Wedding hymn?

[lukas.novak]

Dear experts,

is there any song/hymn/anthem in the fasola tradition you would recommend for wedding service?

Thanks in advance,

Lukas

[Warren Steel]

>is there any song/hymn/anthem in the fasola tradition you would recommend for wedding service?

    It depends on your singers. Rose of Sharon (254) is a natural choice. For a very short hymn, I suggest COLUMBIANA (56t) with alterations to Newton's hymn suggested in Episcopal hymnbooks:

May the grace of Christ our Savior
And the Father’s boundless love
With the Holy Spirit’s favor,
Rest upon THEM from above.

Thus may THEY abide in union
With each other and the Lord,
And possess, in sweet communion,
Joys which earth cannot afford.

--

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

[Cleve Callison]

Lukas,

I second Warren Steel's recommendation of Rose of Sharon (254). When my wife and I got married in Savannah we used that and Samanthra from The Christian Harmony. It's now 146 in the Shenandoah Harmony (see https://soundcloud.com/shenandoah-harmony/shh-146-samanthra). A lovely tune, with words also loosely based on the Song of Solomon/Song of Songs. The choir director was nervous about the performance of these so she recruited Jenny and me to sing with them.

I can't locate it here at work, but I have an old cassette recording of the Bayley Hazen Singers' Northern Harmony containing Wedding Hymn (by Jeremiah Ingalls?).  A lively tune with very appropriate words:

Since Jesus freely did appear

To grace a marriage feast,

O Lord, we ask thy presence here

To make a wedding guest.

Upon the bridal pair look down,

Who now have plighted hands,

Their union with thy favor crown,

And bless the nuptial bands.

...In purest love their souls unite,

That they with Christian care,

May make domestic burdens light,

But taking each their share.

...On every soul assembled here,

O make thy face to shine,

Thy goodness more our hearts can cheer,

Than richest food or wine.

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[invisibl...@gmail.com]

There are seven total verses to the hymn by John Berridge that Cleve shared, and they are all great.  Ingalls' tune sounds to me more appropriate for a zombie wedding than my own, but the words can be set to any CM tune.  I have the Ingalls tune in 7 shapes with all the words and can share off-list.  The tune is in 4 shapes in the Norumbega Harmony and the shape-note reprint of Ingalls' Christian Harmony.

Matt Bell

[invisibl...@gmail.com]

Some of these verses by Isaac Watts might be appropriate: http://www.ccel.org/ccel/watts/psalmshymns.I.78.html

Composer Will Thomas Rowan set some of them to a new tune called South Pond for his own wedding.  He might be able to chime in and tell the original poster where it can be found.

Matt Bell

[figura]

Lukas -

 

Samantha is #151 in Missouri Harmony, 2005.  Here is a recording of it from the 2011 Missouri State Convention  http://stlfasola.org/other_recordings/Samanthra_2011_MO.mp3   Missouri Harmony, 2005  has five verses of this song.  The first two verses are on this recording.

 

Paul Figura

Missouri

[Steve Fletcher]

How about the song "Harmony", in 4-shapes in various editions of Northern Harmony? This attributes the words to Isaac Watts and the music to Amariah Hall:

Say, mighty love, and teach my song

To whom thy sweetest joys belong.

And who the happy pairs

Whose yielding hearts and joining hands

Find blessings twisted with their bands

To soften all their cares.

Two kindest souls alone must meet

Tis friendship makes the bondage sweet

And feels their mutual love.

If there be bliss without design

Ivies and oaks shall row and twine

And be as blest as they.

Beautiful words and tune.

Steve Fletcher

UK

Sent from Samsung tablet

-------- Original message --------
From invisibl...@gmail.com
Date: 18/06/2014 15:22 (GMT+00:00)
To Cleve Callison <call...@gmail.com>
Cc Fasola discussions <fasola-di...@googlegroups.com>

Subject Re: [fasola-discussions] Wedding hymn?

