Tribulation

[invisibl...@gmail.com]

Friends,

I am trying to figure out some things about the tune Tribulation:

The 1991 Sacred Harp attributes the tune to Patterson's Church Music (1813).  The closest I can get to that book is the PDF on this webpage: http://www.hymntime.com/tch/htm/c/o/l/coletus.htm.  It is substantially different from the SH and has, to me, the flavor of a fancy arrangement.  I wonder if anyone can confirm that this is the Patterson arrangement.  If so, I doubt that it is indeed the earliest source for this tune.  

After Patterson, the Hymn Tune Index gives the second printed appearance as John Armstrong's 1815 Pittsburgh Selection of Psalm Tunes.  This time there is an attribution to "A. Chapin" that reappears in other places, such as the 1860 Sacred Harp.  Anyone have access to this Pittsburgh Selection?  Could the Chapin attribution be closer to the true source?

Other early appearances include the Kentucky Harmony, Missouri Harmony, and Hesperian Harp.  I don't have access to Kentucky, but the Missouri and Hesperia versions are different from both Patterson and Sacred Harp.  

Ultimately, I would like to know which of the tune's several variations, if any, has the best claim of "original," and how far back the Sacred Harp's particular arrangement can be traced. 

Thanks for any leads,

Matt Bell

[Wade Kotter]

Matt:

Here's what Warren Steel says about TRIBULATION on p. 180 of "The Makers...":

"Patterson's Church Music, 1813. This tune is mentioned in a March 1812 letter of Lucius Chapin to Andrew Law as having been popular in Kentucky since about 1800; it may be by Amzi Chapin."

My guess is that Amzi Chapin transcribed and harmonized a folk melody popular in Kentucky; if memory serves me correctly, Amzi Chapin, who was originally from Connecticut, spent some time in Kentucky before moving to western Pennsylvania. It's also quite possible that this tune circulated both orally and possibly in manuscript tune books prior to being printed by Patterson in 1813.

On p. lv of A Selection of Shape-Note Folk Hymns (2005), David W. Music describes the tune as follows:

"TRIBULATION is a hexatonic melody in Aeolian mode whose folk origin was described in JacksonG 1953b, 100 (see also Horn 1970, 42). The tenor begins with strong major-key implications, and it is only at the end of the second phrase that the  minor mode is firmly established; even after this point there is some ambiguity of mode until the melody finally come to rest on d'."

On p. 85, Music gives the 4-part setting of TRIBULATION from the 1817 2nd edition of Davisson's Kentucky Harmony (there are several differences between this version and the version from the 1816 first edition of the KH, including a change of time signature from 3/4 to 3/2). Music also notes that there are at least three different versions of this tune in southern shape-note tune books between 1816 and 1861. 

The G. P. Jackson reference is to the 1953 second edition of Spiritual Folksongs of Early America, where Jackson says the following about this melody:

"It is practically identical with 'Little Musgrave and Lady Barnard', Sharp, i., 182, a tune which Sharp heard in Greenwood, Albemarle County, Virginia, Davisson's own territory and near where he is buried. An early variant is in Motherwell, Supplement, No. 30, associated with 'The Bonnie Mermaid' text."

Jackson attributes the first recording and  harmonization of this tune to Davisson, not knowing that it had been published previously by Patterson. He does, however, note the attribution of this tune to Chapin in some tune books. The version of the melody he gives is from the Missouri Harmony. The Sharp reference is to:

Sharp, Cecil J. English Folk Songs from the Southern Appalachians. Vol. 1, ed. by Maud Karpeles, London, Oxford University Press, 1932.

The Motherwell reference is to:

Motherwell, William. Minstrelsy Ancient and Modern. Paisley's edition, 1873.

Finally, my guess is that the PDF at The Cyber Hymnal site, given that copies of Patterson's tune book are very scarce (if I read Temperley's notation in the hymn tune index entry correctly, he was aware of only one copy), is based on a later variant of the tune. Hopefully someone else knows where you can get a copy of the Patterson printing.

Hope this helps.

Wade Kotter

South Ogden, UT

---

From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Thursday, June 6, 2013 10:10 PM
Subject: [fasola-discussions] Tribulation

--
--
Google Groups "Fasola Discussions" Email List
FAQ: http://dl.dropbox.com/u/8623821/Fasola-Discussions-FAQ.html
 
---
You received this message because you are subscribed to the Google Groups "Fasola Discussions" group.
To unsubscribe from this group and stop receiving emails from it, send an email to fasola-discussi...@googlegroups.com.
For more options, visit https://groups.google.com/groups/opt_out.
 
