"The Drone"

[Will Fitzgerald]

I finally found an example on the web of "the drone," done in Hoboken
style. It is "segment 3" on this page:

http://www.valdosta.edu/library/find/arch/folklife/findingaid/sacredharp.html

(Unfortunately, the file is in Real Player .rm format, but let me say
it's worth downloading Real Player -- if you're careful, and not let
it hijack your audio settings -- to see and listen to this).

Basically, this is what I see:

- A group of singers in the center singing Gospel Pool (444T, Cooper
Book, but 34T in the red book).
- A line of singers walking counter-clockwise
- A line of singers walking clockwise
- A line of singers walking counter-clockwise

The drone is sung by the lines on tonic FA (bass and treble), and the
tenors singing SO.

I have a few questions that I really would like to understand:

- The recording is heavily dominated by the tenor line -- but I'm
wondering if all the parts are being sung?
- Do the 'lines' typically sort out by voice? Are all of the singers
in a particular line singing one note? If so, which line sings which
note? And does it matter?

Also, just because I am interested in the history of this, has anyone
done a careful history of this?

--

Will

[Judy Hauff]

Will,

    If memory serves (and it rarely does anymore), David had us in Chicago sing "Roll On" p 275.   The basses droned on their opening note, let's say FA on f; then the tenors would drone on a fifth above, SOL on c, then the trebles on the higher f, FA, and the altos likewise a FA on their lower f.  Then a handful of singers stood in the middle of this revolving wheel and sang the melody.
    I do not remember if we sang a note assigned to the line we were walking in, or by our customary part.  I could check this out on a video we made, though.

 

    Judy 

---

From: Will Fitzgerald <will.fi...@gmail.com>
To: fasola-di...@googlegroups.com
Sent: Sun, January 9, 2011 11:34:38 PM
Subject: [fasola-discussions] "The Drone"

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[John Garst]

If my memory serves me correctly (a risky proposition nowadays)
George Pullen Jackson commented, in one of his books, on an usual
arrangement in The Hesperian Harp, in which every part except the
tenor sang on one particular note (different, I think, for different
parts).

John

At 9:34 PM -0800 1/9/11, Will Fitzgerald wrote:

>I finally found an example on the web of "the drone," done in Hoboken
>style. It is "segment 3" on this page:
>

><http://www.valdosta.edu/library/find/arch/folklife/findingaid/sacredharp.html>http://www.valdosta.edu/library/find/arch/folklife/findingaid/sacredharp.html

--
john garst ga...@chem.uga.edu

[Robert Vaughn]

Will, on a related subject, the Mississippi singers do a song they call "The Drone". If not mistaken in their case, it is always one specific song "I'm Traveling to the Grave" and there are places in the song where some are holding out their notes while others sing the tenor. Mark Davis, Warren Steel and others can give you much more information than I if you're interested. I don't think there are any examples of this on the internet. Robert Vaughn Mount Enterprise, TX http://baptistsearch.blogspot.com/ Ask for the old paths, where is the good way. http://mtcarmelbaptist.blogspot.com/ For ask now of the days that are past... http://oldredland.blogspot.com/ Give ear, all ye inhabitants of the land. --- On Sun, 1/9/11, Will Fitzgerald <will.fi...@gmail.com> wrote:

[Thomas Malone]

Will et. al. --

There was a class about this at Camp Doremi this year, Jonathon Smith organized it by request.

John Hollingsworth, Jane Spencer, Jonathon Smith, Eddie Mash can give you a synopsis of what was covered.

At Camp Do, we did Gospel Pool, Sweet Rivers, and then Billy Hollingsworth led us in the Mississippi drone, "Traveling to the Grave" a version of which appears in the new Christian Harmony songbook.

Tom M

--
Dr. Thomas B. Malone
Assistant Professor of Music
Molloy College
Rockville Centre, NY 11571

[John Hollingsworth]

Robert Vaughn wrote:
> Will, on a related subject, the Mississippi singers do a song they
> call "The Drone". If not mistaken in their case, it is always one
> specific song "I'm Traveling to the Grave" and there are places in the
> song where some are holding out their notes while others sing the
> tenor. Mark Davis, Warren Steel and others can give you much more
> information than I if you're interested. I don't think there are any
> examples of this on the internet.
>
> Robert Vaughn
> Mount Enterprise, TX
> http://baptistsearch.blogspot.com/
> Ask for the old paths, where is the good way.
> http://mtcarmelbaptist.blogspot.com/
> For ask now of the days that are past...
> http://oldredland.blogspot.com/
> Give ear, all ye inhabitants of the land.
>

> --- On *Sun, 1/9/11, Will Fitzgerald /<will.fi...@gmail.com>/* wrote:
>
>
> From: Will Fitzgerald <will.fi...@gmail.com>
> Subject: [fasola-discussions] "The Drone"
> To: fasola-di...@googlegroups.com
> Date: Sunday, January 9, 2011, 11:34 PM
>
> I finally found an example on the web of "the drone," done in Hoboken
> style. It is "segment 3" on this page:
>
> http://www.valdosta.edu/ library/find/arch/folklife/
> findingaid/sacredharp.html

> <http://www.valdosta.edu/library/find/arch/folklife/findingaid/sacredharp.html>

Robert,

"The Drone" as we sang it in Mississippi is displayed as the last song
of the 2010 edition of THE CHRISTIAN HARMONY. It has been the
traditional closing song of the Newton County Christian Harmony
Convention for a long time. When I was young, my uncle, M. W.
Hollingsworth, was president of the convention and he did not know that
the music had been written and published; he said he learned it as a
child. His father (W. L. Hollingsworth, was also a past president of
the convention. My uncle was born in 1894 and the convention was
started in 1875, so we don't know exactly how long it has been used, but
always as the closing song. More recently (like the past 40 or 50
years) it is also sometimes (but not always) used to close the
Mississippi State Sacred Harp Convention.

John Hollingsworth

[Warren Steel]

At 06:58 PM 1/10/2011, Robert Vaughn wrote:
>Will, on a related subject, the Mississippi singers do a song they call
>"The Drone". If not mistaken in their case, it is always one specific song
>"I'm Traveling to the Grave" and there are places in the song where some
>are holding out their notes while others sing the tenor. Mark Davis,
>Warren Steel and others can give you much more information than I if
>you're interested. I don't think there are any examples of this on the
>internet.

No, but it's the last song in the new 2010 edition of
Christian Harmony. It's always sung from memory, but this
version is transcribed, I think by Hugh Bill McGuire. The
published tune is in Harp of Columbia, and, more relevantly,
in the Southern Minstrel (1849), a four-note tunebook by
Lazarus J. Jones of Jasper County, Mississippi.

The other story I've heard about this song, but can't
verify, is that this version was formerly sung in a funeral
procession. As the mourners and pallbearers accompanied
the bier to the grave site, they sang "We're traveling to
the grave" and kept time by beating on the coffin with
their hands. Some people consequently called it "The
Drum" instead of "The Drone."

--
Warren Steel mu...@olemiss.edu
http://www.mcsr.olemiss.edu/~mudws/
http://www.youtube.com/mudws

[Will Fitzgerald]

Jesse Pearlman Karsberg helpfully pointed me to Laurie Kay Sommers's
article "Hoboken Style: Meaning and Change in Okefenokee Sacred Harp
Singing" [1] on the Southern Spaces website. It includes a discussion
on the drone, along with the video I listed in my article, but in
other formats than Real Media.

[1] http://www.southernspaces.org/2010/hoboken-style-meaning-and-change-okefenokee-sacred-harp-singing

--

Will

[John Bayer]

>> "The Drone". I don't think there are any examples of this on the internet.

 

Maybe not on the internet, yet,.....but, didn't Hugh 'n them sing this on that old

"Social Harp" recording?

....John Bayer

[Wade Kotter]

John:

It's the same tune and basically the same words, but the Social Harp version
(THE TRAVELLER, #37) doesn't have the drone. It's identified as a "Set Piece"
and attributed to "John W. McCurry, & Wm. C. Davis, 1853."

Wade Kotter
South Ogden, UT

[Robert Vaughn]

Warren, John, Tom, thanks. I'm glad to hear that it is in the new book. If I already had one of the new Christian Harmony's I would have known that, but I was waiting until after Christmas and my birthday before buying one -- which didn't work out the way I had hoped! :-(

Robert Vaughn
Mount Enterprise, TX
http://baptistsearch.blogspot.com/
Ask for the old paths, where is the good way.
http://mtcarmelbaptist.blogspot.com/
For ask now of the days that are past...
http://oldredland.blogspot.com/
Give ear, all ye inhabitants of the land.

