thy throne, O Lord remember me.\n  O Lord remember me, O Lord remember me;\n  While thou art sitting on thy throne, O Lord remember me.\n\n  And when I close my eyes in death, and creature helps all flee,\n  Then O my great Redeemer, God, I pray remember me.\n  I pray remember me, I pray remember me;\n  Then O my great Redeemer, God, I pray remember me.\n\nThe poem is attributed in the _Sacred Harp_ to Richard Burnham. The\ntune there, and generally in the southern books, is credited to J. C.\nLowry. Found also, MOH 59, GCM 104, SOH 80, UH 23, KNH 56, HH 112, SOC\n205, WP 83, TZ 92, SKH 25, GOS 311. A negro spiritual inspired by this\nsong is 'Lord, Remember Me', SS 12, No. 15. Miss Gilchrist sees in\n'Pisgah' a variant of 'Little Musgrave and Lady Barnard' as found in\nthe Appendix of Motherwell, _Minstrelsy_, and later published in\nChappell's _Popular Music_. (See JFSS, viii., 61-95.) Despite the\napparently English source of 'Pisgah', the _Methodist Hymn Book_ of\nEngland reproduces the tune under the title 'Covenanters' and calls it\n\"an American Melody.\"\n\n\n                               No. 124\n                            GAINES, HH 122\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  O for a thousand tongues to sing,\n  My great Redeemer's praise!\n  The glories of my God and King,\n  The triumphs of his grace,\n  The triumphs of his grace.\n\n  My gracious Master and my God,\n  Assist me to proclaim,\n  To spread through all the earth abroad\n  The honors of thy name,\n  The honors of thy name.\n\n  Jesus! the name that charms our fears,\n  That bids our sorrows cease;\n  'Tis music in the sinner's ears,\n  'Tis life and health and peace,\n  'Tis life and health and peace.\n\nCharles Wesley wrote the words. William Hauser, _Hesperian Harp_\ncompiler, claims the tune. For melodic similarities in other spiritual\nsongs see 'One More River to Cross', in this collection; 'Cherry Tree\nCarol', Sharp, i., 92 and 93; and 'Geordie', Sharp, i., 240.\n\n\n                               No. 125\n                       HUMBLE PENITENT, SKH 14\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Stay, thou insulted spirit, stay! Though I have done thee such\n              despite,\n  Cast not a sinner quite away, Nor take thine everlasting flight.\n\n  Though I have most unfaithful been, of all whoe'er thy grace\n              received;\n  Ten thousand times thy goodness seen, ten thousand times thy\n              goodness griev'd.\n\n  But O, the chief of sinners spare, in honor of my great priest;\n  Nor in thy righteous anger swear I shall not see thy people rest.\n\n  If yet thou canst my sins forgive, e'en now, O Lord, relieve my\n              woes;\n  Into thy rest of love receive, and bless me with the calm repose.\n\n  E'en now my weary soul release, and raise me by thy gracious hand;\n  Guide me into thy perfect peace, and bring me to the promis'd land.\n\nDavisson, the compiler of the _Supplement to the Kentucky Harmony_,\nclaims this tune. It is similar to 'The Bird Song', Sharp, ii., 215.\nFor other tune relationships see 'I Will Arise' in this collection.\n\n\n                               No. 126\n                        CHARMING NAME, CHH 90\n\nHeptatonic ionian, mode 3 A b (I II III IV V VI VII)\n\n                               [Music]\n\n  Jesus, I love thy charming name,\n  'Tis music to my ear;\n  Fain would I sound it out so loud\n  That earth and heav'n should hear,\n  That earth and heav'n should hear.\n\n  Yes, thou art precious to my soul,\n  My transport and my trust;\n  Jewels, to thee, are gaudy toys,\n  And gold is sordid dust.\n\n  I'll speak the honors of thy name\n  With my last lab'ring breath;\n  Then speechless clasp thee in mine arms,\n  The antidote of death.\n\nThe notated form of this tune (the work is claimed by, and is\ndoubtless that of, William Walker) illustrates excellently the manner\nof singing in rural America in earlier times. See also WS, p. 211 f.\n\n\n                               No. 127\n                        BALM IN GILEAD, REV 15\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  How lost was my condition Till Jesus made me whole\n  There is but one Physician Can cure a sin-sick soul.\n\n  There's a balm in Gilead to make the wounded whole;\n  There's pow'r enough in Jesus to cure a sin-sick soul.\n\nI have reproduced the notation of the _Revivalist_ tune with all its\nmistakes. A fuller text is given under 'Good Physician' in this\ncollection. A negro version entitled 'There is a Balm in Gilead' is\ngiven in Dett, p. 88. Another is in Work, p. 43.\n\n\n                               No. 128\n                           PLENARY, SOH 262\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Hark, from the tombs a doleful sound,\n  Mine ears, attend the cry;\n  \"Ye living men, come view the ground,\n  Where you must shortly lie,\n  Where you must shortly lie,\n  Where you must shortly lie;\n  Ye living men come view the ground\n  Where you must shortly lie.\n\n  \"Princes, this clay must be your bed,\n  In spite of all your towers;\n  The tall, the wise, the reverend head\n  Must lie as low as ours.\"\n  Grant us the power of quickening grace,\n  To fit our souls to fly;\n  Then, when we drop this dying flesh,\n  We'll rise above the sky.\n\nThe tune is the same as the popular 'Old Grimes is Dead' and 'Auld\nLang Syne'. It occurs also OSH 162 and CHH 94. The _Methodist Hymnal_\n(1935) attributes it to William Shield. In the _Southern Harmony_ its\nauthor is given as A. Clark.\n\n\n                               No. 129\n                        SAWYER'S EXIT, OSH 338\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  How bright is the day when the Christian\n  Receives the sweet message to come,\n  To rise to the mansions of glory\n      _Chorus_\n  And be there forever at home;\n  And be there forever at home,\n  To rise to the mansions of glory,\n  And be there forever at home.\n\n  The angels stand ready and waiting,\n  The moment the spirit is gone,\n  To carry it upward to heaven,\n  And welcome it safely at home.\n      _Chorus_\n\n  The saints that have gone up before us,\n  All raise a new shout as we come,\n  And sing hallelujah the louder,\n  To welcome the travelers home.\n      _Chorus_\n\nFor source of tune and words see WS, p. 167. The tune is borrowed from\n'Old Rosin the Bow', see Sandburg, p. 167. See also 'My Sister She\nWorks in a Laundry', Sandburg, 381; 'When Sherman Marched Down to the\nSea', Dolph, 347; 'Washington Badge', HH 536; 'Lord Randal', Sharp,\ni., 39; and 'I wonder When I'm to Be Married', from Dumphriesshire,\nEngland, 1855, see JFSS, viii., 142.\n\n\n                               No. 130\n                      O TELL ME NO MORE, OL 301\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  O tell me no more of this world's vain store;\n  The time for such trifles with me now is o'er.\n  A country I've found, where true joys abound,\n  To dwell I'm determin'd on that happy ground.\n\n  The souls that believe, in Paradise live;\n  And me in that number will Jesus receive:\n  My soul, don't delay, he calls thee away;\n  Rise, follow thy Savior, and bless the glad day.\n\n  No mortal doth know what he can bestow,\n  What light, strength, and comfort; go after him, go!\n  Lo! onward I move, to a city above;\n  None guesses how wondrous my journey will prove.\n\nThe text is attributed to \"John Gambold, of England.\" I find the tune\nto be a relative of a 'Lord Randal' variant which Sharp (i., 43, G)\nfound in eastern Tennessee. The resemblance of the two tunes runs\nthroughout; but in the last four-measure phrase (going with the\nworldly sentence \"I'm sick to the heart and I fain would lie down\")\nthey are practically identical. 'Rose' in this collection is a variant\nof this tune, notated in the folk manner of singing.\n\n\n                               No. 131\n                        HEAVENLY DOVE, SOC 23\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Come, Holy Spirit, heav'nly dove,\n  With all thy quick'ning powers;\n  Come shed abroad a Savior's love,\n  And that will kindle ours.\n\nThis is quite clearly the 'Barbara Allen' tune as it is seen, for\nexample, in Sharp, i., 183ff. It is also related to 'Lonesome Grove'\nin this collection. The \"dove\" theme in the text of the above song and\nin the 'Lonesome Grove' song was possibly the magnet which attracted\nthe texts to variant tunes.\n\n\n                               No. 132\n                            CEYLON, PB 372\n\nPentatonic, mode 3 (I II III -- V VI VII)\n\n                               [Music]\n\n  How long, O Lord our Savior, wilt thou remain away?\n  Our hearts are growing weary of thy so long delay.\n  O when will come the moment when, brighter far than morn,\n  The sun-shine of thy glory will on thy people dawn.\n\n  How long, O gracious Saviour, wilt Thou Thy household leave?\n  So long hast Thou now tarried, few Thy return believe;\n  Immersed in sloth and folly, Thy servants, Lord, we see;\n  And few of us stand ready, with joy to welcome Thee.\n\n  How long, O heav'nly Bridegroom, how long wilt Thou delay?\n  And yet how few are grieving, that Thou dost absent stay;\n  Thy very bride her portion and calling hath forgot,\n  And seeks for ease and glory, where Thou, her Lord, art not.\n\nThe tune is a close relative of 'Love Divine' CHI 63, 'Heavenly\nWelcome' HH 482, 'Baltimore' SKH 53, 'Garden Hymn' REV 164, and a less\nclose one to 'Heavenward', _Christian Science Hymnal_ (1932), No. 136,\nwhich is an ancient Irish tune from the Petrie collection. Compare\nPetrie, No. 993.\n\n\n                               No. 133\n               NEW PROSPECT or O LAND OF REST, OSH 390\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  O land of rest, for thee I sigh,\n  When will the moment come\n  When I shall lay my armor by\n  And dwell in peace at home,\n  And dwell in peace at home;\n  When shall I lay my armor by\n  And dwell in peace at home.\n\n  No tranquil joy on earth I know,\n  No peaceful, sheltering dome;\n  This world's a wilderness of woe,\n  This world is not my home.\n\n  Our tears shall all be wiped away\n  When we have ceased to roam,\n  And we shall hear our Father say,\n  \"Come, dwell with me at home.\"\n\nJ. S. James, editor of the 1911 _Original Sacred Harp_, attributes\ntune and words to W. S. Turner of Georgia. It is found also, GOS 390.\n\nClose relatives of this tune are 'Deep Spring' in this collection,\n'Lord Thomas and Fair Eleanor', Sharp, i., 118; and 'Little Musgrave\nand Lady Barnard', Sharp, i., 166.\n\n\n                               No. 134\n                         I LOVE THEE, OL 318\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  I love thee, I love thee, I love thee, my Lord.\n  I love thy dear people, thy ways and thy word.\n  I love thee, I love thee, and that thou dost know;\n  But how much I love thee, I never can show.\n\n  I'm happy, I'm happy, O wondrous account!\n  My joys are immortal, I stand on the mount!\n  I gaze on my treasure, and long to be there,\n  With Jesus and angels, my kindred so dear.\n\n  O Jesus, my Savior, with thee I am blest!\n  My life and salvation, my joy and my rest!\n  Thy Name be my theme, and thy love be my song!\n  Thy grace shall inspire both my heart and my tongue.\n\n  O who's like my Savior? He's Salem's bright King;\n  He smiles, and he loves me, and helps me to sing:\n  I'll praise him and bless him, with notes loud and shrill,\n  While rivers of pleasure my spirit do fill:\n\n  O Jesus, my Savior! I know thou art mine;\n  For thee all the pleasures of sin I resign:\n  Of objects most pleasing I love thee the best;\n  Without thee I'm wretched, but with thee I'm blessed.\n\n  Tho' weak and despised, by faith I now stand,\n  Preserv'd and defended by Heaven's kind hand:\n  By Jesus supported, I'll praise his dear name,\n  Regardless of danger, of praise, or of blame.\n\n  I find him in singing, I find him in prayer;\n  In sweet meditation he always is near:\n  My constant companion, Oh may we ne'er part!\n  All glory to Jesus, who dwells in my heart!\n\nThe text is attributed to John Adam Granade, the \"Billy Sunday\" of the\nrevival movement which reached a high point in its trend at about the\nbeginning of the nineteenth century. Granade was the author of many\nwidely sung texts.\n\nThe tune is clearly of the 'Lord Lovel' family. Compare, for example,\nthe melody which Sharp found in North Carolina; see Sharp, i., 38, A.\nIts earliest appearance in American religious song books seems to have\nbeen in Ingalls' _Christian Harmony_, 1805, p. 44.\n\n\n                               No. 135\n                 NEW BRITAIN or HARMONY GROVE, SOH 8\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Amazing grace! (how sweet the sound)\n  That saved a wretch like me!\n  I once was lost, but now am found,\n  Was blind, but now I see.\n\nThe poem is by Newton. The tune's source is unknown to the southern\ncompilers. It goes also under the names 'Symphony', 'Solon', and\n'Redemption'. Found also, WP 27, GCM 105, OSH 45, HH 104, SOC 190, TZ\n90, VH 19, _Church Harmony_ 91. A close relative of the tune is\n'Primrose' in this collection. Further stanzas of the text are given\nunder 'Melody'.\n\nI recorded this tune also as it was sung by F. Fagan Thompson of\nVanderbilt University, Nashville, Tennessee, February, 1936. I\nreproduce here his version, one in which the tune is slowed and many\ngraces are introduced, as an excellent illustration of the widespread\nsouthern folk-manner in the singing of hymns of this sort.\n\n_very slow_\n\n                               [Music]\n\n  Amazing grace! (how sweet the sound)\n  That saved a wretch like me!\n  I once was lost, but now I'm found,\n  Was blind but now I see.\n\n\n                               No. 136\n                       SPIRITUAL SAILOR, SOH 41\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  The people called Christians have many things to tell\n  About the land of Canaan where saints and angels dwell;\n  But here a dismal ocean enclosing them around,\n  With its tides still divides them from Canaan's happy ground.\n\n  Many have been impatient to work their passage through,\n  And with united wisdom have tried what they could do;\n  But vessels built by human skill have never sailed far,\n  Till we found them aground on some dreadful, sandy bar.\n\n  The everlasting gospel hath launch'd the deep at last;\n  Behold the sails expanded around the tow'ring mast!\n  Along the deck in order, the joyful sailors stand,\n  Crying, \"Ho!--here we go to Immanuel's happy land!\"\n\n  We're now on the wide ocean, we bid the world farewell!\n  And though where we shall anchor no human tongue can tell;\n  About our future destiny there need be no debate,\n  While we ride on the tide, with our Captain and his Mate.\n\n  To those who are spectators what anguish must ensue,\n  To hear their old companions bid them a last adieu!\n  The pleasures of your paradise no more our hearts invite;\n  We will sail--you may rail, we shall soon be out of sight.\n\n  The passengers united in order, peace, and love;\n  The wind is in our favour, how swiftly do we move!\n  Though tempests may assail us, and raging billows roar,\n  We will sweep through the deep, till we reach fair Canaan's shore.\n\nThe _Southern Harmony_ gives the maker of this song as I. Neighbours,\nwho may indeed have been the author of the text. This text is clearly\na parody, and the tune a close variant, of 'When the Stormy Winds do\nBlow' or 'You Gentlemen of England', a song of seafaring which appears\nto have been widely sung in England over a long period. References to\na 'Stormy Winds' ballad reach back to 1660. The tune with different\ntexts appeared as 'Saylers for my Money', 'The Bridegroom's\nSalutation', 'You Calvinists of England' and 'England's Valour and\nHolland's Terrour'. See Vincent Jackson, _English Melodies from the\n13th to the 18th Century_, p. 114.\n\nOther melodic relatives which have come to my notice are 'The Trees do\nGrow High', Sharp, _One Hundred English Folk-Songs_, No. 25; and 'John\nAnderson My Jo John', _The Singer's Companion_, p. 72, and SMM, No.\n146.\n\n\n                               No. 137\n                            IDUMEA, OSH 47\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  And am I born to die,\n  To lay this body down?\n  And must this trembling spirit fly\n  Into a world unknown?\n\n  Waked by the trumpet's sound,\n  I from the grave shall rise,\n  To see the Judge with glory crowned,\n  And view the flaming skies.\n\n  How shall I leave the tomb?\n  With triumph or regret?\n  A fearful or a joyful doom?\n  A curse or blessing meet?\n\n  I must from God be driv'n,\n  Or with my Saviour dwell;\n  Must come at His command to heav'n,\n  Or else depart--to hell.\n\nThe words are by Charles Wesley. The tune is claimed by Ananias\nDavisson in his _Kentucky Harmony_ (1815) whence it was borrowed by\npractically all the subsequent book compilers in the South. The tune\nwas used for the secular ballad 'Lord Lovel'; see _White Spirituals_,\n177. Also found KYH 33, GCM 36, SOH 31, UH 19, KNH 36, HH 224, SOC 55,\nHOC 44, TZ 122, MOH 38, _Church Harmony_, p. 35, GOS 184, PB 246. An\nimitation of this tune is GOS 325. 'Lord Thomas and Fair Eleanor',\nDavis, p. 570, shows the same trend, as does also 'Young Hunting',\nSharp, i., 112.\n\n\n                               No. 138\n                            BOZRAH, GOS 59\n\nHexatonic, mode 2 b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  Who is this that comes from far\n  With his garments dipt in blood?\n  Strong, triumphant traveler,\n  Is he man or is he God?\n  \"I that reign in righteousness,\n  Son of God and man I am,\n  Mighty to redeem your race,\n  Jesus is your Savior's name.\n\n  \"Wide, ye heavenly gates, unfold,\n  Closed no more by death and sin;\n  Lo, the conquering Lord behold;\n  Let the King of glory in.\"\n  Hark, th'angelic host inquire,\n  \"Who is He, th'almighty King?\"\n  Hark again, the answering choir\n  Thus in strains of triumph sing:\n\n  \"He whose powerful arm, alone,\n  On His foes destruction hurled;\n  He who hath the victory won;\n  He who saved you by His blood;\n  He who God's pure law fulfilled;\n  Jesus, the incarnate Word;\n  He whose truth with blood was sealed;\n  He is heaven's all-glorious Lord.\"\n\nThe melodic sentence at the beginning and at the end is a favorite. It\nmay be found, for example, also in 'Greenwood Siding', Cox, p. 522. A\nvariant of the tune is 'When I First Left Old Ireland', Petrie, No.\n863. See 'I Will Arise' in this collection for further tune\nrelationships.\n\n\n                               No. 139\n                         NEW ORLEANS, PB 255\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Why do we mourn departing friends\n  Or shake at death's alarms?\n  'Tis but the voice that Jesus sends\n  To call them to his arms.\n  Are we not tending upward too,\n  As fast as time can move?\n  Nor would we wish the hours more slow,\n  To keep us from our love.\n\nFor variant forms of the tune see 'Marion' and 'I Will Arise' in this\ncollection. Among its related secular tunes are 'Greenwood Siding'\n('Cruel Mother'), Cox, p. 522; an unnamed tune in Petrie, No. 193; 'Oh\nLove it is a Killing Thing', Petrie, No. 469; and 'When First I left\nOld Ireland', Petrie, No. 863. A remarkable tune resemblance and one\nwhich opens to the imagination surprising vistas as to the possible\nage of the 'New Orleans' tune, is to be seen in the Whitsuntide church\nmelody 'Iam Christus astra ascenderat' from the eleventh century:\n\n                               [Music]\n\n  Iam Christus astra ascenderat regressus unde venerat.\n\nThe same melodic trend is seen also in the German tune set to 'Christ\nder du bist der helle Tag' from the year 1568. See _Hymns Ancient and\nModern_, Nos. 178 and 604.\n\n\n                               No. 140\n                       HOLY SON OF GOD, REV 365\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  I love the holy Son of God,\n  Who once this vale of sorrows trod,\n  And bore my sins, a heavy load,\n  Up Calv'ry's gloomy mountain.\n  High on the cross he shameful hung,\n  The sport of many an envious tongue,\n  While pains severe his nature wrung,\n  And streamed life's crimson fountain.\n\n  Oh, why did not his fury burn,\n  And floods of vengeance on them turn?\n  Amazing! See his bowels yearn\n  In soft compassion on them.\n  No fury kindles in his eyes;\n  They beam with love, and when he dies,\n  Father, forgive, the sufferer cries,\n  They know not--Oh, forgive them.\n\n\n                               No. 141\n                       WORTHY THE LAMB, SWP 92\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV 6 7)\n\n                               [Music]\n\n  Glory to God on high;\n  Let earth and skies reply,\n  Praise ye his name, praise ye his name;\n  His love and grace adore,\n  Who all our sorrows bore,\n  Sing aloud evermore,\n  Worthy the Lamb, worthy the Lamb.\n\n  Jesus, our Lord and God,\n  Bore sin's tremendous load,\n  Praise ye his name, praise ye his name;\n  Tell what his arm has done,\n  What spoils from death he won;\n  Sing his great name alone;\n  Worthy the Lamb.\n\n  While they around the throne\n  Cheerfully join as one,\n  Praising his name, praising his name,\n  Those who have felt his blood\n  Sealing their peace with God,\n  Sound his dear fame abroad,\n  Worthy the Lamb.\n\nThree more stanzas of the text are in the _Southern and Western Pocket\nHarmonist_. The tune is attributed to Bradshaw.\n\n\n                               No. 142\n                         CAPTAIN KIDD, COH 73\n\nHexatonic, mode 4 b (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Through all the world below\n  God is seen all around,\n  Search hills and valleys through,\n    There he's found.\n  The growing of the corn,\n  The lily and the thorn,\n  The pleasant and forlorn,\n  All declare, God is there;\n  In meadows drest in green,\n    There he's seen.\n\n  See springing waters rise,\n  Fountains flow, rivers run;\n  The mist that veils the sky\n    Hides the sun;\n  Then down the rain doth pour,\n  The ocean it doth roar,\n  And beat upon the shore;\n  And all praise in their ways\n  The God who ne'er declines\n    His designs.\n\n  The sun with all his rays\n  Speaks of God as he flies;\n  The comet in her blaze,\n    God she cries.\n  The shining of the stars,\n  The moon when she appears,\n  His awful name declares;\n  See them fly through the sky,\n  And join the solemn sound\n    All round.\n\n  Not India's hills of gold,\n  Where the wonders are told,\n  Nor zephyrs strong and bold\n    Can unfold\n  The mountain Calvary,\n  Where Christ our Lord did die.\n  Hark, hear the Savior cry,\n  Mountains quake, heavens shake,\n  Christ, call'd to heaven's host,\n    Left their coast.\n\nThe tune is ascribed to Nicholson. The oldest American recording known\nto me is in the four-shape-note manuscript song collection made by\nCatherine Alderice in or near Emmittsburg, Md., 1800-1830, p. 37. Miss\nGilchrist calls attention to the secular 'Captain Kidd' ballad, of\nwhich the above is a parody, as it appeared, twenty-five verses long,\nin _Our Familiar Songs and Who Made Them_, published in America, 1889.\nShe describes it as \"a sort of dying speech and testament probably\ndating from about 1701 in which year Kidd and nine of his associates\nwere hanged in Execution Dock.... There were many other eighteenth\ncentury songs, built on this peculiar stanzaic plan, celebrating other\nnotorious characters, 'Admiral Benbow,' 'Jack (or Sam) Hall.'\" Other\nAmerican spiritual songs in this collection having the same stanzaic\nform are 'Wondrous Love' and 'Remember Sinful Youth'.\n\n\n                               No. 143\n                       JERUSALEM, SOH (1835) 60\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 VII).\n\n                               [Music]\n\n  Jerusalem, my happy home,\n  O how I long for thee!\n  When will my sorrows have an end,\n  Thy joys when shall I see!\n  But O, the happy, happy place,\n  The place where Jesus reigns;\n  The place where Christians all shall meet,\n  Never to part again.\n\nFurther stanzas of the text are given under 'Long-Sought Home' in this\ncollection. The song is attributed to Benjamin White. This is Benjamin\nFranklin White, brother-in-law of, and co-worker with, William Walker\n(compiler of the _Southern Harmony_) and author subsequently of the\n_Sacred Harp_. See _White Spirituals_, 84.