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If our fathers want to go,Why don’t they come along?I belong to this band, Hallelujah.Hallelujah, hallelujah,I belong to this band, hallelujah.
If our fathers want to go,
Why don’t they come along?
I belong to this band, Hallelujah.
Hallelujah, hallelujah,
I belong to this band, hallelujah.
The tune was first printed in theUnion Harpas recorded by S. M. Denson of Alabama. Subsequent verses are made by the use of “mothers”, “sisters,” etc. That the negroes used this formula is shown inWhite Spirituals, 247. The refrain “I belong to this band, hallelujah” reappears in ‘I Belong to This Band (B)’ in this collection.
Hexatonic, mode 3 A (I II III — V VI VII)
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Jerusalem, my happy home,Oh how I long for thee!When shall my sorrows have an end,Thy joys when shall I see.Home, sweet home, my long-sought home,My home in heav’n above.
Jerusalem, my happy home,
Oh how I long for thee!
When shall my sorrows have an end,
Thy joys when shall I see.
Home, sweet home, my long-sought home,
My home in heav’n above.
Thy walls are all of precious stone,Most glorious to behold;Thy gates are richly set with pearl,Thy streets are paved with gold.
Thy walls are all of precious stone,
Most glorious to behold;
Thy gates are richly set with pearl,
Thy streets are paved with gold.
Thy garden and thy pleasing greenMy study long have been;Such sparkling light by human sightHas never yet been seen.
Thy garden and thy pleasing green
My study long have been;
Such sparkling light by human sight
Has never yet been seen.
TheChristian Harmonycredits the song to William Bobo, Union, S. C. The words are credited, in thePrimitive Baptist Hymn and Tune Book, No. 453, to Cowper.
Pentatonic, mode 3 (I II III — V VI —)
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Beautiful home, sweet home,Beautiful home, sweet home,Beautiful home, sweet home,Lord, I want to join the angels, beautiful home.
Beautiful home, sweet home,
Beautiful home, sweet home,
Beautiful home, sweet home,
Lord, I want to join the angels, beautiful home.
Recorded by the author from the singing of Samuel E. Asbury, September 10, 1932, as he remembered its being sung in the 1880’s in camp meetings in western North Carolina. The above is merely the chorus of the song. But it is essentially the same, melodically, as the verse. The text proceeds:
Fathers have a home, sweet homeetc.Mothers have a home, sweet homeetc.By and by we’ll go and see themetc.Won’t that be a happy meetingetc.
Fathers have a home, sweet homeetc.
Mothers have a home, sweet homeetc.
By and by we’ll go and see themetc.
Won’t that be a happy meetingetc.
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
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Alas! and did my Savior bleed,Alas! and did my Savior bleed,Alas! and did my Savior bleedAnd did my Sov’reign die?Would He devote that sacred headFor such a worm as I.ChorusI want my friends to go with me,I want my friends to go with me,I want my friends to go with meTo the new Jerusalem.I wonder, Lord, shall I ever get to heaven,The new Jerusalem.
Alas! and did my Savior bleed,
Alas! and did my Savior bleed,
Alas! and did my Savior bleed
And did my Sov’reign die?
Would He devote that sacred head
For such a worm as I.
Chorus
I want my friends to go with me,
I want my friends to go with me,
I want my friends to go with me
To the new Jerusalem.
I wonder, Lord, shall I ever get to heaven,
The new Jerusalem.
William Hauser included the above tune, with different text, in hisOlive Leaf. Of the above chorus, “sometimes sung after each verse,” he says: “Not worth while to criticise this chorus. Does anybody criticise a camel? No; they take him for his usefulness”.
Hexatonic, mode 3 A (I II III — V VI VII)
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Jesus, my all, to heav’n has gone, Glory hallelujah,He whom I fix my hopes upon, Glory hallelujah.ChorusI love Jesus, glory hallelujah,I love Jesus, glory hallelujah.
Jesus, my all, to heav’n has gone, Glory hallelujah,
He whom I fix my hopes upon, Glory hallelujah.
