,spiritual ,folk-,songs of ,early ,america ,two ,hundred and ,fifty ,tunes and ,texts ,with an ,introduction and ,notes ,collected and ,edited by ,,george ,,pullen ,,jackson ,,dover ,,publications1 ,,inc4 ,,new ,,york ,published in ,canada by ,general ,publishing ,company1 ,ltd41 #cj ,lesmill ,road1 ,don ,mills1 ,toronto1 ,ontario4 ,published in the ,united ,kingdom by ,constable and ,company1 ,ltd41 #aj ,orange ,street1 ,london ,w4 ,c4 #b4 ,this ,dover edition1 first published in #aifd1 is an unabridged and unaltered republication of the work first published by ,j4 ,j4 ,augustin1 ,publisher1 ,new ,york ,city1 in #aicg4 ,the publisher is grateful to the ,university of ,virginia ,library for furnishing a copy of the book for purposes of reproduction4 ,library of ,congress ,catalog ,card ,number3 #fd-hbfh ,manufactured in the ,united ,states of ,america ,dover ,publications1 ,inc4 #ahj ,varick ,street ,new ,york #ad1 ,n4,y4 ,,to ,,the ,,memory ,,of ,,my ,,wife ,,inez ,,emeline ,,wright ,,jackson ,preface ,the ancestors of the bearers of the ,southern tradition of folk-music began in very ancient times the practice of singing religious songs to folk-tunes4 ,nor must one think that this custom showed a lack of respect for religion4 ,on the contrary1 it rather emphasized the respect and love of the folk for their traditional music4 ,as their most loved and treasured possession1 they brought this noble musical heritage and laid it on the altar of their worship4 ,there is a strong probability that this practice has continued unbroken for at least thirteen centuries4 ,william of ,malmsbury1 writing in the twelfth century1 gives an anecdote of ,st4 ,aldhelm1 the ,anglo-,saxon abbot of ,malmsbury during the seventh century1 which he took from the notebook of ,king ,alfred the ,great1 which was extant at that time4 ,according to this story1 the ,saint would station himself on a bridge in the guise of a gleeman and would collect an audience by singing popular songs4 ,he would then gradually insert into his entertainment the words of the holy scriptures and so lead his hearers to salvation4 ,the chronicler also states that one of the popular songs made by ,st4 ,aldhelm and mentioned by ,king ,alfred was still being sung by the folk at the time of his writing1 almost five hundred years later4 ,chappell1 in his ,popular ,music of the ,olden ,time1 says3 ,we may date the custom of singing hymns to secular tunes from this time ,the ,norman ,conquest if1 indeed1 it may not be carried back to the time of ,st4 ,aldhelm4 ,william of ,malmesbury records of ,thomas1 ,archbishop of ,york 7created in #ajgj71 that 'whenever he heard any new secular song or ballad sung by the minstrels1 he immediately composed parodies on the words to be sung to the same tune4' ,in a contribution to ,notes and ,queries1 ,mr4 ,james ,graves gives a curious list of eight songs similarly parodied in ,the ,red ,book of ,ossory1 a manuscript of the fourteenth century1 which is preserved in the archives of that see4 ,six of the songs are ,english 7there are two parodies on one of them71 and the remaining two are ,anglo-,norman4 ,the ,latin hymns seem to have been written by ,richard de ,ledrede1 ,bishop of ,ossory from #acah to #acfj4 ,the names of the six ,english songs are as follows3 #a4 ,alas6 how should ,i sing1 yloren is my playinge4 ,how should ,i with that olde man1 ,sweetest of all1 singe1 ,leven and let my leman4 ,sweetest of all1 singe4 #b4 ,have mercy on me1 frere1 barefoot that ,i go4 #c4 ,do1 do1 nightingale1 syng ful mery ,shall ,i never for thine love longer kary4 #d4 ,have good day1 my leman etc4 #e4 ,gaveth me no garland of greene1 ,but it ben of wythones 7withies--wyllowes87 yrought4 #f4 ,hey1 how the chevaldoures woke all night4 ,in the sixteenth century1 the early ,presbyterians continued this usage1 as is evidenced by ,wedderburn's hymnal published in ,edinburgh in #aefj1 quaintly entitled3 ,ane ,compendius ,booke of ,godly and ,spirituall ,songs1 ,collected out of ,sundrie ,parts of the ,scriptures1 with ,sundrie of ,other ,ballates ,changed out of ,prophaine ,songs1 for ,avoiding of ,sin and ,harlotrey4 ,among these latter was a parody of ',john1 ,come ,kiss ,me1' the wide and enduring popularity of which is attested by its inclusion in ,queen ,elizabeth's ,virginal ,book1 ,playford's ,introduction1 ,apollo's ,banquet for the ,treble ,violin1 ,walsh's ,division ,violin1 ,playford's ,division ,violin and ,pills to ,purge ,melancholy4 ,there are also references to it in ,thomas ,heywood's ,a ,woman ,killed with ,kindness1 ,westminster ,drollery1 ,burton's ,anatomy of ,melancholy1 ,the ,scourge of ,folly1 ,braithwaite's ,shepherd's ,tales1 ,tom ,tiler and his ,wife1 and ,henry ,bold's ,songs and ,poems4 ,allan ,cunningham quotes the parody in ,the ,songs of ,scotland1 ,ancient and ,modern1 as follows3 ,john1 come kiss me now1 ,john1 come kiss me now1 ,john1 come kiss me by and by1 ,and make nae mair ado4 ,the ,lord thy ,god ,i am1 ,that ,john does thee call3 ,john represents man ,by grace celestial4 ,for ,john ,goddis grace it is1 ,who list till expone the same3 ,o ,john1 thou did amiss ,when that thou lost this name4 ,my prophets call1 my preachers cry ,john1 come kiss me now ,john1 come kiss me by and by ,and make nae mair ado4 ,a similar book appeared in #afdb1 called3 ,psalms1 or ,songs of ,zion1 turned into the language and set to the tunes of a strange land1 by ,william ,slatyer1 intended for ,christmas ,carols and fitted to divers of the most noted and common but solemn tunes1 everywhere in this land familiarly used and known4 ,that the ,puritans of that century did not invariably confine themselves to solemn tunes is indicated by ,shakespeare when the ,clown in ,the ,winter's ,tale1 in praising the vocal prowess of the shearers1 assembled for the sheep-shearing feast1 says3 ,three-man song-men1 all1 and very good ones4442 but one ,puritan amongst them1 and he sings ,psalms to hornepipes4 ,in the ,new ,variorium ,shakespeare1 ,h4 ,h4 ,furness1 in commenting on the passage1 says3 ,he sings ,psalms to the lively tunes to which horn-pipes were danced1--a practice which1 we know was extremely popular in ,france1 and from allusions like the present we can infer that it was not unknown in ,england4 ,in the seventeenth and eighteenth centuries the ,puritan congregations of ,new ,england are said to have had music committees one of the chief duties of which was to go among the folk and gather attractive melodies to be used as hymns4 ,and this was also the custom of the ,primitive ,methodists1 both in ,great ,britain and in ,america4 ,in writing of this usage at a later date1 ,chappell says3 ,the ,primitive ,methodists 444 acting upon the principle of ',why should the devil have all the pretty tunes8' collect the airs which are sung at pot and public houses1 and write their hymns to them 444 in this sect we have living examples of the 'puritans who sing psalms to horn-pipes1' ,they do not mince the matter by turning them into slow tunes1 444 but sing them in their original lively time4 ,this brings us to the nineteenth century1 in which appeared the shape-note hymnals from which the material in this volume is chiefly drawn4 ,the existence of these books was scarcely known to musicians and music-lovers until recently1 when they were vividly brought to the attention of the musical world by ,dr4 ,george ,pullen ,jackson in his book1 ,white ,spirituals in the ,southern ,uplands4 ,music lovers were astonished to learn of the existence of these old books1 containing a wealth of uniquely beautiful hymn-tunes1 largely folk-tunes and others composed in the same idiom4 ,a majority of these are in the old modes and among them are the tunes of folk-songs1 ballads1 country-dances and even morris-dances4 ,but musicians were even more surprised to learn that there are literally hundreds of thousands of devotees1 in homes1 in little gatherings and big singing conventions covering a broad region which stretches from the ,valley of ,virginia to the plains of ,texas1 who enthusiastically preserve and practise this tradition4 ,that this usage should have lived on from pioneer times into our present day1 when not only what we buy but what we are1 is stereotyped by the processes of mass production1 seems little short of miraculous4 ,but it is explained by the innate vigour of the tradition itself1 by the great love of the tradition-bearers for the old tunes and1 not least1 by the fact that the books embodying the material used shape notes4 ,shape notes1 as is explained in ,white ,spirituals1 indicate their pitch by their shapes1 independently of the lines and spaces of the staff4 ,they were invented to simplify the reading of music4 ,there are two principal systems1 the ,four ,shape and the ,seven ,shape4 ,in the ,four ,shape1 the first and fourth degrees of the scale are called fa and are represented by a right triangle2 the second and fifth are called sol1 represented by a round shape2 the third and sixth1 la1 by a square head and the seventh1 mi1 by a diamond4 ,the ,seven ,shape system has a different form of note for each degree of the scale and the nomenclature accords with our general practice4 ,the nomenclature of the ,four ,shape system is of especial interest because it was known and practised by ,shakespeare4 ,numerous references to it occur in his plays4 ,in ,king ,lear this system is employed in an almost ,wagnerian manner to characterize the archvillain1 ,edmund1 who in soliloquy says3 ,my cue is villanous melancholy and then sings3 ,fa1 sol1 la1 mi4 ,these four tones measure the extent of a tritone1 the forbidden interval called the diabolus or the devil and supposed to be filled with sinister1 ominous and evil potency4 ,as shape notes increased in popularity1 bitter controversy arose between their supporters and those of the ordinary staff notes4 ,this was most fortunate1 for it gave the fa-sol-la folk a coherence and a sturdier determination to abide by their principles and practices1 which enabled them to resist the erosion of modern life and so preserve their beautiful heritage4 ,many folk-tunes associated with sacred words have been passed down also solely by the process of oral tradition4 ,mr4 ,ernest ,la ,prade1 author of ,alice in ,orchestralia1 recently learned of two groups of ,primitive ,baptists1 one in ,new ,jersey and the other in ,philadelphia1 which still use in their worship only tunes preserved by this process4 ,he was fortunate enough to record several of the hymns from a member of the ,new ,jersey congregation1 some of which were modal and all of which were of the type contained in the shape-note books4 ,the value of these books to students and lovers of our folk-music is incalculable4 ,for although many of the tunes are still extant in the oral tradition1 a large portion of them1 of indubitable folk origin1 have vanished from the oral tradition and1 but for these books1 would be entirely lost4 ,all who are familiar with the folk-dance revival in ,england realize the importance of ,playford's ,english ,dancing ,master in preserving a large number of tunes and dances that were no longer traditionally extant4 ,the folk material embodied in the shape-note books is no less important and far more varied2 it is1 in fact1 indispensible to all who desire a comprehensive knowledge of ,british and ,american folk-music4 ,gratitude is due ,dr4 ,jackson for making this material accessible to the public1 and admiration1 for the painstaking and scholarly way in which he presents his fascinating subject4 ,the tunes are historically important in showing approximately the state of the oral tradition at the time they were written down in the past century4 ,it would be difficult to overestimate their esthetic value4 ,in metrical and rhythmic structure1 especially in balance and contrast in phrase lengths2 in beauty and eloquence of melodic line1 many are unsurpassed by even the best of our traditional tunes4 ,it is not too much to hope that a revival of interest in this music may result in a general use of it in our churches1 where its native vigour1 unaffected straightforwardness and lyric beauty could go far in freeing us from the insipid banalities of much present-day church music4 ,john ,powell ,table of ,contents ,preface vii ,introduction #a ,recent ,trends in ,song ,search #b ,varieties of ,religious ,songs #d ,religious ,ballads ,folk-,hymns ,revival ,spiritual ,songs ,folk-,song ,collectors of ,yore #aj ,features of ,american ,folk-,tunes #ab ,tonal ,trends1 ,tune ,families ,metrical ,patterns ,scales1 ,modes ,rufty's ,classification1 ,chart of ,tunes ,tunes of ,religious and ,worldly ,folk-,songs ,compared #ag ,conclusion #ba ,acknowledgments #bc ,fifty-one ,religious ,ballads #bg ,ninety-eight ,folk-,hymns #hg ,one ,hundred and one ,revival ,spiritual ,songs #afi ,bibliography #bda ,list of ,abbreviations of ,titles #bde ,index of ,songs by ,titles #bdf ,index of ,first ,lines of ,texts #bej ,illustrations #a4 ,typical country singers of early ,american spiritual folk-songs ,frontispiece #b4 ,the big singings take place at county seats and in even larger centers ,frontispiece #c4 ,dinner on the grounds xii #d4 ,classification chart of tunes facing page #af #e4 ,the ,original ,sacred ,harp1 #aiaa edition #bd #f4 ,the sole occurrence of ',the ,babe of ,bethlehem' #bf #g4 ,the ',morning ,trumpet' in seven-shape notation #bf #h4 ,benjamin ,franklin ,white1 and ,thurza ,golightly ,white1 of ,hamilton1 ,georgia #hf #i4 ,the ,white memorial in ,atlanta #hf #aj4 ,the ,sacred ,harp appeared in #ahdd #hf #aa4 ,the ,southern ,harmony1 #ahce #aff #ab4 ,william 7,singin' ,billy7 ,walker1 of ,spartanburg1 ,south ,carolina #afh #ac4 ,william ,walker's grave in ,spartanburg1 ,south ,carolina #afh ,introduction ,since the sort of folk-song indicated by the title of this book is in all probability unfamiliar to many1 ,i shall assume that my chief task in this ,introduction is to make its nature clear4 ,the first step in this explanation will be to distinguish the present material from some other better known sorts of folk-song4 ,is it mountain songs you are collecting8 ,is it those old ballads8 ,is it the negro spirituals8 ,these questions were put to me again and again by interested persons while the present collection was in the making4 ,no1 these are not mountain songs and still they are4 ,what do we mean by mountain songs8 ,the very first mountain song ,i ever recorded was sung to me on the treeless flats of ,north ,dakota4 ,it had arrived there from ,kentucky by way of ,saint ,louis and ,los ,angeles and had been carried over this circuitous route to its northwestern place of recording by the singers in three generations of one family4 ,the first sailor's shanty ,i ever heard was in the mountains of ,virginia4 ,it had come from a logging camp in ,michigan by way of ,chicago4 ,every folk-song hunter can tell similar tales2 and all such experiences convince us that the naming of a type of song after a restricted region or a particular environment1 while furnishing a convenient designation1 may lead also to much misunderstanding4 ,the mountain songs designation is one of the least appropriate4 ,its only justification lies in the fact that some types of traditional song1 the secular ballads among them1 have persisted perhaps in larger numbers in mountainous regions like those of the southern ,appalachians and the ,ozarks and are more widely sung there than elsewhere4 ,these songs were ,irish1 ,scotch1 and ,english across the water4 ,they came from highlands and lowlands4 ,they were the common possession of early ,americans of those ethnic stocks1--those people who never left the tidewater parts1 those who came into the highlands and settled there1 and those greater numbers who trekked through the mountain gaps1 down the western slopes and spread into the rolling country and plains4 ,the present collection is of songs sung by all these people in all of these parts in early and more recent times and now4 ,hence1 to call them mountain songs would be quite inadequate and misleading4#a ,those who asked if the present collection were to be of the old ballads manifested by their question some acquaintance with one variety1 an important one withal1 of traditional secular folk-song in ,america4 ,my answer to them was negative1 as it is to my present readers4 ,this collection is made up neither of the secular ballads nor of their close relatives1 the secular folk-songs1 as far at least as their texts are concerned4 ,nor is it a collection of negro spirituals or negro songs of any kind4 ,and yet it is one of folk-songs1 and spiritual ones1 as its title truthfully indicates4 ,i shall now attempt to explain this2 for it must seem to some an anomaly4 ,the explanation will necessitate my making a brief survey first of recent trends in the activities of those interested in folk-songs4 ,recent ,trends in ,song ,search ,until recent years practically all the folk-songs published in ,america have been those with secular texts4 ,the existence of traditional spiritual folk-songs in this land seems not to have been recognized by folklorists4 ,negro songs were1 to be sure1 largely spiritual and they have been regarded as folksongs2 but that was an entirely different matter1 one in which the students of the white man's culture were not primarily interested4 ,early curiosity as to the slave songs was not academic4 ,it was rather a popular interest allied with one which was of a missionary-religious nature4 ,the songs themselves1 as they became known in northern and eastern centers during the post-,civil ,war period through the activities of traveling concert groups from southern negro schools1 were popularly believed in those parts to be the negroes' own creations and to be rooted in ,africa4 ,they were regarded thus as lying essentially outside the sphere of the white man's cultural traditions4 ,these attitudes of mind tended to hold apart the two groups1 those concerned with the white man's song traditions and those interested in the religious songs of the black folk4 ,it was a negro-song apologist1 ,henry ,e4 ,krehbiel1 who signed1 as he thought1 the decree of complete separation of the two song bodies with his book ,afro-,american ,folk ,songs in #aiad2 and for most people that was definitive4 ,even as late as the end of the #aibj's ,krehbiel's word stood practically unchallenged4 ,i shall adduce evidence presently however of the error of his assumption4 ,in the mean time knowledge of our own ,american folk-songs deepened and broadened4 ,the earlier interest1 one which grew out of the soil tilled by ,francis ,j4 ,child and was confined to the ballads alone1 shorn of their tunes1 expanded in the latter part of the second decade of the present century into one which included also folk-songs and the tunes of both ballads and songs4 ,notable among folklorists with this more comprehensive outlook was the late ,cecil ,j4 ,sharp who1 after long experience in the ,english folk-song field1 took up the hunt in the southern ,appalachians4 ,even the first collection of a part of his findings1 published in #aiag1 provided a revelation as to the wealth of the existing material and was recognized as a model in the matter of musical recording4 ,from then on1 the gathering of folk-songs was carried on with renewed enthusiasm and with greater stress laid on the melodies4 ,one phase of song hunting began in the middle of the #aibj's outside the circle of the folklorists and in complete ignorance of the facts that what was sought was genuine folk material4 ,i refer to the study in the field of the southern religious country singings4 ,i make this charge of ignorance the more unhesitatingly since it was my own1 and since ,i worked alone in that field for some years4 ,a report of the early stages of my work appeared in #aicc in a volume entitled ,white ,spirituals in the ,southern ,uplands4 ,readers of that book have probably recognized that1 while ,i may have told the story of the country singing institution quite thoroughly1 ,i realized then only dimly that the songs under observation were folk-traditional4 ,this realization has come since then gradually1 first by reason of a series of accidental findings and more recently as the result of rather extended study4 ,why the folklorists never came upon this material before it fell into my hands is not hard to explain4 ,one reason is that the strongest link binding the songs in question to the traditional secular folk-songs is their tunes1 and all musical considerations were generally neglected1 especially by the earlier folklorists in this land4 ,another reason was probably that folklorists never thought1 any more than ,i did1 of singing groups which used song books1 as likely environment for their search4 ,a third reason was that the country songs were religious1 a sort which was and is still generally thought of as church music and thus as being far removed from the folk4 ,and finally1 collectors have as a rule sought folk-songs in the mountains and other remote places2 whereas the country singings are found in the less sparsely populated parts of the lower uplands4 ,cecil ,sharp should have escaped much of this prejudice and misconception2 for his own ,british ,isles are full of religious folk-songs1 as he well knew2 even though they do not appear there to any extent in a group-singing environment4 ,but that he did not escape it is indicated clearly by his experience in the southern mountains1 as he tells of it in the ,introduction to his ,english ,folk ,songs from the ,southern ,appalachians4 ,when he came to a home in the mountains and made known his desire to hear songs1 he was generally misunderstood4 ,the mountain people thought he wanted to hear them sing hymns4 ,but he did not2 and though he does not tell us why1 he indicates that it was because he was convinced that the hymns were not folk-songs4 ,at any rate1 he soon learned to ask for love songs4 ,and as a result there appeared but two songs of a religious nature1 the ',cherry ,tree ,carol' and ',hicks' ,farewell'1 among the #abb in his first publication4 ,in the subsequent two-volume collection of his ,american findings1 edited by ,maud ,karpeles and published in #aicb1 we find a group of but half a dozen religious songs under the heading ,hymns4 ,there are also a few biblical ballads in the collection4 ,some years after ,sharp missed all but completely his opportunity to become the discoverer1 or uncoverer1 of ,american religious folk-songs1 one of his ,english co-workers1 ,anne ,g4 ,gilchrist1 found some remarkable analogies between the secular folk-songs of ,england on the one hand and the spiritual songs of the early ,primitive ,methodists of that land and the early ,american revivalists on the other2 and she published a report of her research in the ,journal of the ,english ,folk-,song ,society1 viii 7#aibg-aica71 pp4 #fa-ie1 in an article entitled ,the ,folk ,element in ,early ,revival ,hymns and ,tunes4 ,this was a real though brief contribution to the very subject which engages us here2 for it demonstrated the linking of the nineteenth century religious songs with the older and principally secular folk tradition of her land4 ,at about the same time1 two ,americans made smaller contributions4 ,ethel ,park ,richardson recorded eleven of the white man's spirituals from oral tradition1 as it seems1 and included them in her ,american ,mountain ,songs2 and ,samuel ,e4 ,asbury furnished the ,texas ,folk-,lore ,society with a group of camp-meeting songs which he had heard in the #ahhj's in western ,north ,carolina4 ,the ,society published them in #aicb4 ,on ,miss ,gilchrist's pages and even more often on the pages of ,american collectors in the late #aibj's appeared indications of a growing belief that the old white spirituals were the progenitors of the negro spirituals and that1 therefore1 ,krehbiel's assumption as to negro authorship of the slave songs was in a measure erroneous4 ,among those who shared constructively in this belief were ,newman ,i4 ,white and ,guy ,b4 ,johnson4 ,mr4 ,white consulted a number of the old country-song manuals to good advantage in the preparation of his ,american ,negro ,folk-,songs4 ,his use of them was to find merely textual antecedents of negro spiritual borrowings4 ,mr4 ,johnson used some of the same manuals happily in the preparation of his ,folk ,culture on ,st4 ,helena ,island4 ,his purpose1 like that of ,mr4 ,white1 was to show negro song sources2 but his work had the added merit of calling attention to some musical analogies between the spiritual songs of the white and the black ,americans4 ,my own contributions to the solution of the problem of negro song sources are mentioned on page #i of this ,introduction4 ,all this evidence assumes considerable weight in proof of the thesis that the negro spirituals1 instead of lying outside the white people's song tradition1 represent a selective adoption and carrying-on of that tradition4 ,if the preceding paragraphs have in a measure made clear the nature of the songs to be presented here1 they have done so by the method of elimination and by a review of some of the directions taken recently by students of song1 trends which seem to have led inevitably to the uncovering of the body of song found in the old manuals of the country singers and to the establishing of its status as folk-song4 ,it is the revealing of this material and the establishing of its identity which are the chief reasons for the existence of the present volume4 ,varieties of ,religious ,songs ,the old song books spoken of above contain various sorts of religious pieces4 ,among these are the early psalm tunes1 evangelical hymns1 spiritual songs1 religious ballads1 fuguing songs1 and anthems4 ,each of these varieties represents loosely a phase of1 or a period in1 religious1 musical1 or poetic development4 ,some are folk-songs and many are not4 ,the psalm tunes with their ,old-,testament texts--the sober song fare of the early ,protestants in ,europe1 in the ,british ,isles1 and in the ,american ,colonies--are probably to some extent of folk origin2 but since psalm singing in early ,america can not be looked on as a free expression of the folk1 and since the psalm tunes themselves gave way easily to other far more folky types of religious song1 ,i have chosen to exclude them from the present discussion and collection4 ,the fuguing songs are examples of an early ,american art development in composing and in group singing in ,new ,england during the latter part of the eighteenth century4 ,despite their enduring popularity in southern rural folk-singing circles and despite the fact that many of them are found to be constructed on the basis of folk-melodic themes1 ,i have decided that they would be inappropriate to this collection4 ,the same objection1 that they are of an essentially composed nature1 holds also for the anthems and has demanded their elimination4 ,after making these exclusions ,i centered attention on three mutually rather distinct types of song all of which seemed to be in varying degrees folk products--the religious ballads1 hymns1 and spiritual songs4 ,religious ,ballads ,the religious ballads by and large are folk-produced beyond any reasonable doubt4 ,they are uniformly songs for individual singing1 not for groups4 ,the sung story was the thing4 ,in one ballad it would be the story of some bad woman1 ,wicked ,polly for example1 who died in sin and deep despair and went to hell2 in another1 of some good woman1 the ,romish ,lady for instance1 who was burned at the stake for espousing the ,protestant cause4 ,much ballad material was furnished also by the ,bible4 ,scriptural events like the curing of the man sick with the palsy1 the restoring of sight to blind ,bartimeus1 ,daniel's experience in the lions' den1 the raising of ,lazarus1 the baby ,moses in the rushes1 the ,prodigal ,son parable1 the birth of ,christ1 ,his crucifixion and death1--all are retold in the ballads4 ,a younger variety of song which ,i include under the heading of religious ballads is that in which the singer tells his story in the first person4 ,such stories are those of the poor wayfaring stranger just a-going over ,jordan1 the departing preacher or missionary1 a dying boy or girl1 and even a pious gold hunter dying on his way to ,california4 ,the story may be also the plaint of the religious mourner1 the backslider1 and the criminal sinner1 or the exultant tale of the saved4 ,still another group of ballads is aimed more directly at the conversion of the young1 the gay1 and proud4 ,they usually begin by telling the religious experience of the singer and close with a warning as to the tragic results of worldliness and an exhortation to turn from this vain world of sin4 ,these songs are quite similar to the worldly ballads in form1 and their tunes are1 as will be pointed out presently1 of the common folk stock4 ,folk-,hymns ,the ballads 7excepting the experience variety7 probably did not originate in any particular organized religious movement4 ,the folk-hymns were1 on the other hand1 bound up genetically with the protestant evangelical activity which followed ,john ,wesley's lead in ,england and then in ,america4 ,the ,wesleyan ,revival began as an ordered small-group affair and spread and developed ultimately into a movement whose aspects and practices were completely free-affairs of the uninhibited masses4 ,in the same way the song of that movement1 beginning with merely the taste of textual freedom offered by ,watts and the ,wesleys1 and of musical freedom offered by those who furnished the melodies1 spread ultimately far beyond the allowed tunes and hymn texts of the authorities until religious gatherings were musically completely liberated4 ,when ,john ,wesley picked up a popular melody here and there on his travels through ,england and set it to a good hymn text1 he little realized that he was setting an example and starting a movement which was to bring into existence hundreds of folk-hymns2 that is1 songs with old folk-tunes which everybody could sing and with words that spoke from the heart of the devout in the language of the common man4 ,with the spread of this movement to ,america a fertile soil for its further development seems to have been found4 ,here it became known as the ,great ,southern and ,western ,revival4 ,here its store of songs1 made after the pattern used in ,england1 was greatly enlarged4 ,in fact the masses took the matter of what they were to sing so completely into their own hands that the denominational authorities1 especially the ,methodists1 though they tried to control it1 became helpless4#b ,in looking through the folk-hymns in the second part of this collection one will see scores of tunes which are clearly recognizable as those still sung to ',barbara ,allen'1 ',lord ,lovel' and other ancient ballads4 ,this is adequate evidence1 ,i assume1 as to where the folk sought and found its hymn tunes4 ,the extent of this tune borrowing process is indicated on page #ah;f of this ,introduction4 ,the texts1 on the other hand1 may be from the pen of ,watts or other eighteenth century ,english religious poets1 or they may be the humbler creations of rural ,american religious verse makers1 like ,john ,adam ,granade1 or ,john ,leland4 ,it is impossible to date the beginning of folk-hymn making and singing in ,america definitely4 ,but on the assumption that they were a part of the ,wesleyan movement1 we cannot place the beginning of their general use in ,america before the #aggj's4 ,the part of the land where they first attained popularity--again judging by their ,wesleyan affinities--was the upland and inland ,south2 for during the last two decades of the eighteenth century 7the time of the first spread of the ,methodist movement7 four-fifths of the adherents to this sect were to be found in that section4#c ,revival ,spiritual ,songs ,the revival spiritual songs represent a further advance of the song movement which brought forth the folk-hymns1 toward the folk level4 ,as the eighteenth century expired the post-,wesleyan religious tide was high and the camp meeting1 the significant institution which became the cradle of the revival spiritual songs1 was born4 ,one may therefore get a clearer insight into this new song development if one recalls the character of its early environment4 ,one might well remember1 for example1 that the camp meetings began and remained in nature surroundings1 in the wilderness2 that they were immense holiday gatherings2#d that they thus took on the free-and-easy aspects of the pioneers as a whole rather than of any particular class2 and that they were completely free from denominational and all other authoritarian control4 ,bearing all this in mind it is perhaps easier to understand how the folk-hymns--grown up in a less boisterous environment--failed to satisfy the new conditions4 ,at the camp meetings it was not a question of inducing every one to sing1 but of letting every one sing1 of letting them sing songs which were so simple that they became not a hindrance to general participation but an irresistible temptation to join in4 ,the tunes of the folk-hymns were adequate4 ,but the texts 7,watts1 ,wesley and their schools7 still demanded a certain exercise of learning and remembering which excluded many from the singing4 ,the corrective lay in the progressive simplification of the texts2 and it was in the main this text simplification which brought about and characterised the type of camp-meeting song which was called1 in contradistinction to all other types1 the spiritual song4 ,the methods of song-text reducing are familiar4 ,when the ,american youth sings ,found a horse-shoe1 found a horse-shoe1 ,found a horse-shoe1 just now2 ,just now found a horse-shoe1 ,found a horse-shoe just now he is not only following a practice of the early spiritual song makers and singers--his horse-shoe song itself is a parody of a spiritual in this collection--but he is singing in the infinitely older manner of his race4 ,he is singing an organically constructed tune and refusing to let words interfere with it1 a tendency which may be observed from ',sumer is icumen in' to the nineteenth century songs of sailors and to other work-songs and children's songs1 like that of ',the ,big ,bad ,wolf'1 today4 ,the text simplification in religious folk-songs began modestly4 ,the variety of spiritual song which is closest to the folk-hymn is that in which each short stanza of text 7four short lines usually7 is followed by a chorus of the same length1 as for example3 ,on ,jordan's stormy banks ,i stand ,and cast a wishful eye1 ,to ,canaan's fair and happy land ,where my possessions lie4 ,chorus ,i'm bound for the promised land1 ,i'm bound for the promised land2 ,o who will come and go with me8 ,i'm bound for the promised land4 ,the verse was mastered probably by comparatively few singers1 even though it may have been lined out by the song leader4 ,but the whole assemblage had its chance to join lustily in singing the chorus4 ,a simpler form of spiritual song went directly into a refrain after the first text couplet3 ,o when shall ,i see ,jesus ,and dwell with him above1 ,and shall hear the trumpet sound ,in that morning4 ,and from the flowing fountain ,drink everlasting love1 ,and shall hear the trumpet sound ,in that morning4 ,then came the chorus3 ,shout ,o glory ,for ,i shall meet above the skies ,and shall hear the trumpet sound ,in that morning4 ,an offspring of this same ',morning ,trumpet' song may serve to illustrate the next step in simplification1 one in which the singers1 instead of using new poetic lines in subsequent stanzas1 were satisfied with slight variations of those already sung3 ,oh1 brother1 in that day ,we'll take wings and fly away1 ,and we'll hear the trumpet sound ,in that morning4 ,oh1 sister1 in that day ,we'll take etc4 ,oh1 preachers1 in that day1 and so on1 with leaders1 converts1 etc4 without end4 ,the next step is seen in those songs where one short phrase is sung three times and then followed by a one-phrase refrain3 ,where are the ,hebrew ,children1 ,where are the ,hebrew ,children1 ,where are the ,hebrew ,children8 ,safe in the promised land4 ,these songs were sometimes called choruses1 for they are often really nothing else1--detached choruses1 the text varied a bit from verse to verse1 functioning as complete songs4 ,the last word in brevity of text is where simply one short phrase or sentence1 sung over and over1 is made to fill out the whole tune frame as a stanza4 ',death1 ,ain't ,you ,got ,no ,shame'1 in this collection is one example among many4 ,such songs as this were too meager to be welcomed warmly into the old song books4 ,they survive therefore chiefly in oral tradition4 ,but meagerness of text is not1 we must remember1 any criterion of the worth of a religious folk-song4 ',hebrew ,children1' for example1 the song from which ,i have just cited a stanza1 is at once extremely chary of words and rich in tonal beauty4 ,this becomes evident when one sees ,annabal ,morris ,buchanan's arrangement of it for modern chorus4 ,it was the spiritual songs1 rather than the hymns or the ballads1 which appealed subsequently most deeply to the negroes and have reappeared most often among the religious songs of that race4 ,in ,white ,spirituals ,i presented twenty different negro songs and traced them1 both tunes and texts1 directly to as many early religious songs of the white people4 ,in the present collection upwards of #fj songs have been found to be the legitimate tune-and-words forebears of the same number of negro spirituals4 7,incidentally1 all of the songs just used here to illustrate the steps in text simplification have been borrowed by the black man and made over47 ,these negro offspring songs are mentioned by title1 and information as to where ,i found them is given in the notes under each of the songs concerned4#e ,the tunes of the secular folk-songs came into the religious environment--into the folk-hymns and spiritual songs--with little change4 ,what one could sing by himself to secular words all could sing in a gathering to religious words4 ,the new surroundings made only one added demand1--that the singers indulge in fewer vocal liberties than they might have enjoyed when singing the same tunes in their homes and alone4 ,i refer to those liberties in personal interpretation1 a quaint characteristic of individual folk singing which has given the collectors their numerous variants of one and the same song4 ,group singers had now to agree on one version of a tune and stick fairly closely to it4 ,i say fairly closely1 for the religious singers allowed but few of their tunes to become completely standardized4 ,this will become clear when one studies the variants of certain folk-hymn and spiritual-song tunes in this compilation4 ,folk-,song ,collectors of ,yore ,in the earlier years of the camp-meeting movement1 few if any of the songs produced in and for that environment appeared in print4 ,the whole body of revival song was therefore generally known as unwritten music4 ,the first recordings were of the texts only4 ,they appeared in the form of booklets and bore some such title as ,hymns and ,spiritual ,songs _/ for the ,pious of all ,denominations _/ as ,sung in ,camp ,meetings4 ,they were prepared first by itinerant preachers or song leaders who saw in the ,great ,revival a chance to serve the cause1 and perhaps to make money4 ,that these books filled a great need is attested by their ubiquity during the period which may be designated roughly as from #ahjj to #ahdj4 ,the musical notation of the tunes they sang was the least concern of the revival folk4 ,it is quite probable that the camp-meeting crowds of those times never saw their tunes in musical notation4 ,it is evident that the first recordings of this unwritten music were not made by the revivalists themselves1 and that the first book collections of such recordings were not made primarily for use in revivals4 ,the books in which these tunes first appeared were the country singing manuals of which ,i have spoken above4 ,the singing masters were quick to recognize the value of the rousing revival songs and saw to it that their own institution benefitted from their vogue4 ,the ,christian ,harmony1 published in ,new ,hampshire in #ahje was perhaps the first book to record the revival tunes4 ,the ,olive ,leaf1 a ,georgia book of #ahgh was the last4#f ,we sometimes have the compiler's own story of his sources4 ,in the preface to ,william ,caldwell's ,union ,harmony for example1 the compiler tells us that many of the airs which the author has reduced to system notated and harmonized have been selected from the unwritten music in general use among ,baptists1 ,methodists and ,presbyterians4 ,william ,walker says1 in the preface to his ,southern ,harmony1 ,i have composed parts to a great many good airs1 which ,i could not find in any publication or in manuscript1 and assigned my name as the author4 ,william ,hauser's preface to his compendious ,hesperian ,harp is lacking in my copy of his work 7the only copy in existence1 ,i believe72 but the compiler's method of finding songs becomes clear when we peruse his pages of song4 ,on the page with ',patton'1 for example1 he notes that he first heard the ,rev4 ,william ,patton1 of ,missouri1 sing the song which bears his name at a camp-meeting1 ,north ,cove1 ,burk ,country1 ,north ,carolina1 in #ahca or #ahcb4 ,the song entitled ',houston' was an air ,i learned from my mother when a small child4 ,as to ',land of ,rest' he states that the inspiration of this tune was caught from a female voice at a distance1 at ,barbee's ,hotel1 ,high ,point1 ,n4 ,c41 ,june #ith1 #ahfh4 ,under the song entitled ',rev4 ,james ,axley's ,song1' in the same compiler's ,olive ,leaf1 he tells who the ,rev4 ,axley was and how he1 ,hauser1 came to record the preacher's favorite tune4 ,john ,g4 ,mc,curry gives a song called ',good-,by' in his ,social ,harp and tells that he put it down as played on the accordion by ,mrs4 ,martha ,hodges of ,hartwell1 ,georgia4 ,instances like these cited above are numerous4 ,they all go to convince us of the great service rendered by the rural singing masters of yore in the preservation of a body of song1 in the collecting and publishing of which no one else seems to have been interested4 ,the country singing books on which ,i have drawn for most of the songs of this collection1 are in the main those which were at my disposal while ,i was preparing ,white ,spirituals in the ,southern ,uplands4 ,from the ,georgia-,carolina section were ,the ,southern ,harmony in its #ahce and #ahed editions2 ,the ,southern and ,western ,pocket ,harmonist 7#ahde72 ,the ,sacred ,harp which first appeared in #ahdd but whose oldest edition at my disposal has been that of #ahei2 its three descendants1 ,the ,union ,harp 7#aiji71 ,the ,sacred ,harp 7,cooper edition1 #aijb and four subsequent printings2 ,i consulted the fifth reprint71 and ,the ,original ,sacred ,harp 7#aiaa72g ,the ,hesperian ,harp 7#ahdh72 ,the ,social ,harp 7#ahee72 ,the ,christian ,harmony 7#ahff72 and ,the ,olive ,leaf 7#ahgh74 ,among the books originating in the eastern half of ,tennessee ,i searched ,the ,western ,harmony 7#ahbd72 ,the ,columbian ,harmony 7#ahbe72 ,the ,union ,harmony 7#ahcg72 ,the ,knoxville ,harmony 7#ahch72 ,the ,harp of ,columbia 7#ahdh72 and ,the ,western ,psalmodist 7#ahec74 ,from the ,valley of ,virginia ,i used ,the ,kentucky ,harmony 7#ahad72 the ,german ,choral-,music 7#ahaf72 ,the ,supplement to the ,kentucky ,harmony 7#ahbj72 ,the ,virginia ,harmony 7#ahca72 ,genuine ,church ,music 7#ahcb72 and ,the ,union ,harmony 7#ahdh74 ,from ,saint ,louis ,i had ,the ,missouri ,harmony 7#ahbj74 ,i found also some material in two publications which are still in use among the ,primitive ,baptists1 ,the ,primitive ,baptist ,hymn and ,tune ,book 7#aijb7 and ,good ,old ,songs 7#aiac74h ,two books1 invaluable compendiums of the very sort of songs ,i was seeking1 came to my hand too late for consideration in ,white ,spirituals4 ,they were ,the ,revivalist1 published in ,troy1 ,new ,york1 in #ahfh2 and ,jeremiah ,ingalls' ,christian ,harmony1 published in ,new ,hampshire in #ahje4 ,the latter contains scores of religious folk-songs--among them many spiritual songs--which duplicate1 though in variant forms1 the songs which are found in abundance in the southern country-song manuals4 ,the ,revivalist1 more than #fj years younger1 is a veritable treasure trove of the same sorts of song4 ,together the two books open new vistas as to the spread and active life period of the song movement under observation4 ,the ,new ,hampshire book1 made by a ,vermont compiler1 proves beyond doubt that the movement did not remain in the ,south--the section of its first prevalence presumably and of its present persistence--but spread early also into ,new ,england4 ,the ,new ,york book points definitely to the persistence of the tradition in the northeastern section far longer than we would1 without this evidence1 have been warranted in assuming4 ,i went song hunting also among the authored hymn-and-tune-books of the big denominations1 but ,i found little1 and that little was already familiar to me from its appearance in the country-singing books4#i ,further information as to the identity of the books mentioned above may be found in the ,bibliography at the end of this volume4 ,the abbreviations which will be used in the body of this song collection when referring to the source song books are explained in the ,list of ,abbreviations of ,titles4 ,features of ,american ,folk-,tunes ,even after recognizing the three types of religious folk-song as they are described above1 it was not always easy in particular instances1 to decide on acceptance into this collection or on rejection as non-folk material4 ,there are literally thousands of songs in the books searched4 ,in the ,original ,sacred ,harp alone there are #fji1 and the ,hesperian ,harp holds #fgg4 ,and while other books are slimmer and duplications from book to book are numerous1 it must still be quite evident that it was no easy task to identify just the songs ,i was after4 ,at times ,i had to apply a number of criteria4 ,often the folky nature of the text pointed to an equally folky tune4 ,there was another hint sometimes in the name given as that of the composer of the song4 ,when ,i met with the names ,moore1 ,walker1 ,chapin1 ,breedlove1 ,white1 ,carrell1 ,davisson1 ,hauser1 ,mc,curry and a number of others1 in the upper right corner of the song page1 then ,i was practically certain that the song on that page was usable4 ,for the men in question were1 in reality1 not composers4 ,they were recorders and arrangers of unwritten music4#aj ,when an example of the old unwritten music made its way into the authorized church hymnals--as happened to a restricted degree from fifty to seventy-five years ago--it was called a ,western ,melody or a ,southern ,melody4 ,such designations became another reliable token of folk source4 ,more important than any external indications in determining whether ,i was dealing in a particular instance with a folk-tune1 was the character of the tune itself4 ,the ability to recognize a folk-tune comes to the student of such music gradually1 somewhat as does the recognition of a strange language or dialect4 ,it came to me that way2 but after assembling my tunes ,i felt that their general folk character might to some degree be reduced to a set of definite traits4 ,i therefore reexamined not only my own melodies but also those far more numerous tunes in the secular collections of ,sharp and others1 for such characteristics as tonal trend1 rhythmic trend1 tonality 7modal character71 and musical form4 ,since there is no available definition of a folk-tune and since probably no succinct one can be made1 ,i am hoping that my deductions in the following paragraphs as to some earmarks of ,american folk-tunes may be helpful to others who are interested in our traditional melodism1 as they have been helpful to me4 ,tonal ,trend1 ,tune ,families ,the very beginning of a folk-tune has characteristic marks4 ,the first accented note is usually the tonic of its scale4 ,in almost all cases this first-accent note is preceded by an up-beat note which also is usually a tonic4 ,the upbeat note coming second in frequency is the lower #e of the scale1 with the higher #c even less often thus employed4 ,the interval1 if any1 between the up-beat and the first accented note is thus either an ascending fourth1 an ascending third 7in those cases where these first two notes are #a and #c7 or descending third4 ,and these intervals1 though small1 are often broken or bridged by an unaccented intervening note4 ,tunes beginning with an interval of a fifth 7ascending #a to #e or descending #e to #a7 are quite rare4 ,common folk-tune beginnings are thus3 ,as to melodic trend within the body of the tune1 ,i shall speak only briefly4 ,it is a broad subject1 too broad to be discussed adequately in this connection4 ,a survey of my tune-thematic card catalog reveals1 however1 a few characteristics of this melodic trend4 ,the first is that the tunes assume usually an initial upward trend4 ,another is that the steps or intervals employed are small1 predominantly seconds1 thirds1 fourths1 and fifths4 ,greater intervals are found however at the juncture of two phrases4 ,from these observations we may assume that the ,american folk-singer does not like big intervals4#aa ,this assumption1 based on recorded tunes1 is strengthened when one listens to folk singing and notices their anticipatory slides or scoops in approaching a tone that is only a little higher or lower than the one just sung1 a practice which may be interpreted as an anticipation of1 and an attempt to master1 that which is vocally difficult4 ,but while the individual jumps from note to note are not as a rule great1 the pitch compass of the entire tune is often surprisingly wide4 ,the melodies usually end in a descending cadence to the tonic4 ,along with the great variety in form which we meet among ,american folk-tunes1 there are certain melodic formulas which seem to be favorites and reappear with unimportant variations as the tonal vestment of many different songs1 so many indeed that they might well be looked on as wandering tunes 7reminding one of the familiar wandering stanzas in folk texts7 or1 since they are not identical from song to song1 tune families4 ,in the present collection ,i have come upon