\n\n\n                               No. 144\n                             ROBY, OL 273\n\nHeptatonic dorian, mode 2 A + B with altered 3rd (I II 3 [III] IV V VI\n7)\n\n                               [Music]\n\n  Tempest tossed, troubled spirit,\n  Dost thou groan beneath thy load,\n  Fearing thou shalt not inherit\n  In the kingdom of thy God?\n  View thy Savior on the mountain\n  In temptation's painful hour;\n  Tho' of grace himself the fountain,\n  And the Lord of boundless pow'r.\n\n  Do thy blooming prospects languish?\n  Sayest thou still, \"I'm not his child?\"\n  View thy Savior's dreadful anguish,\n  Famished in the gloomy wild.\n  Not a step in all thy journey,\n  Thro' this gloomy vale of tears,\n  But thy Lord hath trod before thee;\n  He thy way to glory clears.\n\nThe _Olive Leaf_ compiler informs us that this song which was a\nfavorite with the late Rev. Wesley P. Arnold, of Georgia, was \"learned\nof some dear Baptist friends in Iridell Co., N. C., in 1839, and\ncalled 'Roby', their name.\"\n\n\n                               No. 145\n           REMEMBER SINFUL YOUTH or SOLEMN THOUGHT, SOH 29\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Remember, sinful youth, you must die, you must die,\n  Remember, sinful youth, you must die;\n  Remember, sinful youth, who hate the way of truth\n  And in your pleasures boast, you must die, you must die;\n  And in your pleasures boast, you must die.\n\n  Uncertain are your days here below, here below,\n  Uncertain are your days here below,\n  Uncertain are your days, for God hath many ways\n  To bring you to your graves here below, here below,\n  To bring you to your graves here below.\n\n  The God that built the sky, great I AM, great I AM,\n  The God that built the sky, great I AM,\n  The God that built the sky, hath said, (and cannot lie),\n  Impenitents shall die, and be damn'd, and be damn'd,\n  Impenitents shall die, and be damn'd.\n\n  And, O my friends, don't you, I entreat, I entreat,\n  And, O my friends, don't you, I entreat,\n  And, O my friends, don't you your carnal mirth pursue,\n  Your guilty souls undo, I entreat, I entreat,\n  Your guilty souls undo, I entreat.\n\n  Unto the Saviour flee, 'scape for life! 'scape for life!\n  Unto the Saviour flee, 'scape for life!\n  Unto the Saviour flee, lest death eternal be\n  Your final destiny, 'scape for life! 'scape for life!\n  Your final destiny, 'scape for life!\n\nThe mood of the poem indicates a considerable age for it. That the\nsong as a whole was decidedly among the stock of orally transmitted\nones is indicated by the many claimants to its authorship. Such\nclaimants in the southern books are F. Price, William Caldwell, James\nCarrell and Ananias Davisson. Found also, UH 56, KNH 108, HH 225, SKH\n66, CHH 361. The stanzaic form is that of 'Captain Kidd' in this\ncollection. In his _Christian Harmony_, William Walker adds the note\nthat \"I learned it [the tune] from my dear mother (who now sings in\nheaven) when I was only three years old,--the first tune I ever\nlearned.\" That was in 1812. That the song was even older, however, is\nshown by its appearance in Ingalls' _Christian Harmony_ of 1805, p.\n39.\n\n\n                               No. 146\n                        WEEPING SAVIOR, OSH 33\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Did Christ o'er sinners weep?\n  And shall our cheeks be dry?\n  Let floods of penitential grief\n  Burst forth from every eye.\n\n  The Son of God in tears,\n  Angels with wonder see;\n  Be thou astonished, O my soul;\n  He shed those tears for thee.\n\n  He wept that we might weep;\n  Each sin demands a tear;\n  In heav'n alone no sin is found,\n  And there's no weeping there.\n\nThe text is attributed to Benjamin Beddome, and the tune to Joseph\nBarnby, and to E. J. King. The first, sixth, and seventh measures had\nonly quarter notes in the _Sacred Harp_. The slurred eighth notes are\ninserted from a variant of the tune found in the _Olive Leaf_. They\nrepresent probably an effort on the part of the editor of that song\nbook to present the tune as really sung.\n\n\n                               No. 147\n                           DETROIT, SOH 40\n\nHexatonic, mode 2, b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  Do I not love thee, O my Lord?\n  Behold my heart and see;\n  And turn each cursed idol out,\n  That dares to rival thee.\n\n  Hast thou a lamb in all thy flock\n  I would disdain to feed?\n  Hast thou a foe before whose face\n  I fear thy cause to plead?\n\n  Would not my ardent spirit vie\n  With angels 'round thy throne,\n  To execute thy sacred will,\n  And make thy glory known?\n\n  Thou know'st I love thee, dearest Lord,\n  But Oh! I long to soar\n  Far from the sphere of mortal joys,\n  That I may love thee more.\n\nPhilip Doddridge is credited with the words. The tune is attributed to\n'Bradshaw' in the _Southern Harmony_. Found also, UH 33, KNH 23, OSH\n39, HH 158, SOC 175, HOC 22, WP 24, SKH 85, GOS 282. The melody is\nsimilar to a number of those given by Sharp (i., 150ff.) with 'The\nWife of Usher's Well'.\n\n\n                               No. 148\n                     I SHALL BE SATISFIED, REV 62\n\nHexatonic, mode 4 b minorized (I II 3 IV V -- 7 [VII])\n\n                               [Music]\n\n  If I in thy likeness, O Lord, may awake,\n  And shine a pure image of thee;\n  Then I shall be satisfied when I can break\n  These fetters of flesh and be free.\n  I know this stain'd tablet must first be wash'd white,\n  To let thy bright features be drawn,\n  I know I must suffer the darkness of night,\n  To welcome the coming of dawn.\n\n  Then I shall be satisfied when I can cast\n  The shadows of nature all by,\n  When this cold dreary world from my vision is past,\n  And let this soul open her eye.\n  I gladly shall feel the blest morn drawing near,\n  When time's dreary fancy shall fade,\n  If then in thy likeness I may but appear,\n  I rise with thy beauty arrayed.\n\nOne more stanza of text in the _Revivalist_. The song is used \"as sung\nby Rev. G. C. Wells.\" It is reminiscent of the 'Henry Martin' tune;\nsee Gould and Sharp, _English Folk-Songs for Schools_, p. 22.\n\n\n                               No. 149\n                          EDGEFIELD, OSH 82\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  How tedious and tasteless the hours\n  When Jesus no longer I see!\n  Sweet prospects, sweet birds, and sweet flowers\n  Have all lost their sweetness to me,\n  Have all lost their sweetness to me.\n\nThe tune is attributed, in the _Sacred Harp_, to J. T. White, a\nGeorgian, and is dated 1844. It is a variant of 'When the Cock Crows\nit is Day', Petrie, No. 478. The fuller text, attributed to John\nNewton, is given under the song 'Green Fields' in this collection.\n\n\n\n\n             One Hundred and one Revival Spiritual Songs\n\n\n                               No. 150\n                   JESUS IS MY FRIEND (A), OSH 345\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Come life, come death, come then what will,\n  Jesus is my friend.\n  His foot-steps I will follow still,\n  Jesus is my friend.\n  Jesus is my friend,\n  O hallelujah!\n  Jesus is my friend.\n\nIn the _Sacred Harp_ of 1859 this song, tune and words, is attributed\nto the Georgian, J. P. Rees. I have heard my negro servant, Annie\nWare, singing it, or fragments of it including the final phrase,\n\"Jesus is my friend,\" in Nashville, Tennessee, 1932. It is found also\nGOS 652.\n\n\n                               No. 151\n               LOST CITY or TO GLORY I WILL GO, OSH 320\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  O when shall I see Jesus\n  And reign with him above,\n  And from the flowing fountain\n  Drink everlasting love,\n  And to glory I will go,\n  And to glory I will go, will go, will go,\n  And to glory I will go.\n\nThe words are by John Leland. The old tune seems to have been wedded\nto the above text by E. L. King, about 1844, according to the\n_Original Sacred Harp_. John G. McCurry applied the same tune to a\ntext beginning:\n\n  I'd rather live a beggar\n  While here on earth I stay\n\nand ending with the refrain\n\n  And to begging I will go.\n\nSee 'Beggar' in this collection where there are references to the\nseventeenth century prototype of the above song. Further stanzas of\nthe above spiritual text are given under 'Faithful Soldier'.\n\n\n                               No. 152\n          GOLDEN HARP or TO PLAY ON THE GOLDEN HARP, OSH 274\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Farewell, vain world, I'm going home,\n  To play on the golden harp;\n  My Savior smiles and bids me come,\n  To play on the golden harp.\n      _Chorus_\n  I want to be where Jesus is,\n  To play on the golden harp.\n  To play on the golden harp,\n  To play on the golden harp;\n  I want to be where Jesus is,\n  To play on the golden harp.\n\n  Sweet angels beckon me away\n  To sing God's praise in endless day.\n\n  I'm glad that I am born to die,\n  From grief and woe my soul shall fly.\n\n  Bright angels shall convey me home,\n  Away to New Jerusalem.\n\n  I'll praise my Master while I've breath,\n  I hope to praise him after death.\n\n  I hope to praise him when I die,\n  And shout salvation as I fly.\n\n  I soon shall pass this vale of death,\n  And in his arms I'll lose my breath.\n\n  And then my happy soul shall tell\n  My Jesus hath done all things well.\n\nRecorded in 1869 for the edition of the _Sacred Harp_ which appeared\nin that year. The tune stems from some variants of 'Come all ye\nFaithful Christians', cf. JFSS, ii., 115ff.\n\n\n                               No. 153\n                      I CAN'T STAY AWAY, CSH 95\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Farewell, vain world, I'm going home,\n  I can't stay away,\n  My Savior smiles and bids me come,\n  I can't stay away.\n  I can not stay much longer here,\n  I can't stay away,\n  For the gospel ship is passing by,\n  I can't stay away.\n\nFurther stanzas of the text are given under 'Golden Harp'. Compare,\nfor melodic similarities 'Little Musgrave and Lady Barnard', Sharp,\ni., 161, 162, 164, 168, and 170.\n\n\n                               No. 154\n                   MY HOME IS OVER JORDAN, REV 390\n\nPentachordal, cannot be classified (I II 3 IV V -- --)\n\n                               [Music]\n\n  My home is over Jordan,\n  My home is over Jordan,\n  My home is over Jordan,\n  Where pleasures never die.\n\n  Where the wicked cease from troubling, _etc._\n  And the weary are at rest.\n\n  Farewell to sin and sorrow, _etc._\n  I bid you all adieu.\n\n  And you, my friends, prove faithful, _etc._\n  And on your way pursue.\n\nThis spiritual tune has been widely used as a chorus to other songs.\nAn example is 'Wings of the Morning' in this collection.\n\n\n                               No. 155\n                            O I'M SO HAPPY\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  O I am so happy in Jesus,\n  His blood has redeem'd me from sin;\n  I shout and I sing in my gladness,\n  To know he is dwelling within.\n\n  O I am so happy in Jesus,\n  His blood has redeem'd me from sin,\n  So happy that he is my Savior,\n  So happy he's dwelling within.\n\nRecorded by the author, September 21, 1932, in Nashville, Tennessee,\nfrom the singing of Samuel E. Asbury who learned it from hearing it\nsung at camp meetings in western North Carolina in the 1880's. The\ntune is quite evidently an orally transmitted version of that of\n'Faithful Soldier', in this collection, which first appeared in the\n_Southern Harmony_ (1835) and was claimed by William Walker, the\ncompiler of that collection. See also 'Hallelujah' in this collection,\na type tune to which the above melody is organically related, for\nfurther data as to kindred tunes.\n\n\n                               No. 156\n     CUBA or GO PREACHERS or POOR MOURNER'S FOUND A HOME, OSH 401\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Go, preachers, and tell it to the world;\n  Go, preachers, and tell it to the world;\n  Go, preachers, and tell it to the world:\n  Poor mourner's found a home at last.\n\n  Through free grace and a dying Lamb;\n  Through free grace and a dying Lamb;\n  Through free grace and a dying Lamb,\n  Poor mourner's found a home at last.\n\nThis typical spiritual was taken into the 1859 edition of the _Sacred\nHarp_. Other stanzas were added by simply substituting in the place of\n\"preachers,\" the words \"fathers,\" \"mothers,\" etc. A negro version of\ntune and words is in _Slave Songs_, No. 24.\n\n\n                               No. 157\n                         SINNERS TURN, OL 266\n\nHeptatonic, essentially aeolian, mode 2 A + b (I II 3 [III] IV V 6\n[VI] 7)\n\n                               [Music]\n\n  Sinners, turn, why will ye die?\n  God, your maker asks you why.\n  God who did your being give,\n  Made you with himself to live.\n      _Chorus_\n  Oh! turn, sinners, turn!\n  May the Lord help you turn,\n  Oh! turn, sinners, turn,\n  Why will you die?\n\n  He the fatal cause demands,\n  Asks the work of his own hands,\n  Why, ye thankless creatures, why\n  Will you cross his love and die?\n      _Chorus_\n\n  Sinners, turn, why will ye die?\n  God, your Savior, asks you why!\n  God, who did your souls retrieve,\n  Died himself that ye might live.\n      _Chorus_\n\nThis tune is closely related to 'Animation' and, like it, to the\nworldly tune 'Ropesman' in Thomas, p. 164. The melody of the above\nchorus seems to have been derived from 'Willy Taylor', Petrie, No.\n745. Compare for similarities 'Run Nigger Run', SS 89.\n\n\n                               No. 158\n                     DEATH AIN'T YOU GOT NO SHAME\n\nPentachordal, cannot be classified (I II III IV V -- --)\n\n                               [Music]\n\n  Death, ain't you got no shame, shame?\n  Death, ain't you got no shame, shame?\n  Death, ain't you got no shame, shame?\n  Death, ain't you got no shame?\n\nRecorded by the compiler of this collection from the singing of\nFrancis Arthur Robinson, Nashville, Tennessee, as he had heard it in\nthe backwoods of Wayne County, Tennessee, in 1926. Mr. Robinson called\nit a \"barefoot white\" song. The tied notes are sung in a skid or\nscoop. Subsequent stanzas:\n\n  Left his pappy to moan, moan, _etc._\n  Left his widder alone, lone, _etc._\n  Left his mammy to weep, weep, _etc._\n\nand many more. In _The Carolina Low-Country_, page 249, a version of\nthe song is given as sung by a negro congregation in Beaufort, South\nCarolina.\n\nThis song is one of the most primitive in the present collection. It\nis valuable, however, in that it exemplifies well a lyric level which\nsuited both whites and blacks of a certain cultural status.\n\n\n                               No. 159\n                        COME TO JESUS, REV 142\n\nHexatonic, 6th missing, cannot be classified but obviously ionian (I\nII III IV V -- VII)\n\n                               [Music]\n\n  Come to Jesus, come to Jesus,\n  Come to Jesus just now,\n  Just now come to Jesus,\n  Come to Jesus just now.\n\nSubsequent verses are built up on: He will save you; O, believe him;\nHe is able; He is willing; He'll receive you; Call upon him; He will\nhear you; Look unto him; He'll forgive you; He will cleanse you; He\nwill clothe you; Jesus loves you; Don't reject him; and, Only trust\nhim. A negro version of tune and text is in _Slave Songs_, No. 85.\n\nWas 'Come to Jesus' a tune importation from Germany? Erk and B\u00f6hme\n(_Deutscher Liederhort_, vol. iii., p. 735) bring several variants of\nwhat is called an \"altes Fastenlied.\" I reproduce one of them:\n\n                               [Music]\n\n  Es sangen drei Engel einen s\u00fcszen Gesang,\n  sie sangen, dasz es Gott in dem Himmel erklang.\n\nThe first part of the German tune is almost identical with the\ncorresponding part of the one, heard widely among American students,\nwith such texts as 'O My Darling Clementine' and 'Found a Horseshoe\nJust Now'--evident parodies on the 'Come to Jesus' tune and words. The\nsecond part of the German melody is strikingly like that of the above\nmentioned negro version in _Slave Songs_.\n\n\n                               No. 160\n               GLAD NEWS or WE'LL LAND ON SHORE, SOC 18\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Come, Thou fount of every blessing,\n  Tune my heart to sing Thy grace;\n  Streams of mercy never ceasing,\n  Call for songs of loudest praise.\n\n  And we'll land on shore,\n  Yes, we'll land on shore,\n  And we'll land on shore\n  And be safe for evermore.\n\nA variant of the above text and tune is 'when we pass over Jordan',\nMason's _Harp of the South_, p. 295.\n\n\n                               No. 161\n         CHRISTIAN PROSPECT or THERE'S A BETTER DAY, SOH 323\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  We have our trials here below,\n  O glory hallelujah!\n  We have our trials here below,\n  O glory hallelujah!\n  There's a better day a-coming,\n  Hallelujah!\n  There's a better day a-coming,\n  Hallelujah!\n\n  A few more beating winds and rains,\n  O glory hallelujah!\n  A few more beating winds and rains,\n  O glory hallelujah!\n  And the winter will be over,\n  Hallelujah!\n  And the winter will be over,\n  Hallelujah!\n\n  A few more rising and setting suns\n  And we'll all cross over Jordan.\n\n  I feel no ways like getting tired,\n  I am making for the harbor.\n\n  I hope to get there by and by,\n  My home is over Jordan.\n\nThere are four more stanzas. The song is found also in KNH 52. Both\nWalker, compiler of the _Southern Harmony_, and Davisson, compiler of\nthe _Kentucky Harmony_, laid claim to its authorship.\n\nThey were doubtlessly both recorders of this same piece of unwritten\nmusic. That was in the 1830's. See the first phrase of 'Glorishears'\n(Sharp, _Morris Dances_ Set 5, No. 6) for melodic similarities. The\nabove song, both tune and words, inspired the composition of\n'Christian's Hope' in this collection. A negro remake of tune and\nwords is in Dett, p. 36.\n\n\n                               No. 162\n       CHRISTIAN'S HOPE or WHERE ALL IS PEACE AND LOVE, OSH 506\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  We have our troubles here below,\n  We're trav'ling through this world of woe,\n  To that bright world where loved ones go,\n  Where all is peace and love.\n\n  Where all is peace and love,\n  To that bright world where loved ones go,\n  Where all is peace and love.\n\n  We're fettered and chained up in clay,\n  While in this body here we stay;\n  By faith we know a world above,\n  Where all is peace and love.\n\n  I feel no way like getting tired,\n  I'm trusting in his holy word,\n  To guide my weary feet above,\n  Where all is peace and love.\n\nThe _Sacred Harp_, edition of 1911, has the following note: \"H. A.\nParris, who composed the words and music to the 'Christian's Hope',\nresides at this time, 1911, at Helicon, Alabama. He is a great lover\nof the old _Sacred Harp_ tunes.\" Mr. Parris composed the song by\nassembling, happily withal, wandering distichs and melodic phrases\nfrom songs of much older times. His chief source, both tonally and\ntextually, was 'Christian Prospect' in this collection. I have been\ntold that this spiritual grips the _Sacred Harp_ singers' emotions so\ndeeply that they can hardly get to the third verse before many burst\ninto tears.\n\n\n                               No. 163\n                     DULCIMER or BELOVED, PB 309\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  O thou in whose presence my soul takes delight,\n  On whom in afflictions I call,\n  My comfort by day and my song in the night,\n  My hope, my salvation, my all.\n\nThe poem is by Joseph Swain of England (1762-1796). The tune is\nattributed to Freeman Lewis whom Tillett calls merely \"an American\nmusician.\" His dates are 1780-1859. Found also GCM 65, _Baptist\nHymnal_ (1902), No. 389. _Methodist Hymnal_ (1905), No. 530; GOS 102,\nSOH 15. Miss Gilchrist (_op. cit._) compares this tune with 'Fair\nRosie Ann' in Greig's _Last Leaves of Traditional Ballads_, p. 771.\nThe chorus of 'The Sinking of the Titanic' a phonograph-recorded song\nof wide popularity in America during the 1920's, is practically the\nsame melodic trend as that of 'Dulcimer'. Its text is:\n\n  It was bad when that great ship went down,\n  It was bad when that great ship went down,\n  There was husbands and wives,\n  Little child'en lost their lives,\n  It was bad when that great ship went down.\n\nA song curiously similar to the 'Titanic' song is in _The Carolina\nLow-Country_, page 296, as sung by the negroes on the Santee River in\nSouth Carolina. The tune is changed but little. The words are:\n\n  It was sad w'en duh grabe sinkin' down,\n  It was sad w'en duh grabe sinkin' down,\n  Ain' dat uh awful time,\n  People keep awake all night,\n  It was sad w'en duh grabe sinkin' down.\n\nThe tune of 'Dulcimer' is of the 'Lord Lovel' type mentioned in the\nIntroduction, p. 14. Other songs in this collection belonging to this\ntype are 'Yongst', 'Dunlap's Creek', 'Liverpool', 'Ester', 'Lonesome\nGrove', and 'Land of Rest'. Other spiritual folk-tunes of the same\ntype are 'Eden', GOS 558; 'Thy Way O God', PB 29; 'Charlestown', GOS\n255; 'Lord of Glory', PB 374; 'New Hope', PB 373; 'Golden Hill', HH\n211; 'Webster', OSH 31; 'Hollis', GOS 73; 'Edneyville', HH 193;\n'Blissful Hope', REV 140; and 'Tedious Hours', SOC 69. Further secular\ntunes of the type are 'Lord Lovel', Sharp, i., 148; 'The Two\nBrothers', Davis, 563; 'The Mermaid', Sharp, i., 293; 'Every Night\nWhen the Sun Goes In', Sharp, ii., 269; 'Three Little Babes', Davis,\n576; 'Come All You Fair and Tender Ladies', Sharp, ii., 135; 'Barbara\nAllen', Sharp, i., 195; 'Gypsy Laddie', Sharp, i., 237; 'Horn Fair',\nJFSS, ii., 204; and 'The Cuckoo', Sharp, ii., 177.\n\n\n                               No. 164\n                       WEEPING MARY (A), SOC 98\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Are there anybody here like Mary a-weeping?\n  Call to my Jesus and he'll draw nigh.\n  Are there anybody here like Peter a-sinking?\n  Call to my Jesus and he'll draw nigh.\n\n  Glory, glory, glory, glory,\n  Glory be to my God on high.\n\nAttributed in the _Sacred Harp_ to \"John G. McCurry & Power\" and dated\n1852. For a variant of this tune used among the negroes see _White\nSpirituals_, 256. Miss Gilchrist states that the text of this song is\nNo. 51 in the first _English Primitive Methodist Hymn Book_, about\n1823.\n\n\n                               No. 165\n              GREAT DAY or WHERE WILL YOU STAND, OSH 386\n\nPentachordal, cannot be classified (I II 3 IV V -- --)\n\n                               [Music]\n\n  I've a long time heard that there will be a judgment\n  That there will be a judgment in that day.\n  O there will be a judgment in that day,\n  O sinner, where will you stand in that day?\n\n  I've a long time heard that the moon will be bleeding,\n  That the moon will be bleeding in that day.\n\n  I've a long time heard that the stars will be falling, _etc._\n\n  I've a long time heard that the earth will be burning, _etc._\n\nThis song bears the date 1859 and the composer's name, John P. Rees.\nBut beside the title we read: \"As sung by Judge Falkerner of Ala.\" We\nmay therefore conclude that Rees recorded on that date this older tune\nfrom the singing of the Alabama magistrate. Melodic similarities are\nseen in 'Trooper and the Maid', Sharp, i., 305. A recent negro version\nfrom Beaufort, S. C., is in _The Carolina Low-Country_, p. 250.\n\n\n                               No. 166\n                SHOUT ON, PRAY ON or ANTIOCH, OSH 277\n\nHexatonic, mode 2 b (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  I know that my Redeemer lives, Glory hallelujah.\n  What comfort this sweet sentence gives, Glory hallelujah,\n  Shout on, pray on, we're gaining ground, Glory hallelujah,\n  The dead's alive and the lost is found, Glory hallelujah.\n\nThere are three more stanzas of this hymn, the core of which is\nattributed to Daniel Medley \"about 1784.\" The tune first appeared in\nthe _Social Harp_, 1855, where it is attributed to F. C. Wood, a\nGeorgian. A tune and text variant is 'We'll Go On', REV 252. A negro\nversion of this spiritual may be seen in Dett, 195. See also _White\nSpirituals_, 259. 