Chorus
I love Jesus, glory hallelujah,
I love Jesus, glory hallelujah.
Further stanzas of the text are given under ‘River of Jordan’. The tune is found in a negro version in Marsh, No. 65. I have, in manuscript, practically the same tune which I recorded from the dulcimer playing of F. S. Russell, Marion, Virginia. He called the tune ‘Bonaparte’s Retreat’. Compare also the sixteenth century carol tune ‘Tempus adest floridum’,The Oxford Book of Carols, No. 99.
Hexatonic, mode 1 b (I II — IV V VI 7)
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And let this feeble body fail,And let it faint or die;My soul shall quit this mournful valeAnd soar to worlds on high.
And let this feeble body fail,
And let it faint or die;
My soul shall quit this mournful vale
And soar to worlds on high.
And I’ll sing hallelujah,And you’ll sing hallelujah,And we’ll all sing hallelujah,When we arrive at home.
And I’ll sing hallelujah,
And you’ll sing hallelujah,
And we’ll all sing hallelujah,
When we arrive at home.
This text by Charles Wesley, supplemented by the infectious chorus and sung to this swingful tune, was widely popular in the first part of the nineteenth century. It is given more fully under ‘Pleasant Hill’. The song is found, SOH 107 and HH 102.
The tune had qualities which made it widely popular. There is of course no knowing whether the many variant forms which I have found derive from the above tune; but I have given them collectively the name the ‘Hallelujah’ tune family. Other members of the family in this collection are ‘Stephens’, ‘Pilgrim’s Triumph’, ‘Faithful Soldier’, ‘Tender Care’, ‘Sawyer’s Exit’, ‘O I’m So Happy’, and ‘Converted Thief (a)’. Related melodies with secular texts are ‘The Reilly Song’, Thomas, p. 166; ‘Chickens They are Crowing’, Sharp, ii., 378; ‘Lord Thomas and Fair Eleanor’, Sharp, i., 125; ‘Virginian Lover’, Sharp, ii., 149f.; ‘Banks of Sweet Dundee’, Sharp, i., 399; ‘The Pinery Boy’, Shoemaker, p. 262; ‘Kilrush Air’ Petrie, Nos. 167 and 283; and ‘Tweed Side’, SMM, p. 9.
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
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I pitch my tent on this camp ground,Few days, few days,And give old Satan another round,And I am going home;I can’t stay in these diggings,Few days, few days,I can’t stay in these diggings,I am going home.
I pitch my tent on this camp ground,
Few days, few days,
And give old Satan another round,
And I am going home;
I can’t stay in these diggings,
Few days, few days,
I can’t stay in these diggings,
I am going home.
The compiler of theSocial Harp, John G. McCurry, claims this song and dates it 1855. A variant of the tune is in Richardson, p. 72. A negro adoption is given inWhite Spirituals, 266.
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
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How pleasant thus to dwell belowIn fellowship of love!And tho’ we part ’tis bliss to knowThe good shall meet above!The good shall meet above,The good shall meet above.And tho’ we part, ’tis bliss to knowThe good shall meet above.
How pleasant thus to dwell below
In fellowship of love!
And tho’ we part ’tis bliss to know
The good shall meet above!
The good shall meet above,
The good shall meet above.
And tho’ we part, ’tis bliss to know
The good shall meet above.
O that will be joyful, joyful, joyful.O that will be joyfulTo meet and part no more;To meet and part no more,On Canaan’s happy shore,And sing the everlasting songWith those who’ve gone before.
O that will be joyful, joyful, joyful.
O that will be joyful
To meet and part no more;
To meet and part no more,
On Canaan’s happy shore,
And sing the everlasting song
With those who’ve gone before.
James, editor of the 1911Original Sacred Harp, says that ‘Joyful’ was composed by Rev. Abraham D. Merrell. He was born in New Hampshire 1796 and died in 1878. The first lines of a widely sung parody of this song (or is the above the parody?) are:
The man who has plenty of good peanutsAnd giveth his neighbor none,Shan’t have any of my peanutsWhen his peanuts are gone.
