Part 11
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
To see a pilgrim as he dies, With glory in his view; To heav'n he lifts his longing eyes And bids the world adieu. While friends are weeping all around, And loth to let him go, He shouts with his expiring breath, And leaves them all below.
O Christians, are you ready now, To cross the rolling flood? On Canaan's happy shore to stand, And see your smiling God? The dazzling charms of that bright world Attract my soul above; My tongue shall shout redeeming grace, When perfected in love.
Come on, my brethren in the Lord, Whose hearts are join'd in one; Hold up your heads with courage bold, Your race is almost run: Above the clouds behold Him stand, And smiling bid you come; And angels whisper you away, To your eternal home.
"This enrapturing song [the text] was written by Rev. Jno. Adam Granade, about 1802", the compiler of the _Olive Leaf_ says. And he adds, "Structure of this air learned of a negro, Mark Hull, 1843." The tune belongs to the 'Hallelujah' group, which see for many related tunes.
No. 119 TO BE WITH CHRIST, REV 14
Hexatonic, mode 2 b (I -- 3 IV V 6 7)
[Music]
This world is beautiful and bright, O scarce one cloud has dimmed my sky, And yet no gloomy shades of night Are gath'ring 'round me though I die; Yet there's a lovelier land of light, Illum'd by Bethle'm's beaming star; E'en now it bursts upon my sight, To be with Christ is better far.
True, life is sweet and friends are dear, And youth and health are pleasant things; Yet, leave I all, without a tear, No sad regret my bosom wrings. The ties of earth are broken all, My chainless soul, above yon star, Shall wing its way beyond recall, To be with Christ is better far.
And is this death? My soul is calm, No sting is here, the strife is done; Glory to God and to the Lamb! Sweet triumph! I have won, I've won! A crown immortal, robes of white, For me, for me in waiting are; Arrayed in glory, clothed in light, To be with Christ is better far.
One more stanza of the text is in the _Revivalist_. The tune is notated "as sung by Rev. B. I. Ives."
No. 120 DEVOTION, OSH 48
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Sweet is the day of sacred rest; No mortal cares shall seize my breast; O may my heart in tune be found, Like David's harp of solemn sound.
Then shall I share a glorious part, When grace hath well refined my heart, And fresh supplies of joy are shed, Like holy oil, to cheer my head.
Then shall I see, and hear, and know All I desired and wished below; And ev'ry power find sweet employ, In that eternal world of joy.
Watts wrote the words. The tune is ascribed in the _Sacred Harp_ to Americk Hall. Found also, MOH 34, GCM 91, SOH 13, UH 48, WP 17, SKH 9, GOS 548; and in _Social Hymn and Tune Book_ (Philadelphia, 1865) under the title 'Penitent'.
In JFSS, viii., 72, Miss Gilchrist calls attention to the likeness of the above tune to Sharp's Appalachian versions of 'Little Musgrave and Lady Barnard'. She also notes Miss Broadwood's discovery of its likeness to two Gaelic tunes, 'Tearlach Og' in the _Gesto Collection_, and 'Muile nam Morbheann' in the _Celtic Lyre_. I append also 'Lost Babe', Sharp, ii., 161, as a further relative.
No. 121 TENDER CARE, GOS 291
Hexatonic, mode 1 b (I II -- IV V VI 7)
[Music]
When all thy mercies, O my God, My rising soul surveys, Transported with the view, I'm lost In wonder, love and praise. Unnumber'd comforts on my soul Thy tender care bestow'd, Before my infant soul conceiv'd From whom those comforts flow'd.
When in the slippery paths of youth, With heedless steps I ran, Thine arm, unseen, conveyed me safe, And led me up to man. Ten thousand thousand precious gifts My daily thanks employ; Nor is the least a cheerful heart, That tastes those gifts with joy.
Through every period of my life, Thy goodness I'll pursue; And after death in distant worlds, The pleasing theme renew. In all eternity to Thee A grateful song I'll raise; But! O eternity's too short To utter all thy praise.
Ascribed to P. M. Atchley who was a singing-school man in eastern Tennessee in the early part of the nineteenth century. The tune belongs to the 'Hallelujah' family. See the song by that name in this collection for many related melodies.
No. 122 REFLECTION, MOH 444
Hexatonic, mode 1 b (I II -- IV V VI 7)
[Music]
No sleep nor slumber to his eyes, Good David would afford, Till he had found below the skies A dwelling for the Lord, A dwelling for the Lord.
