Part 8
No. 57 KEDRON, SOH 3
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
[Music]
Thou man of grief, Remember me, Thou never canst thyself forget Thy last expiring agony, Thy fainting pangs and bloody sweat.
The tune is attributed in the southern books to "Dare". Found also GCM 165, OSH 48, SOC 175, HOC 45, WP 16. The tune is of a type which was widely sung to texts of the extremely solemn sort. The introduction of slight variation in the expression of this melodic idea led to tunes with other titles and various composers (?). I have called this tune family the 'Kedron' group. Its members are 'Distress', OSH 50; 'Solemnity', MOH 40; 'Salem', UH 22; 'French Broad' in this collection; 'Child of Grace', KNH 74; and 'Messiah', VH 30. Secular songs showing the same general melodic trend are 'McAfee's Confession', Sharp, ii., 16, and Cox, p. 525; 'A Brisk Young Sailor', Sharp, _One Hundred English Folksongs_, No. 94; 'Lord Bateman', ibid., No. 6; and 'Samuel Young', Sharp, ii., 271.
No. 58 ALL IS WELL, OSH 122
Hexatonic (6th missing, cannot be classified but obviously ionian) (I II III IV V -- VII)
[Music]
What's this that steals, that steals upon my frame? Is it death, is it death? That soon will quench, will quench this mortal flame? Is it death, is it death? If this be death I soon shall be From every pain and sorrow free. I shall the King of glory see, All is well, all is well.
Weep not, my friends, weep not for me, All is well, all is well! My sins forgiv'n, forgiv'n, and I am free, All is well, all is well! There's not a cloud that doth arise, To hide my Jesus from my eyes. I soon shall mount the upper skies, All is well, all is well!
Tune, tune your harps, your harps ye saints on high, All is well, all is well! I too will strike my harp with equal joy, All is well, all is well! Bright angels are from glory come, They're round my bed, they're in my room, They wait to waft my spirit home, All is well, all is well.
As to sources we quote the 1911 editor of the _Original Sacred Harp_. After attributing tune and words to J. T. White, nephew of B. F. White, compiler of the 1844 _Sacred Harp_, the editor states: "The tune had been published before it was printed in the [1844] _Sacred Harp_." A negro version of the song was recently recorded in Texas and appears in the _Publications of the Texas Folk-Lore Society_, vii., 109.
No. 59 FAITHFUL SOLDIER, SOH (1835) 122
Hexatonic, mode 1 A (I II III IV V VI --)
[Music]
O when shall I see Jesus and dwell with him above, And from the flowing fountain drink everlasting love? When shall I be deliver'd from this vain world of sin? And with my blessed Jesus drink endless pleasures in?
But now I am a soldier, my Captain's gone before; He's given me my orders and bids me ne'er give o'er; His promises are faithful--a righteous crown he'll give, And all his valiant soldiers eternally shall live.
Through grace I am determined to conquer tho' I die, And then away to Jesus on wings of love I'll fly. Farewell to sin and sorrow, I bid them both adieu, And O, my friends, prove faithful, and on your way pursue.
Whene'er you meet with troubles and trials on your way, Then cast your cares on Jesus and don't forget to pray. Gird on the gospel armor of faith and hope and love, And when the combat's ended He'll carry you above.
O do not be discouraged for Jesus is your friend, And if you lack for knowledge, he'll not refuse to lend. Neither will he upbraid you, though often you request, He'll give you grace to conquer and take you home to rest.
And when the last loud trumpet shall rend the vaulted skies, And bid th' entombed millions from their cold beds arise; Our ransomed dust, reviv-ed, bright beauties shall put on, And soar to the blest mansions where our Redeemer's gone.
Our eyes shall then with rapture, the Savior's face behold; Our feet, no more diverted, shall walk the streets of gold. Our ears shall hear with transport the hosts celestial sing; Our tongues shall chant the glories of our immortal King.
William Walker, compiler of the SOH, claims the tune. A recent variant of it, orally transmitted, is 'O I'm So Happy', in this collection. Another variant here is 'Stephens'. All these tunes seem to derive from an old one recorded in Kilrush, Ireland, and found in the Petrie collection in two variants, Nos. 167 and 283. Compare also the similar 'Hallelujah' tune family with its members listed under the tune by that title in this collection.