The man who has plenty of good peanuts
And giveth his neighbor none,
Shan’t have any of my peanuts
When his peanuts are gone.
Miss Gilchrist informs us as to the relatives of tune and words in England. One parody familiar to her was:
John Wesley had a little ghost,The color of it was white;It used to swarm up his bed-postAnd frighten him at night.
John Wesley had a little ghost,
The color of it was white;
It used to swarm up his bed-post
And frighten him at night.
Another, known to Miss Gilchrist, was ‘Three Little Kittens’, (See JFSS, viii, 86). I also heard this song as a nursery ditty in my early youth in Monson, Maine, in the 1880’s. Compare ‘Judgment Scenes’ in this collection. The tune was used also for the carol ‘Joys Seven’,The Oxford Book of Carols, No. 70.
Pentatonic, mode 3 (I II III — V VI —)
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Since man by sin has lost his God,He seeks creation through;And vainly strives for solid blissIn trying something new.In trying something new,And vainly strives for solid blissIn trying something new.
Since man by sin has lost his God,
He seeks creation through;
And vainly strives for solid bliss
In trying something new.
In trying something new,
And vainly strives for solid bliss
In trying something new.
The new, possessed like fading flowers,Soon loses its gay hue;The bubble now no longer stays,The soul wants something new.
The new, possessed like fading flowers,
Soon loses its gay hue;
The bubble now no longer stays,
The soul wants something new.
And could we call all Europe ours,With India and Peru,The mind would feel an aching voidAnd still want something new.
And could we call all Europe ours,
With India and Peru,
The mind would feel an aching void
And still want something new.
But when we feel a Savior’s love,All good in him we view;The soul forsakes its vain delights—In Christ finds all things new.
But when we feel a Savior’s love,
All good in him we view;
The soul forsakes its vain delights—
In Christ finds all things new.
Also found, SOC 250, GOS 365, SOH 254. A negro adoption and adaptation is cited inWhite Spirituals, 249.
Hexatonic, mode 3 A (I II III — V VI VII)
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Alas! and did my Savior bleed,Alas! and did my Savior bleed,Alas! and did my Savior bleedAnd did my Sovreign die?
Alas! and did my Savior bleed,
Alas! and did my Savior bleed,
Alas! and did my Savior bleed
And did my Sovreign die?
I have but one more river to cross,I have but one more river to cross;I have but one more river to cross,And then I’ll be at rest.
I have but one more river to cross,
I have but one more river to cross;
I have but one more river to cross,
And then I’ll be at rest.
The text theme of the chorus is seen in the negro spiritual SS 4:
And I hain’t but one more river to cross.
And I hain’t but one more river to cross.
The tune is closely related to ‘Gaines’, HH 122, this collection; ‘Geordie’, Sharp, i., 240; ‘John of Hazelgreen’, Sharp, i., 294; ‘False Young Man’, (2), Sharp, ii., 52; ‘True Lover’s Farewell’, Sharp, ii., 113ff. The ‘Geordie’ text begins with ‘As I crossed over London’s Bridge’. This may indicate where the revival folk got their suggestion for tune and text of ‘One More River to Cross’.
Heptatonic ionian, mode 1 A + B (I II III IV V VI VII)
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When I can read my title clearTo mansions in the skies,I’ll bid farewell to ev’ry fearAnd wipe my weeping eyes.Oh, walk and talk with Jesus,Halle, hallelujah,Oh, there’s glory in my soul.
When I can read my title clear
To mansions in the skies,
I’ll bid farewell to ev’ry fear
And wipe my weeping eyes.
Oh, walk and talk with Jesus,
Halle, hallelujah,
Oh, there’s glory in my soul.
Ah, poor sinner, you run from the rock,When the moon goes down in blood,To hide yourself in the mountain top,For to hide yourself from God.