'Antioch' looks like a make-over from 'Columbus' in\nthis collection. The tune is cleverly fitted also to a worldly ballad\n'Edward', found in eastern Tennessee; see Sharp, i., 47. It is found\nalso fitted to the worldly ballad 'Cruel Mother' in North Carolina;\nsee Sharp, i., 58. 'Little Musgrave and Lady Barnard', Sharp, i., 162,\nshows definite influence of 'Antioch'. See also for melodic\nsimilarities 'Trooper and the Maid', Sharp, i., 305; and 'Bridle and\nSaddle', Sharp, i., 305; and 'Bridle and Saddle', Sharp, ii., 329.\n\n\n                               No. 167\n        WE'LL SHOUT AND GIVE HIM GLORY or REVIVAL SONG, OL 254\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Oh, how I love my Savior!\n  Oh, how I love my Savior!\n  Oh, how I love my Savior,\n  because he first lov'd me.\n      _Chorus_\n  We'll shout and give him glory,\n  We'll shout and give him glory,\n  We'll shout and give him glory,\n  For glory is his own.\n\n  I feel the work reviving, _etc._\n  Reviving in my soul.\n      _Chorus_\n\n  I'm on my way to Zion, _etc._\n  The New Jerusalem.\n      _Chorus_\n\n  O Christians, will you meet me? _etc._\n  On Canaan's happy shore?\n      _Chorus_\n\n  By the grace of God, I'll meet you, _etc._\n  On Canaan's happy shore.\n      _Chorus_\n\n  O brothers, will you meet me? _etc._\n\n  O sisters, will you meet me? _etc._\n\n  O mourners, will you meet me? _etc._\n\n  O sinners, will you meet me? _etc._\n\nThe _Olive Leaf_ editor calls it a \"refrain song.\"\n\n\n                               No. 168\n                        SWEET MORNING, OSH 421\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  The happy day will soon appear,\n  And we'll all shout together in that morning;\n  When Gabriel's trumpet you shall hear,\n  And we'll all shout together in that morning.\n  Sweet morning, sweet morning,\n  And we'll all shout together in that morning.\n\n  Behold the righteous marching home,\n  And we'll all _etc._\n  And all the angels bid them come,\n  And we'll all _etc._\n\nFound also in GOS 254. How the post-Civil War negroes sang this song\nto pieces and then patched it together with fragments of\n'Exhilaration', another song in this collection, is made clear by\nreference to _Slave Songs_, p. 74, No. 97. The tune of 'Trooper and\nthe Maid', Sharp, i., 305, is the same as that of 'Sweet Morning'.\n\n\n                               No. 169\n                      GOOD OLD WAY (A), OSH 213\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Lift up your heads, Immanuel's friends,\n  O halle, hallelujah;\n  And taste the pleasure Jesus sends,\n  O halle, hallelujah.\n\n  Let nothing cause you to delay,\n  O halle, hallelujah;\n  But hasten on the good old way,\n  O halle, hallelujah.\n\nThe words of the above song appeared in the _Dover Selection_ in the\nearly years of the nineteenth century and in the _Zion Songster_, a\nspiritual-song collection which appeared in 1832. The first appearance\nof the tune seems to have been in the _Southern Harmony_ of 1835. A\nrelated tune in this collection is 'All the Way 'Long'. Further\nstanzas of the text are given under 'Good Old Way (B)'.\n\n\n                               No. 170\n                      ALL THE WAY 'LONG, REV 172\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Oh, good old way, how sweet thou art,\n  All the way 'long it is Jesus.\n  May none of us from thee depart,\n  All the way 'long it is Jesus.\n  Jesus, Jesus,\n  Why, all the way 'long it is Jesus.\n\n  But may our actions always say,\n  We're marching in the good old way.\n\n  This note above the rest shall swell,\n  That Jesus doeth all things well.\n\nRelated songs in this collection are 'Good Old Way (A)', 'Good Old Way\n(B)', and ''Tis a Wonder'.\n\n\n                               No. 171\n                        'TIS A WONDER, SOC 44\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  O 'tis a glorious mystery,\n  'Tis a wonder, a wonder, a wonder;\n  That I should ever saved be\n  'Tis a wonder, a wonder, a wonder.\n\n  No heart can think or fully tell,\n  'Tis a wonder, a wonder;\n  My God has sav'd my soul from hell,\n  'Tis a wonder, a wonder, a wonder.\n\nTwo further stanzas of the text taken from _Good Old Songs_, No. 511,\nare:\n\n  Great mystery that God should place,\n  'Tis a wonder _etc._\n  His love on any of Adam's race,\n  'Tis a wonder _etc._\n  That I should also share a part,\n  'Tis a wonder _etc._\n  And find a mansion in his heart,\n  'Tis a wonder _etc._\n\n  Great mystery, I can't tell why\n  That Christ for sinful worms should die;\n  Should leave the boundless realms of bliss,\n  And die for sinners on the cross.\n\nThe song is accredited in the _Social Harp_ to Henry F. Chandler and\ndated 1854. A North Carolina variant, recorded in 1916, is in Sharp,\nii., 294. A variant in the present collection is 'Look Out', which see\nfor references to related secular tunes. The earliest American\nrecording of this melody known to me is that in Jeremiah Ingalls'\n_Christian Harmony_ of 1805, p. 15. It begins:\n\n  When converts first begin to sing, wonder, wonder, wonder,\n  Their happy souls are on the wing, wonder, wonder, wonder.\n  Their theme is all redeeming love, glory hallelujah,\n  Fain would they be with Christ above, sing glory hallelujah.\n\n\n                               No. 172\n                  BOWERS or HAPPY SOULS (B), SOC 82\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  My soul's full of glory,\n  Inspiring my tongue,\n  Could I meet with angels,\n  I'd sing them a song;\n  I'd sing of my Jesus\n  And tell of his charms,\n  And beg them to bear me\n  To his loving arms.\n\n  To his loving arms,\n  To his loving arms;\n  And beg them to bear me\n  To his loving arms.\n\nJohn G. McCurry places his name as composer at the top of the page\nwhere this song is found in the _Social Harp_ and dates it 1852. A\nnote at the bottom says: \"This tune was arranged as sung by William\nBowers, Eagle Grove, Georgia.\" Eagle Grove is a few miles south of\nHartwell. The tune is a clear borrowing from 'Wearing of the Green'.\nSee also 'Our Goodman', Sharp, i., 269, for melodic similarities.\nFurther stanzas of the text are given under 'Glorious Prospect'. In\n_The Musical Quarterly_, vol. xxii., No. 2, I have called attention to\nmelodic similarities between the above tune (with its variants 'Oh For\nmy Soul's Happy', 'We'll Wait Till Jesus Comes', and 'O When Shall I\nsee Jesus' in this collection) and Stephen Foster's 'Annie My own\nLove' and 'Hard Times Come Again No More'.\n\n\n                               No. 173\n                      HEAVEN'S MY HOME, OSH 119\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Come, all my dear brethren and help me to sing,\n  I'm going to Jesus, he's heaven's great King;\n  He died to atone for the sins of the world,\n  His banner is flying his sails are unfurled.\n\n  Heaven's my home, heaven's my home;\n  I'm going to Jesus for heaven's my home.\n\n  While here in the valley of conflict I stay,\n  Oh, give me submission and strength as my day;\n  In all my afflictions to thee I would come,\n  Rejoicing in hope of my glorious home.\n\n  I long, dearest Lord, in thy beauties to shine,\n  No more as an exile in sorrow to pine;\n  And in thy dear image arise from the tomb,\n  With glorified millions to praise thee at home.\n\nThe song is ascribed in the _Original Sacred Harp_ to Dr. R. H. Davis\nand J. S. Terry. This is a re-make of an older tune in four-four time\ncalled 'Old Troy' in this collection, and 'Old Troy' in turn is almost\nidentical with, and probably made out of 'Wearing of the Green'.\n\n\n                               No. 174\n                 OLD TROY or IN JESUS' BLOOD, SOC 75\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  The news of his mercy is spreading abroad,\n  And sinners come crying and weeping to God.\n  Their mourning and praying is heard very loud,\n  And many find favor in Jesus'es blood.\n\n  In Jesus'es blood,\n  In Jesus'es blood,\n  And many find favor in Jesus'es blood.\n\nFor tune relationships see 'Heaven's My Home' and 'Happy Souls (B)' in\nthis collection. John G. McCurry claims the tune in the _Social Harp_.\nIt is taken bodily from 'Wearing of the Green'. A very similar negro\nspiritual tune is in Dett, p. 42.\n\n\n                               No. 175\n          THERE WILL BE MOURNING or JUDGMENT SCENES, OL 337\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Judgment day is rolling on,\n  Judgment day is rolling on,\n  Judgment day is rolling on\n  As fast as time can move.\n      Oh, there will be mourning,\n      Mourning, mourning, mourning,\n      Oh, there will be mourning\n      At the judgment seat of Christ.\n\n  Wives and husbands there shall part, _etc._\n  Shall part to meet no more.\n      _Chorus_\n\n  Brothers and sisters there shall part, _etc._\n  Pastors and people there shall part, _etc._\n  Parents and children there shall part, _etc._\n\nThis old air and its words portray, as the _Olive Leaf_ author\ndeclares, \"the gloomy side\" of the Last Day. But, he adds consolingly,\n\"Now sing the joyous side, with every verse,\" thus:\n\n  The judgment day is rolling on, _etc._\n  And we shall all be there.\n      Oh, there will be shouting\n      Shouting, shouting, shouting,\n      Oh, there will be shouting\n      At the judgment seat of Christ.\n\n  Wives and husbands then shall meet, _etc._\n  Shall meet to part no more.\n      _Chorus_\n\nand so on also for the \"parents and children,\" and the rest. 'Parting\nHymn', in this collection, uses a similar chorus but has a different\nverse and tune. A negro version is in _Slave Songs_, p. 52.\n\n\n                               No. 176\n  WEEPING PILGRIM or YOU MAY TELL THEM FATHER or I'M A POOR MOURNING\n                           PILGRIM, OSH 417\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  You may tell them, father, when you see them,\n  I'm a poor mourning pilgrim, I'm bound for Canaan's land.\n  I weep and I mourn, and I move slowly on,\n  I'm a poor mourning pilgrim, I'm bound for Canaan's land.\n\nThe text is probably a parody of 'Rebel Soldier' or 'Poor Stranger',\nSharp, ii., 212ff. Especially the refrain verses of the two songs show\ntextual and tonal resemblances. The secular refrain runs:\n\n  I am a rebel soldier and far from my home.\n\nThe cowboys, too, made use of the 'Rebel Soldier' or 'Mourning\nPilgrim' in the song 'Poor Lonesome Cowboy', Sandburg, p. 273, which\nreads:\n\n  I'm a poor lonesome cowboy, and a long way from home.\n\nThe spiritual song appeared first in the 1859 edition of the _Sacred\nHarp_.\n\n\n                               No. 177\nEXHILARATION or THEN MY TROUBLES WILL BE OVER or I NEVER SHALL FORGET\n                           THE DAY, OSH 170\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  O may I worthy prove to see\n  The saints in full prosperity,\n  Then my troubles will be over.\n  To see the bride, the glitt'ring bride,\n  Close seated by my Savior's side,\n  Then my troubles will be over.\n      I never shall forget the day\n      When Jesus wash'd my sins away,\n      And then my troubles will be over;\n      Will be over, will be over and rejoicing,\n      And then my troubles will be over.\n\n  I'll praise him while he gives me breath,\n  I hope to praise him after death.\n  Then my troubles will be over.\n  I hope to praise him when I die,\n  And shout salvation as I fly,\n  Then my troubles will be over.\n      _Chorus_\n\n  I soon shall pass the vale of death,\n  And in his arms resign my breath.\n  O then my happy soul shall tell,\n  My Jesus has done all things well.\n      _Chorus_\n\n  Then shall I see my blessed God,\n  And praise him in his bright abode.\n  My theme to all eternity\n  Shall glory, glory, glory be.\n      _Chorus._\n\nI have no information as to the tune excepting that it appeared in the\nearliest edition of the _Sacred Harp_, that is, in 1844. The tune and\nthe words of its chorus have served the negroes in the construction of\n'Almost Over', SS, No. 97.\n\n\n                               No. 178\n   RESURRECTED or MY FATHER'S GONE or AWAY OVER YONDER or TO WEAR A\n                        STARRY CROWN, OSH 524\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  My father's gone to view that land,\n  My father's gone to view that land,\n  My father's gone to view that land\n  To wear a starry crown,\n      Away over yonder, away over yonder,\n      Away over yonder to wear a starry crown.\n\nSeaborn M. Denson, widely known fasola country singing-school teacher\nand musical editor of the 1911 edition of the _Original Sacred Harp_,\nand author of this song, told me he had heard this song sung in camp\nmeetings around Civil War times in northern Alabama. He recorded it\nfrom memory and published it first in the _Union Harp_ in 1909. The\ntune is a member of the 'Roll Jordan' group. See Introduction, page\n14, and the song by that name in this collection. Further stanzas read\n\"My mother's gone\", \"My sister's gone\" etc.\n\nThe wide spread of this song in the American oral tradition and\nespecially at the time when Mr. Denson heard it in northern Alabama,\nis indicated by the variant and musically somewhat inferior recording\nin the _Revivalist_, Albany, New York, 1868. It is there called 'Away\nover Jordan'. It runs:\n\n  My brother's going to wear that crown _etc._\n  To wear that starry crown.\n      Away over Jordan, with my blessed Jesus,\n      Away over Jordan, to wear that starry crown.\n\n  My father's gone to wear that crown _etc._\n  My mother's gone _etc._\n  John Wesley's gone _etc._\n  You must live right _etc._\n\n\n                               No. 179\n        WINGS OF THE MORNING or WESTERN MELODY, BHTBK, p. 213\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  O thou almighty Father,\n  Come help me now to praise thy glory\n  (_These words lacking in my recording_)\n  Oh, had I the wings of the morning,\n  I'd fly away to Canaan's shore;\n  Bright angels should convey me home\n  To the new Jerusalem.\n\nThe tune trend of the chorus is found also in 'Rocky Mountain Top',\nSharp, ii., 110; and it is the whole tune of 'My Home is Over Jordan'\nin this collection.\n\n\n                               No. 180\n                WE'LL MARCH AROUND JERUSALEM, REV 358\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  O brethren, will you meet me\n  On that delightful shore?\n  O brethren, will you meet me\n  Where parting is no more?\n\n  And we'll march around Jerusalem,\n  We'll march around Jerusalem,\n  We'll march around Jerusalem\n  When we arrive at home.\n\nSubsequent stanzas use instead of brethren, sister, leader, preacher,\nyoung convert, and backslider, with the conclusion:\n\n  Yes, bless the Lord, I'll meet you, _etc._\n\nThe above tune, with some alterations, is found as a negro spiritual\nin Dett, p. 78.\n\n\n                               No. 181\n             RAGAN or I BELONG TO THIS BAND (B), OSH 176\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Fare-well, vain world, I'm going home,\n  I belong to this band, hallelujah,\n  My Savior smiles and bids me come,\n  I belong to this band, hallelujah.\n      Hallelujah, hallelujah,\n      I belong to this band, hallelujah.\n\nThe above melodic trend will be recognized as that of 'Roll Jordan'\nand Stephen Foster's 'Susanna'. Compare 'Roll Jordan' in this\ncollection. The chorus--both tune and words--appears also in 'I Belong\nto This Band (A)'. Further stanzas of the text are given under 'Golden\nHarp'.\n\n\n                               No. 182\n         DOWN BY THE RIVERSIDE or WE'LL END THIS WAR, REV 68\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Hark! listen to the trumpeters,\n  I mean to go!\n  They call for valiant volunteers,\n  I mean to go!\n      Oh! we'll end this war.\n      Down by the river,\n      We'll end this war down by the riverside.\n\n  See Gideon marching out to fight,\n  I mean to go!\n  He had no weapon but a light,\n  I mean to go!\n      _Chorus_\n\n  He took his pitcher and a lamp,\n  And stormed with ease the Midian camp.\n\n  I've listed during all this war,\n  Content to have a soldier's fare.\n\n  The war is all my soul's delight,\n  I love the thickest of the fight.\n\n  The hottest fight is just begun,\n  And who will stand and never run?\n\n  We want no cowards in our band,\n  We call for valiant-hearted men.\n\n  Fight on, ye conq'ring souls, fight on,\n  Until the conquest you have won.\n\n  I have some friends before me gone,\n  And I'm resolved to travel on.\n\n  Farewell, vain world, I'm going home,\n  My Savior smiles and bids me come.\n\n  I'll tell you what I mean to do,\n  I mean to go to glory too.\n\nThe song bears the name of \"Rev. J. K. Tinkham\" as its purveyor to the\n_Revivalist_. A version of the spiritual song, as sung at about the\nsame time (in the 1870's) by the negroes, is in Marsh, No. 85, under\nthe title 'Down by the River'. Another by the same title is in Dett,\np. 55; and still another in Dett, p. 74.\n\n\n                               No. 183\n      I'M GOING HOME or I DON'T CARE TO STAY HERE LONG, OSH 282\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Farewell, vain world, I'm going home,\n  My Savior smiles and bids me come,\n  And I don't care to stay here long.\n  Sweet angels beckon me away\n  To sing God's praise in endless day,\n  And I don't care to stay here long.\n      Right up yonder, Christians,\n      Away up yonder;\n      O yes, my Lord,\n      For I don't care to stay here long.\n\nFurther stanzas of the text are given under 'Golden Harp'. This tune\nwas recorded for the 1850 edition of the _Sacred Harp_, evidently by\nthe Georgian, Leonard P. Breedlove.\n\n\n                               No. 184\n                         ROLL JORDAN, OSH 501\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  He comes, he comes, the Judge severe,\n  Roll, Jordan, roll;\n  The seventh trumpet speaks him near,\n  Roll, Jordan, roll.\n\n  I want to go to heav'n, I do,\n  Hallelujah Lord;\n  We'll praise the Lord in heav'n above,\n  Roll, Jordan, roll.\n\n  His lightnings flash, his thunders roll,\n  Roll, Jordan, roll;\n  How welcome to the faithful soul,\n  Roll, Jordan, roll.\n\nCharles Wesley wrote the text. According to Lightwood, p. 132, it is a\nparody on a popular secular song which celebrated Admiral Vernon's\nreturn to England after taking Portobello in 1739. Its first stanza\nis:\n\n  He comes! He comes! The hero comes!\n  Sound your trumpets, beat your drums!\n  From port to port let cannons roar\n  His welcome to the British shore.\n\nIt is found also in SOC, published in 1855. In the Introduction p. 14,\nI have mentioned the 'Roll Jordan' type of melody; it was named after\nthe above tune. Other melodies of the type in this collection are\n'Florence', 'I Belong to this Band (B)', 'Tennessee', 'Jordan', and\n'Resurrected'. It is this tune type which influenced Stephen Foster in\nthe making of his 'Susanna Don't You Cry' and 'De Camptown Races'. See\nin this connection my article in _The Musical Quarterly_, vol. xxii.,\nNo. 2. For samples of negro borrowings of 'Roll Jordan' see _White\nSpirituals_, 264; Dett, p. 76; and _Slave Songs_, Nos. 1 and 10.\n\n\n                               No. 185\n                    WE'LL ALL PRAISE GOD, REV 381\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Come and taste along with me\n  Consolation running free\n  From my Father's wealthy throne,\n  Sweeter than the honey comb.\n      I'll praise God, and you'll praise God,\n      We'll all praise God together;\n      I'll praise the Lord for the work that he has done,\n      And we'll bless his name forever.\n\n  Why should Christians feast alone?\n  Two are better far than one;\n  The more that comes with free good will\n  Makes the banquet sweeter still.\n\n  Now I go to heaven's door,\n  Asking for a little more;\n  Jesus gives a double share,\n  Calling me his chosen heir.\n\n  Goodness, running like a stream\n  Through the new Jerusalem;\n  By its constant breaking forth\n  Sweetens earth and heaven both.\n\nTwo more stanzas are in the _Revivalist_. The relationship between\nthis tune and that of Stephen Foster's 'Long-Ago Day' was noted by me\nin _The Musical Quarterly_, vol. xxii., No. 2.\n\n\n                               No. 186\n                        HEAVENLY HOME, SWP 150\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  O who will join and help me sing,\n  I never will turn back while heaven's in my view.\n\n  The praise of Zion's conqu'ring King,\n  I never will turn back while heaven's in my view.\n\n  Heaven is my home, my journey I'll pursue,\n  I never will turn back while heaven's in my view.\n\n  By faith my journey I'll pursue, I never _etc._\n  And bid all earthly things adieu, I never _etc._\n\n  I want my friends to go with me,\n  I'm bound fair Canaan's land to see.\n\n  I want to take them by the hand\n  And march unto the promised land.\n\n  My Jesus dwells on Zion's hill,\n  And faithful to his promise still.\n\n  Then whosoever will, may come,\n  For Jesus Christ refuseth none.\n\n  O what a Captain I have got!\n  O is not mine a happy lot!\n\n  He surely is the sinner's friend,\n  And one that loves unto the end.\n\n  I'm travelling through the wilderness\n  And seeking for a heavenly rest.\n\n  That rest in Jesus Christ is found,\n  And I will sing it all around.\n\n  For fight I must, while here below;\n  The word of God has taught me so.\n\n  Has taught me I shall conqueror be,\n  In death and through eternity.\n\n  My Jesus bids me still press on,\n  And reaches out to me a crown.\n\n  He says to me, be not afraid,\n  For I can save beyond the grave.\n\n  O while I'm singing of his name,\n  My soul begins to feel the flame.\n\n  When he to me his presence gives,\n  I know that my Redeemer lives.\n\n\n                               No. 187\n     WHEN WE ALL GET TO HEAVEN or RELIGION IS A FORTUNE, OSH 319\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  O when shall I see Jesus And reign with Him above,\n  Shout glory, halle, hallelujah;\n  And from the flowing fountain Drink everlasting love?\n  Shout glory, halle, hallelujah.\n      When we all get to heaven we will shout aloud and sing,\n      Shout glory halle, hallelujah.\n      Religion is a fortune\n      And heaven is a home,\n      Shout glory, halle, hallelujah.\n\n  When shall I be delivered from this vain world of sin,\n  And with my blessed Jesus drink endless pleasures in?\n\nThe text core is generally ascribed to John Leland (1754-1844). See\n_White Spirituals_, 217ff. Further stanzas are given under 'Faithful\nSoldier'.\n\n\n                               No. 188\n             BATES or TO HEAR THE TRUMPET SOUND, REV 158\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Oh, brother, in that day\n  We'll take wings and fly away,\n  And we'll hear the trumpet sound in the morning.\n  Oh glory! how I want to go\n  To hear the trumpet sound in the morning.\n\n  Oh, sister, in that day, _etc._\n  Oh, preachers, in that day, _etc._\n  Oh, leaders, in that day, _etc._\n  Oh, converts, in that day, _etc._\n\n  You may bury me in the east,\n  You may bury me in the west, _etc._\n\n  You may bury me in the north,\n  You may bury me in the south, _etc._\n\nA close negro variant of the above spiritual song is in Marsh, p. 136.\nBoth the Marsh song and the present one are rather degenerate\ndescendants, apparently, of 'Morning Trumpet' in this collection. See\nalso _White Spirituals_, 254.\n\n\n                               No. 189\n            RIVER OF JORDAN or HAPPY IN THE LORD, OSH 493\n\nHexatonic, Mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  Happy, O happy,\n  He who I fixed my hopes upon,\n  Happy in the Lord;\n  His tracks I see and I'll pursue,\n  Happy, O happy,\n  The narrow way till him I view,\n  Happy in the Lord.\n      We'll cross the river of Jordan,\n      Happy, O happy,\n      We'll cross the river of Jordan,\n      Happy, in the Lord.\n\n  The way the holy prophets went,\n  The road that leads from banishment;\n  I'll go, for all his paths are peace,\n  The King's highway of holiness.\n\n  Then I will tell to sinners round,\n  What a dear Savior I have found.\n  I'll point to thy redeeming blood\n  And say, \"Behold the way to God.\"\n\nThe core of the text is attributed to John Cennick, the English hymn\nwriter. Also found in the _Social Harp_ of 1855.