The text is by John Leland and was uniquely popular--as sung in its purity or associated with various refrains and revival choruses--during the early part of the nineteenth century. The negroes have borrowed freely from this poem in making the texts for their spirituals, especially from the fourth and fifth stanzas. Cf. WS 217ff. and 286.
No. 60 GREEN FIELDS, SOH 71
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
How tedious and tasteless the hours, When Jesus no longer I see; Sweet prospects, sweet birds and sweet flow'rs Have all lost their sweetness to me. The midsummer sun shines but dim, The fields strive in vain to look gay; But when I am happy in him, December's as pleasant as May.
His name yields the richest perfume, And sweeter than music his voice; His presence disperses my gloom, And makes all within me rejoice. I should, were he always thus nigh, Have nothing to wish or to fear; No mortal so happy as I, My summer would last all the year.
Content with beholding his face, My all to his pleasure resigned, No changes of seasons or place, Would make any change in my mind. While blessed with a sense of his love, A palace a toy would appear; And prisons would palaces prove, If Jesus would dwell with me there.
The tune is to be found in S. Baring-Gould's _Songs of the West_, No. 100, as recorded before 1890 from the singing of an old man in Lamerton, England. We are informed by the editor of the collection that the song, 'Both Sexes Give Ear to My Fancy' which used this tune, had been very popular with aged people residing in the North of England, but that it was then "long out of print and handed down traditionally". The earliest form of the tune seems to have been 'Es nehme zehn-tausend Ducaten' in Johann Sebastian Bach's cantata _Mer hahn en neue Oberkeet_ (Cf. Bach-Gesellschaft, Vol. 29, p. 195). The earliest printed form of the Bach tune in England, according to Baring-Gould, was in _The Tragedy of Tragedies_, or _Tom Thumb_, 1734, as the setting of the song 'In Hurry Posthaste for a License'. The earliest occurrence of the tune with the 'Both Sexes' text was in _The Lady's Evening Book of Pleasure_, about 1740. The air is also found in _Vocal Music, or the Songster's Companion_, second edition, 1782, to the song entitled 'Farewell, Ye Green Fields and Sweet Groves'. This was probably the song whose tune was taken over bodily and whose words were parodied to make the above song 'Green Fields'. The author of the parody text was sometimes given in the fasola books as John Newton. The incidence of the song in southern song books of the first half of the nineteenth century (MOH 52, GCM 144, UH 112, KNH 80, OSH 127, HH 345, SOC 30, CM 24, HOC 16, TZ 237, SKH 18, PB 312, GOS 303, etc.) indicates its one-time wide popularity also on this continent.
No. 61 SAINTS' RAPTURE, REV 17
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
High in yonder realms of light Dwell the raptured saints above, Far beyond our feeble sight Happy in Immanuel's love. Pilgrims in this vale of tears, Once they knew like us below, Gloomy doubts, disturbing fears, Torturing pain and heavy woe.
Days of weeping now are o'er, Past those scenes of toil and pain; They will feel distress no more, Never, never weep again. 'Mid the chorus of the skies; 'Mid angelic choirs above; They now join the songs that rise, Songs of praise to Jesus' love.
There are two more stanzas of the text in the _Revivalist_. The tune and the text are obviously a parody on 'Reuben, Reuben, I've Been Thinking'.
No. 62 ANIMATION, SOH (1835) 85
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
Drooping souls, no longer grieve, Heaven is propitious; If in Christ you do believe, You will find him precious. Jesus now is passing by, Calls the mourner to him, Brings salvation from on high; Now look up and see him.
For the complete text see 'Lebanon' in this collection. This song was taken into the _Southern Harmony_ from the _Dover Selection_. The tune is related to 'Maid Freed From the Gallows', Thomas, p. 164, and to the old Irish 'Tell Me Dear Eveleen', in _A Select Collection of Original Irish Airs_, No. 6, composed by Beethoven.
No. 63 INVITATION, OL 247
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Hark, I hear the harps eternal Ringing on the farther shore, As I near those swollen waters With their deep and solemn roar. Hallelujah, hallelujah, Hallelujah, praise the Lamb; Hallelujah, hallelujah, Glory to the GREAT I AM!
And my soul, tho' stain'd with sorrow, Fading as the light of day, Passes swiftly o'er those waters, To the city far away. Hallelujah _etc._
Souls have cross'd before me, saintly, To that land of perfect rest; And I hear them singing faintly, In the mansions of the blest. Hallelujah _etc._
The compiler of the _Olive Leaf_ found this song, as he tells us, in F. R. Warren's _Dream Music_. The tune shows unmistakable family relationships, especially in the chorus, to 'Nettleton' in this collection.