six tune families of different sizes and have named them in each instance after the song which seems to be the most representative member of the family4 ,they are the ',lord ,lovel' family1 cast in the ionian mode2 ',i ,will ,arise'1 aeolian and ionian2 ',hallelujah'1 mixolydian2 ',kedron'1 aeolian2 ',babe of ,bethlehem'1 dorian2 and ',roll ,jordan'1 ionian4 ,the tunes in this collection and elsewhere belonging to the ',lord ,lovel' family are listed under the song ',dulcimer'4 ,those belonging to the other families are listed under the songs for which the family is named4 ,metrical ,patterns ,in the matter of metrical patterns we find also a variety1 and favorites4 ,we have noted the almost universal use of the up-beat4 ,the up-beat initiates two different rhythmic trends1 one of which is the iambic1 the prevalent one in ,american folk-tunes3 #b_/d 99 99'4 ,this two-part type of accent unit 7of notes or syllables1 whichever way we approach the matter71 while occurring in series of four and three1 as we have seen1 may be found occasionally also in twos1 fives1 and sixes4 ,indeed the folk-tunes not infrequently show a refreshing independence of the demands of perfect quadraticality4 ,the other rhythmic trend initiated by the up-beat is the less often used one made up of three-part units1 which appear either in three-four time1 99 99' 99 or slow six-eight time1 #f_/h 99 99' 994 ,with more notes 7syllables7 in this single amphibrachic unit1 the series of such units grows naturally in syllabic length4 ,it often outgrows thus its function as a mere melodic phrase and tends to assume that of the melodic sentence4 ,a fine example of this is in ,sharp's recording of the ',cherry-,tree ,carol'4 ,but while the vast majority of folk-tunes follow one or the other of the above described patterns1 we must remember that metrical precision or mechanical adherence to any formula is the least of the folk's concerns4 ,indeed1 we should be justified in assuming such exactness1 as seen in text lines of carefully measured lengths and in perfection of rhyme1 to be sure signs of individual creative participation2 whereas greater freedom and variability in tune and text aspects are obviously characteristic of the folk's vocalism4 ,scales1 ,modes ,the folk-tunes of ,america are not1 in the main1 built up on scales of the diatonic major and minor systems which1 as is well known1 have assumed their present form under the demands of harmony2 but on a modal system which grew out of melodic exigences long before harmony made its conquest of the music of western civilisation4 ,nor do the folk-tunes of this country make use of all the tones of even these modal scales4 ,they often employ but five or six of the seven available tones1 leaving characteristic gaps in such scales4 ,american folk-tune collectors have had their troubles in the interpretation of modal melodies4 ,i have had mine4 ,even such a life-long student of these things as ,cecil ,sharp met many a knotty problem in classifying his ,appalachian tunes4 ,in view of this difficulty ,i called on ,hilton ,rufty1 a thorough musician and a reliable authority in the folk-music field1 to lend a hand in the modal classification of these tunes4 ,he generously acceded to my request2 and by the time my requests had ceased and before his generosity had been exhausted he had checked or corrected all my modal classifications of the tunes in this collection4 ,in making clear ,mr4 ,rufty's effective and practical method of identifying the character of tunes ,i shall reproduce his ,classification ,chart and quote here his explanation of it4 ,rufty's ,classification2 ,chart of ,tunes ,in identifying the modal character of the gapped tunes ,i have deemed it advisable to proceed by an entirely arbitrary method1 free from any sort of theoretical connotation4 ,should a missing tone be presupposed to make either a major or minor1 perfect or imperfect1 interval with the tonic1 there arise at once ambiguities of modality4 ,for purposes of harmonic treatment it is quite necessary to decide upon which particular mode a gapped tune suggests1 but in studying the purely melodic aspects it is reasonable to accept the tune as an entity1 considering it in its actual tonal structure and not with regard to its possible modal permutations4 ,to accomplish this purpose ,i have evolved a chart1 based on methods used by ,cecil ,j4 ,sharp in his ,english ,folksongs from the ,southern ,appalachians1 which for the great majority of the tunes in this collection is an adequate system of classification4 ,the arrangement of the chart is very simple3 there are five columns1 each beginning with one of the five pentatonic scales4 ,immediately below each pentatonic scale are four hexatonic scales which are formed by the addition of the missing tones1 singly and in their variable positions4 ,the system permits these variables to be read in terms of natural and flatted tones4 ,lastly in each column are three regular heptatonic modes which are the outgrowth of supplying both missing tones simultaneously and in variable combination4 ,the gaps in the pentatonic and hexatonic scales are indicated by slurs and the numerical positions from the tonic of the missing tones4 ,the supplied missing tones are indicated by black notes1 and in fitting any given tune to any scale on the chart ,i have endeavored where possible to let these black notes indicate the weak tones4 ,since it was possible1 so far as the actual tonal structure of the tunes was concerned1 to have a choice in the placing of them1 the device of indicating weak tones was a happy solution to a more careful classification4 ,above each tune in this book ,i have indicated the modal and1 following this and in parentheses1 the tonal pattern of the tune with the heptatonic scale as a norm1 that is1 treating gapped tunes arbitrarily as broken-down heptatonic tunes4 ,a ,roman numeral indicates a major or perfect interval with the tonic2 an ,arabic numeral a minor interval4 ,in event of augmented or diminished fourths or fifths ,i have used conventional signs4 ,a gap is indicated by a dash4 ,as a practical example of classification let us take at random1 say1 ',weeping ,savior'1 a song of the present collection4 ,counting the tones of the melody we find six with the sixth degree missing4 ,we observe that the tune has a major second1 minor third1 perfect fourth and fifth1 no sixth1 and a minor seventh4 ,by transposition we see that from a standpoint of the tonal pattern alone the tune can be listed either as ,hexatonic1 ,mode #b1 ,a or ,mode #d1 b4 ,but the examination of structural detail shows clearly that #c being a strong tone and #b being decidedly weak gives preference to the first classification under ,mode #b4 ,while pentachordal and hexachordal tunes 7which do not conform to this system of classification7 may be perfect entities1 ,i have1 nevertheless1 for purposes of uniformity classified them on a heptatonic basis1 that is1 as heptatonic tunes with the sixth and seventh1 or seventh alone1 missing respectively4 ,similarly1 while it is somewhat tautological to say1 for instance1 a tune is heptatonic ionian1 ,i have prefixed the term heptatonic to facilitate identification and to balance the constantly recurrent pentatonic and hexatonic4 ,an examination of these spiritual folk-tunes reveals a great predominance of gapped scales4 ,only #bc per cent of them use the full seven-tone series2 #dd per cent are hexatonic2 #bc per cent are pentatonic2 and seven tunes use only from #a to #e of their scale4 ,the incidence of the different modes has been impossible to ascertain4 ,we are sure of a mode1 as ,mr4 ,rufty has noted1 only when the scale tones are all represented in the melody4 ,proceeding however in questionable instances according to the more or less clear modal implication1 ,i have found that about #eb per cent of these tunes may be interpreted as ionian 7major71 about #cj per cent as aeolian1 #g4e per cent each as dorian#ab and mixolydian1 and three tunes as phrygian4 ,i leave the interpretation of the significance of these figures to others4 ,i venture to suggest however that they will be found to indicate a survival of gapped and modal tunes that is unique in the folk-music of today among peoples of ,european stock4#ac ,a modally constructed tune is1 as ,i have indicated1 almost sure to be a folk-tune4 ,and if a melody shows the characteristic gaps1 its folk nature is quite assured4 ,indeed1 the complete filling-in of the gaps1 creating two half steps1 is a sign1 though not always a sure one1 of art influence4#ad ,the above paragraphs show in a general way a few of the more important and evident features by which ,american folk-tunes may be recognised4#ae ,their presence or absence in specific cases has helped me to decide as to the fitness of a tune for acceptance into this collection4 ,tunes of ,religious and ,worldly ,folk-,songs ,compared ,i have indicated above 7page #f7 that many of the present tunes were borrowed outright from secular folk-songs4 ,the tune-to-tune relationships were discovered to some degree1 as ,i have indicated1 by accident4 ,a spiritual tune would remind me of a secular one4 ,i would look it up in ,sharp or elsewhere1 verify the relationship1 and note it under the proper song in this collection4 ,such accidents1 however1 account for but comparatively few of my related-tune discoveries4 ,in most instances they came to light as the result of a methodical comparison made possible by my having catalogued my spiritual folk-tunes and a large number of secular folk-melodies4 ,i shall not go into a detailed explanation of this cataloguing method here1 chiefly because it is one which1 though it answered my own purposes well1 would probably be found inadequate as a tool for students of comparative melody in general4 ,i shall say merely that the catalog was a card index of tune beginnings1 all transposed to a key which had two flats as its signature4 ,the arrangement was based on the scale position or relative pitch of the first few tones4 ,at the beginning of the catalog were those tunes which began on b-flat1 then came those beginning on c and so on4 ,the arrangement among those tunes beginning on any one tone1 followed the same pitch sequence1 from lowest to highest1 taking into consideration the second1 third1 and more notes of the tune beginnings where necessary4 ,that is1 my lexicographical arrangement was like that of the dictionary1 but with notes on a regular staff taking the place of letters1 and with the scale steps taking the place of alphabetical sequence4 ,the actual working out of this scheme may be observed in the arrangement of tunes in this collection4 ,in each of the three parts the tunes appear in their catalog sequence4#af ,through a consistent comparison of the tunes in this catalog with those in secular tune files made on the same plan1 ,i have been able to discover the organic relationship of upwards of #aej melodies in this collection to an even greater number of traditional folk-tunes associated with secular texts4 ,this greater number is explained by the fact that one and the same tune in this collection was often found related to a number of worldly songs4 ,to one tune ',pilgrim'1 for example1 ,i discovered #ag secular related melodies4 ,the relationship runs in degree all the way from one which is barely recognizable to one which consists in an almost note-for-note identity4 ,the catalogs were also of distinct value in bringing to light scores of interrelated tunes within the collection1 and thus in bringing to light the tune families mentioned on page #ad above4 ,the search for kindred secular tunes was most fruitful in the case of the ballads and somewhat less so for the hymns4 ,among the spiritual songs the search yielded surprizingly meager results4 ,the reason lay probably in the nature of the spiritual-song tunes themselves4 ,these tunes--whatever their source--were often altered through the arbitrary intrusion of refrains and choruses4 ,among these tunes1 therefore1 my finding of secular analogies was limited usually to melodic parts instead of whole tunes4 ,to be sure1 the tune relationships1 religious to secular1 which ,i have pointed out1 touch little more than half the songs under scrutiny4 ,but when it is taken into consideration that the related secular tunes were all found in a body of ,british ,isles-,american melodies not much greater than that of the spiritual tunes themselves1 then it would not seem unreasonable to assume that a complete catalog of ,american worldly folk-tunes would reveal cognates to many more1 possibly to all of the tunes presented here4 ,the kinships already discovered1 however1 warrant the assumption that these spiritual tunes are part and parcel of the ancestral folk-melodism of the ,english-speaking peoples4 ,the worldly-religious tune comparison has also shed more light on the motives which led the revival folk to borrow from the store of secular melody and on the manner of that borrowing4 ,we have indicated above our belief that one motive was the crying need for rousing and familiar tunes4 ,another reason seems to have been the mere fact that the borrowed tunes were worldly4 ,worldliness was of itself an asset4 ,fighting the devil with his own weapons had its distinct advantages in revival technics4 ,but just how and why a particular secular tune came into the religious atmosphere is not always evident4 ,in some instances1 however1 the examination of the secular original song makes this clear4 ,when the revivalist heard the ,scottish-,american sing ,will you go1 ,lassie1 go ,to the braes o' ,balquhidder8 he evidently saw at once the possibilities of turning the text to his own evangelistic purposes1 and wasted little time in making it over into ',sinner's ,invitation3' ,sinners go1 will you go ,to the highlands of heaven8 which he sang to the same tune4 ,the ballad tune to ,o',reilly on the rolling sea ,bound for ,amerikee went over easily into the song which told of the ,christian voyager who was ',bound for ,canaan4' ,the old ballad ',geordie' begins ,as ,i walked over ,london bridge4 ,the revival singers took this hint1 with its tune phrase1 and produced1 in ',victoria'3 ,i have but one more river to cross4 ,in the traditional ballad ',in ,seaport ,town' there is a recurring phrase3 ,till at last they came to that lonesome valley4 ,this valley suggested to the religious mind the emotional depression of the almost converted mourner as well as the valley of death2 and thus came into existence the beautiful spiritual ',lonesome ,valley'3 ,you got to go that lonesome valley1 ,you got to go there by yourself whose tune is closely related to that of the secular song4 ,the ',poor ,stranger' of the ,english secular ballad who appeared also as poor strange girl1 a roving soldier1 and a rebel soldier1 all of whom are far from my home1 exerted both melodic and textual influence on the ',heaven-,born ,soldier' who urges his comrades to ,come along and shout along ,and pray by the way4 ,the melody which ,johann ,sebastian ,bach1 the great adapter of folk-tunes1 made a peasant sing in his ,cantata ',mer hahn en neue ,oberkeet' spread to ,england and became there the setting of a number of popular texts in the first half of the eighteenth century4 ,one of these songs1 dating from #aggb1 was ',farewell1 ,ye ,green ,fields and ,sweet ,groves' which gave birth1 probably also in ,england1 to the religious song ',green ,fields'1 found in every old southern fasola book4 ,its opening lines are ,how tedious and tasteless the hours ,when ,jesus no longer ,i see4 ,sweet prospects1 sweet birds and sweet flowers ,have all lost their sweetness to me4 ,with ',saw ,ye my ,true ,love' as a model1 the task of making the religious text ',saw ,ye ,my ,savior1' sung to the same tune1 was a grateful one4 ,the happy inebriate who is his own hero in ',way ,up ,on ,clinch ,mountain' is reformed and regretful in ',john ,adkins' ,farewell' where he gives warning to other alcoholics in the same melodic strain4 ,from the above examples it would seem that the secular text contained often some hint which led the religious adapter in making his new poetic lines2 and that the secular tune usually followed as a matter of course4 ,the comparison of tunes shed no actually new light on the age of the tunes4 ,but it made clear the fact that the folk's stock of melodies is assembled from divers times4 ,the tunes of two songs in this collection1 ',new ,orleans'1 and ',hark my ,soul'1 have tonal trends strikingly similar to that of melodies found in the eleventh and early thirteenth centuries respectively4 ,from the early seventeenth century we find ',mourner's ,lamentation' which was in those earlier times ',wae is ,me for ,prince ,charley'1 a ,jacobite song about ,charles ,,ii of ,england4 ',beggar' is a remake of ',a-,begging ,we ,will ,go' which has been traced back to #afaa4 ',captain ,kidd' or ',kidd'1 as it is disguised in the fasola books1 dates from the first part of the eighteenth century4 ,it is significant that most of the tunes mentioned in the above paragraphs are comparatively modern in their musical aspects4 ,this fact leads to the suspicion that the really old-sounding tunes1 those in the antique modes--dorian1 phrygian1 and the like1 especially in their gapped forms--originated in still earlier times4 ,here is an inviting field for the student of comparative folk-melodism4 ,conclusion ,i have been impressed1 as ,i have come to know these tunes better1 with their variety and beauty4 ,they are believed1 by the country folk who still sing them1 to be the most beautiful music on earth4 ,when ,i first heard this sweeping judgment ,i put it down as emanating from an understandable though extravagant zeal1 one which was all the greater perhaps since the singers1 mostly oldsters1 felt they were fighting for the very life of a dying cause4 ,but ,i now see ,i was mistaken4 ,the songs are living vigorously without being fought for4 ,the country folk clearly realized--however they may have expressed the realisation--that the good old songs were ingrained in their racial souls and that for this reason it was the most completely soul-satisfying of all music from whatever source4 ,if this was and still is the firm belief of those uncounted thousands who know and sing the country songs1 those who are still carrying on the tradition for the sheer love of it and the joy they get out of it2 then is there not an inspiration for us8 ,is that picture not an incentive to look into1 to learn to know this tonal tradition1 the chief one in our ethnic background8 ,this quest might well lead to an examination of our other acquired1 not inherited1 musical concepts and judgments1 in search for reasons why1 in acquiring them1 we have ignored the simpler art of the past4 ,and from this approach we might open the question as to whether these reasons are valid1--wise or unwise4 ,american folk-music1 basing squarely on that of the ,british ,isles1 is purer1 ,i assert1 and more completely representative of the peoples among whom it has developed1 and less representative of individual creative activity than is the folk-music of other ,western peoples4 ,as evidence of this ,i present this collection1 commending it to the serious consideration of those interested in fundamental phases of ,american culture4 ,this collection challenges1 ,i feel1 the attention also of those interested in the songs of the churches4 ,urban congregational singing depends on hymnals4 ,hymnals are made by successions of revision committees4 ,these committees have been either hostile to1 or incognisant of1 ,american folk-hymns4 ,the perusal of almost any protestant hymn-and-tune book will prove this4 ,thus we have the strange anomaly3 groups whose prime purpose is to induce more general singing by the masses1 refusing recognition1 in their books of songs1 to the melodism of those masses and putting in its place the tonal products of individuals4 ,there are of late some exceptions to this attitude4 ,in the ,christian ,science ,hymnal1 where one finds numerous folk-tunes from many other lands1 there are two variants of melodies to be found in the present collection1 that is1 of ',pilgrim' and ',marion'4 ,the editors found these tunes1 however1 not in ,america but in the ,british ,isles4 ,the ,methodists who were1 as we have seen1 originally largely responsible for the appearance of folk-tunes in the ,american religious environment1 have for the past fifty years progressively eliminated them from their authorized hymnals4 ,but their latest revised edition of #aice indicates that this tendency has been checked4 ,i find in that volume seven tunes which are identical with melodies in the present collection1 namely1 with ',green ,fields'1 ',new ,britain'1 ',beloved'1 ',nettleton'1 ',friends of ,freedom'1 ',plenary'1 and ',romish ,lady'4 ,there are also five other tunes in the ,hymnal called early ,american melodies which ,i have not been able to identify as folk-melodies4 ,in ,england the evangelical protestant hymnal makers seem now to be folk-minded4 ,the ,english ,methodists1 at least1 have welcomed into their latest ,hymn ,book no less than #dc traditional folk-tunes of the ,british ,isles4 ,they have even used two tunes--',rhode ,island' and ',pisgah'--the latter of which appears in the present collection1 and have called them ,american1 even though one of them1 ',pisgah'1 came hither from ,england1 as ,miss ,gilchrist has pointed out4 ,then there are the folklorists4 ,how will they greet this collection8 ,my stressing of tunes and saying little about texts will be regarded by some of the old-line folklorists--especially those who still conceive all such material as popular poetry--with disapproval4 ,others1 those who are sure that folk-song is dying out and therefore see the collector's duty simply as that of retrieving the last bits of it1 may greet the present collection as a new acquisition to the museums4 ,such a response would arouse in me no enthusiasm and little satisfaction2 for ,i demur completely from narrow interpretations of the status1 meaning1 import1 and destiny of folk-lore1 folk-songs1 these folk-songs4 ,i do not participate in the pessimism of the folk-song fatalists4 ,the lore of a folk comprehends1 as ,i understand it1 the whole of its basic cultural accomplishments4 ,understood in this broadest and deepest sense1 a folk-lore is truer1 more vital and more significant than an art-lore4 ,it is a clearer mirror of a people's past1 a more reliable interpreter of its present trends1 and a safer prophet of its culture to come4 ,it is all this because it is the body and soul of that culture1 where art is merely a vestment4 ,the art which fits best this body and soul1 this basic ethnic character1 is the best art4 ,the art of ancient ,greece was great for this reason4 ,all students of esthetics since ,lessing and ,winckelmann have recognized this4 ,they have recognized also that the great periods in the art of any enduring people are those when its gifted creators are in closest harmony with the genius of their race2 and that its barren periods are those when the masters have been faithless to their own and have sought afar the good which lies so near4 ,acknowledgements ,i wish to express here my deep gratitude to ,mr4 ,hilton ,rufty for his generous help in verifying the musical aspects of this collection and in helping me solve many a knotty problem in interpreting the tunes which ,i have transcribed from the old singing-school books4 ,mr4 ,john ,powell has earned my sincere thanks for reading critically the entire manuscript1 calling my attention to a number of inaccuracies1 and to many secular melodies related to those in this volume4 ,the present collection would have been far less comprehensive without the use of a number of unique source books placed at my disposal by friends4 ,i wish therefore to acknowledge gratefully the co-operation of ,mr4 ,will ,h4 ,ruebush for providing me with ,the ,olive ,leaf and ,the ,social ,harp2 ,mrs4 ,annabel ,morris ,buchanan for ,the ,union ,harmony 7,hendrickson72 ,mr4 ,e4 ,s4 ,lorenz for ,the ,revivalist and ,songs of ,grace2 ,mr4 ,john ,lair for the ,scots ,musical ,museum2 ,the ,lawson ,mc,ghee ,library 7,knoxville1 ,tennessee7 for ,the ,church ,harmony and ,the ,supplement to the ,kentucky ,harmony2 ,mr4 ,w4 ,e4 ,bird for ,the ,southern and ,western ,pocket ,harmonist2 and ,miss ,lucille ,wilkin for ,the ,western ,harmony4 ,the ,university of ,north ,carolina ,press has kindly allowed me to reproduce several songs from ,white ,spirituals in the ,southern ,uplands4 ,for this ,i wish to express my sincere thanks4 ,i wish also to thank those who have furnished me with songs from oral tradition4 ,among such helpful contributors are ,professor ,donald ,davidson1 ,mr4 ,don ,west1 ,mr4 ,samuel ,e4 ,asbury1 ,mr4 ,francis ,arthur ,robinson1 and ,miss ,will ,allen ,dromgoole4 ,my gratitude is hereby expressed also to ,dr4 ,carleton ,sprague ,smith1 ,chief of the ,music ,division of the ,new ,york ,public ,library1 and to ,dr4 ,oliver ,strunk1 ,chief of the ,music ,division of the ,library of ,congress for their helpfulness4 ,my daughter1 ,frances ,helen ,parker1 and my sisters1 ,carol ,jackson ,ransom and ,genevieve ,jackson ,beckwith1 have given me invaluable help in preparing this book for the printer and in correcting the proofs4 ,for this ,i am deeply and lastingly grateful to them4 ,george ,pullen ,jackson ,vanderbilt ,university ,nashville1 ,tennessee1 ,april #aj1 #aicg ,fifty-one ,religious ,ballads ,no4 #a ,,romish ,,lady1 ,,hh #beg ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,there was a ,romish lady1 ,brought up in popery1 ,her mother always taught her1 ,the priest she must obey4 ,o pardon me1 dear mother1 ,i humbly pray thee now1 ,but unto these false idols ,i can no longer bow4 ,assisted by her handmaid1 a bible she conceal'd1 ,and there she gain'd instruction1 till ,god his love reveal'd4 ,no more she prostrates herself to pictures deck'd with gold2 ,but soon she was betrayed and her bible from her stole4 ,i'll bow to my dear ,jesus1 ,i'll worship ,god unseen1 ,i'll live by faith forever1 the works of men are vain4 ,i cannot worship angels nor pictures made by men3 ,dear ,mother1 use your pleasure1 but pardon if you can4 ,with grief and great vexation her mother straight did go ,t' inform the ,roman clergy1 the cause of all her wo4 ,the priests were soon assembled1 and for the maid did call1 ,and forced her in the dungeon to fright her soul withal4 ,the more they strove to fright her1 the more she did endure2 ,although her age was tender1 her faith was strong and sure4 ,the chains of gold so costly1 they from this lady took1 ,and she1 with all her spirits1 the pride of life forsook4 ,before the pope they brought her1 in hopes of her return1 ,and there she was condem-ned in horrid flames to burn4 ,before the place of torment they brought her speedily2 ,with lifted hands to heaven she then agreed to die4 ,there being many ladies assembled at the place1 ,she raised her eyes to heaven and begged supplying grace3 ,weep not1 ye tender ladies1 shed not a tear for me1 ,while my poor body's burning1 my soul the ,lord shall see4 ,yourselves you need to pity1 and ,zion's deep decay2 ,dear ladies1 turn to ,jesus1 no longer make delay4 ,in comes her raving mother1 her daughter to behold1 ,and in her hand she brought her the pictures deck'd with gold4 ,o take from me these idols1 remove them from my sight2 ,restore to me my bible1 wherein ,i take delight6-- ,alas1 my aged mother1 why on my ruin bent8 ',twas you that did betray me1 but ,i am innocent4 ,tormentors1 use your pleasure1 and do as you think best2 ,i hope my blessed ,jesus will take my soul to rest4 ,soon as these words were spoken1 up steps the man of death1 ,and kindled up the fire to stop her mortal breath4 ,instead of golden bracelets1 with chains they bound her fast2 ,she cried1 ,my ,god give power1 now must ,i die at last8 ,with ,jesus and his angels forever ,i shall dwell2 ,god pardon priest and people1 and so ,i bid farewell4 ,the text--undoubtedly of ,inquisition times origin--indicates the age of the ballad4 ,it is to be found in the ,roxburghe ,ballads1 i41 #dc4 ,it is mentioned in ,beaumont and ,fletcher's ,knight of the ,burning ,pestle 7#afac74 ,a parody on the opening words3 ,there was a moanish lady ,lived in a moanish land2 ,she had a moanish daughter ,could moan at the ,lord's command etc4 is in ,sandburg's ,american ,songbag1 p4 #aa4 ,another echo of this ballad text is3 ,the ,romish ,lady1 she had babes1 in ',the ,wife of ,usher's ,well'1 ,sharp1 i41 #aei4 ,i recorded the tune in ,dayton1 ,virginia2 see ,white ,spirituals1 #bjb4 ,the ,methodist ,hymnal 7#aice1 ,no4 #dcf7 has a variant of the tune which it calls a traditional ,english carol4 ,no4 #b ,,beggar or ,,to ,,begging ,i ,,will ,,go1 ,,soc #bab4 ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,i'd rather live a beggar while here on earth ,i stay1 ,than to possess the riches of all ,america2 ,and to begging ,i will go4 ,and to begging ,i will go1 will go1 will go1 ,and to begging ,i will go4 ,with thoughts of keen emotion our hearts are running o'er1 ,while parting from the friends we love for ,china's distant shore1 ,we're off for ,china's shore4 ,we're off for ,china's shore1 ,china's shore1 ,we're off for ,china's shore4 ,we need your prayers1 your sympathies more now than e'er before1 ,for few the friends and hard the task on ,china's distant shore2 ,we're off for ,china's shore4 ,we're off etc4 ,we'll heed our ,master's call2 ,he is with us ever more2 ,then farewell1 dear friends1 adieu1 we're off for ,china's shore2 ,we're off for ,china's shore4 ,we're off etc4 ,a close tune variant is ',lost ,city'1 or ',to ,glory ,i ,will ,go' in this collection4 ,tune and words are a parody of ',a-,begging ,we ,will ,go' which was widely popular in the latter part of the seventeenth century and traces of whose existence are found as early as #afaa4 ,see ,chappell's ,old ,english ,popular ,music1 ii41 #db-dc4 ,the first stanza of the song as it appeared in ,choyce ,ayres etc41 #afgf1 runs3 ,there was a jovial beggar1 ,he had a wooden leg1 ,lame from his cradle and forced for to beg4 ,and a begging we will go1 we'll go1 we'll go1 ,and a begging we will go4 ,other songs for which the early song became the prototype were ',a ,bowling ,we ,will ,go'1 ',a ,fishing ,we ,will ,go'1 ',a ,hawking ,we ,will ,go' and ',a ,hunting ,we ,will ,go4' ,no4 #c ,,reverend ,,james ,,axley',s ,,song1 ,,ol #cfi ,hexatonic1 mode #d ,a 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,tho' sinners would vex me1 tho' troubles perplex me1 ,against inclination1 ,o what shall ,i do8 ,no longer a rover1 my follies are over4 ,but one thing is needful1 and that ,i'll pursue4 ,vain pleasure is deceitful1 and sin is all hateful1 ,but genuine pleasure in ,jesus ,i find3 ,this world is a bubble1 a life full of trouble2 ,my thoughts now fly upward1 and leave all behind4 ,i hear the bells tolling2 and wheels are now rolling2 ,some gallant1 gay1 fair one goes to her long home3 ,if dead out of ,jesus--the ,lord will not save us1 ,and to him in glory we never can come4 ,oh6 pray for conversion2 shun foolish diversion2 ,adopt self-denial1 and take up your cross3 ,these do for a season1 and use your own reason1 ,and you will see clearly you suffer no loss4 ,your time is a treasure 7there's none in vain pleasure71 ,then look up to ,jesus with faith's steadfast eye3 ,oh1 haste to believe in the crucified ,savior1 ,for time flies apace1 and eternity's nigh6 ,my soul starts with wonder1 to think how ,god's thunder1 ,will shake all creation at ,gabriel's call6 ,when time is no longer1 the aged and younger1 ,before the great ,judge1 in their trouble1 will fall4 ,the ,judgment decided1 friends now are divided2 ,and all the ungodly are turned into hell3 ,but glory to ,jesus6 believing1 ,he'll save us1 ,with angels in glory his praises to swell4 ,the ,olive ,leaf arranger spoiled the tune's apparent mixolydian purity by changing the d's to d-sharps4 ,as to title and source the editor says3 ,reverend ,james ,axley was one of the pioneer preachers of the ,holston ,conference1 and a very holy1 laborious1 and successful minister4 ,i learned this tune and song of ,reverend ,russell ,reneau1 who died in ,arkansas during our late unhappy ,civil ,war4 ,crude as the song is1 ,i choose to preserve it in memory of ,mr4 ,axley and ,mr4 ,reneau4 ,the tune is a variant of ',christian ,warfare'1 ,,gos #fjc4 ,further information as to the ,reverend ,james ,axley1 whose period of activity in the methodist conferences of ,tennessee1 ,kentucky and other states was during the first decades of the nineteenth century1 may be found in ,peter ,cartwright's ,autobiography1 p4 #fb and elsewhere4 ,no4 #d ,,hicks' ,,farewell1 ,,soh #ai ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,the time is swiftly rolling on ,when ,i must faint and die2 ,my body to the dust return ,and there forgotten lie4 ,william ,walker claims the tune4 ,see ',farewell' in this collection for different melodies associated with this text4 ,cecil ,sharp recorded five versions of the song as he heard them in the ,appalachian ,mountains in #aiaf and #aiah4 ,see ,sharp1 ii41 #adb-adc4 ,the text 7given more fully under ',farewell'7 was written by the ,reverend ,b4 ,hicks of ,south ,carolina4 ,see ,white ,spirituals1 #bjb;ff4 ,no4 #e ,,free ,,salvation1 ,wesleyan ,psalmist ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,man at his first creation in ,eden ,god did place1 ,the public head and father of all the human race2 ,but by the subtle serpent beguil'd he was and fell1 ,and by his disobedience was doom'd to death and hell4 ,while in this situation a promise there was made1 ,the offspring of the woman should bruise the serpent's head1 ,against the power of ,satan that man might only feel ,the malice of the serpent enraging at his heel4 ,now at the time appointed ,jesus unveiled his face1 ,assumed our human nature and suffered in our place2 ,he suffered on ,mount ,calvary and ransomed all for me1 ,the law demands attention1 to pay the penalty4 ,they laid him in a sepulchre1 it being near at hand1 ,the grave could not now hold him1 nor death's cold iron hand2 ,he burst them all asunder and pulled their kingdoms down1 ,he's overcome his enemies and wears a starry crown4 ,miss ,gilchrist finds this reminiscent of the old ,cornish ',when ,god at first had ,adam made'1 and of the style of the ,manx-,gaelic carvals4 ,see ,,jfss1 viii41 #hc4 ,no4 #f ,,sailor',s ,,home1 ,,soh #ahb ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,when for eternal worlds we steer1 ,and seas are calm and skies are clear2 ,and faith in lively exercise1 ,and distant hills of ,canaan rise2 ,the soul for joy then claps her wings1 ,and loud her lovely sonnet sings1 ,i'm going home1 ,i'm going home2 ,and loud her lovely sonnet sings1 ,i'm going home4 ,with cheerful hope his eyes explore ,each landmark on the distant shore2 ,the trees of life1 the pasture green1 ,the crystal stream1 delightful scene4 ,again for joy she plumes her wings1 ,and loud her lovely sonnet sings3 ,i'm almost home1 ,i'm almost home6 ,and loud her lovely sonnet sings3 ,i'm almost home4 ,the nearer still she draws to land1 ,more eager all her pow'rs expand2 ,with steady helm and free bent sail1 ,her anchor drops within the vale4 ,and now for joy she folds her wings ,and her celestial sonnet sings3 ,i'm home at last1 ,i'm home at last6 ,and her celestial sonnet sings3 ,i'm home at last6 ,she meets with those who're gone before1 ,on heaven's high and genial shore ,around the dear ,redeemer's feet1 -- -- -- -- -- -- -- ,and loud they shout3 ,our ,god and ,king6 ,and ceaseless hallelujahs sing1 ,we're safe at last6 ,we're safe at last6 ,and ceaseless hallelujahs sing1 ,we're safe at last6 ,the song is attributed in the ,southern ,harmony to ,wm4 ,m4 ,caudill and ,wm4 ,walker4 ,the tune bears some resemblance to ',liverpool' in this collection4 ,the song is found also in ,,rev #cif1 entitled ',sonnet'4 ,no4 #g ,,liverpool or ,,solemn ,,address ,,to ,,young ,,people1 ,,osh #cg ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,young people all attention give1 ,and hear what ,i shall say2 ,i wish your souls with ,christ to live ,in everlasting day4 ,remember you are hastening on ,to death's dark gloomy shade2 ,your joys on earth will soon be gone1 ,your flesh in dust be laid4 ,death's iron gate you must pass through1 ,ere long1 my dear young friends2 ,with whom then do you think to go1 ,with saints or fiery fiends8 ,pray meditate before too late1 ,while in a gospel land2 ,behold6 ,king ,jesus at the gate ,most lovingly doth stand4 ,young men1 how can you turn face ,from such a glorious friend2 ,will you pursue your dang'rous ways8 ,o don't you fear the end8 ,will you pursue that dang'rous road ,which leads to death and hell8 ,will you refuse all peace with ,god1 ,with devils for to dwell8 ,young women too1 what will you do1 ,if out of ,christ you die8 ,from all ,god's people you must go1 ,to weep1 lament and cry4 ,where you the least relief can't find1 ,to mitigate your pain2 ,your good things all be left behind1 ,your souls in death remain4 ,young people all1 ,i pray then view ,the fountain open'd wide2 ,the spring of life open'd for sin1 ,which flow'd from ,jesus' side4 ,there you may drink in endless joy1 ,and reign with ,christ1 your king1 ,in his glad notes your souls employ1 ,and hallelujahs sing4 ,the earliest appearance of the text is in ,mercer's ,cluster1 a collection of rurally used hymns 7not tunes7 by ,jesse ,mercer1 benefactor of ,mercer ,university1 who lived in ,powellton1 ,georgia1 in the #ahbj's4 ,the editor of the ,sacred ,harp attributes the tune to ,m4 ,c4 ,h4 ,davis1 a southern rural4 ,the song is found also ,,uh #bg1 ,,hh #hc1 ,,hoc #aac1 ,,wp #cf1 ,,soc #gf1 ,,soh ,i and ,,chh #eh4 ,the tune is a member of the ',lord ,lovel' family mentioned in the introduction1 p4 #ad1 and is closely related to ',mermaid'1 ,sharp1 i41 #bia1 and to ',the ,broom of ,cowdenknows'1 ,,smm ,no4 #c1 and its seventeenth-century country-dance form ',the ,bonny ,bonny ,broome'1 ,playford's ,the ,english ,dancing ,master1 p4 #gd4 ,for a list of other members of the ',lord ,lovel' tune family see ',dulcimer' in this collection4 ,no4 #h ,,little ,,family1 ,,ws #aie ff4 ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,there was a little fam'ly ,that liv'd in ,bethany1 ,two sisters and a brother ,compos'd that family4 ,with shouting and with singing ,like angels in the sky1 ,at morning and at evening ,they rais'd their voices high4 ,see ,white ,spirituals for the full text of seven stanzas about the raising of ,lazarus4 ,for references see ,,jafl1 xxv41 #ag1 and xxix41 #ahb4 ,almost the same tune is ',johnny ,german'1 ,sharp1 ii41 #bef4 ',joe ,bowers'1 ,cox1 #ebg1 is also similar4 ,another spiritual ballad using this tune in variant form is ',wedlock 7,a7'1 in this collection4 ,no4 #i ,,miss ,,hataway',s ,,experience1 ,,hh #dba ,heptatonic ionian1 ,mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,young women all1 ,i pray draw near1 ,listen a while and you shall hear ,how sin and ,satan both did try ,to land my soul in misery4 ,the full text is reproduced in ,white ,spirituals1 #ahf;f4 ,the tune is closely related to ',mc,afee's ,confession'1 ,sharp1 ii41 #ae and #af4 ,john ,powell notes in connection with this song3 ,i have collected this tune often as ',young ,people ,who ,delight in ,sin' and it is always mixolydian4 ,he then makes the suggestion3 ,why not take out the g-sharp from the signature8 ,in that case the modal indication would be heptatonic mixolydian1 mode #c a b 7,i ,,ii ,,iii ,,iv ,v ,,vi #g74 ,no4 #aj ,,dying ,,californian1 ,,osh #daj ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,lay up nearer1 brother1 nearer1 ,for my limbs are growing cold1 ,and thy presence seemeth nearer1 ,when thine arms around me fold4 ,i am dying1 brother1 dying2 ,soon you'll miss me in your berth1 ,for my form will soon be lying ',neath the ocean's briney deep4 ,i am going1 surely going1 ,but my hope in ,god is strong2 ,i am willing1 brother1 knowing ,that he doth nothing wrong4 ,tell my father1 when you greet him1 ,that in death ,i prayed for him1 ,prayed that ,i might only meet him ,in a world that's free from sin4 ,tell my mother1--,god assist her1 ,now that she is growing old1-- ,that her child would glad have kissed her ,when his lips grew pale and cold4 ,listen1 brother1 catch each whisper1 ',tis my wife ,i'll speak of now2 ,tell1 ,o tell her how ,i missed her1 ,when the fever burned my brow4 ,tell her she must kiss my children1 ,like the kiss ,i last impressed2 ,hold them as when last ,i held them1 ,folded closely to my breast4 ,give them early to their maker1 ,putting all her trust in ,god2 ,and he never will forsake her1 ,for he's said so in his word4 ,oh6 my children1 ,heaven bless them1 ,they were all my life to me2 ,would ,i could once more caress them ,before ,i sink beneath the sea4 ',twas for them ,i crossed the ocean1 ,what my hopes were ,i'd not tell1 ,but they gained an orphan's portion1-- ,yet he doth all things well4 ,listen1 brother1 closely listen1 ,don't forget a single word1 ,that in death my eyes did glisten ,with the tears her memory stored4 ,tell them ,i never reached the haven1 ,where ,i sought the precious dust1 ,but ,i've gained a port called heaven ,where the gold will never rust4 ,tell my sisters ,i remember ,every kind and parting word1 ,and my heart has been kept tender ,by the thoughts its memory stirred4 ,urge them to secure an entrance1 ,for they'll find a brother there4 ,faith in ,jesus and repentance ,will secure for them a share4 ,hark6 ,i hear my ,savior speaking2 ',tis--,i know his voice so well1 ,when ,i'm gone1 ,o don't be weeping1 ,brother1 hear my last farewell4 ,the song seems to have been inspired by the fate of one of the forty-niners4 ,it made its first appearance in fasola circles in the #ahei edition of the ,sacred ,harp where it is attributed to ,ball and ,drinkard4 ,for references as to its origin see ,hudson1 ,folksongs of ,mississippi1 #bba4 ,no4 #aa ,,john ,,adkins' ,,farewell1 ,,soc #bjj ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,poor drunkards1 poor drunkards1 take warning by me1 ,the fruits of transgression behold now ,i see2 ,my soul is tormented1 my body confin'd2 ,my friends and my children left weeping behind4 ,much intoxication my ruin has been1 ,and my dear companion ,i've barbarously slain2 ,in yonder cold graveyard her body doth lie1 ,and ,i am confined and must shortly die4 ,a solemn death warning to drunkards ,i leave1 ,while my poor body lies cold in the dark grave2 ,remember ,john ,adkins1 his death and reform1 ,lest justice o'ertakes you and sorrow comes on4 ,a whole life of sorrow can never atone1 ,for that cruel murder that my hands have done2 ,i am justly condemned1 it's right that ,i should die1 ,therefore1 let all drunkards take warning hereby4 ,farewell1 my dear children1 wherever you be2 ,though quite young and tender and dear unto me2 ,i leave you exposed in nature's wide field1 ,in which ,god is able poor orphans to shield4 ,no mother to teach you1 no mother to guide ,your tender affections from sin's awful tide2 ,no portion to shun you from hunger or cold1 ,my poor little orphans are cast on the world4 ,when sorrows oppress you and sickness comes on1 ,you'll cry for your mother1 but1 oh1 she is gone2 ,your father1 in anger1 struck her on the head1 ,she bled1 groan'd1 and languish'd1 and now she is dead4 ,my heart swells with sorrow1 my eyes overflow1 ,soon1 oh my dear children1 ,i'll bid you adieu2 ,oh may my kind neighbors your guardians prove1 ,and heaven1 kind heaven1 protect you above4 ,my soul to ,his pleasure ,i humbly submit1 ,and with my last burthen fall down at ,his feet2 ,to plead for ,his mercy that flows from above1 ,that pardons poor drunkards1 and crowns them above4 ,john ,g4 ,mc,curry1 compiler of the ,social ,harp1 claims this song and dates it #ahea4 ,the tune is identical with that of ',when ,boys ,go ,a-,courting'1 ,sharp1 ii41 #bjf4 ,the drunkard theme may have been the textual source of ',way ,up ,on ,clinch ,mountain'1 where1 to the same tune1 the singer glories in his excesses including that of whiskey drinking4 ,see ,sandburg1 #cjg4 ,miss ,scarbrough has a negro adoption of the same tune in ',noble ,skewball'2 see ,on the ,trail of the ,negro ,folk-,song1 #fc4 ,an ,english folk-song ',sweet ,england' has a variant tune4 ,see ,english ,folk-,songs for ,schools1 #df4 ,for an ,irish variant see ,petrie1 ,no4 #aagb4 ,a ,scotch variant is ',my ,ain ,fireside'1 ,lyric ,gems of ,scotland1 #ahf1 which in turn borrowed its tune from ',todlen ,hame'4 ,no4 #ab ,,redemption 7,c71 ,,khn #ahe ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,come all ye young people of every relation1 ,come listen a while and to you ,i will tell1 ,how ,i was first called to seek for salvation1 ,redemption through ,jesus which sav'd me from hell4 ,i scarcely was sixteen when ,i was first called ,to think of my soul and the state it was in2 ,i saw myself standing a distance from ,jesus2 ,between him and me was a mountain of sin4 ,the devil perceived that ,i was convicted1 ,and strove to persuade me that ,i was too young1 ,that ,i would get wearied before my days ended1 ,and wish that ,i had not so early begun2 ,sometimes he persuaded me that ,jesus was partial1 ,when he was a-setting of poor sinners free1 ,that ,i was forgotten and was reprobated1 ,and there was no mercy at all for poor me4 ,but glory to ,jesus1 his love's not confined1 ,to princes or men of a nobler degree2 ,his love it is boundless to all human creatures1 ,he died for poor sinners when nail'd to the tree4 ,for while ,i lay groaning in sad lamentation1 ,my soul overwhelmed in sorrow and grief1 ,he drew near in mercy1 looked on me in pity1 ,he pardon'd my sins and he gave me relief4 ,the tune is practically the same as ',grenadier and the ,lady'1 ,,jfss1 viii41 #aid4 ,no4 #ac ,,wedlock 7,a71 ,,soc #ahh ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,when ,adam was created1 ,he dwelt in ,eden's shade1 ,as ,moses has related1 ,before a bride was made4 ,ten thousand times ten thousand ,things wheeled all around1 ,before a bride was formed1 ,or yet a mate was found4 ,another tune and additional stanzas of the text are given in this collection under the title ',wedlock 7,b7'4 ,the song is attributed1 in the ,social ,harp1 to ,henry ,f4 ,chandler and is dated #ahed4 ,the tunes of ',johnny ,german'1 ,sharp1 ii41 #bef2 ',i ,rode ,my ,little ,horse'1 ,baring-,gould1 ,songs of the ,west1 ,no4 #aja2 ',the ,auld ,house'1 ,lyric ,gems of ,scotland1 #di2 and ',joe ,bowers'1 are similar to the above air4 ,another ballad in this collection using this tune in variant form is ',little ,family'4 ,stephen ,foster's song ',virginia ,belle' leans melodically on ',wedlock 7,a7'4 7,see my article in ,the ,musical ,quarterly1 xxii41 ,no4 #b47 ,no4 #ad ,,patton1 ,,ol #dj ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,young people all1 attention give1 ,while ,i address you in ,god's name1 ,you who in sin and folly live1 ,come hear the counsel of a friend4 ,i sought for bliss in glitt'ring toys1 ,and ranged th' alluring scenes of vice1 ,but never found substantial joys ,until ,i heard my ,savior's voice4 ,he spake at once my sins forgiven ,and wash'd my load of guilt away2 ,he gave me glory1 peace and heaven1 ,and thus ,i found the heav'nly way4 ,and now with trembling sense ,i view ,the billows roll beneath your feet2 ,for death eternal waits for you ,who slight the force of gospel truth4 ,youth1 like the spring1 will soon be gone ,by fleeting time or conquering death2 ,your morning sun may set at noon ,and leave you ever in the dark4 ,your sparkling eyes and blooming cheeks ,must wither like the blasted rose2 ,the coffin1 earth and winding-sheet ,will soon your active limbs enclose4 ,ye heedless ones that wildly stroll1 ,the grave will soon become your bed1 ,where silence reigns and vapors roll ,in solemn darkness round your head4 ,your friends will pass the lonesome place ,and with a sigh move slow along2 ,still gazing on the spires of grass ,with which your graves are overgrown4 ,the compiler of ,olive ,leaf gives the following notes3 ,from ,mc,anally's ,western ,harp and ,called after the late ,wm4 ,patton1 of ,mo4 ,heard him sing it1 first1 at a camp-meeting1 ,north ,cove1 ,burk ,co41 ,n4 ,c41 in #ahca or #ahcb4 ,published by the admirable ,a4 ,s4 ,hayden1 perhaps in #ahbi4 ,the ,celtic melodic influence is clearly felt in the above tune4 ,no4 #ae ,,dying ,,boy1 ,,osh #cih ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,i'm dying1 ,mother1 dying now1 ,please raise my aching head2 ,and fan my heated1 burning brow1 ,your boy will soon be dead4 ,turn o'er my pillow once again1 ,and kiss my fever'd cheek2 ,i'll soon be free from all the pain1 ,for now ,i am so weak4 ,now light the lamps1 my mother dear1 ,the sun has pass'd away2 ,i soon must go1 but do not fear1 ,i'll live in endless day4 ,i'm sinking fast1 my mother dear2 ,i can no longer dwell2 ,yet ,i'll be with you1 do not fear2 ,but now1 ,o now1 farewell4 ,a band of angels beckon me1 ,i can no longer stay2 ,hark6 how they sing3 ,we welcome thee2 ,dear brother1 haste away4 ,the hour has come1 my end is near2 ,my soul is mounting higher4 ,what glorious strains salute my ear ,from heaven's angelic choir4 ,their flowing robes in brightness shine2 ,a crown is on each head2 ,say1 mother1 will not such be mine ,when ,i am with the dead8 ,then do not weep1 sweet mother1 now1 ',twill break this body frail2 ,those burning tears fall o'er my brow1 ,farewell1 ,o fare thee well4 ,the ,sacred ,harp says this was composed by ,h4 ,s4 ,rees1 #ahei4 ,is it perhaps a parody of ,wm4 ,haines ,lytle's ',i'm ,dying1 ,egypt1 ,dying'8 ,lytle was a cousin of ,stephen ,collins ,foster whose own song ',for the ,dear ,old ,flag ,i ,die' shows close kinship in words and tune to ',dying ,boy'4 7,see my article in ,the ,musical ,quarterly1 xxii41 ,no4 #b47 ,there is a resemblance also between the ',dying ,boy' tune and a seventeenth century psalm tune called variously ',bella'1 ',leeds'1 ',needham' and ',derby'2 see ,hymns ,ancient and ,modern1 ,historical ed41 ,london1 ,clowes1 #aiji1 p4 #gi4 ,no4 #af ,,saw ,,ye ,,my ,,savior1 ,,ch #db ,heptatonic ionian1 mode #a ,a ,b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,saw ye