\n\n\n                               No. 190\n       I'M BOUND FOR THE LAND OF CANAAN or SWEET CANAAN, OSH 87\n\nPentachordal, cannot be classified (I II III IV V -- --)\n\n                               [Music]\n\n  O who will come and go with me?\n  I am bound for the land of Canaan;\n  I'm bound fair Canaan's land to see,\n  I am bound for the land of Canaan.\n      O Canaan, sweet Canaan,\n      I'm bound for the land of Canaan;\n      Sweet Canaan 'tis my happy home,\n      I'm bound for the land of Canaan.\n\n  I'll join with those who're gone before, I am _etc._\n  Where sin and sorrow are no more, I am _etc._\n      _Chorus_\n\n  If you get there before I do, I am _etc._\n  Look out for me, I'm coming too, I am _etc._\n      _Chorus_\n\nText is based on a poem by Watts. The stanzas which are associated\nwith the above are numerous, as are also the refrains and choruses.\nFound also BHTBK (1857), p. 334; and MHTBK (1889), No. 885. In _The\nMusical Quarterly_, vol. xxii., No. 2, I have shown the relationship\nbetween the above tune and Stephen Foster's 'The Glendy Burk' and 'Old\nUncle Ned'. See also Dett, p. 188, for a negro song showing some\ntextual and melodic influences.\n\n\n                               No. 191\n                     OLD SHIP OF ZION (A), OSH 79\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  What ship is this that will take us all home?\n  O glory hallelujah,\n  And safely land us on Canaan's bright shore?\n  O glory hallelujah.\n\n  'Tis the old ship of Zion, hallelujah, hallelu,\n  'Tis the old ship of Zion, hallelujah.\n\n  The winds may blow and the billows may foam,\n  But she is able to land us all home.\n\n  She's landed all who've gone before,\n  And yet she's able to land still more.\n\n  If I arrive there before you do,\n  I'll tell them that you are coming up too.\n\nThe text is said to have been written around 1800 by Rev. Samuel\nHauser of North Carolina. The tune is called the \"North Carolina\nVersion\" of the immensely popular song. See _White Spirituals_,\n257-258. Closely related to the above tune is 'Sweet Canaan' in this\ncollection.\n\n\n                               No. 192\n                      BABYLON IS FALLEN, GOS 613\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Hail the day so long expected,\n  Hail the year of full release;\n  Zion's walls are now erected,\n  And her watchmen publish peace.\n  Throughout Shiloh's wide dominion,\n  Hear the trumpet loudly roar.\n  Babylon is fallen, is fallen, is fallen,\n  Babylon is fallen to rise no more.\n\n  All her merchants stand with wonder,\n  What is this that comes to pass?\n  Murmuring like the distant thunder,\n  Crying \"O, alas, alas!\"\n  Swell the sound, ye kings and nobles,\n  Priest and people, rich and poor;\n  Babylon is fallen _etc._\n\n  Blow the trumpet in Mount Zion!\n  Christ shall come the second time;\n  Ruling with a rod of iron,\n  All who now as foes combine.\n  Babel's garments we've rejected,\n  And our fellowship is o'er.\n  Babylon is fallen _etc._\n\nNegro borrowings of this chorus and the changing of its tune to a\nmajor key are to be seen in Dett, p. 2.\n\n\n                               No. 193\n           MARTIN or WAY OVER IN THE PROMISED LAND, SOC 29\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  We have fathers in the promised land,\n  We have mothers in the promised land;\n  I hope one day we'll all get there,\n  Way over in the promised land.\n      _Chorus_\n  Away over in the promised land,\n  Away over in the promised land;\n  I hope one day we'll all get there,\n  Way over in the promised land.\n\nJohn G. McCurry, the compiler of the _Social Harp_, and William C.\nDavis, both of Georgia, seem to have been the first to record this\ntune. McCurry dates it 1854. A recently recorded variant of this tune\nis 'Long White Robe', Richardson, p. 67. Compare for melodic\nsimilarities the country dance 'Once I Loved a Maiden Faire' on page\n47 of Playford's _The English Dancing Master_.\n\n                               [Music]\n\n\n                               No. 194\n                       HEBREW CHILDREN, OSH 481\n\nHexatonic, mode 5 A (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  Where are the Hebrew children?\n  Where are the Hebrew children?\n  Where are the Hebrew children?\n  Safe--in the promised land.\n\n  Though the furnace flamed around them,\n  God while in their troubles found them,\n  He with love and mercy bound them,\n  Safe--in the promised land.\n\n  Where are the twelve apostles? _etc._\n  They went up through pain and sighing,\n  Scoffing, scourging, crucifying,\n  Nobly for their Master dying,\n  Safe _etc._\n\n  Where are the holy Christians? _etc._\n  Those who've washed their robes and made them\n  White and spotless pure and laid them\n  Where no earthly stain can fade them,\n  Safe _etc._\n\nOf the author, the editor of the OSH says: \"Peter Cartwright [the\npresumptive author of tune and words] was a minister of the gospel,\nand used this tune in his camp meetings long before it was ever placed\nin notation.--Peter Cartwright was born in Amherst County, Va., 1785,\nand died in Sangamond [sic] County, Ill., 1872.\" The song has been\nwidely sung by the negroes who have added numerous stanzas. See _White\nSpirituals_, 263. A pre-Civil War secular negroid parody on 'Hebrew\nChildren' was published by C. Bradlee & Co., Boston, 1844. Its first\nstanza is:\n\n  O whar is de spot dat we was born on, (_three times_)\n  Way down in Car'line State.\n\nMrs. Annabel Morris Buchanan has made an excellent arrangement of a\nversion of 'Hebrew Children' for chorus. It is published by J. Fischer\nand Brother, New York.\n\n\n                               No. 195\n   COME ALONG AND SHOUT ALONG or HEAVEN BORN SOLDIERS or NEVER GET\n                            TIRED, SOC 184\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  O thou by long experience tried,\n  Never get tir'd a-serving of the Lord;\n  Near whom no griefs can long abide,\n  Never get tir'd a-serving of the Lord.\n\n  Come along and shout along,\n  Ye heav'n born soldiers,\n  Come along and shout along\n  And pray by the way.\n\nThe misfit of words and notes in the first part of the song is quite\nevident. The compiler of the _Social Harp_ credits J. F. Wade with the\nsong and dates it 1854. The popularity of the melodic trend in the\nabove chorus may be realized when we see it in 'Ecstacy' in this\ncollection; in the negro _Slave Songs_, Nos. 78 and 114; in 'William\nand Polly', Sharp, ii., 141; and 'Rebel Soldier', Sharp, ii., 212-215.\n\n\n                               No. 196\n TO LAY THIS BODY DOWN or WHITE or I'M A LONG TIME TRAVELING, OSH 288\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  Ye fleeting charms of earth, farewell,\n  Your springs of joy are dry;\n  My soul now seeks another home,\n  A brighter home on high.\n      I'm a long time trav'ling here below,\n      I'm a long time trav'ling away from home;\n      I'm a long time trav'ling here below\n      To lay this body down.\n\n  Farewell, my friends, whose tender care\n  Has long engaged my love;\n  Your fond embrace I now exchange\n  For better friends above.\n\nElder Edmund Dumas of Georgia is supposed to have made the tune. He\nvery likely was the first to record it, that is, for the 1859 edition\nof the _Sacred Harp_. A variant is 'Converted Thief (A)' in this\ncollection. The negroes have caught the significant part of the chorus\nin their song 'Lay This Body Down', _Slave Songs_, No. 26. One couplet\nof this song is\n\n  And my soul an' your soul will meet in de day\n  When we lay dis body down.\n\n\n                               No. 197\n                   HAD I WINGS or ECSTACY, OSH 106\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  O when shall I see Jesus,\n  And reign with Him above,\n  And from the flowing fountain\n  Drink everlasting love?\n  O had I wings, I would fly away and be at rest,\n  And I'd praise God in his bright abode.\n\nFurther stanzas of the John Leland text are given under 'Faithful\nSoldier'. The tune seems, according to the note in the _Sacred Harp_,\nto have been first recorded by T. W. Carter of Georgia in the 1840's.\nThe tune of the chorus is essentially the same as in 'Heaven-Born\nSoldiers'; in the negro tune 'Every Hour in the Day', SS p. 58; the\nnegro tune 'O Daniel', SS p. 94; 'William and Polly', Sharp, ii., 141;\n'Rebel Soldier', Sharp, ii., 212-215; and Petrie, Nos. 1191 and 1290.\n\n\n                               No. 198\n                       SAVE MIGHTY LORD, OSH 70\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  Save, mighty Lord;\n  He whom I fix my hopes upon,\n  Save, mighty Lord.\n\n  O save, save, mighty Lord,\n  And send converting power down,\n  Save, mighty Lord.\n\nFurther stanzas of the John Cennick text are given under 'River of\nJordan'. The tune is attributed, in the _Social Harp_, p. 99, to J. A.\nand J. F. Wade.\n\n\n                               No. 199\n                        GRACE IS FREE, REV 50\n\nHeptatonic aeolian, minorized, mode 2 A + b (I II 3 IV V 6 7 [VII])\n\n                               [Music]\n\n  Thy ceaseless, unexhausted love,\n  Unmerited and free,\n  Delights our evil to remove,\n  And helps our misery.\n      O! hallelujah! grace is free;\n      There's enough for each there's enough for all,\n      There's enough for evermore.\n\n  Thou waitest to be gracious still;\n  Thou dost with sinners bear;\n  That, saved, we may thy goodness feel,\n  And all thy grace declare.\n\n  Thy goodness and thy truth to me,\n  To every soul abound;\n  A vast unfathomable sea\n  Where all our thoughts are drowned.\n\n  Its streams the whole creation reach,\n  So plenteous is the store;\n  Enough for all, enough for each,\n  Enough for evermore.\n\nTwo more stanzas of text are in the _Revivalist_. The tune is of the\ntype seen in 'The Rejected Lover', Sharp, ii., 96ff.; and a closer\nvariant is 'Come All You Worthy Christians', JFSS, ii., 117.\n\n\n                               No. 200\n             FOR ME THE SAVIOR DIED or ATONEMENT, REV 13\n\nHexatonic, mode 2 b, with cadentially raised seventh (I -- 3 IV V 6 7\n[VII])\n\n                               [Music]\n\n  For ever here my rest shall be\n  Close to thy bleeding side;\n  This, all my hope and all my plea,\n  For me the Savior died.\n  For me the Savior died,\n  For me the Savior died,\n  This, all my hope and all my plea,\n  For me the Savior died.\n\n  My dying Savior and my God,\n  Fountain for guilt and sin,\n  Sprinkle me ever with thy blood,\n  And cleanse and keep me clean.\n\n  Wash me and make me thus thine own,\n  Wash me and mine thou art;\n  Wash me, but not my feet alone--\n  My hands, my head, my heart.\n\n  Th' atonement of thy blood apply\n  Till faith to sight improve;\n  Till hope in full fruition die,\n  And all my soul be love.\n\nThe tune is related to 'The Greenwood Siding', Cox, p. 522; 'Babe of\nBethlehem' in this collection; and 'Come all you Worthy Christians',\nfourth version, JFSS, ii., 117.\n\n\n                               No. 201\n            HEAVENLY PORT or WE'LL STEM THE STORM, OSH 378\n\nPentachordal, cannot be classified (I II III IV V -- --)\n\n                               [Music]\n\n  On Jordan's stormy banks I stand\n  And cast a wishful eye\n  To Canaan's fair and happy land,\n  Where my possessions lie.\n  _Chorus_\n  We'll stem the storm, it won't be long,\n  The heav'nly port is nigh.\n  We'll stem the storm, it won't be long,\n  We'll anchor by and by.\n\nThe words, given more fully under 'Jordan', are Samuel Stenett's. The\n_Sacred Harp_ editors attribute the tune to Elder Edmund Dumas, the\nGeorgia Primitive Baptist preacher, who was at the same time a zealous\nmusician of the fasola variety. A close melodic relative is 'O How I\nlove Jesus', REV 456. It will be seen as akin to 'Merrily we Roll\nAlong'. The tune as adopted by the negroes is found in Dett, p. 189.\n\n\n                               No. 202\n                        SAY BROTHERS, REV 173\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Say, brothers, will you meet us?\n  Say, brothers, will you meet us?\n  Say, brothers, will you meet us on Canaan's happy shore?\n  Glory, glory hallelujah!\n  Glory, glory hallelujah!\n  Glory, glory hallelujah!\n  We are marching on.\n\nSubsequent stanzas are made by substituting for \"brothers\" the word\n\"sisters\" etc., then come phrases like\n\n  By the grace of God we'll meet you, _etc._\n  Where parting is no more.\n\n  That will be a happy meeting, _etc._\n  On Canaan's happy shore.\n\n  Jesus lives and reigns forever, _etc._\n  On Canaan's happy shore.\n\n  Glory, glory hallelujah, _etc._\n  Forever, evermore.\n\nThis will be recognized as the tune which Julia Ward Howe used for the\nchorus of her 'Battle Hymn of the Republic'. It is still popular in\nthe above form in negro churches of the South.\n\n\n                               No. 203\n                    O BROTHER BE FAITHFUL, REV 433\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  O brother, be faithful,\n  O brother, be faithful,\n  O brother, be faithful, faithful, faithful,\n  Till we all arrive at home.\n\nFurther stanzas are constructed on: O sister, be faithful; There we\nshall see Jesus; There we shall shout glory; There'll be no more\nparting; etc.\n\nMiss Gilchrist found the above song in the _Wesleyan Psalmist_ (1842);\nsee JFSS, viii., 67. In Flanders and Brown's _Vermont Songs and\nBallads_ the song (dating from 1831) entitled 'The Gospel Ship' has a\nchorus text which is identical with the above. A negro version of both\ntune and words is in _Slave Songs_, No. 71.\n\n\n                               No. 204\n                SOON WE SHALL LAND or AUTAUGA, OSH 322\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  O when shall I see Jesus,\n  And reign with him above,\n  And from the flowing fountain\n  Drink everlasting love;\n  Soon we shall land on Canaan's shore,\n  Soon we shall land on Canaan's shore;\n  Soon we shall land on Canaan's shore to live forevermore.\n\nThe text by John Leland is given more fully under 'Faithful Soldier'.\nThe tune reappears with unimportant changes as a negro spiritual in\n_Slave Songs_, No. 115. The first melodic sentence of the tune is\nalmost identical with the opening of 'The Winter it is Past', Petrie,\nNo. 439.\n\n\n                               No. 205\n           WARRENTON or I AM BOUND FOR THE KINGDOM, GOS 275\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Whither goest thou, pilgrim stranger,\n  Passing thro' this darksome vale?\n  Know'st thou not 'tis full of danger,\n  And will not thy courage fail?\n      _Chorus_\n      I am bound for the kingdom,\n      Will you go to glory with me?\n      Hallelujah, praise the Lord.\n\n  Pilgrim, thou dost justly call me,\n  Wand'ring o'er this waste so wide;\n  Yet no harm will e'er befall me,\n  While I'm blessed with such a Guide.\n      _Chorus_\n\n  Such a Guide!--no guide attends thee,\n  Hence for thee my fears arise;\n  If a guardian pow'r befriend thee,\n  'Tis unseen by mortal eyes.\n      _Chorus_\n\nFour more stanzas are in _Good Old Songs_. It is found also as\n'Pilgrim Stranger' in Dadmun's _Melodeon_, Boston, 1861, and as\n'Female Pilgrim' in the _Christian Lyre_, 18th edition, New York,\n1835. The song is apparently one of the so called dialogue hymns of\nthe early English Methodists. The men sitting on one side of the\nmeeting house, and the women sitting opposite, sang alternate stanzas.\nLightwood cites one as follows:\n\n  _Men_:\n      Tell us, O women, we would know\n      Whither so fast ye move.\n\n  _Women_:\n      We're called to leave the world below,\n      Are seeking one above.\n\n  _Chorus_:\n      Hallelujah.\n\nSee _Hymn Tunes and Their Story_, p. 144.\n\n\n                               No. 206\n                     SEND US A BLESSING, SOG 100\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n      _Chorus_\n  O Lord, send us a blessing,\n  And O Lord, send us a blessing,\n  And O Lord, send us a blessing,\n  O send us a blessing from heaven above.\n      _Verse_\n  Of him who did salvation bring,\n  I could forever think and sing;\n\n  Arise, ye needy,--he'll relieve;\n  Arise, ye guilty,--he'll forgive.\n\n  I ask but grace, and lo, 'tis given;\n  Ask, and he turns your hell to heaven.\n\n  Though sin and sorrow wound my soul,\n  Jesus, thy balm will make it whole.\n\nSix more stanzas are in _Songs of Grace_ under the song 'He was Found\nWorthy'. This tune is a clear adaptation of 'Johnny's So Long at the\nFair.'\n\n\n                               No. 207\n                      I WENT DOWN TO THE VALLEY\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  I went down to the valley to pray,\n  Studying about the good old way.\n  Who will wear the starry crown?\n  Oh Lord, teach me to pray.\n\nRecorded by the author from the singing of Donald Davidson, in\nNashville, Tennessee, January 20, 1932. He had heard his father, W. B.\nDavidson, sing it twenty years before in Fayetteville, Tennessee.\nNegro versions are in Marsh, p. 156, and _Slave Songs_, No. 104.\n\n\n                               No. 208\n                        GIVE ME JESUS, REV 89\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  When I'm happy, hear me sing,\n  When I'm happy, hear me sing,\n  When I'm happy, hear me sing,\n  Give me Jesus;\n  Give me Jesus,\n  Give me Jesus;\n  You may have all the world,\n  Give me Jesus.\n\n  When in sorrow, hear me pray, _three times_\n  Give me Jesus, _etc._\n\n  When I'm dying, hear me cry, _three times_\n  Give me Jesus, _etc._\n\n  When I'm rising, hear me shout, _three times_\n  Give me Jesus, _etc._\n\n  When in heaven, we will sing, _three times_\n  Blessed Jesus, _etc._\n\n  By thy grace we are saved, _three times_\n  Blessed Jesus, _etc._\n\nThe noting of this tune, evidently from oral tradition, will be seen\nas quite faulty. A close variant of the song was found by Miss\nGilchrist in the _Wesleyan Psalmist_ and reproduced by her, JFSS,\nviii., 88. 'Sweet William and Lady Margaret', Davis, p. 570, is\nsimilar throughout to this tune. A negro version is in Marsh, p. 140,\nunder the same title. The compilers of _Slave Songs_ rejected a song\ncalled 'Give Me Jesus' as \"spurious\", that is, as being of white\norigin. (See _Slave Songs_, p. vi.)\n\n\n                               No. 209\n        I DON'T EXPECT TO STAY or DONE WITH THE WORLD, OSH 88\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  And I don't expect to stay much longer here;\n  He whom I fix my hopes upon,\n  And I don't expect to stay much longer here.\n\n  I am done with the world, and I want to serve the Lord,\n  And I don't expect to stay much longer here.\n\nThis spiritual with its text core made of the John Cennick words\n(given more fully under 'River of Jordan') seems to have been first\nrecorded for the earliest edition of the _Sacred Harp_, that is, in\nthe early 1840's. A negro version of the chorus is in Marsh, p. 188.\n\n\n                               No. 210\n             OLD SHIP OF ZION (B) or HAPPY SAILOR, HH 355\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Come along, come along and let us go home;\n      O glory hallelujah!\n  Our home is over Jordan, hallelujah!\n  Our home is over Jordan,\n  Hallelujah!\n\n  What ship is this that will take us all home?\n      O glory hallelujah!\n  'Tis the old ship of Zion _etc._\n\n  Do you think she'll be able to take us all home?\n  I think she'll be able _etc._\n\n  We have some friends who're gone before;\n  By and by we'll go and see them.\n\n  If you get there before I do,\n  You may tell them that I'm coming.\n\n  What will the Christian do when his lamp burns out?\n  Go shouting home to heaven.\n\nIt is found also in OSH 388. Negro adoptions under the same tide are\nDett, p. 81, and _Slave Songs_, p. 125. For additional stanzas of the\ntext see 'Old Ship of Zion (A)'. The _Sacred Harp_ (1844) version of\nthe text begins:\n\n  Come tell me of your ship and what is her name?\n  Oh, tell me happy sailor.\n  Come tell me of your captain and what is his fame?\n  Oh, tell me happy sailor.\n  She's the old ship of Zion, hallelu, hallelu,\n  And her captain, Judah's Lion, hallelujah.\n\nAn interesting dressing-up of this straightforward folk-text came from\nBoston in Dadmun's _Melodeon_ in 1860, p. 102, where we read:\n\n  What vessel are you sailing in?\n  Pray tell me its name;\n  Our vessel is the ark of God,\n  And Christ our Captain's name.\n\nHow old the American versions of the 'Ship of Zion' songs are I have\nnot been able to learn. Newman I. White points to versions in the\n1820's (_American Negro Folk-Songs_, p. 94).\n\nAn early use of the same allegory in religious song is seen in the\nGerman folksong collection of Erk and B\u00f6hme, _Deutschyer Liederhort_,\nvol. iii., p. 628f. I find no melodic similarities between the German\nand the American songs; but the texts show remarkable parallels. To\nmake this clear I shall cite a few of the German stanzas, comparing\nwith them passages taken from various \"ship\" songs as sung by whites\nand blacks in America.\n\n      _From a German manuscript of 1470-1480_\n\n  Uf einem stillen wage\n  kumpt uns das schiffelin,\n  es bringt uns riche gabe\n  die heren k\u00fcnigin.\n\n  Das schiflin das gat stille\n  und bringt uns richen last,\n  der segel ist diu minne,\n  der heilig geist der mast.\n\n      _American \"ship\" songs_\n\n  O she runs so level and steady.\n  O see that ship come sailing.\n  Dat ship is heavy loaded.\n  King Jesus is the captain.\n\n  O she runs so level and steady.\n  Dat ship is heavy loaded.\n  Behold the sails expanded,\n  Around the towering mast.\n\n      _A song from the year 1608_\n\n  Uns kompt ein Schiff gefahren,\n  Es bringt ein sch\u00f6ne Last,\n  Darauf viel Engelscharen\n  Und hat ein groszen Mast.\n\n  O see that ship come sailing.\n  Dat ship is heavy loaded.\n  She's loaded with bright angels.\n\n\n                               No. 211\n                    ANGELS HOVERING ROUND, REV 74\n\nPentatonic, cannot be classified (I II III -- V -- VII)\n\n                               [Music]\n\n  There are angels hov'ring round,\n  There are angels hov'ring round,\n  There are angels, angels hov'ring round.\n\n  To carry the tidings home _etc._\n  To the new Jerusalem _etc._\n  Poor sinners are coming home.\n  And Jesus bids them come.\n  Let him that heareth come.\n  We're on our journey home.\n\nThe song is found also in Mason's _Harp of the South_, p. 272, where\nthe composer is given as \"Husband\". The same tune with minor\nvariations appeared in the 1859 edition of the _Sacred Harp_, p. 425,\nwhere it was attributed to J. L. Pickard. Its two one-line verses are:\n\n  I am on my journey home _etc._\n  To the New Jerusalem _etc._\n\n\n                               No. 212\n                          HOLY WAR, SWP 170\n\nFor mode see note below\n\n                               [Music]\n\n  I've listed in the holy war,\n  Content to suffer soldier's fare,\n      _Natural key Chorus_\n  And we'll all shout for joy,\n  And we'll give God the glory,\n  And I hope to join the army by and by.\n\n  I've fought through many a battle sore,\n  And I must fight through many more;\n  And we'll _etc._\n\n  I take my breastplate, sword and shield,\n  And boldly march into the field.\n\n  The banner o'er my head is love,\n  I draw my rations from above.\n\n  The world, the flesh and Satan too\n  Unite and strive what they can do.\n\n  On thee, O Lord, I humbly call,\n  Uphold me, or my soul must fall.\n\n  I've listed and I mean to fight,\n  Till all my foes are put to flight.\n\n  And when the victory I have won,\n  I'll give the praise to God alone.\n\n  Come, fellow-Christians, join with me,\n  Come, face the foe and never flee.\n\n  The heavenly battle is begun,\n  Come, take the field and win the crown.\n\n  With listing orders I have come;\n  Come rich, come poor, come old or young.\n\n  Here's grace's bounty Christ has given,\n  And glorious crowns laid up in heaven.\n\n  But if you will not list and fight,\n  You'll sink into eternal night.\n\nThe tune as it stands is heptatonic dorian. And that is probably a\ncorrect notation. The interesting thing is the device employed to\nlegitimize the dorian raised sixth, namely, the device of modulation.