--- On Mon, 1/10/11, Warren Steel <mu...@olemiss.edu> wrote:

> From: Warren Steel <mu...@olemiss.edu>
> Subject: Re: [fasola-discussions] "The Drone"

[SingMore]

The use of "the drone" is briefly described by Kiri Miller in
"Traveling Home" but it's not indexed, so I can't give a page. The
practice is another example of the keynote and fifth being constant
used, as in traditional (noter-styled) Appalachian dulcimer playing,
where the "fa" and "sol" strings are unfretted, and also in bagpipes.

On Jan 11, 5:09 pm, Robert Vaughn <rl_vau...@yahoo.com> wrote:
> Warren, John, Tom, thanks. I'm glad to hear that it is in the new book. If I already had one of the new Christian Harmony's I would have known that, but I was waiting until after Christmas and my birthday before buying one -- which didn't work out the way I had hoped! :-(
>
> Robert Vaughn

> Mount Enterprise, TXhttp://baptistsearch.blogspot.com/
> Ask for the old paths, where is the good way.http://mtcarmelbaptist.blogspot.com/
> For ask now of the days that are past...http://oldredland.blogspot.com/

> > nonsubscribers)- Hide quoted text -
>
> - Show quoted text -

[Gabriel Kastelle]

Greetings, Fasola!

I forget the advisement on attachments....

I hope someone will help me or put these in the right place...

I have two .jpg files which I will describe here in pure prose to be sure to reach everyone,
and which I will attach to the next response...

There's a tune-long double drone!!

Enjoy!




I have been fascinated, ever since I since I saw the tune in the Library of Congress over a decade ago, by the tune

TRANSPORT

in

George Hendrickson's 1848
UNION HARMONY
"published at the office of Joseph Funk & Sons"
Mountain Valley, near Harrisonburg, Virginia

(COOL tunebook, by the way!)

wherein, pp. 82-3 occurs the tune
TRANSPORT    11's &  10's
in three parts....

the treble throughout is written out as a constant droning C, an octave above middle C
the bass throughout is written out as a constant droning C, an octave below middle C

the lead is a wonderful pentatonic major tune that I know nowhere else !!
Does anyone here know it?  I'd love to learn more about it!!

there is no alto--  it is a three-part tune.



Maybe the meter is really 11's and 10's double?   There's a lot of text in each verse.

The text is

[verse one]
Ye children of Jesus, who're bound for the kingdom,
Attune all your voices, and help me to sing
Sweet anthems of praises to my loving Jesus,
For He is my Prophet, my Priest, and my King;

When Jesus first found me astray I was going,
His love did surround me and sav'd me from ruin,
He kindly embrac'd me and freely he blessed me,
And taught me aloud His sweet praises to sing.

[verse two]
Why should you go mourning from such a Physician,
Who's able and willing your sickness to cure;
Come to Him believing, though bad your condition,
His Father has promis'd your case to ensure;

My soul He hath healed, my heart He rejoices,
He brought me to Zion to hear the glad voices;
I'll serve Him, and praise Him, and always adore Him,
Till we meet in heaven where parting's no more.

:-)


I love that second verse line
"My soul He hath healed, my heart He rejoices"
...  I love that use of 'rejoices' as a transitive verb with direct object 'my heart'
:-)


not quite the same, but it reminds me of
Zephaniah 3:17

:-)

:-)

-- Gabriel Kastelle --
New London, CT

[Gabriel Kastelle]

The attachments

from George Hendrickson's

UNION HARMONY
of 1848

pp. 82-3

TRANSPORT  11's & 10's.

:-)

double drone!

[master teacher]

Hi folks, I haven't posted to this group in ages. I'm mainly a lurker anyways and some of the discussions I read about here are so deep within historical minutiae that I just get lost!!! Anyhoo 

I need some help.

I used to have this software that actually sang the shapes. I downloaded it from somewhere. Then my computer died but not b4 my files got all corrupted and HD died.

So I'm looking for the software and the tune library that came with it. Probably downloaded it about 2 years ago if that helps.

Can anyone respond with a set of links?

Thanks,

Tony

---

Date: Wed, 19 Jan 2011 03:52:41 -0500
Subject: Re: [fasola-discussions] Re: "The Drone"
From: gabrie...@gmail.com
To: trox...@elon.edu
CC: fasola-di...@googlegroups.com

[John Garst]

Thank you, Gabriel. This may be the item that I have attributed from
memory, incorrectly, to THE HESPERIAN HARP.

John

At 3:52 AM -0500 1/19/11, Gabriel Kastelle wrote:

>The attachments
>
>from George Hendrickson's
>
>UNION HARMONY
>of 1848
>
>pp. 82-3
>
>TRANSPORT 11's & 10's.
>
>:-)
>
>double drone!

--
john garst ga...@chem.uga.edu

[Wade Kotter]

Very interesting tune, Gabriel. Thanks for sharing it. Dick Hulan will correct
me if I'm mistaken, but I believe this text is by John Granade. This melody
appears as TRANSPORT (#152) with this same text in "The Southern Harmony," where
the tune is attributed to White & Davisson:

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

Given the inclusion of Davisson in the attribution, I think it's likely that
there are earlier printings of the tune. Note that Walker identifies the meter
as "12, 11", while hymnary.com identifies it as "11,10."

Wade Kotter
South Ogden, UT

>
>From: Gabriel Kastelle <gabrie...@gmail.com>
>To: trox...@elon.edu
>Cc: Fasola Discussions <fasola-di...@googlegroups.com>
>Sent: Wed, January 19, 2011 1:48:35 AM
>Subject: Re: [fasola-discussions] Re: "The Drone"
>

[Neil Rossi]

I wonder if that might be Harmony Assistant, the music score editor from Myriad (http://www.myriad-online.com/en/products/harmony.htm).  They have an add-on module called Virtual Singer that vocalizes the notes.  There is also a package with fewer features called Melody Assistant.  Very reasonably priced and a lot of software for the money.

On 01/19/2011 08:07 AM, master teacher wrote:

Hi folks, I haven't posted to this group in ages. I'm mainly a lurker anyways and some of the discussions I read about here are so deep within historical minutiae that I just get lost!!! Anyhoo 

I need some help.

I used to have this software that actually sang the shapes. I downloaded it from somewhere. Then my computer died but not b4 my files got all corrupted and HD died.

So I'm looking for the software and the tune library that came with it. Probably downloaded it about 2 years ago if that helps.

Can anyone respond with a set of links?

Thanks,

Tony

--
--- Neil Rossi
--- Westford, VT

[Wade Kotter]

I thought the melody sounded familiar. Check this out from the 1825 ed. of
Davisson's "Supplement":

http://www.shapenote.net/berkley/0690.JPG

It first appeared in Wyeth's "Repository, Part Second" and is found in a number
of other books, including "New Canaan" from the Hesperian Harp.

Now it's time to teach my class; it's not good for the instructor to be late :-)

Wade Kotter
South Ogden, UT

[Warren Steel]

At 09:58 AM 1/19/2011, Wade Kotter wrote:
>Very interesting tune, Gabriel. Thanks for sharing it.
>Dick Hulan will correct me if I'm mistaken, but I believe
>this text is by John Granade. This melody appears as
>TRANSPORT (#152) with this same text in "The Southern
>Harmony," where the tune is attributed to White & Davisson:

>Given the inclusion of Davisson in the attribution, I think
>it's likely that there are earlier printings of the tune.
>Note that Walker identifies the meter as "12, 11", while
>hymnary.com identifies it as "11,10."

You're right that the tune appears in earlier collections.
The first printing is Wyeth's Repository Part 2d (1813), where
it's unattributed and there are six verses of text. It also
appears in Supplement to the Kentucky Harmony (1820) where it's
attributed to White & Davisson--White was evidently Davisson's
way of spelling "Wyeth." There are irregularities in the poetic
meter, but most verses are what I like to call ZYZY.ZZZY or
12 11 12 11 . 12 12 12 11. Hymnary.com is run by respectable
people, but they're clearly mistaken in this case.

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

[Richard Hulan]

I have the 3rd edition (1855) of Hendrickson's Union Harmony.  From 1849 it was set in seven shapes, the first of the Shenandoah Valley tunebooks (printed by Funk) to switch over.  In my copy, TRANSPORT is on p. 128 -- all on one page.

Wade is correct in stating that it's a Granade text; and Warren has just enlightened us on earlier tune sources.