my ,savior1 saw ye my ,savior1 ,saw ye my ,savior and ,god8 ,oh6 he died on ,calvary to atone for you and me ,and to purchase our pardon with blood4 ,he was extended1 he was extended1 ,painfully nailed to the cross2 ,then he bowed his head and died1 thus my ,lord was crucified1 ,to atone for a world that was lost4 ,jesus hung bleeding1 ,jesus hung bleeding1 ,three dreadful hours in pain2 ,whilst the sun refused to shine1 when his majesty divine ,was derided1 insulted and slain4 ,darkness prevail-ed1 darkness prevail-ed1 ,darkness prevailed through the land2 ,oh1 the solid rocks were rent1 through creation's vast extent ,when the ,jews crucified the ,god-,man4 ,when it was finish'd1 when it was finish'd1 ,and the atonement was made2 ,he was taken by the great1 and embalmed in spices sweet1 ,and was in a new sepulchre laid4 ,hail1 mighty ,savior1 hail mighty ,savior6 ,prince and the ,author of peace6 ,oh1 he burst the bars of death1 and triumphing left the earth1 ,he ascended to mansions of bliss4 ,now interceding1 now interceding1 ,pleading that sinners might live2 ,saying1 ,father1 ,i have died1 7,o1 behold my hands and side67 ,to redeem them1 ,i pray thee1 forgive4 ,i will forgive them1 ,i will forgive them1 ,when they repent and believe2 ,let them now return to thee1 and be reconciled to me1 ,and salvation they all shall receive4 ,this song occurs also in ,olive ,leaf1 p4 #bjc1 where it is called a ,scotch air4 ,miss ,gilchrist tells us1 in the article often cited here1 that ',saw ,ye ,my ,savior' is ',saw ,ye ,my ,father'1 or ',the ,grey ,cock'1 found in both ,scotch and ,english versions4 ,a text is in ,herd's collections of #agfi and #aggb1 and another with the tune1 in ,chappell's ,popular ,music4 ,chappell's version begins3 ,saw you my father1 saw you my mother1 ,saw you my true love ,john8 ,he told his only dear that he would soon be here1 ,but he to another is gone4 ,the melodic phrase above1 which coincides with the text ,oh 444 me1 is used to build up the tune for ',simple ,ploughboy'1 ,sharp1 i41 #cfi4 ,as to the influence of this impressive text on the crucifixion songs of the negroes1 see ,white ,spirituals1 #bgg4 ,stephen ,foster seems to have been influenced by the ',saw ,ye ,my ,savior' tune or its secular relatives in composing his ',old ,black ,joe'4 7,see my article in ,the ,musical ,quarterly1 xxii41 ,no4 #b47 ,for further references as to ',the ,grey ,cock' see ,british ,ballads from ,maine1 #caj;ff4 ,no4 #ag ,,ester1 ,,osh #dcg ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,young ladies all1 attention give1 ,you that in wicked pleasures live2 ,one of your sex the other day ,was call'd by death's cold hand away4 ,this lesson she has left for you1 ,to teach the careless what to do2 ,to seek ,jehovah while you live ,and everlasting honors give4 ,her honored mother she addrest1 ,while tears were streaming down her breast2 ,she grasped her tender hands and said1 ,remember me when ,i am dead4 ,she called her father to her bed1 ,and thus in dying anguish said3 ,my days on earth are at an end1 ,my soul is summoned to attend2 ,before ,jehovah's awful bar1 ,to hear my awful sentence there2 ,and now1 dear father1 do repent1 ,and read the holy testament4 ,the ,sacred ,harp ascribes the song to ,john ,s4 ,terry and dates it #ahfi4 ,terry was a singing-school teacher of ,georgia and later lived in ,alabama4 ,the singing-school teacher took for his warning song the ',lord ,lovel' tune type that has been used for many secular ballads4 ,among them are ',barbara ,allen'1 ,sharp1 i41 #aie1 tune ,o2 ',gypsy ,laddie'1 ,sharp1 i41 #bcg1 tune ,f2 ',come all ,ye ,fair and ,tender ,ladies'1 ,sharp1 ii41 #ace1 tune ,p4 ,for other tunes of the same type see ',dulcimer' in this collection4 ,no4 #ah ,,lone ,,pilgrim1 ,,soh #bef ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,i came to the place where the lone pilgrim lay1 ,and pensively stood by the tomb1 ,when in a low whisper ,i heard something say1 ,how sweetly ,i sleep here alone4 ,the tempest may howl and the loud thunder roar1 ,and gathering storms may arise1 ,yet calm is my feeling1 at rest is my soul ,the tears are all wiped from my eyes4 ,the cause of my master compelled me from home1 ,i bade my companions farewell2 ,i blessed my dear children who now for me mourn1-- ,in far distant regions they dwell4 ,i wandered an exile and stranger from home1 ,no kindred or relative nigh2 ,i met the contagion and sank to the tomb1 ,my soul flew to mansions on high4 ,o tell my companion and children most dear1 ,to weep not for me now ,i'm gone2 ,the same hand that led me through scenes most severe1 ,has kindly assisted me home4 ,and there is a crown that doth glitter and shine1 ,that ,i shall for evermore wear2 ,then turn to the ,savior1 his love's all divine1 ,all you that would dwell with me there4 ,the text is attributed1 by the #aiaa editor of the ,sacred ,harp1 to ,b4 ,f4 ,white1 original compiler of that book4 ,he wrote it on the lone prairie in ,texas1 while standing at the grave of a friend who once lived in ,georgia4 ,in ,folksongs of ,mississippi ,hudson gives a variant text from oral tradition and tells of a local legend as to its source which agrees in the main with that given in the ,sacred ,harp which book1 ,i suspect1 was the source of the ,mississippi legend4 ,the tune1 variously claimed in the fasola books1 is identical with the ',braes o' ,balquhidder'4 ,see ,gilchrist1 ,,jfss1 viii41 #gg4 ,other derivatives of the same tune are ',sinner's ,invitation'1 ',florence'1 and ',orphan ,girl' in this collection4 ,in ,the ,musical ,quarterly1 xxii41 ,no4 #b1 ,i have shown the relationship between this tune and ,stephen ,foster's ',linda ,has ,departed'4 ,no4 #ai ,,orphan ,,girl1 ,,csh #ejf ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,no home1 no home1 plead a little girl1 ,at the door of a princely hall1 ,as she trembling stood on the polish'd step1 ,and lean'd on the marble wall4 ,my father1 alas1 ,i never knew1 ,and a tear dimmed her eyes so bright2 ,my mother sleeps in a new-made grave1 ',tis an orphan begs tonight4 ,her clothes were thin and her feet were bare1 ,but the snow had covered her head2 ,o6 give me a home1 she feebly said1 ,a home and a bit of bread4 ,the night was dark and the snow fell fast1 ,but the rich man closed his door2 ,and his proud face frowned as he scornfully said3 ,no room1 no bread for the poor4 ,the morning dawned1 and the orphan girl ,still lay at the rich man's door2 ,but her soul had fled to a home above1 ,where there's room and bread for the poor4 ,the ,cooper edition of the ,sacred ,harp gives the note3 ,music by ,eld4 ,c4 ,g4 ,keith1 ,nov4 #a1 #aijf4 ,see ,henry1 ,,jafl1 vl41 #ff;f1 for further references as to its occurrence4 ,the tune is a derivative of ',the ,braes o' ,balquidder'4 ,see ',lone ,pilgrim' for references to related tunes in this collection4 ,no4 #bj ,,paralytic1 ,,rev #d ,heptatonic aeolian2 mode #d a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,review the palsied sinner's case ,who sought for help in ,jesus2 ,his friends conveyed him to the place ,where he might meet with ,jesus4 ,a multitude were thronging round ,to keep them back from ,jesus2 ,but from the roof they let him down1 ,before the face of ,jesus4 ,thus fainting souls by sin diseased1 ,there's none can save but ,jesus2 ,with more than plague or palsy seized ,oh6 help them on to ,jesus4 ,oh6 ,savior1 hear their mournful cry1 ,and tell them thou art ,jesus2 ,oh6 speak the word1 or they must die1 ,and bid farewell to ,jesus4 ,now let them hear thy voice declare1 ,thou sin-forgiving ,jesus1 ,that thou didst die to hear their prayer1 ,and give them help in ,jesus4 ,the great ,physician now is near1 ,the sympathizing ,jesus2 ,he speaks the drooping heart to cheer1 ,oh6 hear the voice of ,jesus4 ,all glory to the dying ,lamb1 ,i now believe in ,jesus2 ,i love the blessed ,savior's name1 ,i love the name of ,jesus4 ,and when to that bright world above ,we rise to see our ,jesus1 ,we'll sing around the throne of love ,the blessed name of ,jesus4 ,the author of the text is given as ,wm4 ,hunter4 ,the tune is a variant of ',london ,pride'1 ,sharp1 ,morris ,dances1 ,set vii1 ,no4 #f4 ,its proper mode would seem to be dorian and its correct signature therefore one flat4 ,no4 #ba ,,villulia or ,,bartimeus1 ,,osh #cca ,pentatonic1 mode #d 7,i ,,ii -- ,,iv ,v -- #g7 ,music ,mercy1 ,o thou son of ,david1 ,thus poor blind ,bartimeus pray'd2 ,others by thy grace are saved1 ,now to me afford thine aid4 ,money was not what he wanted1 ,though by begging used to live2 ,but he asked and ,jesus granted ,alms which none but he could give4 ,lord1 remove this grievous blindness2 ,let mine eyes behold the day4 ,straight he saw and1 won by kindness1 ,followed ,jesus by the way4 ,tune attributed to ,j4 ,m4 ,day1 a ,georgian4 ,doubt as to the correctness of this source is cast by the appearance of both tune and text in the ,christian ,lyre of #ahcj1 ,no4 #d4 ,variants are ',invocation'1 ,,gos #fg1 and ',lord ,revive ,us'1 ,,pb #aih4 ,the ,sacred ,harp editor evidently looked upon this tune as one in a-minor1 whereas it is probably a dorian melody with f-sharp as its tonic1 and should have also a d-sharp in its key signature4 ,no4 #bb ,,mouldering ,,vine1 ,,uh #aja ,heptatonic aeolian1 mode #d a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,hail6 ye sighing sons of sorrow1 ,learn from me your certain doom2 ,learn from me your fate tomorrow1 ,dead perhaps laid in your tomb4 ,see all nature fading1 dying1 silent all things seem to pine2 ,life from vegetation flying1 ,brings to mind the mould'ring vine6 ,see in yonder forest standing ,lofty cedars1 how they nod6 ,scenes of nature how surprising1 ,read in nature1 nature's ,god4 ,whilst the annual frosts are cropping ,leaves and tendrils from the trees1 ,so1 our friends are early dropping1 ,we are like to one of these4 ,hollow winds about me roaring1 ,noisy waters round me rise1 ,whilst ,i sit my fate deploring1 ,tears fast streaming from mine eyes4 ,what to me is autumn's treasure1 ,since ,i know no earthly joy8 ,long ,i've lost all youthful pleasure1 ,time must youth and health destroy4 ,the tune was recorded1 from oral tradition evidently1 by ,william ,caldwell 7of eastern ,tennessee7 in the #ahcj's4 ,his source was doubtless some variant of ',banks of ,inverary'4 ,cf4 ,,jfss1 viii41 #aih4 ,the unique opening melodic phrase is to be found also in ',young ,beeham' or ',ship's ,carpenter'1 ,cox #ebh4 ,another tune variant in the fasola environment is ',sons of ,sorrow'1 ,,osh #ccb4 ,no4 #bc ,,converted ,,thief 7,a71 ,,coh #adg ,hexatonic1 mode #d ,a 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,as on the cross the ,savior hung ,and wept and bled and died1 ,he pour'd salvation on a wretch ,that languish'd at his side4 ,his crimes with inward grief and shame1 ,the penitent confess'd ,then turn'd his dying eyes on ,christ ,and thus his prayer address'd4 ,the poem1 given in full under ',converted ,thief 7,b7'1 is attributed to ,stennett4 ,william ,moore of ,tennessee1 compiler of ,columbian ,harmony1 lays claim to the tune1 and probably did record it from oral sources4 ,found also ,,soh #i1 ,,osh #dd1 ,,gos #adj4 ,the tune is a member of the ',hallelujah' family4 ,see the song with that title in this collection4 ,no4 #bd ,,tennessee1 ,,hh #adj ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,afflictions1 though they seem severe1 ,in mercy oft are sent2 ,they stopp'd the prodigal's career ,and caus'd him to repent4 ,although he no relenting felt1 ,till he had spent his store2 ,his stubborn heart began to melt1 ,when famine pinched him sore4 ,what have ,i gained by sin8 he said1 ,but hunger1 shame1 and fear8 ,my father's house abounds with bread1 ,while ,i am starving here4 ,i'll go and tell him all ,i've done ,and fall before his face2 ,unworthy to be called his son1 ,i'll seek a servant's place4 ,his father saw him coming back2 ,he saw and ran and smiled1 ,and threw his arms around the neck ,of his repenting child4 ,father1 ,i've sinned1 but ,o forgive6 ,enough1 the father said2 ,rejoice1 my house1 my son's alive1 ,for whom ,i mourned as dead4 ,now let the fatted calf be slain2 ,go spread the news around2 ,my son was dead1 but lives again1 ,was lost1 but now is found4 ',tis thus the ,lord his love reveals1 ,to call his children home2 ,more than a father's love he feels1 ,and bids the needy come4 ,the tune is a member of the ',roll ,jordan' family which is described under the song by that name in this collection4 ,the ',tennessee' tune's resemblance to ,foster's ',susanna' is evident4 ,the melody1 or some near relative of it1 may well have furnished ,foster with his inspiration in composing the latter4 ,it had been sung widely in ,america for at least fifty years before the ,pittsburgh composer published his minstrel song4 7,see the author's article ',stephen ,foster's ,debt to ,american ,folk-,song'1 ,the ,musical ,quarterly1 xxii41 ,no4 #b47 ,that the ',tennessee' tune was unwritten music in the ,south1 and therefore free for all1 is indicated by the many claimants to its authorship2 ,chapin1 ,j4 ,robertson1 ,l4 ,p4 ,breedlove1 ,william ,c4 ,davis1 and ,william ,walker were among them4 ,in various forms and with different texts the tune is found also1 ,,chi #hd 7published in #ahje71 ,,skh #bc1 ,,gcm #acd1 ,,soh #bh1 ,,gos #bbi1 ,,hoc #aad1 ,,wp #if1 ,,tz #id1 ,,soc #gh1 ,,soc #ha1 ,,soc #ade1 ,,soh #aje1 ,,osh #eja1 ,,skh #bc4 ,the second part of the tune is similar to ',jamaica'1 ,sharp1 ,country ,dances1 ,set ,,iv1 ,no4 #ab4 ,no4 #be ,,farewell1 ,,hoc #cb ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,the time is swiftly rolling on1 ,when ,i must faint and die1 ,my body to the dust return1 ,and there forgotten lie1 ,and there forgotten lie1 ,and there forgotten lie1 ,my body to the dust return1 ,and there forgotten lie4 ,through heats and colds ,i've ofttimes went1 ,i've wandered in despair1 ,to call poor sinners to repent ,and seek their ,savior dear4 ,my brother preachers1 boldly speak ,and stand on ,zion's wall2 ,confirm the drunk1 confirm the weak ,and after sinners call4 ,my loving wife1 my bosom friend1 ,the object of my love1 ,the time's been sweet ,i've spent with you1 ,my sweet and harmless dove4 ,my little children near my heart ,my warm affections know4 ,fer each the path will ,i attend4 ,o from them can ,i go86 ,o ,god1 a father to them be ,and keep them from all harm1 ,that they may love and worship ,thee ,and dwell upon thy charm4 ,how often you have looked fer me ,and often seen me come2 ,but now ,i must depart from thee ,and nevermore return4 ,my loving wife1 don't grieve fer me1 ,neither lament nor mourn2 ,fer ,i will with my ,jesus be1 ,and dwell upon his charm4 ,the tune is attributed in the ,harp of ,columbia to ,w4 ,atchley4 ,it belongs to what ,i have called 7,introduction1 p4 #ad7 the ',hallelujah' type of melody4 ,see ',hallelujah' for other related spiritual tunes4 ,a secular song using the same melodic formula is ',virginia ,lover'1 ,sharp1 ii41 #aej4 ,the text of ',farewell' is recorded from oral tradition and reproduced from ,white ,spirituals1 #bjb4 ,see ',hicks' ,farewell' in this collection as to the authorship of the words4 ,no4 #bf ,,wicked ,,polly1 ,,ws #aij ,hexatonic mode #d1 b 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,young people who delight in sin1 ,i'll tell you what has lately been3 ,a woman who was young and fair ,died in sin and deep despair4 ,for the full text and much data as to the source and occurrence of this song1 see ,white ,spirituals1 #ahi-aic4 ,a tune variant is ',supplication'1 in this collection4 ,another is ',lord ,bateman'1 ,sharp ,one ,hundred ,english ,folksongs1 ,no4 #f4 ,no4 #bg ,,moses ,hexatonic1 mode #a ,a 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,an' ,phareoh's daughter went down to thee water ,an' foun' there thee beauteeful child1 ,among thee tall bushes thee reeds an' thee rushes ,thee babee look'd sweetlee an' smil'd4 ,recorded from singing of ,miss ,will ,allen ,dromgoole1 ,nashville1 ,tennessee1 as she remembered it sung in #ahij by ,mr4 ,tate1 stage driver from ,beersheba to ,beersheba ,springs on ,cumberland ,mountain in ,tennessee4 ,the unusual spelling is an attempt at reproducing the emphatic rhythmic pronunciation of ,mr4 ,tate4 ,the one stanza given above was all ,miss ,dromgoole remembered4 ,the full text1 however1 was recorded by ,mr4 ,fred ,haun of ,newport1 ,tennessee1 from the singing of his mother1 ,mrs4 ,maggie ,haun1 and placed at my disposal by ,miss ,mildred ,haun1 his sister4 ,this rather defective text is as follows3 ,the ladies were wending their way ,as ,pharo's daughter stepped down to the water ,to bathe in the cool of the day4 ,before it was dark she opened the ark ,and found the sweet infant was there4 ,she took him in pity and thought him so pretty2 ,that made little ,moses so glad4 ,she called him her own1 her beautiful son1 ,and sent for a nurse that was near4 ,by the side of the river so clear ,they carried that beautiful child ,to his own tender mother1 his sister and brother2 ,little ,moses looked happy and smiled4 ,his mother so good done all that she could ,to hear rear8 him and teach him with care4 ,then away by the sea that was red ,stood ,moses the servant of ,god4 ,while in him confided the deed sea 8 was divided ,while upward he lifted his rod4 ,the ,jews safely crossed while ,pharo's host ,was drounded in the water and lost4 ,then away by the mountain so high ,stood ,moses with trembling an' awe2 ,with lightning and thunder1 great signs and wonders1 ,while ,god was giving the law4 ,he wrote it down on two tables of stone ,before he returned to the sky4 ,then away on the mountain so high ,stood the last one he ever might see4 ,while ,isreal victorious1 his hope was most gloriest1 ,would soon over ,jordan be free4 ,his neighbors did cease1 he departed in peace1 ,and rest-es in heaven above4 ,no4 #bh ,,mourner',s ,,lamentation or ,,church',s ,,desolation1 ,,chh #bfe ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,poor mourning soul in deep distress1 ,just waken'd from a slumber1 ,who wanders in sin's wilderness1 ,out of the condemned number4 ,the thunder roars from ,sinai's mount1 ,fills him with awful terror2 ,and he like nought in ,god's account1 ,all drown'd with grief and sorrow4 ,oh1 woe is me that ,i was born1 ,or after death have being2 ,fain would ,i be some earthly worm1 ,which has no future being2 ,or had ,i died when ,i was young1 ,oh1 what would ,i have given6 ,then might with babes my little tongue1 ,been praising ,god in heaven4 ,but now may ,i lament my case1 ,just worn away by trouble2 ,from day to day ,i look for peace1 ,but find my sorrow double4 ,cries ,satan1 ,desp'rate is your state1 ,time's been you might repented1 ,but now you see it is too late1 ,so make yourself contented6 ,how can ,i live1 how can ,i rest ,under this sore temptation1 ,fearing the day of grace is past1 ,lord1 hear my lamentation6 ,for ,i am weary of my life1 ,my groans and bitter crying2 ,my wants are great1 my mind's in strife1 ,my spirit's almost dying4 ,without relief ,i soon shall die1 ,no hope of getting better2 ,show pity1 ,lord1 and hear the cry ,of a distress-ed sinner4 ,for ,i'm resolv-ed here to trust ,at thy footstool for favor1 ,pleading for life1 though death be just1 ,make haste1 ,lord1 to deliver4 ,come1 hungry1 weary1 naked soul1 ,for such ,i ne'er rejected2 ,my righteousness sufficient is1 ,though you have long neglected4 ,come1 weary soul1 for right you have1 ,i am such soul's protector2 ,my honor is engaged to save ,all under this character4 ,i came to seek1 ,i came to save1 ,i came to make atonement1 ,i lived1 ,i died1 laid in the grave ,to save you from the judgment4 ,by faith1 my glorious ,lord ,i see2 ,oh1 how it doth amaze me ,to see him bleeding on the tree1 ,from death and hell to raise me4 ,the above homespun text points to the rural preacher or revival song leader of the late eighteenth century as its source4 ,it is a conversion story in dramatic form1 the ,savior1 the ,sinner and the ,devil having parts in the drama4 ,the earliest known occurrence of the tune is in the ,vermont book1 ,ingalls' ,christian ,harmony of #ahje1 p4 #gg4 ,in the ,sacred ,harp of #ahdd1 p4 #hi1 it is found with a different text and is entitled ',church's ,desolation'4 ,it is claimed there by ,j4 ,t4 ,white1 and in the ,christian ,harmony of #ahff1 by ,william ,walker4 ,both were ,south ,carolinians1 from which territory ,reed ,smith recorded the tune in #aiac as one of the ',barbara ,allen' settings2 ,,scb #acj4 ,this tune was probably adopted for ',church's ,desolation' and for the ',barbara ,allen' ballad from the ,scotch ballad ',wae's me for ,prince ,charlie'4 ,see ,kennedy's ,handbook of ,scottish ,song1 p4 #bj4 ,the ,london ,era in the early #ahfj's speaks of this as the celebrated ,jacobite song4 ,the ',prince ,charlie' of the song is ,charles ,,ii of ,england4 ,hence the song1 the text at least1 is nearly #cjj years old4 ,the same tune is used also for ',geordie'1 ,last ,leaves1 p4 #acc2 ',locks and ,bolts'1 ,sharp1 ii41 #ai2 ',lazarus'1 ,sharp1 ii41 #cj2 an old ,irish tune in ,petrie1 ,no4 #cfc2 ',johnny ,fa''1 ,,smm1 ,no4 #fb2 and ',hynd ,horn'1 ,motherwell1 ,appendix1 ,musick1 ,no4 #ac4 ,the noted composer of hymn tunes1 ,j4 ,b4 ,dykes1 was influenced by the ',prince ,charlie' melody in the building up of ',lindisfarne'2 see ,hymns ,ancient and ,modern1 ,no4 #aef1 second tune4 ,no4 #bi ,,address ,,for ,,all1 ,,chh #aja ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,i sing a song which doth belong ,to all the human race1 ,concerning death which steals the breath ,and blasts the comely face4 ,come listen all unto my call ,which ,i do make to day1 ,for you must die as well as ,i1 ,and pass from hence away4 ,no human power can stop the hour ,wherein a mortal dies2 ,a ,caesar may be great today1 ,yet death will close his eyes4 ,though some do strive and do arrive ,to riches and renown1 ,enjoying health and swim in wealth1 ,yet death will bring them down4 ,though beauty grace your comely face ,with roses white and red1 ,a dying fall will spoil it all1 ,for ,absalom is dead4 ,though you acquire the best attire1 ,appearing fine and fair1 ,yet death will come into the room ,and strip you naked there4 ,the princes high and beggars die ,and mingle with the dust1 ,the rich1 the brave1 the negro slave1 ,the wicked and the just4 ,therefore prepare to meet thy ,god ,before it be too late1 ,or else you'll weep1 lament and cry1 ,lost in a ruin'd state4 ,william ,walker claims this song4 ,see ',church's ,desolation'1 a variant of the tune1 for source references4 ,see also ',sweet ,william and ,lady ,margery' 7,wyman and ,brockway1 p4 #id7 for a secular tune variant4 ,no4 #cj ,,condescension1 ,,gos #fef ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,how condescending and how kind ,was ,god's eternal ,son6 ,our mis'ry reach'd his heav'nly mind ,and pity brought him down4 ,when justice by our sins provoked1 ,drew forth its dreadful sword1 ,he gave his soul up to the stroke1 ,without a murmuring word4 ,here we behold his bowels roll1 ,as kind as when he died2 ,and see the sorrows of his soul ,bleed through his wounded side4 ,this was compassion like a ,god1 ,that when the ,savior knew ,the price of pardon was his blood1 ,his pity ne'er withdrew4 ,now though he reigns exalted high1 ,his love is still as great2 ,well he remembers ,calvary1 ,nor let his saints forget4 ,here let our hearts begin to melt1 ,while we his death record1 ,and with our joy for pardoned guilt1 ,mourn that we pierced the ,lord4 ,the words are attributed to ,isaac ,watts4 ,i have supplied the second and third stanzas from ,the ,olive ,leaf1 p4 #abi4 ,the tune is from the eighteenth century2 found also ,,osh #bhf1 ,,pb #ch1 ,,hh #fc1 ,,uhh #ac4 ,the tune's frame is found with the text of ',good ,morning1 ,my ,pretty ,little ,miss'1 ,sharp1 ii41 #ij1 also in ',ibby ,damsel'1 ,sharp1 ii41 #acg4 ,i surmise that we have1 in the last line of the second stanza above1 the source of the negro spiritual refrain3 ,an' he never said a mumblin' word4 ,no4 #ca ,,good ,,physician1 ,,soh #di ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,how lost was my condition1 ,till ,jesus made me whole2 ,there is but one ,physician ,can cure a sin-sick soul4 ,next door to death he found me1 ,and snatch'd me from the grave1 ,to tell to all around me1 ,his wondrous pow'r to save4 ,the worst of all diseases ,is light compared with sin2 ,on every part it seizes1 ,but rages most within4 ',tis palsy1 plague1 and fever1 ,and madness1 all combin'd2 ,and none but a believer ,the least relief can find4 ,from men great skill professing1 ,i thought a cure to gain2 ,but this proved more distressing ,and added to my pain4 ,some said that nothing ail'd me4 ,some gave me up for lost2 ,thus every refuge fail'd me1 ,and all my hopes were cross'd4 ,at length this great ,physician 7,how matchless is his grace67 ,accepted my petition ,and undertook my case4 ,first gave me sight to view him1 ,for sin my eyes had seal'd2 ,then bid me look unto him1 ,i look'd1 and ,i was heal'd4 ,a dying1 risen ,jesus1 ,seen by the eye of faith1 ,at once from anguish frees us ,and saves the soul from death4 ,come1 then1 to this ,physician1 ,his help he'll freely give2 ,he makes no hard condition1 ',tis only--look and live4 ,this tune is found also in ,,gos1 ,no4 #bbg4 ,a remake is in ,,osh #agf4 ,it is ',banks of ,sweet ,dundee'1 ,sharp i41 #cii4 ,related also to ',pinery ,boy'1 ,shoemaker1 #bfb2 and ',virginian ,lover'1 ,sharp1 ii41 #aej4 ,the negro song ',sin-,sick ,soul'1 ,,ss1 ,no4 #ff1 is based textually and melodically on the above song4 ,no4 #cb ,,look ,,out or ,,when ,i ,,was ,,young1 ,,osh #ij ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,when ,i was young of tender years1 ,my ,savior did arrest me2 ,i then was fill'd with many fears1 ,but ,satan still did tempt me4 ,he told me that ,i was too young ,to leave my earthly pleasure2 ,that ,i might live till ,i was old1 ,and serve ,god at my leisure4 ,again the spirit came one day ,with his almighty power1 ,which caused me to forsake my way ,and tremble every hour2 ,and he caused me to weep and mourn1 ,saying1 ,lord ,jesus1 save me1 ,if mercy thou canst me afford1 ,and to thy glory raise me4 ,when ,jesus heard the rebel cry1 ,he sent his kind compassion2 ,down at his feet my soul did lie1 ,there pleading for a blessing4 ,my heart was filled with tenderness4 ,my mouth was filled with praises1 ,while ,abba1 ,father1 ,i did cry1 ,and glory to my ,savior4 ,b4 ,f4 ,white1 compiler of the ,sacred ,harp1 is given as the composer4 ,it is dated #ahdb4 ,the text is supplied from ,good ,old ,songs1 ,no4 #aed4 ,a secular setting is ',three ,crows'1 ,davis1 p4 #efb1 tune ,p4 ,both ',look ,out' and ',three ,crows' are adaptations of ',ye ,banks and ,braes'1 or ',bonnie ,doon'1 see ,kennedy1 ,handbook of ,scottish ,song1 p4 #bg4 ,in ,church ,harmony1 p4 #acd1 we find the ',bonnie ,doon' tune in its original form under the little ',star of ,bethlehem'4 ,a variant tune in this collection is '',tis a ,wonder'4 ,no4 #cc ,,saint',s ,,request1 ,,osh #bhf ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,young people all attention give ,and hear what ,i shall say2 ,i wish your souls with ,christ to live1 ,in everlasting day4 ,i want you to go to that bright world1 ,to dwell with saints forever there4 ,the ,sacred ,harp gives but one stanza of this ballad4 ,the rest of the text is to be found in ,zion ,songster4 ,the tune is widely used among the secular ballads4 ,see ',barbara ,allen'1 ,sharp1 i41 #ahc2 ',geordie'1 ,sharp1 i41 #bdj2 ',false ,young ,man'1 ,sharp1 ii41 #eb2 ',lord ,thomas and ,fair ,eleanor'1 ,smith1 #aae2 ',true ,lover's ,farewell'1 ,sharp1 ii41 #aad2 ',lizzie ,wan'1 ,sharp1 i41 #hi2 and ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #afd and #aff4 ,no4 #cd ,,newberry or ,,lonesome ,,grove1 ,,soc #aca ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,one day while in a lonesome grove1 ,sat o'er my head a little dove2 ,for her lost mate began to coo1 ,which made me think of my mate too4 ,ah6 little dove1 you're not alone1 ,for ,i1 like you1 can only mourn2 ,i once1 like you1 did have a mate1 ,but now1 like you1 am desolate4 ,consumption seized my love severe ,and preyed upon her one long year1 ,till death came at the break of day1 ,and my poor ,mary he did slay4 ,her sparkling eyes and blooming cheeks ,withered like the rose and died2 ,the arms that once embraced me round ,lie mould'ring under the cold ground4 ,but death1 grim death1 did not stop here2 ,i had one child1 to me most dear2 ,he1 like a vulture1 came again ,and took from me my little ,jane4 ,but1 bless the ,lord1 his word is given1 ,declaring babes are heirs of heaven4 ,then cease1 my heart1 to mourn for ,jane1 ,since my small loss is her great gain4 ,i have a hope that cheers my breast1 ,to think my love has gone to rest2 ,for while her dying tongue could move1 ,she praised the ,lord for pardoning love4 ,shout on1 ye heavenly pow'rs above1 ,while ,i this lonesome desert rove2 ,my master's work will soon be done1 ,and then ,i'll join you in your song4 ,o hasten on that happy day1 ,when ,i must leave this clod of clay1 ,and soar aloft o'er yon blest plain ,and there meet ,mary and my ,jane4 ,the song is attributed in the ,social ,harp to ,wm4 ,c4 ,davis4 ,the first stanza was evidently inspired by the lines in the traditional ,english ballad entitled ',giles ,collins'1 ,sharp1 i41 #aif1 which reads3 ,look away1 look away1 that lonesome dove ,that sails from pine to pine2 ,it's mourning for its own true love ,just like ,i mourn for mine4 ,four recently recorded 7#aiag and #aiah7 variants of the ',newberry' tune1 with one stanza of text each are in ,sharp1 ii41 #aig;f4 ,see also ,,jafl1 xxv41 #bgf4 ',lonesome ,dove'1 ,thomas1 #afb1 has the same text but a different tune4 ',heavenly ,dove' in this collection is a variant tune1 but it is more closely related to the ',barbara ,allen' tune in ,sharp1 i41 #ahc;ff4 ',newberry' belongs to the ',lord ,lovel' type of tune mentioned in the ,introduction1 p4 #ad4 ,other melodies of the same type are listed under ',dulcimer' in this collection4 ,no4 #ce ,,deep ,,spring or ,,converted ,,thief 7,b71 ,,knh #ij ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,as on the cross the ,savior hung1 and wept and bled and died1 ,he pour'd salvation on a wretch that languish'd at his side2 ,that languish'd at his side1 ,that languish'd at his side1 ,he pour'd salvation on a wretch that languish'd at his side4 ,his crimes1 with inward grief and shame1 the penitent confess'd2 ,then turn'd his dying eyes to ,christ and thus his prayer address'd3 ,jesus1 thou son and heir of heaven6 ,thou spotless lamb of ,god6 ,i see thee bathed in sweat and tears and welt'ring in thy blood4 ,yet quickly from those scenes of wo1 in triumph thou shalt rise1 ,burst through the gloomy shades of death and shine above the skies4 ,amid the glories of that world1 dear ,savior1 think on me1 ,and in the vict'ries of thy death let me a sharer be4 ,his prayer the dying ,jesus hears and instantly replies3 ,today thy parting soul shall be with me in paradise4 ,the tune is found also ,,uh #hi1 ,,soc #bdi1 ,,hoc #ic1 ,,osh #dd4 ,it is reminiscent of ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #aff2 ',lord ,thomas and ,fair ,eleanor'1 ,sharp1 i41 #aah2 and ',o ,land of ,rest' in this collection4 ,no4 #cf ,,salutation or ,,good ,,morning ,,brother ,,pilgrim1 ,,gos #bih ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,good morning1 brother pilgrim1 ,what1 bound for ,canaan's coast8 ,march you to ,jerusalem ,to join the heav'nly host8 ,pray1 wherefore are you smiling1 ,while tears run down your face8 ,we soon shall cease from toiling ,and reach that heav'nly place2 ,and reach that heav'nly place1 ,we soon shall cease from toiling ,and reach that heav'nly place4 ,to ,canaan's coast we'll hasten1 to join the heavenly throng2 ,hark1 from the banks of ,jordan1 how sweet the pilgrims' song6 ,their ,jesus they are viewing1 by faith we see him1 too1 ,we smile and weep and praise him1 and on our way pursue2 7repeated as above7 ,though sinners do despise us and treat us with disdain1 ,our former comrades slight us1 esteem us low and mean2 ,no earthly joy shall charm us while marching on our way1 ,our ,jesus will defend us in the distressing day4 ,the frowns of old companions we're willing to sustain1 ,and1 in divine compassion1 to pray for them again2 ,for ,christ1 our loving ,savior1 our ,comforter and ,friend1 ,will bless us with his favor and guide us to the end4 ,with streams of consolation1 we're filled as with new wine1 ,we die to transient pleasures1 and live to things divine1 ,we sink in holy raptures1 while viewing things above1 ,while1 glory to my ,savior1 my soul is full of love4 ,this is evidently a marching tune and from the eighteenth century vintage4 ,it occurs also ,,osh #aec1 ,,soc #baf1 ,,hh #chg4 ',walking on the ,levy' 7,newell1 ,games and ,songs of ,american ,children1 p4 #bca7 has a similar beginning4 ,echoes of the text are found in ,dett1 p4 #h3 ,good mornin'1 brother trav'ler1 ,pray tell me where you're bound1 ,i'm bound for ,canaan's happy land1 ,and de enchanted ground4 ,stephen ,foster's ',farewell ,my ,lily ,dear' and ',the ,soldier's ,home' show relationship to the tune4 7,see my article in ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b47 ,for the ,english source of this dialogue type of song1 see the note under ',warrenton' in this collection4 ,no4 #cg ,,heavenly ,,union or ,,experience1 ,,rev #db ,heptatonic aeolian1 mode #a ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,come1 saints and sinners1 hear me tell1 ,the wonders of ,immanuel ,who saved me from a burning hell1 ,and brought my soul with him to dwell1 ,and gave me heav'nly union4 ,union1 union1 ,who sav'd me from a burning hell1 ,and brought my soul with him to dwell1 ,and gave me heav'nly union4 ,when ,jesus saw me from on high1 ,beheld my soul in ruin lie1 ,he looked on me with pitying eye1 ,and said to me as he passed by3 ,with ,god you have no union4 ,then ,i began to weep and cry2 ,and looked this way and that to fly2 ,it grieved me so that ,i must die2 ,i strove salvation then to buy1 ,but still ,i had no union4 ,but when ,i hated all my sin1 ,my dear ,redeemer took me in1 ,and with his blood he washed me clean2 ,and oh6 what seasons ,i have seen ,since first ,i felt this union4 ,i now with saints can join to sing1 ,and mount on faith's triumphant wing ,and make the heavenly arches ring ,with loud hosannas to our ,king1 ,who brought our souls to union4 ,the tune seems dorian in character4 ,if so classed1 the key signature should be natural4 ,a variant of tune and text is in ,,chi #cj and ,,swp #fi4 ,no4 #ch ,,marion or ,i',,ll ,,ramble ,,and ,i',,ll ,,rove1 ,,soc #bbh ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,i have a loving old father at home1 ,i've cost him many a tear2 ,and to make lament to him1 ,i'll travel ten thousand year4 ,i'll ramble and ,i'll rove and ,i'll call upon my ,god4 ,they may all say what they will1 ,resolv'd as ,i am so long as ,i live1 ,for to be a rover still4 ,further stanzas are made merely by the substitution of mother etc4 for father4 ,the song1 tune and words1 was probably parodied from ',seven ,long ,years'4 ,see ,sharp1 ii41 #gi4 ,from the latter song ,i quote the second stanza4 ,i have a good old father at home1 ,and ,i've cost him many a pound1 ,and now to make amends for this1 ,i'll travel the whole world round4 ,chorus ,i'll romp and ,i'll rave1 and ,i'll call for my bode1 ,they may all say what they will2 ,resolved as ,i am1 just as long as ,i can1 ,for to drink good liquor still4 ,compare also ',lord ,thomas and ,fair ,eleanor'1 ,sharp1 i41 #abd1 tune ',n'4 ',marion' belongs to the ',babe of ,bethlehem' group of tunes4 ,see the song by that title in this collection4 ',kingsfold'1 ,no4 #bgj in the ,christian ,science ,hymnal is the same4 ,in the ,english ,methodist ,hymn ,book1 ',kingsfold' is given as a traditional melody of ,england4 ,see also ,petrie1 ,nos4 #aic and #hfc4 ,no4 #ci ,,union1 ,,osh #aaf ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,come1 brothers and sisters who love one another ,and have done for years that are gone2 ,how often we've met him in sweet heav'nly union ,which opens the way to ,god's throne2 ,with joy and thanksgiving we'll praise him who loved us1 ,while we run the bright shining way2 ,though we part here in body we're bound for one glory1 ,and bound for each other to pray4 ,there was ,joshua and ,joseph1 ,elias and ,moses1 ,that pray'd1 and ,god heard from his throne2 ,there was ,abraham1 and ,isaac1 and ,jacob1 and ,david1 ,and ,solomon1 and ,stephen1 and ,john1 ,there was ,simeon1 and ,anna1 and ,i don't know how many1 ,that pray'd as they journey'd along2 ,some cast among lions1 some bound with rough irons1 ,yet glory and praises they sung4 ,some tell us that praying1 and also that praising ,is labor that's all spent in vain2 ,but we have such a witness that ,god hears with swiftness1 ,from praying we will not refrain4 ,there was old father ,noah1 and ten thousand more1 ,that witness'd that ,god heard them pray2 ,there was ,samuel and ,hannah1 ,paul1 ,silas1 and ,peter1 ,and ,daniel and ,jonah1 we'll say4 ,that ,god1 by his spirit1 or an angel doth visit ,their souls and their bodies while praying1 ,shall we all go fainting1 while they go on praising1 ,and glorify ,god in the flame8 ,god grant us to inherit the same praying spirit1 ,while we are journeying below1 ,that when we cease praying1 we shall not cease praising1 ,but round ,god's white throne we shall bow4 ,james1 editor of the ,original ,sacred ,harp1 #aiaa1 says3 ,the hymn is from a very old edition1 #ahbj4 ,it is not in any of the hymn books found since that date4 ,the quick triple time of the tune indicates ,irish influence and1 probably1 source4 ,similar is ',royal ,band'1 ,,osh #cfj4 ,as to the remarkable rhyme or assonance in the text--see for example the repeated o assonance in the first lines--,i am reminded of what ,cecil ,sharp said of this feature in ,anglo-,irish ballads of this sort1 namely1 that ,they imitate with more or less success in an alien tongue the assonantal ,gaelic rhymes with which their makers1 whether hedge-schoolmasters or peasants1 were doubtless familiar4 ,the same metrical trend is in ',green ,grows the ,laurel'1 ,sharp1 ii41 #baa4 ,no4 #dj ,,poor ,,wayfaring ,,stranger1 ,,gos #gad ,pentatonic1 mode #b minorized 7,i -- #c ,,iv ,v -- ,,vii7 ,music ,i am a poor wayfaring stranger ,while trav'ling through this world of woe1 ,yet there's no sickness1 toil nor danger ,in that bright world to which ,i go4 ,i'm going there to see my father1 ,i'm going there no more to roam2 ,i'm only going over ,jordan1 ,i'm only going over home4 ,i know dark clouds will gather round me1 ,i know my way is rough and steep2 ,yet beauteous fields lie just before me ,where ,god's redeem'd their vigils keep4 ,i'm going there to see my mother1 ,she said she'd meet me when ,i come2 ,i'm only going over ,jordan1 ,i'm only going over home4 ,i'll soon be freed from every trial1 ,my body sleep in the church-yard2 ,i'll drop the cross of self-denial ,and enter on my great reward4 ,i'm going there to see my class-mates1 ,who've gone before me one by one2 ,i'm only going over ,jordan1 ,i'm only going over home4 ,i want to wear a crown of glory1 ,when ,i get home on that good land2 ,i want to shout salvation's story1 ,in concert with the blood-wash'd band2 ,i'm going there to see my ,savior1 ,to sing his praise forever more2 ,i'm only going over ,jordan1 ,i'm only going over home4 ,this is a comparatively recent recording 7around the beginning of the present century7 of an extremely widely sung folk-tune4 ,it appears in ,good ,old ,songs as a bare melody1 no harmonic parts4 ,i suggest1 as an explanation of the d-flat in the fifth measure from the end1 the intrusion of dorian influence4 ,the earliest known recording among the fasola folk was in the first edition of the ,sacred ,harp1 #ahdd4 ,the negro adoptions and adaptations are reviewed ,,ws #bea;ff4 ,the tune is quite evidently borrowed from secular environment4 ,i list here a number of secular songs whose tunes are variously related3 ',barbara ,allen'1 ,sharp1 i41 #aid and #aie2 ',in ,old ,virginny'1 ,sharp1 ii41 #bcb-bcd2 ',come ,all ,ye ,fair and ,tender ,ladies'1 ,sharp1 ii41 #abh-acf2 ',katie ,morey'1 ,sharp1 ii41 #abj2 ',dear ,companion'1 ,sharp1 ii41 #aji2 ',george ,reilly'1 ,sharp1 ii41 #bf2 ',awake1 ,awake'1 ,sharp1 i41 #ceh-cfd1 and ,petrie1 ,nos4 #abbb and #bfe4 ,a note on this song in the ,social ,harp says that the compiler1 ,john ,g4 ,mc,curry1 ,hartwell1 ,georgia1 when eight years old1 learned the air of this tune from ,mrs4 ,catherine ,penn4 ,that was therefore in the year #ahbi4 ,text passages in the secular ballads which remind of those in the fasola song are seen in ',in ,old ,virginny'1 where we read3 ,i am a man of constant sorrow1 ,i have seen troubles all my days4 ,i'll bid farewell to old ,virginia1 ,the place where ,i was partly raised4 ,we see also in ',awake1 ,awake'1 how the poor wayfaring stranger appears as your true love who is going away4 ,no4 #da ,,zion',s ,,soldier1 ,,swp #aah ,heptatonic aeolian1 mode #d a b 7,i ,,ii #c ,,iv ,v #f #g74 ,music ,christ is set on ,zion's hill2 ,he receiveth sinners still3 ,who will serve this blessed ,king8 ,come1 enlist1 and help me sing4 ,this soldier sure will be ,happy in eternity1 ,this soldier sure will be ,happy in eternity4 ,i by faith enlisted am in the service of the ,lamb2 ,present pay ,i now receive1 future happiness he'll give4 ,this soldier etc4 ,zion's ,king my ,captain is1 conquest ,i shall never miss2 ,let the fiends of hell engage1 fret and fume and roar in rage4 ,let the world their forces join1 with the fiends of hell combine2 ,greater is my ,king than they1 through him ,i shall win the day4 ,wicked men ,i scorn to fear1 though they persecute me here2 ,true1 they may my body kill1 but my ,king's on ,zion's hill4 ,what a ,captain ,i have got6 ,is not mine a happy lot8 ,hear1 ye worldlings1 hear my song1 this the language of my tongue4 ,when this life's short space is o'er1 ,i shall live to die no more2 ,therefore will ,i take the sword1 fight for ,jesus ,christ1 my ,lord4 ,come1 ye worldlings1 come enlist2 'tis the voice of ,jesus ,christ3 ,whosoever will may come2 ,jesus ,christ refuseth none4 ,jesus is my ,captain's name1 now1 as yesterday1 the same2 ,in his name ,i notice give1 all who come he will receive4 ,be persuaded1 take his pay1 all your sins he'll wash away2 ,now in ,jesus' name believe2 future happiness he'll give4 7last chorus7 ,yes6 in heaven you sure will be praising ,god eternally4 7repeat7 ,for a related chorus text see ',o ,ye ,young and ,gay and ,proud' in this collection4 ,the tune1 claimed by ,william ,walker1 is keyed in the natural minor 7aeolian7 of a4 ,i suggest the signature of one sharp1 bringing the tune into the dorian mode1 as more natural4 ,no4 #db ,,female ,,convict1 ,,soh 7#ahce7 #afj ,heptatonic aeolian1 mode #d a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,o sleep not my babe1 for the morn of tomorrow ,shall soothe me to slumber more tranquil than thine2 ,the dark grave shall shield me from shame and from sorrow1 ,tho' the deed and the doom of the guilty are mine4 ,not long shall the arm of affection enfold thee2 ,not long shalt thou hang on thy mother's fond breast2 ,and who with the eye of delight shall behold thee1 ,and watch thee and guard thee when ,i am at rest8 ,and yet it doth grieve me to wake thee1 my dearest1 ,the pangs of thy desolate mother to see2 ,thou wilt weep when the clank of my cold chains thou hearest2 ,and none but the guilty should weep over me4 ,and yet ,i must wake thee1 and whilst thou art weeping1 ,to calm thee ,i'll stifle my tears for a while4 ,thou smil'st in thy dreams whilst thus placidly sleeping1 ,and ,o how it wounds me to gaze on thy smile4 ,alas1 my sweet babe1 with what pride ,i had press'd thee ,to the bosom that now throbs with terror and shame1 ,if the pure tie of virtue's affection had bless'd thee1 ,and hail'd thee the heir of thy father's high name4 ,but now with remorse that avails not ,i mourn thee1 ,forsaken and friendless as soon thou wilt be1 ,in a world1 if they cannot betray1 that will scorn thee1 ,avenging the guilt of thy mother on thee4 ,and when the dark thought of my fate shall awaken ,the deep blush of shame on thy innocent cheek1 ,then by all but the ,god of the orphan forsaken1 ,a home and a father in vain thou wilt seek4 ,i know that the base world will seek to deceive thee ,with falsehood like that which thy mother beguiled2 ,deserted and helpless1 with whom can ,i leave thee8 ,o ,god of the fatherless1 pity my child6 ,the tune shows remarkable similarity to ',as ,i ,was ,a-,walking' or ',grenadier and the ,lady'1 see ,,jfss viii41 #aid2 also to ',westron ,wynde' from the early #afth century1 see ,jackson1 ,english ,melodies from the #acth to the #ahth ,century1 p4 #aa4 ',female ,convict' was widely sung in the early nineteenth century4 ,the full title reads3 ,a ,female ,convict1 ,after receiving pardon in the sight of ,god1 thus addrest her infant4 ,set to music by ,r4 ,boyd4 ,no4 #dc ,,wedlock 7,b71 ,,osh #aae ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,when ,adam was created1 he dwelt in ,eden's shade1 ,as ,moses has related1 before a bride was made4 ,ten thousand times ten thousand of creatures swarm'd around1 ,before a bride was formed or any mate was found4 ,he had no consolation1 but seemed as one alone1 ,till1 to his admiration1 he found he'd lost a bone4 ,this woman was not taken from ,adam's head1 we know2 ,and she must not rule o'er him1 'tis evidently so4 ,this woman she was taken from near to ,adam's heart1 ,by which we are directed that they should never part4 ,the book that's called the bible1 be sure you don't neglect1 ,for in every sense of duty1 it will you both direct4 ,the woman is commanded to do her husband's will1 ,in everything that's lawful1 her duty to fulfill4 ,great was his exultation to see her by his side2 ,great was his elevation to have a loving bride4 ,this woman she was taken from under ,adam's arm2 ,and she must be protected from injury and harm4 ,this woman was not taken from ,adam's feet1 we see2 ,and she must not be abus-ed1 the meaning seems to be4 ,the husband is commanded to love his loving bride1 ,and live as does a ,christian1 and for his house provide4 ,the woman is commanded her husband to obey1 ,in everything that's lawful1 until her dying day4 ,avoiding all offenses1 not sow the seed of strife1 ,these are the solemn duties of every man and wife4 ,a variant of the third line of the first stanza1 found in ,,soc #ahh1 reads3 ,ten thousand times ten thousand things wheel-ed all around4 ,the tune is especially announced in the ,sacred ,harp as original and by ,elder ,e4 ,dumas1 a ,primitive ,baptist4 ,and it is dated #ahfi4 ,an older tune to the same text is given in this collection as ',wedlock 7,a7'4 ,see also ',wedlock'1 ,sharp1 ii41 #bgb4 ',the ,banks of ,newfoundland'1 a capstan shanty1 is essentially the same tune4 ,see ,,jfss1 v41 #cjj4 ,no4 #dd ,,lep',,rous ,,jew1 ,,swp #dc ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,behold the lep'rous ,jew1 ,oppress'd with pain and grief1 ,pouring his tears at ,jesus' feet1 ,for pity and relief1 ,for pity and relief4 ,o speak the word1 he cries1 and heal me of my pain3 ,lord1 thou art able1 if thou wilt1 to make a leper clean1 ,to make a leper clean4 ,compassion moves his heart1 he speaks the gracious word2 ,the leper feels his strength return1 and all his sickness cured1 ,and all his sickness cured4 ,to thee1 dear ,lord1 ,i look1 sick of a worse disease2 ,sin is my painful malady1 and none can give me ease1 ,and none can give me ease4 ,but thy almighty grace can heal my lep'rous soul2 ,o bathe me in thy precious blood and that will make me whole1 ,and that will make me whole4 ,a tune quite similar to the one above1 though cast in two-four time1 is ',dependence'1 ,,hh #bej4 ,no4 #de ,,spring ,,place or ,,church ,,of ,,my ,,youth1 ,,gos #dd ,hexatonic1 mode #b b 7,i -- #c ,,iv ,v #f #g7 ,music ,i'm thinking today of the church of my youth1 ,where first ,i rejoic'd at the sound of the truth1 ,where oft ,i assembled with those that ,i love1 ,and join'd them in praising our ,father above4 ,ah6 well ,i remember1 when youthful and gay1 ,in mirthfulness sporting while time sped away1 ,with my parents went to the house of the ,lord1 ,and wonder'd what made them rejoice in ,his word4 ,but when my dear ,savior1 so precious to me1 ,my blind eyes did open1 my sins all to see1 ,with fearfulness1 trembling1 too great to express1 ,i went to that house fill'd with woe and distress4 ,when ,jesus1 my blessed ,redeemer and ,friend1 ,reveal'd that ,he was the ,beginning and ,end1 ,i long'd for the season of worship once more1 ,that ,i might join ,his saints1 ,his dear name adore4 ,and when in that dear place of worship and praise1 ,my voice with ,his saints ,i endeavor'd to raise1 ,my heart fill'd with love and my hope bright and clear1 ,i thought surely trouble could no more appear4 ,when deeply impress'd with a sense of ,his love1 ,when this world could no more a resting place prove1 ,i went with a feeling ,i could not control1 ,and told what my ,savior had done for my soul4 ,with loving caresses they welcomed me home1 ,and bade me no longer in darkness to roam2 ,the great joy of that hour ,i never can tell1 ,when ,i with such friends was permitted to dwell4 ,though now sunder'd far from that blessed abode1 ,i feel1 that ,i'm still with the children of ,god4 ,dear brethren1 ,i love you in deed and in truth1 ,yet my heart oft goes to the church of my youth4 ,ah6 well ,i remember their kindness to me1 ,in my memory now their kind deeds ,i can see2 ,wherever my lot is to publish the truth1 ,i'll never forget the church of my youth4 ,the oldest occurrence of the text seems to be in the ,hesperian ,harp1 #ahdh4 ,this song is a parody 7words and music7 of ',in the ,days of ,my ,youth'1 ,beggars ,opera1 ,no4 #db2 ,act #c1 ,scene #a4 ,the tune there was that sung earlier to ',a ,shepherd ,kept ,sheep'4 ,no4 #df ,,redemption 7,b71 ,,osh #eja ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,come1 friends and relations1 let's join hearts and hands2 ,the voice of the turtle is heard in