\nThe writer of the tune, knowing presumably nothing about the old\nmodes, set his first melodic phrase in _g_-major with a semi-cadence\non two of the scale. All went well because the _f_-sharp of _that_ key\nwas not represented. But in the second part of the tune the actual\n_f_-natural appeared; and the only way he saw of handling it was to\nchange the signature to a \"natural key chorus\" as he specifically\ncalls it. And the final note in the tune agreed with the key which he\ntook to be _a_-minor.\n\n\n                               No. 213\n             O GOD WHAT SHALL I SAY or ALVERSON, REV 181\n\nHexatonic, mode 5 A (I -- 3 IV V 6 7)\n\n                               [Music]\n\n  When pity prompts me to look round\n  Upon my fellow clay,\n  See men reject the gospel sound,\n  O God, what shall I say?\n  O God, what shall I say?\n\n  My bowels yearn for dying men,\n  Doom'd to eternal woe,\n  Fain would I speak, but 'tis in vain\n  If God does not speak too.\n\n  O sinner, sinner, won't you hear\n  When in God's name I come?\n  Upon your peril don't forbear,\n  Lest hell should be your doom.\n\nOne more stanza is in the _Revivalist_. This is a phrygian tune with\nthe second of its scale unused. It reminds one strongly of the melody\nof 'Gala Water', _Lyric Gems of Scotland_, p. 84.\n\n\n                               No. 214\n               THAT LONESOME VALLEY, Author's recording\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  You got to go that lonesome valley,\n  You got to go there by yourself.\n  There's no one can go there for you;\n  You got to go there,\n  you got to go there by yourself.\n\nRecorded by the author, February 11, 1933, from the singing of Don\nWest of the Highlander Folk School, Monteagle, Tennessee. Mr. West\ntold me that the two subsequent stanzas began, \"You got to lie in that\nlonesome graveyard\" and \"Some folks say that John was a Baptist.\"\nAfter each verse the tune is repeated to the words of the first\nstanza.\n\nThe source of this spiritual song is very likely 'In Seaport Town',\nsee Sharp, i., 310, in which there is the recurring phrase:\n\n  Till at last they came to a lonesome valley,\n\nand where considerable melodic similarity is to be found. Further\ntraces of this typical folk-tune are in 'Young Beichan', Sharp, i.,\n79; 'My Mother Bid Me', Sharp, ii., 94, tune D; 'Opossum', Sharp, ii.,\n353; 'Drivin' Steel', Sandburg, p. 150; the negro song 'You Got to\nCross it for Yourself', Sandburg, p. 486; and 'That Lonesome Valley',\nGrissom, p. 2.\n\nIn _The Carolina Low-Country_, pp. 284ff., there are two negro\nspirituals which lean heavily on 'That Lonesome Valley'. The \"lonesome\nvalley\" symbolized, among both negroes and whites, also the mourning\nperiod which was a necessary forerunner of religious conversion.\n\n\n                               No. 215\n     I'M BOUND TO DIE IN THE ARMY or SERVICE OF THE LORD, OSH 80\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Farewell, vain world, I'm going home,\n  I am bound to die in the army;\n  My Savior smiles and bids me come,\n  I am bound to die in the army;\n  I am bound to live in the service of my Lord,\n  I am bound to die in the army.\n\nFurther stanzas of the text are given under 'Golden Harp'. A variant\nof this tune is 'Promise' in this collection. 'Antioch' in this\ncollection, is also related. The tune 'Service of the Lord' or\n'Antioch' seems to have been borrowed by those who sang 'Little\nMusgrave and Lady Barnard' as it is found in Sharp, i., 162.\nIndications that the direction of borrowing was as suggested may be\nfound in the misfit of words to tune in the secular song. See for\nexample where the \"ar-my\" of the above tune and the \"-lu-jah\" of\n'Antioch' correspond to a mere repetition, \"all, all\", in the 'Little\nMusgrave' song. 'Cruel Mother', Sharp, i., 61, tune K, is also closely\nrelated to 'Service of the Lord'. For negro adoptions and adaptations\nsee Grissom, p. 60; Marsh, p. 169; _White Spirituals_, pp. 266 and\n267; and Dett, p. 120.\n\n\n                               No. 216\n                PROMISE or WITH US TO THE END, SOC 73\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Jesus my all to heav'n is gone,\n  And he's promis'd to be with us to the end;\n  He whom I fix my hopes upon,\n  And he's promis'd to be with us to the end;\n  _Chorus_\n  Jesus has been with us and he is still with us\n  And he's promis'd to be with us to the end.\n\nThe text is given more fully under 'River of Jordan'. The song is\nascribed by the compiler of the _Social Harp_ to Henry F. Chandler and\ndated 1854. The tune has evidently been used for the worldly ballad\n'Cruel Mother', see Sharp, i., 61. The chorus reappears in the\n_Wesleyan Psalmist_ (1842) attached to a text which begins:\n\n  Children of God, renounce your fears,\n  Jesus says he will be with us to the end.\n  Lo, Jesus for your help appears,\n  Jesus says he will be with us to the end.\n  _Chorus_\n  For he has been with us _etc._\n\nThis chorus material, words and tune, is used also in 'He's Promised\nto be With You' in this collection. See for tune relationships also\n'Little Musgrave and Lady Barnard', Sharp, i., 162.\n\n\n                               No. 217\n                     NEVER TURN BACK (A), OSH 381\n\nPentatonic, cannot be classified (I II 3 -- V -- 7)\n\n                               [Music]\n\n  When to that blessed world I rise,\n  I'll never turn back any more;\n  And join the anthems in the skies,\n  I'll never turn back any more.\n  Any more, any more, any more, my Lord,\n  I'll never turn back any more.\n\nThis was a recording from the 1840's. Another, in the _Social Harp_ of\n1855, p. 52, has the more indigenous reading \"I'll never turn back no\nmore.\" See 'Never Turn Back (B)' in this collection. A negro variant\nis in Marsh, p. 174. John Powell tells me that Lydia, negro servant in\nthe Powell house in Richmond, Virginia, and a remarkable singer, sings\na variant of this tune to the words:\n\n  King cried: \"no mo', no mo', my Lord,\n  I'll never turn to go back to E-jup Land no mo'.\"\n\n\n                               No. 218\n                          OLD-TIME RELIGION\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  'Tis the old-time religion,\n  The old-time religion,\n  'Tis the old-time religion,\n  It's good enough for me.\n\nSubsequent verses have \"It was good for Paul and Silas\" and for\npractically everybody. It is the author's recording from memory of\nhearing it sung at meetings of both negroes and whites. Sharp, ii.,\n291, has the above tune with a judgment-day text under the title\n'Sinner Man', a song which had come from negro sources.\n\n\n                               No. 219\n               TAKE ME HOME or I'M ALONE IN THIS WORLD\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  My father's gone to glory, I'm alone in this world,\n  my father's gone to glory, I'm alone.\n  My father's gone to glory, I'm alone in this world;\n  Take me home, dear Savior take me home.\n\nRecorded by the author from the singing of Samuel E. Asbury, September\n10, 1932, at Nashville, Tennessee. Mr. Asbury learned it in his\nboyhood in the 1880's, from hearing it at camp meetings in western\nNorth Carolina. Subsequent verses substitute \"my mother,\" \"my sister,\"\netc. A negro version of the tune is in _Slave Songs_, p. 18.\n\n\n                               No. 220\n             JESTER or I BELONG TO THIS BAND (A), OSH 531\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  If our fathers want to go,\n  Why don't they come along?\n  I belong to this band, Hallelujah.\n  Hallelujah, hallelujah,\n  I belong to this band, hallelujah.\n\nThe tune was first printed in the _Union Harp_ as recorded by S. M.\nDenson of Alabama. Subsequent verses are made by the use of \"mothers\",\n\"sisters,\" etc. That the negroes used this formula is shown in _White\nSpirituals_, 247. The refrain \"I belong to this band, hallelujah\"\nreappears in 'I Belong to This Band (B)' in this collection.\n\n\n                               No. 221\n                      LONG-SOUGHT HOME, CHH 159\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Jerusalem, my happy home,\n  Oh how I long for thee!\n  When shall my sorrows have an end,\n  Thy joys when shall I see.\n  Home, sweet home, my long-sought home,\n  My home in heav'n above.\n\n  Thy walls are all of precious stone,\n  Most glorious to behold;\n  Thy gates are richly set with pearl,\n  Thy streets are paved with gold.\n\n  Thy garden and thy pleasing green\n  My study long have been;\n  Such sparkling light by human sight\n  Has never yet been seen.\n\nThe _Christian Harmony_ credits the song to William Bobo, Union, S. C.\nThe words are credited, in the _Primitive Baptist Hymn and Tune Book_,\nNo. 453, to Cowper.\n\n\n                               No. 222\n                      BEAUTIFUL HOME SWEET HOME\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Beautiful home, sweet home,\n  Beautiful home, sweet home,\n  Beautiful home, sweet home,\n  Lord, I want to join the angels, beautiful home.\n\nRecorded by the author from the singing of Samuel E. Asbury, September\n10, 1932, as he remembered its being sung in the 1880's in camp\nmeetings in western North Carolina. The above is merely the chorus of\nthe song. But it is essentially the same, melodically, as the verse.\nThe text proceeds:\n\n  Fathers have a home, sweet home _etc._\n  Mothers have a home, sweet home _etc._\n  By and by we'll go and see them _etc._\n  Won't that be a happy meeting _etc._\n\n\n                               No. 223\n                   COME FRIENDS GO WITH ME, CSH 206\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  Alas! and did my Savior bleed,\n  Alas! and did my Savior bleed,\n  Alas! and did my Savior bleed\n  And did my Sov'reign die?\n  Would He devote that sacred head\n  For such a worm as I.\n  _Chorus_\n  I want my friends to go with me,\n  I want my friends to go with me,\n  I want my friends to go with me\n  To the new Jerusalem.\n  I wonder, Lord, shall I ever get to heaven,\n  The new Jerusalem.\n\nWilliam Hauser included the above tune, with different text, in his\n_Olive Leaf_. Of the above chorus, \"sometimes sung after each verse,\"\nhe says: \"Not worth while to criticise this chorus. Does anybody\ncriticise a camel? No; they take him for his usefulness\".\n\n\n                               No. 224\n                        I LOVE JESUS, REV 254\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Jesus, my all, to heav'n has gone, Glory hallelujah,\n  He whom I fix my hopes upon, Glory hallelujah.\n  _Chorus_\n  I love Jesus, glory hallelujah,\n  I love Jesus, glory hallelujah.\n\nFurther stanzas of the text are given under 'River of Jordan'. The\ntune is found in a negro version in Marsh, No. 65. I have, in\nmanuscript, practically the same tune which I recorded from the\ndulcimer playing of F. S. Russell, Marion, Virginia. He called the\ntune 'Bonaparte's Retreat'. Compare also the sixteenth century carol\ntune 'Tempus adest floridum', _The Oxford Book of Carols_, No. 99.\n\n\n                               No. 225\n                         HALLELUJAH, OSH 146\n\nHexatonic, mode 1 b (I II -- IV V VI 7)\n\n                               [Music]\n\n  And let this feeble body fail,\n  And let it faint or die;\n  My soul shall quit this mournful vale\n  And soar to worlds on high.\n\n  And I'll sing hallelujah,\n  And you'll sing hallelujah,\n  And we'll all sing hallelujah,\n  When we arrive at home.\n\nThis text by Charles Wesley, supplemented by the infectious chorus and\nsung to this swingful tune, was widely popular in the first part of\nthe nineteenth century. It is given more fully under 'Pleasant Hill'.\nThe song is found, SOH 107 and HH 102.\n\nThe tune had qualities which made it widely popular. There is of\ncourse no knowing whether the many variant forms which I have found\nderive from the above tune; but I have given them collectively the\nname the 'Hallelujah' tune family. Other members of the family in this\ncollection are 'Stephens', 'Pilgrim's Triumph', 'Faithful Soldier',\n'Tender Care', 'Sawyer's Exit', 'O I'm So Happy', and 'Converted Thief\n(a)'. Related melodies with secular texts are 'The Reilly Song',\nThomas, p. 166; 'Chickens They are Crowing', Sharp, ii., 378; 'Lord\nThomas and Fair Eleanor', Sharp, i., 125; 'Virginian Lover', Sharp,\nii., 149f.; 'Banks of Sweet Dundee', Sharp, i., 399; 'The Pinery Boy',\nShoemaker, p. 262; 'Kilrush Air' Petrie, Nos. 167 and 283; and 'Tweed\nSide', SMM, p. 9.\n\n\n                               No. 226\n                          FEW DAYS, SOC 209\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  I pitch my tent on this camp ground,\n  Few days, few days,\n  And give old Satan another round,\n  And I am going home;\n  I can't stay in these diggings,\n  Few days, few days,\n  I can't stay in these diggings,\n  I am going home.\n\nThe compiler of the _Social Harp_, John G. McCurry, claims this song\nand dates it 1855. A variant of the tune is in Richardson, p. 72. A\nnegro adoption is given in _White Spirituals_, 266.\n\n\n                               No. 227\n       PARTING HYMN or JOYFUL or O THAT WILL BE JOYFUL, PB 303\n\nHeptatonic ionian, mode 3 A + b (I II III IV V VI VII)\n\n                               [Music]\n\n  How pleasant thus to dwell below\n  In fellowship of love!\n  And tho' we part 'tis bliss to know\n  The good shall meet above!\n  The good shall meet above,\n  The good shall meet above.\n  And tho' we part, 'tis bliss to know\n  The good shall meet above.\n\n  O that will be joyful, joyful, joyful.\n  O that will be joyful\n  To meet and part no more;\n  To meet and part no more,\n  On Canaan's happy shore,\n  And sing the everlasting song\n  With those who've gone before.\n\nJames, editor of the 1911 _Original Sacred Harp_, says that 'Joyful'\nwas composed by Rev. Abraham D. Merrell. He was born in New Hampshire\n1796 and died in 1878. The first lines of a widely sung parody of this\nsong (or is the above the parody?) are:\n\n  The man who has plenty of good peanuts\n  And giveth his neighbor none,\n  Shan't have any of my peanuts\n  When his peanuts are gone.\n\nMiss Gilchrist informs us as to the relatives of tune and words in\nEngland. One parody familiar to her was:\n\n  John Wesley had a little ghost,\n  The color of it was white;\n  It used to swarm up his bed-post\n  And frighten him at night.\n\nAnother, known to Miss Gilchrist, was 'Three Little Kittens', (See\nJFSS, viii, 86). I also heard this song as a nursery ditty in my early\nyouth in Monson, Maine, in the 1880's. Compare 'Judgment Scenes' in\nthis collection. The tune was used also for the carol 'Joys Seven',\n_The Oxford Book of Carols_, No. 70.\n\n\n                               No. 228\n                        SOMETHING NEW, UHH 35\n\nPentatonic, mode 3 (I II III -- V VI --)\n\n                               [Music]\n\n  Since man by sin has lost his God,\n  He seeks creation through;\n  And vainly strives for solid bliss\n  In trying something new.\n  In trying something new,\n  And vainly strives for solid bliss\n  In trying something new.\n\n  The new, possessed like fading flowers,\n  Soon loses its gay hue;\n  The bubble now no longer stays,\n  The soul wants something new.\n\n  And could we call all Europe ours,\n  With India and Peru,\n  The mind would feel an aching void\n  And still want something new.\n\n  But when we feel a Savior's love,\n  All good in him we view;\n  The soul forsakes its vain delights--\n  In Christ finds all things new.\n\nAlso found, SOC 250, GOS 365, SOH 254. A negro adoption and adaptation\nis cited in _White Spirituals_, 249.\n\n\n                               No. 229\n             VICTORIA or ONE MORE RIVER TO CROSS, OSH 290\n\nHexatonic, mode 3 A (I II III -- V VI VII)\n\n                               [Music]\n\n  Alas! and did my Savior bleed,\n  Alas! and did my Savior bleed,\n  Alas! and did my Savior bleed\n  And did my Sovreign die?\n\n  I have but one more river to cross,\n  I have but one more river to cross;\n  I have but one more river to cross,\n  And then I'll be at rest.\n\nThe text theme of the chorus is seen in the negro spiritual SS 4:\n\n  And I hain't but one more river to cross.\n\nThe tune is closely related to 'Gaines', HH 122, this collection;\n'Geordie', Sharp, i., 240; 'John of Hazelgreen', Sharp, i., 294;\n'False Young Man', (2), Sharp, ii., 52; 'True Lover's Farewell',\nSharp, ii., 113ff. The 'Geordie' text begins with 'As I crossed over\nLondon's Bridge'. This may indicate where the revival folk got their\nsuggestion for tune and text of 'One More River to Cross'.\n\n\n                               No. 230\n         NEW INDIAN SONG or WALK AND TALK WITH JESUS, SOC 45\n\nHeptatonic ionian, mode 1 A + B (I II III IV V VI VII)\n\n                               [Music]\n\n  When I can read my title clear\n  To mansions in the skies,\n  I'll bid farewell to ev'ry fear\n  And wipe my weeping eyes.\n      Oh, walk and talk with Jesus,\n      Halle, hallelujah,\n      Oh, there's glory in my soul.\n\n  Ah, poor sinner, you run from the rock,\n  When the moon goes down in blood,\n  To hide yourself in the mountain top,\n  For to hide yourself from God.\n\n  Should earth against my soul engage,\n  And hellish darts be hurled,\n  Then I can smile at Satan's rage,\n  And face a frowning world.\n\n  Let cares like a wild deluge come,\n  And storms of sorrow fall;\n  May I but safely reach my home,\n  My God, my heaven, my all.\n\nThe compiler of the _Social Harp_ ascribes this song to J. A. & J. F.\nWade and dates it 1854. The words, excepting those of the chorus, are\nby Watts.\n\n\n                               No. 231\n          SUBSTANTIAL JOYS or I WANT TO GO THERE TOO, SOC 28\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  I want to go there too;\n  He whom I fix my hopes upon,\n  And I want to go there too.\n  _Chorus_\n  I want to go,\n  I want to go,\n  I want to go there too,\n  Substantial joys shall fill my soul,\n  And I want to go there too.\n\nJohn G. McCurry, compiler of the _Social Harp_, recorded it, according\nto his note, in 1854. In the 1880's in Monson, Maine, I heard almost\nprecisely the same tune sung to the words:\n\n  Johnny Morgan played the organ,\n  His father beat the drum;\n  His sister played the tambourine\n  And his brother went bum-bum.\n\nThe text of the spiritual song is given more completely under 'River\nof Jordan'. The tune is akin to 'One Man Shall Mow my Meadow' and 'The\nKnight and the Shepherd's Daughter', in Sharp, _One Hundred English\nFolksongs_, Nos. 3 and 100.\n\n\n                               No. 232\n                    O HE'S TAKEN MY FEET, REV 114\n\nHexatonic, mode 3 b (I II III IV V VI --)\n\n                               [Music]\n\n  I'll praise him while he gives me breath,\n  I hope to praise him after death.\n  _Chorus_\n  O he's taken my feet from the mire and the clay,\n  And he's placed them on the Rock of Ages.\n\n  I hope to praise him when I die,\n  And shout salvation as I fly.\n  _Chorus_\n\n  And I will tell to sinners round\n  What a dear Savior I have found.\n  _Chorus_\n\n\n                               No. 233\n                   MY BIBLE LEADS TO GLORY, REV 385\n\nHexatonic, 6th missing, cannot be classified, obviously ionian (I II\nIII IV V -- VII)\n\n                               [Music]\n\n  My bible leads to glory,\n  My bible leads to glory,\n  My bible leads to glory,\n  Ye foll'wers of the Lamb,\n  Sing on, pray on,\n  Foll'wers of Immanuel;\n  Sing on, pray on,\n  Soldiers of the cross.\n\nSubsequent stanzas are constructed from such sentences as:\n\n  Religion makes me happy.\n  King Jesus is my captain.\n  I long to see my Savior.\n  Then farewell, sin and sorrow.\n  We'll have a shout in glory.\n  We'll wave our palms forever.\n\nA variant of tune and words is in Richardson, p. 68. The melody is the\nsame as 'Bobbing Around' which was published by Oliver Ditson & Co.,\nBoston, about 1855, as one of a series called _Melodies of the day_.\n\n\n                               No. 234\n             I'M TRAVELING TO MY GRAVE or TRAVELER SOC 37\n\nPentatonic, mode 1 (I II -- IV V VI --)\n\n                               [Music]\n\n  I'm trav'ling to my grave,\n  I'm trav'ling to my grave,\n  I'm trav'ling to my grave\n  To lay this body down.\n\n  My fathers died a-shouting,\n  rejoicing in the Lord;\n  The last word I heard them say\n  Was about Jerusalem,\n  The saints' delightful home.\n\nThe song is ascribed in the _Social Harp_ to John G. McCurry and Wm.\nC. Davis and dated 1853. For a variant among the negro spiritual tunes\nsee _White Spirituals_, p. 261. Compare 'I'm a Long Time Traveling' in\nthis collection. Similarity is seen also between the above melody and\n'The Merchant's Daughter', second tune, JFSS, i., 160.\n\n\n                               No. 235\n                 ON THE OTHER SIDE OF JORDAN, REV 465\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  On Jordan's stormy banks I stand,\n  And cast a wishful eye,\n  On the other side of Jordan, hallelujah!\n  To Canaan's fair and happy land,\n  Where my possessions lie,\n  On the other side of Jordan, hallelujah!\n  On the other side of Jordan, hallelujah!\n  On the other side of Jordan, hallelujah!\n\nFurther stanzas of the text are given under 'Jordan'. The tune is\nreminiscent of 'Morning Trumpet' in this collection.\n\n\n                               No. 236\n                   JESUS IS MY FRIEND (B), REV 311\n\nHexatonic, mode 4 b (I II 3 IV V -- 7)\n\n                               [Music]\n\n  There is a heav'n o'er yonder skies,\n  A heav'n where pleasure never dies,\n  A heav'n I sometimes hope to see,\n  But fear again 'tis not for me;\n  But Jesus, Jesus is my friend,\n  O, hallelujah, hallelujah,\n  Jesus, Jesus is my friend.\n\nThe chorus of the above tune has features similar to 'Jesus Is My\nFriend (A)', in this collection. The whole tune seems to be a\ndegenerate offspring of 'Davisson's Retirement', in this collection.\n\n\n                               No. 237\n                 DERRETT or IT WON'T BE LONG, SOC 108\n\nHexatonic, mode 4 a (I II -- IV V 6 7)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  O hallelujah;\n  He whom I fix my hopes upon,\n  O hallelujah.\n  And it won't be long,\n  Nor it can't be long,\n  O halle, hallelujah,\n  And it won't be long till Christ will come,\n  O hallelujah.\n\nThe compiler of the _Social Harp_, John G. McCurry, claims the song\nand dates it 1847. We know the words as those of John Cennick.\nAdditional stanzas are given under 'River of Jordan'.\n\n\n                               No. 238\n                CARTER or NEVER TURN BACK (B), SOC 52\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  I'll never turn back no more;\n  He whom I fix my hopes upon,\n  I'll never turn back no more.\n  I'll never turn back no more, my Lord,\n  I'll never turn back no more.\n\nA variant tune is 'Never Turn Back (A)', this collection. A negro\nvariant is in Marsh, p. 174. Additional stanzas of the text are given\nunder 'River of Jordan'.\n\n\n                               No. 239\n                             I WILL ARISE\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Come, ye sinners, poor and needy,\n  Weak and wounded, sick and sore,\n  Jesus ready stands to save you,\n  Full of pity, love and pow'r.\n      _Chorus_\n  I will arise and go to Jesus,\n  He will embrace me in his arms,\n  In the arms of my dear Savior,\n  O there are ten thousand charms.\n\n  Let not conscience make you linger,\n  Nor of fitness fondly dream;\n  All the fitness he requireth\n  Is to feel your need of him.\n      _Chorus_\n\n  Agonizing in the garden,\n  Lo, your Master prostrate lies;\n  On the bloody tree behold him,\n  Hear him cry before he dies.\n      _Chorus_\n\n  Lo, th'incarnate God ascended,\n  Pleads the merit of his blood;\n  Venture on him, venture wholely,\n  Let no other trust intrude.\n      _Chorus_\n\nI recorded this song from the singing of Donald Davidson, Vanderbilt\nUniversity, June, 1935. Joseph Hart published this poem in 1759. The\nrefrain text is probably of camp-meeting origin. The tune has been\nimmensely popular for certainly more than a hundred years in the\nSouth. Found also SOH 5, HH 217, WP 25, PB 342, OSH 312 (tune with\nother words), OSH 81 (words with another tune).