 

[Warren Steel]

At 11:56 AM 6/7/2013, Wade Kotter wrote:
>My guess is that Amzi Chapin transcribed and harmonized a folk melody
>popular in Kentucky; if memory serves me correctly, Amzi Chapin, who was
>originally from Connecticut, spent some time in Kentucky before moving to
>western Pennsylvania. It's also quite possible that this tune circulated
>both orally and possibly in manuscript tune books prior to being printed
>by Patterson in 1813.

Chapin was from Springfield, Massachusetts, and taught in Virginia and
Kentucky in the 1790s before settling in Westmoreland County, Pa. in 1800.
He was an important source of "Western" tunes in Robert Patterson's Church
Music, whose printings are considered reliable, and largely agree with
Amzi's manuscript (compiled 1795-1800), which has been examined in detail
by Nikos Pappas, and which indeed contains TRIBULATION.

Although Patterson printed good versions of the Chapin tunes, he
attributed none of them. Later attributions of TRIBULATION to Amzi are
accurate in that they describe the source of this setting, which has folk
antecedents. Chapin's setting is for four voices with the counter printed
on the C cliff, and differs from the versions printed by Davisson, Carden
and Houser--it is also totally different from the one on hymntime.com. The
words, also found in other sources, are by Watts:
Lord, what a wretched land is this,
That yields us no supply,
No cheering fruits, no wholesome trees,
Nor streams of living joy.


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

[Wade Kotter]

Warren:

Thanks for the correction (I believe I was thinking Connecticut Valley when I wrote Connecticut) and for the additional information. I remember now that Nikos mentioned Chapin's manuscript in another thread awhile back.

Wade

---

From: Warren Steel <mu...@olemiss.edu>
To: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Friday, June 7, 2013 12:50 PM
Subject: [fasola-discussions] Re: Tribulation

--
--
Google Groups "Fasola Discussions" Email List
FAQ: http://dl.dropbox.com/u/8623821/Fasola-Discussions-FAQ.html

---
You received this message because you are subscribed to the Google Groups "Fasola Discussions" group.

To unsubscribe from this group and stop receiving emails from it, send an email to fasola-discussions+unsub...@googlegroups.com.

[Richard Hulan]

Speaking of Nikos Pappas, someone outside of Fasola circles sent me a link to his dissertation (2013) yesterday.  Did we know that was finished?  If it's been mentioned here, I overlooked it somehow.  (That does happen.)  Congratulations are presumably in order, if not previously extended -- now I have to try to find some time to look at it.

Dick Hulan

Spfld VA

[Wade Kotter]

No, I hadn't heard and I don't believe it has been mentioned here. Congratulations, Nikos. Here's a link to a PDF copy:

http://uknowledge.uky.edu/cgi/viewcontent.cgi?article=1013&context=music_etds

Isn't it great that so many institutions are making dissertations available online! I can't wait to read it; it's downloading as I type.

Again, congratulations Nikos.

Wade Kotter

South Ogden, UT

---

From: Richard Hulan <hu...@erols.com>
To: wadek...@yahoo.com
Cc: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Friday, June 7, 2013 3:29 PM
Subject: Re: [fasola-discussions] Re: Tribulation

[Tarik Wareh]

The second volume of the dissertation (musical anthology) is also available:
http://uknowledge.uky.edu/cgi/viewcontent.cgi?filename=0&article=1013&context=music_etds&type=additional

How fortunate we are to have such ready access to this work!

Tarik

> --
> --
> Google Groups "Fasola Discussions" Email List
> FAQ: http://dl.dropbox.com/u/8623821/Fasola-Discussions-FAQ.html
>
> ---
> You received this message because you are subscribed to the Google Groups
> "Fasola Discussions" group.
> To unsubscribe from this group and stop receiving emails from it, send an

> email to fasola-discussi...@googlegroups.com.

[Gabriel Kastelle]

Matt, all--

I don't know that the hymntime link is fancied up so much as garbled by an oddly warbling choice of digital fake organ sounds...

But, to the point:

lots of rhythm and note and even brief profile variations from Patterson, who also printed no accidentals in this tune.