the land4 ,let's all walk together and follow the sound1 ,and march to the place where redemption is found4 ,the place it is hidden1 the place it is seal'd1 ,the place it is hidden till it is reveal'd2 ,the place is in ,jesus1 to ,jesus we'll go1 ,and there find redemption from sorrow and wo4 ,that place it is hidden by reason of sin2 ,alas6 you can't see the sad state you are in6 ,you're blind and polluted1 in prison and pain2 ,o how can such rebels redemption obtain6 ,but if you are wounded and bruised by the fall1 ,then up and be doing6 ,for you he doth call2 ,and if you are tempted to doubt and despair1 ,then come home to ,jesus1 redemption is there4 ,and you1 my dear brethren1 that love my dear ,lord1 ,have witness for pardon1 thro' faith in his blood2 ,let patience attend you wherever you go1 ,your ,savior has purchased redemption for you4 ,the tune of ',redemption 7,c7' is a variant of the above1 as is also that of ',redemption 7,a7'4 ,see the last named song for mention of its tune relationship to the ',grenadier and the ,lady'4 ,no4 #dg ,,weeping ,,mary 7,b71 ,,swp #ajb ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,when weeping ,mary came to seek ,her loving ,lord and ,savior1 ',twas early in the morning she ,in tears to gain his favor4 ,with guards and soldiers placed around ,the tomb that held the body ,of him whom she thought under ground1 ,by wicked hands all bloody4 ,but how her aching heart was torn1 ,to find the tomb was empty1 ,in solemn silence did she mourn1 ,as onward she did venture4 ',twas angels in bright raiment shone1 ,anticipate imagine8 her sorrow1 ,and said1 why doth this creature mourn1 ,and why this gloomy horror4 ,whom seek'st thou1 ,mary1 they did say1 ,and why this solemn mourning8 ,because they've took my ,lord away1 ,i thought to see this morning4 ,he1 standing by her1 though unknown1 ,she thought it was the gardener2 ,in flowing tears she made her moan1 ,not knowing 'twas her partner4 ,i'll grieve1 and my poor ,mary said1 ',till ,i know where they laid him2 ,and quickly turning round her head1 ,began for to upbraid him4 ,whom seek'st thou1 ,mary8 said the ,son2 ,she then perceived her ,savior1 ,and quickly to his feet she run1 ,not fearing harm or danger4 ,and now1 like ,mary1 let us go ,and kiss the feet of ,jesus1 ,that we may hear his word also1 ,which he delights to give us4 ,from ,god we have the word of life1 ,through ,christ the ,mediator2 ,like him we hope to die and rise1 ,and dwell with the ,creator4 ,a version of both tune and words is found in ,ingalls' ,christian ,harmony of #ahje1 p4 #gc4 ,its seventh and eighth stanzas1 reminding of the above text1 are3 ,when weeping ,mary came to seek ,her ,lord with a perfume1 ,the napkin and the sheet she found ,together in the tomb4 ,the angels said1 he is not here2 ,he's risen from the dead2 ,and streams of grace to sinners flow1 ,as free as did his blood4 ,the tune shows unmistakable family resemblance to a number of secular folk-melodies4 ,see for example the score of ',daemon ,lover' tunes1 ,sharp1 i41 pp4 #bdd-beh2 ',lady ,maisry'1 ,sharp1 i41 #ig2 ',locks and ,bolts'1 ,sharp1 ii41 #ag2 ',betty ,anne'1 ,sharp1 ii41 #cg2 ',swing a ,lady'1 ,sharp1 ii41 #cgi4 ,no4 #dh ,,redemption 7,a71 ,,wh #aja ,heptatonic aeolian1 mode #d a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,come1 friends and relations1 let's join heart and hand1 ,the voice of the turtle is heard in our land4 ,let's all join together and follow the sound1 ,and march to the place where redemption is found4 ,the tune was perhaps the inspiration of ,r4 ,boyd in making the melody for ',female ,convict'1 which is in this collection4 7,or did the influence flow in the opposite direction87 ,the ',grenadier and the ,lady'1 as sung in ,england1 is practically the same tune4 ,see ,,jfss1 viii41 #aid4 ,full text and a variant melody are given under ',redemption 7,b7'4 ,an ancestor of all these tunes seems to be ',westron ,wynde' of the early part of the sixteenth century4 ,see ,jackson1 ,english ,melodies from the #acth to the #ahth ,century1 p4 #aa4 ,no4 #di ,,prodigal1 ,,skh #ce ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,afflictions1 tho' they seem severe1 ,are oft in mercy sent2 ,they stopt the prodigal's career ,and caused him to repent1 ,altho' he no relenting felt ,till he had spent his store2 ,his stubborn heart began to melt ,when famine pinch'd him sore4 ,what have ,i gain'd by sin1 he said1 but hunger1 shame and fear2 ,my father's house abounds with bread1 while ,i am starving here4 ,i'll go and tell him all ,i've done1 fall down before his face2 ,unworthy to be called his son1 ,i'll seek a servant's place4 ,the father saw him coming back1 he looked1 he ran1 he smiled2 ,he throws his arms around the neck of his rebellious child4 ,father1 ,i've sinned1 but ,o forgive2 enough1 the father said4 ,rejoice1 my house1 my son's alive for whom ,i mourn'd as dead4 ,now let the fatted calf be slain1 go spread the news around2 ,my son was dead1 but lives again1 was lost but now is found4 ',tis thus the ,lord his love reveals1 to call poor sinners home4 ,more than a father's love he feels and welcomes all that come4 ,davisson1 the compiler of the ,,skh1 claimed this tune4 ,it functioned as the melodic material out of which the fuguing tune ',alabama'1 in the ,sacred ,harp1 was built4 ,no4 #ej ,,happy ,,souls 7,a71 ,,ol #ade ,hexatonic1 mode #d ,a 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,o happy souls1 how fast you go1 ,and leave me far behind6 ,don't stay for me1 for now ,i see1 ,the ,lord is good and kind4 ,go on1 go on1 my soul says go2 ,and ,i'll come after you2 ,tho' ,i'm behind1 ,i feel inclin'd ,to sing hosanna too4 ,god give you strength your race to run ,and keep your footsteps right2 ,though fast you go and ,i so slow1 ,you are not out of sight4 ,when you get to that world above1 ,and all ,god's glory see1 ,on that bright shore1 your journey o'er1 ,then look you out for me4 ,i'm coming on fast as ,i can4 ,nor toil nor danger fear2 ,god give me strength6--may ,i at length ,be one among you there4 ,then all together we shall meet-- ,together we will sing2 ,together we will praise our ,god ,and everlasting ,king4 ,the tune is one of the comparatively few correct dorian recordings--not minorized--in the fasola song books4 ,the compiler of the ,olive ,leaf gives the following note below the song3 ,i learned this air of ,rev4 ,samuel ,anthony1 of ,georgia1 more than thirty years ago1 ,wm4 ,hauser1 ,m4 ,d41 ,march1 #ahgh4 ,see ,introduction1 p4 #ad1 as to the ',babe of ,bethlehem' tune family to which ',happy ,souls' belongs4 ,an ,irish variant is ',the ,peevish ,child'1 ,petrie1 ,no4 #eia4 ,no4 #ea ,,babe ,,of ,,bethlehem1 ,,soh #gh ,hexatonic1 mode #d a 7,i ,,ii -- ,,iv ,v #f #g7 ,music ,ye nations all1 on you ,i call1 ,come hear this declaration1 ,and don't refuse this glorious news1 ,of ,jesus and salvation4 ,to royal ,jews came first the news ,of ,christ the great ,messiah1 ,as was foretold by prophets old1 ,isaiah1 ,jeremiah4 ,to ,abraham the promise came1 ,and to his seed forever1 ,a light to shine in ,isaac's line1 ,by scripture we discover2 ,hail1 promised morn1 the ,savior's born1 ,the glorious ,mediator-- ,god's blessed word made flesh and blood1 ,assumed the human nature4 ,his parents poor in earthly store1 ,to entertain the stranger ,they found no bed to lay his head1 ,but in the ox's manger2 ,no royal things1 as used by kings1 ,were seen by those that found him1 ,but in the hay the stranger lay1 ,with swaddling bands around him4 ,on the same night a glorious light ,to shepherds there appeared1 ,bright angels came in shining flame1 ,they saw and greatly feared2 ,the angels said1 ,be not afraid1 ,although we much alarm you1 ,we do appear good news to bear1 ,as now we will inform you4 ,the city's name is ,bethlehem1 ,in which ,god hath appointed1 ,this glorious morn a ,savior's born1 ,for him ,god hath anointed2 ,by this you'll know1 if you will go ,to see this little stranger1 ,his lovely charms in ,mary's arms1 ,both lying in a manger4 ,when this was said1 straightway was made ,a glorious sound from heaven1 ,each flaming1 tongue an anthem sung1 ,to men a ,savior's given1 ,in ,jesus' name1 the glorious theme1 ,we elevate our voices1 ,at ,jesus' birth be peace on earth1 ,meanwhile all heaven rejoices4 ,then with delight they took their flight1 ,and wing'd their way to glory1 ,the shepherds gazed and were amazed1 ,to hear the pleasing story2 ,to ,bethlehem they quickly came1 ,the glorious news to carry1 ,and in the stall they found them all1 ,joseph1 the ,babe1 and ,mary4 ,the shepherds then return'd again1 ,to their own habitation1 ,with joy of heart they did depart1 ,now they have found salvation4 ,glory1 they cry1 to ,god on high1 ,who sent his son to save us1 ,this glorious morn the ,savior's born1 ,his name it is ,christ ,jesus4 ,the tune1 evidently dorian1 is of a type that was widely used and varied by folk singers4 ,i mentioned this type in the ,introduction1 page #ad1 and called it the ',babe of ,bethlehem' family of tunes because the above seems to have been one of its best members4 ,other members1 in either the dorian or the aeolian mode1 are ',happy ,souls 7,a7'1 ',marion'1 ',atonement'1 and ',enquirer' in this collection2 related spiritual tunes not included here are ',help me to ,sing'1 ,,osh #cgf2 ',staunton'1 ,,skh #bf2 ',melody'1 ,,pb #cac2 ',brownson'1 ,,ol #bei2 ',howland'1 ,,rev #gc2 and ',sweet ,prospect'1 ,,osh #fe4 ,related worldly songs are ',the ,peevish ,child'1 ,petrie1 ,no4 #eia2 a song without title1 ,petrie1 ,no4 #aic2 ',when ,first ,i ,left ,old ,ireland'1 ,petrie1 ,no4 #hfc2 ',lowlands of ,holland'1 ,sharp1 i41 #bjj2 ',virginian ,lover'1 ,sharp1 ii41 #adi2 and ',the ,little ,red ,lark of the ,mountain'1 ,petrie1 ,no4 #chc4 ,john ,powell has set ',babe of ,bethlehem' in a beautiful dorian-mixolydian form for mixed chorus4 ,it is published by ,j4 ,fischer and ,brother1 ,new ,york4 ,ninety-eight ,folk-,hymns ,no4 #eb ,,washington1 ,,osh #adg ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,dismiss us with thy blessing1 ,lord1 ,help us to feed upon thy word4 ,all that has been amiss forgive1 ,and let thy truth within us live4 ,all that has been amiss forgive1 ,and let thy truth within us live4 ,tho' we are guilty1 thou art good1 ,wash all our works in ,jesus' blood2 ,give every fetter'd soul release ,and bid us all depart in peace4 ,give every fetter'd soul release ,and bid us all depart in peace4 ,the text is credited to ,joseph ,hart1 tune to ,munday1 in the ,original ,sacred ,harp4 ,melodic relationship is to be seen between this and ',ye ,mariners of ,england'4 ,see ,dolph1 ,sound ,off1 p4 #bbh4 ,no4 #ec ,,stephens1 ,,pb #cch ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,from whence doth this union arise1 ,that hatred is conquer'd by love8 ,it fastens our souls in such ties ,that nature and time can't remove4 ,it cannot in ,eden be found ,nor yet in a paradise lost2 ,it grows on ,immanuel's ground1 ,and ,jesus' dear blood it did cost4 ,my friends are so precious to me1 ,our hearts all united in love2 ,where ,jesus is gone we shall be1 ,in yonder blest mansions above4 ,o6 why then so loath for to part1 ,since we shall ere long meet again1 ,engraved on ,immanuel's heart1 ,at distance we cannot remain4 ,and when we shall see that bright day1 ,and join with the angels above1 ,leaving these vile bodies of clay1 ,united with ,jesus in love4 ,with ,jesus we ever shall reign1 ,and all his bright glories shall see1 ,singing hallelujah1 ,amen1 ,amen1 even so let it be4 ,this is probably a homespun text4 ,its tune is called a popular old melody4 ,i find it almost identical with a ',kilrush ,air' in ,petrie1 ,no4 #afg1 and with a close variant of the latter1 ,petrie1 ,no4 #bhc4 ,other related tunes are ',tweed ,side'1 ,,smm1 p4 #i2 ',inkle and ,yarico'1 ,the ,english ,repository1 p4 #bbf2 ',o ,i'm ,so ,happy'1 ',faithful ,soldier'1 and ',sawyer's ,exit' in this collection4 ,no4 #ed ,,separation1 ,,uhh #bg ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,our cheerful voices let us raise ,and sing a parting song2 ,although ,i'm with you now1 ,my friends1 ,i can't be with you long4 ,for ,i must go and leave you all2 ,it fills my heart with pain4 ,although we part perhaps in tears1 ,i hope we'll meet again4 ,found also ,,soh #cj4 ,the tune is like that of the ,english morris dance ',i'll ,go and ,enlist for a ,sailor'1 ,sharp1 ,morris ,dances1 ,set ,no4 ,,viii41 #f2 ',gilderoy'1 ,,smm1 ,no4 #e2 and ',come all ye ,faithful ,christians'1 ,,jfss1 ii41 #aae-abj4 ,no4 #ee ,,vesper1 ,baptist ,hymnal1 ,no4 #fe ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,the day is past and gone1 the evening shades appear2 ,o may we all remember well1 the night of death is near4 ,we lay our garments by1 upon our beds to rest2 ,so death will soon disrobe us all of what we here possess4 ,lord1 keep us safe this night1 secure from all our fears2 ,may angels guard us while we sleep1 till morning light appears4 ,miss ,gilchrist compares this tune with ',sprig of ,thyme'4 ,see ,,jfss1 viii41 #gj4 ,lowell ,mason calls it an ,old ,american ,tune in using it in his ,harp of the ,south1 p4 #abc4 ,no4 #ef ,,missionary',s ,,farewell1 ,,ol #ccc ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,yes1 my native land1 ,i love thee2 ,all thy scenes ,i love them well2 ,friends1 connections1 happy country1 ,can ,i bid you all farewell6 ,can ,i leave you1 can ,i leave you1 ,far in heathen lands to dwell8 ,can ,i leave you1 can ,i leave you1 ,far in heathen lands to dwell8 ,home1 thy joys are passing lovely1 ,joys no stranger heart can tell2 ,happy home6 indeed ,i love thee2 ,can ,i1 can ,i say1 ,farewell6 ,can ,i leave you1 etc4 ,scenes of sacred peace and pleasure1 ,holy days and ,sabbath bell-- ,richest1 brightest1 sweetest treasure-- ,can ,i say a last farewell8 ,can ,i leave you1 etc4 ,the words are ascribed to ,rev4 ,samuel ,f4 ,smith1 ,baptist1 ,boston1 ,mass4 ,the tune was learned by ,william ,hauser1 compiler1 of the ,olive ,leaf in ,burke ,co41 ,ga41 #ahda4 ,no4 #eg ,,kedron1 ,,soh #c ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,thou man of grief1 ,remember me1 ,thou never canst thyself forget ,thy last expiring agony1 ,thy fainting pangs and bloody sweat4 ,the tune is attributed in the southern books to ,dare4 ,found also ,,gcm #afe1 ,,osh #dh1 ,,soc #age1 ,,hoc #de1 ,,wp #af4 ,the tune is of a type which was widely sung to texts of the extremely solemn sort4 ,the introduction of slight variation in the expression of this melodic idea led to tunes with other titles and various composers 7874 ,i have called this tune family the ',kedron' group4 ,its members are ',distress'1 ,,osh #ej2 ',solemnity'1 ,,moh #dj2 ',salem'1 ,,uh #bb2 ',french ,broad' in this collection2 ',child of ,grace'1 ,,knh #gd2 and ',messiah'1 ,,vh #cj4 ,secular songs showing the same general melodic trend are ',mc,afee's ,confession'1 ,sharp1 ii41 #af1 and ,cox1 p4 #ebe2 ',a ,brisk ,young ,sailor'1 ,sharp1 ,one ,hundred ,english ,folksongs1 ,no4 #id2 ',lord ,bateman'1 ibid41 ,no4 #f2 and ',samuel ,young'1 ,sharp1 ii41 #bga4 ,no4 #eh ,,all ,,is ,,well1 ,,osh #abb ,hexatonic 7#fth missing1 cannot be classified but obviously ionian7 7,i ,,ii ,,iii ,,iv ,v -- ,,vii7 ,music ,what's this that steals1 that steals upon my frame8 ,is it death1 is it death8 ,that soon will quench1 will quench this mortal flame8 ,is it death1 is it death8 ,if this be death ,i soon shall be ,from every pain and sorrow free4 ,i shall the ,king of glory see1 ,all is well1 all is well4 ,weep not1 my friends1 weep not for me1 ,all is well1 all is well6 ,my sins forgiv'n1 forgiv'n1 and ,i am free1 ,all is well1 all is well6 ,there's not a cloud that doth arise1 ,to hide my ,jesus from my eyes4 ,i soon shall mount the upper skies1 ,all is well1 all is well6 ,tune1 tune your harps1 your harps ye saints on high1 ,all is well1 all is well6 ,i too will strike my harp with equal joy1 ,all is well1 all is well6 ,bright angels are from glory come1 ,they're round my bed1 they're in my room1 ,they wait to waft my spirit home1 ,all is well1 all is well4 ,as to sources we quote the #aiaa editor of the ,original ,sacred ,harp4 ,after attributing tune and words to ,j4 ,t4 ,white1 nephew of ,b4 ,f4 ,white1 compiler of the #ahdd ,sacred ,harp1 the editor states3 ,the tune had been published before it was printed in the #ahdd ,sacred ,harp4 ,a negro version of the song was recently recorded in ,texas and appears in the ,publications of the ,texas ,folk-,lore ,society1 vii41 #aji4 ,no4 #ei ,,faithful ,,soldier1 ,,soh 7#ahce7 #abb ,hexatonic1 mode #a ,a 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,o when shall ,i see ,jesus and dwell with him above1 ,and from the flowing fountain drink everlasting love8 ,when shall ,i be deliver'd from this vain world of sin8 ,and with my blessed ,jesus drink endless pleasures in8 ,but now ,i am a soldier1 my ,captain's gone before2 ,he's given me my orders and bids me ne'er give o'er2 ,his promises are faithful--a righteous crown he'll give1 ,and all his valiant soldiers eternally shall live4 ,through grace ,i am determined to conquer tho' ,i die1 ,and then away to ,jesus on wings of love ,i'll fly4 ,farewell to sin and sorrow1 ,i bid them both adieu1 ,and ,o1 my friends1 prove faithful1 and on your way pursue4 ,whene'er you meet with troubles and trials on your way1 ,then cast your cares on ,jesus and don't forget to pray4 ,gird on the gospel armor of faith and hope and love1 ,and when the combat's ended ,he'll carry you above4 ,o do not be discouraged for ,jesus is your friend1 ,and if you lack for knowledge1 he'll not refuse to lend4 ,neither will he upbraid you1 though often you request1 ,he'll give you grace to conquer and take you home to rest4 ,and when the last loud trumpet shall rend the vaulted skies1 ,and bid th' entombed millions from their cold beds arise2 ,our ransomed dust1 reviv-ed1 bright beauties shall put on1 ,and soar to the blest mansions where our ,redeemer's gone4 ,our eyes shall then with rapture1 the ,savior's face behold2 ,our feet1 no more diverted1 shall walk the streets of gold4 ,our ears shall hear with transport the hosts celestial sing2 ,our tongues shall chant the glories of our immortal ,king4 ,william ,walker1 compiler of the ,,soh1 claims the tune4 ,a recent variant of it1 orally transmitted1 is ',o ,i'm ,so ,happy'1 in this collection4 ,another variant here is ',stephens'4 ,all these tunes seem to derive from an old one recorded in ,kilrush1 ,ireland1 and found in the ,petrie collection in two variants1 ,nos4 #afg and #bhc4 ,compare also the similar ',hallelujah' tune family with its members listed under the tune by that title in this collection4 ,the text is by ,john ,leland and was uniquely popular--as sung in its purity or associated with various refrains and revival choruses--during the early part of the nineteenth century4 ,the negroes have borrowed freely from this poem in making the texts for their spirituals1 especially from the fourth and fifth stanzas4 ,cf4 ,,ws #bag;ff4 and #bhf4 ,no4 #fj ,,green ,,fields1 ,,soh #ga ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,how tedious and tasteless the hours1 ,when ,jesus no longer ,i see2 ,sweet prospects1 sweet birds and sweet flow'rs ,have all lost their sweetness to me4 ,the midsummer sun shines but dim1 ,the fields strive in vain to look gay2 ,but when ,i am happy in him1 ,december's as pleasant as ,may4 ,his name yields the richest perfume1 ,and sweeter than music his voice2 ,his presence disperses my gloom1 ,and makes all within me rejoice4 ,i should1 were he always thus nigh1 ,have nothing to wish or to fear2 ,no mortal so happy as ,i1 ,my summer would last all the year4 ,content with beholding his face1 ,my all to his pleasure resigned1 ,no changes of seasons or place1 ,would make any change in my mind4 ,while blessed with a sense of his love1 ,a palace a toy would appear2 ,and prisons would palaces prove1 ,if ,jesus would dwell with me there4 ,the tune is to be found in ,s4 ,baring-,gould's ,songs of the ,west1 ,no4 #ajj1 as recorded before #ahij from the singing of an old man in ,lamerton1 ,england4 ,we are informed by the editor of the collection that the song1 ',both ,sexes ,give ,ear to ,my ,fancy' which used this tune1 had been very popular with aged people residing in the ,north of ,england1 but that it was then long out of print and handed down traditionally4 ,the earliest form of the tune seems to have been ',es nehme zehn-tausend ,ducaten' in ,johann ,sebastian ,bach's cantata ,mer hahn en neue ,oberkeet 7,cf4 ,bach-,gesellschaft1 ,vol4 #bi1 p4 #aie74 ,the earliest printed form of the ,bach tune in ,england1 according to ,baring-,gould1 was in ,the ,tragedy of ,tragedies1 or ,tom ,thumb1 #agcd1 as the setting of the song ',in ,hurry ,posthaste for a ,license'4 ,the earliest occurrence of the tune with the ',both ,sexes' text was in ,the ,lady's ,evening ,book of ,pleasure1 about #agdj4 ,the air is also found in ,vocal ,music1 or the ,songster's ,companion1 second edition1 #aghb1 to the song entitled ',farewell1 ,ye ,green ,fields and ,sweet ,groves'4 ,this was probably the song whose tune was taken over bodily and whose words were parodied to make the above song ',green ,fields'4 ,the author of the parody text was sometimes given in the fasola books as ,john ,newton4 ,the incidence of the song in southern song books of the first half of the nineteenth century 7,,moh #eb1 ,,gcm #add1 ,,uh #aab1 ,,knh #hj1 ,,osh #abg1 ,,hh #cde1 ,,soc #cj1 ,,cm #bd1 ,,hoc #af1 ,,tz #bcg1 ,,skh #ah1 ,,pb #cab1 ,,gos #cjc1 etc47 indicates its one-time wide popularity also on this continent4 ,no4 #fa ,,saints' ,,rapture1 ,,rev #ag ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,high in yonder realms of light ,dwell the raptured saints above1 ,far beyond our feeble sight ,happy in ,immanuel's love4 ,pilgrims in this vale of tears1 ,once they knew like us below1 ,gloomy doubts1 disturbing fears1 ,torturing pain and heavy woe4 ,days of weeping now are o'er1 ,past those scenes of toil and pain2 ,they will feel distress no more1 ,never1 never weep again4 ',mid the chorus of the skies2 ',mid angelic choirs above2 ,they now join the songs that rise1 ,songs of praise to ,jesus' love4 ,there are two more stanzas of the text in the ,revivalist4 ,the tune and the text are obviously a parody on ',reuben1 ,reuben1 ,i've ,been ,thinking'4 ,no4 #fb ,,animation1 ,,soh 7#ahce7 #he ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,drooping souls1 no longer grieve1 ,heaven is propitious2 ,if in ,christ you do believe1 ,you will find him precious4 ,jesus now is passing by1 ,calls the mourner to him1 ,brings salvation from on high2 ,now look up and see him4 ,for the complete text see ',lebanon' in this collection4 ,this song was taken into the ,southern ,harmony from the ,dover ,selection4 ,the tune is related to ',maid ,freed ,from the ,gallows'1 ,thomas1 p4 #afd1 and to the old ,irish ',tell ,me ,dear ,eveleen'1 in ,a ,select ,collection of ,original ,irish ,airs1 ,no4 #f1 composed by ,beethoven4 ,no4 #fc ,,invitation1 ,,ol #bdg ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,hark1 ,i hear the harps eternal ,ringing on the farther shore1 ,as ,i near those swollen waters ,with their deep and solemn roar4 ,hallelujah1 hallelujah1 ,hallelujah1 praise the ,lamb2 ,hallelujah1 hallelujah1 ,glory to the ,,great ,i ,,am6 ,and my soul1 tho' stain'd with sorrow1 ,fading as the light of day1 ,passes swiftly o'er those waters1 ,to the city far away4 ,hallelujah etc4 ,souls have cross'd before me1 saintly1 ,to that land of perfect rest2 ,and ,i hear them singing faintly1 ,in the mansions of the blest4 ,hallelujah etc4 ,the compiler of the ,olive ,leaf found this song1 as he tells us1 in ,f4 ,r4 ,warren's ,dream ,music4 ,the tune shows unmistakable family relationships1 especially in the chorus1 to ',nettleton' in this collection4 ,no4 #fd ,,hark ,,my ,,soul1 ,,chh #bbd ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,hark1 my soul1 it is the ,lord2 ',tis thy ,savior1 hear his word6 ,jesus speaks1 he speaks to thee3 ,say1 poor sinner1 say1 poor sinner1 ,say1 poor sinner1 lov'st thou me8 ,i deliver'd thee when bound1 ,and1 when wounded1 healed thy wound2 ,sought thee wand'ring1 set thee right2 ,turned thy darkness1 turned thy darkness1 ,turned thy darkness into light4 ,can a mother's tender care ,cease toward the child she bare8 ,yes1 she may forgetful be1 ,yet will ,i re-1 yet will ,i re-1 ,yet will ,i remember thee4 ,the song was ,arranged by ,james ,christopher1 of ,spartansburg1 ,s4 ,c41 according to the ,christian ,harmony4 ,richardson has a variant of this tune used with a text which is a recent mountain eulogy on the whiskey of the hills under the title ',moonshine'1 see ,american ,mountain ,songs1 page #id4 ,a hint of the antiquity of this tune form is given by the ',ass's ,sequence' or ',orientis partibus' from the beginning of the thirteenth century1 a tune which was apparently cast in the folk-manner of that age4 ,music ,orientis partibus aduentauit asinus pulcher et fortissimus ,sarcinis aptissimus4 ,hez1 hez1 sire asnes1 hez4 ,its modern representative is3 ,music ,see ,hymns ,ancient and ,modern1 ,no4 #dac4 ,no4 #fe ,,frozen ,,heart1 ,,osh #ic ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,lord1 shed a beam of heav'nly day ,to melt this stubborn stone away2 ,and thaw1 with rays of love divine1 ,this heart1 this frozen heart of mine2 ,this heart1 this frozen heart of mine2 ,this heart1 this frozen heart of mine4 ,the rocks can rend2 the earth can quake2 ,the seas can roar2 the mountains shake2 ,of feeling1 all things show some sign1 ,but this unfeeling heart of mine4 ,to hear the sorrows thou hast felt1 ,dear ,lord1 an adamant would melt6 ,but ,i can read each moving line1 ,and nothing move this heart of mine4 ,the text is attributed1 in the ,sacred ,harp of #ahdd1 to ,joseph ,hart and it is dated #agei4 ,the tune is ascribed to ,e4 ,j4 ,king4 ,the melodic trend of the refrain brings to mind ',the ,campbells are ,coming'4 ,no4 #ff ,,lebanon1 ,,knh #hh ,hexatonic1 mode #e ,a 7,i -- #c ,,iv ,v #f #g7 ,music ,mourning souls1 no longer grieve1 ,heaven is propitious2 ,if on ,christ you do believe1 ,you shall find him precious4 ,jesus now is passing by1 ,calls the mourner to him2 ,he hath died for you and ,i1 ,now look up and view him4 ,he has pardons1 full and free1 ,drooping souls to gladden2 ,still he cries3 ,come unto me1 ,weary1 heavy-laden4 ,tho' your sins1 like mountains high1 ,rise and reach to heaven1 ,soon as you on him rely ,all will be forgiven4 ,precious is the ,savior's name1 ,all his saints adore him2 ,he to save the dying came-- ,prostrate bow before him2 ,wand'ring sinners1 now return2 ,contrite souls1 believe him6 ,jesus calls you--cease to mourn2 ,worship him--receive him6 ,from his hands1 his feet1 his side1 runs the healing lotion2 ,see the consolating tide1 boundless as the ocean6 ,see the healing waters move for the sick and dying6 ,now resolve to gain his love1 or to perish trying4 ,grace's store is always free1 drooping souls to gladden2 ,jesus calls3 ,come unto me-- weary1 heavy laden4 ,though your sins like mountains high1 rise and reach to heaven1 ,soon as you on him rely1 all shall be forgiven4 ,now methinks ,i hear one say3 ,i will go and prove him2 ,if he takes my sins away1 surely ,i shall love him4 ,yes1 ,i see the ,father smile1 now ,i lose my burden2 ,all is grace1 for ,i am vile1 yet he seals my pardon4 ,this text is found ,,hh #dac1 and also ,,coh #abb4 ,no4 #fg ,,soldier',s ,,return1 ,,soh #cf ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,bright scenes of glory strike my sense1 ,and all my passions capture2 ,eternal beauties round me shine1 ,infusing warmest rapture4 ,i live in pleasures deep and full1 ,in swelling waves of glory4 ,i feel my ,savior in my soul ,and groan to tell the story4 ,further stanzas are given under ',mecklinburg'4 ,the tune was borrowed from ',when the ,wild ,war's ,deadly ,blast'1 ,,smm1 ,no4 #aca4 ,see also for melodic similarities ',the ,mill ,mill ,o'1 ,,smm1 ,no4 #aeg2 and ',blue-,eyed ,stranger'1 ,sharp1 ,the ,morris ,book1 ,part ,i1 p4 #ia4 ,see ,greig-,keith1 ,last ,leaves1 p4 #aha1 for the tune's wide use in the ,british ,isles during the eighteenth century4 ,no4 #fh ,,christian ,,soldier1 ,,gos #bjg ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,here at ,thy table1 ,lord1 ,we meet ,to feed on food divine2 ,thy body is the bread we eat1 ,thy precious blood the wine4 ,he that prepares the rich repast1 ,himself comes down and dies2 ,and then invites us thus to feast1 ,upon the sacrifice4 ,the bitter torments he endured upon the shameful cross1 ,for us his welcome guests procured these heart-reviving joys4 ,his body torn with rudest hands becomes the finest bread1 ,and with the blessings he commands1 our noblest hopes are fed4 ,his blood that from each opening vein in purple torrents ran ,hath filled this cup with generous wine1 that cheers both ,god and man4 ,sure there was never love so free1 dear ,savior1 so divine2 ,well thou may'st claim that heart of mine1 which owes so much to thine4 ,the text is one of those which rationalize religious rites2 in this case1 that of the communion4 ,the tune is credited to ,freeman ,price4 ,its second part reminds of ',the ,merry1 ,merry ,milkmaids'1 ,sharp1 ,country ,dances1 ,set ,no4 #e4 ,no4 #fi ,,tribulation1 ,,moh #df ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,death1 'tis a melancholy day ,to those that have no ,god1 ,when the poor soul is forc'd away ,to seek her last abode4 ,in vain to heaven she lifts her eyes2 ,but guilt1 a heavy chain1 ,still drags her downward from the skies ,to darkness1 fire and pain4 ,awake and mourn1 ye heirs of hell1 ,let stubborn sinners fear2 ,you must be driv'n from earth and dwell ,alone forever there4 ,see how the pit gapes wide for you1 ,and flashes in your face2 ,and thou1 my soul1 look downward too1 ,and sing recov'ring grace4 ,the text has been attributed to ,watts4 ,recent hymnals have been purged of this doleful ditty and of all other songs which make hellfire too realistic4 ,the tune was attributed to ,chapin in some books and to ,davisson in others4 ,davisson claims it in his ,kentucky ,harmony 7#ahae74 ,it is practically identical with ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #ahb1 a tune which ,sharp heard in ,greenwood1 ,albemarle ,county1 ,virginia1 ,davisson's own territory and near where he is buried4 ,an early variant which is practically identical with both the ,sharp and the ,davisson tunes is in ,motherwell1 ,supplement1 ,no4 #cj1 associated with ',the ,bonnie ,mermaid' text4 ,found also1 ,,kyh #dc1 ,,soh #aai1 ,,uh #cg1 ,,knh #ch1 ,,osh #bi1 ,,hh #ee4 ,no4 #gj ,,volunteers1 ,,chh #aaj ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,hark1 listen to the trumpeters6 ,they sound for volunteers6 ,on ,zion's bright and flow'ry mount ,behold the officers2 ,their horses white1 their garments bright1 ,with crown and bow they stand1 ,enlisting soldiers for their ,king1 ,to march for ,canaan's land4 ,it sets my heart all in a flame2 a soldier ,i will be2 ,i will enlist1 gird on my arms and fight for liberty4 ,they want no cowards in their band 7,they will their colours fly71 ,but call for valiant hearted men1 who're not afraid to die4 ,the armies now are on parade1 how martial they appear6 ,all armed and dressed in uniform1 they look like men of war2 ,they follow their great ,general1 the great ,eternal ,lamb1 ,his garments stained with his own blood1 ,king ,jesus1 is his name4 ,the trumpet sounds1 the armies shout1 and drive the hosts of hell2 ,how dreadful is our ,god in arms6 ,the great ,immanuel6 ,sinners1 enlist with ,jesus ,christ1 th' eternal ,son of ,god1 ,and march with us to ,canaan's land1 beyond the swelling flood4 ,there is a green and flow'ry field1 where fruits immortal grow2 ,there1 clothed in white1 the angels bright1 our great ,redeemer know4 ,we'll shout and sing forever more in that eternal world2 ,but ,satan and his armies too1 shall down to hell be hurled4 ,hold up your heads1 ye soldiers bold1 redemption's drawing nigh1 ,we soon shall hear the trumpet sound2 ',twill shake both earth and sky2 ,in fiery chariots then we'll fly1 and leave the world on fire1 ,and meet around the starry throne to tune th' immortal lyre4 ,the tune is attributed to ,wm4 ,bradshaw4 ,found also ,,hh #aei and ,,swp #ij4 ,dett1 p4 #ahj1 and ,,soh #cja1 have the same words but different tunes4 ,no4 #ga ,,backslider1 ,,rev #bjh ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,how can ,i vent my grief8 ,my comforter is fled6 ,by day ,i sigh without relief ,and groan upon my bed4 ,how little did ,i think when first ,i did begin ,to join a little with the world it was so great a sin4 ,i thought ,i might conform1 nor singular appear1 ,converse and dress as others did1 but now ,i feel the snare4 ,my confidence is gone1 ,i find no words to say1 ,barren and lifeless is my soul when ,i attempt to pray4 ,the tune is similar to those used with several text variants of ',the ,wife of ,usher's ,well'4 ,sharp1 i41 #aej;ff4 ,the oldest ,american song book record of the ',backslider' tune is in ,ingalls' ,christian ,harmony of #ahje1 p4 #ee1 where it is entitled ',the ,general ,doom' and begins3 ,behold6 with awful pomp1 ,the ,judge prepares to come2 ,th' archangel sounds the awful trump ,and wakes the general doom4 ,no4 #gb ,,good ,,old ,,way 7,b71 ,,ol #h ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,lift up your heads1 ,emmanuel's friends1 ,and taste the pleasure ,jesus sends2 ,let nothing cause you to delay1 ,but hasten on the good old way4 ,our conflicts here1 tho' great they be1 ,shall not prevent our victory1 ,if we but watch1 and strive1 and pray6 ,like soldiers in the good old way4 ,o good old way1 how sweet thou art6 ,may none of us from thee depart2 ,but may our actions always say ,we're marching in the good old way6 ,a tune and song words of the ,granade period1 ,william ,hauser1 compiler of the ,olive ,leaf suggests4 ,john ,adam ,granade was an evangelist of the wild sort who lived #agge to #ahjf4 ,a negro tune which combines elements of the above and ',i ,went ,down to the ,valley'1 in this collection1 is in ,slave ,songs1 ,no4 #ajd4 ,no4 #gc ,,rest ,,in ,,heaven1 ,,ol #ceh ,hexatonic1 mode #b ,a minorized 7,i ,,ii #c ,,iv ,v -- #g ,,vii7 ,music ,my rest is in heaven1 my rest is not here1 ,then why should ,i murmur at trials severe4 ,be tranquil1 my spirit1 the worst that can come ,but shortens thy journey and hastens thee home4 ,let trouble and danger my progress oppose2 ,they'll only make heaven more bright at the close2 ,come joy1 then1 or sorrow--whate'er may befall-- ,one moment in glory will make up for all4 ,a scrip on my back1 and a staff in my hand1 ,i march on in haste thro' an enemy's land2 ,the road may be rough1 but it cannot be long2 ,i'll smooth it with hope1 and ,i'll cheer it with song4 ,the tune is related to ',be ,gone ,unbelief'1 in this collection1 and to the worldly tunes listed under that song4 ,negro adoptions of the tune are ,marsh1 pp4 #add and #agc1 and ,,ss #cc4 ,no4 #gd ,,to ,,die ,,no ,,more1 ,,gos #cfc ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,my heav'nly home is bright and fair1 ,no pain nor death can enter there2 ,its glitt'ring tow'rs the sun outshine1 ,i hope that mansion shall be mine4 ,chorus ,i'm going home to ,christ above1 ,i'm going to the ,christian's rest1 ,to die no more to1 die no more1 ,i'm going home to die no more4 ,my ,father's house is built on high1 ,far1 far above the starry sky2 ,when from this earthly prison free1 ,i hope that mansion mine shall be4 ,chorus ,i envy not the rich and great1 ,their pomp of wealth and pride of state2 ,my ,father is a richer ,king1 ,that heav'nly mansion still ,i sing4 ,chorus ,the tune is identical with one used with the worldly ballad ',three ,ravens'1 see ,davis #efb4 ,no4 #ge ,,columbus1 ,,osh #fg ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,oh1 once ,i had a glorious view ,of my redeeming ,lord2 ,he said1 ,i'll be a ,god to you1 ,and ,i believ'd his word4 ,but now ,i have a deeper stroke ,than all my groanings are2 ,my ,god has me of late forsook1 ,he's gone ,i know not where4 ,oh1 what immortal joys ,i felt ,on that celestial day1 ,when my hard heart began to melt1 ,by love dissolved away6 ,but my complaint is bitter now1 ,for all my joys are gone2 ,i've strayed6 ,i'm left6 ,i know not how2 ,the light's from me withdrawn4 ,once ,i could joy the saints to meet1 ,to me they were most dear2 ,i then could stoop to wash their feet1 ,and shed a joyful tear2 ,but now ,i meet them as the rest1 ,and with them joyless stay2 ,my conversation's spiritless1 ,or else ,i've nought to say4 ,the words appeared in ,mercer's ,cluster1 a ,georgia hymn and spiritual-song collection of the #ahbj's4 ,the earliest appearance of the tune seems to have been in the ,southern ,harmony 7#ahce74 ,found also in ,,hh #abh1 ,,uh #eg1 ,,knh #db1 ,,hoc #cg1 ,,soc #aji1 ,,gos #chj1 ,,pb #cdc4 ,the tune is a variant of ',antioch'1 in this collection4 ,for negro tune derivatives see ,white ,spirituals1 #bei4 ,among the tunes in secular environment1 ',virginian ,lover'1 ,sharp1 ii41 #adi1 tune ,b1 shows closest relationship to the above4 ,see also ',flat ,river ,girl'1 ,rickaby1 p4 #f2 and ',driving ,saw ,logs on the ,plover'1 ,rickaby1 p4 #hi4 ,no4 #gf ,,yongst1 ,,bs #bjc ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,father1 ,i sing thy wondrous grace ,and bless my ,savior's name1 ,who bought salvation for the poor1 ,and bore the sinner's shame4 ,his deep distress has raised us high2 ,his duty and his zeal ,fulfilled the law which mortals broke1 ,and finished all thy will4 ,zion is thine1 most holy ,god2 ,thy ,son shall bless her gates2 ,and glory1 purchased by his blood1 ,for thine own ,israel waits4 ,the tune is attributed to ,w4 ,b4 ,gillham4 ,it is member of the ',lord ,lovel' group mentioned in the ,introduction1 page #ad4 ,noteworthy in this connection is a variant of the above tune as sung by a negro in ,north ,carolina2 see ,scarbrough1 p4 #ee4 ,further tunes belonging to the ',lord ,lovel' group are listed under ',dulcimer' in this collection4 ,no4 #gg ,,down ,,in ,,the ,,garden1 ,,rev #ajh ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,dark was the hour1 ,gethsemane1 ,when through thy walks was heard ,the lowly ,man of ,galilee1 ,still pleading with the ,lord4 ,down in the garden1 hear that mournful sound2 ,there behold the ,saviour weeping1 ,praying on the cold damp ground4 ,jesus1 my ,saviour1 let me weep with thee2 ,mercy1 ,o thou ,son of ,david1 ,mercy's coming down to me4 ,alone in sorrow see him bow1 ,as all our griefs he bears2 ,not words may tell his anguish now1 ,but sweat and blood and tears4 ,down in the garden etc4 ,four more stanzas of the text are given in the ,revivalist4 ,the last part of the tune and the whole text are obvious parodies of the ,foster song ',massa's in the ,cold1 ,cold ,ground'4 ,for possible folk sources of ,foster's song1 see my article ,stephen ,foster's ,debt to ,american ,folk-,song1 ,the ,musical ,quarterly1 xxii 7#aicf71 ,no4 #b1 p4 #aei4 ,no4 #gh ,,albion1 ,,moh #di ,pentachordal1 cannot be classified 7,i ,,ii ,,iii ,,iv ,v -- --7 ,music ,come1 ye that love the ,lord1 ,and let your love be known2 ,join in a song of sweet accord ,and thus surround the throne1 ,and thus surround the throne4 ,the sorrows of the mind ,be banished from this place2 ,religion never was designed ,to make our pleasures less1 ,to make our pleasures less4 ,let those refuse to sing1 ,who never knew our ,god2 ,but fav'rites of the heav'nly ,king ,may speak their joys abroad1 ,may speak their joys abroad4 ,the words are by ,watts4 ,the tune is ascribed to ,r7obert7 ,boyd4 ,it is found also1 ,,kyh #ah1 ,,gcm #aga1 ,,soh #bc1 ,,uh #ba1 ,,gos #abf1 ,,knh #ea1 ,,osh #eb1 ,,hh #bja1 ,,hoc #ab4 ,it sounds like one of the old psalm tunes4 ,no4 #gi ,,dunlap',s ,,creek1 ,,soh #bgf ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,my ,god1 ,my ,portion1 and my ,love1 ,my everlasting all1 ,i've none but thee in heav'n above1 ,or on this earthly ball4 ,what empty things are all the skies1 ,and this inferior clod6 ,there's nothing here deserves my joys1 ,there's nothing like my ,god4 ,in vain the bright1 the burning sun ,scatters his feeble light2 ',tis thy sweet beams create my noon2 ,if thou withdraw1 'tis night4 ,the words are ,watts'4 ,the tune is given as by ,f7reeman7 ,lewis4 ,found also1 ,,gcm #fc1 ,,soc #bch1 ,,wp #dd1 ,,tz #gg1 ,,gos #fej1 ,,skh #hc1 ,,cm #abj1 ,baptist ,hymn and ,tune ,book 7#aheg71 p4 #ajf1 where it is called a ',western ,melody'4 ,it is practically the same as ',wife of ,usher's ,well'1 ,sharp1 i41 #afj1 ,q4 ,see ,introduction1 page #ad1 for mention of the ',lord ,lovel' type of tune to which ',dunlaps' ,creek' belongs4 ,no4 #hj ,,sinner',s ,,invitation1 ,,ol #baa ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,sinner go1 will you go ,to the highlands of heaven1 ,where the storms never blow ,and the long summer's given1 ,where the bright blooming flow'rs ,are their odors emitting ,and the leaves of the bow'rs ,in the breezes are flitting4 ,where the rich golden fruit ,is in bright clusters pending1 ,and the deep laden boughs ,of life's fair tree are bending2 ,and where life's crystal stream ,is unceasingly flowing1 ,and the verdure is green1 ,and eternally growing4 ,the tune and words which are parodied here are those of the ',braes o' ,balquhidder'4 ,the text is attributed1 by the compiler of the ,olive ,leaf1 to ,rev4 ,wm4 ,mc,donald1 ,i guess4 ,the ,scotch song begins3 ,will you go1 lassie1 go to the braes o',balquhidder1 ,where the blackberries grow in the bonnie blooming heather4 ,see ,gilchrist1 ,,jfss1 viii41 #gg4 ,another variant of the ',braes o' ,balquhidder' tune in this collection is ',lone ,pilgrim'4 ,gilchrist traces the ,scotch tune back still farther to ',brochan ,buirn'1 an old ,gaelic air4 ,see ,,jfss1 viii41 #gf4 ,it influenced ,stephen ,foster in his making of the tune ',linda ,has ,departed'4 7,see my article in ,the ,musical ,quarterly1 vol4 xxii1 ,no4 #b47 ,no4 #ha ,,land ,,of ,,rest1 ,,ol #aag ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,there is a land of pure delight ,where saints immortal reign1 ,infinite day excludes the night ,and pleasures banish pain4 ,o the land of rest1 ,o the land of rest1 ,where ,christ and ,his people meet2 ,the land of the blest1 all in beauty drest1 ,where the saints all their lov'd ones greet4 ,inspiration of this tune1 says the compiler of the ,olive ,leaf1 caught from a female voice at a distance1 at ,barbee ,hotel1 ,high ,point1 ,n4 ,c41 ,june #ith1 #ahfh4 ,the mountain woman must have been singing ',lord ,lovel'2 for the tunes of that ballad1 as found for example in ,davis1 p4 #egd1 ,o2 and ,sharp1 i41 #adh1 are practically the same as ',land of ,rest'4 ,see ,introduction1 page #ad4 ,no4 #hb ,,florence1 ,,osh #aba ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,not many years their rounds shall roll1 ,each moment brings it nigh1 ,ere all its glories stand revealed1 ,to our admiring eye4 ,ye wheels of nature1 speed your course1 ,ye mortal pow'rs decay2 ,fast as ye bring the night of death1 ,ye bring eternal day4 ,it is an old melody1 ,j4 ,s4 ,james1 editor of the #aiaa ,original ,sacred ,harp1 says4 ,prof4 ,t4 ,s4 ,carter of ,georgia took the outlines and arranged it in #ahdd4 ,the tune is found also1 ,,soc #gg1 ,,gos #agh4 ,a variant is ,,gos #afe1 entitled ',lonesome ,dove'4 ,another variant is ',the ,weary ,soul'1 ,,osh #gb4 ,i find this tune to be a member of the group which ,i have called the ',roll ,jordan' family of melodies4 ,see the song with that title in this collection4 ,no4 #hc ,,albert1 ,,soc #aec ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,my brethren all1 on you ,i call1 ,arise and look around you1 ,how many foes bound to oppose1 ,who're waiting to confound you2 ,how many foes bound to oppose1 ,who're waiting to confound you4 ,credited in the ,social ,harp to ,e4 ,r4 ,white and dated #ahee4 ,the tune is a clear adaptation of ',the ,girl ,i ,left ,behind ,me'4 ,no4 #hd ,,royal ,,proclamation1 ,,soh #adf ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,hear the royal proclamation1 ,the glad tidings of salvation1 ,publishing to every creature1 ,to the ruin'd sons of nature4 ,jesus reigns1 he reigns victorious1 ,over heaven and earth most glorious1 ,jesus reigns4 ,see the royal banner flying1 ,hear the heralds loudly crying3 ,rebel sinners1 royal favour ,now is offer'd by the ,saviour4 ,jesus reigns1 etc4 ,hear1 ye sons of wrath and ruin1 ,who have wrought your own undoing1 ,here is life and free salvation1 ,offered to the whole creation4 ,jesus reigns1 etc4 ,although ,ananias ,davisson claims1 in the ,supplement to ,the ,kentucky ,harmony1 to have made the tune1 no subsequent user of the song seems to have looked on him as its author4 ,it has all the earmarks of an eighteenth century fife-and-drum-corps tune which was appropriately set to the religio-martial text4 ,found also1 ,,uh #ia1 ,,knh #ia1 ,,hh #dfh1 ,,skh #ajg1 ,,gos #fdc4 ,no4 #he ,,carry ,,me ,,home or ,,penick1 ,,osh #chg ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,while trav'ling through this world below1 ,where sore afflictions come1 ,my soul abounds with joy to know ,that ,i will rest at home4 ,carry me home1 carry me home1 ,when my life is o'er2 ,then carry me to my long sought home where pain is felt no more4 ,yes1 when my eyes are closed in death1 ,my body cease to roam1 ,i'll bid farewell to all below ,and meet my friends at home4 ,carry me home etc4 ,and then ,i want these lines to be ,inscribed upon my tomb3 ,here lies the dust of ,s4 ,r4 ,p41 ,his spirit sings at home4 ,carry me home etc4 ,the initials in the third stanza belonged to ,professor ,s4 ,r4 ,penick1 a devoted ,christian man1 and one who was very fond of music1 according to ,james1 #aiaa editor of the ,,osh4 ,but he ascribes tune and words to ,m4 ,sikes1 a singing-school teacher in ,georgia before the ,civil ,war4 ,the tune is a variant of ',dying ,boy' in this collection4 ,no4 #hf ,,jordan1 ,,skh #hf ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,on ,jordan's stormy banks ,i stand ,and cast a wishful eye1 ,to ,canaan's fair and happy land ,where my possessions lie4 ,o the transporting rapt'rous scene ,that rises to my sight1 ,sweet fields arrayed in living green ,and rivers of delight4 ,there generous fruits that never fail ,on trees immortal grow2 ,there rocks and hills and brooks and vales ,with milk and honey flow4 7,four stanzas omitted47 ,soon will the ,lord my soul prepare ,for joys beyond the skies1 ,where never-ceasing pleasures roll1 ,and praises never die4 ,the tune belongs to the ',roll ,jordan' group2 see ,introduction1 page #ad4 ,see also the song by that title in this collection4 ,no4 #hg ,,enquirer1 ,,osh #gd ,hexatonic1 mode #d a 7,i ,,ii -- ,,iv ,v #f #g7 ,music ,i'm not asham'd to own my ,lord1 ,or to defend his cause1 ,maintain the honor of his word1 ,the glory of his cross4 ,jesus1 my ,god1 ,i know his name2 ,his name is all my trust2 ,nor will he put my soul to shame1 ,nor let my hope be lost4 ,firm as his throne his promise stands1 ,and he can well secure ,what ,i've committed to his hands1 ,till the decisive hour4 ,then will he own my worthless name1 ,before his ,father's face1 ,and in the new ,jerusalem ,appoint my soul a place4 ,the words are attributed to ,isaac ,watts2 the tune to ,b4 ,f4 ,white of ,georgia1 and dated #ahdd4 ,the tune is a member of the ',babe of ,bethlehem' group4 ,see ,introduction1 p4 #ad1 and1 ',babe of ,bethlehem' in this collection4 ,a secular related tune is ',lowlands of ,holland'1 ,sharp1 i41 #bjj4 ,since the tune has clear dorian implications1 its proper key signature is one flat4 ,no4 #hh ,,wondrous ,,love1 ,,osh #aei ,hexatonic1 mode #d a 7,i ,,ii -- ,,iv ,v #f #g7 ,music ,what wondrous love is this1 ,o my soul1 ,o my soul2 ,what wondrous love is this1 ,o my soul2 ,what wondrous love is this ,that caused the ,lord of bliss ,to bear the dreadful curse for my soul1 for my soul1 ,to bear the dreadful curse for my soul4 ,when ,i was sinking down1 sinking down1 sinking down2 ,when ,i was sinking down1 sinking down2 ,when ,i was sinking down beneath ,god's righteous frown1 ,christ laid aside his crown for my soul1 for my soul2 ,christ laid aside his crown for my soul4 ,to ,god and to the ,lamb ,i will sing1 ,i will sing2 ,to ,god and to the ,lamb ,i will sing2 ,to ,god and to the ,lamb who is the great ,i ,,am1 ,while millions join the theme1 ,i will sing1 ,i will sing2 ,while millions join the theme ,i will sing4 ,and when from death ,i'm free ,i'll sing on1 ,i'll sing on2 ,and when from death ,i'm free ,i'll sing on4 ,and when from death ,i'm free ,i'll sing and joyful be1 ,and through eternity ,i'll sing on1 ,i'll sing on1 ,and through eternity ,i'll sing on4 ,the song is found also1 ,,soh 7#ahed7 #beb1 ,,gos #dcf1 ,,pb #chd1 ,,ol #cga1 and in various tune books of the ,baptists up to the present time4 ,the ,southern ,harmony attributes the tune to ,christopher2 ,good ,old ,songs1 to ,j4 ,christopher2 and the ,hesperian ,harp attributes the words to the ,rev4 ,alex ,means1 ,a4 ,m41 ,m4 ,d41 ,d4 ,d41 ,,ll4 ,d41 a ,methodist minister of ,oxford1 ,ga4 ,it looks as though tune and words were born together1 so beautifully they fit4 ,the stanzaic form is that of the ',captain ,kidd' ballad which has been widely sung and parodied since the beginning of the eighteenth century4 ,a spiritual song tune related to ',wondrous ,love' is ',villulia' in this collection4 ,i have heard the country folk sing this tune with the dorian raised sixth4 ,no4 #hi ,,salvation 7,a71 ,,bs #abg ,hexatonic1 mode #a ,b 7,i ,,ii -- ,,iv ,v ,,vi ,,vii7 ,music ,o thou ,god of my salvation1 ,my ,redeemer from all sin1 ,moved by thy divine compassion1 ,who hast died my heart to win4 ,i will praise thee1 ,i will praise thee2 ,where shall ,i thy praise begin8 ,angels now are hov'ring round us1 ,unperceived amid the throng2 ,wond'ring at the love that crown'd us1 ,glad to join the holy song2 ,hallelujah1 hallelujah1 ,love and praise to ,christ belong4 ,the tune is evidently a remake of ',locks and ,bolts'4 ,compare1 for example1 ,sharp1 ii41 #ai4 ,the difference between the two tunes is probably due in part to their structure1 which provided real difficulties for their recorders1 and in part to the efforts