\n\nThe tune is typical of a traditional trend. Many other songs show\neither close relationship throughout or use single phrases of this\nmelody. The tunes in this collection which are close to the 'I Will\nArise' type (mentioned in the Introduction, p. 14) are 'Humble\nPenitent', and 'Be Gone Unbelief'. Others making use of the second\nphrase only, marked _a_, are 'Bozrah' and 'New Orleans'. A secular\ntune in the 'I Will Arise' form is 'The Bird Song', Sharp, ii., 304;\nand among the secular tunes employing phrase _a_ as their tune\nbeginnings are 'Oh Love It is a Killing Thing' and 'When I first Left\nOld Ireland', Petrie, Nos. 469 and 863; and 'The Cruel Mother', Cox,\np. 522. Thomas gives the beginning of a lullaby which doubtlessly\nbelongs to this tune group, see _Devil's Ditties_, p. 17.\n\n\n                               No. 240\n           I WANT A SEAT IN PARADISE or NORTH PORT, OSH 324\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Jesus, my all, to heav'n has gone,\n  Glory hallelujah,\n  He whom I fix my hopes upon,\n  Glory hallelujah.\n  I want a seat in paradise,\n  Glory hallelujah,\n  I love that union never dies,\n  Glory hallelujah.\n\nThe recording of this tune is credited to Dr. R. R. Osborne, a\nGeorgian. The core of the words is by John Cennick, a text which is\ngiven more fully under 'River of Jordan'.\n\nThe tune is built up easily on the theme of the first two measures\nwhich is similar to the beginning of 'Henry Martin', see Rickaby, p.\n161, and Sandburg, p. 176. 'Henry Martin' is based on an incident in\nBritish marine history which took place in the year 1476. See S.\nBaring-Gould, _Songs of the West_, song No. 53, and note. Another old\nrelative of the tune seems to be 'There were Three Ravens' which was\nrecorded in 1611 as follows:\n\n                               [Music]\n\n  There were three ra'ens sat on a tree,\n  Down a down hey down a down.\n\nSee Jackson, _English Melodies from the 13th to the 18th Century_, p.\n24. German tunes with practically the same opening phrase and dating\nfrom the sixteenth century are in Erk-B\u00f6hme, _Deutscher Liederhort_,\nvol. iii., p. 718.\n\n\n                               No. 241\n                       MORNING TRUMPET, OSH 85\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  O when shall I see Jesus\n  And reign with him above,\n  And from the flowing fountain\n  Drink everlasting love,\n  And shall hear the trumpet sound in that morning.\n\n  Shout O glory, for I shall mount above the skies\n  When I hear the trumpet sound in that morning.\n\nThis is one of the best examples of the revival spiritual song. It has\nthe John Leland words of matchless popularity in the southern song\nregion, a refrain in clarion tones, a chorus with rare swing, and a\nprimeval melodic mode.\n\nFor a negro version and the black man's story of the song's source see\n_White Spirituals_, pp. 254-255. Found also SOH (1854) 195, SOC 111,\nHOC 99. Further stanzas of the text are given under 'Faithful\nSoldier'. A later and simplified version of 'Morning Trumpet' is 'To\nHear the Trumpet Sound' in this collection.\n\n\n                               No. 242\n       GREAT PROVIDER or HE'S PROMISED TO BE WITH YOU, UHP 112\n\nHeptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)\n\n                               [Music]\n\n  Peace, troubled soul, thou need not fear,\n  Jesus says he will be with you to the end.\n  The great provider still is near,\n  Jesus says he will be with you to the end.\n      _Chorus_\n  Hallelujah, hallelujah,\n  And he's promised to be with you to the end.\n\n  The Lord who built the earth and sky,\n  In mercy stoops to hear our cry;\n  His promise all may truly claim,\n  Ask and receive in Jesus' name.\n\nThe tune from the start to the chorus is practically the same as the\nchorus tune in 'With Us to the End' in this collection. It is claimed\nby S. M. Denson and dated 1908. Mr. Denson recorded many revival\ntunes. For data as to his life see _White Spirituals_, 107ff. He died\n1936. See 'Cruel Mother', Sharp, i., 61, tune K, for melodic\nsimilarities.\n\n\n                               No. 243\n                           WARFARE, SWP 130\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  Children of the heavenly King,\n  Till the warfare is ended, hallelujah!\n  As ye journey sweetly sing,\n  Till the warfare is ended, hallelujah!\n  Shout glory, children,\n  Till the warfare is ended, hallelujah!\n\n  Sing your Savior's worthy praise, Till _etc._\n  Glorious in his works and ways, Till _etc._\n\n  We are travelling home to God\n  In the way the fathers trod.\n\n  They are happy now, and we\n  Soon their happiness shall see.\n\n  O ye banished seed, be glad!\n  Christ our advocate is made.\n\n  Us to save, our flesh assumes,\n  Brother to our souls becomes.\n\n  Shout, ye little flock, and blest\n  You on Jesus' throne shall rest.\n\n  There your seat is now prepared,\n  There your kingdom and reward.\n\n  Fear not, brethren; joyful stand\n  On the borders of your land.\n\n  Christ, your Father's darling son,\n  Bids you undismayed go on.\n\n  Lord, submissive make us go,\n  Gladly leaving all below.\n\n  Only thou our leader be,\n  And we still will follow thee.\n\nSee 'Till the Warfare is Over', OSH 76, for melodic and textual\nrelationships.\n\n\n                               No. 244\n                      GENERAL ROLL CALL, REV 356\n\nPentatonic, mode 2 with cadentially raised seventh (I -- 3 IV V --\nVII)\n\n                               [Music]\n\n  If you get there before I do,\n  When the gen'ral roll is call'd\n  We'll be there;\n  Look out for me I'm coming too,\n  When the gen'ral roll is call'd\n  We'll be there.\n  We'll be there, we'll be there, we'll be there,\n  When the gen'ral roll is call'd we'll be there.\n\n  We're pressing on to Canaan's land,\n  We'll join the blood-wash'd pilgrim band.\n\n  Then we'll go up the shining way,\n  And praise the Lord through endless day.\n\nThe tune is attributed, in the _Revivalist_, to J. Baker. Two negro\nspirituals based melodically and textually on this song are in Dett,\npp. 121 and 166.\n\n\n                               No. 245\n                      SHOUTING PILGRIM, SWP 163\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  The trumpets are a-sounding And calling for more volunteers,\n  The armies are in motion, Behold in front their officers.\n  Shout Oh! glory, for the battle is begun,\n  And I'll shout glory while the Israelites go on.\n\n  I love to live rejoicing, I cannot bear to live lukewarm,\n  Although there's many blames me for trusting in the Lord alone.\n  Shout Oh! glory, for I love to praise the Lord,\n  And I'll shout glory while I hear the gospel word.\n\n  I love to live a-shouting, I feel my Savior in my soul,\n  Sweet heaven drawing nigher, I feel the living waters roll.\n  Shout Oh! glory, for the glory is begun,\n  And I'll shout glory while the work is going on.\n\n  The time is fast approaching when all religion will be tried,\n  When Jesus with his jewels will ornament his lovely bride.\n  Shout Oh! glory, for my soul is full of love,\n  And I'll shout glory when I meet you all above.\n\n  I see the flame arising.--Had I the pinions of a dove,\n  My soul would then realize the wonders of redeeming love.\n  Shout Oh! glory, for there's glory in my soul,\n  And I'll shout glory while I feel the current roll.\n\n  The current is a-spreading and sinners coming home to God,\n  A-weeping and a-mourning, and finding favor in the Lord.\n  Shout Oh! glory, and my song shall never end,\n  And I'll shout glory to the sinner's dearest friend.\n\n\n                               No. 246\n                 BOUND FOR THE PROMISED LAND, OSH 128\n\nHexatonic, mode 2 A (I II 3 IV V -- 7)\n\n                               [Music]\n\n  On Jordan's stormy banks I stand\n  And cast a wishful eye,\n  To Canaan's fair and happy land\n  Where my possessions lie.\n  I am bound for the promis'd land,\n  I'm bound for the promised land;\n  Oh, who will come and go with me,\n  I am bound for the promised land.\n\nFurther stanzas of the text are given under 'Jordan'. The combination\nhere of the widely sung words of Samuel Stennett and an especially\nfolkish revival phrase has resulted in an enormously well liked\nspiritual. Found also SOH 51, HH 154, SOC 114, HOC 47, WP 53, GOS 512.\nIts first appearance in the fasola books seems to have been in the\n_Southern Harmony_ of 1835 where it is attributed to Miss M. Durham.\nThe tune is like 'I'll Go and Enlist for a Sailor', Sharp, _Morris\nDances_, Set viii, No. 6.\n\n\n                               No. 247\n               LISBON or I CAN NOT TARRY HERE, SOC 182\n\nPentatonic, mode 2 (I -- 3 IV V -- 7)\n\n                               [Music]\n\n  Farewell, dear brethren in the Lord,\n  And I can not tarry here;\n  Yet we believe his gracious word,\n  And I can not tarry here.\n  And I can not tarry here,\n  And I can not tarry here;\n  The gospel sounds the jubilee,\n  And I can not tarry here.\n\nThis song is attributed to Henry F. Chandler and dated 1854. 'The\nIrish Girl', as sung in Virginia, shows a similar rhythmic trend but\nis less closely related tonally. See Sharp, ii., 254. Greater melodic\nresemblance is seen in 'Our Goodman' Sharp, i., 269, tune \"D\".\n\n\n                               No. 248\n                    I WANT TO GO TO GLORY, SWP 168\n\nHexatonic, cannot be classified (I II 3 IV V 6 --)\n\n                               [Music]\n\n  Jesus, my all, to heav'n is gone,\n  I want to go to glory;\n  He whom I fix my hopes upon,\n  I want to go to glory.\n  I want to go, I want to go,\n  I want to go to glory;\n  We've so many trials here below,\n  They say there are none in glory.\n\nThe full text, by Samuel Medley (1738-1799), may be found under 'River\nof Jordan' in this collection. The _Southern and Western Pocket\nHarmonist_ gives this tune \"as sung by Rev. M. L. Little\". An old\nIrish song in Petrie, No. 1164, shows noteworthy similarities. See\nalso 'I Want a Seat in Paradise', in this collection, for further tune\nrelationships.\n\n\n                               No. 249\n                        CHRISTIAN RACE, REV 76\n\nHeptatonic dorian, mode 2 A + B (I II 3 IV V VI 7)\n\n                               [Music]\n\n  The Christian race is now begun,\n  O, glory, glory, hallelujah!\n  We're striving for a heav'nly crown,\n  O, glory, glory, hallelujah!\n      _Chorus_\n  For the prize it lies at the end of the race,\n  O, glory, glory, hallelujah!\n\n  We'll run the race and gain the prize,\n  O, glory _etc._\n  Our heav'nly mansion in the skies,\n  O, glory _etc._\n      _Chorus_\n\n  We'll lay aside our every weight,\n  The way is narrow and straight the gate.\n\n  In earnest cry we'll wrestle along;\n  Then on a kingly throne sit down.\n\n  Omnipotence is on our side,\n  And God himself will be our guide.\n\n  Then when the race we've nobly run,\n  He'll count us worthy of a crown.\n\nThe form of the above is \"as sung by Rev. G. C. Wells\".\n\n\n                               No. 250\n                           I YIELD, REV 443\n\nHeptatonic, minor (I II 3 IV V 6 VII)\n\n                               [Music]\n\n  Alas! and did my Savior bleed,\n  And did my Sov'reign die?\n  Would he devote that sacred head\n  For such a worm as I?\n\n  I yield, I yield, I yield,\n  I can hold out no more;\n  I sink by dying love compell'd,\n  And own thee conqueror.\n\nI suggest the possibility that the editor of the _Revivalist_ made his\ntune over from one which was originally in the dorian mode.\n\n\n\n\n                              Footnotes\n\n\n[1]John Powell's article \"In the Lowlands Low\", in the _Southern\n    Folklore Quarterly_, Vol. i., No. 1, provides a corrective for\n    those who think loosely of our American music tradition as one\n    observable in the highlands only.\n\n[2]The churchman's frown on the early intrusion of the folk into hymn\n    making may be seen in _The English Hymn_ by Louis F. Benson, pp.\n    291ff.\n\n[3]See Warren A. Chandler, _Great Revivals and the Great Republic_,\n    pp. 109ff. and 138f.\n\n[4]Samuel E. Asbury tells me that the camp meetings at Rock Springs,\n    Lincoln County, North Carolina, which he attended in his youth in\n    the 1880's had been the \"mating grounds\" for that state for fifty\n    years.\n\n[5]Compare my article on this subject in _The American Mercury_ of\n    June, 1932.\n\n[6]Anne G. Gilchrist, in her article cited above, assumes this\n    song-book recognition of the revival tunes to have _begun_ in\n    1842. The _height_ of this activity was, to be sure, around that\n    date, that is, from a decade earlier to a decade later. See JFSS,\n    viii., 63 f.; and compare p. 11 of this work.\n\n[7]The new edition of _The Original Sacred Harp_, 1936, was not used\n    in making the present collection.\n\n[8]All these books use the country people's own shape notation,\n    described at length in _White Spirituals_. See also my article\n    \"Buckwheat Notes,\" in the _Musical Quarterly_, xix., No. 4, and\n    the Preface of this book.\n\n[9]In Chapter xxi of _White Spirituals_ is the story of how the\n    city-controlled denominations have shown uniformly and\n    increasingly an aversion to the old revival type of song.\n\n[10]The following is a comment made in this connection by John Powell.\n\n    \"It may be well to remember here that only in comparatively recent\n    times has any distinction been made between the use of already\n    existing material (melodic and thematic) and the use of material\n    created by the composer. The Contrapuntists relied very largely on\n    folk-music for their basic material. Bach followed this example to\n    a great extent; Handel not only did this but took material\n    composed by others at his own sweet will with no thought of\n    deception and with no contemporary reproach of plagiarism. Haydn,\n    Beethoven, Schumann and Brahms followed frequently the same\n    practice. In the literary field in Elizabethan times it would be\n    difficult to find a play the fundamental material of which was not\n    drawn from already existing sources. The word _composer_ literally\n    means the one who puts together a piece. The material of this\n    piece may, or may not, be invented by such composer. These\n    reflections would seem to explain and to justify the modest claims\n    of the American singing-school book compilers to authorship of\n    songs, and such thoughts should make us approach their labors, not\n    with caviling, but with gratefulness for their invaluable service\n    to American traditional song.\"\n\n[11]On examining the first 50 tunes of the Folk-Hymns in this\n    collection, I find _within_ their melodic phrases a total of only\n    17 jumps of a fifth and 10 of a sixth. Sevenths and octaves--I\n    found but two each--appeared only as the intervals between the end\n    note of one phrase and the beginning note of the following one.\n\n[12]My own hearing of these tunes at the southern country singings has\n    convinced me that the dorian mode is far more widely used than the\n    above statistics, based on the notation, indicate. That is, I have\n    heard the sixth clearly _raised_ in numbers of songs where the key\n    signature called for a flatting.\n\n[13]Observations made in recent years of the folk-tunes in the British\n    Isles show modality to be on the decline. In Germany the modes are\n    already practically gone, with the regular major and minor scales\n    taking their places.\n\n[14]From this statement it will be seen that I hold with those who\n    look on the full diatonic scales as having evolved from the gapped\n    ones, rather than the other way around. This however is still a\n    matter of controversy.\n\n[15]To those who desire to follow in more detail the problem of the\n    essence of the folk-tune, I commend Cecil Sharp's _English\n    Folk-Song, Some Conclusions_, especially chapters VI and VII.\n    Despite Sharp's having come to his \"conclusions\" thirty years ago\n    and even though they are concerned with the folk-songs of the\n    British Isles only, they have not, to my knowledge, been\n    essentially altered by subsequent thought on the subject; and they\n    apply, by and large, to American folk-tunes as well.\n\n[16]A real defect of this system of cataloguing inheres in the\n    difficulty, sometimes the impossibility, of determining the proper\n    key signatures of gapped tunes. And the difficulty is augmented by\n    the tendency of all the old recorders to regard dorian tunes as\n    natural minor ones (or aeolian). I have reproduced all such\n    doubtful tunes here just as I found them. I have catalogued them,\n    however, (and inserted them here serially according to that\n    catalog arrangement) in an order which is determined by what has\n    seemed to be their proper modal form. Among the songs which are\n    touched by this modal (and hence key-signature) uncertainty are\n    Nos. 20, 21, 22, 37, 51, 87, 88, 89, 90, 91, 97, 115, 144, 148,\n    236, 237, 249, and 250.\n\n[17]Author of Southern Harmony.\n\n\n\n\n                             Bibliography\n\n\n  Alderice, Catherine. Manuscript 4-shape-note song book, written in\n          or near Emmittsburg, Maryland, between 1800 and 1830.\n  Allen, William Francis; Ware, Charles Pickard; and Garrison, Lucy\n          McKim. _Slave Songs of the United States_. C. 1868,\n          reprinted New York, Peter Smith, 1929.\n  Asbury, Samuel E.; and Meyer, Henry E. An article entitled \"Old-Time\n          Camp-Meeting Spirituals,\" _Publications of the Texas\n          Folk-Lore Society_, No. x, Austin, Texas, 1932.\n  _Autobiography of Peter Cartwright, The Backwoods Preacher._ Edited\n          by W. P. Strickland. New York, 1857.\n  _Baptist Hymnal_, 1902.\n  _Baptist Hymn and Tune Book_, 1857.\n  Baring-Gould, S. _Songs of the West._ London, Methuen, 1890 to 1928.\n  Barry, Phillips, and others. _British Ballads from Maine._ New\n          Haven, 1929.\n  Beecher, Henry Ward. _Plymouth Collection_, 1855-1856.\n  Benson, Louis, F. _The English Hymn._ Philadelphia, The Presbyterian\n          Board of Publication, 1915.\n  _Bible Songs._ Edited by M. B. DeWitt, Nashville, 1865.\n  _British Ballads from Maine._ (See Barry, Phillips.)\n  _Carolina Low Country._ (See Smythe, Augustine T.)\n  Cartwright, Peter. (See _Autobiography_ etc.)\n  Chandler, Warren A. _Great Revivals and the Great Republic._\n          Nashville, 1904.\n  Chappell, William. _Old English Popular Music._ Edited by H. Ellis\n          Wooldridge, London, Chappell, 1893.\n  _Choral-Music._ Compiled by Joseph Funk, Harrisonburg, Virginia,\n          1816.\n  _Christian Harmony or Songster's Companion._ Compiled by Jeremiah\n          Ingalls, Exeter, New Hampshire, 1805.\n  _Christian Harmony._ Compiled by William Walker, Spartanburg, South\n          Carolina, printed in Philadelphia, 1866.\n  _Christian Lyre._ Compiled by Joshua Leavitt, New York, 1830.\n  _Christian Science Hymnal._ Boston, 1932.\n  _Church Harmony._ Compiled by Henry Smith, Chambersburg,\n          Pennsylvania, printed in Chambersburg, 1834.\n  _Columbian Harmony._ Compiled by William Moore, Wilson County,\n          Tennessee, printed in Cincinnati, 1825.\n  Cox, John Harrington. _Folk-Songs of the South._ Cambridge, Harvard\n          University Press, 1925.\n  Davis, Arthur Kyle. _Traditional Ballads of Virginia._ Cambridge,\n          Harvard University Press, 1929.\n  Dett, R. Nathaniel. _Religious Folk-Songs of the Negro._ Hampton,\n          Virginia, Hampton Institute Press, 1927.\n  Dolph, Edward Arthur. _Sound Off._ New York, Cosmopolitan Book\n          Corporation, 1929.\n  _English Dancing Master, The._ By John Playford. Reproduced by Hugh\n          Mellor and Leslie Bridgewater, 1933.\n  _English Folk-Songs for Schools._ (See Gould, S. Baring.)\n  _English Musical Repository, The._ Edinburgh, 1811.\n  _English Repository, The._ Edinburgh, 1811.\n  Erk, Ludwig C., and B\u00f6hme, Franz M. _Deutscher Liederhort._ Three\n          vols., Leipzig, Edition 1925.\n  Flanders, Helen Hartness; and Brown, George. _Vermont Folk-Songs and\n          Ballads._ Brattleboro, Vermont, Stephen Daye Press, 1932.\n  Fenner, Thomas P. _Hampton and Its Students._ New York, Putnam's,\n          1875.\n  _Genuine Church Music._ Compiled by Joseph Funk, Mountain Valley,\n          Virginia, printed in Winchester, Virginia, 1832.\n  Gilchrist, Anne G. (See _Journal of the_ [English] _Folk-Song\n          Society_.)\n  _Good Old Songs._ Compiled by C. H. Cayce, Thornton, Arkansas,\n          printed in Martin, Tennessee, 1913.\n  Gray, Roland P. _Songs and Ballads of the Maine Lumberjacks._\n          Cambridge, Harvard University Press, 1925.\n  Gould, S. Baring, and Sharp, Cecil J. _English Folk-Songs for\n          Schools._ London, Curwen, no date given.\n  Greig, Gavin, and Keith, Alexander. _Last Leaves of Traditional\n          Ballads and Ballad Airs._ Aberdeen, 1925.\n  Grissom, Mary Allen. _The Negro Sings a New Heaven._ Chapel Hill,\n          The University of North Carolina Press, 1930.\n  _Harp of Columbia._ Compiled by W. H. and M. L. Swan, Knoxville,\n          Tennessee, printed in Knoxville, 1848.\n  _Harp of the South, The._ Compiled by Lowell Mason. Published by\n          Mason Brothers between 1855 and 1869.\n  _Hesperian Harp._ Compiled by William Hauser, Wadley, Georgia,\n          printed in Philadelphia, 1848.\n  Hudson, Arthur Palmer. _Folksongs of Mississippi._ Chapel Hill,\n          University of North Carolina Press, 1936.\n  _Hymns Ancient and Modern._ London, Clowes, 1909.\n  Ingalls, Jeremiah. (See _Christian Harmony or Songster's\n          Companion_.)\n  Jackson, George Pullen. \"Buckwheat Notes.\" _Musical Quarterly_, xix\n          (1933), No. 4.\n  -- \"The Genesis of the Negro Spiritual.\" _The American Mercury_,\n          xxvi (1932), No. 102.\n  -- \"Stephen Foster's Debt to American Folk-Song.\" _The Musical\n          Quarterly_, vol. xxii, No. 2.\n  -- _White Spirituals in the Southern Uplands._ Chapel Hill,\n          University of North Carolina Press, 1933.\n  Jackson, Vincent. _English Melodies from the 13th to the 18th\n          Century._ London, Dutton, 1910.\n  Johnson, Guy B. _Folk Culture on Saint Helena Island._ Chapel Hill,\n          University of North Carolina Press, 1930.\n  _Journal of American Folk-Lore._ New York, American Folk-Lore\n          Society.\n  _Journal of the_ [English] _Folk-Song Society_. London, The\n          Folk-Song Society. Especially vol. viii (1927-1931) pp.\n          61-95, article by Anne G. Gilchrist, \"The Folk Element in\n          Early Revival Hymns and Tunes\".\n  Joyce, P. W. _Irish Music and Song._ Dublin, Gill and Son, new\n          edition, 1901.\n  Kennedy, David. _Handbook of Scottish Song._ London, Henderson, Rait\n          and Fenton, 1866.\n  _Kentucky Harmony._ Compiled by Ananias Davisson, Rockingham County,\n          Virginia, printed in Harrisonburg, Virginia, ca. 1815. (2d\n          ed., 1817, 4th ed., 1821, and 5th ed., 1826, in Libr. of\n          Congress.) 4th ed., also in McGhee Public Library,\n          Knoxville.\n  _Kirchen-Harmonie._ A German supplement to _Church Harmony_, which\n          see.\n  _Knoxville Harmony._ Compiled by John B. Jackson, Madisonville,\n          Tennessee, printed in Madisonville and Pumpkintown, 1838.\n  Krehbiel, Henry E. _Afro-American Folk-Songs._ New York, G.\n          Schirmer, 1914.\n  _Last Leaves._ (See Greig, Gavin.)\n  Lightwood, James Thomas. _Hymn-Tunes and their Story._ London, 1905.\n  _Lyric Gems of Scotland._ London, Bayley and Ferguson, no date\n          given.\n  Marsh, J. B. T. _The Story of the_ [Fisk University] _Jubilee\n          Singers_. Boston, 1880.\n  _Melodeon, The._ Compiled by J. W. Dadmun, Boston, 1861.\n  \"_Mercer's Cluster._\" Popular designation for _The Cluster of\n          Spiritual Songs Divine Hymns and Social Poems_. Compiled by\n          Jesse Mercer, Augusta, Georgia, ca. 1817.\n  Mersmann, Hans. _Grundlagen einer musikalischen Volksliedforschung_,\n          Leipzig, 1930.\n  Metcalf, Frank J. _Stories of Hymn Tunes._ New York, Abingdon Press,\n          1928.\n  _Methodist Hymn Book_ [of England]. London, 1933.\n  _Methodist Hymnal._ Nashville, Tennessee, 1933.