TRIBULATION appears in Patterson, 1816, bottom of page 90, in four parts, attributed "A. CHAPIN"

I have a copy of that page from the Library of Congress copy, obtained when Doron Henkin and I were researching there in preparing the 1999 collection Keystone Harmony for the first Keystone Convention...   :-)

I'm explaining in so much detail, because I'm not sure I'm up-to-date on the attachment protocol sending to list.  So here's my txt reply, and I'll make a brief try b4 out of time soon at attaching in separate post...

:-)

-- Gabriel Kastelle --
New London, CT +

--

[Gabriel Kastelle]

SORRY!

CORRECTIONS!

I conflated a couple different tunebooks in my last postings and attaching...
...fragments of both and a few others are all in the same filing on my shelf, but well enough labelled-- I was just sloppy, that's all.  Sorry.


What I have is Armstrong--  TRIBULATION from p. 90 bottom of Armstrong, Pittsburgh Selection (1815).  It is as described.  Newly-attached with corrected attachment title.

:-)  Maybe hopefully moderator can catch this and please post THIS e-mail along with my first, but NOT the one in-between with earlier mis-labelled attachment.  :-)  Thanks!!

-- Gabriel K. --

[Gabriel Kastelle]

Here we go:

Please see attached,
Patterson's Church Music (1816), p. 90
(thanks, Library of Congress!!)

:-)

Happy to help anything with my heroes the tunesmith Chapins!

-- Gabriel K. --
New London, CT +
a.k.a. Pequot Plantation

On Fri, Jun 7, 2013 at 12:10 AM, <invisibl...@gmail.com> wrote:

--

[invisibl...@gmail.com]

Thanks a lot, everyone.

This printing from the Pittsburgh Selection is closer than some to the Sacred Harp and fills in a helpful piece of the picture.  Its alto is very interesting and not one I've come across elsewhere.  I look forward to comparing it to Chapin/Patterson's.

Wade, thanks especially for the David Music tip.  Thanks to Google Books I can now see that Davisson's Tribulation has more in common with Carden's than it does with White & King's.  

What I am doing is preparing Tribulation for use in a congregational-style singing school and possible future hymnal supplement.  I started out by looking at every variant I could find, and at this point the Sacred Harp's is my favorite, plus the alto in Christian Harmony (Walker's? - haven't figured that out yet).  As a general rule in this situation I would make the oldest or original printing my source, but this tune has a long and twisted history.  If I stick with the SH arrangement, all that remains is to figure out how to cite it accurately.  Someone has offered to make me a copy of the Patterson version, and that will help a lot, and perhaps get me as close as possible to the Chapin/folk source.

Matt Bell

[Nikos Pappas]

Greetings everyone.

Thanks so much for the kind words regarding my dissertation.  I've been out of town for a few days and did not have internet access.  Yes, my dissertation is finished and it is available online as people have already discovered.  Any and all comments and questions are welcomed.  I guess I should have made a formal announcement but I'm so bad at publicizing myself.  Do be sure to download the musical anthology because the pieces referenced and discussed in the dissertation text are in the anthology.

If it's not too late, I prepared a list of the different variants of the TRIBULATION tune family that I've discovered.  Of note, this tune has no direct connection to either Amzi or Lucius Chapin and three different melody variants credit the tune to Chapin.  However, none of these sources reveal any direct connection to the Chapins.  It is as often attributed to Davisson as Chapin.  As a result, this tune like a few others in the repertory, was ascribed to the Chapins because of their almost mythological place in the history of the sacred music in the Virginia backcountry and later the trans-Appalachian west of Kentucky and western Pennsylvania.

In a letter to Andrew Law dated March 9, 1812, Lucius Chapin mentions a number of tunes that should have been included in the Logan supplement but weren't.  Among them was TRIBULATION with no credit given either to him or his brother Amzi: "He ought to have added Rocking, Tribulation & Olney, & 121st, Felicity & 95th."  He also corrected a few of Logan's spurious attributions (the Logan supplement also demonstrates the Chapin myth and the false attributions for this early repertory) by explaining that ORANGE [aka PRIMROSE] and VERNON are by Amzi Chapin.  Of this list, only 121ST [aka THE SEASONS] was set by Lucius and is preserved in a letter written to his brother Amzi in 1802.  However, Lucius did not compose this tune, but rather created his own setting and arrangement.  He was careful not to take credit for composing 121ST.