of the ,bible ,songs arranger to make the apparently dorian tune fit into current scale formulas4 ,compare also ',bed of ,primroses'1 ,thomas1 p4 #agf4 ,no4 #ij ,,mount ,,watson1 ,,ol #bgb ,heptatonic dorian1 mode #b ,a ,b 7,i ,,ii #c ,,iv ,v ,,vi #g7 ,music ,death shall not destroy my comfort1 ,christ shall guide me thro' the gloom2 ,down he'll send some heav'nly convoy1 ,to escort my spirit home4 ,chorus ,o hallelujah6 how ,i love my ,savior1 ,o hallelujah6 that ,i do2 ,o hallelujah6 how ,i love my ,savior6 ,mourners1 you may love him too4 ,jordan's stream shall not o'erflow me1 ,while my ,savior's by my side2 ,canaan1 ,canaan lies before me6 ,soon ,i'll cross the swelling tide4 ,o hallelujah etc4 ,see the happy spirits waiting1 ,on the banks beyond the stream6 ,sweet responses still repeating1 ,jesus6 ,jesus6 is their theme4 ,o hallelujah etc4 ,william ,hauser1 compiler of the ,olive ,leaf1 informs us that this tune is called after ,rev4 ,john ,h4 ,watson1 whom1 in my youth in the #ahbj's1 ,i used to hear sing it4 ,it is a variant of the beautiful traditional secular ballad ',the ,poor ,little ,fisherman ,girl' or ',green ,willow'4 ,no4 #ia ,,cross ,,of ,,christ1 ,,gos #ejd ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,did ,christ the great example lead ,for all his humble train1 ,in washing the disciples' feet ,and wiping them again8 ,and did my ,lord and ,master say3 ,if ,i have wash'd your feet1 ,ye also ought to watch and pray ,and wash each other's feet4 ,o blessed ,jesus1 at thy board ,i have thy children met2 ,the bread ,i've broke1 the wine ,i've poured1 ,we've washed each other's feet4 ,in imitation of my ,lord ,whose blood for me did sweat1 ,i yield unto his sacred word ,and wash the pilgrims' feet4 ,yea1 blessed ,jesus1 ,i1 like thee1 ,would ,christians often meet2 ,the least of all the flock would be1 ,and wash his children's feet4 ,for this let men reproach1 defame1 ,and call me what they will2 ,i still would follow ,christ the ,lamb1 ,and be his servant still4 ,the loving labor ,i repeat1 ,obedient to his word1 ,and wash his dear disciples' feet ,and wait upon the ,lord4 ,shall ,i1 a worm1 refuse to stoop8 ,my fellow worm disdain8 ,i give my vain distinctions up1 ,since ,christ did wait on man4 ,the words were quite evidently made to go with the celebration of the footwashing rite still observed by the ,primitive ,baptists1 from whose hymn book the song is taken4 ,the tune is ascribed to ,l4 ,p4 ,breedlove of ,georgia4 ,i find it to be a close variant of ',james ,harris' 7or ',daemon ,lover' or ',house ,carpenter'7 turned around2 that is1 with the second part of the above tune coming first in the secular ballad tune4 ,for versions of the ',james ,harris' tune see ,thomas #agb1 ,davis #eib-eid1 ,cox #ebd1 and ,sharp1 i41 #bdd-beh4 ,the oldest variant tune known to me is that in ,motherwell associated with ',blue ,flowers and ,yellow' 7,appendix1 ,musick1 ,no4 #ag47 ,after comparing the above tune with its worldly relatives1 it becomes evident that the ,,gos signature of b-flat should be changed to that of f-natural1 raising the sixth and restoring what was evidently a dorian tune4 ,no4 #ib ,,rose ,,tree1 ,,knh #afe ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,there is a land of pleasure ,where streams of joy forever roll2 ',tis there ,i have my treasure1 ,and there ,i long to rest my soul4 ,long darkness dwelt around me ,with scarcely once a cheering ray1 ,but since my ,savior found me1 ,a lamp has shown along the way4 ,my way is full of danger1 ,but 'tis the path that leads to ,god1 ,and like a faithful soldier ,i'll march along the heav'nly road4 ,now ,i must gird my sword on1 ,my breast plate1 helmet and my shield1 ,and fight the host of ,satan1 ,until ,i reach the heav'nly field4 ,i'm on the way to ,zion1 ,still guided by my ,saviour's hand1 ,o come along dear sinners ,and see ,emanuel's happy land4 ,to all that stay behind me1 ,i bid a long1 a sad farewell4 ,come now1 or you'll repent it ,when you do reach the gates of hell4 ,echoes of ',turkey in the ,straw' 7see ,sandburg1 p4 #id7 are heard in this tune4 ,compare also ',my ,grandma ,lived on ,yonder ,little ,green'1 ,,ws #aff4 ,the immediate ancestor of the tune1 and the source of its title1 is the secular song ',a ,rose-,tree in ,full ,bearing'1 ,the ,english ,musical ,repository1 ,edinburgh1 #ahaa1 p4 #abg4 ,it appeared in ,william ,shield's ballad opera ',the ,poor ,soldier'1 #aghc4 ,the ',rose ,tree' air was known in ,ireland also as ',moreen ,o',cullenan' and was associated1 among other texts1 with ,moore's ',i'd ,mourn the ,hopes that ,leave ,us'4 ,see ,joyce1 p4 #dj4 ,no4 #ic ,,clamanda1 ,,osh #db ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,say now1 ye lovely social band1 ,who walk the way to ,canaan's land2 ,ye who have fled from ,sodom's plain1 ,say do you wish to turn again8 ,o have you ventured to the field1 ,well arm'd with helmet1 sword and shield8 ,and shall the world with dread alarms1 ,compel you now to ground your arms8 ,beware of pleasure's siren song1 ,alas1 it cannot soothe thee long4 ,it cannot quiet ,jordan's wave1 ,nor cheer the dark and silent grave4 ,o what contentment did you find1 ,while love of pleasure ruled your mind8 ,no sweet reflection lulled your rest1 ,nor conscious virtue calmed your breast4 ,o1 come1 young soldiers1 count the cost1 ,and say1 what pleasures have you lost8 ,or what misfortune does it bring1 ,to have ,jehovah for your king8 ,shall sin entice you back again1 ,and bind you with its iron chain8 ,has vice to you such lovely charms1 ,that you must die within its arms8 ,is folly's way the way of peace1 ,where fear1 and pain1 and sorrow cease8 ,does pleasure roll its living stream1 ,and is religion all a dream8 ,say1 what contentment did you find ,when love of pleasure ruled your mind8 ,no sweet reflection gave you rest1 ,nor conscious virtue calm'd your breast4 ,tune found also in ,,chi #ab1 ,,knh #aji1 ,,uh #fc1 ,,soc #afh1 ,,hh #bh1 ,,skh #dg1 ,,gos #bf4 ,the text1 taken from the ,dover ,selection1 as well as the tune1 attributed to ',chapin'1 seem to be closely related to a ,christmas carol in ,,jfss1 ii41 #aae4 ,its first stanza begins3 ,come all ye faithful ,christians1 ,that dwell within this land4 ,that pass your time in rioting1 ,remember you are but man4 ,the ,english folk-song1 ',just as the ,tide ,was a-,flowing'1 has an almost identical tune4 ,see ,gould and ,sharp1 ,english ,folk-,songs for ,schools1 p4 #eb4 ,no4 #id ,,mecklinburg1 ,,skh #cj ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,bright scenes of glory strike my sense1 ,and all my passions capture2 ,eternal beauties round me shine1 ,infusing warmest rapture4 ,i dive in pleasure deep and full1 ,in swelling waves of glory2 ,and feel my ,savior in my soul1 ,and groan to tell my story2 ,and feel my ,savior in my soul1 ,and groan to tell my story4 ,i feast on honey1 milk and wine1 ,i drink perpetual sweetness2 ,mount ,zion's odours through me shine1 ,while ,christ unfolds his glory4 ,no mortal tongue can lisp my joys1 ,nor can an angel tell them2 ,ten thousand times surpassing all ,terrestrial worlds words8 or emblems4 ,my captivated spirit flies1 ,through shining worlds of beauty2 ,dissolv'd in blushes1 loud ,i cry1 ,in praises loud and mighty2 ,and here ,i'll sing and swell the strains ,of harmony delighted1 ,and with the millions learn the notes ,of saints in ,christ united4 ,the compiler of the ,,skh attributes the tune to ,lowry4 ,see ,white ,spirituals1 p4 #afg1 for a secular relative of the tune4 ,see also ',st4 ,patrick was a ,gentleman'1 ,petrie1 ,no4 #cdf2 and ,i'm ,seventeen ,come ,sunday'1 ,,jfss1 ii41 #bfi;f4 ,no4 #ie ,,salvation 7,b71 ,,soh #hd ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,come1 humble sinner in whose breast ,a thousand thoughts revolve2 ,come with your guilt and fear opprest ,and make this last resolve4 ,i'll go to ,jesus though my sin ,hath like a mountain rose4 ,i know his courts1 ,i'll enter in1 ,whatever may oppose4 ,prostrate ,i'll lie before his throne1 ,and there my guilt confess2 ,i'll tell him ,i'm a wretch undone1 ,without his sovereign grace4 ,i'll to the gracious ,king approach1 ,whose sceptre pardon gives2 ,perhaps he may command my touch1 ,and then the suppliant lives4 ,of the text which the compiler of the ,southern ,harmony found in ,rippon1 three further stanzas are found in ,caldwell's ,union ,harmony1 p4 #ce4 ,the tune1 ascribed to ,robert ,boyd1 is found also ,,kyh #bb1 ,,gcm #acf1 ,,uh #cd1 ,,knh #cb1 ,,hh #ga1 ,,hoc #bd1 ,,tz #aja1 and ,,gos #add4 ,a variant tune is ',come ,all ,ye ,worthy ,christian ,men'1 ,sharp1 ,one ,hundred ,english ,folksongs1 ,no4 #ia4 ,note similarity in the opening words of both songs4 ,see also ,sharp's note as to other old related songs4 ,the first melodic sentence is quite similar to that of the tune to ',the ,three ,ravens' as ,motherwell gives it in ,minstrelsy ,ancient and ,modern1 ,edition #ahgc1 ,appendix1 ,musick1 ,no4 #ab3 ,music ,no4 #if ,,french ,,broad1 ,,soh #bfe ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,high o'er the hills the mountains rise1 ,their summits tow'r toward the skies2 ,but far above them ,i must dwell1 ,or sink beneath the flames of hell4 ,although ,i walk the mountains high1 ,ere long my body low must lie1 ,and in some lonesome place must rot1 ,and by the living be forgot4 ,there it must lie till that great day1 ,when ,gabriel's awful trump shall say1 ,arise1 the judgment day is come1 ,when all must hear their final doom4 ,four more stanzas in the ,southern ,harmony4 ,found also ,,gos #bah1 ,,chh #bjh4 ,william ,walker1 compiler of the ,southern ,harmony1 appends the note3 ,this song was composed by the author in the fall of #ahca1 while traveling over the mountains1 on ,french ,broad ,river1 in ,north ,carolina and ,tennessee4 ,walker must have been referring simply to the words4 ,he was melodizing1 probably unconsciously1 in beaten paths4 ,for his tune is almost identical with the older ',kedron' 7this collection7 which was attributed to ,dare4 ,walker declares1 in his later song book1 ,christian ,harmony1 #ahff1 p4 #bjh1 that he learned the air of this tune from my mother when only five years old4 ,that would have been #ahad4 ,both the ,dare and the ,walker tunes are closely related to the melody of ',mc,afee's ,confession'1 ,sharp1 ii41 #af1 lower tune1 a western ,north ,carolina recording of #aiah2 and to the ,old ,world song1 ',the ,wraggle ,taggle ,gipsies ,o'1 ,one ,hundred ,english ,folk-,songs1 p4 #ac4 ,no4 #ig ,,davisson',s ,,retirement1 ,,knh #aag ,pentatonic1 mode #d 7,i ,,ii -- ,,iv ,v -- #g7 ,music ,jesus1 and shall it ever be ,a mortal man asham'd of thee1 ,asham'd of thee whom angels praise1 ,whose glories shine through endless days4 ,ashamed of ,jesus6 sooner far ,let evening blush to own a star2 ,he sheds the beams of light divine ,o'er this benighted soul of mine4 ,ashamed of ,jesus6 just as soon ,let midnight be ashamed of noon3 ',tis midnight with my soul till he1 ,bright morning star1 bid darkness flee4 ,the poem is by ,joseph ,grigg 7b4 #agbj74 ,ananias ,davisson of the ,valley of ,virginia named and claimed the tune in his ,kentucky ,harmony 7#ahae74 ,annabel ,morris ,buchanan has found a tune with the title ',retirement' in a manuscript tune book which she judges to be from the eighteenth century4 ,no text accompanies the tune1 and no source is given4 ,it follows3 ,music ,a comparison of the two tunes indicates rather plainly that ,davisson wrote the tune down from oral tradition1 and that his noting was indicative of the manner in which it was actually sung4 ,no4 #ih ,,pilgrim1 ,,osh #bja ,hexatonic1 mode #b b 7,i -- #c ,,iv ,v #f #g7 ,music ,come1 all ye mourning pilgrims dear1 ,who're bound for ,canaan's land1 ,take courage and fight valiantly1 ,stand fast with sword in hand4 ,our ,captain's gone before us1 ,our ,father's only ,son2 ,then pilgrims dear1 pray do not fear1 ,but let us follow on4 ,we have a howling wilderness ,to ,canaan's happy shore1 ,a land of dearth and pits and snares1 ,where chilling winds do roar4 ,but ,jesus will be with us ,and guard us by the way1 ,though enemies examine us1 ,he'll teach us what to say4 ,come all you pilgrim travelers1 ,fresh courage take with me2 ,meantime ,i'll tell you how ,i came ,this happy land to see3 ,through faith1 the glorious telescope1 ,i view'd the worlds above1 ,and ,god the ,father reconciled1 ,which fills my heart with love4 ,the tune is found also ,,chi #ed1 ,,moh #adg1 ,,knh #eg1 ,,hh #cib1 ,,soc #aag1 and ,,wp #df4 ,among the many secular songs using this tune are ',daniel ,monroe'1 dating from around #aghe1 ,rickaby1 pp4 #ahd and #bbi2 ',lady and the ,dragoon'1 ,sharp1 i41 #ccg1 recorded in ,north ,carolina in #aiah2 ',sheffield ,apprentice'1 ,sharp1 ii41 #ff2 ',loving ,reilly'1 ,sharp1 ii41 #ha and #hb2 ',rebel ,soldier'1 or ',poor ,stranger' ,sharp1 ii41 #bae2 ',sons of ,liberty'1 ,sharp1 ii41 #bbe2 ',john ,barleycorn'1 noted by ,sharp in ,england in #aiji2 ',gallant ,poachers' or ',van ,diemen's ,land'1 also in ,england1 see ,,jfss1 vii41 #db1 for references2 ',i ,wish ,i ,was in ,dublin ,town'1 or ',the ,irish ,girl'1 ,,jfss1 viii41 #bfc2 and ',barley and the ,rye'1 ,,jfss1 viii41 #bgc2 ',high ,germany' and ',erin's ,lovely ,home'1 ,one ,hundred ,english ,folk-,songs1 pp4 #abd and #abg2 ',king's ,lynn'1 ,christian ,science ,hymnal2 and ',rise ,up ,young ,william ,reilly'1 ,petrie1 ,no4 #eaj4 ,stephen ,foster's tune ',way ,down in ,ca-i-ro' shows influence from this tune formula4 ,see ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b4 ,no4 #ii ,,mississippi1 ,,skh #cd ,heptatonic aeolian1 mode ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,when ,gabriel's awful trump shall sound1 ,and rend the rocks1 convulse the ground ,and give to time her utmost bound1 ,ye dead arise to judgment4 ,see lightnings flash and thunders roll2 ,see earth wrapt up like parchment scroll1 ,comets blaze1 sinners raise1 ,dread amaze1 horrors seize ,the guilty sons of ,adam's race1 ,unsav'd from sin by ,jesus4 ,the ,christian1 fill'd with rapturous joy1 ,midst flaming worlds he mounts on high1 ,to meet his ,savior in the sky ,and see the face of ,jesus4 ,the soul and body reunite1 ,and fill with glory infinite4 ,blessed day1 ,christians say1 ,will you pray that we may ,all join that happy company ,to praise the name of ,jesus4 ,the compiler of the ,supplement to the ,kentucky ,harmony attributed the song to ,bradshaw4 ,i find distinct ancestral traces of its tune in ',princess ,royal' given in a number of traditional forms as a morris dance tune in ,sharp1 ,the ,morris ,dance ,book4 ,assuming these to be the oldest forms of the tune1 the next younger form seems to have been what was called in ,walsh's ,compleat ,dancing ,master 7ca4 #agcj71 ,the ,princess ,royal1 the new way4 ,in #agif ,shield adapted the air to the words of ',the ,saucy ,arethusa' in the ballad opera ,the ,lock and ,key4 ,it may be found entitled ',the ,arethusa' in ,the ,english ,musical ,repository1 p4 #cb4 ,at about the same time--around the end of the eighteenth century--the tune was used also for ',bold ,nelson's ,praise' a version of which was recently recorded by ,sharp1 ,one ,hundred ,english ,folk-,songs1 ,no4 #hh4 ,the as yet unidentified ,bradshaw seems to have taken one of these late-eighteenth-century tunes--probably ',arethusa'--as his model when he made the ',mississippi' song as it appeared in the ,supplement to the ,kentucky ,harmony in #ahbj4 ,no4 #ajj ,,pleading ,,savior1 ,,osh #bcd ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,now see the ,savior stands pleading ,at the sinner's bolted heart4 ,now in heav'n he's interceding1 ,undertaking sinners' part4 ,sinners1 can you hate this ,savior8 ,will you thrust him from your arms8 ,once he died for your behavior1 ,now he calls you to his arms4 ,sinners1 hear your ,god and ,savior1 ,hear his gracious voice today2 ,turn from all your vain behavior1 ,oh repent1 return1 and pray4 ,sinners1 can you hate this ,savior8 ,will you thrust him from your arms8 ,once he died for your behavior1 ,now he calls you to his arms4 ,the first line of the text above should probably read ,now the ,savior stands a-pleading4 ,the ,methodist ,hymn ,book of ,england1 ,london1 #aicc1 has the above tune under the title ',saltash'1 and its source is given as the ,plymouth ,collection1 #ahee4 ,no4 #aja ,,nettleton or ,,sinner',s ,,call1 ,,pb #d ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,come1 thou fount of every blessing1 ,tune my heart to sing thy grace6 ,streams of mercy never ceasing1 ,call for songs of loudest praise4 ,teach me some melodious sonnet ,sung by flaming tongues above3 ,praise the mount6 ,o fix me on it1 ,mount of ,god's unchanging love4 ,here ,i raise my ,ebenezer2 ,hither by thy help ,i'm come2 ,and ,i hope1 by thy good pleasure1 ,safely to arrive at home4 ,jesus sought me1 when a stranger1 ,wandering from the fold of ,god2 ,he1 to save my soul from danger1 ,interposed his precious blood6 ,the words are the widely sung ones of ,robinson4 ,metcalf 7,frank ,j41 ,stories of ,hymn ,tunes1 p4 #ada7 thinks the tune belongs to ,john ,wyeth 7#aggj-aheh74 ,it is the tune that has been used for the ,parody ',tell ,aunt ,rhody4' ,and its close relative ',sweet ,affliction' or ',greenville'1 in this collection1 has been used for the ',go ,tell ,aunt ,rhody' parody4 ,no4 #ajb ,,chariot ,,of ,,mercy1 ,,hh #bij ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,the chariot of mercy is speeding its way1 ,far1 far through the shadowy gloom1 ,where the lands that in death's dark obscurity lay1 ,are bursting the bars of their tomb4 etc4 ,this familiar tune continues with the words3 ,i see where 'tis shedding its luminous ray1 ,dispersing the shadows of night2 ,and wondering nations are hailing the day1 ,and rejoice in its glorious light4 ,the ,hesperian ,harp gives the tune as an ,irish ,air4 ,we recognize it as the melody to which ',believe ,me1 ,if all ,those ,endearing ,young ,charms' is sung universally4 ,woolridge tells us it is the setting for the popular ballad ',my ,lodging1 ,it is on the ,cold ,ground' as printed on all broadsides1 with music1 of the last century1 meaning the eighteenth century4 ,the ballad1 in connection with a different tune1 had been popular from around the middle of the seventeenth century in ,england4 ,with the above tune its singing vogue seems not even yet to have abated4 ,see ,chappell's ,old ,english ,popular ,music1 ii41 #acg;ff4 ,an old ,irish version of the tune is ',oh ,shrive me ,father'1 ,petrie1 ,no4 #fcb4 ,stephen ,foster undoubtedly had this popular tune formula in mind when he composed ',old ,folks at ,home'4 ,see ,musical ,quarterly1 vol4 xxii41 ,no4 #b1 pp4 #aeh-afj4 ,no4 #ajc ,,stockwood or ,,sister ,,thou ,,wast ,,mild1 ,,osh #aah ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,sister1 thou wast mild and lovely1 ,gentle as the summer breeze1 ,pleasant as the air of evening ,when it flows among the trees4 ,peaceful be thy silent slumber1 ,peaceful in the grave so low2 ,thou no more wilt join our number1 ,thou no more our songs shalt know4 ,dearest sister1 thou hast left us1 ,here thy loss we deeply feel2 ,but 'tis ,god that hast bereft us1 ,he can all our sorrows heal4 ,yet again we hope to meet thee1 ,when the day of life is fled1 ,then in heaven with joy to greet thee1 ,where no farewell tear is shed4 ,the words are attributed in the ,sacred ,harp to ,samuel ,francis ,smith1 author of ',my ,country1 ',tis of ,thee'4 ,no4 #ajd ,,rose1 ,,rev #ccb ,heptatonic aeolian or dorian minorized1 cannot be classified 7,i ,,ii #c ,,iv ,v ,,vi #f ,,vii #g7 ,music ,o tell me no more ,of this world's vain store1 ,the time for such trifles ,with me now is o'er4 ,a country ,i've found ,where true joys abound1 ,to dwell ,i'm determined ,on that happy ground4 ,the souls that believe1 in paradise live1 ,and me in that number will ,jesus receive2 ,my soul1 don't delay1 he calls thee away2 ,rise1 follow the ,savior1 and bless the glad day4 ,four more stanzas of the text are given in the ,revivalist4 ,the tune was recorded as sung by ,rev4 ,a4 ,c4 ,rose from whom it got its title4 ,the oldest recording of the melody known to me is on page #ch of ,ingalls' ,christian ,harmony1 #ahje4 ,the ,reverend ,rose's song appears in this collection also as ',o ,tell ,me ,no ,more'1 in its standardized tune-book form1 whereas the recorder of the above variant has caught much of the folk-singing manner4 ,both of the tunes in question are related to the ',lord ,randal' melodies which are found in ,sharp1 i41 #dc1 ,g4 ,no4 #aje ,,supplication1 ,,osh #de ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,o thou who hear'st when sinners cry1 ,tho' all my crimes before thee lie1 ,behold them not with angry look1 ,but blot their mem'ry from thy book4 ,create my nature pure within1 ,and form my soul averse to sin2 ,let thy good spirit ne'er depart1 ,nor hide thy presence from my heart4 ,i cannot live without thy light1 ,cast out and banished from thy sight2 ,thy holy joys1 my ,god1 restore1 ,and guard me that ,i fall no more4 ,words attributed to ,watts2 tune to ,chapin4 ,found also1 ,choral-,music1 p4 #dh1 ,,kyh #bj1 ,,moh #bf1 ,,gcm #aaj1 ,,soh #e1 ,,gos #ehi1 ,,uh #ad4 ,see ,,ws #aij for the tune's use with the ',wicked ,polly' ballad which is also to be found in this collection4 ,it is a variant also of ',lord ,bateman'1 ,sharp1 ,one ,hundred ,english ,folk-songs1 ,no4 #f2 and of ',hind ,horn'1 ,british ,ballads from ,maine1 pp4 #gc and #gh4 ,the ,singer's ,companion 7,new ,york1 #ahed7 has a strikingly similar tune under the title ',hame1 ,hame1 ,hame'1 a ,jacobite song whose words tell of a ,scotch exile and his longing for home4 ,the editor of that collection found it in the ,garland of ,scotia4 ,the old ,scotch tune is doubtless the source of ',supplication'4 ,no4 #ajf ,,praise ,,god1 ,,osh #ebh ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,oh1 for a heart to praise my ,god1 ,a heart from sin set free2 ,a heart that's sprinkled with his blood1 ,so freely shed for me1 ,oh1 for a heart submissive1 meek2 ,oh1 for a heart submissive1 meek1 ,my great ,redeemer's throne1 ,where only ,christ is heard to speak1 ,where ,jesus reigns alone4 ,oh1 for an humble1 contrite heart1 believing1 true and clean1 ,which neither life nor death can part from him that dwells within4 ,a heart in every thought renewed1 and full of love divine2 ,perfect1 and right1 and pure1 and good1 a copy1 ,lord1 of thine4 ,seaborn ,m4 ,denson composed this tune as a setting to ,charles ,wesley's text and inserted it1 in a fuguing-tune setting1 in the ,original ,sacred ,harp of #aiaa4 ,the tune is testimony to the fact that its composer was steeped in the traditional ,anglo-,american folk-melodism and in that particular direction which it took in the hands of the eighteenth century fuguing-song makers4 ,compare for melodic similarities ',geordie'1 ,,jfss1 iii41 #aia4 ,white ,spirituals tells more about ,mr4 ,denson who died in #aicf4 ,no4 #ajg ,,leander1 ,,soh #abh ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,my soul forsakes her vain delight1 ,and bids the world farewell1 ,base as the dirt beneath thy feet ,and mischievous as hell4 ,no longer will ,i ask your love1 ,nor seek your friendship more2 ,the happiness that ,i approve ,is not within your pow'r4 ,there's nothing round this spacious earth ,that suits my soul's desire2 ,to boundless joy and solid mirth ,my nobler thoughts aspire4 ,o for the pinions of a dove ,to mount the heav'nly road2 ,there shall ,i share my ,savior's love1 ,there shall ,i dwell with ,god4 ,the tune is ascribed to ,austin1 and the words to ,watts4 ,found also1 ,,uh #ff1 ,,osh #ga1 ,,hoc #fa1 ,,wp #eb1 ,,tz #ajj1 ,,moh #abi4 ,the second part of the tune reminds of the second part of ',when ,johnny ,comes ,marching ,home'4 ,variants of the melody are ',jubilee'1 ,,chi #fb and ,,rev #cee2 and ',this ,is the ,jubilee'1 ,,ol #aac4 ,no4 #ajh ,,there ,,is ,a ,,rest ,,remains1 ,,rev #ace ,hexatonic1 minorized1 cannot be classified 7,i ,,ii #c ,,iv ,,iv' ,v -- #g ,,vii7 ,music ,lord1 ,i believe a rest remains ,to all thy people known2 ,a rest where pure enjoyment reigns1 ,and thou art loved alone4 ,there is a rest remains1 ,there is a rest remains1 ,there is a rest remains ,for all the people of ,god4 ,a rest where all our soul's desire ,is fixed on things above2 ,where fear1 and sin1 and grief expire1 ,cast out by perfect love4 ,o that ,i now the rest might know1 ,believe and enter in2 ,now1 ,savior1 now the power bestow1 ,and let me cease from sin4 ,remove this hardness from my heart1 ,this unbelief remove2 ,to me the rest of faith impart-- ,the ,sabbath of thy love4 ,a remarkably close remake of this peculiar song by the negroes is given in ,dett1 p4 #ajh1 under the title ',go ,down1 ,moses'1 where we see the melodic setting of the above words ,to all thy people known and ,for all the people of ,god fitted note for note to ,let thy people go4 ,the tunes of ',rejected ,lover'1 ,sharp1 ii41 #if;ff41 show similarities4 ,no4 #aji ,,bourbon1 ,,coh #fg ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ',twas on that dark and doleful night1 ,when pow'rs of earth and hell arose ,against the ,son of ,god's delight1 ,and friends betray'd him to his foes4 ,before the mournful scene began1 ,he took the bread and blest and brake2 ,what love through all his actions ran1 ,what wondrous words of love he spake4 ,this is my body1 broke for sin1 ,receive and eat the living food2 ,then took the cup and bless'd the wine-- ',tis the new cov'nant in my blood4 ,do this1 he cried1 till time shall end1 ,in mem'ry of your dying ,friend2 ,meet at my table and record ,the love of your departed ,lord4 ,jesus1 thy feast we celebrate1 ,we show thy death1 we sing thy name4 ,till thou return1 and we shall eat ,the marriage supper of the ,lamb4 ,words attributed sometimes to ,watts4 ,tune attributed to ,freeman ,lewis4 ,found also1 ,,hh #h1 ,,gcm #aei1 ,,sky #fa1 ,,moh #fj and #adc1 ,,uh #ag1 ,,gos #ege4 ,this is the same tune which is used for ',mc,fee's ,confession'1 ,cox1 p4 #ebe2 ',samuel ,young'1 ,sharp1 ii41 #bga2 ',come1 ,father ,build ,me' 7as sung in ,england71 ,,jfss1 viii41 #bab2 and it is similar to ',lord ,bateman'1 ,one ,hundred ,english ,folksongs1 ,no4 #f4 ,for further tune relationship see ',kedron' in this collection4 ,no4 #aaj ,,glorious ,,prospect1 ,,ol #cfc ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,my soul's full of glory1 which inspires my tongue2 ,could ,i meet with angels1 ,i'd sing them a song2 ,i'd sing of my ,jesus and tell of his charms2 ,and beg them to bear me to his loving arms4 ,methinks they're descending to hear while ,i sing2 ,well pleased to hear mortals sing praise to their ,king4 ,o angels6 ,o angels6 my soul's in a flame6 ,i sink in sweet raptures at ,jesus' dear name4 ,o ,jesus6 ,o ,jesus6 thou balm of my soul6 ',twas thou1 my dear ,savior1 that made my heart whole2 ,oh bring me to view thee1 thou precious1 sweet ,king1 ,in oceans of glory thy praises to sing6 ,the author of the ,olive ,leaf tells us3 ,this is the first tune ,i ever harmonized2 about #ahcc4 ,i had learned the air--which ,i suspect ,john ,adam ,granade originated1 before ,i was born--when a boy1 to these words4 ,that the tune went earlier with some secular ballad1 seems evident from the resemblances found1 for example1 in ',pretty ,nancy of ,yarmouth'1 ,sharp1 i41 #cgi2 ',lamkin'1 ,sharp1 i41 #bja;ff42 ',the ,silk ,merchant's ,daughter'1 ,sharp1 i41 #chc;f42 and ',green ,grows the ,laurel'1 ,sharp ii41 #baa4 ,no4 #aaa ,o ,,ye ,,young ,,and ,,gay ,,and ,,proud or ,,eternity ,pentachordal1 cannot be classified 7,i ,,ii ,,iii ,,iv ,v -- --7 ,music ,o ye young and gay and proud1 ,you must die and wear the shroud1 ,time will rob you of your bloom1 ,death will drag you to the tomb4 ,chorus ,then you'll cry and want to be ,happy in eternity4 ,eternity1 eternity1 ,happy in eternity4 ,the white throne will soon appear1 ,all the dead will then draw near4 ,then you'll go to heav'n or hell4 ,there you must forever dwell4 ,chorus ,recorded by the author from the singing of ,mrs4 ,elizabeth ,showalter-,miller1 ,dayton1 ,virginia1 ,jan4 #bj1 #aicj4 ,further stanzas of the text and variant melodies may be found in ,thomas1 p4 #aah1 and ,richardson1 p4 #gc4 ,no4 #aab ,,friends ,,of ,,freedom1 ,,ch #bhe ,heptatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,friends of freedom1 swell the song6 ,young and old1 the strain prolong6 ,make the temp'rance army strong1 ,and on to victory4 ,lift your banners1 let them wave2 ,onward march1 a world to save2 ,who would fill a drunkard's grave ,and bear his infamy8 ,shrink not when the foe appears2 ,spurn the coward's guilty fears2 ,hear the shrieks1 behold the tears ,of ruined families6 ,raise the cry in every spot3 ,touch not1 taste not1 handle not6 ,who would be a drunken sot1 ,the worst of miseries4 ,give the aching bosom rest2 ,carry joy to every breast2 ,make the wretched drunkard blest1 ,by living soberly4 ,raise the glorious watchword high3 ,touch not1 taste not till you die ,let the echo reach the sky1 ,and earth keep jubilee4 ,god of mercy1 hear us plead1 ,for thy help we intercede2 ,see how many bosoms bleed6 ,and heal them speedily4 ,hasten1 ,lord1 the happy day1 ,when1 beneath thy gentle ray1 ,temp'rance all the world shall sway1 ,and reign triumphantly4 ,evidently the time should be six-eight4 ,it is found1 measured thus1 in the #ahei edition of the ,sacred ,harp1 p4 #aeb1 under the title ',bruce's ,address1 ,spiritualized'1 and begins1 ,soldiers of the cross1 arise6 ,lo1 your ,captain from the skies1 ,holding forth the glitt'ring prize1 ,calls to victory4 ,fear not though the battle lower1 ,firmly stand the trying hour1 ,stand the tempter's utmost power1 ,spurn his slavery4 ,the earlier tune is given1 in ,lyric ,gems of ,scotland1 p4 #bdb1 as that of ',hey tutti tattie'4 ,it is there associated with the text ',scots wha ha'e wi' ,wallace bled'1 the same as ',bruce's ,address'1 of which both the texts cited here are parodies4 ,no4 #aac ,,pilgrim',s ,,song1 ,,rev #cfi ,heptatonic mixolydian1 mode #a ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi #g7 ,music ,oh1 brethren ,i have found a land that doth abound ,with fruit as sweet as honey2 ,the more ,i eat1 ,i find1 the more ,i am inclined ,to shout and sing hosanna4 ,and as ,i pass along ,i'll sing the ,christian's song1 ,i'm going to live forever4 ,my soul doth long to go where ,i may fully know ,the glories of my ,savior2 ,perhaps you think me wild1 or simple as a child2 ,i am a child of glory2 ,i am born from above1 my soul is filled with love2 ,i love to tell the story4 ,my soul now sits and sings1 and practices her wings1 ,and contemplates the hour ,when the messenger shall say3 ,come quit this house of clay1 ,and with bright angels tower4 ,the tune is a variant of ',the ,winter it is ,past'1 ,petrie1 ,no4 #dci4 ,no4 #aad ,,holy ,,manna1 ,,hoc #abb ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,brethren1 we have met to worship ,and adore the ,lord our ,god1 ,will you pray with all your power ,while we try to preach the word8 ,all is vain unless the spirit ,of the holy ,one comes down2 ,brethren1 pray1 and holy manna ,will be showered all around4 ,brethren1 see poor sinners round you1 ,trembling on the brink of wo2 ,death is coming1 hell is moving1 ,can you bear to let them go8 ,see our fathers1 see our mothers ,and our children sinking down2 ,brethren1 pray1 and holy manna ,will be showered all around4 ,is there here a trembling jailor ,seeking grace and fill'd with fears8 ,is there here a weeping ,mary1 ,pouring forth a flood of tears8 ,brethren1 join your cries to help them2 ,sisters1 let your prayers abound2 ,pray1 ,o pray that holy manna ,may be scatter'd all around4 ,two more stanzas are in ,,soh #ajc4 ,this rousing song1 still immensely popular1 was claimed 7probably first recorded7 by ,william ,moore1 compiler of the ,columbian ,harmony1 in #ahbe4 ,subsequent compilers have allowed his claim to stand4 ,found also1 ,,knh #hh1 ,,osh #ei1 ,,hh #bdd1 ,,soc #aia1 ,,hoc #ajg1 ,,wp #hi1 ,,tz #cja1 ,,gos #cdj1 ,,pb #bia4 ,the numerous imitations which flattered this tune are exemplified by ,,gos #bdc and #fcc1 and ,,rev #adh4 ,for negro adoptions see ,,ws #bfh4 ,no4 #aae ,,war ,,department1 ,,soh #id ,chinese pentatonic1 cannot be classified 7,i ,,ii -- ,,iv ,v #f --7 ,music ,no more shall the sound of the war-whoop be heard1 ,the ambush and slaughter no longer be fear'd1 ,the tomahawk buried shall rest in the ground1 ,and peace and goodwill to the nations abound4 ,all spirit of war to the gospel shall bow1 ,the bow lie unstrung at the foot of the plow2 ,to prune the young orchard the spear shall be bent1 ,and love greet the world with a smile of content4 ,the words were found by the ,southern ,harmony compiler in ,mercer's ,cluster4 ,the tune is found also ,,hh #bgg1 ,,osh #afj1 ,,soc #afg4 ,it is possibly related to ,petrie1 ,nos4 #ajcj and #abhe4 ,no4 #aaf ,,drooping ,,souls1 ,,ol #ahd ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,drooping souls1 no longer grieve1 ,heaven is propitious2 ,if on ,jesus you believe1 ,you will find him precious4 ,jesus now is passing by1 ,calling mourners to him2 ,drooping souls1 you need not die2 ,now look up and view him4 ,for complete text see ',lebanon'4 ,the song is inscribed ,wm4 ,hauser1 ,m4 ,d41 ,may #bith1 and ,july #ahth1 #ahgd4 ,no4 #aag ,,be ,,gone ,,unbelief1 ,,ol #ahg ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,be gone unbelief1 my ,savior is near1 ,and for my relief will surely appear2 ,by prayer let me wrestle and ,he will perform2 ,with ,christ in the vessel ,i smile at the storm4 ,tho' dark be my way1 since ,he is my guide1 ',tis mine to obey1 ',tis ,his to provide2 ,tho' cisterns be broken1 and creatures all fail1 ,the word ,he has spoken will surely prevail4 ,his life in time past forbids me to think ,he'll leave me at last1 in trouble to sink2 ,each sweet ,ebenezer1 ,i have in review1 ,confirms ,his good pleasure to bring me quite thro'4 ,since all that ,i meet shall work for my good2 ,the bitter1 the sweet2 the medicine1 food2 ,tho' painful at present 'twill cease before long1 ,and then1 ,o how pleasant the conqueror's song6 ,william ,hauser1 compiler of the ,olive ,leaf tells that this air was learned of ,reverend ,samuel ,anthony1 of ,georgia1 in #ahda4 ,the tune of a ,virginia version of the ',brown ,girl' 7,sharp1 i41 #cjc7 is very close to this in note-trend and character4 ,also ',pretty ,saro'1 ,sharp1 ii41 #aj-ab2 ',cuckoo'1 ,sharp1 ii41 #ahj2 ',green ,bushes'1 ,sharp1 ii41 #aee2 ',farewell1 ,dear ,rosanna'1 ,sharp1 ii41 #bdc and #bdd1 are the same type4 ,negro adoptions of the tune are ,marsh1 pp4 #add and #agc1 and ,,ss1 p4 #cc4 ,a variant in this collection is ',rest in ,heaven'4 ,for its relationship to the ',i ,will ,arise' tune family1 see the song with that title in this collection4 ,the errors in ,hauser's notation of the tune 7second1 fourth1 sixth measures etc47 have been left uncorrected4 ,no4 #aah ,,pilgrim',s ,,triumph1 ,,ol #fa ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,to see a pilgrim as he dies1 ,with glory in his view2 ,to heav'n he lifts his longing eyes ,and bids the world adieu4 ,while friends are weeping all around1 ,and loth to let him go1 ,he shouts with his expiring breath1 ,and leaves them all below4 ,o ,christians1 are you ready now1 ,to cross the rolling flood8 ,on ,canaan's happy shore to stand1 ,and see your smiling ,god8 ,the dazzling charms of that bright world ,attract my soul above2 ,my tongue shall shout redeeming grace1 ,when perfected in love4 ,come on1 my brethren in the ,lord1 ,whose hearts are join'd in one2 ,hold up your heads with courage bold1 ,your race is almost run3 ,above the clouds behold ,him stand1 ,and smiling bid you come2 ,and angels whisper you away1 ,to your eternal home4 ,this enrapturing song the text was written by ,rev4 ,jno4 ,adam ,granade1 about #ahjb1 the compiler of the ,olive ,leaf says4 ,and he adds1 ,structure of this air learned of a negro1 ,mark ,hull1 #ahdc4 ,the tune belongs to the ',hallelujah' group1 which see for many related tunes4 ,no4 #aai ,,to ,,be ,,with ,,christ1 ,,rev #ad ,hexatonic1 mode #b b 7,i -- #c ,,iv ,v #f #g7 ,music ,this world is beautiful and bright1 ,o scarce one cloud has dimmed my sky1 ,and yet no gloomy shades of night ,are gath'ring 'round me though ,i die2 ,yet there's a lovelier land of light1 ,illum'd by ,bethle'm's beaming star2 ,e'en now it bursts upon my sight1 ,to be with ,christ is better far4 ,true1 life is sweet and friends are dear1 ,and youth and health are pleasant things2 ,yet1 leave ,i all1 without a tear1 ,no sad regret my bosom wrings4 ,the ties of earth are broken all1 ,my chainless soul1 above yon star1 ,shall wing its way beyond recall1 ,to be with ,christ is better far4 ,and is this death8 ,my soul is calm1 ,no sting is here1 the strife is done2 ,glory to ,god and to the ,lamb6 ,sweet triumph6 ,i have won1 ,i've won6 ,a crown immortal1 robes of white1 ,for me1 for me in waiting are2 ,arrayed in glory1 clothed in light1 ,to be with ,christ is better far4 ,one more stanza of the text is in the ,revivalist4 ,the tune is notated as sung by ,rev4 ,b4 ,i4 ,ives4 ,no4 #abj ,,devotion1 ,,osh #dh ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,sweet is the day of sacred rest2 ,no mortal cares shall seize my breast2 ,o may my heart in tune be found1 ,like ,david's harp of solemn sound4 ,then shall ,i share a glorious part1 ,when grace hath well refined my heart1 ,and fresh supplies of joy are shed1 ,like holy oil1 to cheer my head4 ,then shall ,i see1 and hear1 and know ,all ,i desired and wished below2 ,and ev'ry power find sweet employ1 ,in that eternal world of joy4 ,watts wrote the words4 ,the tune is ascribed in the ,sacred ,harp to ,americk ,hall4 ,found also1 ,,moh #cd1 ,,gcm #ia1 ,,soh #ac1 ,,uh #dh1 ,,wp #ag1 ,,skh #i1 ,,gos #edh2 and in ,social ,hymn and ,tune ,book 7,philadelphia1 #ahfe7 under the title ',penitent'4 ,in ,,jfss1 viii41 #gb1 ,miss ,gilchrist calls attention to the likeness of the above tune to ,sharp's ,appalachian versions of ',little ,musgrave and ,lady ,barnard'4 ,she also notes ,miss ,broadwood's discovery of its likeness to two ,gaelic tunes1 ',tearlach ,og' in the ,gesto ,collection1 and ',muile nam ,morbheann' in the ,celtic ,lyre4 ,i append also ',lost ,babe'1 ,sharp1 ii41 #afa1 as a further relative4 ,no4 #aba ,,tender ,,care1 ,,gos #bia ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,when all thy mercies1 ,o my ,god1 ,my rising soul surveys1 ,transported with the view1 ,i'm lost ,in wonder1 love and praise4 ,unnumber'd comforts on my soul ,thy tender care bestow'd1 ,before my infant soul conceiv'd ,from whom those comforts flow'd4 ,when in the slippery paths of youth1 ,with heedless steps ,i ran1 ,thine arm1 unseen1 conveyed me safe1 ,and led me up to man4 ,ten thousand thousand precious gifts ,my daily thanks employ2 ,nor is the least a cheerful heart1 ,that tastes those gifts with joy4 ,through every period of my life1 ,thy goodness ,i'll pursue2 ,and after death in distant worlds1 ,the pleasing theme renew4 ,in all eternity to ,thee ,a grateful song ,i'll raise2 ,but6 ,o eternity's too short ,to utter all thy praise4 ,ascribed to ,p4 ,m4 ,atchley who was a singing-school man in eastern ,tennessee in the early part of the nineteenth century4 ,the tune belongs to the ',hallelujah' family4 ,see the song by that name in this collection for many related melodies4 ,no4 #abb ,,reflection1 ,,moh #ddd ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,no sleep nor slumber to his eyes1 ,good ,david would afford1 ,till he had found below the skies ,a dwelling for the ,lord1 ,a dwelling for the ,lord4 ,the ,lord in ,zion placed his name1 ,his ark was settled there2 ,and there th'assembled nation came1 ,to worship twice a year1 ,to worship twice a year4 ,we trace no more those toilsome ways1 ,nor wander far abroad2 ,where e'er thy people meet for praise1 ,there is a house for ,god1 ,there is a house for ,god4 ,the tune is usually attributed to ,davisson1 and this probably as a result of ,davisson's own claim in the ,kentucky ,harmony4 ,found also1 ,,kyh #db1 ,,uh #ca1 ,,knh #bb1 ,,hoc #ac1 ,,wp #cf4 ,no4 #abc ,,pisgah1 ,,osh #eh ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,jesus1 thou art the sinner's friend1 ,as such ,i look on thee1 ,now in the bowels of thy love1 ,o ,lord remember me4 ,o ,lord remember me1 ,o ,lord remember me2 ,now in the bowels of thy love1 ,o ,lord remember me4 ,remember thy pure words of grace1 remember ,calvary1 ,remember all thy dying groans1 and then remember me4 ,o ,lord remember me1 ,o ,lord remember me2 ,remember all thy dying groans1 and then remember me4 ,thou wondrous advocate with ,god1 ,i yield myself to thee1 ,while thou art sitting on thy throne1 ,o ,lord remember me4 ,o ,lord remember me1 ,o ,lord remember me2 ,while thou art sitting on thy throne1 ,o ,lord remember me4 ,and when ,i close my eyes in death1 and creature helps all flee1 ,then ,o my great ,redeemer1 ,god1 ,i pray remember me4 ,i pray remember me1 ,i pray remember me2 ,then ,o my great ,redeemer1 ,god1 ,i pray remember me4 ,the poem is attributed in the ,sacred ,harp to ,richard ,burnham4 ,the tune there1 and generally in the southern books1 is credited to ,j4 ,c4 ,lowry4 ,found also1 ,,moh #ei1 ,,gcm #ajd1 ,,soh #hj1 ,,uh #bc1 ,,knh #ef1 ,,hh #aab1 ,,soc #bje1 ,,wp #hc1 ,,tz #ib1 ,,skh #be1 ,,gos #caa4 ,a negro spiritual inspired by this song is ',lord1 ,remember ,me'1 ,,ss #ab1 ,no4 #ae4 ,miss ,gilchrist sees in ',pisgah' a variant of ',little ,musgrave and ,lady ,barnard' as found in the ,appendix of ,motherwell1 ,minstrelsy1 and later published in ,chappell's ,popular ,music4 7,see ,,jfss1 viii41 #fa-ie47 ,despite the apparently ,english source of ',pisgah'1 the ,methodist ,hymn ,book of ,england reproduces the tune under the title ',covenanters' and calls it an ,american ,melody4 ,no4 #abd ,,gaines1 ,,hh #abb ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,o for a thousand tongues to sing1 ,my great ,redeemer's praise6 ,the glories of my ,god and ,king1 ,the triumphs of his grace1 ,the triumphs of his grace4 ,my gracious ,master and my ,god1 ,assist me to proclaim1 ,to spread through all the earth abroad ,the honors of thy name1 ,the honors of thy name4 ,jesus6 the name that charms our fears1 ,that bids our sorrows cease2 ',tis music in the sinner's ears1 ',tis life and health and peace1 ',tis life and health and peace4 ,charles ,wesley wrote the words4 ,william ,hauser1 ,hesperian ,harp compiler1 claims the tune4 ,for melodic similarities in other spiritual songs see ',one ,more ,river to ,cross'1 in this collection2 ',cherry ,tree ,carol'1 ,sharp1 i41 #ib and #ic2 and ',geordie'1 ,sharp1 i41 #bdj4 ,no4 #abe ,,humble ,,penitent1 ,,skh #ad ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,stay1 thou insulted spirit1 stay6 ,though ,i have done thee such despite1 ,cast not a sinner quite away1 ,nor take thine everlasting flight4 ,though ,i have most unfaithful been1 of all whoe'er thy grace received2 ,ten thousand times thy goodness seen1 ten thousand times thy goodness griev'd4 ,but ,o1 the chief of sinners spare1 in honor of my great priest2 ,nor in thy righteous anger swear ,i shall not see thy people rest4 ,if yet thou canst my sins forgive1 e'en now1 ,o ,lord1 relieve my woes2 ,into thy rest of love receive1 and bless me with the calm repose4 ,e'en now my weary soul release1 and raise me by thy gracious hand2 ,guide me into thy perfect peace1 and bring me to the promis'd land4 ,davisson1 the compiler of the ,supplement to the ,kentucky ,harmony1 claims this tune4 ,it is similar to ',the ,bird ,song'1 ,sharp1 ii41 #bae4 ,for other tune relationships see ',i ,will ,arise' in this collection4 ,no4 #abf ,,charming ,,name1 ,,chh #ij ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,jesus1 ,i love thy charming name1 ',tis music to my ear2 ,fain would ,i sound it out so loud ,that earth and heav'n should hear1 ,that earth and heav'n should hear4 ,yes1 thou art precious to my soul1 ,my transport and my trust2 ,jewels1 to thee1 are gaudy toys1 ,and gold is sordid dust4 ,i'll speak the honors of thy name ,with my last lab'ring breath2 ,then speechless clasp thee in mine arms1 ,the antidote of death4 ,the notated form of this tune 7the work is claimed by1 and is doubtless that of1 ,william ,walker7 illustrates excellently the manner of singing in rural ,america in earlier times4 ,see also ,,ws1 p4 #baa f4 ,no4 #abg ,,balm ,,in ,,gilead1 ,,rev #ae ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,how lost was my condition ,till ,jesus made me whole ,there is but one ,physician ,can cure a sin-sick soul4 ,there's a balm in ,gilead to make the wounded whole2 ,there's pow'r enough in ,jesus to cure a sin-sick soul4 ,i have reproduced the notation of the ,revivalist tune with all its mistakes4 ,a fuller text is given under ',good ,physician' in this collection4 ,a negro version entitled ',there is a ,balm in ,gilead' is given in ,dett1 p4 #hh4 ,another is in ,work1 p4 #dc4 ,no4 #abh ,,plenary1 ,,soh #bfb ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,hark1 from the tombs a doleful sound1 ,mine ears1 attend the cry2 ,ye living men1 come view the ground1 ,where you must shortly lie1 ,where you must shortly lie1 ,where you must shortly lie2 ,ye living men come view the ground ,where you must shortly lie4 ,princes1 this clay must be your bed1 ,in spite of all your towers2 ,the tall1 the wise1 the reverend head ,must lie as low as ours4 ,grant us the power of quickening grace1 ,to fit our souls to fly2 ,then1 when we drop this dying flesh1 ,we'll rise above the sky4 ,the tune is the same as the popular ',old ,grimes is ,dead' and ',auld ,lang ,syne'4 ,it occurs also ,,osh #afb and ,,chh #id4 ,the ,methodist ,hymnal 7#aice7 attributes it to ,william ,shield4 ,in the ,southern ,harmony its author is given as ,a4 ,clark4 ,no4 #abi ,,sawyer',s ,,exit1 ,,osh #cch ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,how bright is the day when the ,christian ,receives the sweet message to come1 ,to rise to the mansions of glory ,chorus ,and be there forever at home2 ,and be there forever at home1 ,to rise to the mansions of glory1 ,and be there forever at home4 ,the angels stand ready and waiting1 ,the moment the spirit is gone1 ,to carry it upward to heaven1 ,and welcome it safely at home4 ,chorus ,the saints that have gone up before us1 ,all raise a new shout as we come1 ,and sing hallelujah the louder1 ,to welcome the travelers home4 ,chorus ,for source of tune and words see ,,ws1 p4 #afg4 ,the tune is borrowed from ',old ,rosin the ,bow'1 see ,sandburg1 p4 #afg4 ,see also ',my ,sister ,she ,works in a ,laundry'1 ,sandburg1 #cha2 ',when ,sherman ,marched ,down to the ,sea'1 ,dolph1 #cdg2 ',washington ,badge'1 ,,hh #ecf2 ',lord ,randal'1 ,sharp1 i41 #ci2 and ',i wonder ,when ,i'm to ,be ,married'1 from ,dumphriesshire1 ,england1 #ahee1 see ,,jfss1 viii41 #adb4 ,no4 #acj ,o ,,tell ,,me ,,no ,,more1 ,,ol #cja ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,o tell me no more of this world's vain store2 ,the time for such trifles with me now is o'er4 ,a country ,i've found1 where true joys abound1 ,to dwell ,i'm determin'd on that happy ground4 ,the souls that believe1 in ,paradise live2 ,and me in that number will ,jesus receive3 ,my soul1 don't delay1 he calls thee away2 ,rise1 follow thy ,savior1 and bless the glad day4 ,no mortal doth know what he can bestow1 ,what light1 strength1 and comfort2 go after him1 go6 ,lo6 onward ,i move1 to a city above2 ,none guesses how wondrous my journey will prove4 ,the text is attributed to ,john ,gambold1 of ,england4 ,i find the tune to be a relative of a ',lord ,randal' variant which ,sharp 7i41 #dc1 ,g7 found in eastern ,tennessee4 ,the resemblance of the two tunes runs throughout2 but in the last four-measure phrase 7going with the worldly sentence ,i'm sick to the heart and ,i fain would lie down7 they are practically identical4 ',rose' in this collection is a variant of this tune1 notated in the folk manner of singing4 ,no4 #aca ,,heavenly ,,dove1 ,,soc #bc ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,come1 ,holy ,spirit1 heav'nly dove1 ,with all thy quick'ning powers2 ,come shed abroad a ,savior's love1 ,and that will kindle ours4 ,this is quite clearly the ',barbara ,allen' tune as it is seen1 for example1 in ,sharp1 i41 #ahc;ff4 ,it is also related to ',lonesome ,grove' in this collection4 ,the dove theme in the text of the above song and in the ',lonesome ,grove' song was possibly the magnet which attracted the texts to variant tunes4 ,no4 #acb ,,ceylon1 ,,pb #cgb ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,how long1 ,o ,lord our ,savior1 wilt thou remain away8 ,our hearts are growing weary of thy so long delay4 ,o when will come the moment when1 brighter far than morn1 ,the sun-shine of thy glory will on thy people dawn4 ,how long1 ,o gracious ,saviour1 wilt ,thou ,thy household leave8 ,so long hast ,thou now tarried1 few ,thy return believe2 ,immersed in sloth and folly1 ,thy servants1 ,lord1 we see2 ,and few of us stand ready1 with joy to welcome ,thee4 ,how long1 ,o heav'nly ,bridegroom1 how long wilt ,thou delay8 ,and yet how few are grieving1 that ,thou dost absent stay2 ,thy very bride her portion and calling hath forgot1 ,and seeks for ease and glory1 where ,thou1 her ,lord1 art not4 ,the tune is a close relative of ',love ,divine' ,,chi #fc1 ',heavenly ,welcome' ,,hh #dhb1 ',baltimore' ,,skh #ec1 ',garden ,hymn' ,,rev #afd1 and a less close one to ',heavenward'1 ,christian ,science ,hymnal 7#aicb71 ,no4 #acf1 which is an ancient ,irish tune from the ,petrie collection4 ,compare ,petrie1 ,no4 #iic4 ,no4 #acc ,,new ,,prospect or ,o ,,land ,,of ,,rest1 ,,osh #cij ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,o land of rest1 for thee ,i sigh1 ,when will the moment come ,when ,i shall lay my armor by ,and dwell in peace at home1 ,and dwell in peace at home2 ,when shall ,i lay my armor by ,and dwell in peace at home4 ,no tranquil joy on earth ,i know1 ,no peaceful1 sheltering dome2 ,this world's a wilderness of woe1 ,this world is not my home4 ,our tears shall all be wiped away ,when we have ceased to roam1 ,and we shall hear our ,father say1 ,come1 dwell with me at home4 ,j4 ,s4 ,james1 editor of the #aiaa ,original ,sacred ,harp1 attributes tune and words to ,w4 ,s4 ,turner of ,georgia4 ,it is found also1 ,,gos #cij4 ,close relatives of this tune are ',deep ,spring' in this collection1 ',lord ,thomas and ,fair ,eleanor'1 ,sharp1 i41 #aah2 and ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #aff4 ,no4 #acd ,i ,,love ,,thee1 ,,ol #cah ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,i love thee1 ,i love thee1 ,i love thee1 my ,lord4 ,i love thy dear people1 thy ways and thy word4 ,i love thee1 ,i love thee1 and that thou dost know2 ,but how much ,i love thee1 ,i never can show4 ,i'm happy1 ,i'm happy1 ,o wondrous account6 ,my joys are immortal1 ,i stand on the mount6 ,i gaze on my treasure1 and long to be there1 ,with ,jesus and angels1 my kindred so dear4 ,o ,jesus1 my ,savior1 with thee ,i am blest6 ,my life and salvation1 my joy and my rest6 ,thy ,name be my theme1 and thy love be my song6 ,thy grace shall inspire both my heart and my tongue4 ,o who's like my ,savior8 ,he's ,salem's bright ,king2 ,he smiles1 and he loves me1 and helps me to sing3 ,i'll praise him and bless him1 with notes loud and shrill1 ,while rivers of pleasure my spirit do fill3 ,o ,jesus1 my ,savior6 ,i know thou art mine2 ,for thee all the pleasures of sin ,i resign3 ,of objects most pleasing ,i love thee the best2 ,without thee ,i'm wretched1 but with thee ,i'm blessed4 ,tho' weak and despised1 by faith ,i now stand1 ,preserv'd and defended by ,heaven's kind hand3 ,by ,jesus supported1 ,i'll praise his dear name1 ,regardless of danger1 of praise1 or of blame4 ,i find him in singing1 ,i find him in prayer2 ,in sweet meditation he always is near3 ,my constant companion1 ,oh may we ne'er part6 ,all glory to ,jesus1 who dwells in my heart6 ,the text is attributed to ,john ,adam ,granade1 the ,billy ,sunday of the revival movement which reached a high point in its trend at about the beginning of the nineteenth century4 ,granade was the author of many widely sung texts4 ,the tune is clearly of the ',lord ,lovel' family4 ,compare1 for example1 the melody which ,sharp found in ,north ,carolina2 see ,sharp1 i41 #ch1 ,a4 ,its earliest appearance in ,american religious song books seems to have been in ,ingalls' ,christian ,harmony1 #ahje1 p4 #dd4 ,no4 #ace ,,new ,,britain or ,,harmony ,,grove1 ,,soh #h ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,amazing grace6 7how sweet the sound7 ,that saved a wretch like me6 ,i once was lost1 but now am found1 ,was blind1 but now ,i see4 ,the poem is by ,newton4 ,the tune's source is unknown to the southern compilers4 ,it goes also under the names ',symphony'1 ',solon'1 and ',redemption'4 ,found also1 ,,wp #bg1 ,,gcm #aje1 ,,osh #de1 ,,hh #ajd1 ,,soc #aij1 ,,tz #ij1 ,,vh #ai1 ,church ,harmony #ia4 ,a close relative of the tune is ',primrose' in this collection4 ,further stanzas of the text are given under ',melody'4 ,i recorded this tune also as it was sung by ,f4 ,fagan ,thompson of ,vanderbilt ,university1 ,nashville1 ,tennessee1 ,february1 #aicf4 ,i reproduce here his version1 one in which the tune is slowed and many graces are introduced1 as an excellent illustration of the widespread southern folk-manner in the singing of hymns of this sort4 very slow ,music ,amazing grace6 7how sweet the sound7 ,that saved a wretch like me6 ,i once was lost1 but now ,i'm found1 ,was blind but now ,i see4 ,no4 #acf ,,spiritual ,,sailor1 ,,soh #da ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,the people called ,christians have many things to tell ,about the land of ,canaan where saints and angels dwell2 ,but here a dismal ocean enclosing them around1 ,with its tides still divides them from ,canaan's happy ground4 ,many have been impatient to work their passage through1 ,and with united wisdom have tried what they could do2 ,but vessels built by human skill have never sailed far1 ,till we found them aground on some dreadful1 sandy bar4 ,the everlasting gospel hath launch'd the deep at last2 ,behold the sails expanded around the tow'ring mast6 ,along the deck in order1 the joyful sailors stand1 ,crying1 ,ho6--here we go to ,immanuel's happy land6 ,we're now on the wide ocean1 we bid the world farewell6 ,and though where we shall anchor no human tongue can tell2 ,about our future destiny there need be no debate1 ,while we ride on the tide1 with our ,captain and his ,mate4 ,to those who are spectators what anguish must ensue1 ,to hear their old companions bid them a last adieu6 ,the pleasures of your paradise no more our hearts invite2 ,we will sail--you may rail1 we shall soon be out of sight4 ,the passengers united in order1 peace1 and love2 ,the wind is in our favour1 how swiftly do we move6 ,though tempests may assail us1 and raging billows roar1 ,we will sweep through the deep1 till we reach fair ,canaan's shore4 ,the ,southern ,harmony gives the maker of this song as ,i4 ,neighbours1 who may indeed have been the author of the text4 ,this text is clearly a parody1 and the tune a close variant1 of ',when the ,stormy ,winds do ,blow' or ',you ,gentlemen of ,england'1 a song of seafaring which appears to have been widely sung in ,england over a long period4 ,references to a ',stormy ,winds' ballad reach back to #affj4 ,the tune with different texts appeared as ',saylers for my ,money'1 ',the ,bridegroom's ,salutation'1 ',you ,calvinists of ,england' and ',england's ,valour and ,holland's ,terrour'4 ,see ,vincent ,jackson1 ,english ,melodies from the #acth to the #ahth ,century1 p4 #aad4 ,other melodic relatives which have come to my notice are ',the ,trees do ,grow ,high'1 ,sharp1 ,one ,hundred ,english ,folk-,songs1 ,no4 #be2 and ',john ,anderson ,my ,jo ,john'1 ,the ,singer's ,companion1 p4 #gb1 and ,,smm1 ,no4 #adf4 ,no4 #acg ,,idumea1 ,,osh #dg ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,and am ,i born to die1 ,to lay this body down8 ,and must this trembling spirit fly ,into a world unknown8 ,waked by the trumpet's sound1 ,i from the grave shall rise1 ,to see the ,judge with glory crowned1 ,and view the flaming skies4 ,how shall ,i leave the tomb8 ,with triumph or regret8 ,a fearful or a joyful doom8 ,a curse or blessing meet8 ,i must from ,god be driv'n1 ,or with my ,saviour dwell2 ,must come at ,his command to heav'n1 ,or else depart--to hell4 ,the words are by ,charles ,wesley4 ,the tune is claimed by ,ananias ,davisson in his ,kentucky ,harmony 7#ahae7 whence it was borrowed by practically all the subsequent book compilers in the ,south4 ,the tune was used for the secular ballad ',lord ,lovel'2 see ,white ,spirituals1 #agg4 ,also found ,,kyh #cc1 ,,gcm #cf1 ,,soh #ca1 ,,uh #ai1 ,,knh #cf1 ,,hh #bbd1 ,,soc #ee1 ,,hoc #dd1 ,,tz #abb1 ,,moh #ch1 ,church ,harmony1 p4 #ce1 ,,gos #ahd1 ,,pb #bdf4 ,an imitation of this tune is ,,gos #cbe4 ',lord ,thomas and ,fair ,eleanor'1 ,davis1 p4 #egj1 shows the same trend1 as does also ',young ,hunting'1 ,sharp1 i41 #aab4 ,no4 #ach ,,bozrah1 ,,gos #ei ,hexatonic1 mode #b b 7,i -- #c ,,iv ,v #f #g7 ,music ,who is this that comes from far ,with his garments dipt in blood8 ,strong1 triumphant traveler1 ,is he man or is he ,god8 ,i that reign in righteousness1 ,son of ,god and man ,i am1 ,mighty to redeem your race1 ,jesus is your ,savior's name4 ,wide1 ye heavenly gates1 unfold1 ,closed no more by death and sin2 ,lo1 the conquering ,lord behold2 ,let the ,king of glory in4 ,hark1 th'angelic host inquire1 ,who is ,he1 th'almighty ,king8 ,hark again1 the answering choir ,thus in strains of triumph sing3 ,he whose powerful arm1 alone1 ,on ,his foes destruction hurled2 ,he who hath the victory won2 ,he who saved you by ,his blood2 ,he who ,god's pure law fulfilled2 ,jesus1 the incarnate ,word2 ,he whose truth with blood was sealed2 ,he is heaven's all-glorious ,lord4 ,the melodic sentence at the beginning and at the end is a favorite4 ,it may be found1 for example1 also in ',greenwood ,siding'1 ,cox1 p4 #ebb4 ,a variant of the tune is ',when ,i ,first ,left ,old ,ireland'1 ,petrie1 ,no4 #hfc4 ,see ',i ,will ,arise' in this collection for further tune relationships4 ,no4 #aci ,,new ,,orleans1 ,,pb #bee ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,why do we mourn departing friends ,or shake at death's alarms8 ',tis but the voice that ,jesus sends ,to call them to his arms4 ,are we not tending upward too1 ,as fast as time can move8 ,nor would we wish the hours more slow1 ,to keep us from our love4 ,for variant forms of the tune see ',marion' and ',i ,will ,arise' in this collection4 ,among its related secular tunes are ',greenwood ,siding' 7',cruel ,mother'71 ,cox1 p4 #ebb2 an unnamed tune in ,petrie1 ,no4 #aic2 ',oh ,love it is a ,killing ,thing'1 ,petrie1 ,no4 #dfi2 and ',when ,first ,i left ,old ,ireland'1 ,petrie1 ,no4 #hfc4 ,a remarkable tune resemblance and one which opens to the imagination surprising vistas as to the possible age of the ',new ,orleans' tune1 is to be seen in the ,whitsuntide church melody ',iam ,christus astra ascenderat' from the eleventh century3 ,music ,iam ,christus astra ascenderat regressus unde venerat4 ,the same melodic trend is seen also in the ,german tune set to ',christ der du bist der helle ,tag' from the year #aefh4 ,see ,hymns ,ancient and ,modern1 ,nos4 #agh and #fjd4 ,no4 #adj ,,holy ,,son ,,of ,,god1 ,,rev #cfe ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,i love the holy ,son of ,god1 ,who once this vale of sorrows trod1 ,and bore my sins1 a heavy load1 ,up ,calv'ry's gloomy mountain4 ,high on the cross he shameful hung1 ,the sport of many an envious tongue1 ,while pains severe his nature wrung1 ,and streamed life's crimson fountain4 ,oh1 why did not his fury burn1 ,and floods of vengeance on them turn8 ,amazing6 ,see his bowels yearn ,in soft compassion on them4 ,no fury kindles in his eyes2 ,they beam with love1 and when he dies1 ,father1 forgive1 the sufferer cries1 ,they know not--,oh1 forgive them4 ,no4 #ada ,,worthy ,,the ,,lamb1 ,,swp #ib ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv #f #g7 ,music ,glory to ,god on high2 ,let earth and skies reply1 ,praise ye his name1 praise ye his name2 ,his love and grace adore1 ,who all our sorrows bore1 ,sing aloud evermore1 ,worthy the ,lamb1 worthy the ,lamb4 ,jesus1 our ,lord and ,god1 ,bore sin's tremendous load1 ,praise ye his name1 praise ye his name2 ,tell what his arm has done1 ,what spoils from death he won2 ,sing his great name alone2 ,worthy the ,lamb4 ,while they around the throne ,cheerfully join as one1 ,praising his name1 praising his name1 ,those who have felt his blood ,sealing their peace with ,god1 ,sound his dear fame abroad1 ,worthy the ,lamb4 ,three more stanzas of the text are in the ,southern and ,western ,pocket ,harmonist4 ,the tune is attributed to ,bradshaw4 ,no4 #adb ,,captain ,,kidd1 ,,coh #gc ,hexatonic1 mode #d b 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,through all the world below ,god is seen all around1 ,search hills and valleys through1 ,there he's found4 ,the growing of the corn1 ,the lily and the thorn1 ,the pleasant and forlorn1 ,all declare1 ,god is there2 ,in meadows drest in green1 ,there he's seen4 ,see springing waters rise1 ,fountains flow1 rivers run2 ,the mist that veils the sky ,hides the sun2 ,then down the rain doth pour1 ,the ocean it doth roar1 ,and beat upon the shore2 ,and all praise in their ways ,the ,god who ne'er declines ,his designs4 ,the sun with all his rays ,speaks of ,god as he flies2 ,the comet in her blaze1 ,god she cries4 ,the shining of the stars1 ,the moon when she appears1 ,his awful name declares2 ,see them fly through the sky1 ,and join the solemn sound ,all round4 ,not ,india's hills of gold1 ,where the wonders are told1 ,nor zephyrs strong and bold ,can unfold ,the mountain ,calvary1 ,where ,christ our ,lord did die4 ,hark1 hear the ,savior cry1 ,mountains quake1 heavens shake1 ,christ1 call'd to heaven's host1 ,left their coast4 ,the tune is ascribed to ,nicholson4 ,the oldest ,american recording known to me is in the four-shape-note manuscript song collection made by ,catherine ,alderice in or near ,emmittsburg1 ,md41 #ahjj-ahcj1 p4 #cg4 ,miss ,gilchrist calls attention to the secular ',captain ,kidd' ballad1 of which the above is a parody1 as it appeared1 twenty-five verses long1 in ,our ,familiar ,songs and ,who ,made ,them1 published in ,america1 #ahhi4 ,she describes it as a sort of dying speech and testament probably dating from about #agja in which year ,kidd and nine of his associates were hanged in ,execution ,dock4444 ,there were many other eighteenth century songs1 built on this peculiar stanzaic plan1 celebrating other notorious characters1 ',admiral ,benbow1' ',jack 7or ,sam7 ,hall4' ,other ,american spiritual songs in this collection having the same stanzaic form are ',wondrous ,love' and ',remember ,sinful ,youth'4 ,no4 #adc ,,jerusalem1 ,,soh 7#ahce7 #fj ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f ,,vii74 ,music ,jerusalem1 my happy home1 ,o how ,i long for thee6 ,when will my sorrows have an end1 ,thy joys when shall ,i see6 ,but ,o1 the happy1 happy place1 ,the place where ,jesus reigns2 ,the place where ,christians all shall meet1 ,never to part again4 ,further stanzas of the text are given under ',long-,sought ,home' in this collection4 ,the song is attributed to ,benjamin ,white4 ,this is ,benjamin ,franklin ,white1 brother-in-law of1 and co-worker with1 ,william ,walker 7compiler of the ,southern ,harmony7 and author subsequently of the ,sacred ,harp4 ,see ,white ,spirituals1 #hd4 ,no4 #add ,,roby1 ,,ol #bgc ,heptatonic dorian1 mode #b ,a ,b with altered #crd 7,i ,,ii #c ,,iii ,,iv ,v ,,vi #g7 ,music ,tempest tossed1 troubled spirit1 ,dost thou groan beneath thy load1 ,fearing thou shalt not inherit ,in the kingdom of thy ,god8 ,view thy ,savior on the mountain ,in temptation's painful hour2 ,tho' of grace himself the fountain1 ,and the ,lord of boundless pow'r4 ,do thy blooming prospects languish8 ,sayest thou still1 ,i'm not his child8 ,view thy ,savior's dreadful anguish1 ,famished in the gloomy wild4 ,not a step in all thy journey1 ,thro' this gloomy vale of tears1 ,but thy ,lord hath trod before thee2 ,he thy way to glory clears4 ,the ,olive ,leaf compiler informs us that this song which was a favorite with the late ,rev4 ,wesley ,p4 ,arnold1 of ,georgia1 was learned of some dear ,baptist friends in ,iridell ,co41 ,n4 ,c41 in #ahci1 and called ',roby'1 their name4 ,no4 #ade ,,remember ,,sinful ,,youth or ,,solemn ,,thought1 ,,soh #bi ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,remember1 sinful youth1 you must die1 you must die1 ,remember1 sinful youth1 you must die2 ,remember1 sinful youth1 who hate the way of truth ,and in your pleasures boast1 you must die1 you must die2 ,and in your pleasures boast1 you must die4 ,uncertain are your days here below1 here below1 ,uncertain are your days here below1 ,uncertain are your days1 for ,god hath many ways ,to bring you to your graves here below1 here below1 ,to bring you to your graves here below4 ,the ,god that built the sky1 great ,i ,,am1 great ,i ,,am1 ,the ,god that built the sky1 great ,i ,,am1 ,the ,god that built the sky1 hath said1 7and cannot lie71 ,impenitents shall die1 and be damn'd1 and be damn'd1 ,impenitents shall die1 and be damn'd4 ,and1 ,o my friends1 don't you1 ,i entreat1 ,i entreat1 ,and1 ,o my friends1 don't you1 ,i entreat1 ,and1 ,o my friends1 don't you your carnal mirth pursue1 ,your guilty souls undo1 ,i entreat1 ,i entreat1 ,your guilty souls undo1 ,i entreat4 ,unto the ,saviour flee1 'scape for life6 'scape for life6 ,unto the ,saviour flee1 'scape for life6 ,unto the ,saviour flee1 lest death eternal be ,your final destiny1 'scape for life6 'scape for life6 ,your final destiny1 'scape for life6 ,the mood of the poem indicates a considerable age for it4 ,that the song as a whole was decidedly among the stock of orally transmitted ones is indicated by the many claimants to its authorship4 ,such claimants in the southern books are ,f4 ,price1 ,william ,caldwell1 ,james ,carrell and ,ananias ,davisson4 ,found also1 ,,uh #ef1 ,,knh #ajh1 ,,hh #bbe1 ,,skh #ff1 ,,chh #cfa4 ,the stanzaic form is that of ',captain ,kidd' in this collection4 ,in his ,christian ,harmony1 ,william ,walker adds the note that ,i learned it the tune from my dear mother 7who now sings in heaven7 when ,i was only three years old1--the first tune ,i ever learned4 ,that was in #ahab4 ,that the song was even older1 however1 is shown by its appearance in ,ingalls' ,christian ,harmony of #ahje1 p4 #ci4 ,no4 #adf ,,weeping ,,savior1 ,,osh #cc ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,did ,christ o'er sinners weep8 ,and shall our cheeks be dry8 ,let floods of penitential grief ,burst forth from every eye4 ,the ,son of ,god in tears1 ,angels with wonder see2 ,be thou astonished1 ,o my soul2 ,he shed those tears for thee4 ,he wept that we might weep2 ,each sin demands a tear2 ,in heav'n alone no sin is found1 ,and there's no weeping there4 ,the text is attributed to ,benjamin ,beddome1 and the tune to ,joseph ,barnby1 and to ,e4 ,j4 ,king4 ,the first1 sixth1 and seventh measures had only quarter notes in the ,sacred ,harp4 ,the slurred eighth notes are inserted from a variant of the tune found in the ,olive ,leaf4 ,they represent probably an effort on the part of the editor of that song book to present the tune as really sung4 ,no4 #adg ,,detroit1 ,,soh #dj ,hexatonic1 mode #b1 b 7,i -- #c ,,iv ,v #f #g7 ,music ,do ,i not love thee1 ,o my ,lord8 ,behold my heart and see2 ,and turn each cursed idol out1 ,that dares to rival thee4 ,hast thou a lamb in all thy flock ,i would disdain to feed8 ,hast thou a foe before whose face ,i fear thy cause to plead8 ,would not my ardent spirit vie ,with angels 'round thy throne1 ,to execute thy sacred will1 ,and make thy glory known8 ,thou know'st ,i love thee1 dearest ,lord1 ,but ,oh6 ,i long to soar ,far from the sphere of mortal joys1 ,that ,i may love thee more4 ,philip ,doddridge is credited with the words4 ,the tune is attributed to ',bradshaw' in the ,southern ,harmony4 ,found also1 ,,uh #cc1 ,,knh #bc1 ,,osh #ci1 ,,hh #aeh1 ,,soc #age1 ,,hoc #bb1 ,,wp #bd1 ,,skh #he1 ,,gos #bhb4 ,the melody is similar to a number of those given by ,sharp 7i41 #aej;ff47 with ',the ,wife of ,usher's ,well'4 ,no4 #adh ,i ,,shall ,,be ,,satisfied1 ,,rev #fb ,hexatonic1 mode #d b minorized 7,i ,,ii #c ,,iv ,v -- #g ,,vii7 ,music ,if ,i in thy likeness1 ,o ,lord1 may awake1 ,and shine a pure image of thee2 ,then ,i shall be satisfied when ,i can break ,these fetters of flesh and be free4 ,i know this stain'd tablet must first be wash'd white1 ,to let thy bright features be drawn1 ,i know ,i must suffer the darkness of night1 ,to welcome the coming of dawn4 ,then ,i shall be satisfied when ,i can cast ,the shadows of nature all by1 ,when this cold dreary world from my vision is past1 ,and let this soul open her eye4 ,i gladly shall feel the blest morn drawing near1 ,when time's dreary fancy shall fade1 ,if then in thy likeness ,i may but appear1 ,i rise with thy beauty arrayed4 ,one more stanza of text in the ,revivalist4 ,the song is used as sung by ,rev4 ,g4 ,c4 ,wells4 ,it is reminiscent of the ',henry ,martin' tune2 see ,gould and ,sharp1 ,english ,folk-,songs for ,schools1 p4 #bb4 ,no4 #adi ,,edgefield1 ,,osh #hb ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,how tedious and tasteless the hours ,when ,jesus no longer ,i see6 ,sweet prospects1 sweet birds1 and sweet flowers ,have all lost their sweetness to me1 ,have all lost their sweetness to me4 ,the tune is attributed1 in the ,sacred ,harp1 to ,j4 ,t4 ,white1 a ,georgian1 and is dated #ahdd4 ,it is a variant of ',when the ,cock ,crows it is ,day'1 ,petrie1 ,no4 #dgh4 ,the fuller text1 attributed to ,john ,newton1 is given under the song ',green ,fields' in this collection4 ,one ,hundred and one ,revival ,spiritual ,songs ,no4 #aej ,,jesus ,,is ,,my ,,friend 7,a71 ,,osh #cde ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,come life1 come death1 come then what will1 ,jesus is my friend4 ,his foot-steps ,i will follow still1 ,jesus is my friend4 ,jesus is my friend1 ,o hallelujah6 ,jesus is my friend4 ,in the ,sacred ,harp of #ahei this song1 tune and words1 is attributed to the ,georgian1 ,j4 ,p4 ,rees4 ,i have heard my negro servant1 ,annie ,ware1 singing it1 or fragments of it including the final phrase1 ,jesus is my friend1 in ,nashville1 ,tennessee1 #aicb4 ,it is found also ,,gos #feb4 ,no4 #aea ,,lost ,,city or ,,to ,,glory ,i ,,will ,,go1 ,,osh #cbj ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,o when shall ,i see ,jesus ,and reign with him above1 ,and from the flowing fountain ,drink everlasting love1 ,and to glory ,i will go1 ,and to glory ,i will go1 will go1 will go1 ,and to glory ,i will go4 ,the words are by ,john ,leland4 ,the old tune seems to have been wedded to the above text by ,e4 ,l4 ,king1 about #ahdd1 according to the ,original ,sacred ,harp4 ,john ,g4 ,mc,curry applied the same tune to a text beginning3 ,i'd rather live a beggar ,while here on earth ,i stay and ending with the refrain ,and to begging ,i will go4 ,see ',beggar' in this collection where there are references to the seventeenth century prototype of the above song4 ,further stanzas of the above spiritual text are given under ',faithful ,soldier'4 ,no4 #aeb ,,golden ,,harp or ,,to ,,play ,,on ,,the ,,golden ,,harp1 ,,osh #bgd ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,farewell1 vain world1 ,i'm going home1 ,to play on the golden harp2 ,my ,savior smiles and bids me come1 ,to play on the golden harp4 ,chorus ,i want to be where ,jesus is1 ,to play on the golden harp4 ,to play on the golden harp1 ,to play on the golden harp2 ,i want to be where ,jesus is1 ,to play on the golden harp4 ,sweet angels beckon me away ,to sing ,god's praise in endless day4 ,i'm glad that ,i am born to die1 ,from grief and woe my soul shall fly4 ,bright angels shall convey me home1 ,away to ,new ,jerusalem4 ,i'll praise my ,master while ,i've breath1 ,i hope to praise him after death4 ,i hope to praise him when ,i die1 ,and shout salvation as ,i fly4 ,i soon shall pass this vale of death1 ,and in his arms ,i'll lose my breath4 ,and then my happy soul shall tell ,my ,jesus hath done all things well4 ,recorded in #ahfi for the edition of the ,sacred ,harp which appeared in that year4 ,the tune stems from some variants of ',come all ye ,faithful ,christians'1 cf4 ,,jfss1 ii41 #aae;ff4 ,no4 #aec ,i ,,can',t ,,stay ,,away1 ,,csh #ie ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,farewell1 vain world1 ,i'm going home1 ,i can't stay away1 ,my ,savior smiles and bids me come1 ,i can't stay away4 ,i can not stay much longer here1 ,i can't stay away1 ,for the gospel ship is passing by1 ,i can't stay away4 ,further stanzas of the text are given under ',golden ,harp'4 ,compare1 for melodic similarities ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #afa1 #afb1 #afd1 #afh1 and #agj4 ,no4 #aed ,,my ,,home ,,is ,,over ,,jordan1 ,,rev #cij ,pentachordal1 cannot be classified 7,i ,,ii #c ,,iv ,v -- --7 ,music ,my home is over ,jordan1 ,my home is over ,jordan1 ,my home is over ,jordan1 ,where pleasures never die4 ,where the wicked cease from troubling1 etc4 ,and the weary are at rest4 ,farewell to sin and sorrow1 etc4 ,i bid you all adieu4 ,and you1 my friends1 prove faithful1 etc4 ,and on your way pursue4 ,this spiritual tune has been widely used as a chorus to other songs4 ,an example is ',wings of the ,morning' in this collection4 ,no4 #aee ,o ,i',m ,,so ,,happy ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,o ,i am so happy in ,jesus1 ,his blood has redeem'd me from sin2 ,i shout and ,i sing in my gladness1 ,to know he is dwelling within4 ,o ,i am so happy in ,jesus1 ,his blood has redeem'd me from sin1 ,so happy that he is my ,savior1 ,so happy he's dwelling within4 ,recorded by the author1 ,september #ba1 #aicb1 in ,nashville1 ,tennessee1 from the singing of ,samuel ,e4 ,asbury who learned it from hearing it sung at camp meetings in western ,north ,carolina in the #ahhj's4 ,the tune is quite evidently an orally transmitted version of that of ',faithful ,soldier'1 in this collection1 which first appeared in the ,southern ,harmony 7#ahce7 and was claimed by ,william ,walker1 the compiler of that collection4 ,see also ',hallelujah' in this collection1 a type tune to which the above melody is organically related1 for further data as to kindred tunes4 ,no4 #aef ,,cuba or ,,go ,,preachers or ,,poor ,,mourner',s ,,found ,a ,,home1 ,,osh #dja ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,go1 preachers1 and tell it to the world2 ,go1 preachers1 and tell it to the world2 ,go1 preachers1 and tell it to the world3 ,poor mourner's found a home at last4 ,through free grace and a dying ,lamb2 ,through free grace and a dying ,lamb2 ,through free grace and a dying ,lamb1 ,poor mourner's found a home at last4 ,this typical spiritual was taken into the #ahei edition of the ,sacred ,harp4 ,other stanzas were added by simply substituting in the place of preachers1 the words fathers1 mothers1 etc4 ,a negro version of tune and words is in ,slave ,songs1 ,no4 #bd4 ,no4 #aeg ,,sinners ,,turn1 ,,ol #bff ,heptatonic1 essentially aeolian1 mode #b ,a b 7,i ,,ii #c ,,iii ,,iv ,v #f ,,vi #g7 ,music ,sinners1 turn1 why will ye die8 ,god1 your maker asks you why4 ,god who did your being give1 ,made you with himself to live4 ,chorus ,oh6 turn1 sinners1 turn6 ,may the ,lord help you turn1 ,oh6 turn1 sinners1 turn1 ,why will you die8 ,he the fatal cause demands1 ,asks the work of his own hands1 ,why1 ye thankless creatures1 why ,will you cross his love and die8 ,chorus ,sinners1 turn1 why will ye die8 ,god1 your ,savior1 asks you why6 ,god1 who did your souls retrieve1 ,died himself that ye might live4 ,chorus ,this tune is closely related to ',animation' and1 like it1 to the worldly tune ',ropesman' in ,thomas1 p4 #afd4 ,the melody of the above chorus seems to have been derived from ',willy ,taylor'1 ,petrie1 ,no4 #gde4 ,compare for similarities ',run ,nigger ,run'1 ,,ss #hi4 ,no4 #aeh ,,death ,,ain',t ,,you ,,got ,,no ,,shame ,pentachordal1 cannot be classified 7,i ,,ii ,,iii ,,iv ,v -- --7 ,music ,death1 ain't you got no shame1 shame8 ,death1 ain't you got no shame1 shame8 ,death1 ain't you got no shame1 shame8 ,death1 ain't you got no shame8 ,recorded by the compiler of this collection from the singing of ,francis ,arthur ,robinson1 ,nashville1 ,tennessee1 as he had heard it in the backwoods of ,wayne ,county1 ,tennessee1 in #aibf4 ,mr4 ,robinson called it a barefoot white song4 ,the tied notes are sung in a skid or scoop4 ,subsequent stanzas3 ,left his pappy to moan1 moan1 etc4 ,left his widder alone1 lone1 etc4 ,left his mammy to weep1 weep1 etc4 and many more4 ,in ,the ,carolina ,low-,country1 page #bdi1 a version of the song is given as sung by a negro congregation in ,beaufort1 ,south ,carolina4 ,this song is one of the most primitive in the present collection4 ,it is valuable1 however1 in that it exemplifies well a lyric level which suited both whites and blacks of a certain cultural status4 ,no4 #aei ,,come ,,to ,,jesus1 ,,rev #adb ,hexatonic1 #fth missing1 cannot be classified but obviously ionian 7,i ,,ii ,,iii ,,iv ,v -- ,,vii7 ,music ,come to ,jesus1 come to ,jesus1 ,come to ,jesus just now1 ,just now come to ,jesus1 ,come to ,jesus just now4 ,subsequent verses are built up on3 ,he will save you2 ,o1 believe him2 ,he is able2 ,he is willing2 ,he'll receive you2 ,call upon him2 ,he will hear you2 ,look unto him2 ,he'll forgive you2 ,he will cleanse you2 ,he will clothe you2 ,jesus loves you2 ,don't reject him2 and1 ,only trust him4 ,a negro version of tune and text is in ,slave ,songs1 ,no4 #he4 ,was ',come to ,jesus' a tune importation from ,germany8 ,erk and ,bhme 7,deutscher ,liederhort1 vol4 iii41 p4 #gce7 bring several variants of what is called an altes ,fastenlied4 ,i reproduce one of them3 ,music ,es sangen drei ,engel einen sszen ,gesang1 sie sangen1 dasz es ,gott in dem ,himmel erklang4 ,the first part of the ,german tune is almost identical with the corresponding part of the one1 heard widely among ,american students1 with such texts as ',o ,my ,darling ,clementine' and ',found a ,horseshoe ,just ,now'--evident parodies on the ',come to ,jesus' tune and words4 ,the second part of the ,german melody is strikingly like that of the above mentioned negro version in ,slave ,songs4 ,no4 #afj ,,glad ,,news or ,,we',,ll ,,land ,,on ,,shore1 ,,soc #ah ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,come1 ,thou fount of every blessing1 ,tune my heart to sing ,thy grace2 ,streams of mercy never ceasing1 ,call for songs of loudest praise4 ,and we'll land on shore1 ,yes1 we'll land on shore1 ,and we'll land on shore ,and be safe for evermore4 ,a variant of the above text and tune is 'when we pass over ,jordan'1 ,mason's ,harp of the ,south1 p4 #bie4 ,no4 #afa ,,christian ,,prospect or ,,there',s ,a ,,better ,,day1 ,,soh #cbc ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,we have our trials here below1 ,o glory hallelujah6 ,we have our trials here below1 ,o glory hallelujah6 ,there's a better day a-coming1 ,hallelujah6 ,there's a better day a-coming1 ,hallelujah6 ,a few more beating winds and rains1 ,o glory hallelujah6 ,a few more beating winds and rains1 ,o glory hallelujah6 ,and the winter will be over1 ,hallelujah6 ,and the winter will be over1 ,hallelujah6 ,a few more rising and setting suns ,and we'll all cross over ,jordan4 ,i feel no ways like getting tired1 ,i am making for the harbor4 ,i hope to get there by and by1 ,my home is over ,jordan4 ,there are four more stanzas4 ,the song is found also in ,,knh #eb4 ,both ,walker1 compiler of the ,southern ,harmony1 and ,davisson1 compiler of the ,kentucky ,harmony1 laid claim to its authorship4 ,they were doubtlessly both recorders of this same piece of unwritten music4 ,that was in the #ahcj's4 ,see the first phrase of ',glorishears' 7,sharp1 ,morris ,dances ,set #e1 ,no4 #f7 for melodic similarities4 ,the above song1 both tune and words1 inspired the composition of ',christian's ,hope' in this collection4 ,a negro remake of tune and words is in ,dett1 p4 #cf4 ,no4 #afb ,,christian',s ,,hope or ,,where ,,all ,,is ,,peace ,,and ,,love1 ,,osh #ejf ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,we have our troubles here below1 ,we're trav'ling through this world of woe1 ,to that bright world where loved ones go1 ,where all is peace and love4 ,where all is peace and love1 ,to that bright world where loved ones go1 ,where all is peace and love4 ,we're fettered and chained up in clay1 ,while in this body here we stay2 ,by faith we know a world above1 ,where all is peace and love4 ,i feel no way like getting tired1 ,i'm trusting in his holy word1 ,to guide my weary feet above1 ,where all is peace and love4 ,the ,sacred ,harp1 edition of #aiaa1 has the following note3 ,h4 ,a4 ,parris1 who composed the words and music to the ',christian's ,hope'1 resides at this time1 #aiaa1 at ,helicon1 ,alabama4 ,he is a great lover of the old ,sacred ,harp tunes4 ,mr4 ,parris composed the song by assembling1 happily withal1 wandering distichs and melodic phrases from songs of much older times4 ,his chief source1 both tonally and textually1 was ',christian ,prospect' in this collection4 ,i have been told that this spiritual grips the ,sacred ,harp singers' emotions so deeply that they can hardly get to the third verse before many burst into tears4 ,no4 #afc ,,dulcimer or ,,beloved1 ,,pb #cji ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,o thou in whose presence my soul takes delight1 ,on whom in afflictions ,i call1 ,my comfort by day and my song in the night1 ,my hope1 my salvation1 my all4 ,the poem is by ,joseph ,swain of ,england 7#agfb-agif74 ,the tune is attributed to ,freeman ,lewis whom ,tillett calls merely an ,american musician4 ,his dates are #aghj-ahei4 ,found also ,,gcm #fe1 ,baptist ,hymnal 7#aijb71 ,no4 #chi4 ,methodist ,hymnal 7#aije71 ,no4 #ecj2 ,,gos #ajb1 ,,soh #ae4 ,miss ,gilchrist 7op4 cit47 compares this tune with ',fair ,rosie ,ann' in ,greig's ,last ,leaves of ,traditional ,ballads1 p4 #gga4 ,the chorus of ',the ,sinking of the ,titanic' a phonograph-recorded song of wide popularity in ,america during the #aibj's1 is practically the same melodic trend as that of ',dulcimer'4 ,its text is3 ,it was bad when that great ship went down1 ,it was bad when that great ship went down1 ,there was husbands and wives1 ,little child'en lost their lives1 ,it was bad when that great ship went down4 ,a song curiously similar to the ',titanic' song is in ,the ,carolina ,low-,country1 page #bif1 as sung by the negroes on the ,santee ,river in ,south ,carolina4 ,the tune is changed but little4 ,the words are3 ,it was sad w'en duh grabe sinkin' down1 ,it was sad w'en duh grabe sinkin' down1 ,ain' dat uh awful time1 ,people keep awake all night1 ,it was sad w'en duh grabe sinkin' down4 ,the tune of ',dulcimer' is of the ',lord ,lovel' type mentioned in the ,introduction1 p4 #ad4 ,other songs in this collection belonging to this type are ',yongst'1 ',dunlap's ,creek'1 ',liverpool'1 ',ester'1 ',lonesome ,grove'1 and ',land of ,rest'4 ,other spiritual folk-tunes of the same type are ',eden'1 ,,gos #eeh2 ',thy ,way ,o ,god'1 ,,pb #bi2 ',charlestown'1 ,,gos #bee2 ',lord of ,glory'1 ,,pb #cgd2 ',new ,hope'1 ,,pb #cgc2 ',golden ,hill'1 ,,hh #baa2 ',webster'1 ,,osh #ca2 ',hollis'1 ,,gos #gc2 ',edneyville'1 ,,hh #aic2 ',blissful ,hope'1 ,,rev #adj2 and ',tedious ,hours'1 ,,soc #fi4 ,further secular tunes of the type are ',lord ,lovel'1 ,sharp1 i41 #adh2 ',the ,two ,brothers'1 ,davis1 #efc2 ',the ,mermaid'1 ,sharp1 i41 #bic2 ',every ,night ,when the ,sun ,goes ,in'1 ,sharp1 ii41 #bfi2 ',three ,little ,babes'1 ,davis1 #egf2 ',come ,all ,you ,fair and ,tender ,ladies'1 ,sharp1 ii41 #ace2 ',barbara ,allen'1 ,sharp1 i41 #aie2 ',gypsy ,laddie'1 ,sharp1 i41 #bcg2 ',horn ,fair'1 ,,jfss1 ii41 #bjd2 and ',the ,cuckoo'1 ,sharp1 ii41 #agg4 ,no4 #afd ,,weeping ,,mary 7,a71 ,,soc #ih ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,are there anybody here like ,mary a-weeping8 ,call to my ,jesus and he'll draw nigh4 ,are there anybody here like ,peter a-sinking8 ,call to my ,jesus and he'll draw nigh4 ,glory1 glory1 glory1 glory1 ,glory be to my ,god on high4 ,attributed in the ,sacred ,harp to ,john ,g4 ,mc,curry ,power and dated #aheb4 ,for a variant of this tune used among the negroes see ,white ,spirituals1 #bef4 ,miss ,gilchrist states that the text of this song is ,no4 #ea in the first ,english ,primitive ,methodist ,hymn ,book1 about #ahbc4 ,no4 #afe ,,great ,,day or ,,where ,,will ,,you ,,stand1 ,,osh #chf ,pentachordal1 cannot be classified 7,i ,,ii #c ,,iv ,v -- --7 ,music ,i've a long time heard that there will be a judgment ,that there will be a judgment in that day4 ,o there will be a judgment in that day1 ,o sinner1 where will you stand in that day8 ,i've a long time heard that the moon will be bleeding1 ,that the moon will be bleeding in that day4 ,i've a long time heard that the stars will be falling1 etc4 ,i've a long time heard that the earth will be burning1 etc4 ,this song bears the date #ahei and the composer's name1 ,john ,p4 ,rees4 ,but beside the title we read3 ,as sung by ,judge ,falkerner of ,ala4 ,we may therefore conclude that ,rees recorded on that date this older tune from the singing of the ,alabama magistrate4 ,melodic similarities are seen in ',trooper and the ,maid'1 ,sharp1 i41 #cje4 ,a recent negro version from ,beaufort1 ,s4 ,c41 is in ,the ,carolina ,low-,country1 p4 #bej4 ,no4 #aff ,,shout ,,on1 ,,pray ,,on or ,,antioch1 ,,osh #bgg ,hexatonic1 mode #b b 7,i -- #c ,,iv ,v #f #g7 ,music ,i know that my ,redeemer lives1 ,glory hallelujah4 ,what comfort this sweet sentence gives1 ,glory hallelujah1 ,shout on1 pray on1 we're gaining ground1 ,glory hallelujah1 ,the dead's alive and the lost is found1 ,glory hallelujah4 ,there are three more stanzas of this hymn1 the core of which is attributed to ,daniel ,medley about #aghd4 ,the tune first appeared in the ,social ,harp1 #ahee1 where it is attributed to ,f4 ,c4 ,wood1 a ,georgian4 ,a tune and text variant is ',we'll ,go ,on'1 ,,rev #beb4 ,a negro version of this spiritual may be seen in ,dett1 #aie4 ,see also ,white ,spirituals1 #bei4 ',antioch' looks like a make-over from ',columbus' in this collection4 ,the tune is cleverly fitted also to a worldly ballad ',edward'1 found in eastern ,tennessee2 see ,sharp1 i41 #dg4 ,it is found also fitted to the worldly ballad ',cruel ,mother' in ,north ,carolina2 see ,sharp1 i41 #eh4 ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #afb1 shows definite influence of ',antioch'4 ,see also for melodic similarities ',trooper and the ,maid'1 ,sharp1 i41 #cje2 and ',bridle and ,saddle'1 ,sharp1 i41 #cje2 and ',bridle and ,saddle'1 ,sharp1 ii41 #cbi4 ,no4 #afg ,,we',,ll ,,shout ,,and ,,give ,,him ,,glory or ,,revival ,,song1 ,,ol #bed ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,oh1 how ,i love my ,savior6 ,oh1 how ,i love my ,savior6 ,oh1 how ,i love my ,savior1 because he first lov'd me4 ,chorus ,we'll shout and give him glory1 ,we'll shout and give him glory1 ,we'll shout and give him glory1 ,for glory is his own4 ,i feel the work reviving1 etc4 ,reviving in my soul4 ,chorus ,i'm on my way to ,zion1 etc4 ,the ,new ,jerusalem4 ,chorus ,o ,christians1 will you meet me8 etc4 ,on ,canaan's happy shore8 ,chorus ,by the grace of ,god1 ,i'll meet you1 etc4 ,on ,canaan's happy shore4 ,chorus ,o brothers1 will you meet me8 etc4 ,o sisters1 will you meet me8 etc4 ,o mourners1 will you meet me8 etc4 ,o sinners1 will you meet me8 etc4 ,the ,olive ,leaf editor calls it a refrain song4 ,no4 #afh ,,sweet ,,morning1 ,,osh #dba ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,the happy day will soon appear1 ,and we'll all shout together in that morning2 ,when ,gabriel's trumpet you shall hear1 ,and we'll all shout together in that morning4 ,sweet morning1 sweet morning1 ,and we'll all shout together in that morning4 ,behold the righteous marching home1 ,and we'll all etc4 ,and all the angels bid them come1 ,and we'll all etc4 ,found also in ,,gos #bed4 ,how the post-,civil ,war negroes sang this song to pieces and then patched it together with fragments of ',exhilaration'1 another song in this collection1 is made clear by reference to ,slave ,songs1 p4 #gd1 ,no4 #ig4 ,the tune of ',trooper and the ,maid'1 ,sharp1 i41 #cje1 is the same as that of ',sweet ,morning'4 ,no4 #afi ,,good ,,old ,,way 7,a71 ,,osh #bac ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,lift up your heads1 ,immanuel's friends1 ,o halle1 hallelujah2 ,and taste the pleasure ,jesus sends1 ,o halle1 hallelujah4 ,let nothing cause you to delay1 ,o halle1 hallelujah2 ,but hasten on the good old way1 ,o halle1 hallelujah4 ,the words of the above song appeared in the ,dover ,selection in the early years of the nineteenth century and in the ,zion ,songster1 a spiritual-song collection which appeared in #ahcb4 ,the first appearance of the tune seems to have been in the ,southern ,harmony of #ahce4 ,a related tune in this collection is ',all the ,way ',long'4 ,further stanzas of the text are given under ',good ,old ,way 7,b7'4 ,no4 #agj ,,all ,,the ,,way ',,long1 ,,rev #agb ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,oh1 good old way1 how sweet thou art1 ,all the way 'long it is ,jesus4 ,may none of us from thee depart1 ,all the way 'long it is ,jesus4 ,jesus1 ,jesus1 ,why1 all the way 'long it is ,jesus4 ,but may our actions always say1 ,we're marching in the good old way4 ,this note above the rest shall swell1 ,that ,jesus doeth all things well4 ,related songs in this collection are ',good ,old ,way 7,a7'1 ',good ,old ,way 7,b7'1 and '',tis a ,wonder'4 ,no4 #aga ',,tis ,a ,,wonder1 ,,soc #dd ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,o 'tis a glorious mystery1 ',tis a wonder1 a wonder1 a wonder2 ,that ,i should ever saved be ',tis a wonder1 a wonder1 a wonder4 ,no heart can think or fully tell1 ',tis a wonder1 a wonder2 ,my ,god has sav'd my soul from hell1 ',tis a wonder1 a wonder1 a wonder4 ,two further stanzas of the text taken from ,good ,old ,songs1 ,no4 #eaa1 are3 ,great mystery that ,god should place1 ',tis a wonder etc4 ,his love on any of ,adam's race1 ',tis a wonder etc4 ,that ,i should also share a part1 ',tis a wonder etc4 ,and find a mansion in his heart1 ',tis a wonder etc4 ,great mystery1 ,i can't tell why ,that ,christ for sinful worms should die2 ,should leave the boundless realms of bliss1 ,and die for sinners on the cross4 ,the song is accredited in the ,social ,harp to ,henry ,f4 ,chandler and dated #ahed4 ,a ,north ,carolina variant1 recorded in #aiaf1 is in ,sharp1 ii41 #bid4 ,a variant in the present collection is ',look ,out'1 which see for references to related secular tunes4 ,the earliest ,american recording of this melody known to me is that in ,jeremiah ,ingalls' ,christian ,harmony of #ahje1 p4 #ae4 ,it begins3 ,when converts first begin to sing1 wonder1 wonder1 wonder1 ,their happy souls are on the wing1 wonder1 wonder1 wonder4 ,their theme is all redeeming love1 glory hallelujah1 ,fain would they be with ,christ above1 sing glory hallelujah4 ,no4 #agb ,,bowers or ,,happy ,,souls 7,b71 ,,soc #hb ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,my soul's full of glory1 ,inspiring my tongue1 ,could ,i meet with angels1 ,i'd sing them a song2 ,i'd sing of my ,jesus ,and tell of his charms1 ,and beg them to bear me ,to his loving arms4 ,to his loving arms1 ,to his loving arms2 ,and beg them to bear me ,to his loving arms4 ,john ,g4 ,mc,curry places his name as composer at the top of the page where this song is found in the ,social ,harp and dates it #aheb4 ,a note at the bottom says3 ,this tune was arranged as sung by ,william ,bowers1 ,eagle ,grove1 ,georgia4 ,eagle ,grove is a few miles south of ,hartwell4 ,the tune is a clear borrowing from ',wearing of the ,green'4 ,see also ',our ,goodman'1 ,sharp1 i41 #bfi1 for melodic similarities4 ,further stanzas of the text are given under ',glorious ,prospect'4 ,in ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b1 ,i have called attention to melodic similarities between the above tune 7with its variants ',oh ,for my ,soul's ,happy'1 ',we'll ,wait ,till ,jesus ,comes'1 and ',o ,when ,shall ,i see ,jesus' in this collection7 and ,stephen ,foster's ',annie ,my own ,love' and ',hard ,times ,come ,again ,no ,more'4 ,no4 #agc ,,heaven',s ,,my ,,home1 ,,osh #aai ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,come1 all my dear brethren and help me to sing1 ,i'm going to ,jesus1 he's heaven's great ,king2 ,he died to atone for the sins of the world1 ,his banner is flying his sails are unfurled4 ,heaven's my home1 heaven's my home2 ,i'm going to ,jesus for heaven's my home4 ,while here in the valley of conflict ,i stay1 ,oh1 give me submission and strength as my day2 ,in all my afflictions to thee ,i would come1 ,rejoicing in hope of my glorious home4 ,i long1 dearest ,lord1 in thy beauties to shine1 ,no more as an exile in sorrow to pine2 ,and in thy dear image arise from the tomb1 ,with glorified millions to praise thee at home4 ,the song is ascribed in the ,original ,sacred ,harp to ,dr4 ,r4 ,h4 ,davis and ,j4 ,s4 ,terry4 ,this is a re-make of an older tune in four-four time called ',old ,troy' in this collection1 and ',old ,troy' in turn is almost identical with1 and probably made out of ',wearing of the ,green'4 ,no4 #agd ,,old ,,troy or ,,in ,,jesus' ,,blood1 ,,soc #ge ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,the news of his mercy is spreading abroad1 ,and sinners come crying and weeping to ,god4 ,their mourning and praying is heard very loud1 ,and many find favor in ,jesus'es blood4 ,in ,jesus'es blood1 ,in ,jesus'es blood1 ,and many find favor in ,jesus'es blood4 ,for tune relationships see ',heaven's ,my ,home' and ',happy ,souls 7,b7' in this collection4 ,john ,g4 ,mc,curry claims the tune in the ,social ,harp4 ,it is taken bodily from ',wearing of the ,green'4 ,a very similar negro spiritual tune is in ,dett1 p4 #db4 ,no4 #age ,,there ,,will ,,be ,,mourning or ,,judgment ,,scenes1 ,,ol #ccg ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,judgment day is rolling on1 ,judgment day is rolling on1 ,judgment day is rolling on ,as fast as time can move4 ,oh1 there will be mourning1 ,mourning1 mourning1 mourning1 ,oh1 there will be mourning ,at the judgment seat of ,christ4 ,wives and husbands there shall part1 etc4 ,shall part to meet no more4 ,chorus ,brothers and sisters there shall part1 etc4 ,pastors and people there shall part1 etc4 ,parents and children there shall part1 etc4 ,this old air and its words portray1 as the ,olive ,leaf author declares1 the gloomy side of the ,last ,day4 ,but1 he adds consolingly1 ,now sing the joyous side1 with every verse1 thus3 ,the judgment day is rolling on1 etc4 ,and we shall all be there4 ,oh1 there will be shouting ,shouting1 shouting1 shouting1 ,oh1 there will be shouting ,at the judgment seat of ,christ4 ,wives and husbands then shall meet1 etc4 ,shall meet to part no more4 ,chorus and so on also for the parents and children1 and the rest4 ',parting ,hymn'1 in this collection1 uses a similar chorus but has a different verse and tune4 ,a negro version is in ,slave ,songs1 p4 #eb4 ,no4 #agf ,,weeping ,,pilgrim or ,,you ,,may ,,tell ,,them ,,father or ,i',m ,a ,,poor ,,mourning ,,pilgrim1 ,,osh #dag ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,you may tell them1 father1 when you see them1 ,i'm a poor mourning pilgrim1 ,i'm bound for ,canaan's land4 ,i weep and ,i mourn1 and ,i move slowly on1 ,i'm a poor mourning pilgrim1 ,i'm bound for ,canaan's land4 ,the text is probably a parody of ',rebel ,soldier' or ',poor ,stranger'1 ,sharp1 ii41 #bab;ff4 ,especially the refrain verses of the two songs show textual and tonal resemblances4 ,the secular refrain runs3 ,i am a rebel soldier and far from my home4 ,the cowboys1 too1 made use of the ',rebel ,soldier' or ',mourning ,pilgrim' in the song ',poor ,lonesome ,cowboy'1 ,sandburg1 p4 #bgc1 which reads3 ,i'm a poor lonesome cowboy1 and a long way from home4 ,the spiritual song appeared first in the #ahei edition of the ,sacred ,harp4 ,no4 #agg ,,exhilaration or ,,then ,,my ,,troubles ,,will ,,be ,,over or ,i ,,never ,,shall ,,forget ,,the ,,day1 ,,osh #agj ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,o may ,i worthy prove to see ,the saints in full prosperity1 ,then my troubles will be over4 ,to see the bride1 the glitt'ring bride1 ,close seated by my ,savior's side1 ,then my troubles will be over4 ,i never shall forget the day ,when ,jesus wash'd my sins away1 ,and then my troubles will be over2 ,will be over1 will be over and rejoicing1 ,and then my troubles will be over4 ,i'll praise him while he gives me breath1 ,i hope to praise him after death4 ,then my troubles will be over4 ,i hope to praise him when ,i die1 ,and shout salvation as ,i fly1 ,then my troubles will be over4 ,chorus ,i soon shall pass the vale of death1 ,and in his arms resign my breath4 ,o then my happy soul shall tell1 ,my ,jesus has done all things well4 ,chorus ,then shall ,i see my blessed ,god1 ,and praise him in his bright abode4 ,my theme to all eternity ,shall glory1 glory1 glory be4 ,chorus4 ,i have no information as to the tune excepting that it appeared in the earliest edition of the ,sacred ,harp1 that is1 in #ahdd4 ,the tune and the words of its chorus have served the negroes in the construction of ',almost ,over'1 ,,ss1 ,no4 #ig4 ,no4 #agh ,,resurrected or ,,my ,,father',s ,,gone or ,,away ,,over ,,yonder or ,,to ,,wear ,a ,,starry ,,crown1 ,,osh #ebd ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,my father's gone to view that land1 ,my father's gone to view that land1 ,my father's gone to view that land ,to wear a starry crown1 ,away over yonder1 away over yonder1 ,away over yonder to wear a starry crown4 ,seaborn ,m4 ,denson1 widely known fasola country singing-school teacher and musical editor of the #aiaa edition of the ,original ,sacred ,harp1 and author of this song1 told me he had heard this song sung in camp meetings around ,civil ,war times in northern ,alabama4 ,he recorded it from memory and published it first in the ,union ,harp in #aiji4 ,the tune is a member of the ',roll ,jordan' group4 ,see ,introduction1 page #ad1 and the song by that name in this collection4 ,further stanzas read ,my mother's gone1 ,my sister's gone etc4 ,the wide spread of this song in the ,american oral tradition and especially at the time when ,mr4 ,denson heard it in northern ,alabama1 is indicated by the variant and musically somewhat inferior recording in the ,revivalist1 ,albany1 ,new ,york1 #ahfh4 ,it is there called ',away over ,jordan'4 ,it runs3 ,my brother's going to wear that crown etc4 ,to wear that starry crown4 ,away over ,jordan1 with my blessed ,jesus1 ,away over ,jordan1 to wear that starry crown4 ,my father's gone to wear that crown etc4 ,my mother's gone etc4 ,john ,wesley's gone etc4 ,you must live right etc4 ,no4 #agi ,,wings ,,of ,,the ,,morning or ,,western ,,melody1 ,,bhtbk1 p4 #bac ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,o thou almighty ,father1 ,come help me now to praise thy glory 7,these words lacking in my recording7 ,oh1 had ,i the wings of the morning1 ,i'd fly away to ,canaan's shore2 ,bright angels should convey me home ,to the new ,jerusalem4 ,the tune trend of the chorus is found also in ',rocky ,mountain ,top'1 ,sharp1 ii41 #aaj2 and it is the whole tune of ',my ,home is ,over ,jordan' in this collection4 ,no4 #ahj ,,we',,ll ,,march ,,around ,,jerusalem1 ,,rev #ceh ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,o brethren1 will you meet me ,on that delightful shore8 ,o brethren1 will you meet me ,where parting is no more8 ,and we'll march around ,jerusalem1 ,we'll march around ,jerusalem1 ,we'll march around ,jerusalem ,when we arrive at home4 ,subsequent stanzas use instead of brethren1 sister1 leader1 preacher1 young convert1 and backslider1 with the conclusion3 ,yes1 bless the ,lord1 ,i'll meet you1 etc4 ,the above tune1 with some alterations1 is found as a negro spiritual in ,dett1 p4 #gh4 ,no4 #aha ,,ragan or ,i ,,belong ,,to ,,this ,,band 7,b71 ,,osh #agf ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,fare-well1 vain world1 ,i'm going home1 ,i belong to this band1 hallelujah1 ,my ,savior smiles and bids me come1 ,i belong to this band1 hallelujah4 ,hallelujah1 hallelujah1 ,i belong to this band1 hallelujah4 ,the above melodic trend