Some of these verses by Isaac Watts might be appropriate: http://www.ccel.org/ccel/watts/psalmshymns.I.78.html

Composer Will Thomas Rowan set some of them to a new tune called South Pond for his own wedding.  He might be able to chime in and tell the original poster where it can be found.

Matt Bell

On Wed, Jun 18, 2014 at 9:11 AM, <invisibl...@gmail.com> wrote:

There are seven total verses to the hymn by John Berridge that Cleve shared, and they are all great.  Ingalls' tune sounds to me more appropriate for a zombie wedding than my own, but the words can be set to any CM tune.  I have the Ingalls tune in 7 shapes with all the words and can share off-list.  The tune is in 4 shapes in the Norumbega Harmony and the shape-note reprint of Ingalls' Christian Harmony.

Matt Bell

On Wed, Jun 18, 2014 at 8:50 AM, Cleve Callison <call...@gmail.com> wrote:

[Mimi Wright]

My friends Jerry and Carla had several tunes from Sacred Harp played instrumentally at their wedding and then we sang some, Ballstown 217 is one I still remember as "the wedding song."  Mimi Wright

[Wade Kotter]

Thanks, Steve.

This poem is from Watts' Horae lyricae, often referred to as his Lyric Poems:

https://archive.org/stream/horkipoem00watt#page/170/mode/2up/search/mighty

Temperley's hymn tune index lists 10 tunes printed with this text prior to 1821; the most common is:

FEW HAPPY MATCHES (attributed to Crane, 1789): 13 instances

The first printing of Crane's tune is a setting of Watts' "Say, mighty love, and teach my song," a relationship also suggested by the tune name FEW HAPPY MATCHES.

Crane's FEW HAPPY MATCHES is used as a setting for "When thou, my righteous Judge" on p. 96 of the 1991 ed. and, with the tune name WLLOUGHBY, as a setting for "How precious, Lord, thy sacred word" on p. 277 of the Southern Harmony:

http://www.ccel.org/ccel/walker/harmony/files/gif/Willoughby/710.html

Four instances of HARMONY are listed by Temperley, three attributed to West and one to Hall; Temperley gives the attribution as [Elisha?] West. HARMONY is a nice tune, but I prefer FEW HAPPY MATCHES for "Say, mighty love." Here's a printing of FEW HAPPY MATCHES with this text from Freeman Lewis, The Beauties of Harmony, 1814:

https://archive.org/stream/beautiesofharmon1814lewi#page/74/mode/1up

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

---

From: Steve Fletcher <stevie....@ntlworld.com>
To: invisibl...@gmail.com; Cleve Callison <call...@gmail.com>
Cc: Fasola discussions <fasola-di...@googlegroups.com>
Sent: Wednesday, June 18, 2014 9:40 AM

[Micah Walter]

FEW HAPPY MATCHES is set to Watts' "Say, mighty Love" in the Shenandoah Harmony. The source listed there is Davidson's Supplement to the Kentucky Harmony, 1826.

[Leslie Booher]

With all this talk about songs for a wedding, all I can think about is 'The Bride's Farewell', 359, that we sang at Camp FaSoLa the other week.  <G>

 

Leslie Booher, alto

 

"Oh give me tears for others' woes, And patience for my own!" 
                (from 'Christian Harmony', p. 67b, Dundee) 

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[Lukáš Novák]

Dear friends,

thanks everybody for your suggestions! I am afraid
that the Rose of Shannon is beyond our capacities,
but Edmonds seems to be perfect as an post-vows
meditation; luckily, the pair for whom I am
preparing the wedding liturgy do not have much
"modern sensibilities" and neither do I. It is a
nice, straightforward song!

Lukas

[Shapenote]

Hi Lukas

I want to toss in one more word recommending the Wedding Hymn by Jeremiah Ingalls.

