Chapter V: Front Matter (5)

Tune found also in CHI 12, KNH 109, UH 63, SOC 168, HH 28, SKH 47, GOS 26. The text, taken from the _Dover Selection_, as well as the tune, attributed to 'Chapin', seem to be closely related to a Christmas carol in JFSS, ii., 115. Its first stanza begins: "Come all ye faithful Christians, That dwell within this land. That pass your time in rioting, Remember you are but man." The English folk-song, 'Just as the Tide Was a-Flowing', has an almost identical tune. See Gould and Sharp, _English Folk-Songs for Schools_, p. 52.

No. 94
MECKLINBURG, SKH 30

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

Bright scenes of glory strike my sense,
And all my passions capture;
Eternal beauties round me shine,
Infusing warmest rapture.
I dive in pleasure deep and full,
In swelling waves of glory;
And feel my Savior in my soul,
And groan to tell my story;
And feel my Savior in my soul,
And groan to tell my story.

I feast on honey, milk and wine,
I drink perpetual sweetness;
Mount Zion's odours through me shine,
While Christ unfolds his glory.
No mortal tongue can lisp my joys,
Nor can an angel tell them;
Ten thousand times surpassing all
Terrestrial worlds [words?] or emblems.

My captivated spirit flies,
Through shining worlds of beauty;
Dissolv'd in blushes, loud I cry,
In praises loud and mighty;
And here I'll sing and swell the strains
Of harmony delighted,
And with the millions learn the notes
Of saints in Christ united.

The compiler of the SKH attributes the tune to Lowry. See _White Spirituals_, p. 167, for a secular relative of the tune. See also 'St. Patrick was a Gentleman', Petrie, No. 346; and I'm Seventeen Come Sunday', JFSS, ii., 269f.

No. 95
SALVATION (B), SOH 84

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

Come, humble sinner in whose breast
A thousand thoughts revolve;
Come with your guilt and fear opprest
And make this last resolve.

I'll go to Jesus though my sin
Hath like a mountain rose.
I know his courts, I'll enter in,
Whatever may oppose.

Prostrate I'll lie before his throne,
And there my guilt confess;
I'll tell him I'm a wretch undone,
Without his sovereign grace.

I'll to the gracious King approach,
Whose sceptre pardon gives;
Perhaps he may command my touch,
And then the suppliant lives.

Of the text which the compiler of the _Southern Harmony_ found in "Rippon", three further stanzas are found in Caldwell's _Union Harmony_, p. 35. The tune, ascribed to Robert Boyd, is found also KYH 22, GCM 136, UH 34, KNH 32, HH 71, HOC 24, TZ 101, and GOS 144. A variant tune is 'Come All Ye Worthy Christian Men', Sharp, _One Hundred English Folksongs_, No. 91. Note similarity in the opening words of both songs. See also Sharp's note as to other old related songs. The first melodic sentence is quite similar to that of the tune to 'The Three Ravens' as Motherwell gives it in _Minstrelsy Ancient and Modern_, Edition 1873, Appendix, _Musick_, No. 12:

[Music]

No. 96
FRENCH BROAD, SOH 265

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

[Music]

High o'er the hills the mountains rise,
Their summits tow'r toward the skies;
But far above them I must dwell,
Or sink beneath the flames of hell.

Although I walk the mountains high,
Ere long my body low must lie,
And in some lonesome place must rot,
And by the living be forgot.

There it must lie till that great day,
When Gabriel's awful trump shall say,
"Arise, the judgment day is come,
When all must hear their final doom."

Four more stanzas in the _Southern Harmony_. Found also GOS 218, CHH 208. William Walker, compiler of the _Southern Harmony_, appends the note: "This song was composed by the author in the fall of 1831, while traveling over the mountains, on French Broad River, in North Carolina and Tennessee". Walker must have been referring simply to the words. He was melodizing, probably unconsciously, in beaten paths. For his tune is almost identical with the older 'Kedron' (this collection) which was attributed to "Dare". Walker declares, in his later song book, _Christian Harmony_, 1866, p. 208, that he "learned the air of this tune from my mother when only five years old." That would have been 1814. Both the Dare and the Walker tunes are closely related to the melody of 'McAfee's Confession', Sharp, ii., 16, lower tune, a western North Carolina recording of 1918; and to the Old World song, 'The Wraggle Taggle Gipsies O', _One Hundred English Folk-Songs_, p. 13.