The Lord in Zion placed his name, His ark was settled there; And there th'assembled nation came, To worship twice a year, To worship twice a year.
We trace no more those toilsome ways, Nor wander far abroad; Where e'er thy people meet for praise, There is a house for God, There is a house for God.
The tune is usually attributed to Davisson, and this probably as a result of Davisson's own claim in the _Kentucky Harmony_. Found also, KYH 42, UH 31, KNH 22, HOC 13, WP 36.
No. 123 PISGAH, OSH 58
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Jesus, thou art the sinner's friend, As such I look on thee, Now in the bowels of thy love, O Lord remember me. O Lord remember me, O Lord remember me; Now in the bowels of thy love, O Lord remember me.
Remember thy pure words of grace, remember Calvary, Remember all thy dying groans, and then remember me. O Lord remember me, O Lord remember me; Remember all thy dying groans, and then remember me.
Thou wondrous advocate with God, I yield myself to thee, While thou art sitting on thy throne, O Lord remember me. O Lord remember me, O Lord remember me; While thou art sitting on thy throne, O Lord remember me.
And when I close my eyes in death, and creature helps all flee, Then O my great Redeemer, God, I pray remember me. I pray remember me, I pray remember me; Then O my great Redeemer, God, I pray remember me.
The poem is attributed in the _Sacred Harp_ to Richard Burnham. The tune there, and generally in the southern books, is credited to J. C. Lowry. Found also, MOH 59, GCM 104, SOH 80, UH 23, KNH 56, HH 112, SOC 205, WP 83, TZ 92, SKH 25, GOS 311. A negro spiritual inspired by this song is 'Lord, Remember Me', SS 12, No. 15. Miss Gilchrist sees in 'Pisgah' a variant of 'Little Musgrave and Lady Barnard' as found in the Appendix of Motherwell, _Minstrelsy_, and later published in Chappell's _Popular Music_. (See JFSS, viii., 61-95.) Despite the apparently English source of 'Pisgah', the _Methodist Hymn Book_ of England reproduces the tune under the title 'Covenanters' and calls it "an American Melody."
No. 124 GAINES, HH 122
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
O for a thousand tongues to sing, My great Redeemer's praise! The glories of my God and King, The triumphs of his grace, The triumphs of his grace.
My gracious Master and my God, Assist me to proclaim, To spread through all the earth abroad The honors of thy name, The honors of thy name.
Jesus! the name that charms our fears, That bids our sorrows cease; 'Tis music in the sinner's ears, 'Tis life and health and peace, 'Tis life and health and peace.
Charles Wesley wrote the words. William Hauser, _Hesperian Harp_ compiler, claims the tune. For melodic similarities in other spiritual songs see 'One More River to Cross', in this collection; 'Cherry Tree Carol', Sharp, i., 92 and 93; and 'Geordie', Sharp, i., 240.
No. 125 HUMBLE PENITENT, SKH 14
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Stay, thou insulted spirit, stay! Though I have done thee such despite, Cast not a sinner quite away, Nor take thine everlasting flight.
Though I have most unfaithful been, of all whoe'er thy grace received; Ten thousand times thy goodness seen, ten thousand times thy goodness griev'd.
But O, the chief of sinners spare, in honor of my great priest; Nor in thy righteous anger swear I shall not see thy people rest.
If yet thou canst my sins forgive, e'en now, O Lord, relieve my woes; Into thy rest of love receive, and bless me with the calm repose.
E'en now my weary soul release, and raise me by thy gracious hand; Guide me into thy perfect peace, and bring me to the promis'd land.
Davisson, the compiler of the _Supplement to the Kentucky Harmony_, claims this tune. It is similar to 'The Bird Song', Sharp, ii., 215. For other tune relationships see 'I Will Arise' in this collection.
No. 126 CHARMING NAME, CHH 90
Heptatonic ionian, mode 3 A b (I II III IV V VI VII)
[Music]
Jesus, I love thy charming name, 'Tis music to my ear; Fain would I sound it out so loud That earth and heav'n should hear, That earth and heav'n should hear.
Yes, thou art precious to my soul, My transport and my trust; Jewels, to thee, are gaudy toys, And gold is sordid dust.
I'll speak the honors of thy name With my last lab'ring breath; Then speechless clasp thee in mine arms, The antidote of death.