Many dulcimer people (not necessarily including my Troxler cousins) would call this one a "Galax tuning," or something -- since the drones seem to double the tonic, an octave or two apart (but not a fifth).  I guess they'd need the silly 6+ fret to play it, but that doesn't seem to bother these young whippersnappers.

I visited Hendrickson's grave in 2005.  It was drizzling rain, and the photos I tried to take came out with very low contrast.  But that valley (in Craig County, about 2 miles east of Simmonsville, VA) is mostly unspoiled, with prosperous farms and seriously beautiful countryside.  The grave is in the Ross Cemetery, behind and uphill from a large dairy farm on State Hwy. 42, about 4/10 mile NE of the intersection with State Rte. 629.  You can drive Hwy. 42 with the "street view" feature of Google Maps.  

Dick Hulan

Spfld VA

[Lucas Gonze]

Are there tunes with a strong drone in the 1991 Denson?  That would be the easiest way to get to experience these in person.

--

[Chris Noren]

A while ago, the Santa Cruz singers released a walking/exercise tape, "Saints Bound for Heaven", consisting of Sacred Harp songs linked with no loss of time, and with a gradual increase in tempo in the first half of the hour-long "workout" and slowing back down in the second half. The songs are performed in a variety of traditional styles, including the "Drone" which is used quite effectively for 148 JEFFERSON. This is a marvelous recording all around. Sound samples can be found at http://www.cdbaby.com/cd/scsns, with the "Drone" in Track 12.

Chris Noren

Bxfd, MA

[invisibl...@gmail.com]

Gabriel,

This is a great hymn.  Regarding "rejoice" as a transitive verb, also see Psalm 19:8. 

Matt Bell

[Gabriel Kastelle]

Thanks, Wade, for showing other appearances of the tune.


YIkes!--  I was lazy (better: busy with other priorities)-- for example, didn't even check GP Jackson index for this tune.
...meanwhile, two of the three earlier printings you show are sitting on my shelf !

Let me be more responsible and pull a couple tomes off my shelf.

Yes--  Jackson includes the tune on p. 67 of his Down-East Spirituals...  the page is scribbled over in my own handwriting, so I once knew more about this tune than I remembered yesterday!   Also appears in Southern Harmony later editions.  Jackson doesn't mention the tune's appearance in Wyeth (!).

About the drone, he says:  "I am at a loss to account for this.  Was Davisson trying to reproduce, with voices, a bagpipe effect?  Was the tune originally for that instrument?"

In the 1820 first edition of Davisson's Supplement to the KY Harmony, TRANSPORT appears on p. 76, and includes more text on p. 77.  :-) 

all the way to four verses... first two in previous posting, with slight variants...
continuing here:

3)  My heart's now in heaven to Jesus ascended,
       I'm bound to press on to the mark for the prize,
And when my temptations and trials are ended,
     On wings of bright seraphs my soul will arise,
O Christians !  I'm happy in this contemplation;
     My soul it drinks in the sweet streams of salvation,
I long to be flying that I may be vieing
     with the tallest archangel that shouts in the skies.

4)  Cheer up, ye dear pilgrims, for Canaan's before you;
       We'll scale the bright mountains still shouting free grace;
On Zion's fair borders we'll sing hallelujah,
    And sit in the smiles of Emanuel's face.
To those who there enter there is no returning,
     No sorrow nor sighing, no weeping nor mourning,
But joyfully feasting and shouting and singing,
     All glory to Jesus who bought this free grace.


Thanks, John Granade !

But wait, there's more!

Indeed, in Wyeth's Repository, Pt. II, p. 106 includes on the bottom THE TRANSPORT--
bass and lead only,  meter given as 12 & 11  (hmmm, yes, counting now, that seems right)
and, in TINY font (7 point?  8 point max), a bit smudgy, text runs to six verses...

5)  My soul's full of glory, I'll not stay much longer,
      Bright angels in heaven now call me away,
My spirit in Jesus grows stronger and stronger,
     My soul now exults to behold the glad day.
O Christians, O Christians, O had you not rather
     Be now in full glory with your blessed father
Where clouds and temptations and pain and vexations
     Are all lost forever in perfect bright day.

6)  This moment the angels are hovering round us,
      And joining with mortals to praise their sweet King,
And, waiting for Jesus to call and to crown us,
     To make the bright arches of heaven to ring.
There with our dear Savior, we'll meet one another,
     The wife and the husband, the sister and brother,
In the highest measure of love's sweetest pleasure,
     Salvation thro Jesus, forever we'll sing.

[Gabriel Kastelle]

"White & Davisson--White was evidently Davisson's
way of spelling "Wyeth." "

Ahh!   Too simple--  this makes so much sense!
Jackson said the "White" of "White & Davisson" was unknown,
and it seems too early to be our beloved B.F. ...
...but Wyeth:  yes.

Thanks !

-- Gabriel K. --
New London, CT

[Nikos Pappas]

This tune does appear to be a contrafact of an Irish tune, thus explaining the bagpipe effect.  Three of the sources that I've found the tune in, label it either as an Irish tune, or set an Irish ballad text to this particular tune.  I haven't identified the original source, but I have found three variants of it.  Although most popular in 4-shape collections, I've found it in round-note, four-shape, seven-shape, and numeral tunebooks ranging from New York to Mississippi, with many places in between.  Here is my listing of sources I've found for it.

Nikos Pappas, Lxtgn

TRANSPORT/HEAVENLY CANAAN/WARNER tune family:

 

Tune Variant 1 - 5u13(2)111d5u111d6(5)3            35535556(7)u121

 

THE HEAVENLY CANAAN.

Attribution: Base by D. F.

Source: Deerin Farrer,  The Christian Melodist; containing a selection of tunes in the different metres; together with a great variety of sacred songs and hymns, of approved excellence (Utica: William Williams, 1828).

Compiler Location: Tully Valley, Onandaga County, New York.

Notation: Standard

Key: C major

Parts: 2

 

Tune Variant 2 - 5u1321d656(u1)11d6(5)3            55531356u111

 

WARNER

Attribution: Arr. by J. C. Warner

Source: W. H. Diddle, West Virginia Gems, songs for the revival and social prayer meeting (Pennsboro, W. Va.: Parkersburg Pub. Society, U. B. C., 1870).

Compiler Location: Pennsboro', West Virginia

Notation: 7S

Key: B-flat major

Parts: 3

 

Tune Variant 3 - 5u1321d656u11d6(5)3                        35531356u111

 

THE TRANSPORT

Source: John Wyeth, Wyeth’s Repository of Sacred Music. Part second. Original and selected from the most eminent and approved authors in that science. For the use of Christian churches, singing-schools & private societies.  Together with a plain and concise introduction to the grounds of music, and rules for learners (Harrisburgh, Pa: John Wyeth, 1813)

Compiler Location: Harrisburg, Pennsylvania

Notation: 4S

Key: C major

Parts: 2

 

THE TRANSPORT

Source: James M. Boyd, The Virginia Sacred Musical Repository, being a complete collection of psalm and hymn tunes, original and carefully selected from the most celebrated modern authors, both European and American, and designed for the use of different religious denominations, musical societies and schools in the United States (Winchester, Va: J. Foster, 1818).

Compiler Location: Winchester, Virginia

Notation: 4S

Key: C major

Parts: 2

 

TRANSPORT

Attribution: White and Davisson

Source: Davisson, Ananias, A Supplement To The Kentucky Harmony (Harrisonburg, Va: Printed and sold by the Author, 1820).

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White and Davisson

Source: Davisson, Ananias, A Supplement To The Kentucky Harmony, ed. 2 (Harrisonburg, Va: Printed and sold by the Author, 1820).

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

 

THE TRANSPORT

Source: John Wyeth, Wyeth’s Repository of Sacred Music. Part second. Original and selected from the most eminent and approved authors in that science. For the use of Christian churches, singing-schools & private societies.  Together with a plain and concise introduction to the grounds of music, and rules for learners, ed. 2 (Harrisburgh, Pa: John Wyeth, 1820).

Compiler Location: Harrisburg, Pennsylvania

Notation: 4S

Key: C major

Parts: 2

 

TRANSPORT

Attribution: White & Davisson

Source: Ananias Davisson, Supplement to the Kentucky Harmony, ed. 3 (Harrisonburg, Va: Printed and sold by the Author, 1825)

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White and Davisson

Source: William Moore, Columbian Harmony, or A Choice Collection of Psalm Tunes, Hymns, and Anthems, in Three Parts; the first containing all the plain and easy tunes commonly used in time of divine service; the second, the more elegant pieces suitable for singing societies; and lastly the anthems; selected from the most eminent authors in America (Cincinnati: Morgan, Lodge, and Fisher, 1825).