No. 97
DAVISSON'S RETIREMENT, KNH 117

Pentatonic, mode 4 (I II -- IV V -- 7)

[Music]

Jesus, and shall it ever be
A mortal man asham'd of thee,
Asham'd of thee whom angels praise,
Whose glories shine through endless days.

Ashamed of Jesus! sooner far
Let evening blush to own a star;
He sheds the beams of light divine
O'er this benighted soul of mine.

Ashamed of Jesus! just as soon
Let midnight be ashamed of noon:
'Tis midnight with my soul till he,
Bright morning star, bid darkness flee.

The poem is by Joseph Grigg (b. 1720). Ananias Davisson of the Valley of Virginia named and claimed the tune in his _Kentucky Harmony_ (1815). Annabel Morris Buchanan has found a tune with the title 'Retirement' in a manuscript tune book which she judges to be from the eighteenth century. No text accompanies the tune, and no source is given. It follows:

[Music]

A comparison of the two tunes indicates rather plainly that Davisson wrote the tune down from oral tradition, and that his noting was indicative of the manner in which it was actually sung.

No. 98
PILGRIM, OSH 201

Hexatonic, mode 2 b (I -- 3 IV V 6 7)

[Music]

Come, all ye mourning pilgrims dear,
Who're bound for Canaan's land,
Take courage and fight valiantly,
Stand fast with sword in hand.
Our Captain's gone before us,
Our Father's only Son;
Then pilgrims dear, pray do not fear,
But let us follow on.

We have a howling wilderness
To Canaan's happy shore,
A land of dearth and pits and snares,
Where chilling winds do roar.
But Jesus will be with us
And guard us by the way,
Though enemies examine us,
He'll teach us what to say.

Come all you pilgrim travelers,
Fresh courage take with me;
Meantime I'll tell you how I came
This happy land to see:
Through faith, the glorious telescope,
I view'd the worlds above,
And God the Father reconciled,
Which fills my heart with love.

The tune is found also CHI 54, MOH 147, KNH 57, HH 392, SOC 117, and WP 46. Among the many secular songs using this tune are 'Daniel Monroe', dating from around 1785, Rickaby, pp. 184 and 229; 'Lady and the Dragoon', Sharp, i., 337, recorded in North Carolina in 1918; 'Sheffield Apprentice', Sharp, ii., 66; 'Loving Reilly', Sharp, ii., 81 and 82; 'Rebel Soldier', or 'Poor Stranger' Sharp, ii., 215; 'Sons of Liberty', Sharp, ii., 225; 'John Barleycorn', noted by Sharp in England in 1909; 'Gallant Poachers' or 'Van Diemen's Land', also in England, see JFSS, vii., 42, for references; 'I Wish I Was in Dublin Town', or 'The Irish Girl', JFSS, viii., 263; and 'Barley and the Rye', JFSS, viii., 273; 'High Germany' and 'Erin's Lovely Home', _One Hundred English Folk-Songs_, pp. 124 and 127; 'King's Lynn', _Christian Science Hymnal_; and 'Rise Up Young William Reilly', Petrie, No. 510. Stephen Foster's tune 'Way Down in Ca-i-ro' shows influence from this tune formula. See _The Musical Quarterly_, vol. xxii., No. 2.

No. 99
MISSISSIPPI, SKH 34

Heptatonic aeolian, mode A + b (I II 3 IV V 6 7)

[Music]

When Gabriel's awful trump shall sound,
And rend the rocks, convulse the ground
And give to time her utmost bound,
Ye dead arise to judgment.
See lightnings flash and thunders roll;
See earth wrapt up like parchment scroll,
Comets blaze, sinners raise,
Dread amaze, horrors seize
The guilty sons of Adam's race,
Unsav'd from sin by Jesus.

The Christian, fill'd with rapturous joy,
Midst flaming worlds he mounts on high,
To meet his Savior in the sky
And see the face of Jesus.
The soul and body reunite,
And fill with glory infinite.
Blessed day, Christians say,
Will you pray that we may
All join that happy company
To praise the name of Jesus.