\n  _Methodist Hymn and Tune Book._ Nashville, Tennessee, 1889.\n  _Missouri Harmony._ Compiled by Allen D. Carden, St. Louis,\n          Missouri, printed in Cincinnati, 1820.\n  Motherwell, William. _Minstrelsy Ancient and Modern._ Paisley's\n          edition, 1873.\n  _Musical Quarterly, The._ New York, G. Schirmer.\n  Newell, William W. _Games and Songs of American Children._ New York,\n          Harper and Brothers, 1911.\n  _New Hymn and Tune Book, The._ Nashville, Southern Methodist\n          Publishing House, 1880.\n  _Olive Leaf._ Compiled by William Hauser and Benjamin Turner,\n          Wadley, Georgia, printed in Philadelphia, 1878.\n  _Original Sacred Harp._ Edited by Joe S. James, Atlanta, Georgia,\n          printed in Atlanta, 1911. It is an enlarged and annotated\n          edition of the 1844 _Sacred Harp_, which see.\n  _Oxford Book of Carols, The._ Edited by Percy Dearmer, R. Vaughan\n          Williams and Martin Shaw. London. Oxford University Press,\n          Third Impression, 1931.\n  Petrie, George. _The Complete Collection of Ancient Irish Music._\n          Edited by Charles Villiers Stanford, London, Boosey and Co.,\n          1903.\n  Playford. (See _English Dancing Master, The_.)\n  _Plymouth Collection._ Compiled by Henry Ward Beecher, 1855.\n  _Primitive Baptist Hymn and Tune Book._ Compiled by John R. Daily,\n          printed in Madisonville, Kentucky, 1902.\n  _Publications of The Texas Folk-Lore Society._ (See Asbury, Samuel\n          E.)\n  _Revivalist._ Compiled by Joseph Hillman, Troy, New York, 1868;\n          revised and enlarged edition printed in Albany, New York,\n          1872.\n  Richardson, Ethel Park. _American Mountain Songs._ Edited and\n          arranged by Sigmund Spaeth, New York, Greenburg, 1927.\n  Rickaby, Franz. _Ballads and Songs of the Shanty-Boy._ Cambridge,\n          Harvard University Press, 1926.\n  _Sacred Harp._ Compiled by B. F. White and E. J. King, Hamilton,\n          Georgia, printed in Philadelphia, 1844. Cf. _Original Sacred\n          Harp_.\n  _Sacred Harp._ Edited by W. M. Cooper, Dothan, Alabama, printed in\n          various places, first in Dothan, 1902. It is an enlarged\n          edition of the 1844 _Sacred Harp_, which see.\n  Sandburg, Carl. _The American Songbag._ New York, Harcourt, Brace\n          and Co., 1927.\n  Scarbrough, Dorothy. _On the Trail of the Negro Folk-Songs._\n          Cambridge, Harvard University Press, 1925.\n  _Scots Musical Museum._ Compiled by James Johnson and Robert Burns,\n          Edinburgh, 1787-1803.\n  Sharp, Cecil J., and Campbell, Olive Dame. _English Folk Songs From\n          the Southern Appalachians._ New York, Putnam's, 1917.\n  Sharp, Cecil J. _English Folk Songs from the Southern Appalachians._\n          Two volumes, edited by Maud Karpeles, London, Oxford\n          University Press, Humphrey Milford, 1932.\n  -- _One Hundred English Folksongs._ Boston, Ditson, 1916.\n  -- _The Morris Book._ Five parts, London, Novello, 1912-1913.\n  -- _English Folk-Song, Some Conclusions._ London, Novello, 1907.\n  Shoemaker, Henry W. _Mountain Minstrelsy of Pennsylvania._ Third\n          edition, Philadelphia, 1931.\n  _Singer's Companion, The._ New York, 1854.\n  _Slave Songs._ (See Allen, William Francis.)\n  Smythe, Augustine T. and others. _The Carolina Low-Country._ New\n          York, Macmillan, 1931.\n  Smith, Reed. _South Carolina Ballads._ Cambridge, Harvard University\n          Press, 1928.\n  _Social Harp._ Compiled by John G. McCurry, Andersonville, Georgia,\n          printed in Philadelphia, 1855.\n  _Social Hymn and Tune Book._ Philadelphia, Presbyterian Publication\n          Committee, 1865.\n  _Songs of Grace._ Compiled by E. S. Lorenz and I. Baltzell, Dayton,\n          Ohio, United Brethren Publishing House, 1879.\n  _Southern and Western Pocket Harmonist._ Compiled by William Walker,\n          Spartanburg, South Carolina, printed in Philadelphia, 1846.\n  _Southern Folklore Quarterly._ Gainesville, Florida.\n  _Southern Harmony._ Compiled by William Walker, Spartanburg, South\n          Carolina, printed in New Haven, Connecticut, 1835.\n  _Supplement to the Kentucky Harmony._ Compiled by Ananias Davisson,\n          Rockingham County, Virginia, printed in Harrisonburg,\n          Virginia, 1820. (In McGhee Public Libr., Knoxville.)\n  _Texas Folk-Lore Society, Publications of._ (See Asbury, Samuel E.)\n  Thomas, Jean. _Devil's Ditties._ Chicago, W. Wilbur Hatfield, 1931.\n  Tillett, Wilbur, F. _The Hymns and Writers of the Church._\n          Nashville, Smith and Lamar, 1911.\n  _Timbrel of Zion._ Compiled by T. K. Collins, Jr., Philadelphia,\n          1854.\n  _Union Harmony._ Compiled by William Caldwell, Maryville, Tennessee,\n          printed in Maryville, 1837.\n  _Union Harmony._ Compiled by George Hendrickson, Mountain Valley,\n          Virginia, printed in Mountain Valley, 1848.\n  _Union Harp and History of Songs._ Compiled by Joe S. James,\n          Douglasville, Georgia, printed in Douglasville (?), 1909.\n  _Virginia Harmony._ Compiled by James P. Carrell and David S.\n          Clayton, Lebanon, Virginia, printed in Winchester, Virginia,\n          1831.\n  _Wesleyan Psalmist._ Compiled by M. L. Scudder, (place?), 1842.\n  _Western Harmony._ Compiled by Allen D. Carden, Samuel J. Rogers, F.\n          Moore, and J. Green,  printed in Nashville, 1824.\n  _Western Psalmodist._ Compiled by Andrew W. Johnson, Cornersville,\n          Tennessee, printed in Nashville, Tennessee, 1853.\n  White, Newman I. _American Negro Folk-Songs._ Cambridge, Harvard\n          University Press, 1928.\n  _White Spirituals._ (See Jackson, George Pullen.)\n  Work, John Wesley. _Folk Song of the American Negro._ Nashville,\n          Tennessee, Fisk University Press, 1915.\n  Wyman, Loraine, and Brockway, Howard. _Lonesome Tunes._ New York,\n          Gray, 1916.\n  _Zion's Harp._ Place and year unknown, probably between 1825 and\n          1840, 312 pages, texts only.\n  _Zion's Harp._ 33 pages of tunes, issued as a companion to\n          Nettleton's _Village Hymns_, compiled by N. and S. S.\n          Jocelyn, registered in the District of Connecticut, 1824.\n\n\n\n\n                   List of Abbreviations of Titles\n\n\n  BHTBK   Baptist Hymn and Tune Book, 1857\n  BS      Bible Songs (DeWitt)\n  CH      Church Harmony (Smith)\n  CHH     Christian Harmony (Walker)\n  CHI     Christian Harmony (Ingalls)\n  COH     Columbian Harmony (Moore)\n  CSH     Sacred Harp, 1902 (Cooper)\n  DT      Religious Folk-Songs of the Negro (Dett)\n  GCM     Genuine Church Music (Funk)\n  GOS     Good Old Songs (Cayce)\n  HH      Hesperian Harp (Hauser)\n  HOC     Harp of Columbia (Swan)\n  JAFL    Journal of American Folk-Lore\n  JFSS    Journal of the [English] Folk-Song Society\n  KYH     Kentucky Harmony (Davisson)\n  KNH     Knoxville Harmony (Jackson)\n  MHTBK   Methodist Hymn and Tune Book, 1889\n  MOH     Missouri Harmony (Carden)\n  OL      Olive Leaf (Hauser)\n  OSH     Original Sacred Harp (James)\n  PB      Primitive Baptist Hymn and Tune Book (Daily)\n  REV     Revivalist (Hillman)\n  SCB     South Carolina Ballads (Smith)\n  SH      Sacred Harp, 1844 (White and King)\n  SKH     Supplement to the Kentucky Harmony (Davisson)\n  SMM     Scots Musical Museum (Johnson)\n  SOC     Social Harp (McCurry)\n  SOG     Songs of Grace (Lorenz and Baltzell)\n  SOH     Southern Harmony (Walker)\n  SS      Slave Songs of the United States (Allen, Ware, and Garrison)\n  SWP     Southern and Western Pocket Harmonist (Walker)\n  TZ      Timbrel of Zion (Collins)\n  UH      Union Harmony (Caldwell)\n  UHH     Union Harmony (Hendrickson)\n  UHP     Union Harp and History of Songs (James)\n  VH      Virginia Harmony (Carrell)\n  WH      Western Harmony (Carden, Rogers, Moore, and Green)\n  WP      Western Psalmodist (Johnson)\n  WS      White Spirituals in the Southern Uplands (Jackson)\n\n\n\n\n                       Index of Songs by Titles\n\n\n                                  A\n  Number\n  Address for All                                                   29\n  Albert                                                            83\n  Albion                                                            78\n  All is Well                                                       58\n  All the Way 'Long                                                170\n  Alverson                                                         213\n  Angels Hovering Round                                            211\n  Animation                                                         62\n  Antioch                                                          166\n  Atonement                                                        200\n  Autauga                                                          204\n  Away Over Yonder                                                 178\n\n                                  B\n  Babe of Bethlehem                                                 51\n  Babylon Is Fallen                                                192\n  Backslider                                                        71\n  Balm in Gilead                                                   127\n  Bartimeus                                                         21\n  Bates                                                            188\n  Beautiful Home Sweet Home                                        222\n  Beggar                                                             2\n  Be Gone Unbelief                                                 117\n  Beloved                                                          163\n  Bound for the Promised Land                                      246\n  Bourbon                                                          109\n  Bowers                                                           172\n  Bozrah                                                           138\n\n                                  C\n  Captain Kidd                                                     142\n  Carry Me Home                                                     85\n  Carter                                                           238\n  Ceylon                                                           132\n  Chariot of Mercy                                                 102\n  Charming Name                                                    126\n  Christian Prospect                                               161\n  Christian Race                                                   249\n  Christian's Hope                                                 162\n  Christian Soldier                                                 68\n  Church of My Youth                                                45\n  Church's Desolation                                               28\n  Clamanda                                                          93\n  Columbus                                                          75\n  Come Along and Shout Along                                       195\n  Come Friends Go With Me                                          223\n  Come to Jesus                                                    159\n  Condescension                                                     30\n  Converted Thief (A)                                               23\n  Converted Thief (B)                                               35\n  Cross of Christ                                                   91\n  Cuba                                                             156\n\n                                  D\n  Davisson's Retirement                                             97\n  Death Ain't You Got No Shame                                     158\n  Deep Spring                                                       35\n  Derrett                                                          237\n  Detroit                                                          147\n  Devotion                                                         120\n  Done With the World                                              209\n  Down By the Riverside                                            182\n  Down in the Garden                                                77\n  Drooping Souls                                                   116\n  Dulcimer                                                         163\n  Dunlap's Creek                                                    79\n  Dying Boy                                                         15\n  Dying Californian                                                 10\n\n                                  E\n  Ecstacy                                                          197\n  Edgefield                                                        149\n  Enquirer                                                          87\n  Ester                                                             17\n  Eternity                                                         111\n  Exhileration                                                     177\n  Experience                                                        37\n\n                                  F\n  Faithful Soldier                                                  59\n  Farewell                                                          25\n  Female Convict                                                    42\n  Few Days                                                         226\n  Florence                                                          82\n  For Me the Savior Died                                           200\n  Free Salvation                                                     5\n  French Broad                                                      96\n  Friends of Freedom                                               112\n  Frozen Heart                                                      65\n\n                                  G\n  Gaines                                                           124\n  General Roll Call                                                244\n  Give Me Jesus                                                    208\n  Glad News                                                        160\n  Glorious Prospect                                                110\n  Golden Harp                                                      152\n  Good Morning Brother Pilgrim                                      36\n  Good Old Way (A)                                                 169\n  Good Old Way (B)                                                  72\n  Good Physician                                                    31\n  Go Preachers                                                     156\n  Grace is Free                                                    199\n  Great Day                                                        165\n  Great Provider                                                   242\n  Green Fields                                                      60\n\n                                  H\n  Had I Wings                                                      197\n  Hallelujah                                                       225\n  Happy in the Lord                                                189\n  Happy Sailor                                                     210\n  Happy Souls (A)                                                   50\n  Happy Souls (B)                                                  172\n  Hark My Soul                                                      64\n  Harmony Grove                                                    135\n  Heaven Born Soldiers                                             195\n  Heavenly Dove                                                    131\n  Heavenly Home                                                    186\n  Heavenly Port                                                    201\n  Heavenly Union                                                    37\n  Heaven's My Home                                                 173\n  Hebrew Children                                                  194\n  He's Promised to Be with You                                     242\n  Hicks' Farewell                                                    4\n  Holy Manna                                                       114\n  Holy Son of God                                                  140\n  Holy War                                                         212\n  Humble Penitent                                                  125\n\n                                  I\n  I Am Bound for the Kingdom                                       205\n  I Belong to This Band (A)                                        220\n  I Belong to This Band (B)                                        181\n  I Can Not Tarry Here                                             247\n  I Can't Stay Away                                                153\n  I Don't Care to Stay Here Long                                   183\n  I Don't Expect to Stay                                           209\n  Idumea                                                           137\n  I'll Ramble and I'll Rove                                         38\n  I Love Jesus                                                     224\n  I Love Thee                                                      134\n  I'm Alone In This World                                          219\n  I'm a Long Time Traveling                                        196\n  I'm a Poor Mourning Pilgrim                                      176\n  I'm Bound for the Land of Canaan                                 190\n  I'm Bound to Die In the Army                                     215\n  I'm Going Home                                                   183\n  I'm Traveling to My Grave                                        234\n  I Never Shall Forget the Day                                     177\n  In Jesus' Blood                                                  174\n  Invitation                                                        63\n  I Shall Be Satisfied                                             148\n  It Won't Be Long                                                 237\n  I Want a Seat In Paradise                                        240\n  I Want To Go There Too                                           231\n  I Want To Go To Glory                                            248\n  I Went Down To the Valley                                        207\n  I Will Arise                                                     239\n  I Yield                                                          250\n\n                                  J\n  Jerusalem                                                        143\n  Jester                                                           220\n  Jesus Is My Friend (A)                                           150\n  Jesus Is My Friend (B)                                           236\n  John Adkins' Farewell                                             11\n  Jordan                                                            86\n  Joyful                                                           227\n  Judgment Scenes                                                  175\n\n                                  K\n  Kedron                                                            57\n\n                                  L\n  Land of Rest                                                      81\n  Leander                                                          107\n  Lebanon                                                           66\n  Lep'rous Jew                                                      44\n  Lisbon                                                           247\n  Little Family                                                      8\n  Liverpool                                                          7\n  Lone Pilgrim                                                      18\n  Lonesome Grove                                                    34\n  Long-Sought Home                                                 221\n  Look Out                                                          32\n  Lost City                                                        151\n\n                                  M\n  Marion                                                            38\n  Martin                                                           193\n  Mecklinburg                                                       94\n  Miss Hataway's Experience                                          9\n  Missionary's Farewell                                             56\n  Mississippi                                                       99\n  Morning Trumpet                                                  241\n  Moses                                                             27\n  Mouldering Vine                                                   22\n  Mount Watson                                                      90\n  Mourner's Lamentation                                             28\n  My Bible Leads to Glory                                          233\n  My Father's Gone                                                 178\n  My Home Is Over Jordan                                           154\n\n                                  N\n  Nettleton                                                        101\n  Never Get Tired                                                  195\n  Never Turn Back (A)                                              217\n  Never Turn Back (B)                                              238\n  Newberry                                                          34\n  New Britain                                                      135\n  New Indian Song                                                  230\n  New Orleans                                                      139\n  New Prospect                                                     133\n  North Port                                                       240\n\n                                  O\n  O Brother Be Faithful                                            203\n  O God What Shall I Say                                           213\n  O He's Taken My Feet                                             232\n  O I'm So Happy                                                   155\n  O Land of Rest                                                   133\n  Old Ship of Zion (A)                                             191\n  Old Ship of Zion (B)                                             210\n  Old-Time Religion                                                218\n  Old Troy                                                         174\n  One More River to Cross                                          229\n  On the Other Side of Jordan                                      235\n  Orphan Girl                                                       19\n  O Tell Me No More                                                130\n  O That Will Be Joyful                                            227\n  O Ye Young and Gay and Proud                                     111\n\n                                  P\n  Paralytic                                                         20\n  Parting Hymn                                                     227\n  Patton                                                            14\n  Penick                                                            85\n  Pilgrim                                                           98\n  Pilgrim's Song                                                   113\n  Pilgrim's Triumph                                                118\n  Pisgah                                                           123\n  Pleading Savior                                                  100\n  Plenary                                                          128\n  Poor Mourner's Found a Home                                      156\n  Poor Wayfaring Stranger                                           40\n  Praise God                                                       106\n  Prodigal                                                          49\n  Promise                                                          216\n\n                                  R\n  Ragan                                                            181\n  Redemption (A)                                                    