Compiler Location: Wilson County, Tennessee

Notation: 4S

Key: C major

Parts: 3

 

ERIN GO-BRAGH

Source: Joseph Anthony, Jr., The Western Minstrel, or Ohio Melodist; containing a choice collection of moral, patriotic and sentimental songs, with the appropriate music for each piece in patent notes, carefully selected and affixed thereto; together with instructions for learners. Being well calculated to give a correct knowledge of vocal music: and also designed to assist learners of the instrumental branch of that science (Cincinnati: E. H. Flint, printed at the Cincinnati Journal Office, 1831).

Compiler Location: Clinton County, Ohio

Notation: 4S

Key: C major

Parts: 2

 

TRANSPORT

Source: William R. Rhinehart, The American, or Union Harmonist: or, a Choice Collection of Psalm Tunes, Hymns and Anthems, selected from the most approved authors, and well adapted to all Christian churches, singing-schools, and private families (Chambersburg, PA: Henry Ruby, 1831).

Compiler Location: Hagerstown, Maryland

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, And private societies: Also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners (New Haven, Ct: Nathan Whiting for the Author, 1835).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, And private societies: Also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners, ster. ed. (Spartanburg, S.C.: for the Author, printed by T. K. and P. G. Collins, stereotyped by L. Johnson, Philadelphia, 1838).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Source: John B. Jackson, The Knoxville Harmony of Music Made Easy, which is an interesting selection of Hymns And Psalms, usually sung in churches: selected from the best authors in general use. Also, a variety of anthems; to which is added, a number of original tunes; being entirely new, and well adapted for the use of schools and churches, [ed. 2] (Pumpkintown, Tn: D. and M. Shields and Co., and John B. Jackson, Proprietors: Johnson and Edwards, printers, 1840).

Compiler Location: Pumpkintown, Tennessee

Notation: 4S

Key: C major

Parts: 4

 

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, And private societies: Also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners, new ed., imp. and enl. (Philadelphia: Cowperthwait, 1847).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Source: George Hendrickson, The Union Harmony, or, A Choice Collection of Psalm Tunes, Hymns, and Anthems, on a New System of Musical Notation, in three parts. Selected from the most eminent authors, and well adapted to Christian churches, singing schools, and private societies (Mountain Valley, Va: Joseph Funk and Sons, 1848).

Compiler Location: Midway, Craig County, Virginia

Notation: 4S

Key: C major

Parts: 3

 

NEW CANAAN

Attribution: Irish Air

Source: William Hauser, Hesperian Harp: a collection of psalm and hymn tunes, odes and anthems; and Sunday-school, infant, revival, temperance, patriotic, and moral pieces: containing also a number of Scotch, German, Irish, and other fine compositions. Much new music never before published, and an exposition of the principles of music and of musical composition (Philadelphia: for the Author, 1848).

Compiler Location: Wadley, Georgia

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White & Davisson

Source: Lazarus J. Jones, Southern Minstrel: a collection of psalm and hymn tunes, odes, and anthems: in three parts, selected from eminent authors, together with a number of new tunes, never before published, suited to nearly every metre, and well adapted to churches of every denomination, singing schools, and private societies, with plain rules for learners (Philadelphia: Grigg, Elliot and Co., 1849).

Compiler Location: Jasper County, Mississippi

Notation: 4S

Key: C major

Parts: 3

 

TRANSPORT

Source: George Hendrickson, The Union Harmony, or, A Choice Collection of Psalm Tunes, Hymns, and Anthems, on a New System of Musical Notation, in three parts. Selected from the most eminent authors, and well adapted to Christian churches, singing schools, and private societies, ed. 2 (Mountain Valley, Va: Joseph Funk and Sons, 1850).

Compiler Location: Midway, Craig County, Virginia

Notation: 7S

Key: C major

Parts: 3

 

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, and private societies: also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners, new ed., rev. and imp. (Philadelphia: E.W. Miller, 1854).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

 

IRISH FAVORITE

Source: Lindsey Watson, The Singer's Choice: a collection of tunes, hymns and anthems, original and selected, designed for church and school purposes (Louisville: J.P. Morton and Co., 1854).

Compiler Location: Hart County, Kentucky

Notation: Numeral (Harrison)

Key: C major

Parts: 3

[Benjamin Bath]

Ok, question for the arcane tune spotters amongst us...

123b Cross of Christ.

The melody of this song is note for note the same as the tune used for the English whaling ballad Wings of a Goney. The first verse of the ballad reads as follows:

"Oh if I had the wings of a goney, boys,
I would spread them and fly home.
I would leave old Greenland's icy grounds
for of Right Whales there are none.
And the weather's rough and the winds do blow
And there's little comfort here.
Oh I'd rather be snug in a Deptford Pub
A-drinking of strong beer!"

So here's my question/challenge to everyone out there.

How did L.P. Breedlove, a landlocked plantation owner from Georgia, get a hold of this tune?

Was it originally:

a) a written hymn tune from england, that came over to the USA as a hymn tune and secular sources took it?

b) an all purpose (ballad/fiddle) secular tune that came over with the oral tradition and entered the camp meetings later on?

Also: If it is originally a written hymn tune, are there other examples of it in the shapenote song books that proceeded the SH?

This is your challenge should you chose to accept it!

in music,

Ben Bath

----- Original Message -----
From: "Nikos Pappas" <nikos.a...@gmail.com>
To: gabrie...@gmail.com
Cc: "Wade Kotter" <wadek...@yahoo.com>, trox...@elon.edu, "Fasola Discussions" <fasola-di...@googlegroups.com>
Sent: Thursday, January 20, 2011 9:05:35 AM
Subject: Re: [fasola-discussions] Re: "The Drone"

Nikos Pappas, Lxtgn

TRANSPORT/HEAVENLY CANAAN/WARNER tune family:

THE HEAVENLY CANAAN .

Notation: Standard

Key: C major

Parts: 2

WARNER

Notation: 7S

Key: B-flat major

Parts: 3

THE TRANSPORT

Compiler Location: Harrisburg, Pennsylvania

Notation: 4S

Key: C major

Parts: 2

THE TRANSPORT

Compiler Location: Winchester, Virginia

Notation: 4S

Key: C major

Parts: 2

TRANSPORT

Attribution: White and Davisson

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Attribution: White and Davisson

Source: Davisson, Ananias, A Supplement To The Kentucky Harmony , ed. 2 (Harrisonburg, Va: Printed and sold by the Author, 1820).

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

THE TRANSPORT

Source: John Wyeth, Wyeth’s Repository of Sacred Music. Part second. Original and selected from the most eminent and approved authors in that science. For the use of Christian churches, singing-schools & private societies. Together with a plain and concise introduction to the grounds of music, and rules for learners, ed. 2 (Harrisburgh, Pa: John Wyeth, 1820).

Compiler Location: Harrisburg, Pennsylvania

Notation: 4S

Key: C major

Parts: 2

TRANSPORT

Attribution: White & Davisson

Source: Ananias Davisson, Supplement to the Kentucky Harmony , ed. 3 ( Harrisonburg, Va: Printed and sold by the Author, 1825)

Compiler Location: Harrisonburg, Virginia

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Attribution: White and Davisson

Notation: 4S

Key: C major

Parts: 3

ERIN GO-BRAGH

Notation: 4S

Key: C major

Parts: 2

TRANSPORT

Compiler Location: Hagerstown, Maryland

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Attribution: White and Davison

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, And private societies: Also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners , ster. ed. (Spartanburg, S.C.: for the Author, printed by T. K. and P. G. Collins, stereotyped by L. Johnson, Philadelphia, 1838 ).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Source: John B. Jackson, The Knoxville Harmony of Music Made Easy, which is an interesting selection of Hymns And Psalms, usually sung in churches: selected from the best authors in general use. Also, a variety of anthems; to which is added, a number of original tunes; being entirely new, and well adapted for the use of schools and churches, [ed. 2] (Pumpkintown, Tn: D. and M. Shields and Co., and John B. Jackson, Proprietors: Johnson and Edwards, printers, 1840 ).

Compiler Location: Pumpkintown, Tennessee

Notation: 4S

Key: C major

Parts: 4

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, And private societies: Also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners , new ed., imp. and enl. (Philadelphia: Cowperthwait, 1847).