The compiler of the _Supplement to the Kentucky Harmony_ attributed the song to "Bradshaw". I find distinct ancestral traces of its tune in 'Princess Royal' given in a number of traditional forms as a morris dance tune in Sharp, _The Morris Dance Book_. Assuming these to be the oldest forms of the tune, the next younger form seems to have been what was called in Walsh's _Compleat Dancing Master_ (_ca._ 1730), "The Princess Royal, the new way". In 1796 Shield adapted the air to the words of 'The Saucy Arethusa' in the ballad opera _The Lock and Key_. It may be found entitled 'The Arethusa' in _The English Musical Repository_, p. 32. At about the same time--around the end of the eighteenth century--the tune was used also for 'Bold Nelson's Praise' a version of which was recently recorded by Sharp, _One Hundred English Folk-Songs_, No. 88. The as yet unidentified "Bradshaw" seems to have taken one of these late-eighteenth-century tunes--probably 'Arethusa'--as his model when he made the 'Mississippi' song as it appeared in the _Supplement to the Kentucky Harmony_ in 1820.

No. 100
PLEADING SAVIOR, OSH 234

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Now see the Savior stands pleading
At the sinner's bolted heart.
Now in heav'n he's interceding,
Undertaking sinners' part.
Sinners, can you hate this Savior?
Will you thrust him from your arms?
Once he died for your behavior,
Now he calls you to his arms.

Sinners, hear your God and Savior,
Hear his gracious voice today;
Turn from all your vain behavior,
Oh repent, return, and pray.
Sinners, can you hate this Savior?
Will you thrust him from your arms?
Once he died for your behavior,
Now he calls you to his arms.

The first line of the text above should probably read

Now the Savior stands a-pleading.

_The Methodist Hymn Book_ of England, London, 1933, has the above tune under the title 'Saltash', and its source is given as the _Plymouth Collection_, 1855.

No. 101
NETTLETON or SINNER'S CALL, PB 4

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Come, thou fount of every blessing,
Tune my heart to sing thy grace!
Streams of mercy never ceasing,
Call for songs of loudest praise.
Teach me some melodious sonnet
Sung by flaming tongues above:
Praise the mount! O fix me on it,
Mount of God's unchanging love.

Here I raise my Ebenezer;
Hither by thy help I'm come;
And I hope, by thy good pleasure,
Safely to arrive at home.
Jesus sought me, when a stranger,
Wandering from the fold of God;
He, to save my soul from danger,
Interposed his precious blood!

The words are the widely sung ones of Robinson. Metcalf (Frank J., _Stories of Hymn Tunes_, p. 141) thinks the tune belongs to John Wyeth (1770-1858). It is the tune that has been used for the Parody 'Tell Aunt Rhody.' And its close relative 'Sweet Affliction' or 'Greenville', in this collection, has been used for the 'Go Tell Aunt Rhody' parody.

No. 102
CHARIOT OF MERCY, HH 290

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

The chariot of mercy is speeding its way,
Far, far through the shadowy gloom,
Where the lands that in death's dark obscurity lay,
Are bursting the bars of their tomb. _etc._

This familiar tune continues with the words:

I see where 'tis shedding its luminous ray,
Dispersing the shadows of night;
And wondering nations are hailing the day,
And rejoice in its glorious light.

The _Hesperian Harp_ gives the tune as an "Irish Air". We recognize it as the melody to which 'Believe Me, If all Those Endearing Young Charms' is sung universally. Woolridge tells us it is the setting for the popular ballad 'My Lodging, It is on the Cold Ground' as printed "on all broadsides, with music, of the last century", meaning the eighteenth century. The ballad, in connection with a different tune, had been popular from around the middle of the seventeenth century in England. With the above tune its singing vogue seems not even yet to have abated. See Chappell's _Old English Popular Music_, ii., 137ff. An old Irish version of the tune is 'Oh Shrive me Father', Petrie, No. 632. Stephen Foster undoubtedly had this popular tune formula in mind when he composed 'Old Folks at Home'. See _Musical Quarterly_, vol. xxii., No. 2, pp. 158-160.