No. 64 HARK MY SOUL, CHH 224
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Hark, my soul, it is the Lord; 'Tis thy Savior, hear his word! Jesus speaks, he speaks to thee: "Say, poor sinner, say, poor sinner, Say, poor sinner, lov'st thou me?
"I deliver'd thee when bound, And, when wounded, healed thy wound; Sought thee wand'ring, set thee right; Turned thy darkness, turned thy darkness, Turned thy darkness into light.
"Can a mother's tender care Cease toward the child she bare? Yes, she may forgetful be, Yet will I re-, yet will I re-, Yet will I remember thee."
The song was "Arranged by James Christopher, of Spartansburg, S. C.", according to the _Christian Harmony_. Richardson has a variant of this tune used with a text which is a recent mountain eulogy on the whiskey of the hills under the title 'Moonshine', see _American Mountain Songs_, page 94. A hint of the antiquity of this tune form is given by the 'Ass's Sequence' or 'Orientis partibus' from the beginning of the thirteenth century, a tune which was apparently cast in the folk-manner of that age.
[Music]
Orientis partibus aduentauit asinus pulcher et fortissimus Sarcinis aptissimus. Hez, hez, sire asnes, hez.
Its modern representative is:
[Music]
See _Hymns Ancient and Modern_, No. 413.
No. 65 FROZEN HEART, OSH 93
Hexatonic, mode 3 A (I II III -- V VI VII)
[Music]
Lord, shed a beam of heav'nly day To melt this stubborn stone away; And thaw, with rays of love divine, This heart, this frozen heart of mine; This heart, this frozen heart of mine; This heart, this frozen heart of mine.
The rocks can rend; the earth can quake; The seas can roar; the mountains shake; Of feeling, all things show some sign, But this unfeeling heart of mine.
To hear the sorrows thou hast felt, Dear Lord, an adamant would melt! But I can read each moving line, And nothing move this heart of mine.
The text is attributed, in the _Sacred Harp_ of 1844, to Joseph Hart and it is dated 1759. The tune is ascribed to E. J. King. The melodic trend of the refrain brings to mind 'The Campbells are Coming'.
No. 66 LEBANON, KNH 88
Hexatonic, mode 5 A (I -- 3 IV V 6 7)
[Music]
Mourning souls, no longer grieve, Heaven is propitious; If on Christ you do believe, You shall find him precious. Jesus now is passing by, Calls the mourner to him; He hath died for you and I, Now look up and view him.
He has pardons, full and free, Drooping souls to gladden; Still he cries: "Come unto me, Weary, heavy-laden." Tho' your sins, like mountains high, Rise and reach to heaven, Soon as you on him rely All will be forgiven.
Precious is the Savior's name, All his saints adore him; He to save the dying came-- Prostrate bow before him; Wand'ring sinners, now return; Contrite souls, believe him! Jesus calls you--cease to mourn; Worship him--receive him!
From his hands, his feet, his side, runs the healing lotion; See the consolating tide, boundless as the ocean! See the healing waters move for the sick and dying! Now resolve to gain his love, or to perish trying.
Grace's store is always free, drooping souls to gladden; Jesus calls: "Come unto me-- weary, heavy laden." Though your sins like mountains high, rise and reach to heaven, Soon as you on him rely, all shall be forgiven.
Now methinks I hear one say: "I will go and prove him; If he takes my sins away, surely I shall love him. Yes, I see the Father smile, now I lose my burden; All is grace, for I am vile, yet he seals my pardon."
This text is found HH 413, and also COH 122.
No. 67 SOLDIER'S RETURN, SOH 36
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
Bright scenes of glory strike my sense, And all my passions capture; Eternal beauties round me shine, Infusing warmest rapture. I live in pleasures deep and full, In swelling waves of glory. I feel my Savior in my soul And groan to tell the story.
Further stanzas are given under 'Mecklinburg'. The tune was borrowed from 'When the Wild War's Deadly Blast', SMM, No. 131. See also for melodic similarities 'The Mill Mill O', SMM, No. 157; and 'Blue-Eyed Stranger', Sharp, _The Morris Book_, Part I, p. 91. See Greig-Keith, _Last Leaves_, p. 181, for the tune's wide use in the British Isles during the eighteenth century.
