Part 13
It was bad when that great ship went down, It was bad when that great ship went down, There was husbands and wives, Little child'en lost their lives, It was bad when that great ship went down.
A song curiously similar to the 'Titanic' song is in _The Carolina Low-Country_, page 296, as sung by the negroes on the Santee River in South Carolina. The tune is changed but little. The words are:
It was sad w'en duh grabe sinkin' down, It was sad w'en duh grabe sinkin' down, Ain' dat uh awful time, People keep awake all night, It was sad w'en duh grabe sinkin' down.
The tune of 'Dulcimer' is of the 'Lord Lovel' type mentioned in the Introduction, p. 14. Other songs in this collection belonging to this type are 'Yongst', 'Dunlap's Creek', 'Liverpool', 'Ester', 'Lonesome Grove', and 'Land of Rest'. Other spiritual folk-tunes of the same type are 'Eden', GOS 558; 'Thy Way O God', PB 29; 'Charlestown', GOS 255; 'Lord of Glory', PB 374; 'New Hope', PB 373; 'Golden Hill', HH 211; 'Webster', OSH 31; 'Hollis', GOS 73; 'Edneyville', HH 193; 'Blissful Hope', REV 140; and 'Tedious Hours', SOC 69. Further secular tunes of the type are 'Lord Lovel', Sharp, i., 148; 'The Two Brothers', Davis, 563; 'The Mermaid', Sharp, i., 293; 'Every Night When the Sun Goes In', Sharp, ii., 269; 'Three Little Babes', Davis, 576; 'Come All You Fair and Tender Ladies', Sharp, ii., 135; 'Barbara Allen', Sharp, i., 195; 'Gypsy Laddie', Sharp, i., 237; 'Horn Fair', JFSS, ii., 204; and 'The Cuckoo', Sharp, ii., 177.
No. 164 WEEPING MARY (A), SOC 98
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Are there anybody here like Mary a-weeping? Call to my Jesus and he'll draw nigh. Are there anybody here like Peter a-sinking? Call to my Jesus and he'll draw nigh.
Glory, glory, glory, glory, Glory be to my God on high.
Attributed in the _Sacred Harp_ to "John G. McCurry & Power" and dated 1852. For a variant of this tune used among the negroes see _White Spirituals_, 256. Miss Gilchrist states that the text of this song is No. 51 in the first _English Primitive Methodist Hymn Book_, about 1823.
No. 165 GREAT DAY or WHERE WILL YOU STAND, OSH 386
Pentachordal, cannot be classified (I II 3 IV V -- --)
[Music]
I've a long time heard that there will be a judgment That there will be a judgment in that day. O there will be a judgment in that day, O sinner, where will you stand in that day?
I've a long time heard that the moon will be bleeding, That the moon will be bleeding in that day.
I've a long time heard that the stars will be falling, _etc._
I've a long time heard that the earth will be burning, _etc._
This song bears the date 1859 and the composer's name, John P. Rees. But beside the title we read: "As sung by Judge Falkerner of Ala." We may therefore conclude that Rees recorded on that date this older tune from the singing of the Alabama magistrate. Melodic similarities are seen in 'Trooper and the Maid', Sharp, i., 305. A recent negro version from Beaufort, S. C., is in _The Carolina Low-Country_, p. 250.
No. 166 SHOUT ON, PRAY ON or ANTIOCH, OSH 277
Hexatonic, mode 2 b (I -- 3 IV V 6 7)
[Music]
I know that my Redeemer lives, Glory hallelujah. What comfort this sweet sentence gives, Glory hallelujah, Shout on, pray on, we're gaining ground, Glory hallelujah, The dead's alive and the lost is found, Glory hallelujah.
There are three more stanzas of this hymn, the core of which is attributed to Daniel Medley "about 1784." The tune first appeared in the _Social Harp_, 1855, where it is attributed to F. C. Wood, a Georgian. A tune and text variant is 'We'll Go On', REV 252. A negro version of this spiritual may be seen in Dett, 195. See also _White Spirituals_, 259. 'Antioch' looks like a make-over from 'Columbus' in this collection. The tune is cleverly fitted also to a worldly ballad 'Edward', found in eastern Tennessee; see Sharp, i., 47. It is found also fitted to the worldly ballad 'Cruel Mother' in North Carolina; see Sharp, i., 58. 'Little Musgrave and Lady Barnard', Sharp, i., 162, shows definite influence of 'Antioch'. See also for melodic similarities 'Trooper and the Maid', Sharp, i., 305; and 'Bridle and Saddle', Sharp, i., 305; and 'Bridle and Saddle', Sharp, ii., 329.