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Notation: 4S

Key: C major

Parts: 3

NEW CANAAN

Attribution: Irish Air

Compiler Location: Wadley, Georgia

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Attribution: White & Davisson

Notation: 4S

Key: C major

Parts: 3

TRANSPORT

Notation: 7S

Key: C major

Parts: 3

TRANSPORT

Attribution: White and Davison

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, and private societies: also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners , new ed., rev. and imp. (Philadelphia: E.W. Miller, 1854 ).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: C major

Parts: 3

IRISH FAVORITE

Source: Lindsey Watson, The Singer's Choice: a collection of tunes, hymns and anthems, original and selected, designed for church and school purposes ( Louisville: J.P. Morton and Co., 1854).

Compiler Location: Hart County, Kentucky

Notation: Numeral (Harrison)

Key: C major

Parts: 3

[Gabriel Kastelle]

Nikos Pappas--

Do you have all those sources in hand?

Or, more direct question:
can you see whether Hendrickson is the only one to treat this melody with drones in the other part(s) ?

Of all the other sources you mention that I am familiar with / have seen, the other parts are moving parts instead of drone, except only in the Hendrickson.

Curious.

:-)


Thanks!


-- Gabriel Kastelle --

P.S.  ?Irish  bagpipes  ??

[Wade Kotter]

Ben:

I believe versions of "Wings of a Goney"/"Wings of a Gull"/"The Whaler's Lament"
were collected in the early 20th century from whalers in Maine and other parts
of New England, so like many other folk tunes, it might have crossed the
Atlantic quite early. And since there was a lot of movement of people out of New
England in the late 18th and early 19th centuries, perhaps someone who heard the
tune in New England brought it with them to Georgia. In fact, I think there was
some discussion of this tune on the list a while back, but I don't have time to
search for it now. So this is my initial stab in the dark; now I'll turn it over
to those who might even be more arcane than I.

Wade Kotter
South Ogden, UT

[Wade Kotter]

Just Google "Irish Bagpipes" :-)

Wade

>
>From: Gabriel Kastelle <gabrie...@gmail.com>
>
>P.S. ?Irish bagpipes ??

[Thomas Malone]

Hi Ben,

For me the high strain of 123b resembles the opening of the "House
Carpenter" ballad, another nautical theme.

>How did L.P. Breedlove, a landlocked plantation owner from Georgia, get a hold of this tune?<

I think the process by which it happened is like what Wade outlined.

Separatist Baptists, Methodists and others were singing out of little
'word books' in New England, such as Joshua Smith's "Divine Hymns" and
they used whatever tunes were in their ears that fit the words, and
that stirred up the spirit.

Also, those itinerant preachers traveled in wide circuits in those
days and the religious associations stretched from New Hampshire to
South Carolina even in the early 1800's. The country was smaller and a
lot more "vertical".

For example Jeremiah Ingalls has "Weary Traveller" in 1805 in Vermont
and then we find "Traveller" in Southern Harmony, same words and same
melodic outline. Both belong to the "Sheffield Apprentice" ballad type
- to my ear.

Breedlove was clearly a camp-meeting tune 'collector' of some skill,
so he probably had hundreds in his head that he could have written
down. And I am glad for the ones that we have.

The fact that most of the states were "coastal" means that nautical
tunes were known far and wide even in landlocked states like Vermont!

That's my 2-cents...

Tom Malone

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--
Dr. Thomas B. Malone
Assistant Professor of Music
Molloy College
Rockville Centre, NY 11571

[Benjamin Bath]

Thanks Wade and Tom for your thoughts. Those both seem like very plausible explanations.
I guess what's interesting to me about this tune is its complete note for note likeness to the oral source.
Other tunes in the Sacred Harp that are note for note alike to their secular source have semi-popular origins.
The tune of Auld Lang Sine and Rosin the Bow were readily available in sheet music form when they entered the Sacred Harp.
Tunes that have more obscure oral lineages tend to vary more widely between one tune collector and another, hence the "tune families" category.
This tune, however, seems both obscure and to have survived its trip to Georgia intact.
Is there some earlier written source of this tune either as a ballad/fiddle tune, or as a hymn that would explain the intactness?

-Ben

----- Original Message -----
From: "Thomas Malone" <shap...@gmail.com>
To: wadek...@yahoo.com, bb...@bard.edu
Cc: "Fasola Discussions" <fasola-di...@googlegroups.com>

[Wade Kotter]

Ben:

I'm pretty sure I've seen different versions of this tune. What source are you
using that matches Cross of Christ note for note?

Wade

[P. Dan Brittain]

On Thu, Jan 20, 2011 at 8:05 AM, Nikos Pappas <nikos.a...@gmail.com> wrote:

This tune does appear to be a contrafact of an Irish tune, thus explaining the bagpipe effect.  Three of the sources that I've found the tune in, label it either as an Irish tune, or set an Irish ballad text to this particular tune.

Our minister grew up in Ireland and said the tune sounded familiar but he could not place it. He forwarded the tune on to one of our members who is a piper (knows the repertoire and plays both Scots and Irish types). His opinion, based on rhythm patterns, is that is more likely a Scots tune in origin, in this case modified in Appalachia.

--
P. Dan Brittain
Harrison, Arkansas

[Nikos Pappas]

So here is my two cents thrown into the works.  I've found six variants of this tune, dating between 1833 and 1868.  2/3 originate from the west, and 1/3 from the south.  It does not appear to have spread via New England to the southern states, rather a western tune that made its way east.  The earliest version originated from Dayton, Ohio.  The version by L. P. Breedlove would be the second earliest source for this tune.

The connection to waterways is fascinating, because most of the sacred versions of the tune circulated from sources along the Ohio River and Lake Erie.  Perhaps it was a sea chantey that became a sacred tune.  It's form follows many popular songs in its structure as an ABABCC'AB form with a repeated first section and a da capo at the end.  I haven't done research in sea chanteys to be able to answer this one way or the other.  It was associated with camp meeting and revival use, specifically in the west as attested directly by the Miller and Diddle sources.

In regards to sacred tunes and their relationship to secular sources, it was not specifically a one-way street.  Many tunes in the Sacred Harp originated as secular melodies.  However, the opposite happened too.  I found in an 1860 Republican songster in support of Abraham Lincoln and published in Cleveland, a lament on the ineptitude of James Buchanan as president that was set to the following words: Where? O! where is Jimmie Buchanan? etc.  This song obviously referenced the HEBREW CHILDREN.  The Anthony source that I referenced as a printing of TRANSPORT did this same thing through setting ballad texts to shape-note hymns.  Anthony's explanation for this was that all he had were word book copies of ballad texts but had no ballad tunes to set them to.  So his only option to sing these texts was to fit them to the tunes he knew best, which were shape-note tunes.  I do not mean to say that it isn't possible that this tune started as a secular tune and became appropriated into a sacred context, only that this point of origin is not the only possibility, particularly when secular appropriations of sacred material were common enough in the Ohio River Valley to create a publishing market for such a thing.

Nikos Pappas, Lxgtn

Here are my six variants and their respective sources:

 

Tune Variant 1:            1(2)3(4)52(3)4(3)11(d7)5                        7(u1)24521

 

HUBBARD

Source: Amos Sutton Hayden, The Sacred Melodeon, containing a great variety of the most approved church music, selected chiefly from the old standard authors, with many original compositions. On a new system of notation. Designed for the use of churches, singing societies, and academies (Pittsburgh: Wm. Overend & Co., 1848).

Compiler Location: Euclid, Ohio

Notation: 7S

Key: F-sharp minor

Parts: 4

 

Tune Variant 2:                        13(4)52(3)4(2)1(2)1(d7)5                        7(u1)24521

 

REDEEMING LOVE

Source: George Miller, The Methodist Camp-Meeting Hymn Book: containing a variety of almost entire new tunes, the most of which have been set in order by the compiler, and are confidently recommended to Christians of every denomination, as calculated to be used either in times of public worship, private societies, or camp meeting; and especially in times of revivals, &c. (Dayton: B.F. Ellis, 1833).

Compiler Location: Dayton, Ohio

Notation: 4S

Key: A minor

Parts: 3

 

Tune Variant 3:                        13(4)52(3)4(3)11(d7)5                        7(u1)24521

 

HUBBARD

Source: Silas W[hite] Leonard and A[ugustus] D[amon] Fillmore, The Christian Psalmist, a collection of tunes and hymns, of various metres, original and selected: for the use of the church of God, Bible classes, and singing societies, embracing the round note, the numeral, and the patent note systems of notation, rev. and enl. ed. (Cincinnati: E. Shepard, 1850).