Regarding the Amzi Chapin holograph manuscript, it was compiled most likely during his short residence in Washington, Kentucky as no tunes appear in this source post-dating 1800.  There are a number of Chapin tunes found in this manuscript and it is the earliest source to contain these settings of these tunes.  Here is a list of the folk hymns found in this manuscript:

Known folk hymns:

1.  UNITIA: mentioned in a list written on a sheet tucked into the manuscript

2.  THE LAST TRUMPET: 11232345     3(45)432d5u3(45)4(3)2).  This tune is a contrafact of "He comes, he comes, the hero comes" from Henry Carey's Britannia (1734) 

3.  30TH: 132(1)3(2)d6(7)u1     565(6)u1d65

4.  HALLELUJAH: 1332312d6     u121d76(5)u1(2)1

5.  THE INDIAN PHILOSOPHER: 13332555     5u1d565632.  This tune also appears in a Lucius Chapin manuscript from Springfield, Massachusetts, c. 1780 that was held but recently lost in the Blinn Papers at the Cincinnati Historical Society, but mentioned in the Hamm article.  The melody variant is the same as that published in The American Musical Miscellany (Northampton, Mass., 1798).

6.  LEXINGTON: 134231d7u1     13453465

7.  ROCKBRIDGE: 1d56u11321     1353132(1)2

8.  VERNON: 35554(3)54(3)1     2(3)454133(4)3

9.  93D: 5(6)u1d6u21(d6)5     5(6)u1d6(7u1)23(2)1

10.  FEW HAPPY MATCHES: 5u1113(1)222     3444(3)2333

11.  24TH: 5u12321d65     5u12345

12.  THE ROSE TREE: 3(2)1d65355     6u121(2)322

Possible folk hymns:

13.  HATFIELD (11234531     123432)

14.  145TH (13235432     21122345)

TRIBULATION is not among them.  Further, Amzi provided no attribution for any of these tunes in his manuscript.  So, despite a number of authentic Chapin sources, this piece does not appear in any of them nor is it mentioned as being a product of either brother.  That being said, correspondence survives between Robert Patterson and Amzi Chapin.  Patterson wrote to Amzi asking his help in the compilation of Patterson's Church Music.  Many of the authentic Chapin tunes found in the Chapin manuscript sources received their first printing in this text.  Those settings in Davisson and Wyeth are generally not those of the Chapins, but were arranged or recomposed with different treble and counter parts.  Davisson himself most likely did the arrangements as illustrated with the Davisson arrangement of 30TH titled GOLDEN HILL.  So, Patterson's tunebook is the only one with a direct connection to Amzi Chapin.  However, Patterson was the ultimate compiler and author, not Chapin.  It's difficult to say how much of an influence Amzi played in Patterson's compilation.

In regards to TRIBULATION, I've found ten variants of this tune family.  Only one originates from the eastern side of the Appalachian Mountains and it was most likely the result of a printer's error.  As a result, this tune is definitely one that originates in the original trans-Appalachian west.  Here are the variants with a listing of sources where these tunes appear:

1. TRIBULATION: 3(4)55(4)5u1d574                        35u3212(d75)

The Juvenile Harmony, or A Choice Collection of Psalm Tunes, Hymns, and Anthems by William Knight of Lost Creek, Miami County, Ohio, 1825

            - ed. 2, 1829

            - ed. 5, 1831

 

2. TRIBULATION: 3(4)55(4)5u1d743                        24u32(1)2(d7)5

The Columbian Harmony, or Pilgrim's Musical Companion by Benjamin Shaw and Charles H. Spilman of Danville, Kentucky, 1829

 

3. TRIBULATION: 3(4)55(4)5u1d754                        3(4)5u3(2)12(d7)5

The Ohio Harmonist by Alexander Auld of Deersville, Ohio, 1847

            - enl. and rev. ed., 1852

 

4. TRIBULATION: 3(4)55(4)5u1d754                        3(4)5u32(1)2(d7)5

Sacred Psalmist, or, The Psalms of David in the Version Generally Known as that of Rouse by D. Dutton and J. N. Pressly of Richland, Indiana, 1850

 

5. TRIBULATION: 3(4)55(4)5u1d754                        3(4)5u3212(d75)

Manuscript copybook of sacred music by Zaccheus Carpenter of Shelby County, Kentucky, c. 1815. Library of Virginia, Richmond, Accession 28734, Personal papers collection.