No. 167 WE'LL SHOUT AND GIVE HIM GLORY or REVIVAL SONG, OL 254
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Oh, how I love my Savior! Oh, how I love my Savior! Oh, how I love my Savior, because he first lov'd me. _Chorus_ We'll shout and give him glory, We'll shout and give him glory, We'll shout and give him glory, For glory is his own.
I feel the work reviving, _etc._ Reviving in my soul. _Chorus_
I'm on my way to Zion, _etc._ The New Jerusalem. _Chorus_
O Christians, will you meet me? _etc._ On Canaan's happy shore? _Chorus_
By the grace of God, I'll meet you, _etc._ On Canaan's happy shore. _Chorus_
O brothers, will you meet me? _etc._
O sisters, will you meet me? _etc._
O mourners, will you meet me? _etc._
O sinners, will you meet me? _etc._
The _Olive Leaf_ editor calls it a "refrain song."
No. 168 SWEET MORNING, OSH 421
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
The happy day will soon appear, And we'll all shout together in that morning; When Gabriel's trumpet you shall hear, And we'll all shout together in that morning. Sweet morning, sweet morning, And we'll all shout together in that morning.
Behold the righteous marching home, And we'll all _etc._ And all the angels bid them come, And we'll all _etc._
Found also in GOS 254. How the post-Civil War negroes sang this song to pieces and then patched it together with fragments of 'Exhilaration', another song in this collection, is made clear by reference to _Slave Songs_, p. 74, No. 97. The tune of 'Trooper and the Maid', Sharp, i., 305, is the same as that of 'Sweet Morning'.
No. 169 GOOD OLD WAY (A), OSH 213
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Lift up your heads, Immanuel's friends, O halle, hallelujah; And taste the pleasure Jesus sends, O halle, hallelujah.
Let nothing cause you to delay, O halle, hallelujah; But hasten on the good old way, O halle, hallelujah.
The words of the above song appeared in the _Dover Selection_ in the early years of the nineteenth century and in the _Zion Songster_, a spiritual-song collection which appeared in 1832. The first appearance of the tune seems to have been in the _Southern Harmony_ of 1835. A related tune in this collection is 'All the Way 'Long'. Further stanzas of the text are given under 'Good Old Way (B)'.
No. 170 ALL THE WAY 'LONG, REV 172
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Oh, good old way, how sweet thou art, All the way 'long it is Jesus. May none of us from thee depart, All the way 'long it is Jesus. Jesus, Jesus, Why, all the way 'long it is Jesus.
But may our actions always say, We're marching in the good old way.
This note above the rest shall swell, That Jesus doeth all things well.
Related songs in this collection are 'Good Old Way (A)', 'Good Old Way (B)', and ''Tis a Wonder'.
No. 171 'TIS A WONDER, SOC 44
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
O 'tis a glorious mystery, 'Tis a wonder, a wonder, a wonder; That I should ever saved be 'Tis a wonder, a wonder, a wonder.
No heart can think or fully tell, 'Tis a wonder, a wonder; My God has sav'd my soul from hell, 'Tis a wonder, a wonder, a wonder.
Two further stanzas of the text taken from _Good Old Songs_, No. 511, are:
Great mystery that God should place, 'Tis a wonder _etc._ His love on any of Adam's race, 'Tis a wonder _etc._ That I should also share a part, 'Tis a wonder _etc._ And find a mansion in his heart, 'Tis a wonder _etc._
Great mystery, I can't tell why That Christ for sinful worms should die; Should leave the boundless realms of bliss, And die for sinners on the cross.
The song is accredited in the _Social Harp_ to Henry F. Chandler and dated 1854. A North Carolina variant, recorded in 1916, is in Sharp, ii., 294. A variant in the present collection is 'Look Out', which see for references to related secular tunes. The earliest American recording of this melody known to me is that in Jeremiah Ingalls' _Christian Harmony_ of 1805, p. 15. It begins:
When converts first begin to sing, wonder, wonder, wonder, Their happy souls are on the wing, wonder, wonder, wonder. Their theme is all redeeming love, glory hallelujah, Fain would they be with Christ above, sing glory hallelujah.
No. 172 BOWERS or HAPPY SOULS (B), SOC 82
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
My soul's full of glory, Inspiring my tongue, Could I meet with angels, I'd sing them a song; I'd sing of my Jesus And tell of his charms, And beg them to bear me To his loving arms.