Compiler Location: New Albany, Indiana and Cincinnati, Ohio

Notation: Numeral (Harrison)

Key: A minor

Parts: 2

 

Tune Variant 4:                        13(4)52(3)4(3)11(d7)5                        7u24521

 

HUBBARD

Source: W. H. Diddle, The West Virginia Lute. Designed for social, revival, Sunday-School and miscellaneous meetings, ed. 2 (Parkersburg, W.V.: The Parkersburg Publishing Society of the United Brethren in Christ; Singer’s Glen, Va: Joseph Funk’s Sons, printers, 1868).

Compiler Location: Pennsboro', West Virginia

Notation: 7S

Key: F-sharp minor

Parts: 3

 

HUBBARD

Source: W. H. Diddle, The West Virginia Lute. Designed for social, revival, Sunday-School and miscellaneous meetings, ed. 3, (Parkersburg, W.V.: The Parkersburg Publishing Society of the United Brethren in Christ; Singer’s Glen, Va: Joseph Funk’s Sons, printers, 1870).

Compiler Location: Pennsboro', West Virginia

Notation: 7S

Key: F-sharp minor

Parts: 3

 

Tune Variant 5:                        1352(3)4(2)11(d7)5                        7(u1)24521

 

EMORY

Attribution: Arranged by Wm. Houser

Source: William Hauser, Hesperian Harp: a collection of psalm and hymn tunes, odes and anthems; and Sunday-school, infant, revival, temperance, patriotic, and moral pieces: containing also a number of Scotch, German, Irish, and other fine compositions. Much new music never before published, and an exposition of the principles of music and of musical composition (Philadelphia: for the Author, 1848).

Compiler Location: Wadley, Georgia

Notation: 4S

Key: A minor

Parts: 3

 

Tune Variant 6:                        13524(2)11(d7)5                        7(u1)24521

 

CROSS OF CHRIST

Attribution: L. P. Breedlove

Source: B. F. White, and E. J. King, The Sacred Harp, a collection of psalm and hymn tunes, odes, and anthems, selected from the most eminent authors: together with nearly one hundred pieces never before published; suited to most metres, and well adapted to churches of every denomination, singing schools, and private societies. With plain rules for learners (Philadelphia: B. F. White and Joel King, 1844).

Compiler Location: Hamilton, Georgia

Notation: 4S

Key: G minor

Parts: 3

 

REDEEMING GRACE

Source: L[azurus]. J. Jones, Southern Minstrel: a collection of psalm and hymn tunes, odes, and anthems: in three parts, selected from eminent authors, together with a number of new tunes, never before published, suited to nearly every metre, and well adapted to churches of every denomination, singing schools, and private societies, with plain rules for learners (Philadelphia: Grigg, Elliot and Co., 1849).

Compiler Location: Jasper County, Mississippi

Notation: 4S

Key: G minor

Parts: 3

 

CROSS OF CHRIST

Attribution: L. P. Breedlove

Source: William Walker, The Southern Harmony, And Musical Companion: containing a choice collection of tunes, hymns, psalms, odes, and anthems: selected from the most eminent authors in the United States: together with nearly one hundred new tunes, which have never before been published; suited to most of the metres contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to Christian churches of every denomination, singing schools, and private societies: also, an easy introduction to the grounds of music, the rudiments of music, and plain rules for beginners, new ed., rev. and imp. (Philadelphia: E.W. Miller, 1854).

Compiler Location: Spartanburg, South Carolina

Notation: 4S

Key: G minor

Parts: 3

 

CROSS OF CHRIST

Attribution: L. P. Breedlove. Alto by Wm. Walker

Source: William Walker, The Christian Harmony: in the seven-syllable character note system of music; being the most successful, natural, and easy method of acquiring a knowledge of this art; saving to the learner an immense amount of time and labor, thus placing the science of music within the reach of every person; containing the choicest collection of hymn and psalm tunes, odes and anthems, selected from the best authors in Europe and America; together with a large number of new tunes, from eminent composers, never before published, Embracing a Great Variety of Metres suited to the various hymn and psalm book used by the different denominations of Christians; adapted to the use of singing schools, choirs, social and private singing societies: also a copious elucidation of the science of vocal music, and plain rules for beginners, ed. 2 (Philadelphia: Miller’s Bible and Publishing House, 1873).

Compiler Location: Spartanburg, Sourth Carolina

Notation: 7S

Key: G minor

Parts: 4

[Nikos Pappas]

The only other source to have the parts "drone" is in the Diddle book.  However, the notation is different - the treble and bass parts are written syllabically but held on one note.  So it's really a pedal tone and not a drone.  I wonder if this syllabic rendering as a pedal tone was the actual performing convention and not a drone per se.  In this instance, it would imitate the conventions of Anglican chant, which was notated almost identically in period sources.  Anglican chant became a popular recreation outside of the denominantion and was popular among musical and theological reformers of the day.  I've even found a Virginia sheet music publication from 1860 that set the Declaration of Independence as an Anglican chant!

Nikos Pappas, Lxgtn

[Wade Kotter]

Nick:

I think this is worth a lot more than two cents. Anyway, would you agree with
Tom Malone that there is a similarity between Cross of Christ and the "House
Carpenter" tune family, which according to Bronson ("The Traditional Tunes of
the Child Ballads", vol. 3, pp. 429-496, Child Ballad #243) has a long history
in both the British Isles and America. In line with Tom's observation, I see
that the note at the bottom of the following web page suggests that one of the
tunes used for "Wings of a Gull" aka "Wings of a Goney" is a combination (dare I
say cento?) of "House Carpenter" and "Ten Thousand Miles":

http://www.traditionalmusic.co.uk/song-midis/Wings_of_a_Gull.htm

If Cross of Christ is indeed related to "House Carpenter" and "Ten Thousand
Miles", and I do hear a similarity but not a note to note match, then the 1833
Miller printing is the earliest know American printing of this tune with a
sacred text, but the tune or tunes upon which it is based go back much further
in time and presumably had a broader geographic distribution. As to where
Breedlove got his tune, I see in "Makers of the Sacred Harp" that Breedlove ran
a hotel in Talbotton, GA from 1838-1840. Seems like a possible context in which
he could have heard someone sing the tune that later became Cross of Christ,
although revival/camp meetings is obviously another possibility.

Wade Kotter
South Ogden, UT

>
>From: Nikos Pappas <nikos.a...@gmail.com>
>To: wadek...@yahoo.com
>Cc: Benjamin Bath <bb...@bard.edu>; Thomas Malone <shap...@gmail.com>; Fasola

>Discussions <fasola-di...@googlegroups.com>
>Sent: Fri, January 21, 2011 11:28:00 AM
>Subject: Re: [fasola-discussions] tune-spotting...
>

>So here is my two cents thrown into the works. I've found six variants of this

>tune, dating between 1833 and 1868. 2/3 originate from the west, and 1/3 from
>the south. It does not appear to have spread via New England to the southern
>states, rather a western tune that made its way east. The earliest version
>originated from Dayton, Ohio. The version by L. P. Breedlove would be the
>second earliest source for this tune.
>
>The connection to waterways is fascinating, because most of the sacred versions

>of the tune circulated from sources along the Ohio River and Lake Erie. Perhaps
>
>
>it was a sea chantey that became a sacred tune. It's form follows many popular

>songs in its structure as an ABABCC'AB form with a repeated first section and a

>da capo at the end. I haven't done research in sea chanteys to be able to
>answer this one way or the other. It was associated with camp meeting and
>revival use, specifically in the west as attested directly by the Miller and
>Diddle sources.
>
>In regards to sacred tunes and their relationship to secular sources, it was not
>
>

>specifically a one-way street. Many tunes in the Sacred Harporiginated as

>secular melodies. However, the opposite happened too. I found in an 1860
>Republican songster in support of Abraham Lincoln and published in Cleveland, a

>lament on the ineptitude of James Buchanan as president that was set to the
>following words: Where? O! where is Jimmie Buchanan? etc. This song obviously
>referenced the HEBREW CHILDREN. The Anthony source that I referenced as a
>printing of TRANSPORT did this same thing through setting ballad texts to
>shape-note hymns. Anthony's explanation for this was that all he had were word