No. 103
STOCKWOOD or SISTER THOU WAST MILD, OSH 118

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

[Music]

Sister, thou wast mild and lovely,
Gentle as the summer breeze,
Pleasant as the air of evening
When it flows among the trees.
Peaceful be thy silent slumber,
Peaceful in the grave so low;
Thou no more wilt join our number,
Thou no more our songs shalt know.

Dearest sister, thou hast left us,
Here thy loss we deeply feel;
But 'tis God that hast bereft us,
He can all our sorrows heal.
Yet again we hope to meet thee,
When the day of life is fled,
Then in heaven with joy to greet thee,
Where no farewell tear is shed.

The words are attributed in the _Sacred Harp_ to Samuel Francis Smith, author of 'My Country, 'Tis of Thee'.

No. 104
ROSE, REV 332

Heptatonic aeolian or dorian minorized, cannot be classified (I II 3 IV V [VI] 6 [VII] 7)

[Music]

O tell me no more Of this world's vain store,
The time for such trifles With me now is o'er.
A country I've found Where true joys abound,
To dwell I'm determined On that happy ground.

The souls that believe, in paradise live,
And me in that number will Jesus receive;
My soul, don't delay, he calls thee away;
Rise, follow the Savior, and bless the glad day.

Four more stanzas of the text are given in the _Revivalist_. The tune was recorded "as sung by Rev. A. C. Rose" from whom it got its title. The oldest recording of the melody known to me is on page 38 of Ingalls' _Christian Harmony_, 1805. The Reverend Rose's song appears in this collection also as 'O Tell Me No More', in its standardized tune-book form, whereas the recorder of the above variant has caught much of the folk-singing manner. Both of the tunes in question are related to the 'Lord Randal' melodies which are found in Sharp, i., 43, G.

No. 105
SUPPLICATION, OSH 45

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

[Music]

O thou who hear'st when sinners cry,
Tho' all my crimes before thee lie,
Behold them not with angry look,
But blot their mem'ry from thy book.

Create my nature pure within,
And form my soul averse to sin;
Let thy good spirit ne'er depart,
Nor hide thy presence from my heart.

I cannot live without thy light,
Cast out and banished from thy sight;
Thy holy joys, my God, restore,
And guard me that I fall no more.

Words attributed to Watts; tune to Chapin. Found also, _Choral-Music_, p. 48, KYH 20, MOH 26, GCM 110, SOH 5, GOS 589, UH 14. See WS 190 for the tune's use with the 'Wicked Polly' ballad which is also to be found in this collection. It is a variant also of 'Lord Bateman', Sharp, _One Hundred English Folk-songs_, No. 6; and of 'Hind Horn', _British Ballads from Maine_, pp. 73 and 78. _The Singer's Companion_ (New York, 1854) has a strikingly similar tune under the title 'Hame, Hame, Hame', a Jacobite song whose words tell of a Scotch exile and his longing for home. The editor of that collection found it in the _Garland of Scotia_. The old Scotch tune is doubtless the source of 'Supplication'.

No. 106
PRAISE GOD, OSH 528

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

[Music]

Oh, for a heart to praise my God, A heart from sin set free;
A heart that's sprinkled with his blood, So freely shed for me,
Oh, for a heart submissive, meek;
Oh, for a heart submissive, meek, My great Redeemer's throne,
Where only Christ is heard to speak, Where Jesus reigns alone.

Oh, for an humble, contrite heart, believing, true and clean,
Which neither life nor death can part from him that dwells within.
A heart in every thought renewed, and full of love divine;
Perfect, and right, and pure, and good, a copy, Lord, of thine.

Seaborn M. Denson composed this tune as a setting to Charles Wesley's text and inserted it, in a fuguing-tune setting, in the _Original Sacred Harp_ of 1911. The tune is testimony to the fact that its composer was steeped in the traditional Anglo-American folk-melodism and in that particular direction which it took in the hands of the eighteenth century fuguing-song makers. Compare for melodic similarities 'Geordie', JFSS, iii., 191. _White Spirituals_ tells more about Mr. Denson who died in 1936.

No. 107
LEANDER, SOH 128

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

My soul forsakes her vain delight,
And bids the world farewell,
Base as the dirt beneath thy feet
And mischievous as hell.
No longer will I ask your love,
Nor seek your friendship more;
The happiness that I approve
Is not within your pow'r.