No. 68 CHRISTIAN SOLDIER, GOS 207
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
[Music]
Here at Thy table, Lord, We meet To feed on food divine; Thy body is the bread we eat, Thy precious blood the wine. He that prepares the rich repast, Himself comes down and dies; And then invites us thus to feast, Upon the sacrifice.
The bitter torments he endured upon the shameful cross, For us his welcome guests procured these heart-reviving joys. His body torn with rudest hands becomes the finest bread, And with the blessings he commands, our noblest hopes are fed.
His blood that from each opening vein in purple torrents ran Hath filled this cup with generous wine, that cheers both God and man. Sure there was never love so free, dear Savior, so divine; Well thou may'st claim that heart of mine, which owes so much to thine.
The text is one of those which rationalize religious rites; in this case, that of the communion. The tune is credited to Freeman Price. Its second part reminds of 'The Merry, Merry Milkmaids', Sharp, _Country Dances_, Set No. 5.
No. 69 TRIBULATION, MOH 46
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
Death, 'tis a melancholy day To those that have no God, When the poor soul is forc'd away To seek her last abode.
In vain to heaven she lifts her eyes; But guilt, a heavy chain, Still drags her downward from the skies To darkness, fire and pain.
Awake and mourn, ye heirs of hell, Let stubborn sinners fear; You must be driv'n from earth and dwell Alone forever there.
See how the pit gapes wide for you, And flashes in your face; And thou, my soul, look downward too, And sing recov'ring grace.
The text has been attributed to Watts. Recent hymnals have been purged of this doleful ditty and of all other songs which make hellfire too realistic. The tune was attributed to Chapin in some books and to Davisson in others. Davisson claims it in his _Kentucky Harmony_ (1815). It is practically identical with 'Little Musgrave and Lady Barnard', Sharp, i., 182, a tune which Sharp heard in Greenwood, Albemarle County, Virginia, Davisson's own territory and near where he is buried. An early variant which is practically identical with both the Sharp and the Davisson tunes is in Motherwell, Supplement, No. 30, associated with 'The Bonnie Mermaid' text. Found also, KYH 43, SOH 119, UH 37, KNH 38, OSH 29, HH 55.
No. 70 VOLUNTEERS, CHH 110
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Hark, listen to the trumpeters! They sound for volunteers! On Zion's bright and flow'ry mount Behold the officers; Their horses white, their garments bright, With crown and bow they stand, Enlisting soldiers for their King, To march for Canaan's land.
It sets my heart all in a flame; a soldier I will be; I will enlist, gird on my arms and fight for liberty. They want no cowards in their band (They will their colours fly), But call for valiant hearted men, who're not afraid to die.
The armies now are on parade, how martial they appear! All armed and dressed in uniform, they look like men of war; They follow their great General, the great Eternal Lamb, His garments stained with his own blood, King Jesus, is his name.
The trumpet sounds, the armies shout, and drive the hosts of hell; How dreadful is our God in arms! The great Immanuel! Sinners, enlist with Jesus Christ, th' eternal Son of God, And march with us to Canaan's land, beyond the swelling flood.
There is a green and flow'ry field, where fruits immortal grow; There, clothed in white, the angels bright, our great Redeemer know. We'll shout and sing forever more in that eternal world; But Satan and his armies too, shall down to hell be hurled.
Hold up your heads, ye soldiers bold, redemption's drawing nigh, We soon shall hear the trumpet sound; 'Twill shake both earth and sky; In fiery chariots then we'll fly, and leave the world on fire, And meet around the starry throne to tune th' immortal lyre.
The tune is attributed to Wm. Bradshaw. Found also HH 159 and SWP 90. Dett, p. 180, and SOH 301, have the same words but different tunes.
No. 71 BACKSLIDER, REV 208
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
How can I vent my grief? My comforter is fled! By day I sigh without relief And groan upon my bed.
How little did I think when first I did begin To join a little with the world it was so great a sin.
I thought I might conform, nor singular appear, Converse and dress as others did, but now I feel the snare.
My confidence is gone, I find no words to say, Barren and lifeless is my soul when I attempt to pray.
The tune is similar to those used with several text variants of 'The Wife of Usher's Well'. Sharp, i., 150ff. The oldest American song book record of the 'Backslider' tune is in Ingalls' _Christian Harmony_ of 1805, p. 55, where it is entitled 'The General Doom' and begins:
Behold! with awful pomp, The Judge prepares to come; Th' archangel sounds the awful trump And wakes the general doom.