Ah, poor sinner, you run from the rock,
When the moon goes down in blood,
To hide yourself in the mountain top,
For to hide yourself from God.
Should earth against my soul engage,And hellish darts be hurled,Then I can smile at Satan’s rage,And face a frowning world.
Should earth against my soul engage,
And hellish darts be hurled,
Then I can smile at Satan’s rage,
And face a frowning world.
Let cares like a wild deluge come,And storms of sorrow fall;May I but safely reach my home,My God, my heaven, my all.
Let cares like a wild deluge come,
And storms of sorrow fall;
May I but safely reach my home,
My God, my heaven, my all.
The compiler of theSocial Harpascribes this song to J. A. & J. F. Wade and dates it 1854. The words, excepting those of the chorus, are by Watts.
Hexatonic, mode 3 b (I II III IV V VI —)
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Jesus, my all, to heav’n is gone,I want to go there too;He whom I fix my hopes upon,And I want to go there too.ChorusI want to go,I want to go,I want to go there too,Substantial joys shall fill my soul,And I want to go there too.
Jesus, my all, to heav’n is gone,
I want to go there too;
He whom I fix my hopes upon,
And I want to go there too.
Chorus
I want to go,
I want to go,
I want to go there too,
Substantial joys shall fill my soul,
And I want to go there too.
John G. McCurry, compiler of theSocial Harp, recorded it, according to his note, in 1854. In the 1880’s in Monson, Maine, I heard almost precisely the same tune sung to the words:
Johnny Morgan played the organ,His father beat the drum;His sister played the tambourineAnd his brother went bum-bum.
Johnny Morgan played the organ,
His father beat the drum;
His sister played the tambourine
And his brother went bum-bum.
The text of the spiritual song is given more completely under ‘River of Jordan’. The tune is akin to ‘One Man Shall Mow my Meadow’ and ‘The Knight and the Shepherd’s Daughter’, in Sharp,One Hundred English Folksongs, Nos. 3 and 100.
Hexatonic, mode 3 b (I II III IV V VI —)
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I’ll praise him while he gives me breath,I hope to praise him after death.ChorusO he’s taken my feet from the mire and the clay,And he’s placed them on the Rock of Ages.
I’ll praise him while he gives me breath,
I hope to praise him after death.
Chorus
O he’s taken my feet from the mire and the clay,
And he’s placed them on the Rock of Ages.
I hope to praise him when I die,And shout salvation as I fly.Chorus
I hope to praise him when I die,
And shout salvation as I fly.
Chorus
And I will tell to sinners roundWhat a dear Savior I have found.Chorus
And I will tell to sinners round
What a dear Savior I have found.
Chorus
Hexatonic, 6th missing, cannot be classified, obviously ionian (I II III IV V — VII)
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My bible leads to glory,My bible leads to glory,My bible leads to glory,Ye foll’wers of the Lamb,Sing on, pray on,Foll’wers of Immanuel;Sing on, pray on,Soldiers of the cross.
My bible leads to glory,
My bible leads to glory,
My bible leads to glory,
Ye foll’wers of the Lamb,
Sing on, pray on,
Foll’wers of Immanuel;
Sing on, pray on,
Soldiers of the cross.
Subsequent stanzas are constructed from such sentences as:
Religion makes me happy.King Jesus is my captain.I long to see my Savior.Then farewell, sin and sorrow.We’ll have a shout in glory.We’ll wave our palms forever.
Religion makes me happy.
King Jesus is my captain.
I long to see my Savior.
Then farewell, sin and sorrow.
We’ll have a shout in glory.
We’ll wave our palms forever.
A variant of tune and words is in Richardson, p. 68. The melody is the same as ‘Bobbing Around’ which was published by Oliver Ditson & Co., Boston, about 1855, as one of a series calledMelodies of the day.
Pentatonic, mode 1 (I II — IV V VI —)
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I’m trav’ling to my grave,I’m trav’ling to my grave,I’m trav’ling to my graveTo lay this body down.