The notated form of this tune (the work is claimed by, and is doubtless that of, William Walker) illustrates excellently the manner of singing in rural America in earlier times. See also WS, p. 211 f.
No. 127 BALM IN GILEAD, REV 15
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
How lost was my condition Till Jesus made me whole There is but one Physician Can cure a sin-sick soul.
There's a balm in Gilead to make the wounded whole; There's pow'r enough in Jesus to cure a sin-sick soul.
I have reproduced the notation of the _Revivalist_ tune with all its mistakes. A fuller text is given under 'Good Physician' in this collection. A negro version entitled 'There is a Balm in Gilead' is given in Dett, p. 88. Another is in Work, p. 43.
No. 128 PLENARY, SOH 262
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Hark, from the tombs a doleful sound, Mine ears, attend the cry; "Ye living men, come view the ground, Where you must shortly lie, Where you must shortly lie, Where you must shortly lie; Ye living men come view the ground Where you must shortly lie.
"Princes, this clay must be your bed, In spite of all your towers; The tall, the wise, the reverend head Must lie as low as ours." Grant us the power of quickening grace, To fit our souls to fly; Then, when we drop this dying flesh, We'll rise above the sky.
The tune is the same as the popular 'Old Grimes is Dead' and 'Auld Lang Syne'. It occurs also OSH 162 and CHH 94. The _Methodist Hymnal_ (1935) attributes it to William Shield. In the _Southern Harmony_ its author is given as A. Clark.
No. 129 SAWYER'S EXIT, OSH 338
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
How bright is the day when the Christian Receives the sweet message to come, To rise to the mansions of glory _Chorus_ And be there forever at home; And be there forever at home, To rise to the mansions of glory, And be there forever at home.
The angels stand ready and waiting, The moment the spirit is gone, To carry it upward to heaven, And welcome it safely at home. _Chorus_
The saints that have gone up before us, All raise a new shout as we come, And sing hallelujah the louder, To welcome the travelers home. _Chorus_
For source of tune and words see WS, p. 167. The tune is borrowed from 'Old Rosin the Bow', see Sandburg, p. 167. See also 'My Sister She Works in a Laundry', Sandburg, 381; 'When Sherman Marched Down to the Sea', Dolph, 347; 'Washington Badge', HH 536; 'Lord Randal', Sharp, i., 39; and 'I wonder When I'm to Be Married', from Dumphriesshire, England, 1855, see JFSS, viii., 142.
No. 130 O TELL ME NO MORE, OL 301
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
O tell me no more of this world's vain store; The time for such trifles with me now is o'er. A country I've found, where true joys abound, To dwell I'm determin'd on that happy ground.
The souls that believe, in Paradise live; And me in that number will Jesus receive: My soul, don't delay, he calls thee away; Rise, follow thy Savior, and bless the glad day.
No mortal doth know what he can bestow, What light, strength, and comfort; go after him, go! Lo! onward I move, to a city above; None guesses how wondrous my journey will prove.
The text is attributed to "John Gambold, of England." I find the tune to be a relative of a 'Lord Randal' variant which Sharp (i., 43, G) found in eastern Tennessee. The resemblance of the two tunes runs throughout; but in the last four-measure phrase (going with the worldly sentence "I'm sick to the heart and I fain would lie down") they are practically identical. 'Rose' in this collection is a variant of this tune, notated in the folk manner of singing.
No. 131 HEAVENLY DOVE, SOC 23
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Come, Holy Spirit, heav'nly dove, With all thy quick'ning powers; Come shed abroad a Savior's love, And that will kindle ours.
This is quite clearly the 'Barbara Allen' tune as it is seen, for example, in Sharp, i., 183ff. It is also related to 'Lonesome Grove' in this collection. The "dove" theme in the text of the above song and in the 'Lonesome Grove' song was possibly the magnet which attracted the texts to variant tunes.
No. 132 CEYLON, PB 372
Pentatonic, mode 3 (I II III -- V VI VII)
[Music]
How long, O Lord our Savior, wilt thou remain away? Our hearts are growing weary of thy so long delay. O when will come the moment when, brighter far than morn, The sun-shine of thy glory will on thy people dawn.
How long, O gracious Saviour, wilt Thou Thy household leave? So long hast Thou now tarried, few Thy return believe; Immersed in sloth and folly, Thy servants, Lord, we see; And few of us stand ready, with joy to welcome Thee.
