Welcome, Welcome Every Guest

[deedl...@aol.com]

Is anyone familiar with a song of this name?  I found it in a music program (which I didn't attend) where it was attributed to the Sacred Harp, but I don't recognize it.

 

Many thanks from the Keystone State,

Ina Shea

[Slattery, Tim - BLS]

> Is anyone familiar with a song of this name? I found it in a 
> music program (which I didn't attend) where it was attributed
> to the Sacred Harp, but I don't recognize it.

Yes, right at the end of the rudiments (page 24, I think) is "Welcome, Welcome Every Guest". It's included as a practice piece. There's a round there also, but I've forgotten its name.

--
Tim Slattery
Slatt...@bls.gov

[Richard Hulan]

It's a singing exercise on p. 24.  Not one of the NAMED tunes.

Dick Hulan

Spfld VA

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[berkleym...@sbcglobal.net]

It was composed by John Blow, 1649-1708 an English organist and teacher of William Croft, Jeremiah Clarke, and Henry Purcell.  It was published in his Amphion Anglicus, a 1700 book of compositions for from one to four voices.  Somehow it found its way into several early New England tunebooks, often with an incorrect or no attribution.

 

Berkley Moore

Springfield, IL

[Wade Kotter]

Ina:

It's a singing exercise on page 24T in the rudiments of the 1991 edition that is to be sung as a round. The tune apparently goes back to 15th century England. Here's a video of it from the 2008 Harrod's Creek Convention:

http://www.youtube.com/watch?v=z0eOnV5u4Kc

Wade Kotter
South Ogden, UT

---

From: "deedl...@aol.com" <deedl...@aol.com>
To: fasola-di...@googlegroups.com
Sent: Wed, August 11, 2010 11:01:26 AM

Subject: [fasola-discussions] Welcome, Welcome Every Guest

[Aldous]

Hey Ina,

"Welcome, welcome, ev'ry guest" is included with the singing exercises
in the Rudiments, and can be found on p. 24 of the 1991 edition.

Regards,
Aldous.
Brooklyn, NY

[ksti...@efn.org]

It's in the Rudiments, p. 24.

Karen in Eugene

[cla...@aol.com]

It's name is : 'Fire Alarm'. In Four Parts.

--
Tim Slattery
Slatt...@bls.gov

--

[Wade Kotter]

Berkley et al.

A couple of sources I found suggest that Blow based his tune on an earlier tune.
Unfortunately, they didn't provide any documentation. As for "finding it's way
into several early New England tunebooks," it would seem perfectly suited for
use in singing schools and I expect one might also find it in some 18th English
tunebooks.

Wade Kotter
South Ogden, UT

[Wade Kotter]

Tim et al:

As the video clip I cited shows, it works very well as a round. And I believe
the numbers at the beginning of each phrase are there to show where each voice
should begin when it's sung as a round.

Wade Kotter
South Ogden, UT

----- Original Message ----
> From: "Slattery, Tim - BLS" <Slatte...@bls.gov>
> To: "fasola-di...@googlegroups.com"

[Wade Kotter]

Tim et al:

It first appears, I believe, on p. 20 of the James book rudiments, where it's
"title" is given as "CANON. A Round; four Parts in One."

Wade Kotter
South Ogden

[Wade Kotter]

Paul et al:

Yes, Fire Alarm is also a round; it appears on p. 25 in the 1991 ed. It appears
as well on p. 20 of the James book, where it is titled "FIRE ALARM. In Four
Parts" and, like "Welcome, Welcome" has numbers showing where each part is to
enter in the round. I've sung "Fire Alarm" during a singing school, but never
"Welcome, Welcome."

Wade Kotter
South Ogden, UT

----- Original Message ----
> From: "cla...@aol.com" <cla...@aol.com>
> To: slatte...@bls.gov; fasola-di...@googlegroups.com

[Warren Steel]

At 01:02 PM 8/11/2010, berkleym...@sbcglobal.net wrote:
>It was composed by John Blow, 1649-1708 an English organist and teacher of
>William Croft, Jeremiah Clarke, and Henry Purcell. It was published in
>his Amphion Anglicus, a 1700 book of compositions for from one to four
>voices. Somehow it found its way into several early New England
>tunebooks, often with an incorrect or no attribution.