No. 72 GOOD OLD WAY (B), OL 8
Hexatonic, mode 2 A (I II 3 IV V -- 7)
[Music]
Lift up your heads, Emmanuel's friends, And taste the pleasure Jesus sends; Let nothing cause you to delay, But hasten on the good old way.
Our conflicts here, tho' great they be, Shall not prevent our victory, If we but watch, and strive, and pray! Like soldiers in the good old way.
O good old way, how sweet thou art! May none of us from thee depart; But may our actions always say We're marching in the good old way!
"A tune and song [words] of the Granade period", William Hauser, compiler of the _Olive Leaf_ suggests. John Adam Granade was an evangelist of the "wild" sort who lived 1775 to 1806. A negro tune which combines elements of the above and 'I Went Down to the Valley', in this collection, is in _Slave Songs_, No. 104.
No. 73 REST IN HEAVEN, OL 358
Hexatonic, mode 2 A minorized (I II 3 IV V -- 7 [VII])
[Music]
My rest is in heaven, my rest is not here, Then why should I murmur at trials severe. Be tranquil, my spirit, the worst that can come But shortens thy journey and hastens thee home.
Let trouble and danger my progress oppose; They'll only make heaven more bright at the close; Come joy, then, or sorrow--whate'er may befall-- One moment in glory will make up for all.
A scrip on my back, and a staff in my hand, I march on in haste thro' an enemy's land; The road may be rough, but it cannot be long; I'll smooth it with hope, and I'll cheer it with song.
The tune is related to 'Be Gone Unbelief', in this collection, and to the worldly tunes listed under that song. Negro adoptions of the tune are Marsh, pp. 144 and 173, and SS 33.
No. 74 TO DIE NO MORE, GOS 363
Pentatonic, mode 3 (I II III -- V VI --)
[Music]
My heav'nly home is bright and fair, No pain nor death can enter there; Its glitt'ring tow'rs the sun outshine, I hope that mansion shall be mine. _Chorus_ I'm going home to Christ above, I'm going to the Christian's rest, To die no more to, die no more, I'm going home to die no more.
My Father's house is built on high, Far, far above the starry sky; When from this earthly prison free, I hope that mansion mine shall be. _Chorus_
I envy not the rich and great, Their pomp of wealth and pride of state; My Father is a richer King, That heav'nly mansion still I sing. _Chorus_
The tune is identical with one used with the worldly ballad 'Three Ravens', see Davis 562.
No. 75 COLUMBUS, OSH 67
Pentatonic, mode 2 (I -- 3 IV V -- 7)
[Music]
Oh, once I had a glorious view Of my redeeming Lord; He said, I'll be a God to you, And I believ'd his word. But now I have a deeper stroke Than all my groanings are; My God has me of late forsook, He's gone I know not where.
Oh, what immortal joys I felt On that celestial day, When my hard heart began to melt, By love dissolved away! But my complaint is bitter now, For all my joys are gone; I've strayed! I'm left! I know not how; The light's from me withdrawn.
Once I could joy the saints to meet, To me they were most dear; I then could stoop to wash their feet, And shed a joyful tear; But now I meet them as the rest, And with them joyless stay; My conversation's spiritless, Or else I've nought to say.
The words appeared in _Mercer's Cluster_, a Georgia hymn and spiritual-song collection of the 1820's. The earliest appearance of the tune seems to have been in the _Southern Harmony_ (1835). Found also in HH 128, UH 57, KNH 42, HOC 37, SOC 109, GOS 380, PB 343. The tune is a variant of 'Antioch', in this collection.
For negro tune derivatives see _White Spirituals_, 259. Among the tunes in secular environment, 'Virginian Lover', Sharp, ii., 149, tune B, shows closest relationship to the above. See also 'Flat River Girl', Rickaby, p. 6; and 'Driving Saw Logs on the Plover', Rickaby, p. 89.
No. 76 YONGST, BS 203
Hexatonic, mode 3 b (I II III IV V VI --)
[Music]
Father, I sing thy wondrous grace And bless my Savior's name, Who bought salvation for the poor, And bore the sinner's shame.
His deep distress has raised us high; His duty and his zeal Fulfilled the law which mortals broke, And finished all thy will.