will be recognized as that of ',roll ,jordan' and ,stephen ,foster's ',susanna'4 ,compare ',roll ,jordan' in this collection4 ,the chorus--both tune and words--appears also in ',i ,belong to ,this ,band 7,a7'4 ,further stanzas of the text are given under ',golden ,harp'4 ,no4 #ahb ,,down ,,by ,,the ,,riverside or ,,we',,ll ,,end ,,this ,,war1 ,,rev #fh ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,hark6 listen to the trumpeters1 ,i mean to go6 ,they call for valiant volunteers1 ,i mean to go6 ,oh6 we'll end this war4 ,down by the river1 ,we'll end this war down by the riverside4 ,see ,gideon marching out to fight1 ,i mean to go6 ,he had no weapon but a light1 ,i mean to go6 ,chorus ,he took his pitcher and a lamp1 ,and stormed with ease the ,midian camp4 ,i've listed during all this war1 ,content to have a soldier's fare4 ,the war is all my soul's delight1 ,i love the thickest of the fight4 ,the hottest fight is just begun1 ,and who will stand and never run8 ,we want no cowards in our band1 ,we call for valiant-hearted men4 ,fight on1 ye conq'ring souls1 fight on1 ,until the conquest you have won4 ,i have some friends before me gone1 ,and ,i'm resolved to travel on4 ,farewell1 vain world1 ,i'm going home1 ,my ,savior smiles and bids me come4 ,i'll tell you what ,i mean to do1 ,i mean to go to glory too4 ,the song bears the name of ,rev4 ,j4 ,k4 ,tinkham as its purveyor to the ,revivalist4 ,a version of the spiritual song1 as sung at about the same time 7in the #ahgj's7 by the negroes1 is in ,marsh1 ,no4 #he1 under the title ',down by the ,river'4 ,another by the same title is in ,dett1 p4 #ee2 and still another in ,dett1 p4 #gd4 ,no4 #ahc ,i',m ,,going ,,home or ,i ,,don',t ,,care ,,to ,,stay ,,here ,,long1 ,,osh #bhb ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,farewell1 vain world1 ,i'm going home1 ,my ,savior smiles and bids me come1 ,and ,i don't care to stay here long4 ,sweet angels beckon me away ,to sing ,god's praise in endless day1 ,and ,i don't care to stay here long4 ,right up yonder1 ,christians1 ,away up yonder2 ,o yes1 my ,lord1 ,for ,i don't care to stay here long4 ,further stanzas of the text are given under ',golden ,harp'4 ,this tune was recorded for the #ahej edition of the ,sacred ,harp1 evidently by the ,georgian1 ,leonard ,p4 ,breedlove4 ,no4 #ahd ,,roll ,,jordan1 ,,osh #eja ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,he comes1 he comes1 the ,judge severe1 ,roll1 ,jordan1 roll2 ,the seventh trumpet speaks him near1 ,roll1 ,jordan1 roll4 ,i want to go to heav'n1 ,i do1 ,hallelujah ,lord2 ,we'll praise the ,lord in heav'n above1 ,roll1 ,jordan1 roll4 ,his lightnings flash1 his thunders roll1 ,roll1 ,jordan1 roll2 ,how welcome to the faithful soul1 ,roll1 ,jordan1 roll4 ,charles ,wesley wrote the text4 ,according to ,lightwood1 p4 #acb1 it is a parody on a popular secular song which celebrated ,admiral ,vernon's return to ,england after taking ,portobello in #agci4 ,its first stanza is3 ,he comes6 ,he comes6 ,the hero comes6 ,sound your trumpets1 beat your drums6 ,from port to port let cannons roar ,his welcome to the ,british shore4 ,it is found also in ,,soc1 published in #ahee4 ,in the ,introduction p4 #ad1 ,i have mentioned the ',roll ,jordan' type of melody2 it was named after the above tune4 ,other melodies of the type in this collection are ',florence'1 ',i ,belong to this ,band 7,b7'1 ',tennessee'1 ',jordan'1 and ',resurrected'4 ,it is this tune type which influenced ,stephen ,foster in the making of his ',susanna ,don't ,you ,cry' and ',de ,camptown ,races'4 ,see in this connection my article in ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b4 ,for samples of negro borrowings of ',roll ,jordan' see ,white ,spirituals1 #bfd2 ,dett1 p4 #gf2 and ,slave ,songs1 ,nos4 #a and #aj4 ,no4 #ahe ,,we',,ll ,,all ,,praise ,,god1 ,,rev #cha ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,come and taste along with me ,consolation running free ,from my ,father's wealthy throne1 ,sweeter than the honey comb4 ,i'll praise ,god1 and you'll praise ,god1 ,we'll all praise ,god together2 ,i'll praise the ,lord for the work that he has done1 ,and we'll bless his name forever4 ,why should ,christians feast alone8 ,two are better far than one2 ,the more that comes with free good will ,makes the banquet sweeter still4 ,now ,i go to heaven's door1 ,asking for a little more2 ,jesus gives a double share1 ,calling me his chosen heir4 ,goodness1 running like a stream ,through the new ,jerusalem2 ,by its constant breaking forth ,sweetens earth and heaven both4 ,two more stanzas are in the ,revivalist4 ,the relationship between this tune and that of ,stephen ,foster's ',long-,ago ,day' was noted by me in ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b4 ,no4 #ahf ,,heavenly ,,home1 ,,swp #aej ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,o who will join and help me sing1 ,i never will turn back while heaven's in my view4 ,the praise of ,zion's conqu'ring ,king1 ,i never will turn back while heaven's in my view4 ,heaven is my home1 my journey ,i'll pursue1 ,i never will turn back while heaven's in my view4 ,by faith my journey ,i'll pursue1 ,i never etc4 ,and bid all earthly things adieu1 ,i never etc4 ,i want my friends to go with me1 ,i'm bound fair ,canaan's land to see4 ,i want to take them by the hand ,and march unto the promised land4 ,my ,jesus dwells on ,zion's hill1 ,and faithful to his promise still4 ,then whosoever will1 may come1 ,for ,jesus ,christ refuseth none4 ,o what a ,captain ,i have got6 ,o is not mine a happy lot6 ,he surely is the sinner's friend1 ,and one that loves unto the end4 ,i'm travelling through the wilderness ,and seeking for a heavenly rest4 ,that rest in ,jesus ,christ is found1 ,and ,i will sing it all around4 ,for fight ,i must1 while here below2 ,the word of ,god has taught me so4 ,has taught me ,i shall conqueror be1 ,in death and through eternity4 ,my ,jesus bids me still press on1 ,and reaches out to me a crown4 ,he says to me1 be not afraid1 ,for ,i can save beyond the grave4 ,o while ,i'm singing of his name1 ,my soul begins to feel the flame4 ,when he to me his presence gives1 ,i know that my ,redeemer lives4 ,no4 #ahg ,,when ,,we ,,all ,,get ,,to ,,heaven or ,,religion ,,is ,a ,,fortune1 ,,osh #cai ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,o when shall ,i see ,jesus ,and reign with ,him above1 ,shout glory1 halle1 hallelujah2 ,and from the flowing fountain ,drink everlasting love8 ,shout glory1 halle1 hallelujah4 ,when we all get to heaven we will shout aloud and sing1 ,shout glory halle1 hallelujah4 ,religion is a fortune ,and heaven is a home1 ,shout glory1 halle1 hallelujah4 ,when shall ,i be delivered from this vain world of sin1 ,and with my blessed ,jesus drink endless pleasures in8 ,the text core is generally ascribed to ,john ,leland 7#aged-ahdd74 ,see ,white ,spirituals1 #bag;ff4 ,further stanzas are given under ',faithful ,soldier'4 ,no4 #ahh ,,bates or ,,to ,,hear ,,the ,,trumpet ,,sound1 ,,rev #aeh ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,oh1 brother1 in that day ,we'll take wings and fly away1 ,and we'll hear the trumpet sound in the morning4 ,oh glory6 how ,i want to go ,to hear the trumpet sound in the morning4 ,oh1 sister1 in that day1 etc4 ,oh1 preachers1 in that day1 etc4 ,oh1 leaders1 in that day1 etc4 ,oh1 converts1 in that day1 etc4 ,you may bury me in the east1 ,you may bury me in the west1 etc4 ,you may bury me in the north1 ,you may bury me in the south1 etc4 ,a close negro variant of the above spiritual song is in ,marsh1 p4 #acf4 ,both the ,marsh song and the present one are rather degenerate descendants1 apparently1 of ',morning ,trumpet' in this collection4 ,see also ,white ,spirituals1 #bed4 ,no4 #ahi ,,river ,,of ,,jordan or ,,happy ,,in ,,the ,,lord1 ,,osh #dic ,hexatonic1 ,mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,jesus1 my all1 to heav'n is gone1 ,happy1 ,o happy1 ,he who ,i fixed my hopes upon1 ,happy in the ,lord2 ,his tracks ,i see and ,i'll pursue1 ,happy1 ,o happy1 ,the narrow way till him ,i view1 ,happy in the ,lord4 ,we'll cross the river of ,jordan1 ,happy1 ,o happy1 ,we'll cross the river of ,jordan1 ,happy1 in the ,lord4 ,the way the holy prophets went1 ,the road that leads from banishment2 ,i'll go1 for all his paths are peace1 ,the ,king's highway of holiness4 ,then ,i will tell to sinners round1 ,what a dear ,savior ,i have found4 ,i'll point to thy redeeming blood ,and say1 ,behold the way to ,god4 ,the core of the text is attributed to ,john ,cennick1 the ,english hymn writer4 ,also found in the ,social ,harp of #ahee4 ,no4 #aij ,i',m ,,bound ,,for ,,the ,,land ,,of ,,canaan or ,,sweet ,,canaan1 ,,osh #hg ,pentachordal1 cannot be classified 7,i ,,ii ,,iii ,,iv ,v -- --7 ,music ,o who will come and go with me8 ,i am bound for the land of ,canaan2 ,i'm bound fair ,canaan's land to see1 ,i am bound for the land of ,canaan4 ,o ,canaan1 sweet ,canaan1 ,i'm bound for the land of ,canaan2 ,sweet ,canaan 'tis my happy home1 ,i'm bound for the land of ,canaan4 ,i'll join with those who're gone before1 ,i am etc4 ,where sin and sorrow are no more1 ,i am etc4 ,chorus ,if you get there before ,i do1 ,i am etc4 ,look out for me1 ,i'm coming too1 ,i am etc4 ,chorus ,text is based on a poem by ,watts4 ,the stanzas which are associated with the above are numerous1 as are also the refrains and choruses4 ,found also ,,bhtbk 7#aheg71 p4 #ccd2 and ,,mhtbk 7#ahhi71 ,no4 #hhe4 ,in ,the ,musical ,quarterly1 vol4 xxii41 ,no4 #b1 ,i have shown the relationship between the above tune and ,stephen ,foster's ',the ,glendy ,burk' and ',old ,uncle ,ned'4 ,see also ,dett1 p4 #ahh1 for a negro song showing some textual and melodic influences4 ,no4 #aia ,,old ,,ship ,,of ,,zion 7,a71 ,,osh #gi ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,what ship is this that will take us all home8 ,o glory hallelujah1 ,and safely land us on ,canaan's bright shore8 ,o glory hallelujah4 ',tis the old ship of ,zion1 hallelujah1 hallelu1 ',tis the old ship of ,zion1 hallelujah4 ,the winds may blow and the billows may foam1 ,but she is able to land us all home4 ,she's landed all who've gone before1 ,and yet she's able to land still more4 ,if ,i arrive there before you do1 ,i'll tell them that you are coming up too4 ,the text is said to have been written around #ahjj by ,rev4 ,samuel ,hauser of ,north ,carolina4 ,the tune is called the ,north ,carolina ,version of the immensely popular song4 ,see ,white ,spirituals1 #beg-beh4 ,closely related to the above tune is ',sweet ,canaan' in this collection4 ,no4 #aib ,,babylon ,,is ,,fallen1 ,,gos #fac ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,hail the day so long expected1 ,hail the year of full release2 ,zion's walls are now erected1 ,and her watchmen publish peace4 ,throughout ,shiloh's wide dominion1 ,hear the trumpet loudly roar4 ,babylon is fallen1 is fallen1 is fallen1 ,babylon is fallen to rise no more4 ,all her merchants stand with wonder1 ,what is this that comes to pass8 ,murmuring like the distant thunder1 ,crying ,o1 alas1 alas6 ,swell the sound1 ye kings and nobles1 ,priest and people1 rich and poor2 ,babylon is fallen etc4 ,blow the trumpet in ,mount ,zion6 ,christ shall come the second time2 ,ruling with a rod of iron1 ,all who now as foes combine4 ,babel's garments we've rejected1 ,and our fellowship is o'er4 ,babylon is fallen etc4 ,negro borrowings of this chorus and the changing of its tune to a major key are to be seen in ,dett1 p4 #b4 ,no4 #aic ,,martin or ,,way ,,over ,,in ,,the ,,promised ,,land1 ,,soc #bi ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,we have fathers in the promised land1 ,we have mothers in the promised land2 ,i hope one day we'll all get there1 ,way over in the promised land4 ,chorus ,away over in the promised land1 ,away over in the promised land2 ,i hope one day we'll all get there1 ,way over in the promised land4 ,john ,g4 ,mc,curry1 the compiler of the ,social ,harp1 and ,william ,c4 ,davis1 both of ,georgia1 seem to have been the first to record this tune4 ,mc,curry dates it #ahed4 ,a recently recorded variant of this tune is ',long ,white ,robe'1 ,richardson1 p4 #fg4 ,compare for melodic similarities the country dance ',once ,i ,loved a ,maiden ,faire' on page #dg of ,playford's ,the ,english ,dancing ,master4 ,music ,no4 #aid ,,hebrew ,,children1 ,,osh #dha ,hexatonic1 mode #e ,a 7,i -- #c ,,iv ,v #f #g7 ,music ,where are the ,hebrew children8 ,where are the ,hebrew children8 ,where are the ,hebrew children8 ,safe--in the promised land4 ,though the furnace flamed around them1 ,god while in their troubles found them1 ,he with love and mercy bound them1 ,safe--in the promised land4 ,where are the twelve apostles8 etc4 ,they went up through pain and sighing1 ,scoffing1 scourging1 crucifying1 ,nobly for their ,master dying1 ,safe etc4 ,where are the holy ,christians8 etc4 ,those who've washed their robes and made them ,white and spotless pure and laid them ,where no earthly stain can fade them1 ,safe etc4 ,of the author1 the editor of the ,,osh says3 ,peter ,cartwright the presumptive author of tune and words was a minister of the gospel1 and used this tune in his camp meetings long before it was ever placed in notation4--,peter ,cartwright was born in ,amherst ,county1 ,va41 #aghe1 and died in ,sangamond sic ,county1 ,ill41 #ahgb4 ,the song has been widely sung by the negroes who have added numerous stanzas4 ,see ,white ,spirituals1 #bfc4 ,a pre-,civil ,war secular negroid parody on ',hebrew ,children' was published by ,c4 ,bradlee ,co41 ,boston1 #ahdd4 ,its first stanza is3 ,o whar is de spot dat we was born on1 7three times7 ,way down in ,car'line ,state4 ,mrs4 ,annabel ,morris ,buchanan has made an excellent arrangement of a version of ',hebrew ,children' for chorus4 ,it is published by ,j4 ,fischer and ,brother1 ,new ,york4 ,no4 #aie ,,come ,,along ,,and ,,shout ,,along or ,,heaven ,,born ,,soldiers or ,,never ,,get ,,tired1 ,,soc #ahd ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,o thou by long experience tried1 ,never get tir'd a-serving of the ,lord2 ,near whom no griefs can long abide1 ,never get tir'd a-serving of the ,lord4 ,come along and shout along1 ,ye heav'n born soldiers1 ,come along and shout along ,and pray by the way4 ,the misfit of words and notes in the first part of the song is quite evident4 ,the compiler of the ,social ,harp credits ,j4 ,f4 ,wade with the song and dates it #ahed4 ,the popularity of the melodic trend in the above chorus may be realized when we see it in ',ecstacy' in this collection2 in the negro ,slave ,songs1 ,nos4 #gh and #aad2 in ',william and ,polly'1 ,sharp1 ii41 #ada2 and ',rebel ,soldier'1 ,sharp1 ii41 #bab-bae4 ,no4 #aif ,,to ,,lay ,,this ,,body ,,down or ,,white or ,i',m ,a ,,long ,,time ,,traveling1 ,,osh #bhh ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,ye fleeting charms of earth1 farewell1 ,your springs of joy are dry2 ,my soul now seeks another home1 ,a brighter home on high4 ,i'm a long time trav'ling here below1 ,i'm a long time trav'ling away from home2 ,i'm a long time trav'ling here below ,to lay this body down4 ,farewell1 my friends1 whose tender care ,has long engaged my love2 ,your fond embrace ,i now exchange ,for better friends above4 ,elder ,edmund ,dumas of ,georgia is supposed to have made the tune4 ,he very likely was the first to record it1 that is1 for the #ahei edition of the ,sacred ,harp4 ,a variant is ',converted ,thief 7,a7' in this collection4 ,the negroes have caught the significant part of the chorus in their song ',lay ,this ,body ,down'1 ,slave ,songs1 ,no4 #bf4 ,one couplet of this song is ,and my soul an' your soul will meet in de day ,when we lay dis body down4 ,no4 #aig ,,had ,i ,,wings or ,,ecstacy1 ,,osh #ajf ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,o when shall ,i see ,jesus1 ,and reign with ,him above1 ,and from the flowing fountain ,drink everlasting love8 ,o had ,i wings1 ,i would fly away and be at rest1 ,and ,i'd praise ,god in his bright abode4 ,further stanzas of the ,john ,leland text are given under ',faithful ,soldier'4 ,the tune seems1 according to the note in the ,sacred ,harp1 to have been first recorded by ,t4 ,w4 ,carter of ,georgia in the #ahdj's4 ,the tune of the chorus is essentially the same as in ',heaven-,born ,soldiers'2 in the negro tune ',every ,hour in the ,day'1 ,,ss p4 #eh2 the negro tune ',o ,daniel'1 ,,ss p4 #id2 ',william and ,polly'1 ,sharp1 ii41 #ada2 ',rebel ,soldier'1 ,sharp1 ii41 #bab-bae2 and ,petrie1 ,nos4 #aaia and #abij4 ,no4 #aih ,,save ,,mighty ,,lord1 ,,osh #gj ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,jesus1 my all1 to heav'n is gone1 ,save1 mighty ,lord2 ,he whom ,i fix my hopes upon1 ,save1 mighty ,lord4 ,o save1 save1 mighty ,lord1 ,and send converting power down1 ,save1 mighty ,lord4 ,further stanzas of the ,john ,cennick text are given under ',river of ,jordan'4 ,the tune is attributed1 in the ,social ,harp1 p4 #ii1 to ,j4 ,a4 and ,j4 ,f4 ,wade4 ,no4 #aii ,,grace ,,is ,,free1 ,,rev #ej ,heptatonic aeolian1 minorized1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g ,,vii7 ,music ,thy ceaseless1 unexhausted love1 ,unmerited and free1 ,delights our evil to remove1 ,and helps our misery4 ,o6 hallelujah6 grace is free2 ,there's enough for each there's enough for all1 ,there's enough for evermore4 ,thou waitest to be gracious still2 ,thou dost with sinners bear2 ,that1 saved1 we may thy goodness feel1 ,and all thy grace declare4 ,thy goodness and thy truth to me1 ,to every soul abound2 ,a vast unfathomable sea ,where all our thoughts are drowned4 ,its streams the whole creation reach1 ,so plenteous is the store2 ,enough for all1 enough for each1 ,enough for evermore4 ,two more stanzas of text are in the ,revivalist4 ,the tune is of the type seen in ',the ,rejected ,lover'1 ,sharp1 ii41 #if;ff42 and a closer variant is ',come ,all ,you ,worthy ,christians'1 ,,jfss1 ii41 #aag4 ,no4 #bjj ,,for ,,me ,,the ,,savior ,,died or ,,atonement1 ,,rev #ac ,hexatonic1 mode #b b1 with cadentially raised seventh 7,i -- #c ,,iv ,v #f #g ,,vii7 ,music ,for ever here my rest shall be ,close to thy bleeding side2 ,this1 all my hope and all my plea1 ,for me the ,savior died4 ,for me the ,savior died1 ,for me the ,savior died1 ,this1 all my hope and all my plea1 ,for me the ,savior died4 ,my dying ,savior and my ,god1 ,fountain for guilt and sin1 ,sprinkle me ever with thy blood1 ,and cleanse and keep me clean4 ,wash me and make me thus thine own1 ,wash me and mine thou art2 ,wash me1 but not my feet alone-- ,my hands1 my head1 my heart4 ,th' atonement of thy blood apply ,till faith to sight improve2 ,till hope in full fruition die1 ,and all my soul be love4 ,the tune is related to ',the ,greenwood ,siding'1 ,cox1 p4 #ebb2 ',babe of ,bethlehem' in this collection2 and ',come all you ,worthy ,christians'1 fourth version1 ,,jfss1 ii41 #aag4 ,no4 #bja ,,heavenly ,,port or ,,we',,ll ,,stem ,,the ,,storm1 ,,osh #cgh ,pentachordal1 cannot be classified 7,i ,,ii ,,iii ,,iv ,v -- --7 ,music ,on ,jordan's stormy banks ,i stand ,and cast a wishful eye ,to ,canaan's fair and happy land1 ,where my possessions lie4 ,chorus ,we'll stem the storm1 it won't be long1 ,the heav'nly port is nigh4 ,we'll stem the storm1 it won't be long1 ,we'll anchor by and by4 ,the words1 given more fully under ',jordan'1 are ,samuel ,stenett's4 ,the ,sacred ,harp editors attribute the tune to ,elder ,edmund ,dumas1 the ,georgia ,primitive ,baptist preacher1 who was at the same time a zealous musician of the fasola variety4 ,a close melodic relative is ',o ,how ,i love ,jesus'1 ,,rev #def4 ,it will be seen as akin to ',merrily we ,roll ,along'4 ,the tune as adopted by the negroes is found in ,dett1 p4 #ahi4 ,no4 #bjb ,,say ,,brothers1 ,,rev #agc ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,say1 brothers1 will you meet us8 ,say1 brothers1 will you meet us8 ,say1 brothers1 will you meet us on ,canaan's happy shore8 ,glory1 glory hallelujah6 ,glory1 glory hallelujah6 ,glory1 glory hallelujah6 ,we are marching on4 ,subsequent stanzas are made by substituting for brothers the word sisters etc41 then come phrases like ,by the grace of ,god we'll meet you1 etc4 ,where parting is no more4 ,that will be a happy meeting1 etc4 ,on ,canaan's happy shore4 ,jesus lives and reigns forever1 etc4 ,on ,canaan's happy shore4 ,glory1 glory hallelujah1 etc4 ,forever1 evermore4 ,this will be recognized as the tune which ,julia ,ward ,howe used for the chorus of her ',battle ,hymn of the ,republic'4 ,it is still popular in the above form in negro churches of the ,south4 ,no4 #bjc ,o ,,brother ,,be ,,faithful1 ,,rev #dcc ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,o brother1 be faithful1 ,o brother1 be faithful1 ,o brother1 be faithful1 faithful1 faithful1 ,till we all arrive at home4 ,further stanzas are constructed on3 ,o sister1 be faithful2 ,there we shall see ,jesus2 ,there we shall shout glory2 ,there'll be no more parting2 etc4 ,miss ,gilchrist found the above song in the ,wesleyan ,psalmist 7#ahdb72 see ,,jfss1 viii41 #fg4 ,in ,flanders and ,brown's ,vermont ,songs and ,ballads the song 7dating from #ahca7 entitled ',the ,gospel ,ship' has a chorus text which is identical with the above4 ,a negro version of both tune and words is in ,slave ,songs1 ,no4 #ga4 ,no4 #bjd ,,soon ,,we ,,shall ,,land or ,,autauga1 ,,osh #cbb ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,o when shall ,i see ,jesus1 ,and reign with him above1 ,and from the flowing fountain ,drink everlasting love2 ,soon we shall land on ,canaan's shore1 ,soon we shall land on ,canaan's shore2 ,soon we shall land on ,canaan's shore to live forevermore4 ,the text by ,john ,leland is given more fully under ',faithful ,soldier'4 ,the tune reappears with unimportant changes as a negro spiritual in ,slave ,songs1 ,no4 #aae4 ,the first melodic sentence of the tune is almost identical with the opening of ',the ,winter it is ,past'1 ,petrie1 ,no4 #dci4 ,no4 #bje ,,warrenton or ,i ,,am ,,bound ,,for ,,the ,,kingdom1 ,,gos #bge ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,whither goest thou1 pilgrim stranger1 ,passing thro' this darksome vale8 ,know'st thou not 'tis full of danger1 ,and will not thy courage fail8 ,chorus ,i am bound for the kingdom1 ,will you go to glory with me8 ,hallelujah1 praise the ,lord4 ,pilgrim1 thou dost justly call me1 ,wand'ring o'er this waste so wide2 ,yet no harm will e'er befall me1 ,while ,i'm blessed with such a ,guide4 ,chorus ,such a ,guide6--no guide attends thee1 ,hence for thee my fears arise2 ,if a guardian pow'r befriend thee1 ',tis unseen by mortal eyes4 ,chorus ,four more stanzas are in ,good ,old ,songs4 ,it is found also as ',pilgrim ,stranger' in ,dadmun's ,melodeon1 ,boston1 #ahfa1 and as ',female ,pilgrim' in the ,christian ,lyre1 #ahth edition1 ,new ,york1 #ahce4 ,the song is apparently one of the so called dialogue hymns of the early ,english ,methodists4 ,the men sitting on one side of the meeting house1 and the women sitting opposite1 sang alternate stanzas4 ,lightwood cites one as follows3 ,men3 ,tell us1 ,o women1 we would know ,whither so fast ye move4 ,women3 ,we're called to leave the world below1 ,are seeking one above4 ,chorus3 ,hallelujah4 ,see ,hymn ,tunes and ,their ,story1 p4 #add4 ,no4 #bjf ,,send ,,us ,a ,,blessing1 ,,sog #ajj ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,chorus ,o ,lord1 send us a blessing1 ,and ,o ,lord1 send us a blessing1 ,and ,o ,lord1 send us a blessing1 ,o send us a blessing from heaven above4 ,verse ,of him who did salvation bring1 ,i could forever think and sing2 ,arise1 ye needy1--he'll relieve2 ,arise1 ye guilty1--he'll forgive4 ,i ask but grace1 and lo1 'tis given2 ,ask1 and he turns your hell to heaven4 ,though sin and sorrow wound my soul1 ,jesus1 thy balm will make it whole4 ,six more stanzas are in ,songs of ,grace under the song ',he was ,found ,worthy'4 ,this tune is a clear adaptation of ',johnny's ,so ,long at the ,fair4' ,no4 #bjg ,i ,,went ,,down ,,to ,,the ,,valley ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,i went down to the valley to pray1 ,studying about the good old way4 ,who will wear the starry crown8 ,oh ,lord1 teach me to pray4 ,recorded by the author from the singing of ,donald ,davidson1 in ,nashville1 ,tennessee1 ,january #bj1 #aicb4 ,he had heard his father1 ,w4 ,b4 ,davidson1 sing it twenty years before in ,fayetteville1 ,tennessee4 ,negro versions are in ,marsh1 p4 #aef1 and ,slave ,songs1 ,no4 #ajd4 ,no4 #bjh ,,give ,,me ,,jesus1 ,,rev #hi ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,when ,i'm happy1 hear me sing1 ,when ,i'm happy1 hear me sing1 ,when ,i'm happy1 hear me sing1 ,give me ,jesus2 ,give me ,jesus1 ,give me ,jesus2 ,you may have all the world1 ,give me ,jesus4 ,when in sorrow1 hear me pray1 three times ,give me ,jesus1 etc4 ,when ,i'm dying1 hear me cry1 three times ,give me ,jesus1 etc4 ,when ,i'm rising1 hear me shout1 three times ,give me ,jesus1 etc4 ,when in heaven1 we will sing1 three times ,blessed ,jesus1 etc4 ,by thy grace we are saved1 three times ,blessed ,jesus1 etc4 ,the noting of this tune1 evidently from oral tradition1 will be seen as quite faulty4 ,a close variant of the song was found by ,miss ,gilchrist in the ,wesleyan ,psalmist and reproduced by her1 ,,jfss1 viii41 #hh4 ',sweet ,william and ,lady ,margaret'1 ,davis1 p4 #egj1 is similar throughout to this tune4 ,a negro version is in ,marsh1 p4 #adj1 under the same title4 ,the compilers of ,slave ,songs rejected a song called ',give ,me ,jesus' as spurious1 that is1 as being of white origin4 7,see ,slave ,songs1 p4 vi47 ,no4 #bji ,i ,,don',t ,,expect ,,to ,,stay or ,,done ,,with ,,the ,,world1 ,,osh #hh ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,jesus1 my all1 to heav'n is gone1 ,and ,i don't expect to stay much longer here2 ,he whom ,i fix my hopes upon1 ,and ,i don't expect to stay much longer here4 ,i am done with the world1 and ,i want to serve the ,lord1 ,and ,i don't expect to stay much longer here4 ,this spiritual with its text core made of the ,john ,cennick words 7given more fully under ',river of ,jordan'7 seems to have been first recorded for the earliest edition of the ,sacred ,harp1 that is1 in the early #ahdj's4 ,a negro version of the chorus is in ,marsh1 p4 #ahh4 ,no4 #baj ,,old ,,ship ,,of ,,zion 7,b7 or ,,happy ,,sailor1 ,,hh #cee ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,come along1 come along and let us go home2 ,o glory hallelujah6 ,our home is over ,jordan1 hallelujah6 ,our home is over ,jordan1 ,hallelujah6 ,what ship is this that will take us all home8 ,o glory hallelujah6 ',tis the old ship of ,zion etc4 ,do you think she'll be able to take us all home8 ,i think she'll be able etc4 ,we have some friends who're gone before2 ,by and by we'll go and see them4 ,if you get there before ,i do1 ,you may tell them that ,i'm coming4 ,what will the ,christian do when his lamp burns out8 ,go shouting home to heaven4 ,it is found also in ,,osh #chh4 ,negro adoptions under the same tide are ,dett1 p4 #ha1 and ,slave ,songs1 p4 #abe4 ,for additional stanzas of the text see ',old ,ship of ,zion 7,a7'4 ,the ,sacred ,harp 7#ahdd7 version of the text begins3 ,come tell me of your ship and what is her name8 ,oh1 tell me happy sailor4 ,come tell me of your captain and what is his fame8 ,oh1 tell me happy sailor4 ,she's the old ship of ,zion1 hallelu1 hallelu1 ,and her captain1 ,judah's ,lion1 hallelujah4 ,an interesting dressing-up of this straightforward folk-text came from ,boston in ,dadmun's ,melodeon in #ahfj1 p4 #ajb1 where we read3 ,what vessel are you sailing in8 ,pray tell me its name2 ,our vessel is the ark of ,god1 ,and ,christ our ,captain's name4 ,how old the ,american versions of the ',ship of ,zion' songs are ,i have not been able to learn4 ,newman ,i4 ,white points to versions in the #ahbj's 7,american ,negro ,folk-,songs1 p4 #id74 ,an early use of the same allegory in religious song is seen in the ,german folksong collection of ,erk and ,bhme1 ,deutschyer ,liederhort1 vol4 iii41 p4 #fbh;f4 ,i find no melodic similarities between the ,german and the ,american songs2 but the texts show remarkable parallels4 ,to make this clear ,i shall cite a few of the ,german stanzas1 comparing with them passages taken from various ship songs as sung by whites and blacks in ,america4 ,from a ,german manuscript of #adgj-adhj ,uf einem stillen wage kumpt uns das schiffelin1 es bringt uns riche gabe die heren knigin4 ,das schiflin das gat stille und bringt uns richen last1 der segel ist diu minne1 der heilig geist der mast4 ,american ship songs ,o she runs so level and steady4 ,o see that ship come sailing4 ,dat ship is heavy loaded4 ,king ,jesus is the captain4 ,o she runs so level and steady4 ,dat ship is heavy loaded4 ,behold the sails expanded1 ,around the towering mast4 ,a song from the year #afjh ,uns kompt ein ,schiff gefahren1 ,es bringt ein schne ,last1 ,darauf viel ,engelscharen ,und hat ein groszen ,mast4 ,o see that ship come sailing4 ,dat ship is heavy loaded4 ,she's loaded with bright angels4 ,no4 #baa ,,angels ,,hovering ,,round1 ,,rev #gd ,pentatonic1 cannot be classified 7,i ,,ii ,,iii -- ,v -- ,,vii7 ,music ,there are angels hov'ring round1 ,there are angels hov'ring round1 ,there are angels1 angels hov'ring round4 ,to carry the tidings home etc4 ,to the new ,jerusalem etc4 ,poor sinners are coming home4 ,and ,jesus bids them come4 ,let him that heareth come4 ,we're on our journey home4 ,the song is found also in ,mason's ,harp of the ,south1 p4 #bgb1 where the composer is given as ,husband4 ,the same tune with minor variations appeared in the #ahei edition of the ,sacred ,harp1 p4 #dbe1 where it was attributed to ,j4 ,l4 ,pickard4 ,its two one-line verses are3 ,i am on my journey home etc4 ,to the ,new ,jerusalem etc4 ,no4 #bab ,,holy ,,war1 ,,swp #agj ,for mode see note below ,music ,i've listed in the holy war1 ,content to suffer soldier's fare1 ,natural key ,chorus ,and we'll all shout for joy1 ,and we'll give ,god the glory1 ,and ,i hope to join the army by and by4 ,i've fought through many a battle sore1 ,and ,i must fight through many more2 ,and we'll etc4 ,i take my breastplate1 sword and shield1 ,and boldly march into the field4 ,the banner o'er my head is love1 ,i draw my rations from above4 ,the world1 the flesh and ,satan too ,unite and strive what they can do4 ,on thee1 ,o ,lord1 ,i humbly call1 ,uphold me1 or my soul must fall4 ,i've listed and ,i mean to fight1 ,till all my foes are put to flight4 ,and when the victory ,i have won1 ,i'll give the praise to ,god alone4 ,come1 fellow-,christians1 join with me1 ,come1 face the foe and never flee4 ,the heavenly battle is begun1 ,come1 take the field and win the crown4 ,with listing orders ,i have come2 ,come rich1 come poor1 come old or young4 ,here's grace's bounty ,christ has given1 ,and glorious crowns laid up in heaven4 ,but if you will not list and fight1 ,you'll sink into eternal night4 ,the tune as it stands is heptatonic dorian4 ,and that is probably a correct notation4 ,the interesting thing is the device employed to legitimize the dorian raised sixth1 namely1 the device of modulation4 ,the writer of the tune1 knowing presumably nothing about the old modes1 set his first melodic phrase in g-major with a semi-cadence on two of the scale4 ,all went well because the f-sharp of that key was not represented4 ,but in the second part of the tune the actual f-natural appeared2 and the only way he saw of handling it was to change the signature to a natural key chorus as he specifically calls it4 ,and the final note in the tune agreed with the key which he took to be a-minor4 ,no4 #bac ,o ,,god ,,what ,,shall ,i ,,say or ,,alverson1 ,,rev #aha ,hexatonic1 mode #e ,a 7,i -- #c ,,iv ,v #f #g7 ,music ,when pity prompts me to look round ,upon my fellow clay1 ,see men reject the gospel sound1 ,o ,god1 what shall ,i say8 ,o ,god1 what shall ,i say8 ,my bowels yearn for dying men1 ,doom'd to eternal woe1 ,fain would ,i speak1 but 'tis in vain ,if ,god does not speak too4 ,o sinner1 sinner1 won't you hear ,when in ,god's name ,i come8 ,upon your peril don't forbear1 ,lest hell should be your doom4 ,one more stanza is in the ,revivalist4 ,this is a phrygian tune with the second of its scale unused4 ,it reminds one strongly of the melody of ',gala ,water'1 ,lyric ,gems of ,scotland1 p4 #hd4 ,no4 #bad ,,that ,,lonesome ,,valley1 ,author's recording ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,you got to go that lonesome valley1 ,you got to go there by yourself4 ,there's no one can go there for you2 ,you got to go there1 you got to go there by yourself4 ,recorded by the author1 ,february #aa1 #aicc1 from the singing of ,don ,west of the ,highlander ,folk ,school1 ,monteagle1 ,tennessee4 ,mr4 ,west told me that the two subsequent stanzas began1 ,you got to lie in that lonesome graveyard and ,some folks say that ,john was a ,baptist4 ,after each verse the tune is repeated to the words of the first stanza4 ,the source of this spiritual song is very likely ',in ,seaport ,town'1 see ,sharp1 i41 #caj1 in which there is the recurring phrase3 ,till at last they came to a lonesome valley1 and where considerable melodic similarity is to be found4 ,further traces of this typical folk-tune are in ',young ,beichan'1 ,sharp1 i41 #gi2 ',my ,mother ,bid ,me'1 ,sharp1 ii41 #id1 tune ,d2 ',opossum'1 ,sharp1 ii41 #cec2 ',drivin' ,steel'1 ,sandburg1 p4 #aej2 the negro song ',you ,got to ,cross it for ,yourself'1 ,sandburg1 p4 #dhf2 and ',that ,lonesome ,valley'1 ,grissom1 p4 #b4 ,in ,the ,carolina ,low-,country1 pp4 #bhd;ff41 there are two negro spirituals which lean heavily on ',that ,lonesome ,valley'4 ,the lonesome valley symbolized1 among both negroes and whites1 also the mourning period which was a necessary forerunner of religious conversion4 ,no4 #bae ,i',m ,,bound ,,to ,,die ,,in ,,the ,,army or ,,service ,,of ,,the ,,lord1 ,,osh #hj ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,farewell1 vain world1 ,i'm going home1 ,i am bound to die in the army2 ,my ,savior smiles and bids me come1 ,i am bound to die in the army2 ,i am bound to live in the service of my ,lord1 ,i am bound to die in the army4 ,further stanzas of the text are given under ',golden ,harp'4 ,a variant of this tune is ',promise' in this collection4 ',antioch' in this collection1 is also related4 ,the tune ',service of the ,lord' or ',antioch' seems to have been borrowed by those who sang ',little ,musgrave and ,lady ,barnard' as it is found in ,sharp1 i41 #afb4 ,indications that the direction of borrowing was as suggested may be found in the misfit of words to tune in the secular song4 ,see for example where the ar-my of the above tune and the -lu-jah of ',antioch' correspond to a mere repetition1 all1 all1 in the ',little ,musgrave' song4 ',cruel ,mother'1 ,sharp1 i41 #fa1 tune ,k1 is also closely related to ',service of the ,lord'4 ,for negro adoptions and adaptations see ,grissom1 p4 #fj2 ,marsh1 p4 #afi2 ,white ,spirituals1 pp4 #bff and #bfg2 and ,dett1 p4 #abj4 ,no4 #baf ,,promise or ,,with ,,us ,,to ,,the ,,end1 ,,soc #gc ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,jesus my all to heav'n is gone1 ,and he's promis'd to be with us to the end2 ,he whom ,i fix my hopes upon1 ,and he's promis'd to be with us to the end2 ,chorus ,jesus has been with us and he is still with us ,and he's promis'd to be with us to the end4 ,the text is given more fully under ',river of ,jordan'4 ,the song is ascribed by the compiler of the ,social ,harp to ,henry ,f4 ,chandler and dated #ahed4 ,the tune has evidently been used for the worldly ballad ',cruel ,mother'1 see ,sharp1 i41 #fa4 ,the chorus reappears in the ,wesleyan ,psalmist 7#ahdb7 attached to a text which begins3 ,children of ,god1 renounce your fears1 ,jesus says he will be with us to the end4 ,lo1 ,jesus for your help appears1 ,jesus says he will be with us to the end4 ,chorus ,for he has been with us etc4 ,this chorus material1 words and tune1 is used also in ',he's ,promised to be ,with ,you' in this collection4 ,see for tune relationships also ',little ,musgrave and ,lady ,barnard'1 ,sharp1 i41 #afb4 ,no4 #bag ,,never ,,turn ,,back 7,a71 ,,osh #cha ,pentatonic1 cannot be classified 7,i ,,ii #c -- ,v -- #g7 ,music ,when to that blessed world ,i rise1 ,i'll never turn back any more2 ,and join the anthems in the skies1 ,i'll never turn back any more4 ,any more1 any more1 any more1 my ,lord1 ,i'll never turn back any more4 ,this was a recording from the #ahdj's4 ,another1 in the ,social ,harp of #ahee1 p4 #eb1 has the more indigenous reading ,i'll never turn back no more4 ,see ',never ,turn ,back 7,b7' in this collection4 ,a negro variant is in ,marsh1 p4 #agd4 ,john ,powell tells me that ,lydia1 negro servant in the ,powell house in ,richmond1 ,virginia1 and a remarkable singer1 sings a variant of this tune to the words3 ,king cried3 no mo'1 no mo'1 my ,lord1 ,i'll never turn to go back to ,e-jup ,land no mo'4 ,no4 #bah ,,old-,,time ,,religion ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ',tis the old-time religion1 ,the old-time religion1 ',tis the old-time religion1 ,it's good enough for me4 ,subsequent verses have ,it was good for ,paul and ,silas and for practically everybody4 ,it is the author's recording from memory of hearing it sung at meetings of both negroes and whites4 ,sharp1 ii41 #bia1 has the above tune with a judgment-day text under the title ',sinner ,man'1 a song which had come from negro sources4 ,no4 #bai ,,take ,,me ,,home or ,i',m ,,alone ,,in ,,this ,,world ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,my father's gone to glory1 ,i'm alone in this world1 my father's gone to glory1 ,i'm alone4 ,my father's gone to glory1 ,i'm alone in this world2 ,take me home1 dear ,savior take me home4 ,recorded by the author from the singing of ,samuel ,e4 ,asbury1 ,september #aj1 #aicb1 at ,nashville1 ,tennessee4 ,mr4 ,asbury learned it in his boyhood in the #ahhj's1 from hearing it at camp meetings in western ,north ,carolina4 ,subsequent verses substitute my mother1 my sister1 etc4 ,a negro version of the tune is in ,slave ,songs1 p4 #ah4 ,no4 #bbj ,,jester or ,i ,,belong ,,to ,,this ,,band 7,a71 ,,osh #eca ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,if our fathers want to go1 ,why don't they come along8 ,i belong to this band1 ,hallelujah4 ,hallelujah1 hallelujah1 ,i belong to this band1 hallelujah4 ,the tune was first printed in the ,union ,harp as recorded by ,s4 ,m4 ,denson of ,alabama4 ,subsequent verses are made by the use of mothers1 sisters1 etc4 ,that the negroes used this formula is shown in ,white ,spirituals1 #bdg4 ,the refrain ,i belong to this band1 hallelujah reappears in ',i ,belong to ,this ,band 7,b7' in this collection4 ,no4 #bba ,,long-,,sought ,,home1 ,,chh #aei ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,jerusalem1 my happy home1 ,oh how ,i long for thee6 ,when shall my sorrows have an end1 ,thy joys when shall ,i see4 ,home1 sweet home1 my long-sought home1 ,my home in heav'n above4 ,thy walls are all of precious stone1 ,most glorious to behold2 ,thy gates are richly set with pearl1 ,thy streets are paved with gold4 ,thy garden and thy pleasing green ,my study long have been2 ,such sparkling light by human sight ,has never yet been seen4 ,the ,christian ,harmony credits the song to ,william ,bobo1 ,union1 ,s4 ,c4 ,the words are credited1 in the ,primitive ,baptist ,hymn and ,tune ,book1 ,no4 #dec1 to ,cowper4 ,no4 #bbb ,,beautiful ,,home ,,sweet ,,home ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,beautiful home1 sweet home1 ,beautiful home1 sweet home1 ,beautiful home1 sweet home1 ,lord1 ,i want to join the angels1 beautiful home4 ,recorded by the author from the singing of ,samuel ,e4 ,asbury1 ,september #aj1 #aicb1 as he remembered its being sung in the #ahhj's in camp meetings in western ,north ,carolina4 ,the above is merely the chorus of the song4 ,but it is essentially the same1 melodically1 as the verse4 ,the text proceeds3 ,fathers have a home1 sweet home etc4 ,mothers have a home1 sweet home etc4 ,by and by we'll go and see them etc4 ,won't that be a happy meeting etc4 ,no4 #bbc ,,come ,,friends ,,go ,,with ,,me1 ,,csh #bjf ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,alas6 and did my ,savior bleed1 ,alas6 and did my ,savior bleed1 ,alas6 and did my ,savior bleed ,and did my ,sov'reign die8 ,would ,he devote that sacred head ,for such a worm as ,i4 ,chorus ,i want my friends to go with me1 ,i want my friends to go with me1 ,i want my friends to go with me ,to the new ,jerusalem4 ,i wonder1 ,lord1 shall ,i ever get to heaven1 ,the new ,jerusalem4 ,william ,hauser included the above tune1 with different text1 in his ,olive ,leaf4 ,of the above chorus1 sometimes sung after each verse1 he says3 ,not worth while to criticise this chorus4 ,does anybody criticise a camel8 ,no2 they take him for his usefulness4 ,no4 #bbd ,i ,,love ,,jesus1 ,,rev #bed ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,jesus1 my all1 to heav'n has gone1 ,glory hallelujah1 ,he whom ,i fix my hopes upon1 ,glory hallelujah4 ,chorus ,i love ,jesus1 glory hallelujah1 ,i love ,jesus1 glory hallelujah4 ,further stanzas of the text are given under ',river of ,jordan'4 ,the tune is found in a negro version in ,marsh1 ,no4 #fe4 ,i have1 in manuscript1 practically the same tune which ,i recorded from the dulcimer playing of ,f4 ,s4 ,russell1 ,marion1 ,virginia4 ,he called the tune ',bonaparte's ,retreat'4 ,compare also the sixteenth century carol tune ',tempus adest floridum'1 ,the ,oxford ,book of ,carols1 ,no4 #ii4 ,no4 #bbe ,,hallelujah1 ,,osh #adf ,hexatonic1 mode #a b 7,i ,,ii -- ,,iv ,v ,,vi #g7 ,music ,and let this feeble body fail1 ,and let it faint or die2 ,my soul shall quit this mournful vale ,and soar to worlds on high4 ,and ,i'll sing hallelujah1 ,and you'll sing hallelujah1 ,and we'll all sing hallelujah1 ,when we arrive at home4 ,this text by ,charles ,wesley1 supplemented by the infectious chorus and sung to this swingful tune1 was widely popular in the first part of the nineteenth century4 ,it is given more fully under ',pleasant ,hill'4 ,the song is found1 ,,soh #ajg and ,,hh #ajb4 ,the tune had qualities which made it widely popular4 ,there is of course no knowing whether the many variant forms which ,i have found derive from the above tune2 but ,i have given them collectively the name the ',hallelujah' tune family4 ,other members of the family in this collection are ',stephens'1 ',pilgrim's ,triumph'1 ',faithful ,soldier'1 ',tender ,care'1 ',sawyer's ,exit'1 ',o ,i'm ,so ,happy'1 and ',converted ,thief 7a7'4 ,related melodies with secular texts are ',the ,reilly ,song'1 ,thomas1 p4 #aff2 ',chickens ,they are ,crowing'1 ,sharp1 ii41 #cgh2 ',lord ,thomas and ,fair ,eleanor'1 ,sharp1 i41 #abe2 ',virginian ,lover'1 ,sharp1 ii41 #adi;f42 ',banks of ,sweet ,dundee'1 ,sharp1 i41 #cii2 ',the ,pinery ,boy'1 ,shoemaker1 p4 #bfb2 ',kilrush ,air' ,petrie1 ,nos4 #afg and #bhc2 and ',tweed ,side'1 ,,smm1 p4 #i4 ,no4 #bbf ,,few ,,days1 ,,soc #bji ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,i pitch my tent on this camp ground1 ,few days1 few days1 ,and give old ,satan another round1 ,and ,i am going home2 ,i can't stay in these diggings1 ,few days1 few days1 ,i can't stay in these diggings1 ,i am going home4 ,the compiler of the ,social ,harp1 ,john ,g4 ,mc,curry1 claims this song and dates it #ahee4 ,a variant of the tune is in ,richardson1 p4 #gb4 ,a negro adoption is given in ,white ,spirituals1 #bff4 ,no4 #bbg ,,parting ,,hymn or ,,joyful or ,o ,,that ,,will ,,be ,,joyful1 ,,pb #cjc ,heptatonic ionian1 mode #c ,a b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,how pleasant thus to dwell below ,in fellowship of love6 ,and tho' we part 'tis bliss to know ,the good shall meet above6 ,the good shall meet above1 ,the good shall meet above4 ,and tho' we part1 'tis bliss to know ,the good shall meet above4 ,o that will be joyful1 joyful1 joyful4 ,o that will be joyful ,to meet and part no more2 ,to meet and part no more1 ,on ,canaan's happy shore1 ,and sing the everlasting song ,with those who've gone before4 ,james1 editor of the #aiaa ,original ,sacred ,harp1 says that ',joyful' was composed by ,rev4 ,abraham ,d4 ,merrell4 ,he was born in ,new ,hampshire #agif and died in #ahgh4 ,the first lines of a widely sung parody of this song 7or is the above the parody87 are3 ,the man who has plenty of good peanuts ,and giveth his neighbor none1 ,shan't have any of my peanuts ,when his peanuts are gone4 ,miss ,gilchrist informs us as to the relatives of tune and words in ,england4 ,one parody familiar to her was3 ,john ,wesley had a little ghost1 ,the color of it was white2 ,it used to swarm up his bed-post ,and frighten him at night4 ,another1 known to ,miss ,gilchrist1 was ',three ,little ,kittens'1 7,see ,,jfss1 viii1 #hf74 ,i also heard this song as a nursery ditty in my early youth in ,monson1 ,maine1 in the #ahhj's4 ,compare ',judgment ,scenes' in this collection4 ,the tune was used also for the carol ',joys ,seven'1 ,the ,oxford ,book of ,carols1 ,no4 #gj4 ,no4 #bbh ,,something ,,new1 ,,uhh #ce ,pentatonic1 mode #c 7,i ,,ii ,,iii -- ,v ,,vi --7 ,music ,since man by sin has lost his ,god1 ,he seeks creation through2 ,and vainly strives for solid bliss ,in trying something new4 ,in trying something new1 ,and vainly strives for solid bliss ,in trying something new4 ,the new1 possessed like fading flowers1 ,soon loses its gay hue2 ,the bubble now no longer stays1 ,the soul wants something new4 ,and could we call all ,europe ours1 ,with ,india and ,peru1 ,the mind would feel an aching void ,and still want something new4 ,but when we feel a ,savior's love1 ,all good in him we view2 ,the soul forsakes its vain delights-- ,in ,christ finds all things new4 ,also found1 ,,soc #bej1 ,,gos #cfe1 ,,soh #bed4 ,a negro adoption and adaptation is cited in ,white ,spirituals1 #bdi4 ,no4 #bbi ,,victoria or ,,one ,,more ,,river ,,to ,,cross1 ,,osh #bij ,hexatonic1 mode #c ,a 7,i ,,ii ,,iii -- ,v ,,vi ,,vii7 ,music ,alas6 and did my ,savior bleed1 ,alas6 and did my ,savior bleed1 ,alas6 and did my ,savior bleed ,and did my ,sovreign die8 ,i have but one more river to cross1 ,i have but one more river to cross2 ,i have but one more river to cross1 ,and then ,i'll be at rest4 ,the text theme of the chorus is seen in the negro spiritual ,,ss #d3 ,and ,i hain't but one more river to cross4 ,the tune is closely related to ',gaines'1 ,,hh #abb1 this collection2 ',geordie'1 ,sharp1 i41 #bdj2 ',john of ,hazelgreen'1 ,sharp1 i41 #bid2 ',false ,young ,man'1 7#b71 ,sharp1 ii41 #eb2 ',true ,lover's ,farewell'1 ,sharp1 ii41 #aac;ff4 ,the ',geordie' text begins with ',as ,i crossed over ,london's ,bridge'4 ,this may indicate where the revival folk got their suggestion for tune and text of ',one ,more ,river to ,cross'4 ,no4 #bcj ,,new ,,indian ,,song or ,,walk ,,and ,,talk ,,with ,,jesus1 ,,soc #de ,heptatonic ionian1 mode #a ,a ,b 7,i ,,ii ,,iii ,,iv ,v ,,vi ,,vii7 ,music ,when ,i can read my title clear ,to mansions in the skies1 ,i'll bid farewell to ev'ry fear ,and wipe my weeping eyes4 ,oh1 walk and talk with ,jesus1 ,halle1 hallelujah1 ,oh1 there's glory in my soul4 ,ah1 poor sinner1 you run from the rock1 ,when the moon goes down in blood1 ,to hide yourself in the mountain top1 ,for to hide yourself from ,god4 ,should earth against my soul engage1 ,and hellish darts be hurled1 ,then ,i can smile at ,satan's rage1 ,and face a frowning world4 ,let cares like a wild deluge come1 ,and storms of sorrow fall2 ,may ,i but safely reach my home1 ,my ,god1 my heaven1 my all4 ,the compiler of the ,social ,harp ascribes this song to ,j4 ,a4 ,j4 ,f4 ,wade and dates it #ahed4 ,the words1 excepting those of the chorus1 are by ,watts4 ,no4 #bca ,,substantial ,,joys or ,i ,,want ,,to ,,go ,,there ,,too1 ,,soc #bh ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,jesus1 my all1 to heav'n is gone1 ,i want to go there too2 ,he whom ,i fix my hopes upon1 ,and ,i want to go there too4 ,chorus ,i want to go1 ,i want to go1 ,i want to go there too1 ,substantial joys shall fill my soul1 ,and ,i want to go there too4 ,john ,g4 ,mc,curry1 compiler of the ,social ,harp1 recorded it1 according to his note1 in #ahed4 ,in the #ahhj's in ,monson1 ,maine1 ,i heard almost precisely the same tune sung to the words3 ,johnny ,morgan played the organ1 ,his father beat the drum2 ,his sister played the tambourine ,and his brother went bum-bum4 ,the text of the spiritual song is given more completely under ',river of ,jordan'4 ,the tune is akin to ',one ,man ,shall ,mow my ,meadow' and ',the ,knight and the ,shepherd's ,daughter'1 in ,sharp1 ,one ,hundred ,english ,folksongs1 ,nos4 #c and #ajj4 ,no4 #bcb ,o ,,he',s ,,taken ,,my ,,feet1 ,,rev #aad ,hexatonic1 mode #c b 7,i ,,ii ,,iii ,,iv ,v ,,vi --7 ,music ,i'll praise him while he gives me breath1 ,i hope to praise him after death4 ,chorus ,o he's taken my feet from the mire and the clay1 ,and he's placed them on the ,rock of ,ages4 ,i hope to praise him when ,i die1 ,and shout salvation as ,i fly4 ,chorus ,and ,i will tell to sinners round ,what a dear ,savior ,i have found4 ,chorus ,no4 #bcc ,,my ,,bible ,,leads ,,to ,,glory1 ,,rev #che ,hexatonic1 #fth missing1 cannot be classified1 obviously ionian 7,i ,,ii ,,iii ,,iv ,v -- ,,vii7 ,music ,my bible leads to glory1 ,my bible leads to glory1 ,my bible leads to glory1 ,ye foll'wers of the ,lamb1 ,sing on1 pray on1 ,foll'wers of ,immanuel2 ,sing on1 pray on1 ,soldiers of the cross4 ,subsequent stanzas are constructed from such sentences as3 ,religion makes me happy4 ,king ,jesus is my captain4 ,i long to see my ,savior4 ,then farewell1 sin and sorrow4 ,we'll have a shout in glory4 ,we'll wave our palms forever4 ,a variant of tune and words is in ,richardson1 p4 #fh4 ,the melody is the same as ',bobbing ,around' which was published by ,oliver ,ditson ,co41 ,boston1 about #ahee1 as one of a series called ,melodies of the day4 ,no4 #bcd ,i',m ,,traveling ,,to ,,my ,,grave or ,,traveler ,,soc #cg ,pentatonic1 mode #a 7,i ,,ii -- ,,iv ,v ,,vi --7 ,music ,i'm trav'ling to my grave1 ,i'm trav'ling to my grave1 ,i'm trav'ling to my grave ,to lay this body down4 ,my fathers died a-shouting1 rejoicing in the ,lord2 ,the last word ,i heard them say ,was about ,jerusalem1 ,the saints' delightful home4 ,the song is ascribed in the ,social ,harp to ,john ,g4 ,mc,curry and ,wm4 ,c4 ,davis