To his loving arms, To his loving arms; And beg them to bear me To his loving arms.
John G. McCurry places his name as composer at the top of the page where this song is found in the _Social Harp_ and dates it 1852. A note at the bottom says: "This tune was arranged as sung by William Bowers, Eagle Grove, Georgia." Eagle Grove is a few miles south of Hartwell. The tune is a clear borrowing from 'Wearing of the Green'. See also 'Our Goodman', Sharp, i., 269, for melodic similarities. Further stanzas of the text are given under 'Glorious Prospect'. In _The Musical Quarterly_, vol. xxii., No. 2, I have called attention to melodic similarities between the above tune (with its variants 'Oh For my Soul's Happy', 'We'll Wait Till Jesus Comes', and 'O When Shall I see Jesus' in this collection) and Stephen Foster's 'Annie My own Love' and 'Hard Times Come Again No More'.
No. 173 HEAVEN'S MY HOME, OSH 119
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Come, all my dear brethren and help me to sing, I'm going to Jesus, he's heaven's great King; He died to atone for the sins of the world, His banner is flying his sails are unfurled.
Heaven's my home, heaven's my home; I'm going to Jesus for heaven's my home.
While here in the valley of conflict I stay, Oh, give me submission and strength as my day; In all my afflictions to thee I would come, Rejoicing in hope of my glorious home.
I long, dearest Lord, in thy beauties to shine, No more as an exile in sorrow to pine; And in thy dear image arise from the tomb, With glorified millions to praise thee at home.
The song is ascribed in the _Original Sacred Harp_ to Dr. R. H. Davis and J. S. Terry. This is a re-make of an older tune in four-four time called 'Old Troy' in this collection, and 'Old Troy' in turn is almost identical with, and probably made out of 'Wearing of the Green'.
No. 174 OLD TROY or IN JESUS' BLOOD, SOC 75
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
The news of his mercy is spreading abroad, And sinners come crying and weeping to God. Their mourning and praying is heard very loud, And many find favor in Jesus'es blood.
In Jesus'es blood, In Jesus'es blood, And many find favor in Jesus'es blood.
For tune relationships see 'Heaven's My Home' and 'Happy Souls (B)' in this collection. John G. McCurry claims the tune in the _Social Harp_. It is taken bodily from 'Wearing of the Green'. A very similar negro spiritual tune is in Dett, p. 42.
No. 175 THERE WILL BE MOURNING or JUDGMENT SCENES, OL 337
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Judgment day is rolling on, Judgment day is rolling on, Judgment day is rolling on As fast as time can move. Oh, there will be mourning, Mourning, mourning, mourning, Oh, there will be mourning At the judgment seat of Christ.
Wives and husbands there shall part, _etc._ Shall part to meet no more. _Chorus_
Brothers and sisters there shall part, _etc._ Pastors and people there shall part, _etc._ Parents and children there shall part, _etc._
This old air and its words portray, as the _Olive Leaf_ author declares, "the gloomy side" of the Last Day. But, he adds consolingly, "Now sing the joyous side, with every verse," thus:
The judgment day is rolling on, _etc._ And we shall all be there. Oh, there will be shouting Shouting, shouting, shouting, Oh, there will be shouting At the judgment seat of Christ.
Wives and husbands then shall meet, _etc._ Shall meet to part no more. _Chorus_
and so on also for the "parents and children," and the rest. 'Parting Hymn', in this collection, uses a similar chorus but has a different verse and tune. A negro version is in _Slave Songs_, p. 52.
No. 176 WEEPING PILGRIM or YOU MAY TELL THEM FATHER or I'M A POOR MOURNING PILGRIM, OSH 417
Pentatonic, mode 1 (I II -- IV V VI --)
[Music]
You may tell them, father, when you see them, I'm a poor mourning pilgrim, I'm bound for Canaan's land. I weep and I mourn, and I move slowly on, I'm a poor mourning pilgrim, I'm bound for Canaan's land.
The text is probably a parody of 'Rebel Soldier' or 'Poor Stranger', Sharp, ii., 212ff. Especially the refrain verses of the two songs show textual and tonal resemblances. The secular refrain runs:
I am a rebel soldier and far from my home.
The cowboys, too, made use of the 'Rebel Soldier' or 'Mourning Pilgrim' in the song 'Poor Lonesome Cowboy', Sandburg, p. 273, which reads:
I'm a poor lonesome cowboy, and a long way from home.
The spiritual song appeared first in the 1859 edition of the _Sacred Harp_.