I’m trav’ling to my grave,
I’m trav’ling to my grave,
I’m trav’ling to my grave
To lay this body down.
My fathers died a-shouting,rejoicing in the Lord;The last word I heard them sayWas about Jerusalem,The saints’ delightful home.
My fathers died a-shouting,
rejoicing in the Lord;
The last word I heard them say
Was about Jerusalem,
The saints’ delightful home.
The song is ascribed in theSocial Harpto John G. McCurry and Wm. C. Davis and dated 1853. For a variant among the negro spiritual tunes seeWhite Spirituals, p. 261. Compare ‘I’m a Long Time Traveling’ in this collection. Similarity is seen also between the above melody and ‘The Merchant’s Daughter’, second tune, JFSS, i., 160.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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On Jordan’s stormy banks I stand,And cast a wishful eye,On the other side of Jordan, hallelujah!To Canaan’s fair and happy land,Where my possessions lie,On the other side of Jordan, hallelujah!On the other side of Jordan, hallelujah!On the other side of Jordan, hallelujah!
On Jordan’s stormy banks I stand,
And cast a wishful eye,
On the other side of Jordan, hallelujah!
To Canaan’s fair and happy land,
Where my possessions lie,
On the other side of Jordan, hallelujah!
On the other side of Jordan, hallelujah!
On the other side of Jordan, hallelujah!
Further stanzas of the text are given under ‘Jordan’. The tune is reminiscent of ‘Morning Trumpet’ in this collection.
Hexatonic, mode 4 b (I II 3 IV V — 7)
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There is a heav’n o’er yonder skies,A heav’n where pleasure never dies,A heav’n I sometimes hope to see,But fear again ’tis not for me;But Jesus, Jesus is my friend,O, hallelujah, hallelujah,Jesus, Jesus is my friend.
There is a heav’n o’er yonder skies,
A heav’n where pleasure never dies,
A heav’n I sometimes hope to see,
But fear again ’tis not for me;
But Jesus, Jesus is my friend,
O, hallelujah, hallelujah,
Jesus, Jesus is my friend.
The chorus of the above tune has features similar to ‘Jesus Is My Friend (A)’, in this collection. The whole tune seems to be a degenerate offspring of ‘Davisson’s Retirement’, in this collection.
Hexatonic, mode 4 a (I II — IV V 6 7)
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Jesus, my all, to heav’n is gone,O hallelujah;He whom I fix my hopes upon,O hallelujah.And it won’t be long,Nor it can’t be long,O halle, hallelujah,And it won’t be long till Christ will come,O hallelujah.
Jesus, my all, to heav’n is gone,
O hallelujah;
He whom I fix my hopes upon,
O hallelujah.
And it won’t be long,
Nor it can’t be long,
O halle, hallelujah,
And it won’t be long till Christ will come,
O hallelujah.
The compiler of theSocial Harp, John G. McCurry, claims the song and dates it 1847. We know the words as those of John Cennick. Additional stanzas are given under ‘River of Jordan’.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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Jesus, my all, to heav’n is gone,I’ll never turn back no more;He whom I fix my hopes upon,I’ll never turn back no more.I’ll never turn back no more, my Lord,I’ll never turn back no more.
Jesus, my all, to heav’n is gone,
I’ll never turn back no more;
He whom I fix my hopes upon,
I’ll never turn back no more.
I’ll never turn back no more, my Lord,
I’ll never turn back no more.
A variant tune is ‘Never Turn Back (A)’, this collection. A negro variant is in Marsh, p. 174. Additional stanzas of the text are given under ‘River of Jordan’.
Pentatonic, mode 2 (I — 3 IV V — 7)
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Come, ye sinners, poor and needy,Weak and wounded, sick and sore,Jesus ready stands to save you,Full of pity, love and pow’r.ChorusI will arise and go to Jesus,He will embrace me in his arms,In the arms of my dear Savior,O there are ten thousand charms.
Come, ye sinners, poor and needy,
Weak and wounded, sick and sore,
Jesus ready stands to save you,
Full of pity, love and pow’r.