and dated #ahec4 ,for a variant among the negro spiritual tunes see ,white ,spirituals1 p4 #bfa4 ,compare ',i'm a ,long ,time ,traveling' in this collection4 ,similarity is seen also between the above melody and ',the ,merchant's ,daughter'1 second tune1 ,,jfss1 i41 #afj4 ,no4 #bce ,,on ,,the ,,other ,,side ,,of ,,jordan1 ,,rev #dfe ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,on ,jordan's stormy banks ,i stand1 ,and cast a wishful eye1 ,on the other side of ,jordan1 hallelujah6 ,to ,canaan's fair and happy land1 ,where my possessions lie1 ,on the other side of ,jordan1 hallelujah6 ,on the other side of ,jordan1 hallelujah6 ,on the other side of ,jordan1 hallelujah6 ,further stanzas of the text are given under ',jordan'4 ,the tune is reminiscent of ',morning ,trumpet' in this collection4 ,no4 #bcf ,,jesus ,,is ,,my ,,friend 7,b71 ,,rev #caa ,hexatonic1 mode #d b 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,there is a heav'n o'er yonder skies1 ,a heav'n where pleasure never dies1 ,a heav'n ,i sometimes hope to see1 ,but fear again 'tis not for me2 ,but ,jesus1 ,jesus is my friend1 ,o1 hallelujah1 hallelujah1 ,jesus1 ,jesus is my friend4 ,the chorus of the above tune has features similar to ',jesus ,is ,my ,friend 7,a7'1 in this collection4 ,the whole tune seems to be a degenerate offspring of ',davisson's ,retirement'1 in this collection4 ,no4 #bcg ,,derrett or ,,it ,,won',t ,,be ,,long1 ,,soc #ajh ,hexatonic1 mode #d a 7,i ,,ii -- ,,iv ,v #f #g7 ,music ,jesus1 my all1 to heav'n is gone1 ,o hallelujah2 ,he whom ,i fix my hopes upon1 ,o hallelujah4 ,and it won't be long1 ,nor it can't be long1 ,o halle1 hallelujah1 ,and it won't be long till ,christ will come1 ,o hallelujah4 ,the compiler of the ,social ,harp1 ,john ,g4 ,mc,curry1 claims the song and dates it #ahdg4 ,we know the words as those of ,john ,cennick4 ,additional stanzas are given under ',river of ,jordan'4 ,no4 #bch ,,carter or ,,never ,,turn ,,back 7,b71 ,,soc #eb ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,jesus1 my all1 to heav'n is gone1 ,i'll never turn back no more2 ,he whom ,i fix my hopes upon1 ,i'll never turn back no more4 ,i'll never turn back no more1 my ,lord1 ,i'll never turn back no more4 ,a variant tune is ',never ,turn ,back 7,a7'1 this collection4 ,a negro variant is in ,marsh1 p4 #agd4 ,additional stanzas of the text are given under ',river of ,jordan'4 ,no4 #bci ,i ,,will ,,arise ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,come1 ye sinners1 poor and needy1 ,weak and wounded1 sick and sore1 ,jesus ready stands to save you1 ,full of pity1 love and pow'r4 ,chorus ,i will arise and go to ,jesus1 ,he will embrace me in his arms1 ,in the arms of my dear ,savior1 ,o there are ten thousand charms4 ,let not conscience make you linger1 ,nor of fitness fondly dream2 ,all the fitness he requireth ,is to feel your need of him4 ,chorus ,agonizing in the garden1 ,lo1 your ,master prostrate lies2 ,on the bloody tree behold him1 ,hear him cry before he dies4 ,chorus ,lo1 th'incarnate ,god ascended1 ,pleads the merit of his blood2 ,venture on him1 venture wholely1 ,let no other trust intrude4 ,chorus ,i recorded this song from the singing of ,donald ,davidson1 ,vanderbilt ,university1 ,june1 #aice4 ,joseph ,hart published this poem in #agei4 ,the refrain text is probably of camp-meeting origin4 ,the tune has been immensely popular for certainly more than a hundred years in the ,south4 ,found also ,,soh #e1 ,,hh #bag1 ,,wp #be1 ,,pb #cdb1 ,,osh #cab 7tune with other words71 ,,osh #ha 7words with another tune74 ,the tune is typical of a traditional trend4 ,many other songs show either close relationship throughout or use single phrases of this melody4 ,the tunes in this collection which are close to the ',i ,will ,arise' type 7mentioned in the ,introduction1 p4 #ad7 are ',humble ,penitent'1 and ',be ,gone ,unbelief'4 ,others making use of the second phrase only1 marked a1 are ',bozrah' and ',new ,orleans'4 ,a secular tune in the ',i ,will ,arise' form is ',the ,bird ,song'1 ,sharp1 ii41 #cjd2 and among the secular tunes employing phrase a as their tune beginnings are ',oh ,love ,it is a ,killing ,thing' and ',when ,i first ,left ,old ,ireland'1 ,petrie1 ,nos4 #dfi and #hfc2 and ',the ,cruel ,mother'1 ,cox1 p4 #ebb4 ,thomas gives the beginning of a lullaby which doubtlessly belongs to this tune group1 see ,devil's ,ditties1 p4 #ag4 ,no4 #bdj ,i ,,want ,a ,,seat ,,in ,,paradise or ,,north ,,port1 ,,osh #cbd ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,jesus1 my all1 to heav'n has gone1 ,glory hallelujah1 ,he whom ,i fix my hopes upon1 ,glory hallelujah4 ,i want a seat in paradise1 ,glory hallelujah1 ,i love that union never dies1 ,glory hallelujah4 ,the recording of this tune is credited to ,dr4 ,r4 ,r4 ,osborne1 a ,georgian4 ,the core of the words is by ,john ,cennick1 a text which is given more fully under ',river of ,jordan'4 ,the tune is built up easily on the theme of the first two measures which is similar to the beginning of ',henry ,martin'1 see ,rickaby1 p4 #afa1 and ,sandburg1 p4 #agf4 ',henry ,martin' is based on an incident in ,british marine history which took place in the year #adgf4 ,see ,s4 ,baring-,gould1 ,songs of the ,west1 song ,no4 #ec1 and note4 ,another old relative of the tune seems to be ',there were ,three ,ravens' which was recorded in #afaa as follows3 ,music ,there were three ra'ens sat on a tree1 ,down a down hey down a down4 ,see ,jackson1 ,english ,melodies from the #acth to the #ahth ,century1 p4 #bd4 ,german tunes with practically the same opening phrase and dating from the sixteenth century are in ,erk-,bhme1 ,deutscher ,liederhort1 vol4 iii41 p4 #gah4 ,no4 #bda ,,morning ,,trumpet1 ,,osh #he ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,o when shall ,i see ,jesus ,and reign with him above1 ,and from the flowing fountain ,drink everlasting love1 ,and shall hear the trumpet sound in that morning4 ,shout ,o glory1 for ,i shall mount above the skies ,when ,i hear the trumpet sound in that morning4 ,this is one of the best examples of the revival spiritual song4 ,it has the ,john ,leland words of matchless popularity in the southern song region1 a refrain in clarion tones1 a chorus with rare swing1 and a primeval melodic mode4 ,for a negro version and the black man's story of the song's source see ,white ,spirituals1 pp4 #bed-bee4 ,found also ,,soh 7#ahed7 #aie1 ,,soc #aaa1 ,,hoc #ii4 ,further stanzas of the text are given under ',faithful ,soldier'4 ,a later and simplified version of ',morning ,trumpet' is ',to ,hear the ,trumpet ,sound' in this collection4 ,no4 #bdb ,,great ,,provider or ,,he',s ,,promised ,,to ,,be ,,with ,,you1 ,,uhp #aab ,heptatonic aeolian1 mode #b ,a b 7,i ,,ii #c ,,iv ,v #f #g7 ,music ,peace1 troubled soul1 thou need not fear1 ,jesus says he will be with you to the end4 ,the great provider still is near1 ,jesus says he will be with you to the end4 ,chorus ,hallelujah1 hallelujah1 ,and he's promised to be with you to the end4 ,the ,lord who built the earth and sky1 ,in mercy stoops to hear our cry2 ,his promise all may truly claim1 ,ask and receive in ,jesus' name4 ,the tune from the start to the chorus is practically the same as the chorus tune in ',with ,us to the ,end' in this collection4 ,it is claimed by ,s4 ,m4 ,denson and dated #aijh4 ,mr4 ,denson recorded many revival tunes4 ,for data as to his life see ,white ,spirituals1 #ajg;ff4 ,he died #aicf4 ,see ',cruel ,mother'1 ,sharp1 i41 #fa1 tune ,k1 for melodic similarities4 ,no4 #bdc ,,warfare1 ,,swp #acj ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,children of the heavenly ,king1 ,till the warfare is ended1 hallelujah6 ,as ye journey sweetly sing1 ,till the warfare is ended1 hallelujah6 ,shout glory1 children1 ,till the warfare is ended1 hallelujah6 ,sing your ,savior's worthy praise1 ,till etc4 ,glorious in his works and ways1 ,till etc4 ,we are travelling home to ,god ,in the way the fathers trod4 ,they are happy now1 and we ,soon their happiness shall see4 ,o ye banished seed1 be glad6 ,christ our advocate is made4 ,us to save1 our flesh assumes1 ,brother to our souls becomes4 ,shout1 ye little flock1 and blest ,you on ,jesus' throne shall rest4 ,there your seat is now prepared1 ,there your kingdom and reward4 ,fear not1 brethren2 joyful stand ,on the borders of your land4 ,christ1 your ,father's darling son1 ,bids you undismayed go on4 ,lord1 submissive make us go1 ,gladly leaving all below4 ,only thou our leader be1 ,and we still will follow thee4 ,see ',till the ,warfare is ,over'1 ,,osh #gf1 for melodic and textual relationships4 ,no4 #bdd ,,general ,,roll ,,call1 ,,rev #cef ,pentatonic1 mode #b with cadentially raised seventh 7,i -- #c ,,iv ,v -- ,,vii7 ,music ,if you get there before ,i do1 ,when the gen'ral roll is call'd ,we'll be there2 ,look out for me ,i'm coming too1 ,when the gen'ral roll is call'd ,we'll be there4 ,we'll be there1 we'll be there1 we'll be there1 ,when the gen'ral roll is call'd we'll be there4 ,we're pressing on to ,canaan's land1 ,we'll join the blood-wash'd pilgrim band4 ,then we'll go up the shining way1 ,and praise the ,lord through endless day4 ,the tune is attributed1 in the ,revivalist1 to ,j4 ,baker4 ,two negro spirituals based melodically and textually on this song are in ,dett1 pp4 #aba and #aff4 ,no4 #bde ,,shouting ,,pilgrim1 ,,swp #afc ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,the trumpets are a-sounding ,and calling for more volunteers1 ,the armies are in motion1 ,behold in front their officers4 ,shout ,oh6 glory1 for the battle is begun1 ,and ,i'll shout glory while the ,israelites go on4 ,i love to live rejoicing1 ,i cannot bear to live lukewarm1 ,although there's many blames me for trusting in the ,lord alone4 ,shout ,oh6 glory1 for ,i love to praise the ,lord1 ,and ,i'll shout glory while ,i hear the gospel word4 ,i love to live a-shouting1 ,i feel my ,savior in my soul1 ,sweet heaven drawing nigher1 ,i feel the living waters roll4 ,shout ,oh6 glory1 for the glory is begun1 ,and ,i'll shout glory while the work is going on4 ,the time is fast approaching when all religion will be tried1 ,when ,jesus with his jewels will ornament his lovely bride4 ,shout ,oh6 glory1 for my soul is full of love1 ,and ,i'll shout glory when ,i meet you all above4 ,i see the flame arising4--,had ,i the pinions of a dove1 ,my soul would then realize the wonders of redeeming love4 ,shout ,oh6 glory1 for there's glory in my soul1 ,and ,i'll shout glory while ,i feel the current roll4 ,the current is a-spreading and sinners coming home to ,god1 ,a-weeping and a-mourning1 and finding favor in the ,lord4 ,shout ,oh6 glory1 and my song shall never end1 ,and ,i'll shout glory to the sinner's dearest friend4 ,no4 #bdf ,,bound ,,for ,,the ,,promised ,,land1 ,,osh #abh ,hexatonic1 mode #b ,a 7,i ,,ii #c ,,iv ,v -- #g7 ,music ,on ,jordan's stormy banks ,i stand ,and cast a wishful eye1 ,to ,canaan's fair and happy land ,where my possessions lie4 ,i am bound for the promis'd land1 ,i'm bound for the promised land2 ,oh1 who will come and go with me1 ,i am bound for the promised land4 ,further stanzas of the text are given under ',jordan'4 ,the combination here of the widely sung words of ,samuel ,stennett and an especially folkish revival phrase has resulted in an enormously well liked spiritual4 ,found also ,,soh #ea1 ,,hh #aed1 ,,soc #aad1 ,,hoc #dg1 ,,wp #ec1 ,,gos #eab4 ,its first appearance in the fasola books seems to have been in the ,southern ,harmony of #ahce where it is attributed to ,miss ,m4 ,durham4 ,the tune is like ',i'll ,go and ,enlist for a ,sailor'1 ,sharp1 ,morris ,dances1 ,set viii1 ,no4 #f4 ,no4 #bdg ,,lisbon or ,i ,,can ,,not ,,tarry ,,here1 ,,soc #ahb ,pentatonic1 mode #b 7,i -- #c ,,iv ,v -- #g7 ,music ,farewell1 dear brethren in the ,lord1 ,and ,i can not tarry here2 ,yet we believe his gracious word1 ,and ,i can not tarry here4 ,and ,i can not tarry here1 ,and ,i can not tarry here2 ,the gospel sounds the jubilee1 ,and ,i can not tarry here4 ,this song is attributed to ,henry ,f4 ,chandler and dated #ahed4 ',the ,irish ,girl'1 as sung in ,virginia1 shows a similar rhythmic trend but is less closely related tonally4 ,see ,sharp1 ii41 #bed4 ,greater melodic resemblance is seen in ',our ,goodman' ,sharp1 i41 #bfi1 tune ,d4 ,no4 #bdh ,i ,,want ,,to ,,go ,,to ,,glory1 ,,swp #afh ,hexatonic1 cannot be classified 7,i ,,ii #c ,,iv ,v #f --7 ,music ,jesus1 my all1 to heav'n is gone1 ,i want to go to glory2 ,he whom ,i fix my hopes upon1 ,i want to go to glory4 ,i want to go1 ,i want to go1 ,i want to go to glory2 ,we've so many trials here below1 ,they say there are none in glory4 ,the full text1 by ,samuel ,medley 7#agch-agii71 may be found under ',river of ,jordan' in this collection4 ,the ,southern and ,western ,pocket ,harmonist gives this tune as sung by ,rev4 ,m4 ,l4 ,little4 ,an old ,irish song in ,petrie1 ,no4 #aafd1 shows noteworthy similarities4 ,see also ',i ,want a ,seat in ,paradise'1 in this collection1 for further tune relationships4 ,no4 #bdi ,,christian ,,race1 ,,rev #gf ,heptatonic dorian1 mode #b ,a ,b 7,i ,,ii #c ,,iv ,v ,,vi #g7 ,music ,the ,christian race is now begun1 ,o1 glory1 glory1 hallelujah6 ,we're striving for a heav'nly crown1 ,o1 glory1 glory1 hallelujah6 ,chorus ,for the prize it lies at the end of the race1 ,o1 glory1 glory1 hallelujah6 ,we'll run the race and gain the prize1 ,o1 glory etc4 ,our heav'nly mansion in the skies1 ,o1 glory etc4 ,chorus ,we'll lay aside our every weight1 ,the way is narrow and straight the gate4 ,in earnest cry we'll wrestle along2 ,then on a kingly throne sit down4 ,omnipotence is on our side1 ,and ,god himself will be our guide4 ,then when the race we've nobly run1 ,he'll count us worthy of a crown4 ,the form of the above is as sung by ,rev4 ,g4 ,c4 ,wells4 ,no4 #bej ,i ,,yield1 ,,rev #ddc ,heptatonic1 minor 7,i ,,ii #c ,,iv ,v #f ,,vii7 ,music ,alas6 and did my ,savior bleed1 ,and did my ,sov'reign die8 ,would he devote that sacred head ,for such a worm as ,i8 ,i yield1 ,i yield1 ,i yield1 ,i can hold out no more2 ,i sink by dying love compell'd1 ,and own thee conqueror4 ,i suggest the possibility that the editor of the ,revivalist made his tune over from one which was originally in the dorian mode4 ,footnotes #a;,john ,powell's article ,in the ,lowlands ,low1 in the ,southern ,folklore ,quarterly1 ,vol4 i41 ,no4 #a1 provides a corrective for those who think loosely of our ,american music tradition as one observable in the highlands only4 #b,the churchman's frown on the early intrusion of the folk into hymn making may be seen in ,the ,english ,hymn by ,louis ,f4 ,benson1 pp4 #bia;ff4 #c,see ,warren ,a4 ,chandler1 ,great ,revivals and the ,great ,republic1 pp4 #aji;ff4 and #ach;f4 #d,samuel ,e4 ,asbury tells me that the camp meetings at ,rock ,springs1 ,lincoln ,county1 ,north ,carolina1 which he attended in his youth in the #ahhj's had been the mating grounds for that state for fifty years4 #e;,compare my article on this subject in ,the ,american ,mercury of ,june1 #aicb4 #f;,anne ,g4 ,gilchrist1 in her article cited above1 assumes this song-book recognition of the revival tunes to have begun in #ahdb4 ,the height of this activity was1 to be sure1 around that date1 that is1 from a decade earlier to a decade later4 ,see ,,jfss1 viii41 #fc f42 and compare p4 #aa of this work4 #g,the new edition of ,the ,original ,sacred ,harp1 #aicf1 was not used in making the present collection4 #h;,all these books use the country people's own shape notation1 described at length in ,white ,spirituals4 ,see also my article ,buckwheat ,notes1 in the ,musical ,quarterly1 xix41 ,no4 #d1 and the ,preface of this book4 #i;,in ,chapter xxi of ,white ,spirituals is the story of how the city-controlled denominations have shown uniformly and increasingly an aversion to the old revival type of song4 #aj,the following is a comment made in this connection by ,john ,powell4 ,it may be well to remember here that only in comparatively recent times has any distinction been made between the use of already existing material 7melodic and thematic7 and the use of material created by the composer4 ,the ,contrapuntists relied very largely on folk-music for their basic material4 ,bach followed this example to a great extent2 ,handel not only did this but took material composed by others at his own sweet will with no thought of deception and with no contemporary reproach of plagiarism4 ,haydn1 ,beethoven1 ,schumann and ,brahms followed frequently the same practice4 ,in the literary field in ,elizabethan times it would be difficult to find a play the fundamental material of which was not drawn from already existing sources4 ,the word composer literally means the one who puts together a piece4 ,the material of this piece may1 or may not1 be invented by such composer4 ,these reflections would seem to explain and to justify the modest claims of the ,american singing-school book compilers to authorship of songs1 and such thoughts should make us approach their labors1 not with caviling1 but with gratefulness for their invaluable service to ,american traditional song4 #aa,on examining the first #ej tunes of the ,folk-,hymns in this collection1 ,i find within their melodic phrases a total of only #ag jumps of a fifth and #aj of a sixth4 ,sevenths and octaves--,i found but two each--appeared only as the intervals between the end note of one phrase and the beginning note of the following one4 #ab,my own hearing of these tunes at the southern country singings has convinced me that the dorian mode is far more widely used than the above statistics1 based on the notation1 indicate4 ,that is1 ,i have heard the sixth clearly raised in numbers of songs where the key signature called for a flatting4 #ac,observations made in recent years of the folk-tunes in the ,british ,isles show modality to be on the decline4 ,in ,germany the modes are already practically gone1 with the regular major and minor scales taking their places4 #ad;,from this statement it will be seen that ,i hold with those who look on the full diatonic scales as having evolved from the gapped ones1 rather than the other way around4 ,this however is still a matter of controversy4 #ae,to those who desire to follow in more detail the problem of the essence of the folk-tune1 ,i commend ,cecil ,sharp's ,english ,folk-,song1 ,some ,conclusions1 especially chapters ,,vi and ,,vii4 ,despite ,sharp's having come to his conclusions thirty years ago and even though they are concerned with the folk-songs of the ,british ,isles only1 they have not1 to my knowledge1 been essentially altered by subsequent thought on the subject2 and they apply1 by and large1 to ,american folk-tunes as well4 #af;,a real defect of this system of cataloguing inheres in the difficulty1 sometimes the impossibility1 of determining the proper key signatures of gapped tunes4 ,and the difficulty is augmented by the tendency of all the old recorders to regard dorian tunes as natural minor ones 7or aeolian74 ,i have reproduced all such doubtful tunes here just as ,i found them4 ,i have catalogued them1 however1 7and inserted them here serially according to that catalog arrangement7 in an order which is determined by what has seemed to be their proper modal form4 ,among the songs which are touched by this modal 7and hence key-signature7 uncertainty are ,nos4 #bj1 #ba1 #bb1 #cg1 #ea1 #hg1 #hh1 #hi1 #ij1 #ia1 #ig1 #aae1 #add1 #adh1 #bcf1 #bcg1 #bdi1 and #bej4 #ag;,author of ,southern ,harmony4 ,bibliography ,alderice1 ,catherine4 ,manuscript #d-shape-note song book1 written in or near ,emmittsburg1 ,maryland1 between #ahjj and #ahcj4 ,allen1 ,william ,francis2 ,ware1 ,charles ,pickard2 and ,garrison1 ,lucy ,mc,kim4 ,slave ,songs of the ,united ,states4 ,c4 #ahfh1 reprinted ,new ,york1 ,peter ,smith1 #aibi4 ,asbury1 ,samuel ,e42 and ,meyer1 ,henry ,e4 ,an article entitled ,old-,time ,camp-,meeting ,spirituals1 ,publications of the ,texas ,folk-,lore ,society1 ,no4 x1 ,austin1 ,texas1 #aicb4 ,autobiography of ,peter ,cartwright1 ,the ,backwoods ,preacher4 ,edited by ,w4 ,p4 ,strickland4 ,new ,york1 #aheg4 ,baptist ,hymnal1 #aijb4 ,baptist ,hymn and ,tune ,book1 #aheg4 ,baring-,gould1 ,s4 ,songs of the ,west4 ,london1 ,methuen1 #ahij to #aibh4 ,barry1 ,phillips1 and others4 ,british ,ballads from ,maine4 ,new ,haven1 #aibi4 ,beecher1 ,henry ,ward4 ,plymouth ,collection1 #ahee-ahef4 ,benson1 ,louis1 ,f4 ,the ,english ,hymn4 ,philadelphia1 ,the ,presbyterian ,board of ,publication1 #aiae4 ,bible ,songs4 ,edited by ,m4 ,b4 ,de,witt1 ,nashville1 #ahfe4 ,british ,ballads from ,maine4 7,see ,barry1 ,phillips47 ,carolina ,low ,country4 7,see ,smythe1 ,augustine ,t47 ,cartwright1 ,peter4 7,see ,autobiography etc47 ,chandler1 ,warren ,a4 ,great ,revivals and the ,great ,republic4 ,nashville1 #aijd4 ,chappell1 ,william4 ,old ,english ,popular ,music4 ,edited by ,h4 ,ellis ,wooldridge1 ,london1 ,chappell1 #ahic4 ,choral-,music4 ,compiled by ,joseph ,funk1 ,harrisonburg1 ,virginia1 #ahaf4 ,christian ,harmony or ,songster's ,companion4 ,compiled by ,jeremiah ,ingalls1 ,exeter1 ,new ,hampshire1 #ahje4 ,christian ,harmony4 ,compiled by ,william ,walker1 ,spartanburg1 ,south ,carolina1 printed in ,philadelphia1 #ahff4 ,christian ,lyre4 ,compiled by ,joshua ,leavitt1 ,new ,york1 #ahcj4 ,christian ,science ,hymnal4 ,boston1 #aicb4 ,church ,harmony4 ,compiled by ,henry ,smith1 ,chambersburg1 ,pennsylvania1 printed in ,chambersburg1 #ahcd4 ,columbian ,harmony4 ,compiled by ,william ,moore1 ,wilson ,county1 ,tennessee1 printed in ,cincinnati1 #ahbe4 ,cox1 ,john ,harrington4 ,folk-,songs of the ,south4 ,cambridge1 ,harvard ,university ,press1 #aibe4 ,davis1 ,arthur ,kyle4 ,traditional ,ballads of ,virginia4 ,cambridge1 ,harvard ,university ,press1 #aibi4 ,dett1 ,r4 ,nathaniel4 ,religious ,folk-,songs of the ,negro4 ,hampton1 ,virginia1 ,hampton ,institute ,press1 #aibg4 ,dolph1 ,edward ,arthur4 ,sound ,off4 ,new ,york1 ,cosmopolitan ,book ,corporation1 #aibi4 ,english ,dancing ,master1 ,the4 ,by ,john ,playford4 ,reproduced by ,hugh ,mellor and ,leslie ,bridgewater1 #aicc4 ,english ,folk-,songs for ,schools4 7,see ,gould1 ,s4 ,baring47 ,english ,musical ,repository1 ,the4 ,edinburgh1 #ahaa4 ,english ,repository1 ,the4 ,edinburgh1 #ahaa4 ,erk1 ,ludwig ,c41 and ,bhme1 ,franz ,m4 ,deutscher ,liederhort4 ,three vols41 ,leipzig1 ,edition #aibe4 ,flanders1 ,helen ,hartness2 and ,brown1 ,george4 ,vermont ,folk-,songs and ,ballads4 ,brattleboro1 ,vermont1 ,stephen ,daye ,press1 #aicb4 ,fenner1 ,thomas ,p4 ,hampton and ,its ,students4 ,new ,york1 ,putnam's1 #ahge4 ,genuine ,church ,music4 ,compiled by ,joseph ,funk1 ,mountain ,valley1 ,virginia1 printed in ,winchester1 ,virginia1 #ahcb4 ,gilchrist1 ,anne ,g4 7,see ,journal of the ,english ,folk-,song ,society47 ,good ,old ,songs4 ,compiled by ,c4 ,h4 ,cayce1 ,thornton1 ,arkansas1 printed in ,martin1 ,tennessee1 #aiac4 ,gray1 ,roland ,p4 ,songs and ,ballads of the ,maine ,lumberjacks4 ,cambridge1 ,harvard ,university ,press1 #aibe4 ,gould1 ,s4 ,baring1 and ,sharp1 ,cecil ,j4 ,english ,folk-,songs for ,schools4 ,london1 ,curwen1 no date given4 ,greig1 ,gavin1 and ,keith1 ,alexander4 ,last ,leaves of ,traditional ,ballads and ,ballad ,airs4 ,aberdeen1 #aibe4 ,grissom1 ,mary ,allen4 ,the ,negro ,sings a ,new ,heaven4 ,chapel ,hill1 ,the ,university of ,north ,carolina ,press1 #aicj4 ,harp of ,columbia4 ,compiled by ,w4 ,h4 and ,m4 ,l4 ,swan1 ,knoxville1 ,tennessee1 printed in ,knoxville1 #ahdh4 ,harp of the ,south1 ,the4 ,compiled by ,lowell ,mason4 ,published by ,mason ,brothers between #ahee and #ahfi4 ,hesperian ,harp4 ,compiled by ,william ,hauser1 ,wadley1 ,georgia1 printed in ,philadelphia1 #ahdh4 ,hudson1 ,arthur ,palmer4 ,folksongs of ,mississippi4 ,chapel ,hill1 ,university of ,north ,carolina ,press1 #aicf4 ,hymns ,ancient and ,modern4 ,london1 ,clowes1 #aiji4 ,ingalls1 ,jeremiah4 7,see ,christian ,harmony or ,songster's ,companion47 ,jackson1 ,george ,pullen4 ,buckwheat ,notes4 ,musical ,quarterly1 xix 7#aicc71 ,no4 #d4 -- ,the ,genesis of the ,negro ,spiritual4 ,the ,american ,mercury1 xxvi 7#aicb71 ,no4 #ajb4 -- ,stephen ,foster's ,debt to ,american ,folk-,song4 ,the ,musical ,quarterly1 vol4 xxii1 ,no4 #b4 -- ,white ,spirituals in the ,southern ,uplands4 ,chapel ,hill1 ,university of ,north ,carolina ,press1 #aicc4 ,jackson1 ,vincent4 ,english ,melodies from the #acth to the #ahth ,century4 ,london1 ,dutton1 #aiaj4 ,johnson1 ,guy ,b4 ,folk ,culture on ,saint ,helena ,island4 ,chapel ,hill1 ,university of ,north ,carolina ,press1 #aicj4 ,journal of ,american ,folk-,lore4 ,new ,york1 ,american ,folk-,lore ,society4 ,journal of the ,english ,folk-,song ,society4 ,london1 ,the ,folk-,song ,society4 ,especially vol4 viii 7#aibg-aica7 pp4 #fa-ie1 article by ,anne ,g4 ,gilchrist1 ,the ,folk ,element in ,early ,revival ,hymns and ,tunes4 ,joyce1 ,p4 ,w4 ,irish ,music and ,song4 ,dublin1 ,gill and ,son1 new edition1 #aija4 ,kennedy1 ,david4 ,handbook of ,scottish ,song4 ,london1 ,henderson1 ,rait and ,fenton1 #ahff4 ,kentucky ,harmony4 ,compiled by ,ananias ,davisson1 ,rockingham ,county1 ,virginia1 printed in ,harrisonburg1 ,virginia1 ca4 #ahae4 7#b;d ed41 #ahag1 #dth ed41 #ahba1 and #eth ed41 #ahbf1 in ,libr4 of ,congress47 #dth ed41 also in ,mc,ghee ,public ,library1 ,knoxville4 ,kirchen-,harmonie4 ,a ,german supplement to ,church ,harmony1 which see4 ,knoxville ,harmony4 ,compiled by ,john ,b4 ,jackson1 ,madisonville1 ,tennessee1 printed in ,madisonville and ,pumpkintown1 #ahch4 ,krehbiel1 ,henry ,e4 ,afro-,american ,folk-,songs4 ,new ,york1 ,g4 ,schirmer1 #aiad4 ,last ,leaves4 7,see ,greig1 ,gavin47 ,lightwood1 ,james ,thomas4 ,hymn-,tunes and their ,story4 ,london1 #aije4 ,lyric ,gems of ,scotland4 ,london1 ,bayley and ,ferguson1 no date given4 ,marsh1 ,j4 ,b4 ,t4 ,the ,story of the ,fisk ,university ,jubilee ,singers4 ,boston1 #ahhj4 ,melodeon1 ,the4 ,compiled by ,j4 ,w4 ,dadmun1 ,boston1 #ahfa4 ,mercer's ,cluster4 ,popular designation for ,the ,cluster of ,spiritual ,songs ,divine ,hymns and ,social ,poems4 ,compiled by ,jesse ,mercer1 ,augusta1 ,georgia1 ca4 #ahag4 ,mersmann1 ,hans4 ,grundlagen einer musikalischen ,volksliedforschung1 ,leipzig1 #aicj4 ,metcalf1 ,frank ,j4 ,stories of ,hymn ,tunes4 ,new ,york1 ,abingdon ,press1 #aibh4 ,methodist ,hymn ,book of ,england4 ,london1 #aicc4 ,methodist ,hymnal4 ,nashville1 ,tennessee1 #aicc4 ,methodist ,hymn and ,tune ,book4 ,nashville1 ,tennessee1 #ahhi4 ,missouri ,harmony4 ,compiled by ,allen ,d4 ,carden1 ,st4 ,louis1 ,missouri1 printed in ,cincinnati1 #ahbj4 ,motherwell1 ,william4 ,minstrelsy ,ancient and ,modern4 ,paisley's edition1 #ahgc4 ,musical ,quarterly1 ,the4 ,new ,york1 ,g4 ,schirmer4 ,newell1 ,william ,w4 ,games and ,songs of ,american ,children4 ,new ,york1 ,harper and ,brothers1 #aiaa4 ,new ,hymn and ,tune ,book1 ,the4 ,nashville1 ,southern ,methodist ,publishing ,house1 #ahhj4 ,olive ,leaf4 ,compiled by ,william ,hauser and ,benjamin ,turner1 ,wadley1 ,georgia1 printed in ,philadelphia1 #ahgh4 ,original ,sacred ,harp4 ,edited by ,joe ,s4 ,james1 ,atlanta1 ,georgia1 printed in ,atlanta1 #aiaa4 ,it is an enlarged and annotated edition of the #ahdd ,sacred ,harp1 which see4 ,oxford ,book of ,carols1 ,the4 ,edited by ,percy ,dearmer1 ,r4 ,vaughan ,williams and ,martin ,shaw4 ,london4 ,oxford ,university ,press1 ,third ,impression1 #aica4 ,petrie1 ,george4 ,the ,complete ,collection of ,ancient ,irish ,music4 ,edited by ,charles ,villiers ,stanford1 ,london1 ,boosey and ,co41 #aijc4 ,playford4 7,see ,english ,dancing ,master1 ,the47 ,plymouth ,collection4 ,compiled by ,henry ,ward ,beecher1 #ahee4 ,primitive ,baptist ,hymn and ,tune ,book4 ,compiled by ,john ,r4 ,daily1 printed in ,madisonville1 ,kentucky1 #aijb4 ,publications of ,the ,texas ,folk-,lore ,society4 7,see ,asbury1 ,samuel ,e47 ,revivalist4 ,compiled by ,joseph ,hillman1 ,troy1 ,new ,york1 #ahfh2 revised and enlarged edition printed in ,albany1 ,new ,york1 #ahgb4 ,richardson1 ,ethel ,park4 ,american ,mountain ,songs4 ,edited and arranged by ,sigmund ,spaeth1 ,new ,york1 ,greenburg1 #aibg4 ,rickaby1 ,franz4 ,ballads and ,songs of the ,shanty-,boy4 ,cambridge1 ,harvard ,university ,press1 #aibf4 ,sacred ,harp4 ,compiled by ,b4 ,f4 ,white and ,e4 ,j4 ,king1 ,hamilton1 ,georgia1 printed in ,philadelphia1 #ahdd4 ,cf4 ,original ,sacred ,harp4 ,sacred ,harp4 ,edited by ,w4 ,m4 ,cooper1 ,dothan1 ,alabama1 printed in various places1 first in ,dothan1 #aijb4 ,it is an enlarged edition of the #ahdd ,sacred ,harp1 which see4 ,sandburg1 ,carl4 ,the ,american ,songbag4 ,new ,york1 ,harcourt1 ,brace and ,co41 #aibg4 ,scarbrough1 ,dorothy4 ,on the ,trail of the ,negro ,folk-,songs4 ,cambridge1 ,harvard ,university ,press1 #aibe4 ,scots ,musical ,museum4 ,compiled by ,james ,johnson and ,robert ,burns1 ,edinburgh1 #aghg-ahjc4 ,sharp1 ,cecil ,j41 and ,campbell1 ,olive ,dame4 ,english ,folk ,songs ,from the ,southern ,appalachians4 ,new ,york1 ,putnam's1 #aiag4 ,sharp1 ,cecil ,j4 ,english ,folk ,songs from the ,southern ,appalachians4 ,two volumes1 edited by ,maud ,karpeles1 ,london1 ,oxford ,university ,press1 ,humphrey ,milford1 #aicb4 -- ,one ,hundred ,english ,folksongs4 ,boston1 ,ditson1 #aiaf4 -- ,the ,morris ,book4 ,five parts1 ,london1 ,novello1 #aiab-aiac4 -- ,english ,folk-,song1 ,some ,conclusions4 ,london1 ,novello1 #aijg4 ,shoemaker1 ,henry ,w4 ,mountain ,minstrelsy of ,pennsylvania4 ,third edition1 ,philadelphia1 #aica4 ,singer's ,companion1 ,the4 ,new ,york1 #ahed4 ,slave ,songs4 7,see ,allen1 ,william ,francis47 ,smythe1 ,augustine ,t4 and others4 ,the ,carolina ,low-,country4 ,new ,york1 ,macmillan1 #aica4 ,smith1 ,reed4 ,south ,carolina ,ballads4 ,cambridge1 ,harvard ,university ,press1 #aibh4 ,social ,harp4 ,compiled by ,john ,g4 ,mc,curry1 ,andersonville1 ,georgia1 printed in ,philadelphia1 #ahee4 ,social ,hymn and ,tune ,book4 ,philadelphia1 ,presbyterian ,publication ,committee1 #ahfe4 ,songs of ,grace4 ,compiled by ,e4 ,s4 ,lorenz and ,i4 ,baltzell1 ,dayton1 ,ohio1 ,united ,brethren ,publishing ,house1 #ahgi4 ,southern and ,western ,pocket ,harmonist4 ,compiled by ,william ,walker1 ,spartanburg1 ,south ,carolina1 printed in ,philadelphia1 #ahdf4 ,southern ,folklore ,quarterly4 ,gainesville1 ,florida4 ,southern ,harmony4 ,compiled by ,william ,walker1 ,spartanburg1 ,south ,carolina1 printed in ,new ,haven1 ,connecticut1 #ahce4 ,supplement to the ,kentucky ,harmony4 ,compiled by ,ananias ,davisson1 ,rockingham ,county1 ,virginia1 printed in ,harrisonburg1 ,virginia1 #ahbj4 7,in ,mc,ghee ,public ,libr41 ,knoxville47 ,texas ,folk-,lore ,society1 ,publications of4 7,see ,asbury1 ,samuel ,e47 ,thomas1 ,jean4 ,devil's ,ditties4 ,chicago1 ,w4 ,wilbur ,hatfield1 #aica4 ,tillett1 ,wilbur1 ,f4 ,the ,hymns and ,writers of the ,church4 ,nashville1 ,smith and ,lamar1 #aiaa4 ,timbrel of ,zion4 ,compiled by ,t4 ,k4 ,collins1 ,jr41 ,philadelphia1 #ahed4 ,union ,harmony4 ,compiled by ,william ,caldwell1 ,maryville1 ,tennessee1 printed in ,maryville1 #ahcg4 ,union ,harmony4 ,compiled by ,george ,hendrickson1 ,mountain ,valley1 ,virginia1 printed in ,mountain ,valley1 #ahdh4 ,union ,harp and ,history of ,songs4 ,compiled by ,joe ,s4 ,james1 ,douglasville1 ,georgia1 printed in ,douglasville 7871 #aiji4 ,virginia ,harmony4 ,compiled by ,james ,p4 ,carrell and ,david ,s4 ,clayton1 ,lebanon1 ,virginia1 printed in ,winchester1 ,virginia1 #ahca4 ,wesleyan ,psalmist4 ,compiled by ,m4 ,l4 ,scudder1 7place871 #ahdb4 ,western ,harmony4 ,compiled by ,allen ,d4 ,carden1 ,samuel ,j4 ,rogers1 ,f4 ,moore1 and ,j4 ,green1 printed in ,nashville1 #ahbd4 ,western ,psalmodist4 ,compiled by ,andrew ,w4 ,johnson1 ,cornersville1 ,tennessee1 printed in ,nashville1 ,tennessee1 #ahec4 ,white1 ,newman ,i4 ,american ,negro ,folk-,songs4 ,cambridge1 ,harvard ,university ,press1 #aibh4 ,white ,spirituals4 7,see ,jackson1 ,george ,pullen47 ,work1 ,john ,wesley4 ,folk ,song of the ,american ,negro4 ,nashville1 ,tennessee1 ,fisk ,university ,press1 #aiae4 ,wyman1 ,loraine1 and ,brockway1 ,howard4 ,lonesome ,tunes4 ,new ,york1 ,gray1 #aiaf4 ,zion's ,harp4 ,place and year unknown1 probably between #ahbe and #ahdj1 #cab pages1 texts only4 ,zion's ,harp4 #cc pages of tunes1 issued as a companion to ,nettleton's ,village ,hymns1 compiled by ,n4 and ,s4 ,s4 ,jocelyn1 registered in the ,district of ,connecticut1 #ahbd4 ,list of ,abbreviations of ,titles ,,bhtbk ,baptist ,hymn and ,tune ,book1 #aheg ,,bs ,bible ,songs 7,de,witt7 ,,ch ,church ,harmony 7,smith7 ,,chh ,christian ,harmony 7,walker7 ,,chi ,christian ,harmony 7,ingalls7 ,,coh ,columbian ,harmony 7,moore7 ,,csh ,sacred ,harp1 #aijb 7,cooper7 ,,dt ,religious ,folk-,songs of the ,negro 7,dett7 ,,gcm ,genuine ,church ,music 7,funk7 ,,gos ,good ,old ,songs 7,cayce7 ,,hh ,hesperian ,harp 7,hauser7 ,,hoc ,harp of ,columbia 7,swan7 ,,jafl ,journal of ,american ,folk-,lore ,,jfss ,journal of the ,english ,folk-,song ,society ,,kyh ,kentucky ,harmony 7,davisson7 ,,knh ,knoxville ,harmony 7,jackson7 ,,mhtbk ,methodist ,hymn and ,tune ,book1 #ahhi ,,moh ,missouri ,harmony 7,carden7 ,,ol ,olive ,leaf 7,hauser7 ,,osh ,original ,sacred ,harp 7,james7 ,,pb ,primitive ,baptist ,hymn and ,tune ,book 7,daily7 ,,rev ,revivalist 7,hillman7 ,,scb ,south ,carolina ,ballads 7,smith7 ,,sh ,sacred ,harp1 #ahdd 7,white and ,king7 ,,skh ,supplement to the ,kentucky ,harmony 7,davisson7 ,,smm ,scots ,musical ,museum 7,johnson7 ,,soc ,social ,harp 7,mc,curry7 ,,sog ,songs of ,grace 7,lorenz and ,baltzell7 ,,soh ,southern ,harmony 7,walker7 ,,ss ,slave ,songs of the ,united ,states 7,allen1 ,ware1 and ,garrison7 ,,swp ,southern and ,western ,pocket ,harmonist 7,walker7 ,,tz ,timbrel of ,zion 7,collins7 ,,uh ,union ,harmony 7,caldwell7 ,,uhh ,union ,harmony 7,hendrickson7 ,,uhp ,union ,harp and ,history of ,songs 7,james7 ,,vh ,virginia ,harmony 7,carrell7 ,,wh ,western ,harmony 7,carden1 ,rogers1 ,moore1 and ,green7 ,,wp ,western ,psalmodist 7,johnson7 ,,ws ,white ,spirituals in the ,southern ,uplands 7,jackson7 ,index of ,songs by ,titles ,a ,number ,address for ,all #bi ,albert #hc ,albion #gh ,all is ,well #eh ,all the ,way ',long #agj ,alverson #bac ,angels ,hovering ,round #baa ,animation #fb ,antioch #aff ,atonement #bjj ,autauga #bjd ,away ,over ,yonder #agh ,b ,babe of ,bethlehem #ea ,babylon ,is ,fallen #aib ,backslider #ga ,balm in ,gilead #abg ,bartimeus #ba ,bates #ahh ,beautiful ,home ,sweet ,home #bbb ,beggar #b ,be ,gone ,unbelief #aag ,beloved #afc ,bound for the ,promised ,land #bdf ,bourbon #aji ,bowers #agb ,bozrah #ach ,c ,captain ,kidd #adb ,carry ,me ,home #he ,carter #bch ,ceylon #acb ,chariot of ,mercy #ajb ,charming ,name #abf ,christian ,prospect #afa ,christian ,race #bdi ,christian's ,hope #afb ,christian ,soldier #fh ,church of ,my ,youth #de ,church's ,desolation #bh ,clamanda #ic ,columbus #ge ,come ,along and ,shout ,along #aie ,come ,friends ,go ,with ,me #bbc ,come to ,jesus #aei ,condescension #cj ,converted ,thief 7,a7 #bc ,converted ,thief 7,b7 #ce ,cross of ,christ #ia ,cuba #aef ,d ,davisson's ,retirement #ig ,death ,ain't ,you ,got ,no ,shame #aeh ,deep ,spring #ce ,derrett #bcg ,detroit #adg ,devotion #abj ,done ,with the ,world #bji ,down ,by the ,riverside #ahb ,down in the ,garden #gg ,drooping ,souls #aaf ,dulcimer #afc ,dunlap's ,creek #gi ,dying ,boy #ae ,dying ,californian #aj ,e ,ecstacy #aig ,edgefield #adi ,enquirer #hg ,ester #ag ,eternity #aaa ,exhileration #agg ,experience #cg ,f ,faithful ,soldier #ei ,farewell #be ,female ,convict #db ,few ,days #bbf ,florence #hb ,for ,me the ,savior ,died #bjj ,free ,salvation #e ,french ,broad #if ,friends of ,freedom #aab ,frozen ,heart #fe ,g ,gaines #abd ,general ,roll ,call #bdd ,give ,me ,jesus #bjh ,glad ,news #afj ,glorious ,prospect #aaj ,golden ,harp #aeb ,good ,morning ,brother ,pilgrim #cf ,good ,old ,way 7,a7 #afi ,good ,old ,way 7,b7 #gb ,good ,physician #ca ,go ,preachers #aef ,grace is ,free #aii ,great ,day #afe ,great ,provider #bdb ,green ,fields #fj ,h ,had ,i ,wings #aig ,hallelujah #bbe ,happy in the ,lord #ahi ,happy ,sailor #baj ,happy ,souls 7,a7 #ej ,happy ,souls 7,b7 #agb ,hark ,my ,soul #fd ,harmony ,grove #ace ,heaven ,born ,soldiers #aie ,heavenly ,dove #aca ,heavenly ,home #ahf ,heavenly ,port #bja ,heavenly ,union #cg ,heaven's ,my ,home #agc ,hebrew ,children #aid ,he's ,promised to ,be with ,you #bdb ,hicks' ,farewell #d ,holy ,manna #aad ,holy ,son of ,god #adj ,holy ,war #bab ,humble ,penitent #abe ,i ,i ,am ,bound for the ,kingdom #bje ,i ,belong to ,this ,band 7,a7 #bbj ,i ,belong to ,this ,band 7,b7 #aha ,i ,can ,not ,tarry ,here #bdg ,i ,can't ,stay ,away #aec ,i ,don't ,care to ,stay ,here ,long #ahc ,i ,don't ,expect to ,stay #bji ,idumea #acg ,i'll ,ramble and ,i'll ,rove #ch ,i ,love ,jesus #bbd ,i ,love ,thee #acd ,i'm ,alone ,in ,this ,world #bai ,i'm a ,long ,time ,traveling #aif ,i'm a ,poor ,mourning ,pilgrim #agf ,i'm ,bound for the ,land of ,canaan #aij ,i'm ,bound to ,die ,in the ,army #bae ,i'm ,going ,home #ahc ,i'm ,traveling to ,my ,grave #bcd ,i ,never ,shall ,forget the ,day #agg ,in ,jesus' ,blood #agd ,invitation #fc ,i ,shall ,be ,satisfied #adh ,it ,won't ,be ,long #bcg ,i ,want a ,seat ,in ,paradise #bdj ,i ,want ,to ,go ,there ,too #bca ,i ,want ,to ,go ,to ,glory #bdh ,i ,went ,down ,to the ,valley #bjg ,i ,will ,arise #bci ,i ,yield #bej ,j ,jerusalem #adc ,jester #bbj ,jesus ,is ,my ,friend 7,a7 #aej ,jesus ,is ,my ,friend 7,b7 #bcf ,john ,adkins' ,farewell #aa ,jordan #hf ,joyful #bbg ,judgment ,scenes #age ,k ,kedron #eg ,l ,land of ,rest #ha ,leander #ajg ,lebanon #ff ,lep'rous ,jew #dd ,lisbon #bdg ,little ,family #h ,liverpool #g ,lone ,pilgrim #ah ,lonesome ,grove #cd ,long-,sought ,home #bba ,look ,out #cb ,lost ,city #aea ,m ,marion #ch ,martin #aic ,mecklinburg #id ,miss ,hataway's ,experience #i ,missionary's ,farewell #ef ,mississippi #ii ,morning ,trumpet #bda ,moses #bg ,mouldering ,vine #bb ,mount ,watson #ij ,mourner's ,lamentation #bh ,my ,bible ,leads to ,glory #bcc ,my ,father's ,gone #agh ,my ,home ,is ,over ,jordan #aed ,n ,nettleton #aja ,never ,get ,tired #aie ,never ,turn ,back 7,a7 #bag ,never ,turn ,back 7,b7 #bch ,newberry #cd ,new ,britain #ace ,new ,indian ,song #bcj ,new ,orleans #aci ,new ,prospect #acc ,north ,port #bdj ,o ,o ,brother ,be ,faithful #bjc ,o ,god ,what ,shall ,i ,say #bac ,o ,he's ,taken ,my ,feet #bcb ,o ,i'm ,so ,happy #aee ,o ,land of ,rest #acc ,old ,ship of ,zion 7,a7 #aia ,old ,ship of ,zion 7,b7 #baj ,old-,time ,religion #bah ,old ,troy #agd ,one ,more ,river to ,cross #bbi ,on the ,other ,side of ,jordan #bce ,orphan ,girl #ai ,o ,tell ,me ,no ,more #acj ,o ,that ,will ,be ,joyful #bbg ,o ,ye ,young and ,gay and ,proud #aaa ,p ,paralytic #bj ,parting ,hymn #bbg ,patton #ad ,penick #he ,pilgrim #ih ,pilgrim's ,song #aac ,pilgrim's ,triumph #aah ,pisgah #abc ,pleading ,savior #ajj ,plenary #abh ,poor ,mourner's ,found a ,home #aef ,poor ,wayfaring ,stranger #dj ,praise ,god #ajf ,prodigal #di ,promise #baf ,r ,ragan #aha ,redemption 7,a7 #dh ,redemption 7,b7 #df ,redemption 7,c7 #ab ,reflection #abb ,religion ,is a ,fortune #ahg ,remember ,sinful ,youth #ade ,rest ,in ,heaven #gc ,resurrected #agh ,reverend ,james ,axley's ,song #c ,revival ,song #afg ,river of ,jordan #ahi ,roby #add ,roll ,jordan #ahd ,romish ,lady #a ,rose #ajd ,rose ,tree #ib ,royal ,proclamation #hd ,s ,sailor's ,home #f ,saints' ,rapture #fa ,saint's ,request #cc ,salutation #cf ,salvation 7,a7 #hi ,salvation 7,b7 #ie ,save ,mighty ,lord #aih ,saw ,ye ,my ,savior #af ,sawyer's ,exit #abi ,say ,brothers #bjb ,send ,us a ,blessing #bjf ,separation #ed ,service of the ,lord #bae ,shouting ,pilgrim #bde ,shout ,on1 ,pray ,on #aff ,sinner's ,call #aja ,sinner's ,invitation #hj ,sinners ,turn #aeg ,sister ,thou ,wast ,mild #ajc ,soldier's ,return #fg ,solemn ,address to ,young ,people #g ,solemn ,thought #ade ,something ,new #bbh ,soon ,we ,shall ,land #bjd ,spiritual ,sailor #acf ,spring ,place #de ,stephens #ec ,stockwood #ajc ,substantial ,joys #bca ,supplication #aje ,sweet ,canaan #aij ,sweet ,morning #afh ,t ,take ,me ,home #bai ,tender ,care #aba ,tennessee #bd ,that ,lonesome ,valley #bad ,then ,my ,troubles ,will ,be ,over #agg ,there ,is a ,rest ,remains #ajh ,there's a ,better ,day #afa ,there ,will ,be ,mourning #age ',tis a ,wonder #aga ,to ,begging ,i ,will ,go #b ,to ,be ,with ,christ #aai ,to ,die ,no ,more #gd ,to ,glory ,i ,will ,go #aea ,to ,hear the ,trumpet ,sound #ahh ,to ,lay ,this ,body ,down #aif ,to ,play ,on the ,golden ,harp #aeb ,to ,wear a ,starry ,crown #agh ,traveler #bcd ,tribulation #fi ,u ,union #ci ,v ,vesper #ee ,victoria #bbi ,villulia #ba ,volunteers #gj ,w ,walk and ,talk ,with ,jesus #bcj ,war ,department #aae ,warfare #bdc ,warrenton #bje ,washington #eb ,way ,over ,in the ,promised ,land #aic ,wedlock 7,a7 #ac ,wedlock 7,b7 #dc ,weeping ,mary 7,a7 #afd ,weeping ,mary 7,b7 #dg ,weeping ,pilgrim #agf ,weeping ,savior #adf ,we'll ,all ,praise ,god #ahe ,we'll ,end ,this ,war #ahb ,we'll ,land ,on ,shore #afj ,we'll ,march ,around ,jerusalem #ahj ,we'll ,shout and ,give ,him ,glory #afg ,we'll ,stem the ,storm #bja ,western ,melody #agi ,when ,i ,was ,young #cb ,when ,we all ,get to ,heaven #ahg ,where ,all ,is ,peace and ,love #afb ,where ,will ,you ,stand #afe ,white #aif ,wicked ,polly #bf ,wings of the ,morning #agi ,with ,us ,to the ,end #baf ,wondrous ,love #hh ,worthy the ,lamb #ada ,y ,yongst #gf ,you ,may ,tell ,them ,father #agf ,z ,zion's ,soldier #da ,index of ,first ,lines 7,italicized numbers1 used where reference is made to several songs with the same first lines1 indicate where the fuller text is given47 ,a ,number ,afflictions1 though they seem severe #bd1 #di ,alas1 and did my ,savior bleed #bbc1 #bbi1 #bej ,amazing grace1 how sweet the sound #ace ,and am ,i born to die #acg ,and let this feeble body fail #bbe ,an' ,phareeoh's daughter went down to the water #bg ,are there anybody here like ,mary a-weeping #afd ,as on the cross the ,savior hung #bc1 #ce ,b ,beautiful home1 sweet home1 beautiful #bbb ,be gone1 unbelief1 my ,savior is near #aag ,behold the lep'rous ,jew #dd ,brethren1 we have met to worship #aad ,bright scenes of glory strike my sense #fg1 #id ,c ,children of the heavenly ,king #bdc ,christ is set on ,zion's hill #da ,come1 all my dear brethren and help me sing #agc ,come1 all ye mourning pilgrims dear #ih ,come all ye young people of every relation #ab ,come along1 come along and let us go home #baj ,come and taste along with me #ahe ,come1 brothers and sisters who love one another #ci ,come1 friends and relations #df1 #dh ,come1 ,holy ,spirit1 heavenly dove #aca ,come1 humble sinner in whose breast #ie ,come life1 come death1 come then what will #aej ,come1 saints and sinners1 hear me tell #cg ,come1 thou fount of every blessing #aja1 #afj ,come to ,jesus1 come to ,jesus #aei ,come1 ye sinners1 poor and needy #bci ,come1 ye that love the ,lord #gh ,d ,dark was the hour1 ,gethsemane #gg ,death1 ain't you got no shame #aeh ,death shall not destroy my comfort #ij ,death1 'tis a melancholy day #fi ,did ,christ o'er sinners weep #adf ,did ,christ the great example lead #ia ,dismiss us with thy blessing1 ,lord #eb ,do ,i not love thee1 ,o my ,lord #adg ,drooping souls1 no longer grieve #fb1 #aaf ,f ,farewell1 dear brethren in the ,lord #bdg ,farewell1 vain world1 ,i'm going home #aeb1 #aec1 #aha1 #ahc1 #bae ,father1 ,i sing thy wondrous grace #gf ,forever here my rest shall be #bjj ,friends of freedom1 swell the song #aab ,from whence doth this union arise #ec ,g ,glory to ,god on high #ada ,good morning1 brother pilgrim #cf ,go1 preachers1 and tell it to the world #aef ,h ,hail the day so long expected #aib ,hail6 ye sighing sons of sorrow #bb ,hark1 from the tombs a doleful sound #abh ,hark1 ,i hear the harps eternal #fc ,hark1 listen to the trumpeters #gj1 #ahb ,hark1 my soul1 it is the ,lord #fd ,hear the royal proclamation #hd ,he comes1 he comes1 the ,judge severe #ahd ,here at thy table1 ,lord1 we meet #fh ,high in yonder realms of light #fa ,high o'er the hills the mountains rise #if ,how bright is the day when the ,christian #abi ,how can ,i vent my grief #ga ,how condescending and how kind #cj ,how long1 ,o ,lord our ,savior #acb ,how lost was my condition #ca1 #abg ,how pleasant thus to dwell below #bbg ,how tedious and tasteless the hours #fj1 #adi ,i ,i am a poor wayfaring stranger #dj ,i came to the place where the lone pilgrim lay #ah ,i'd rather live a beggar while here on earth ,i stay #b ,if ,i in thy likeness1 ,o ,lord #adh ,if our fathers want to go #bbj ,if you get there before ,i do #bdd ,i have a loving old father at home #ch ,i know that my ,redeemer lives #aff ,i'll praise him while he gives me breath #bcb ,i love thee1 ,i love thee #acd ,i love the holy ,son of ,god #adj ,i'm dying1 mother1 dying now #ae ,i'm not ashamed to own my ,lord #hg ,i'm thinking today of the church of my youth #de ,i'm trav'ling to my grave #bcd ,i pitch my tent on this camp ground #bbf ,i sing a song which doth belong #bi ,i've a long time heard that there will be a judgment #afe ,i've listed in the holy war #bab ,i went down to the valley to pray #bjg ,j ,jerusalem1 my happy home #adc1 #bba ,jesus1 and shall it ever be #ig ,jesus1 ,i love thy charming name #abf ,jesus1 my all1 to heav'n is gone #ahi1 #aih1 #bji1 #baf1 #bbd1 #bca1 #bcg1 #bch1 #bdj1 #bdh ,jesus1 thou art the sinner's friend #abc ,judgment day is rolling on #age ,l ,lay up nearer1 brother1 nearer #aj ,lift up your heads1 ,immanuel's friends #gb1 #afi ,lord1 ,i believe a rest remains #ajh ,lord1 shed a beam of heavenly day #fe ,m ,man at his first creation in ,eden ,god did place #e ,mercy1 ,o thou son of ,david #ba ,mourning souls1 no longer grieve #ff ,my bible leads to glory #bcc ,my brethren all1 on you ,i call #hc ,my father's gone to glory #bai ,my father's gone to view that land #agh ,my ,god1 my ,portion and my ,love #gi ,my heavenly home is bright and fair #gd ,my home is over ,jordan #aed ,my rest is in heaven #gc ,my soul forsakes her vain delight #ajg ,my soul's full of glory inspiring my tongue #aaj1 #agb ,n ,no home1 no home1 plead a little girl #ai ,no more shall the sound of the war-whoop be heard #aae ,no sleep nor slumber to his eyes #abb ,not many years their rounds shall roll #hb ,now see the ,savior stands pleading #ajj ,o ,o brethren1 will you meet me #ahj ,o brother1 be faithful #bjc ,o1 brother1 in that day #ahh ,o1 for a thousand tongues to sing #abd ,o happy souls1 how fast you go #ej ,oh1 brethren1 ,i have found a land #aac ,oh1 for a heart to praise my ,god #ajf ,oh1 good old way1 how sweet thou art #agj ,oh1 how ,i love my ,savior #afg ,oh1 once ,i had a glorious view #ge ,o ,i am so happy in ,jesus #aee ,o land of rest1 for thee ,i sigh #acc ,o ,lord1 send us a blessing #bjf ,o may ,i worthy prove to see #agg ,one day while in a lonesome grove #cd ,on ,jordan's stormy banks ,i stand #hf1 #bja1 #bce1 #bdf ,o sleep not my babe for the morn of tomorrow #db ,o tell me no more of this world's vain store #ajd1 #acj ,o ,thou almighty ,father #agi ,o thou by long experience tried #aie ,o thou ,god of my salvation #hi ,o thou in whose presence my soul takes delight #afc ,o thou who hearest when sinners cry #aje ,o 'tis a glorious mystery #aga ,our cheerful voices let us raise #ed ,o when shall ,i see ,jesus #ei1 #aea1 #ahg1 #aig1 #bjd1 #bda ,o who will come and go with me #aij ,o who will join and help me sing #ahf ,o ye young and gay and proud #aaa ,p ,peace1 troubled soul1 thou need not fear #bdb ,poor drunkards1 poor drunkards1 take warning by me #aa ,poor mourning soul in deep distress #bh ,r ,remember1 sinful youth1 you must die #ade ,review the palsied sinner's case #bj ,s ,saw ye my ,savior1 saw ye my ,savior #af ,say1 brothers1 will you meet us #bjb ,say now1 ye lovely social band #ic ,since man by sin has lost his ,god #bbh ,sinner1 go1 will you go #hj ,sinners1 turn1 why will ye die #aeg ,sister1 thou was mild and lovely #ajc ,stay1 thou insulted spirit1 stay #abe ,sweet is the day of sacred rest #abj ,t ,tempest-tossed1 troubled spirit #add ,the chariot of mercy is speeding its way #ajb ,the ,christian race is now begun #bdi ,the day is past and gone #ee ,the happy day will soon appear #afh ,the news of his mercy is spreading abroad #agd ,the people called ,christians #acf ,there are angels hovering round #baa ,there is a heaven o'er yonder skies #bcf ,there is a land of pleasure #ib ,there is a land of pure delight #ha ,there was a little fam'ly that liv'd in ,bethany #h ,there was a ,romish lady #a ,the time is swiftly rolling on #d1 #be ,the trumpets are a-sounding #bde ,this world is beautiful and bright #aai ,tho' sinners would vex me #c ,thou man of grief1 remember me #eg ,through all the world below #adb ,thy ceaseless1 unexhausted love #aii ',tis the old-time religion #bah ,to see a pilgrim as he dies #aah ',twas on that dark and doleful night #aji ,w ,we have fathers in the promised land #aic ,we have our trials here below #afa ,we have our troubles here below #afb ,what ship is this that will take us all home #aia ,what's this that steals1 that steals upon my frame #eh ,what wondrous love is this1 ,o my soul1 ,o my soul #hh ,when ,adam was created he dwelt in ,eden's shade #ac1 #dc ,when all thy mercies1 ,o my ,god #aba ,when for eternal worlds we steer #f ,when ,gabriel's awful trump shall sound #ii ,when ,i can read my title clear to mansions in the skies #bcj ,when ,i'm happy1 hear me sing #bjh ,when ,i was young of tender years #cb ,when pity prompts me to look round #bac ,when to that blessed world ,i rise #bag ,when weeping ,mary came to seek #dg ,where are the ,hebrew children #aid ,while traveling through this world below #he ,whither goest thou1 pilgrim stranger #bje ,who is this that comes from far #ach ,why do we mourn departing friends #aci ,y ,ye fleeting charms of earth1 farewell #aif ,ye nations all1 on you ,i call #ea ,yes1 my native land1 ,i love thee #ef ,you got to go that lonesome valley #bad ,you may tell them1 father1 when you see them #agf ,young ladies all1 attention give #ag ,young people all1 attention give #g1 #ad1 #cc ,young people who delight in sin #bf ,young women all1 ,i pray draw near #i ,transcriber's ,notes --,retained publication information from the printed edition3 this e,book is public-domain in the country of publication4 --,transcribed lyrics within music images4 --,transcribed music into ,,midi files1 linked from the ,,html version4 --,silently corrected a few palpable typos4 --,in the text versions only1 text in italics is delimited by underscores4