For many reasons It would not be the best song to lead with a whole class of Sacred Harp singers, (range, accidentals, too many short verses) But with a small group of singers pitched at about F sharp, Rhythmically relaxed and letting the words guide the tempo.... It's a pretty touching piece of music.

The poetry is specifically blessing a couple about to be married - and I think you would find it very appropriate. Accidental sharps can be ignored or observed at the singers discretion, of course.

Don't know how big a group of singers you have but for a small group it is my experience that this piece can be rendered well as part of a wedding service.

Best regards,

Tom Malone




Sent from my iPhone

[Will Fitzgerald]

If you are interested in looking at Ingalls's Wedding Hymn more closely, here are some resources:

Here is the music:

http://books.google.com/books?id=5wllk2s62VsC&lpg=PA296&ots=r2jMM_3hiQ&dq=Wedding%20Hymn%20by%20Jeremiah%20Ingalls&pg=PA194#v=onepage&q=Wedding%20Hymn%20by%20Jeremiah%20Ingalls&f=false

Here are the lyrics:

http://stoddardfamily.home.comcast.net/~stoddardfamily/L/221.html

And here is a recording:

http://www.entish.org/ch/Field/50.mp3

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[invisibl...@gmail.com]

The penultimate note of the melody in Norumbega is an error, is it not?  Should be MI.

Matt Bell

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[Will Fitzgerald]

And so it is printed (with a MI) in Tom Malone's edition of Ingalls's Christian Harmony. 

[Wade Kotter]

Ingalls' original, which I have as a reprint from microfilm, has a B (MI) instead of a C (FA) at this position. It looks like this is indeed an error in the Norumbega Harmony.

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

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From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: Will Fitzgerald <will.fi...@gmail.com>
Cc: Fasola Discussions <fasola-di...@googlegroups.com>; lukas...@skaut.org
Sent: Tuesday, July 1, 2014 10:31 AM

Subject: Re: [fasola-discussions] Wedding hymn?

[Lukáš Novák]

Dear Tom,

thanks, indeed the song is beautiful (less so the
recording :-)), and as you say, suitable for a
small ensamble (probably we will have 1-2 persons
per voice at the best - I should like to double
the Tenor and Treble in octaves if we chose it).
However, it textually itends rather to _introduce_
the service, whereas I need a song to _reflect_ it
(or else I would have to reshuffle the already
established choices). I will think about it.

Best,

Lukas

Shapenote scripsit:

> --

[Lukáš Novák]

Dear friends,

the bride and groom's definitve choice is Edmonds
- but I would like to ask you: is the score as
found below correct?

http://www.sacredharpbremen.org/lieder/100-bis-199/115-edmonds

I know that the Sacred Harp musicl tradition is
not bothered by such things as parallel fifths or
unresolved dissonances, but parallel seconds (the
quavers in bass and tenor in the penultimate
measure) seem too much even here. Should not the
bass rather read g - f-sharp?

Also, the odd quaver c in bass in the fourth measure -
shouldn't it be d, like in the treble?

Or are these oddities intentional?

Thanks in advance?

Lukas

[Wade Kotter]

Lukas:

The image on the Sacred Harp Bremen page is taken directly from the 1991 ed. The original version, printed in the 1870 edition of the Sacred Harp, includes these parallel seconds in the penultimate measure. The 2012 Cooper book also has these parallel seconds. So it's pretty clear that they represent the original intent of the composer and that compilers/editors over the last 144 years have chosen not to change them. I, for one, like the sound at this point and think they made the correct decision.

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

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From: Lukáš Novák <lukas...@skaut.org>
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Subject: Re: [fasola-discussions] Wedding hymn?

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[invisibl...@gmail.com]

I don't know about those spots, but the last time I sang out of the Cooper or White book (I don't remember which, possibly both), I came to suspect that the FA-6 in the tenor is an error that should read LA-5, matching the bass for that third measure.  This is how the Cooper and/or White book reads.  I haven't researched it, but my hypothesis is that the fa was a printing error somewhere up the Denson stream.  Someone with access to an 1870 printing might be able to tell us more.