No. 177 EXHILARATION or THEN MY TROUBLES WILL BE OVER or I NEVER SHALL FORGET THE DAY, OSH 170
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
O may I worthy prove to see The saints in full prosperity, Then my troubles will be over. To see the bride, the glitt'ring bride, Close seated by my Savior's side, Then my troubles will be over. I never shall forget the day When Jesus wash'd my sins away, And then my troubles will be over; Will be over, will be over and rejoicing, And then my troubles will be over.
I'll praise him while he gives me breath, I hope to praise him after death. Then my troubles will be over. I hope to praise him when I die, And shout salvation as I fly, Then my troubles will be over. _Chorus_
I soon shall pass the vale of death, And in his arms resign my breath. O then my happy soul shall tell, My Jesus has done all things well. _Chorus_
Then shall I see my blessed God, And praise him in his bright abode. My theme to all eternity Shall glory, glory, glory be. _Chorus._
I have no information as to the tune excepting that it appeared in the earliest edition of the _Sacred Harp_, that is, in 1844. The tune and the words of its chorus have served the negroes in the construction of 'Almost Over', SS, No. 97.
No. 178 RESURRECTED or MY FATHER'S GONE or AWAY OVER YONDER or TO WEAR A STARRY CROWN, OSH 524
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
My father's gone to view that land, My father's gone to view that land, My father's gone to view that land To wear a starry crown, Away over yonder, away over yonder, Away over yonder to wear a starry crown.
Seaborn M. Denson, widely known fasola country singing-school teacher and musical editor of the 1911 edition of the _Original Sacred Harp_, and author of this song, told me he had heard this song sung in camp meetings around Civil War times in northern Alabama. He recorded it from memory and published it first in the _Union Harp_ in 1909. The tune is a member of the 'Roll Jordan' group. See Introduction, page 14, and the song by that name in this collection. Further stanzas read "My mother's gone", "My sister's gone" etc.
The wide spread of this song in the American oral tradition and especially at the time when Mr. Denson heard it in northern Alabama, is indicated by the variant and musically somewhat inferior recording in the _Revivalist_, Albany, New York, 1868. It is there called 'Away over Jordan'. It runs:
My brother's going to wear that crown _etc._ To wear that starry crown. Away over Jordan, with my blessed Jesus, Away over Jordan, to wear that starry crown.
My father's gone to wear that crown _etc._ My mother's gone _etc._ John Wesley's gone _etc._ You must live right _etc._
No. 179 WINGS OF THE MORNING or WESTERN MELODY, BHTBK, p. 213
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
O thou almighty Father, Come help me now to praise thy glory (_These words lacking in my recording_) Oh, had I the wings of the morning, I'd fly away to Canaan's shore; Bright angels should convey me home To the new Jerusalem.
The tune trend of the chorus is found also in 'Rocky Mountain Top', Sharp, ii., 110; and it is the whole tune of 'My Home is Over Jordan' in this collection.
No. 180 WE'LL MARCH AROUND JERUSALEM, REV 358
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
O brethren, will you meet me On that delightful shore? O brethren, will you meet me Where parting is no more?
And we'll march around Jerusalem, We'll march around Jerusalem, We'll march around Jerusalem When we arrive at home.
Subsequent stanzas use instead of brethren, sister, leader, preacher, young convert, and backslider, with the conclusion:
Yes, bless the Lord, I'll meet you, _etc._
The above tune, with some alterations, is found as a negro spiritual in Dett, p. 78.
No. 181 RAGAN or I BELONG TO THIS BAND (B), OSH 176
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Fare-well, vain world, I'm going home, I belong to this band, hallelujah, My Savior smiles and bids me come, I belong to this band, hallelujah. Hallelujah, hallelujah, I belong to this band, hallelujah.
The above melodic trend will be recognized as that of 'Roll Jordan' and Stephen Foster's 'Susanna'. Compare 'Roll Jordan' in this collection. The chorus--both tune and words--appears also in 'I Belong to This Band (A)'. Further stanzas of the text are given under 'Golden Harp'.
No. 182 DOWN BY THE RIVERSIDE or WE'LL END THIS WAR, REV 68
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Hark! listen to the trumpeters, I mean to go! They call for valiant volunteers, I mean to go! Oh! we'll end this war. Down by the river, We'll end this war down by the riverside.
See Gideon marching out to fight, I mean to go! He had no weapon but a light, I mean to go! _Chorus_
He took his pitcher and a lamp, And stormed with ease the Midian camp.
I've listed during all this war, Content to have a soldier's fare.