How long, O heav'nly Bridegroom, how long wilt Thou delay? And yet how few are grieving, that Thou dost absent stay; Thy very bride her portion and calling hath forgot, And seeks for ease and glory, where Thou, her Lord, art not.
The tune is a close relative of 'Love Divine' CHI 63, 'Heavenly Welcome' HH 482, 'Baltimore' SKH 53, 'Garden Hymn' REV 164, and a less close one to 'Heavenward', _Christian Science Hymnal_ (1932), No. 136, which is an ancient Irish tune from the Petrie collection. Compare Petrie, No. 993.
No. 133 NEW PROSPECT or O LAND OF REST, OSH 390
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
O land of rest, for thee I sigh, When will the moment come When I shall lay my armor by And dwell in peace at home, And dwell in peace at home; When shall I lay my armor by And dwell in peace at home.
No tranquil joy on earth I know, No peaceful, sheltering dome; This world's a wilderness of woe, This world is not my home.
Our tears shall all be wiped away When we have ceased to roam, And we shall hear our Father say, "Come, dwell with me at home."
J. S. James, editor of the 1911 _Original Sacred Harp_, attributes tune and words to W. S. Turner of Georgia. It is found also, GOS 390.
Close relatives of this tune are 'Deep Spring' in this collection, 'Lord Thomas and Fair Eleanor', Sharp, i., 118; and 'Little Musgrave and Lady Barnard', Sharp, i., 166.
No. 134 I LOVE THEE, OL 318
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
I love thee, I love thee, I love thee, my Lord. I love thy dear people, thy ways and thy word. I love thee, I love thee, and that thou dost know; But how much I love thee, I never can show.
I'm happy, I'm happy, O wondrous account! My joys are immortal, I stand on the mount! I gaze on my treasure, and long to be there, With Jesus and angels, my kindred so dear.
O Jesus, my Savior, with thee I am blest! My life and salvation, my joy and my rest! Thy Name be my theme, and thy love be my song! Thy grace shall inspire both my heart and my tongue.
O who's like my Savior? He's Salem's bright King; He smiles, and he loves me, and helps me to sing: I'll praise him and bless him, with notes loud and shrill, While rivers of pleasure my spirit do fill:
O Jesus, my Savior! I know thou art mine; For thee all the pleasures of sin I resign: Of objects most pleasing I love thee the best; Without thee I'm wretched, but with thee I'm blessed.
Tho' weak and despised, by faith I now stand, Preserv'd and defended by Heaven's kind hand: By Jesus supported, I'll praise his dear name, Regardless of danger, of praise, or of blame.
I find him in singing, I find him in prayer; In sweet meditation he always is near: My constant companion, Oh may we ne'er part! All glory to Jesus, who dwells in my heart!
The text is attributed to John Adam Granade, the "Billy Sunday" of the revival movement which reached a high point in its trend at about the beginning of the nineteenth century. Granade was the author of many widely sung texts.
The tune is clearly of the 'Lord Lovel' family. Compare, for example, the melody which Sharp found in North Carolina; see Sharp, i., 38, A. Its earliest appearance in American religious song books seems to have been in Ingalls' _Christian Harmony_, 1805, p. 44.
No. 135 NEW BRITAIN or HARMONY GROVE, SOH 8
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Amazing grace! (how sweet the sound) That saved a wretch like me! I once was lost, but now am found, Was blind, but now I see.
The poem is by Newton. The tune's source is unknown to the southern compilers. It goes also under the names 'Symphony', 'Solon', and 'Redemption'. Found also, WP 27, GCM 105, OSH 45, HH 104, SOC 190, TZ 90, VH 19, _Church Harmony_ 91. A close relative of the tune is 'Primrose' in this collection. Further stanzas of the text are given under 'Melody'.
I recorded this tune also as it was sung by F. Fagan Thompson of Vanderbilt University, Nashville, Tennessee, February, 1936. I reproduce here his version, one in which the tune is slowed and many graces are introduced, as an excellent illustration of the widespread southern folk-manner in the singing of hymns of this sort.
_very slow_
[Music]
Amazing grace! (how sweet the sound) That saved a wretch like me! I once was lost, but now I'm found, Was blind but now I see.
No. 136 SPIRITUAL SAILOR, SOH 41
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
The people called Christians have many things to tell About the land of Canaan where saints and angels dwell; But here a dismal ocean enclosing them around, With its tides still divides them from Canaan's happy ground.