Matt Bell

Lukas

[Wade Kotter]

The original printing in the 1870 edition has the FA-6 in the tenor, same as the 1991 ed. It was changed to a LA-5 in the Cooper book but not in the 1911 White book. It the 1991 printing is a printers error, that error goes all the way back to 1870.

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

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From: "invisibl...@gmail.com" <invisibl...@gmail.com>
To: lukas...@skaut.org
Cc: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Tuesday, July 22, 2014 8:57 AM

Subject: Re: [fasola-discussions] Wedding hymn?

[Lukáš Novák]

Thank you all very much!

But what do you recommend? Is there any internal
logic in such spots - if different than that of
classical harmony? Were the composers aware of
what they are writing down and why? Is there a
well-defined intention behind, or is it just
poorly written texture? One can hardly
get rid of the impression of certain
capriciousness...

Thanks again!

Lukas



Wade Kotter scripsit:

[invisibl...@gmail.com]

Thanks for settling that question for me, Wade.  It is helpful to know that the fa was changed to la after 1870, not the other way around as I guessed.

Matt Bell

[Wade Kotter]

The parallel sevenths in this song have survived in the tradition for 144 years. I'm confident that Dumas knew what he was writing down in this case and personally wouldn't presume to suggest that it be changed. For him, I believe, melodic flow of the parts was more important than avoiding parallel sevenths. Whether you find this logical or not is up to you. With regards to FA 6 or LA 5 in the third measure, there has been some disagreement in the tradition. At some time in the past, the Cooper book editors decided to change it; the Denson/1991 editions apparently decided not to change it (or they might not even thought of the possibility of changing it). I would stick with it as originally written, but there is precedent in the tradition to do otherwise. For me, it's safer and more respectful to our predecessors to assume that they knew what they were doing and not impose our standards on them.

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

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[Lukáš Novák]

Thanks, Wade. I don't want to be disrespectful to
our predecessors or impose any standards. I am
trying to understand the composer's standards, if
there are any. In classical harmony and
counterpoint, one can perceive the principles and
reasons behind every note. Change a single note in
Bach or Palestrina, and with 99% probability you
can spot the error and deduce the correct note. I
just wonder whether in the Sacred Harp tradition
there is a similar system of abstract principles
(perhaps uncunscious) govering the composition, or
whether any such principled analysis is impossible
and the only criterion of "correctness" is approval
or disapproval by the tradition, measured by
ocurrence in the respective editions....?

Best,

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[Wade Kotter]

No, I don't think we will ever discover a set of abstract (conscious or unconscious) principles governing composition in the Sacred Harp "style" that will allow us to say with a 99% probability that any particular note is, or is not, an error. After all, it's notoriously difficult for even trained musicologists to agree on what exactly is meant by Sacred Harp "style." Nor would I claim that approval or disapproval by the tradition is the only way to discern "correctness." To my mind, there must always be an interplay between abstract principles, general or specific, and acceptance or rejection of those principles over time by the "tradition." Strict conventions that cover the correctness or incorrectness of almost every single note can play a decisive role in a musical tradition only if composers in that tradition agree, tacitly, informally or formally, to abide by such conventions, so even here "tradition" in the form of acceptance over time by composers, performers and audiences plays a role. By contrast, I believe that 19th century Sacred Harp composers shared a very general set of both unconscious and conscious tendencies learned primarily by participating in the tradition; otherwise there would be chaos. But they did not apparently feel a need or desire to establish strict rules of harmony and counterpoint. As I said before, it appears that for many such composers making each part melodically interesting often overrode harmonic considerations. I suspect Dumas knew that parallel seconds were unusual but he decided to use them anyway for melodic and perhaps other reasons. Jazz has thrived as a musical tradition for 100 years or more without, unless I'm mistaken, any reliance on a strict set of principles allowing analysts to determine with 99% probability the correctness of incorrectness of a specific note. To my mind, Sacred Harp music is similar phenomenon. Is its always possible, necessary or even wise to attempt to discover a set of abstract principles governing a musical style that enables us to determine with 99% probability the correctness of incorrectness of a single note? I think not.