The war is all my soul's delight, I love the thickest of the fight.
The hottest fight is just begun, And who will stand and never run?
We want no cowards in our band, We call for valiant-hearted men.
Fight on, ye conq'ring souls, fight on, Until the conquest you have won.
I have some friends before me gone, And I'm resolved to travel on.
Farewell, vain world, I'm going home, My Savior smiles and bids me come.
I'll tell you what I mean to do, I mean to go to glory too.
The song bears the name of "Rev. J. K. Tinkham" as its purveyor to the _Revivalist_. A version of the spiritual song, as sung at about the same time (in the 1870's) by the negroes, is in Marsh, No. 85, under the title 'Down by the River'. Another by the same title is in Dett, p. 55; and still another in Dett, p. 74.
No. 183 I'M GOING HOME or I DON'T CARE TO STAY HERE LONG, OSH 282
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
Farewell, vain world, I'm going home, My Savior smiles and bids me come, And I don't care to stay here long. Sweet angels beckon me away To sing God's praise in endless day, And I don't care to stay here long. Right up yonder, Christians, Away up yonder; O yes, my Lord, For I don't care to stay here long.
Further stanzas of the text are given under 'Golden Harp'. This tune was recorded for the 1850 edition of the _Sacred Harp_, evidently by the Georgian, Leonard P. Breedlove.
No. 184 ROLL JORDAN, OSH 501
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
He comes, he comes, the Judge severe, Roll, Jordan, roll; The seventh trumpet speaks him near, Roll, Jordan, roll.
I want to go to heav'n, I do, Hallelujah Lord; We'll praise the Lord in heav'n above, Roll, Jordan, roll.
His lightnings flash, his thunders roll, Roll, Jordan, roll; How welcome to the faithful soul, Roll, Jordan, roll.
Charles Wesley wrote the text. According to Lightwood, p. 132, it is a parody on a popular secular song which celebrated Admiral Vernon's return to England after taking Portobello in 1739. Its first stanza is:
He comes! He comes! The hero comes! Sound your trumpets, beat your drums! From port to port let cannons roar His welcome to the British shore.
It is found also in SOC, published in 1855. In the Introduction p. 14, I have mentioned the 'Roll Jordan' type of melody; it was named after the above tune. Other melodies of the type in this collection are 'Florence', 'I Belong to this Band (B)', 'Tennessee', 'Jordan', and 'Resurrected'. It is this tune type which influenced Stephen Foster in the making of his 'Susanna Don't You Cry' and 'De Camptown Races'. See in this connection my article in _The Musical Quarterly_, vol. xxii., No. 2. For samples of negro borrowings of 'Roll Jordan' see _White Spirituals_, 264; Dett, p. 76; and _Slave Songs_, Nos. 1 and 10.
No. 185 WE'LL ALL PRAISE GOD, REV 381
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Come and taste along with me Consolation running free From my Father's wealthy throne, Sweeter than the honey comb. I'll praise God, and you'll praise God, We'll all praise God together; I'll praise the Lord for the work that he has done, And we'll bless his name forever.
Why should Christians feast alone? Two are better far than one; The more that comes with free good will Makes the banquet sweeter still.
Now I go to heaven's door, Asking for a little more; Jesus gives a double share, Calling me his chosen heir.
Goodness, running like a stream Through the new Jerusalem; By its constant breaking forth Sweetens earth and heaven both.
Two more stanzas are in the _Revivalist_. The relationship between this tune and that of Stephen Foster's 'Long-Ago Day' was noted by me in _The Musical Quarterly_, vol. xxii., No. 2.
No. 186 HEAVENLY HOME, SWP 150
Pentatonic, mode 1 (I II -- IV V VI --)
[Music]
O who will join and help me sing, I never will turn back while heaven's in my view.
The praise of Zion's conqu'ring King, I never will turn back while heaven's in my view.
Heaven is my home, my journey I'll pursue, I never will turn back while heaven's in my view.
By faith my journey I'll pursue, I never _etc._ And bid all earthly things adieu, I never _etc._
I want my friends to go with me, I'm bound fair Canaan's land to see.
I want to take them by the hand And march unto the promised land.
My Jesus dwells on Zion's hill, And faithful to his promise still.
Then whosoever will, may come, For Jesus Christ refuseth none.
O what a Captain I have got! O is not mine a happy lot!
He surely is the sinner's friend, And one that loves unto the end.
I'm travelling through the wilderness And seeking for a heavenly rest.
That rest in Jesus Christ is found, And I will sing it all around.