The Virginia Harmony by David L. Clayton and James P. Carrell of Lebanon, Virginia, 1831. Attrib. Davisson

            - ed. 2, 1836

Sweets of Music by A. M. S. Gordon and T. W. Haynes of Pittsburgh, 1832

"Miss Elizabeth Adams' Music Book, 1832," manuscript copybook of sacred music by Elizabeth R. Adams of Pendleton (?), South Carolina, 1832-33. Furman University, James B. Duke Library, Special Collections and Archives, Greenville, South Carolina

Union Harmony: or Family Musician by William Caldwell of Dandridge, Jefferson County, Tennessee, [1834] 1837 Attrib. Davisson

A Compilation of Genuine Church Music by Joseph Funk of Mountain Valley [Singer's Glen], Virginia, 1835. Titled: YOUTHFUL PIETY

            - ed. 2, 1835.

            - ed. 3, 1842

            - ed. 4, 1847

            - Harmonia Sacra by Joseph Funk and Sons, ed. 1 (5), 1851

            - HS, ed. 2 (6), 1854

            - HS, ed. 3 (7), 1856

            - HS, ed. 4 (8), 1857

            - HS, ed. 5 (9), 1860

The Southern Harmony, and Musical Companion by William Walker of Spartanburg, South Carolina, 1835. Attrib. Chapin

            - ster. ed., 1838

            - new ed., imp. and enl., 1847

            - new rev. ed, 1854

The Valley Harmonist by John Steffey of Newmarket, Virginia, 1836

            - ed. 2 1845

The Sacred Harp by Benjamin Franklin White and Elisha J. King of Hamilton, Georgia, 1844. Attrib. Chapin

The Manual of the Sacred Choir by Eli Ball of Richmond, Virginia, [1848] 1849

Southern Minstrel by Lazarus J. Jones of Jasper County, Mississippi, 1849. Attrib. Chapin

Manual of Sacred Music, or A Choice Collection of Tunes, Psalms, Hymns, and Spiritual Songs by Levi C. Meyers of Higginsville, [West] Virginia, 1853

The Christian Harmony by William Walker of Spartanburg, South Carolina, 1866

            - ed. 2, 1873

The West Virginia Lute, ed. 2 by W. H. Diddle of Pennsboro', West Virginia, 1868

            - ed. 3, 1870

The Philharmonia by Martin D. Wenger of Elkhart, Indiana, 1875

 

6. TRIBULATION: 3(4)55(4)5u1d754                        3(4)5u3212(d7u1)

The American, or Union Harmonist by William R. Rhinehart of Hagerstown, Maryland, 1831

 

7. TRIBULATION: 3(4)55(4)5u1d754                        35u32(1)2(d7)5

The Indiana Harmony by George Washington Benefiel and J. D. Howe of Madison, Indiana, 1829

 

8. TRIBULATION: 3(4)55(4)5u1d754                        35u321(2d7)5

The Western Harmonic Companion, ed. 2 by James Palmer of Louisville, 1833

 

9. TRIBULATION: 3(4)55(4)5u1d754                        35u3212(d75)

Patterson's Church Music by Robert Patterson of Pittsburgh, 1813

"Samuel W. Reid presend by his Grandmother Rebecca McDowell, Her Vocal Music Book by John W. Herron Oct. 1813," manuscript copybook of sacred music by John W. Herron of Mecklinburg County, North Carolina, 1813

The Kentucky Harmony; or, A Choice Collection of Psalm Tunes, Hymns, and Anthems, in Three Parts by Ananias Davisson of Harrisonburg, Virginia, 1816. Attrib. Davisson

            - ed. 2, 1817

            - ed. 3, 1819

            - ed. 4, 1821

            - ed. 5, 1825

The Pittsburgh Selection of Psalm and Hymn Tunes by John Armstrong of Pittsburgh, 1816. Attrib. A. Chapin

The Kentucky Harmonist by Samuel Lytler Metcalf of Lexington, Kentucky, 1818

            - ed. 2, 1820

            - ed. 3, 1824

The Missouri Harmony, or A Choice Collection of Psalm Tunes, Hymns, and Anthems by Allen D. Carden in St. Louis, Missouri, 1820

Manuscript copybook of sacred music by David Molts (?) of Tennessee (?), c. 1820. Special Collections, King Library, University of Kentucky

Manuscript copybook of sacred music by J. Amen of Sinking Spring, Adams County, Ohio (?), c. 1820. University of North Carolina, Southern Historical Collection, Manuscripts Department, Wilson Library, Chapel Hill, Annabel Morris Buchanan Papers, # 4020, Folder, 434

