Chapter VIII: Front Matter (8)

Children of the heavenly King,
Till the warfare is ended, hallelujah!
As ye journey sweetly sing,
Till the warfare is ended, hallelujah!
Shout glory, children,
Till the warfare is ended, hallelujah!

Sing your Savior's worthy praise, Till _etc._
Glorious in his works and ways, Till _etc._

We are travelling home to God
In the way the fathers trod.

They are happy now, and we
Soon their happiness shall see.

O ye banished seed, be glad!
Christ our advocate is made.

Us to save, our flesh assumes,
Brother to our souls becomes.

Shout, ye little flock, and blest
You on Jesus' throne shall rest.

There your seat is now prepared,
There your kingdom and reward.

Fear not, brethren; joyful stand
On the borders of your land.

Christ, your Father's darling son,
Bids you undismayed go on.

Lord, submissive make us go,
Gladly leaving all below.

Only thou our leader be,
And we still will follow thee.

See 'Till the Warfare is Over', OSH 76, for melodic and textual relationships.

No. 244
GENERAL ROLL CALL, REV 356

Pentatonic, mode 2 with cadentially raised seventh (I -- 3 IV V -- VII)

[Music]

If you get there before I do,
When the gen'ral roll is call'd
We'll be there;
Look out for me I'm coming too,
When the gen'ral roll is call'd
We'll be there.
We'll be there, we'll be there, we'll be there,
When the gen'ral roll is call'd we'll be there.

We're pressing on to Canaan's land,
We'll join the blood-wash'd pilgrim band.

Then we'll go up the shining way,
And praise the Lord through endless day.

The tune is attributed, in the _Revivalist_, to J. Baker. Two negro spirituals based melodically and textually on this song are in Dett, pp. 121 and 166.

No. 245
SHOUTING PILGRIM, SWP 163

Hexatonic, mode 2 A (I II 3 IV V -- 7)

[Music]

The trumpets are a-sounding And calling for more volunteers,
The armies are in motion, Behold in front their officers.
Shout Oh! glory, for the battle is begun,
And I'll shout glory while the Israelites go on.

I love to live rejoicing, I cannot bear to live lukewarm,
Although there's many blames me for trusting in the Lord alone.
Shout Oh! glory, for I love to praise the Lord,
And I'll shout glory while I hear the gospel word.

I love to live a-shouting, I feel my Savior in my soul,
Sweet heaven drawing nigher, I feel the living waters roll.
Shout Oh! glory, for the glory is begun,
And I'll shout glory while the work is going on.

The time is fast approaching when all religion will be tried,
When Jesus with his jewels will ornament his lovely bride.
Shout Oh! glory, for my soul is full of love,
And I'll shout glory when I meet you all above.

I see the flame arising.--Had I the pinions of a dove,
My soul would then realize the wonders of redeeming love.
Shout Oh! glory, for there's glory in my soul,
And I'll shout glory while I feel the current roll.

The current is a-spreading and sinners coming home to God,
A-weeping and a-mourning, and finding favor in the Lord.
Shout Oh! glory, and my song shall never end,
And I'll shout glory to the sinner's dearest friend.

No. 246
BOUND FOR THE PROMISED LAND, OSH 128

Hexatonic, mode 2 A (I II 3 IV V -- 7)

[Music]

On Jordan's stormy banks I stand
And cast a wishful eye,
To Canaan's fair and happy land
Where my possessions lie.
I am bound for the promis'd land,
I'm bound for the promised land;
Oh, who will come and go with me,
I am bound for the promised land.

Further stanzas of the text are given under 'Jordan'. The combination here of the widely sung words of Samuel Stennett and an especially folkish revival phrase has resulted in an enormously well liked spiritual. Found also SOH 51, HH 154, SOC 114, HOC 47, WP 53, GOS 512. Its first appearance in the fasola books seems to have been in the _Southern Harmony_ of 1835 where it is attributed to Miss M. Durham. The tune is like 'I'll Go and Enlist for a Sailor', Sharp, _Morris Dances_, Set viii, No. 6.

No. 247
LISBON or I CAN NOT TARRY HERE, SOC 182

Pentatonic, mode 2 (I -- 3 IV V -- 7)

[Music]

Farewell, dear brethren in the Lord,
And I can not tarry here;
Yet we believe his gracious word,
And I can not tarry here.
And I can not tarry here,
And I can not tarry here;
The gospel sounds the jubilee,
And I can not tarry here.

This song is attributed to Henry F. Chandler and dated 1854. 'The Irish Girl', as sung in Virginia, shows a similar rhythmic trend but is less closely related tonally. See Sharp, ii., 254. Greater melodic resemblance is seen in 'Our Goodman' Sharp, i., 269, tune "D".