>book copies of ballad texts but had no ballad tunes to set them to. So his only
>
>
>option to sing these texts was to fit them to the tunes he knew best, which were
>
>
>shape-note tunes. I do not mean to say that it isn't possible that this tune
>started as a secular tune and became appropriated into a sacred context, only
>that this point of origin is not the only possibility, particularly when secular
>
>
>appropriations of sacred material were common enough in the Ohio River Valley to
>
>
>create a publishing market for such a thing.
>
>Nikos Pappas, Lxgtn
>
>Here are my six variants and their respective sources:
>
>
>
>Tune Variant 1: 1(2)3(4)52(3)4(3)11(d7)5
>7(u1)24521
>
>HUBBARD
>Source: Amos Sutton Hayden, The Sacred Melodeon, containing a great variety of
>the most approved church music, selected chiefly from the old standard authors,

>with many original compositions. On a new system of notation. Designed for the

>use of churches, singing societies, and academies(Pittsburgh: Wm. Overend & Co.,

>
>
>1848).
>Compiler Location: Euclid, Ohio
>Notation: 7S
>Key: F-sharp minor
>Parts: 4
>
>Tune Variant 2: 13(4)52(3)4(2)1(2)1(d7)5
> 7(u1)24521
>
>REDEEMING LOVE

>Source: GeorgeMiller,The Methodist Camp-Meeting Hymn Book: containing a variety

>of almost entire new tunes, the most of which have been set in order by the
>compiler, and are confidently recommended to Christians of every denomination,
>as calculated to be used either in times of public worship, private societies,

>or camp meeting; and especially in times of revivals, &c.(Dayton: B.F. Ellis,

>1833).
>Compiler Location: Dayton, Ohio
>Notation: 4S
>Key: A minor

>Parts: 3
>
>Tune Variant 3: 13(4)52(3)4(3)11(d7)5
> 7(u1)24521
>
>HUBBARD
>Source: Silas W[hite] Leonardand A[ugustus] D[amon]Fillmore, The Christian

>Psalmist, a collection of tunes and hymns, of various metres, original and
>selected: for the use of the church of God, Bible classes, and singing
>societies, embracing the round note, the numeral, and the patent note systems of
>
>

>notation, rev. and enl. ed.(Cincinnati: E. Shepard, 1850).

>Compiler Location: New Albany, Indiana and Cincinnati, Ohio
>Notation: Numeral (Harrison)
>Key: A minor
>Parts: 2
>
>Tune Variant 4: 13(4)52(3)4(3)11(d7)5
> 7u24521
>
>HUBBARD
>Source: W. H. Diddle, The West Virginia Lute. Designed for social, revival,

>Sunday-School and miscellaneous meetings,ed. 2(Parkersburg, W.V.: The

>Parkersburg Publishing Society of the United Brethren in Christ; Singer’s Glen,

>Va: Joseph Funk’s Sons, printers, 1868).

>Compiler Location: Pennsboro', West Virginia
>Notation: 7S

>Key: F-sharp minor
>Parts: 3
>
>HUBBARD
>Source: W. H. Diddle, The West Virginia Lute. Designed for social, revival,

>Sunday-School and miscellaneous meetings, ed. 3,(Parkersburg, W.V.: The

>Parkersburg Publishing Society of the United Brethren in Christ; Singer’s Glen,

>Va: Joseph Funk’s Sons, printers, 1870).

>Compiler Location: Pennsboro', West Virginia
>Notation: 7S

>Key: F-sharp minor
>Parts: 3
>
>Tune Variant 5: 1352(3)4(2)11(d7)5
>
>
>7(u1)24521
>
>EMORY
>Attribution: Arranged by Wm. Houser

>Source: WilliamHauser, Hesperian Harp: a collection of psalm and hymn tunes,

>odes and anthems; and Sunday-school, infant, revival, temperance, patriotic, and
>
>
>moral pieces: containing also a number of Scotch, German, Irish, and other fine

>compositions. Much new music never before published, and an exposition of the
>principles of music and of musical composition (Philadelphia: for the Author,
>1848).
>Compiler Location: Wadley, Georgia
>Notation: 4S

>Key: A minor
>Parts: 3
>
>Tune Variant 6: 13524(2)11(d7)5
>7(u1)24521
>
>CROSS OF CHRIST
>Attribution: L. P. Breedlove

>Source: B.F. White, and E. J. King,The Sacred Harp, a collection of psalm and
>hymn tunes, odes, and anthems, selected from the most eminent authors: together

>with nearly one hundred pieces never before published; suited to most metres,

>and well adapted to churches of every denomination, singing schools, and private
>
>

>societies. With plain rules for learners(Philadelphia: B. F. White and Joel

>King, 1844).
>Compiler Location: Hamilton, Georgia
>Notation: 4S
>Key: G minor
>Parts: 3
>
>REDEEMING GRACE

>Source: L[azurus]. J. Jones, Southern Minstrel: a collection of psalm and hymn

>tunes, odes, and anthems: in three parts, selected from eminent authors,
>together with a number of new tunes, never before published, suited to nearly
>every metre, and well adapted to churches of every denomination, singing
>schools, and private societies, with plain rules for learners (Philadelphia:
>Grigg, Elliot and Co., 1849).
>Compiler Location: Jasper County, Mississippi
>Notation: 4S

>Key: G minor
>Parts: 3
>
>CROSS OF CHRIST
>Attribution: L. P. Breedlove

>Source: WilliamWalker,The Southern Harmony, And Musical Companion: containing a

>choice collection of tunes, hymns, psalms, odes, and anthems: selected from the

>most eminent authors in the United States: together with nearly one hundred new

>tunes, which have never before been published; suited to most of the metres
>contained in Watts’s Hymns And Psalms, Mercer’s Cluster, Dossey’s Choice, Dover

>Selection, Methodist Hymn Book, and Baptist Harmony; and well adapted to
>Christian churches of every denomination, singing schools, and private
>societies: also, an easy introduction to the grounds of music, the rudiments of

>music, and plain rules for beginners, new ed., rev. and imp. (Philadelphia: E.W.
>
>
>Miller, 1854).
>Compiler Location: Spartanburg, South Carolina
>Notation: 4S

>Key: G minor
>Parts: 3
>
>CROSS OF CHRIST
>Attribution: L. P. Breedlove. Alto by Wm. Walker

>Source: WilliamWalker, The Christian Harmony: in the seven-syllable character

>note system of music; being the most successful, natural, and easy method of
>acquiring a knowledge of this art; saving to the learner an immense amount of
>time and labor, thus placing the science of music within the reach of every
>person; containing the choicest collection of hymn and psalm tunes, odes and
>anthems, selected from the best authors in Europe and America; together with a
>large number of new tunes, from eminent composers, never before published,
>Embracing a Great Variety of Metres suited to the various hymn and psalm book
>used by the different denominations of Christians; adapted to the use of singing
>
>
>schools, choirs, social and private singing societies: also a copious

>elucidation of the science of vocal music, and plain rules for beginners, ed.
>2(Philadelphia: Miller’s Bible and Publishing House, 1873).

>Compiler Location: Spartanburg, Sourth Carolina
>Notation: 7S
>Key: G minor
>Parts: 4
>

[Richard Hulan]

Seems to me, the assumption that the whaling song is older than the camp-meeting song should at least be supported by an indication of its earlier collection, transcription, publication or whatever in that note-for-note matching "oral source." So far, I don't think Benjamin or anyone else has actually bothered to do that. (I may have napped through it; if so, 'scuse me.)

Dick Hulan
Spfld VA

[Benjamin Bath]

Hi guys,

Thanks for the thoughts/research and ditto what Wade said about Nick's fount of information.

The oldest record of the words to the whaling ballad are from the "Ocean Rover" log book of 1859. The collection that has the tune is either "Songs the Whalemen Sang" by Gale Huntington or "Shanties and Sailor Songs" by Stan Hugill. I don't have either within 140 miles of me so I can't verify which one has the tune, or its claimed point of origin.

Here's the oral tune that was collected and has since been sung to Wings of a Goney by sea shanty revivalists throughout the country:

|| || || ||| | || || || fin.|| # || || # d.c.
minor 4/4 :12|355242|121d7d5u12|345542|1--:55|5476|542155|5476|5-- (numbers with line = eighth note. #= sharp. := repeat)

It's the same tune with a few flourishes. Question for Nick: do the tune examples you cite have 'cc' parts?

-Ben

[NICHOLAS PASQUAL]

 
It might be nice to pin Leonard Breedlove's source for this tune more precisely, but surely we can infer a great deal about transmission of tunes & verses just from the history & literature of the period.  All travel from Europe to the New World, all immigration, all commerce, was by sea.  Virtually all who went down to the sea in ships would have heard the chanteys.  The sailor as wanderer was a stock character in literature. as was the innkeeper.  Some sailors were pressed into service & would have been happy to get as far from the sea as possible.  Even if immigrants never went asailing after the privation and nausea of the Atlantic crossing, they would have picked up tunes & verses at sea & carried them on their land journeys.    Some immigrants paid part or all of their passage by working aboard ship, and 'heave away, haul away'  would not have been an abstraction to them.
 