Chorus
I will arise and go to Jesus,
He will embrace me in his arms,
In the arms of my dear Savior,
O there are ten thousand charms.
Let not conscience make you linger,Nor of fitness fondly dream;All the fitness he requirethIs to feel your need of him.Chorus
Let not conscience make you linger,
Nor of fitness fondly dream;
All the fitness he requireth
Is to feel your need of him.
Chorus
Agonizing in the garden,Lo, your Master prostrate lies;On the bloody tree behold him,Hear him cry before he dies.Chorus
Agonizing in the garden,
Lo, your Master prostrate lies;
On the bloody tree behold him,
Hear him cry before he dies.
Chorus
Lo, th’incarnate God ascended,Pleads the merit of his blood;Venture on him, venture wholely,Let no other trust intrude.Chorus
Lo, th’incarnate God ascended,
Pleads the merit of his blood;
Venture on him, venture wholely,
Let no other trust intrude.
Chorus
I recorded this song from the singing of Donald Davidson, Vanderbilt University, June, 1935. Joseph Hart published this poem in 1759. The refrain text is probably of camp-meeting origin. The tune has been immensely popular for certainly more than a hundred years in the South. Found also SOH 5, HH 217, WP 25, PB 342, OSH 312 (tune with other words), OSH 81 (words with another tune).
The tune is typical of a traditional trend. Many other songs show either close relationship throughout or use single phrases of this melody. The tunes in this collection which are close to the ‘I Will Arise’ type (mentioned in the Introduction,p. 14) are ‘Humble Penitent’, and ‘Be Gone Unbelief’. Others making use of the second phrase only, markeda, are ‘Bozrah’ and ‘New Orleans’. A secular tune in the ‘I Will Arise’ form is ‘The Bird Song’, Sharp, ii., 304; and among the secular tunes employing phraseaas their tune beginnings are ‘Oh Love It is a Killing Thing’ and ‘When I first Left Old Ireland’, Petrie, Nos. 469 and 863; and ‘The Cruel Mother’, Cox, p. 522. Thomas gives the beginning of a lullaby which doubtlessly belongs to this tune group, seeDevil’s Ditties, p. 17.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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Jesus, my all, to heav’n has gone,Glory hallelujah,He whom I fix my hopes upon,Glory hallelujah.I want a seat in paradise,Glory hallelujah,I love that union never dies,Glory hallelujah.
Jesus, my all, to heav’n has gone,
Glory hallelujah,
He whom I fix my hopes upon,
Glory hallelujah.
I want a seat in paradise,
Glory hallelujah,
I love that union never dies,
Glory hallelujah.
The recording of this tune is credited to Dr. R. R. Osborne, a Georgian. The core of the words is by John Cennick, a text which is given more fully under ‘River of Jordan’.
The tune is built up easily on the theme of the first two measures which is similar to the beginning of ‘Henry Martin’, see Rickaby, p. 161, and Sandburg, p. 176. ‘Henry Martin’ is based on an incident in British marine history which took place in the year 1476. See S. Baring-Gould,Songs of the West, song No. 53, and note. Another old relative of the tune seems to be ‘There were Three Ravens’ which was recorded in 1611 as follows:
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There were three ra’ens sat on a tree,Down a down hey down a down.
There were three ra’ens sat on a tree,
Down a down hey down a down.
See Jackson,English Melodies from the 13th to the 18th Century, p. 24. German tunes with practically the same opening phrase and dating from the sixteenth century are in Erk-Böhme,Deutscher Liederhort, vol. iii., p. 718.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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O when shall I see JesusAnd reign with him above,And from the flowing fountainDrink everlasting love,And shall hear the trumpet sound in that morning.
O when shall I see Jesus
And reign with him above,
And from the flowing fountain
Drink everlasting love,
And shall hear the trumpet sound in that morning.
Shout O glory, for I shall mount above the skiesWhen I hear the trumpet sound in that morning.
Shout O glory, for I shall mount above the skies
When I hear the trumpet sound in that morning.