Many have been impatient to work their passage through, And with united wisdom have tried what they could do; But vessels built by human skill have never sailed far, Till we found them aground on some dreadful, sandy bar.
The everlasting gospel hath launch'd the deep at last; Behold the sails expanded around the tow'ring mast! Along the deck in order, the joyful sailors stand, Crying, "Ho!--here we go to Immanuel's happy land!"
We're now on the wide ocean, we bid the world farewell! And though where we shall anchor no human tongue can tell; About our future destiny there need be no debate, While we ride on the tide, with our Captain and his Mate.
To those who are spectators what anguish must ensue, To hear their old companions bid them a last adieu! The pleasures of your paradise no more our hearts invite; We will sail--you may rail, we shall soon be out of sight.
The passengers united in order, peace, and love; The wind is in our favour, how swiftly do we move! Though tempests may assail us, and raging billows roar, We will sweep through the deep, till we reach fair Canaan's shore.
The _Southern Harmony_ gives the maker of this song as I. Neighbours, who may indeed have been the author of the text. This text is clearly a parody, and the tune a close variant, of 'When the Stormy Winds do Blow' or 'You Gentlemen of England', a song of seafaring which appears to have been widely sung in England over a long period. References to a 'Stormy Winds' ballad reach back to 1660. The tune with different texts appeared as 'Saylers for my Money', 'The Bridegroom's Salutation', 'You Calvinists of England' and 'England's Valour and Holland's Terrour'. See Vincent Jackson, _English Melodies from the 13th to the 18th Century_, p. 114.
Other melodic relatives which have come to my notice are 'The Trees do Grow High', Sharp, _One Hundred English Folk-Songs_, No. 25; and 'John Anderson My Jo John', _The Singer's Companion_, p. 72, and SMM, No. 146.
No. 137 IDUMEA, OSH 47
Pentatonic, mode 2 (I -- 3 IV V -- 7)
[Music]
And am I born to die, To lay this body down? And must this trembling spirit fly Into a world unknown?
Waked by the trumpet's sound, I from the grave shall rise, To see the Judge with glory crowned, And view the flaming skies.
How shall I leave the tomb? With triumph or regret? A fearful or a joyful doom? A curse or blessing meet?
I must from God be driv'n, Or with my Saviour dwell; Must come at His command to heav'n, Or else depart--to hell.
The words are by Charles Wesley. The tune is claimed by Ananias Davisson in his _Kentucky Harmony_ (1815) whence it was borrowed by practically all the subsequent book compilers in the South. The tune was used for the secular ballad 'Lord Lovel'; see _White Spirituals_, 177. Also found KYH 33, GCM 36, SOH 31, UH 19, KNH 36, HH 224, SOC 55, HOC 44, TZ 122, MOH 38, _Church Harmony_, p. 35, GOS 184, PB 246. An imitation of this tune is GOS 325. 'Lord Thomas and Fair Eleanor', Davis, p. 570, shows the same trend, as does also 'Young Hunting', Sharp, i., 112.
No. 138 BOZRAH, GOS 59
Hexatonic, mode 2 b (I -- 3 IV V 6 7)
[Music]
Who is this that comes from far With his garments dipt in blood? Strong, triumphant traveler, Is he man or is he God? "I that reign in righteousness, Son of God and man I am, Mighty to redeem your race, Jesus is your Savior's name.
"Wide, ye heavenly gates, unfold, Closed no more by death and sin; Lo, the conquering Lord behold; Let the King of glory in." Hark, th'angelic host inquire, "Who is He, th'almighty King?" Hark again, the answering choir Thus in strains of triumph sing:
"He whose powerful arm, alone, On His foes destruction hurled; He who hath the victory won; He who saved you by His blood; He who God's pure law fulfilled; Jesus, the incarnate Word; He whose truth with blood was sealed; He is heaven's all-glorious Lord."
The melodic sentence at the beginning and at the end is a favorite. It may be found, for example, also in 'Greenwood Siding', Cox, p. 522. A variant of the tune is 'When I First Left Old Ireland', Petrie, No. 863. See 'I Will Arise' in this collection for further tune relationships.
No. 139 NEW ORLEANS, PB 255
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Why do we mourn departing friends Or shake at death's alarms? 'Tis but the voice that Jesus sends To call them to his arms. Are we not tending upward too, As fast as time can move? Nor would we wish the hours more slow, To keep us from our love.