The Spiritual Sailor, presumably a contribution from the Shakers, analogizes the spiritual journey to precisely that experience:  
 

Many have been impatient to work their passage through ....
 

(Revised Cooper Edition 2006, p. 150 and J.L White Edition, 2007, p. 150.  (Thanks, Blue and White books, for keeping this song available!))

 

So it is hardly surprising that these songs might have been known far from the Atlantic, by farmers and tanners and preachers in Cincinnati or West Georgia, and passed into the sacred repertory in such places. 

 

For the scholarship and fascinating information & exchanges in this string, thanks to all. 

 

Nicholas Pasqual

Frigid-by-the-Inland-Sea Chicago

 

 

---

Date: Fri, 21 Jan 2011 13:28:00 -0500
Subject: Re: [fasola-discussions] tune-spotting...
From: nikos.a...@gmail.com
To: wadek...@yahoo.com
CC: bb...@bard.edu; shap...@gmail.com; fasola-di...@googlegroups.com

[Robert Vaughn]

--- On Sat, 1/22/11, NICHOLAS PASQUAL <npas...@msn.com> wrote:

> The Spiritual Sailor, presumably a contribution from the Shakers,
> analogizes the spiritual journey to precisely that experience:  

> Many have been impatient to work their passage through ....
> (Revised Cooper Edition 2006, p. 150 and J.L White Edition,
> 2007, p. 150.  (Thanks, Blue and White books,
> for keeping this song available!))
 

A very nice tune! May your mention of it help call more attention to it.

Robert Vaughn
Mount Enterprise, TX

[Wade Kotter]

This is a great tune. The more we call attention to it the better.

Wade

----- Original Message ----
> From: Robert Vaughn <rl_v...@yahoo.com>
> To: fasola-di...@googlegroups.com; npas...@msn.com
> Sent: Sat, January 22, 2011 12:36:14 PM
> Subject: Re: [fasola-discussions] tune-spotting...
>

[Carol Medlicott]

I'll weigh in, since Shakers have been mentioned!

Yes, the origins of Spiritual Sailor are Shaker.  It appears in an abundance of Shaker manuscripts, as well as the Shakers' first printed hymnal, Millennial Praises (1813), and it is attributed to Richard McNemar, the New Light Presbyterian KY Revival preacher who converted to the Shakers in May 1805.  Few of earliest Shaker hymn manuscripts record tunes; as in other sects, it was common to hold tunes in oral tradition.  By the 1830s, there was an awareness of the need to record the tunes of "ancient" hymns, meaning from the founding generation, before knowledge of those tunes died along with the founding generation itself.  So a lot of manuscripts of that period collect those "ancient" tunes in the letteral notation developed by the Shakers.  One such manuscript is the massive bound hymn book compiled in 1845 by Russel Haskell of Enfield, CT, which is now in the Library of Congress.  The text and tune for Spiritual Sailor are found on p222, titled "Voyage to Canaan." 

  Many of us Shaker music scholars suspect that the popular seafaring metaphor may have had particular resonance with the Shakers, given the experience of Ann Lee and her original English followers fleeing England on the ship "Mariah."  The Shakers passed down stories of semi-miraculous experiences of those founders aboard that ship - an angel seen at the helm in a storm, and so forth. In any case, several of the early Shaker hymn writers who were Ohio/Kentucky residents and had possibly never seen the ocean used it nonetheless.

  Daniel Patterson notes that William Hauser claims in Olive Leaf that Old Ship of Zion was written by his uncle Samuel, a Shaker at Pleasant Hill from 1808 until his death in the 1850s (Patterson, Shaker Spiritual, p461 n7). Obviously, another seafaring metaphor hymn.

Carol Medlicott

-----Original Message-----
From: fasola-di...@googlegroups.com on behalf of NICHOLAS PASQUAL
Sent: Sat 1/22/2011 1:24 PM
To: fasola-di...@googlegroups.com
Cc: nikos.a...@gmail.com; wadek...@yahoo.com; bb...@bard.edu; tom malone
Subject: [fasola-discussions] tune-spotting...



It might be nice to pin Leonard Breedlove's source for this tune more precisely, but surely we can infer a great deal about transmission of tunes & verses just from the history & literature of the period.  All travel from Europe to the New World, all immigration, all commerce, was by sea.  Virtually all who went down to the sea in ships would have heard the chanteys.  The sailor as wanderer was a stock character in literature. as was the innkeeper.  Some sailors were pressed into service & would have been happy to get as far from the sea as possible.  Even if immigrants never went asailing after the privation and nausea of the Atlantic crossing, they would have picked up tunes & verses at sea & carried them on their land journeys.    Some immigrants paid part or all of their passage by working aboard ship, and 'heave away, haul away'  would not have been an abstraction to them.

The Spiritual Sailor, presumably a contribution from the Shakers, analogizes the spiritual journey to precisely that experience: 


Many have been impatient to work their passage through ....

(Revised Cooper Edition 2006, p. 150 and J.L White Edition, 2007, p. 150.  (Thanks, Blue and White books, for keeping this song available!))

So it is hardly surprising that these songs might have been known far from the Atlantic, by farmers and tanners and preachers in Cincinnati or West Georgia, and passed into the sacred repertory in such places. 

For the scholarship and fascinating information & exchanges in this string, thanks to all. 



Nicholas Pasqual
Frigid-by-the-Inland-Sea Chicago

Date: Fri, 21 Jan 2011 13:28:00 -0500
Subject: Re: [fasola-discussions] tune-spotting...
From: nikos.a...@gmail.com
To: wadek...@yahoo.com
CC: bb...@bard.edu; shap...@gmail.com; fasola-di...@googlegroups.com

So here is my two cents thrown into the works.  I've found six variants of this tune, dating between 1833 and 1868.  2/3 originate from the west, and 1/3 from the south.  It does not appear to have spread via New England to the southern states, rather a western tune that made its way east.  The earliest version originated from Dayton, Ohio.  The version by L. P. Breedlove would be the second earliest source for this tune.The connection to waterways is fascinating, because most of the sacred versions of the tune circulated from sources along the Ohio River and Lake Erie.  Perhaps it was a sea chantey that became a sacred tune.  It's form follows many popular songs in its structure as an ABABCC'AB form with a repeated first section and a da capo at the end.  I haven't done research in sea chanteys to be able to answer this one way or the other.  It was associated with camp meeting and revival use, specifically in the west as attested directly by the Miller and Diddle sources.In regards to sacred tunes and their relationship to secular sources, it was not specifically a one-way street.  Many tunes in the Sacred Harp originated as secular melodies.  However, the opposite happened too.  I found in an 1860 Republican songster in support of Abraham Lincoln and published in Cleveland, a lament on the ineptitude of James Buchanan as president that was set to the following words: Where? O! where is Jimmie Buchanan? etc.  This song obviously referenced the HEBREW CHILDREN.  The Anthony source that I referenced as a printing of TRANSPORT did this same thing through setting ballad texts to shape-note hymns.  Anthony's explanation for this was that all he had were word book copies of ballad texts but had no ballad tunes to set them to.  So his only option to sing these texts was to fit them to the tunes he knew best, which were shape-note tunes.  I do not mean to say that it isn't possible that this tune started as a secular tune and became appropriated into a sacred context, only that this point of origin is not the only possibility, particularly when secular appropriations of sacred material were common enough in the Ohio River Valley to create a publishing market for such a thing.Nikos Pappas, Lxgtn

[Don Wiley]

http://www.oldfieldssingers.com/where-we-go-2010-reports/

About halfway down the page is an mp3 from the class on The Drone that
Jonathan Smith led at Camp DoReMi. If I recall correctly, Billy
Hollingsworth led the last song.

On Jan 10, 12:34 am, Will Fitzgerald <will.fitzger...@gmail.com>
wrote:
> I finally found an example on the web of "the drone," done in Hoboken
> style. It is "segment 3" on this page:
>

[Wade Kotter]

Here's a direct link to "The Drone" mp3:

http://www.oldfieldssingers.com/app/download/2092769403/Drone.mp3?t=1287442798

It worked for me; hopefully it will work for you.

Wade Kotter
South Ogden, UT