This is one of the best examples of the revival spiritual song. It has the John Leland words of matchless popularity in the southern song region, a refrain in clarion tones, a chorus with rare swing, and a primeval melodic mode.
For a negro version and the black man’s story of the song’s source seeWhite Spirituals, pp. 254-255. Found also SOH (1854) 195, SOC 111, HOC 99. Further stanzas of the text are given under ‘Faithful Soldier’. A later and simplified version of ‘Morning Trumpet’ is ‘To Hear the Trumpet Sound’ in this collection.
Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)
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Peace, troubled soul, thou need not fear,Jesus says he will be with you to the end.The great provider still is near,Jesus says he will be with you to the end.ChorusHallelujah, hallelujah,And he’s promised to be with you to the end.
Peace, troubled soul, thou need not fear,
Jesus says he will be with you to the end.
The great provider still is near,
Jesus says he will be with you to the end.
Chorus
Hallelujah, hallelujah,
And he’s promised to be with you to the end.
The Lord who built the earth and sky,In mercy stoops to hear our cry;His promise all may truly claim,Ask and receive in Jesus’ name.
The Lord who built the earth and sky,
In mercy stoops to hear our cry;
His promise all may truly claim,
Ask and receive in Jesus’ name.
The tune from the start to the chorus is practically the same as the chorus tune in ‘With Us to the End’ in this collection. It is claimed by S. M. Denson and dated 1908. Mr. Denson recorded many revival tunes. For data as to his life seeWhite Spirituals, 107ff. He died 1936. See ‘Cruel Mother’, Sharp, i., 61, tune K, for melodic similarities.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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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!
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, Tilletc.Glorious in his works and ways, Tilletc.
Sing your Savior’s worthy praise, Tilletc.
Glorious in his works and ways, Tilletc.
We are travelling home to GodIn the way the fathers trod.
We are travelling home to God
In the way the fathers trod.
They are happy now, and weSoon their happiness shall see.
They are happy now, and we
Soon their happiness shall see.
O ye banished seed, be glad!Christ our advocate is made.
O ye banished seed, be glad!
Christ our advocate is made.
Us to save, our flesh assumes,Brother to our souls becomes.
Us to save, our flesh assumes,
Brother to our souls becomes.
Shout, ye little flock, and blestYou on Jesus’ throne shall rest.
Shout, ye little flock, and blest
You on Jesus’ throne shall rest.
There your seat is now prepared,There your kingdom and reward.
There your seat is now prepared,
There your kingdom and reward.
Fear not, brethren; joyful standOn the borders of your land.
Fear not, brethren; joyful stand
On the borders of your land.
Christ, your Father’s darling son,Bids you undismayed go on.
Christ, your Father’s darling son,
Bids you undismayed go on.
Lord, submissive make us go,Gladly leaving all below.
Lord, submissive make us go,
Gladly leaving all below.
Only thou our leader be,And we still will follow thee.
Only thou our leader be,
And we still will follow thee.
See ’Till the Warfare is Over’, OSH 76, for melodic and textual relationships.
Pentatonic, mode 2 with cadentially raised seventh (I — 3 IV V — VII)
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If you get there before I do,When the gen’ral roll is call’dWe’ll be there;Look out for me I’m coming too,When the gen’ral roll is call’dWe’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.
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.
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.
Then we’ll go up the shining way,
And praise the Lord through endless day.
The tune is attributed, in theRevivalist, to J. Baker. Two negro spirituals based melodically and textually on this song are in Dett, pp. 121 and 166.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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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.
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 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.
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.
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.
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.
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.
Hexatonic, mode 2 A (I II 3 IV V — 7)
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On Jordan’s stormy banks I standAnd cast a wishful eye,To Canaan’s fair and happy landWhere 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.
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 theSouthern Harmonyof 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.
Pentatonic, mode 2 (I — 3 IV V — 7)
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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.
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”.
Hexatonic, cannot be classified (I II 3 IV V 6 —)