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

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[Gabriel Kastelle]

Wow.

I've missed some exchange here...  regrets, sort of, but not really...  I should be blindering a bit, and focusing on my thing...  read on...

Lukas, these are great questions!!  Strike to the core!

Wade--  NICE fielding!!

Perhaps it might interest some to learn that I'm actually involved right now in making a stab at trying once again, since musicologists haven't agreed yet indeed!, to intuit and articulate something of possibly an "unconscious"/unformulated system in the works of our honored old tunesmiths who knew what they were doing amidst the chaos, although perhaps more so with the noteheads than with their own descriptions in words...  at least within some perhaps arbitrary and arguably meaningful subset of the myriad "Sacred Harp styleS" and repertoire (how can anyone not gerrymander it all??).    It's in my in-progress master's thesis on "Modal Integrity", which is perhaps as much as I should say in the way of vague specificity for the moment, since it's all still so slippery...  ...I mean, "in-progress".   And besides, I don't really believe in imagining dead people's thoughts for them, and maybe I'm just trying to articulate my own modal thinking, which I also prefer to do with noteheads rather than in words ((have I ever mentioned here my concise (!) shape note tunebook: "Gabriel's KAIROS FOR ALL Tunebook" ??  It came out earlier this year.))....  But all along the way, I imagine I've been educated by examples I like in Sacred Harp tradition, and I can't help but observe that some patterns I can describe and somewhat motivate theoretically and independently, indeed happen to illuminate some discernable patterns of practice / composing in hollow square singing traditions, it seems to me, and to respond in clarifying manner to earlier commentaries and analyses by others, so I feel inclined to make the connections...   I hope that my tunebook and thesis will help to explain each other, and maybe more besides, when Lord willing the prose half of it all is completed...  :-)  :-)  :-)

....anyway, thanks for this discussion thread, which has included uncanny numbers of phrases which match exactly bits in quotes and citations I've gathered, and/or bits of my own outlining and re-drafting!!!  Almost makes me suffer delusions of relevance!!  Imagine that  ;-)  ;-)

Cheers!

-- Gabriel Kastelle --

Middletown, CT

M.A. candidate, Wesleyan U. ("Experimental Music / Composition" is the department's own description of the degree)

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[ip...@spiretech.com]

115 Edmonds(1869)
i. penultimate measure, the third note A synchronous with D and G in the
other parts
ii. third measure, second note D synchronous with C, E and A in the other
parts

166 Still Better(1869)
i. fourth measure, the first note D synchronous with G and A in the other
parts
ii. fourth measure, the second note C synchronous with F and G in the
other parts

176 Ragan(1869)
i. penultimate measure, the fifth note G is synchronous with C and D in
the other parts

Greetings,

NB: the fifth is an inverted fourth.

115 i. appears a quartal sonority of conjunct fourths (superposed on a
common tone; called “synaphe” in ancient theory). It is fairly common in
The Sacred Harp, e.g. 166 i. & ii., and 176 i. Back to Edmonds, ii. is
less clear, presents a series of conjunct fourths: E A D (G omitted) C;
does seem a bit elaborate.

Best wishes,

David Jensen

[ip...@spiretech.com]

Greetings,

Reviewing my last post on Edmonds, I see that I overlooked the key
signature (late in evening, sorry about that). Corrections follow. Now I
don't know what to make of the third and penultimate measures; please
excuse my remarks on same. Observations on Still Better and Ragan remain
accurate. Thank you for your patience.