A Collection of Sacred Music by Benjamin W. D. Carty of Hardensburgh, Kentucky, 1821

Introduction to Sacred Music by Ananias Davisson of Harrisonburg, Virginia, 1821

The Western Harmony, or, The Learner's Task Made Easy by Allen D. Carden, Samuel J. Rogers. F. Moore, and James Green of Nashville, Tennessee, 1824. Attrib. Chapin

Columbian Harmony, or A Choice Collection of Psalm Tunes, Hymns, and Anthems, in Three Parts by William Moore of Wilson County, Tennessee, 1825. Attrib. Davisson

The Pennsylvania Harmonist by John P. Hutson of Frankfort, Pennsylvania, 1827. Attrib. A. Chapin

United States Harmony by Allen D. Carden of Nashville, Tennessee, 1829. Attrib. Chapin

The Lexington Cabinet and Repository of Sacred Music by Robert Willis of Lexington, Kentucky, 1831

            - imp. ed., 1838

The St. Louis Harmony by John Bunyan Seat of Obion County, Tennessee or Cooper County, Missouri, 1831

The Cumberland Harmony; or, A Choice Collection of Psalm Tunes, Hymns, Songs and Anthems, ed. 2 by J. D. M'Collum and J. P. Campbell of Nashville, Tennessee, 1834

The Western District Harmony, or A Selection of Such Tunes as Are in Use in Congregations and among Revivalists by Allen M. Scott of Brownsville, Tennessee, 1838

The Knoxville Harmony of Music Made Easy by John B. Jackson of Knoxville, Tennessee, 1838

            - ed. 2, 1840

The American Harmony, ed. 2 by Andrew W. Johnson of Rutherford County, Tennessee, 1839. Attrib. Chapin

Hesperian Harp by William Houser of Wadley, Georgia, 1848. Attrib. Davison

 

10. TRIBULATION: 355(4)5u1d754                        3(4)5u32(1)2(d7)5

Introduction to Sacred Music by Amos Sutton Hayden of Austintown, Ohio, 1835. Attrib. A. Chapin

            - ed. 2, 1838

The Sacred Melodeon by Amos Sutton Hayden of Euclid, Ohio, 1848. Attrib. A. Chapin

The Christian Psalmist, ed. 10, by Silas White Leonard and Augustus Damon Fillmore of New Albany, Indiana, 1850. Titled: SOLACE

            - rev. and enl. ed., 1850

New Christian Psalmist by Silas White Leonard of New Albany, Indiana, 1870. Titled: SOLACE

 

Seven out of these ten variants remain tied to specific collections and authors (variants 1, 2, 3, 4, 6, 7, 8).  Variant ten is found exclusively in sources connected to the Restoration Movement and the Disciples of Christ.  Variants 5 and 9 are contemporary to each other and were the most popular of the ten listed above.  Variant 5, found in The Sacred Harp and The Southern Harmony, first appears in a manuscript copybook from Shelby County, Kentucky c. 1815.  However, this version was not published until Clayton and Carrell's first edition of The Virginia Harmony.  From there it circulated west and south making its way into the repertory of many of the Shenandoah compilers of the 1830s until the time of the Civil War.  Of note, Walker was the first to attribute this variant to Chapin.  Most compilers either left it anonymous or credited it to Davisson.  Only those books connected to or descended from The Southern Harmony preserve the Chapin attribution.  Walker himself recanted this attribution in The Christian Harmony and left it anonymous.  As such, it is connected neither to Chapin nor Davisson and is not descended from either of these two musicians.  Despite its earliest appearance in a Kentucky manuscript copybook, the tune circulated most likely through Clayton and Carrell, revealing the influence of this text on some of the antebellum compilers.

Variant 9 was the one to appear first in Patterson's Church Music.  However, I would argue it did not originate from the Chapins because another 1813 setting is found in a manuscript copybook from Mecklinburg County in North Carolina.  Amzi had been active in the piedmont area of North Carolina in the 1790s, but had not returned after his move west.  This fact, combined with the absence of TRIBULATION in the Chapin manuscript also casts doubt as to his involvement in this particular setting.  Davisson credited the tune to himself though it too was an arrangement and not an original composition.  Armstrong and Carden were the only ones to credit this setting to Chapin.  Johnson's printing was taken from one of Carden's printings of this tune, preserving the same Chapin attribution.  As can be seen, Davisson was the most influential on the dissemination of this tune variant than any other compiler.  As with variant 5, most compilers left the tune anonymous.