I've heard this as well, but I can't support it. You can download
Blow's Amphion Anglicus at
http://imslp.org/wiki/Amphion_Anglicus_%28Blow,_John%29
where you will find the musical prologue, elaborately set by
Blow to the following anonymous lyrics:

Welcome, welcome ev'ry Guest;
Welcome to the Muses' Feast;
Musick is your only cheer,
Musick entertains the Ear.

The sacred Nine, Observe the Mode,
And bring you dainties from abroad:
The delicious Thracian Lute,
And Dodona's mellow Flute,
With Cremona's racy Fruit.
[interlude with recorders and violins]

At home you have the freshest Air;
Vocal, Instrumental Fare.
Our English Trumpet nothing has surpast.

Obviously the poem is related to our Welcome canon, but there's
no canon at all in the Amphion. The canon we know is printed in
a circular pattern on the title page of Oliver Brownson's Select
Harmony (1783) and Stephen Jenks's Musical Harmonist (1800), and
printed normally in shape notes in Southern Harmony, p. 19. The
Brownson title page is reproduced by Mark Rhoads at
http://www.bethel.edu/~rhomar/HymnalPages/SelectHarmonyBrownson.html
It also shows the singers spread across three sides of the
meeting house gallery, as described by John Adams at Middletown.

If we want to find the origin of the "welcome canon," with its
eight-line text, I suspect we'll be searching in British sources
from the 18th century. Certainly not the 15th century, as
one correspondent posted. :0

--
Warren Steel mu...@olemiss.edu
Department of Music University of Mississippi
http://www.mcsr.olemiss.edu/~mudws/

[Wade Kotter]

Welcome common?! There I go again. Anyway, I've created a PDF file of the
Prologue from Blow's Amphion Anglicus. Instead of posting it to the discussion
group file space, I'm willing to send it to anyone whose interested. I find it
difficult to believe that there's any connection between Blow's music and the
"welcome canon" tune.

Wade Kotter
South Ogden, UT

----- Original Message ----
> From: Wade Kotter <wadek...@yahoo.com>
> To: mu...@olemiss.edu; berkleym...@sbcglobal.net;
>fasola-di...@googlegroups.com

> Sent: Wed, August 11, 2010 3:33:03 PM
> Subject: Re: [fasola-discussions] Re: Welcome, Welcome Every Guest
>
> Thanks, Warren. My 15th century reference was to the tune, not the text. This
> idea was based on some comments about the tune I found on a couple of
>websites,
>
> although these comments were made in relation to Blow's setting. I'm happy to

> withdraw that spurious comment. But I did suggest that we look at 18th century
>
>
> British tune books for this "welcome common," so I was partially correct. :-)

>
> Wade Kotter
> South Ogden, UT
>
>
>
> ----- Original Message ----

[Wade Kotter]

Thanks, Warren. My 15th century reference was to the tune, not the text. This
idea was based on some comments about the tune I found on a couple of websites,
although these comments were made in relation to Blow's setting. I'm happy to
withdraw that spurious comment. But I did suggest that we look at 18th century
British tune books for this "welcome common," so I was partially correct. :-)

Wade Kotter
South Ogden, UT

----- Original Message ----
> From: Warren Steel <mu...@olemiss.edu>
> To: berkleym...@sbcglobal.net; fasola-di...@googlegroups.com
> Sent: Wed, August 11, 2010 2:03:45 PM
> Subject: [fasola-discussions] Re: Welcome, Welcome Every Guest
>

[Richard Hulan]

It's also that way on the t.p. of Stephen St. John, The American
Harmonist (1821) -- a book that's pretty heavily indebted to Jenks.
More of an oval than a circle... but I've always wondered if a class
would turn the books around and around, as they sang that piece. It
would be kind of droll, to watch. It's another way of illustrating
that the song is a "round."

Dick Hulan
Spfld VA

[Wade Kotter]

I was just looking through my 1823 imprint of the 5th edition of
Wyeth's "Repository of Sacred Music" and what should I find on the
bottom of p. 24 but the Welcome canon, titled simply "CANON. Four in
One." Pg. 24 is in the section of hymn tunes and not in the rudiments.
It is found in the same place in the 1820 imprint of the 5th edition.
Temperley didn't index the tune, so I don't know if it appeared in
earlier editions of Wyeth's repository.

Wade Kotter
South Ogden, UT