No. 248
I WANT TO GO TO GLORY, SWP 168

Hexatonic, cannot be classified (I II 3 IV V 6 --)

[Music]

Jesus, my all, to heav'n is gone,
I want to go to glory;
He whom I fix my hopes upon,
I want to go to glory.
I want to go, I want to go,
I want to go to glory;
We've so many trials here below,
They say there are none in glory.

The full text, by Samuel Medley (1738-1799), may be found under 'River of Jordan' in this collection. The _Southern and Western Pocket Harmonist_ gives this tune "as sung by Rev. M. L. Little". An old Irish song in Petrie, No. 1164, shows noteworthy similarities. See also 'I Want a Seat in Paradise', in this collection, for further tune relationships.

No. 249
CHRISTIAN RACE, REV 76

Heptatonic dorian, mode 2 A + B (I II 3 IV V VI 7)

[Music]

The Christian race is now begun,
O, glory, glory, hallelujah!
We're striving for a heav'nly crown,
O, glory, glory, hallelujah!
_Chorus_
For the prize it lies at the end of the race,
O, glory, glory, hallelujah!

We'll run the race and gain the prize,
O, glory _etc._
Our heav'nly mansion in the skies,
O, glory _etc._
_Chorus_

We'll lay aside our every weight,
The way is narrow and straight the gate.

In earnest cry we'll wrestle along;
Then on a kingly throne sit down.

Omnipotence is on our side,
And God himself will be our guide.

Then when the race we've nobly run,
He'll count us worthy of a crown.

The form of the above is "as sung by Rev. G. C. Wells".

No. 250
I YIELD, REV 443

Heptatonic, minor (I II 3 IV V 6 VII)

[Music]

Alas! and did my Savior bleed,
And did my Sov'reign die?
Would he devote that sacred head
For such a worm as I?

I yield, I yield, I yield,
I can hold out no more;
I sink by dying love compell'd,
And own thee conqueror.

I suggest the possibility that the editor of the _Revivalist_ made his tune over from one which was originally in the dorian mode.

Footnotes

[1]John Powell's article "In the Lowlands Low", in the _Southern
Folklore Quarterly_, Vol. i., No. 1, provides a corrective for
those who think loosely of our American music tradition as one
observable in the highlands only.

[2]The churchman's frown on the early intrusion of the folk into hymn
making may be seen in _The English Hymn_ by Louis F. Benson, pp.
291ff.

[3]See Warren A. Chandler, _Great Revivals and the Great Republic_,
pp. 109ff. and 138f.

[4]Samuel E. Asbury tells me that the camp meetings at Rock Springs,
Lincoln County, North Carolina, which he attended in his youth in
the 1880's had been the "mating grounds" for that state for fifty
years.

[5]Compare my article on this subject in _The American Mercury_ of
June, 1932.

[6]Anne G. Gilchrist, in her article cited above, assumes this
song-book recognition of the revival tunes to have _begun_ in
1842. The _height_ of this activity was, to be sure, around that
date, that is, from a decade earlier to a decade later. See JFSS,
viii., 63 f.; and compare p. 11 of this work.

[7]The new edition of _The Original Sacred Harp_, 1936, was not used
in making the present collection.

[8]All these books use the country people's own shape notation,
described at length in _White Spirituals_. See also my article
"Buckwheat Notes," in the _Musical Quarterly_, xix., No. 4, and
the Preface of this book.

[9]In Chapter xxi of _White Spirituals_ is the story of how the
city-controlled denominations have shown uniformly and
increasingly an aversion to the old revival type of song.

[10]The following is a comment made in this connection by John Powell.

"It may be well to remember here that only in comparatively recent
times has any distinction been made between the use of already
existing material (melodic and thematic) and the use of material
created by the composer. The Contrapuntists relied very largely on
folk-music for their basic material. Bach followed this example to
a great extent; Handel not only did this but took material
composed by others at his own sweet will with no thought of
deception and with no contemporary reproach of plagiarism. Haydn,
Beethoven, Schumann and Brahms followed frequently the same
practice. In the literary field in Elizabethan times it would be
difficult to find a play the fundamental material of which was not
drawn from already existing sources. The word _composer_ literally
means the one who puts together a piece. The material of this
piece may, or may not, be invented by such composer. These
reflections would seem to explain and to justify the modest claims
of the American singing-school book compilers to authorship of
songs, and such thoughts should make us approach their labors, not
with caviling, but with gratefulness for their invaluable service
to American traditional song."