Unfortunately, TRIBULATION appears to be the product of Ye Olde Spuriosity Shop in regards to its ties to Chapin.  No evidence survives to connect him directly to this tune either through his own correspondence and manuscripts, that of his brother, or contemporary published sources.  Instead, it is one of a number of anonymous folk hymns that circulated among evangelicals in the West, making its way east and south.  I hope this helps.  

Good luck,

Nikos Pappas

Tscls

[Warren Steel]

Nikos, thanks for clarifying much of the history of this tune. When I
said that Tribulation was in the Amzi Chapin holograph, I was inferring
this from your statement on page 938[!] that
"A large holograph
manuscript by Amzi, survives from his Kentucky period.29 Besides including
a broad
selection of pieces from popular social-secular tunebooks he acquired or
sold, it featured
many of the tunes commonly ascribed to Amzi and Lucius Chapin including,
BETHEL,
LIBERTY HALL, ROCKBRIDGE, UNITIA, TWENTY-FOURTH, TRIBULATION,
NINETY-THIRD, and THIRTIETH. However, TRIBUTLATION and THIRTIETH are
not found in Shenandoah Valley sources."

On the other hand, the index of the manuscript does not show TRIBULATION
among the contents.

I hope you'll consider visiting Camp Fasola, at least for the public
singing Wednesday night, and the National Convention Thursday to Saturday.
Your exemplary study has already been mentioned at camp.

[Wade Kotter]

I'd like to join Warren in thanking Nikos for the clarification. At over 1,000 pages, Nikos' dissertation is not only exemplary but I think we can safely call it monumental. Nikos, I hope you'll take up Warren's invitation to visit Camp Fasola on Wednesday and/or the National Convention. And I hope you do the same next year when I'm able to be at Camp and the National!

Wade Kotter

South Ogden, UT

PS: If David and the others involved with planning the curriculum for Camp Fasola are listening, I think an invitation to Nikos to teach a class or two at Camp next year would be a great idea. Maybe he can be persuaded to bring along his fiddle; I love to hear him play in person.

---

From: Warren Steel <mu...@olemiss.edu>

[Nikos Pappas]

Warren,

Thanks for the catch.  I'm sure that that's not the only mistake in my work.

Nikos Pappas

Tscls

[Haruo (Leland)]

Is a copy of Patterson's 1813 publication accessible? OCLC only seems to list the 1815 second edition that I can see.

[Wade Kotter]

Leland:

According to Temperley's Hymn Tune Index (and WorldCat), the only library holding a copy of the 1813 edition of Patterson's Church Music is the American Antiquarian Society in Worcester, MA; they also hold a copy of the 1815 edition. Also, according to Temperley, the tune contents in the 1813 and 1815 editions are identical. Unfortunately, neither appear to have been digitized, but some libraries have the 1815 edition on microfiche, including Brigham Young University. I will be spending some time later in the summer at the BYU library and can try to get a copy of the tune(s) you're looking for if that would help.

Wade

 

Wade Kotter
South Ogden, UT

"Make a Joyful Noise Unto the Lord"

---

From: Haruo (Leland) <rosh...@gmail.com>
To: fasola-di...@googlegroups.com
Sent: Saturday, May 24, 2014 8:53 AM
Subject: [fasola-discussions] Re: Patterson's Church Music 1813

Is a copy of Patterson's 1813 publication accessible? OCLC only seems to list the 1815 second edition that I can see.

--

--
Google Groups "Fasola Discussions" Email List
FAQ: http://dl.dropbox.com/u/8623821/Fasola-Discussions-FAQ.html

---
You received this message because you are subscribed to the Google Groups "Fasola Discussions" group.
To unsubscribe from this group and stop receiving emails from it, send an email to fasola-discussi...@googlegroups.com.

For more options, visit https://groups.google.com/d/optout.

[Ros’ Haruo]

Thanks, Wade. TRIBULATION is one tune to copy from it if possible. Will let you know of others as I notice them.

Leland Bryant Ross aka Ros' Haruo (呂須•春男)
Delegito en Seattle, Universala Esperanto-Asocio
My Hymn Blog | Mia Himna Blogo — The Seattle Esperanto Society
Miaj Vikipediaj Kreaĵoj — Lernu.Net — Fremont Baptist Church