David Jensen

115 Edmonds(1869)
i. penultimate measure, the third note A synchronous with D and G in the
other parts

G#

ii. third measure, second note D synchronous with C, E and A in the other
parts

C#

quartal sonorities of conjunct fourths:

[j frankel]

If I can jump in where I should dare not go (again):

 

What I hear is a style of mode, & how to use those notes that comprise the mode; what order they generally go in.  Its what lead me to relate Sacred Harp tunes to old English Christmas carol tunes, before I knew anything about the shared history of the 2 styles of music, & turns out I was right.  It's a "this sounds like this" thing. 

 

 

As for harmonizations, which isn't a factor (for my experience anyway, learning them as a kid) in Christmas carols, I'd say that in Sacred Harp its' more a "if you do this, you'll sound too much like Gospel for some people".  Its the criticism many people in the past have flung at alto parts, because they're sometimes a 1/3 away from the tenor, & there are people out there who don't like musical 3rds (in Sacred Harp, anyway).  But alto parts are just as often a 1/5 away from the tenor, & are occasionally on the same note while crossing the tenor in the opposite direction (tenor goes up/alto goes down; or tenor goes down/alto goes up).

 

Many of the things you folks are discussing were written before Gospel as a style was widely known, or even invented, so the composers in question had no problem with "trying not to sound Gospel-ly".  I would agree that they were much more interested in making individual parts that could be sung on their own than in obeying various "rules for harmonization".  But they still didn't want to come out with harmonizations that would sound to one part like the other part had made a big mistake that made the song sound bad at that section, even for one note.  So it's possible that what looks on paper (or sounds in reality) as bad to some of you just didn't sound bad to them.

[B.E. Swetman]

I have long wanted to use the 2nd half of v.4 as the 2nd half of v.2.
I've been poking around, and that way may be the original.

Here's are words that work much better, IMHO from 1819. For a modern
wedding I'd use a variant on this.
"POETRY." /The Religious Informer (1819-1821)/ Aug 14 1819: p.24.
/ProQuest. /Web. 25 July 2014 .

Adam and Eve
1. When Adam was created, he dwelt in Eden’s shade;
As Moses has related, before a bride was made.
Ten thousand times ten thousand of creatures swarm'd around,
Before a bride was formed, or any mate was found.

2. He had not conversation, he seem'd like one alone,
Till, to his admiration, he found he’d lost a bone.
Great was his exultation, when first he saw his bride,
Great was his elevation, when he saw her by his side.

3. He spake as in a rapture, I know from when you came;
From my left side abstracted, and woman is your name:
This seems to be the reason why man should love his bride,
She's part of his own body, the product of his side.

4. This woman was not taken, from Adam’s head, we know;
So she must not be ruler, it’s evidently so:
This woman was not taken, from Adam’s feet, we see;
So he must not abuse her, the meaning seems to be.

5. This woman was abstracted, from near to Adam’s heart,
As have been directed, that they should never part.
Likewise that he should love her, and prize her as a friend,
Prize nothing else above her, till life shall have an end.

6. Here's counsel to the bridegroom, her's counsel to the bride;
See that, that sacred volume, never be laid aside,
The book that’s called the Bible, be sure you don’t neglect;
In every scene of duty, it will you both direct.

7. Come now most noble bridegroom to you I turn aside;
See that you live a christian, and for your house provide;
Avoiding all contention, that leads to sin and strife,
This is the solemn duty, now of both man and wife.

I found a couple of other versions, but don't have time just now to post.
Barbara

[Wade Kotter]

Just a quick note before I head out of town for a few days.

In doing some searching, I came across the following record in Josiah (Brown's online catalog) for a broadside that might push the date of this text back to around 1781:

http://josiah.brown.edu/record=b1917867~S7

 

The title of the broadside is as follows:

A wedding song / composed and sung by Peter St. John of Norwalk, at the celebration of the nuptials of a young couple, who were married about four years ago; (1777)

This title entry seems to indicate that the date is actually printed on the broadside, which is unusual but, I believe, not unprecedented. Norwalk in in Connecticut, of course. The first line is listed in the catalog as "When Adam was created," which could, of course, be the beginning of a different text. However I found a couple of "snippets" from secondary sources on Google Books that seem to suggest that this is indeed the text we're looking for.