[11]On examining the first 50 tunes of the Folk-Hymns in this
collection, I find _within_ their melodic phrases a total of only
17 jumps of a fifth and 10 of a sixth. Sevenths and octaves--I
found but two each--appeared only as the intervals between the end
note of one phrase and the beginning note of the following one.

[12]My own hearing of these tunes at the southern country singings has
convinced me that the dorian mode is far more widely used than the
above statistics, based on the notation, indicate. That is, I have
heard the sixth clearly _raised_ in numbers of songs where the key
signature called for a flatting.

[13]Observations made in recent years of the folk-tunes in the British
Isles show modality to be on the decline. In Germany the modes are
already practically gone, with the regular major and minor scales
taking their places.

[14]From this statement it will be seen that I hold with those who
look on the full diatonic scales as having evolved from the gapped
ones, rather than the other way around. This however is still a
matter of controversy.

[15]To those who desire to follow in more detail the problem of the
essence of the folk-tune, I commend Cecil Sharp's _English
Folk-Song, Some Conclusions_, especially chapters VI and VII.
Despite Sharp's having come to his "conclusions" thirty years ago
and even though they are concerned with the folk-songs of the
British Isles only, they have not, to my knowledge, been
essentially altered by subsequent thought on the subject; and they
apply, by and large, to American folk-tunes as well.

[16]A real defect of this system of cataloguing inheres in the
difficulty, sometimes the impossibility, of determining the proper
key signatures of gapped tunes. And the difficulty is augmented by
the tendency of all the old recorders to regard dorian tunes as
natural minor ones (or aeolian). I have reproduced all such
doubtful tunes here just as I found them. I have catalogued them,
however, (and inserted them here serially according to that
catalog arrangement) in an order which is determined by what has
seemed to be their proper modal form. Among the songs which are
touched by this modal (and hence key-signature) uncertainty are
Nos. 20, 21, 22, 37, 51, 87, 88, 89, 90, 91, 97, 115, 144, 148,
236, 237, 249, and 250.

[17]Author of Southern Harmony.

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List of Abbreviations of Titles

BHTBK Baptist Hymn and Tune Book, 1857
BS Bible Songs (DeWitt)
CH Church Harmony (Smith)
CHH Christian Harmony (Walker)
CHI Christian Harmony (Ingalls)
COH Columbian Harmony (Moore)
CSH Sacred Harp, 1902 (Cooper)
DT Religious Folk-Songs of the Negro (Dett)
GCM Genuine Church Music (Funk)
GOS Good Old Songs (Cayce)
HH Hesperian Harp (Hauser)
HOC Harp of Columbia (Swan)
JAFL Journal of American Folk-Lore
JFSS Journal of the [English] Folk-Song Society
KYH Kentucky Harmony (Davisson)
KNH Knoxville Harmony (Jackson)
MHTBK Methodist Hymn and Tune Book, 1889
MOH Missouri Harmony (Carden)
OL Olive Leaf (Hauser)
OSH Original Sacred Harp (James)
PB Primitive Baptist Hymn and Tune Book (Daily)
REV Revivalist (Hillman)
SCB South Carolina Ballads (Smith)
SH Sacred Harp, 1844 (White and King)
SKH Supplement to the Kentucky Harmony (Davisson)
SMM Scots Musical Museum (Johnson)
SOC Social Harp (McCurry)
SOG Songs of Grace (Lorenz and Baltzell)
SOH Southern Harmony (Walker)
SS Slave Songs of the United States (Allen, Ware, and Garrison)
SWP Southern and Western Pocket Harmonist (Walker)
TZ Timbrel of Zion (Collins)
UH Union Harmony (Caldwell)
UHH Union Harmony (Hendrickson)
UHP Union Harp and History of Songs (James)
VH Virginia Harmony (Carrell)
WH Western Harmony (Carden, Rogers, Moore, and Green)
WP Western Psalmodist (Johnson)
WS White Spirituals in the Southern Uplands (Jackson)

Index of Songs by Titles

A
Number
Address for All 29
Albert 83
Albion 78
All is Well 58
All the Way 'Long 170
Alverson 213
Angels Hovering Round 211
Animation 62
Antioch 166
Atonement 200
Autauga 204
Away Over Yonder 178

B
Babe of Bethlehem 51
Babylon Is Fallen 192
Backslider 71
Balm in Gilead 127
Bartimeus 21
Bates 188
Beautiful Home Sweet Home 222
Beggar 2
Be Gone Unbelief 117
Beloved 163
Bound for the Promised Land 246
Bourbon 109
Bowers 172
Bozrah 138