48\n  Redemption (B)                                                    46\n  Redemption (C)                                                    12\n  Reflection                                                       122\n  Religion Is a Fortune                                            187\n  Remember Sinful Youth                                            145\n  Rest In Heaven                                                    73\n  Resurrected                                                      178\n  Reverend James Axley's Song                                        3\n  Revival Song                                                     167\n  River of Jordan                                                  189\n  Roby                                                             144\n  Roll Jordan                                                      184\n  Romish Lady                                                        1\n  Rose                                                             104\n  Rose Tree                                                         92\n  Royal Proclamation                                                84\n\n                                  S\n  Sailor's Home                                                      6\n  Saints' Rapture                                                   61\n  Saint's Request                                                   33\n  Salutation                                                        36\n  Salvation (A)                                                     89\n  Salvation (B)                                                     95\n  Save Mighty Lord                                                 198\n  Saw Ye My Savior                                                  16\n  Sawyer's Exit                                                    129\n  Say Brothers                                                     202\n  Send Us a Blessing                                               206\n  Separation                                                        54\n  Service of the Lord                                              215\n  Shouting Pilgrim                                                 245\n  Shout On, Pray On                                                166\n  Sinner's Call                                                    101\n  Sinner's Invitation                                               80\n  Sinners Turn                                                     157\n  Sister Thou Wast Mild                                            103\n  Soldier's Return                                                  67\n  Solemn Address to Young People                                     7\n  Solemn Thought                                                   145\n  Something New                                                    228\n  Soon We Shall Land                                               204\n  Spiritual Sailor                                                 136\n  Spring Place                                                      45\n  Stephens                                                          53\n  Stockwood                                                        103\n  Substantial Joys                                                 231\n  Supplication                                                     105\n  Sweet Canaan                                                     190\n  Sweet Morning                                                    168\n\n                                  T\n  Take Me Home                                                     219\n  Tender Care                                                      121\n  Tennessee                                                         24\n  That Lonesome Valley                                             214\n  Then My Troubles Will Be Over                                    177\n  There Is a Rest Remains                                          108\n  There's a Better Day                                             161\n  There Will Be Mourning                                           175\n  'Tis a Wonder                                                    171\n  To Begging I Will Go                                               2\n  To Be With Christ                                                119\n  To Die No More                                                    74\n  To Glory I Will Go                                               151\n  To Hear the Trumpet Sound                                        188\n  To Lay This Body Down                                            196\n  To Play On the Golden Harp                                       152\n  To Wear a Starry Crown                                           178\n  Traveler                                                         234\n  Tribulation                                                       69\n\n                                  U\n  Union                                                             39\n\n                                  V\n  Vesper                                                            55\n  Victoria                                                         229\n  Villulia                                                          21\n  Volunteers                                                        70\n\n                                  W\n  Walk and Talk With Jesus                                         230\n  War Department                                                   115\n  Warfare                                                          243\n  Warrenton                                                        205\n  Washington                                                        52\n  Way Over In the Promised Land                                    193\n  Wedlock (A)                                                       13\n  Wedlock (B)                                                       43\n  Weeping Mary (A)                                                 164\n  Weeping Mary (B)                                                  47\n  Weeping Pilgrim                                                  176\n  Weeping Savior                                                   146\n  We'll All Praise God                                             185\n  We'll End This War                                               182\n  We'll Land On Shore                                              160\n  We'll March Around Jerusalem                                     180\n  We'll Shout and Give Him Glory                                   167\n  We'll Stem the Storm                                             201\n  Western Melody                                                   179\n  When I Was Young                                                  32\n  When We all Get to Heaven                                        187\n  Where All Is Peace and Love                                      162\n  Where Will You Stand                                             165\n  White                                                            196\n  Wicked Polly                                                      26\n  Wings of the Morning                                             179\n  With Us To the End                                               216\n  Wondrous Love                                                     88\n  Worthy the Lamb                                                  141\n\n                                  Y\n  Yongst                                                            76\n  You May Tell Them Father                                         176\n\n                                  Z\n  Zion's Soldier                                                    41\n\n\n\n\n                         Index of First Lines\n\n\n(Italicized numbers, used where reference is made to several songs\nwith the same first lines, indicate where the _fuller_ text is given.)\n\n                                  A\n  Number\n  Afflictions, though they seem severe                        24, _49_\n  Alas, and did my Savior bleed                          223, 229, 250\n  Amazing grace, how sweet the sound                               135\n  And am I born to die                                             137\n  And let this feeble body fail                                    225\n  An' Phareeoh's daughter went down to the water                    27\n  Are there anybody here like Mary a-weeping                       164\n  As on the cross the Savior hung                             23, _35_\n\n                                  B\n  Beautiful home, sweet home, beautiful                            222\n  Be gone, unbelief, my Savior is near                             117\n  Behold the lep'rous Jew                                           44\n  Brethren, we have met to worship                                 114\n  Bright scenes of glory strike my sense                      67, _94_\n\n                                  C\n  Children of the heavenly King                                    243\n  Christ is set on Zion's hill                                      41\n  Come, all my dear brethren and help me sing                      173\n  Come, all ye mourning pilgrims dear                               98\n  Come all ye young people of every relation                        12\n  Come along, come along and let us go home                        210\n  Come and taste along with me                                     185\n  Come, brothers and sisters who love one another                   39\n  Come, friends and relations                                 _46_, 48\n  Come, Holy Spirit, heavenly dove                                 131\n  Come, humble sinner in whose breast                               95\n  Come life, come death, come then what will                       150\n  Come, saints and sinners, hear me tell                            37\n  Come, thou fount of every blessing                        _101_, 160\n  Come to Jesus, come to Jesus                                     159\n  Come, ye sinners, poor and needy                                 239\n  Come, ye that love the Lord                                       78\n\n                                  D\n  Dark was the hour, Gethsemane                                     77\n  Death, ain't you got no shame                                    158\n  Death shall not destroy my comfort                                90\n  Death, 'tis a melancholy day                                      69\n  Did Christ o'er sinners weep                                     146\n  Did Christ the great example lead                                 91\n  Dismiss us with thy blessing, Lord                                52\n  Do I not love thee, O my Lord                                    147\n  Drooping souls, no longer grieve                             62, 116\n\n                                  F\n  Farewell, dear brethren in the Lord                              247\n  Farewell, vain world, I'm going home       _152_, 153, 181, 183, 215\n  Father, I sing thy wondrous grace                                 76\n  Forever here my rest shall be                                    200\n  Friends of freedom, swell the song                               112\n  From whence doth this union arise                                 53\n\n                                  G\n  Glory to God on high                                             141\n  Good morning, brother pilgrim                                     36\n  Go, preachers, and tell it to the world                          156\n\n                                  H\n  Hail the day so long expected                                    192\n  Hail! ye sighing sons of sorrow                                   22\n  Hark, from the tombs a doleful sound                             128\n  Hark, I hear the harps eternal                                    63\n  Hark, listen to the trumpeters                             _70_, 182\n  Hark, my soul, it is the Lord                                     64\n  Hear the royal proclamation                                       84\n  He comes, he comes, the Judge severe                             184\n  Here at thy table, Lord, we meet                                  68\n  High in yonder realms of light                                    61\n  High o'er the hills the mountains rise                            96\n  How bright is the day when the Christian                         129\n  How can I vent my grief                                           71\n  How condescending and how kind                                    30\n  How long, O Lord our Savior                                      132\n  How lost was my condition                                  _31_, 127\n  How pleasant thus to dwell below                                 227\n  How tedious and tasteless the hours                        _60_, 149\n\n                                  I\n  I am a poor wayfaring stranger                                    40\n  I came to the place where the lone pilgrim lay                    18\n  I'd rather live a beggar while here on earth I stay                2\n  If I in thy likeness, O Lord                                     148\n  If our fathers want to go                                        220\n  If you get there before I do                                     244\n  I have a loving old father at home                                38\n  I know that my Redeemer lives                                    166\n  I'll praise him while he gives me breath                         232\n  I love thee, I love thee                                         134\n  I love the holy Son of God                                       140\n  I'm dying, mother, dying now                                      15\n  I'm not ashamed to own my Lord                                    87\n  I'm thinking today of the church of my youth                      45\n  I'm trav'ling to my grave                                        234\n  I pitch my tent on this camp ground                              226\n  I sing a song which doth belong                                   29\n  I've a long time heard that there will be a judgment             165\n  I've listed in the holy war                                      212\n  I went down to the valley to pray                                207\n\n                                  J\n  Jerusalem, my happy home                                  143, _221_\n  Jesus, and shall it ever be                                       97\n  Jesus, I love thy charming name                                  126\n  Jesus, my all, to heav'n is gone     _189_, 198, 209, 216, 224, 231,\n                                                    237, 238, 240, 248\n  Jesus, thou art the sinner's friend                              123\n  Judgment day is rolling on                                       175\n\n                                  L\n  Lay up nearer, brother, nearer                                    10\n  Lift up your heads, Immanuel's friends                     _72_, 169\n  Lord, I believe a rest remains                                   108\n  Lord, shed a beam of heavenly day                                 65\n\n                                  M\n  Man at his first creation in Eden God did place                    5\n  Mercy, O thou son of David                                        21\n  Mourning souls, no longer grieve                                  66\n  My bible leads to glory                                          233\n  My brethren all, on you I call                                    83\n  My father's gone to glory                                        219\n  My father's gone to view that land                               178\n  My God, my Portion and my Love                                    79\n  My heavenly home is bright and fair                               74\n  My home is over Jordan                                           154\n  My rest is in heaven                                              73\n  My soul forsakes her vain delight                                107\n  My soul's full of glory inspiring my tongue               _110_, 172\n\n                                  N\n  \"No home, no home,\" plead a little girl                           19\n  No more shall the sound of the war-whoop be heard                115\n  No sleep nor slumber to his eyes                                 122\n  Not many years their rounds shall roll                            82\n  Now see the Savior stands pleading                               100\n\n                                  O\n  O brethren, will you meet me                                     180\n  O brother, be faithful                                           203\n  O, brother, in that day                                          188\n  O, for a thousand tongues to sing                                124\n  O happy souls, how fast you go                                    50\n  Oh, brethren, I have found a land                                113\n  Oh, for a heart to praise my God                                 106\n  Oh, good old way, how sweet thou art                             170\n  Oh, how I love my Savior                                         167\n  Oh, once I had a glorious view                                    75\n  O I am so happy in Jesus                                         155\n  O land of rest, for thee I sigh                                  133\n  O Lord, send us a blessing                                       206\n  O may I worthy prove to see                                      177\n  One day while in a lonesome grove                                 34\n  On Jordan's stormy banks I stand                 _86_, 201, 235, 246\n  O sleep not my babe for the morn of tomorrow                      42\n  O tell me no more of this world's vain store              104, _130_\n  O Thou almighty Father                                           179\n  O thou by long experience tried                                  195\n  O thou God of my salvation                                        89\n  O thou in whose presence my soul takes delight                   163\n  O thou who hearest when sinners cry                              105\n  O 'tis a glorious mystery                                        171\n  Our cheerful voices let us raise                                  54\n  O when shall I see Jesus               _59_, 151, 187, 197, 204, 241\n  O who will come and go with me                                   190\n  O who will join and help me sing                                 186\n  O ye young and gay and proud                                     111\n\n                                  P\n  Peace, troubled soul, thou need not fear                         242\n  Poor drunkards, poor drunkards, take warning by me                11\n  Poor mourning soul in deep distress                               28\n\n                                  R\n  Remember, sinful youth, you must die                             145\n  Review the palsied sinner's case                                  20\n\n                                  S\n  Saw ye my Savior, saw ye my Savior                                16\n  Say, brothers, will you meet us                                  202\n  Say now, ye lovely social band                                    93\n  Since man by sin has lost his God                                228\n  Sinner, go, will you go                                           80\n  Sinners, turn, why will ye die                                   157\n  Sister, thou was mild and lovely                                 103\n  Stay, thou insulted spirit, stay                                 125\n  Sweet is the day of sacred rest                                  120\n\n                                  T\n  Tempest-tossed, troubled spirit                                  144\n  The chariot of mercy is speeding its way                         102\n  The Christian race is now begun                                  249\n  The day is past and gone                                          55\n  The happy day will soon appear                                   168\n  The news of his mercy is spreading abroad                        174\n  The people called Christians                                     136\n  There are angels hovering round                                  211\n  There is a heaven o'er yonder skies                              236\n  There is a land of pleasure                                       92\n  There is a land of pure delight                                   81\n  There was a little fam'ly that liv'd in Bethany                    8\n  There was a Romish lady                                            1\n  The time is swiftly rolling on                               4, _25_\n  The trumpets are a-sounding                                      245\n  This world is beautiful and bright                               119\n  Tho' sinners would vex me                                          3\n  Thou man of grief, remember me                                    57\n  Through all the world below                                      142\n  Thy ceaseless, unexhausted love                                  199\n  'Tis the old-time religion                                       218\n  To see a pilgrim as he dies                                      118\n  'Twas on that dark and doleful night                             109\n\n                                  W\n  We have fathers in the promised land                             193\n  We have our trials here below                                    161\n  We have our troubles here below                                  162\n  What ship is this that will take us all home                     191\n  What's this that steals, that steals upon my frame                58\n  What wondrous love is this, O my soul, O my soul                  88\n  When Adam was created he dwelt in Eden's shade              13, _43_\n  When all thy mercies, O my God                                   121\n  When for eternal worlds we steer                                   6\n  When Gabriel's awful trump shall sound                            99\n  When I can read my title clear to mansions in the skies          230\n  When I'm happy, hear me sing                                     208\n  When I was young of tender years                                  32\n  When pity prompts me to look round                               213\n  When to that blessed world I rise                                217\n  When weeping Mary came to seek                                    47\n  Where are the Hebrew children                                    194\n  While traveling through this world below                          85\n  Whither goest thou, pilgrim stranger                             205\n  Who is this that comes from far                                  138\n  Why do we mourn departing friends                                139\n\n                                  Y\n  Ye fleeting charms of earth, farewell                            196\n  Ye nations all, on you I call                                     51\n  Yes, my native land, I love thee                                  56\n  You got to go that lonesome valley                               214\n  You may tell them, father, when you see them                     176\n  Young ladies all, attention give                                  17\n  Young people all, attention give                         _7_, 14, 33\n  Young people who delight in sin                                   26\n  Young women all, I pray draw near                                  9\n\n\n\n\n                         Transcriber's Notes\n\n\n--Retained publication information from the printed edition: this\n  eBook is public-domain in the country of publication.\n\n--Transcribed lyrics within music images.\n\n--Transcribed music into MIDI files, linked from the HTML version.\n\n--Silently corrected a few palpable typos.\n\n--In the text versions only, text in italics is delimited by\n  _underscores_.","title":"Spiritual Folk-Songs of Early America: Two Hundred and Fifty Tunes and Texts, with an Introduction and Notes","tradition":"scripture-revelation","translated_text":null,"word_count":69683}