Brown also has a few other relevant undated broadsides that may predate 1819:

http://josiah.brown.edu/record=b2773574~S7

http://josiah.brown.edu/record=b2373713~S7

 

http://josiah.brown.edu/record=b2381299~S7

http://josiah.brown.edu/record=b2321686~S7

http://josiah.brown.edu/record=b2323722~S7 

http://josiah.brown.edu/record=b2380131~S7

 

Given the lack of dates for most of these and the possibility that not all are examples of the same text, this is certainly not definitive but, I think, it is suggestive. Perhaps when I return I'll email Brown and see if they can confirm that the Peter St. John broadside is the same poem as the one in question.

Wade

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

---

From: B.E. Swetman <bswe...@hamilton.edu>
To: fasola-di...@googlegroups.com; lukas...@skaut.org
Sent: Friday, July 25, 2014 9:43 PM
Subject: Re: [fasola-discussions] Edmonds words was Wedding hymn?

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[Wade Kotter]

This morning I received a scan of the first broadside mentioned below from the Special Collections staff at Brown. It does indeed include the text of the hymn in question and the date of 1777 mentioned in the title field of the catalog record is, in fact, printed on the broadside in parentheses at the end of the title. If we take the 1777 date at face value, this broadside pushes the date of the text back as early as 1781. The staff at Brown requested that I not post the scan to the list but said it was ok to distribute to individuals as long as those individuals understand that they need to request permission from Brown in order to post it publicly on the web or publish it in an article, book, etc. Please let me know off-list if you would like a copy. Interestingly, it is printed in 8 verses of 12 lines each with certain lines in somewhat different order than the printing Barbara found and the text as it appears in the 1991 ed.

Wade

 

Wade Kotter
South Ogden, UT
"Make a Joyful Noise Unto the Lord"

---

From: Wade Kotter <wadek...@yahoo.com>
To: "bswe...@hamilton.edu" <bswe...@hamilton.edu>; "fasola-di...@googlegroups.com" <fasola-di...@googlegroups.com>; "lukas...@skaut.org" <lukas...@skaut.org>
Sent: Monday, July 28, 2014 9:06 AM

[Lukáš Novák]

Dear friends,

thank you for all your input! For the purpose of
the wedding, I am going to use the version of the
lyrics given below. I am quite fond of the
charmingly archaic "politically incorrect"
statements (after all, they just echo St. Paul,
like it or not), and the bride and groom like it,
too. And it must not be too long - 5 verses
maximum. So I am going for this arrangement:

1. When Adam was created,

He dwelt in Eden’s shade;
As Moses has related,
Before a bride was made.

Ten thousand times ten thousand

Of creatures swarmed around,

Before a bride was formed,

Or any mate was found.

2. He had not consolation,
But seemed as one alone,
Till, to his admiration,
He found he’d lost a bone.
Great was his exultation,
To see her by his side;
Great was his elevation
To have a loving bride.

3. This woman, she was taken
From near to Adam’s heart,
By which we are directed
That they should never part.
This woman was not taken
From Adam’s head, we know;
And she must not rule o’er him,
It’s evidently so.

4. This woman, she was taken
From under Adam’s arm;
And she must be protected
From injury and harm.
This woman was not taken
From Adam’s feet, we see;
And she must not be abused,
The meaning seems to be.

5. The husband is commanded
To love his loving bride;
And live as does a Christian,
And for his house provide.
The woman is commanded
Her husband to obey,
In every thing that’s lawful,
Until her dying day.

Well, yes: and we are going to sing it in d, not
in f-sharp... :-)

Best,

Lukas

B.E. Swetman scripsit:

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