There's nothing round this spacious earth
That suits my soul's desire;
To boundless joy and solid mirth
My nobler thoughts aspire.
O for the pinions of a dove
To mount the heav'nly road;
There shall I share my Savior's love,
There shall I dwell with God.

The tune is ascribed to "Austin", and the words to Watts. Found also, UH 66, OSH 71, HOC 61, WP 52, TZ 100, MOH 129. The second part of the tune reminds of the second part of 'When Johnny Comes Marching Home'. Variants of the melody are 'Jubilee', CHI 62 and REV 355; and 'This Is the Jubilee', OL 113.

No. 108
THERE IS A REST REMAINS, REV 135

Hexatonic, minorized, cannot be classified (I II 3 IV [IV'] V -- 7 [VII])

[Music]

Lord, I believe a rest remains
To all thy people known;
A rest where pure enjoyment reigns,
And thou art loved alone.

There is a rest remains,
There is a rest remains,
There is a rest remains
For all the people of God.

A rest where all our soul's desire
Is fixed on things above;
Where fear, and sin, and grief expire,
Cast out by perfect love.

O that I now the rest might know,
Believe and enter in;
Now, Savior, now the power bestow,
And let me cease from sin.

Remove this hardness from my heart,
This unbelief remove;
To me the rest of faith impart--
The Sabbath of thy love.

A remarkably close remake of this peculiar song by the negroes is given in Dett, p. 108, under the title 'Go Down, Moses', where we see the melodic setting of the above words "To all thy people known" and "For all the people of God" fitted note for note to "Let thy people go". The tunes of 'Rejected Lover', Sharp, ii., 96ff., show similarities.

No. 109
BOURBON, COH 67

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

[Music]

'Twas on that dark and doleful night,
When pow'rs of earth and hell arose
Against the Son of God's delight,
And friends betray'd him to his foes.

Before the mournful scene began,
He took the bread and blest and brake;
What love through all his actions ran,
What wondrous words of love he spake.

"This is my body, broke for sin,
Receive and eat the living food;"
Then took the cup and bless'd the wine--
"'Tis the new cov'nant in my blood."

"Do this," he cried, "till time shall end,
In mem'ry of your dying Friend;
Meet at my table and record
The love of your departed Lord."

Jesus, thy feast we celebrate,
We show thy death, we sing thy name.
Till thou return, and we shall eat
The marriage supper of the Lamb.

Words attributed sometimes to Watts. Tune attributed to Freeman Lewis. Found also, HH 8, GCM 159, SKY 61, MOH 60 and 143, UH 17, GOS 575. This is the same tune which is used for 'McFee's Confession', Cox, p. 525; 'Samuel Young', Sharp, ii., 271; 'Come, Father Build Me' (as sung in England), JFSS, viii., 212; and it is similar to 'Lord Bateman', _One Hundred English Folksongs_, No. 6. For further tune relationship see 'Kedron' in this collection.

No. 110
GLORIOUS PROSPECT, OL 363

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

My soul's full of glory, which inspires 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.

Methinks they're descending to hear while I sing;
Well pleased to hear mortals sing praise to their King.
O angels! O angels! my soul's in a flame!
I sink in sweet raptures at Jesus' dear name.

O Jesus! O Jesus! thou balm of my soul!
'Twas thou, my dear Savior, that made my heart whole;
Oh bring me to view thee, thou precious, sweet King,
In oceans of glory thy praises to sing!

The author of the _Olive Leaf_ tells us: "This is the first tune I ever harmonized; about 1833. I had learned the air--which I suspect John Adam Granade originated, before I was born--when a boy, to these words." That the tune went earlier with some secular ballad, seems evident from the resemblances found, for example, in 'Pretty Nancy of Yarmouth', Sharp, i., 379; 'Lamkin', Sharp, i., 201ff.; 'The Silk Merchant's Daughter', Sharp, i., 383f.; and 'Green Grows the Laurel', Sharp ii., 211.

No. 111
O YE YOUNG AND GAY AND PROUD or ETERNITY

Pentachordal, cannot be classified (I II III IV V -- --)

[Music]

O ye young and gay and proud,
You must die and wear the shroud,
Time will rob you of your bloom,
Death will drag you to the tomb.
_Chorus_
Then you'll cry and want to be
Happy in eternity.
Eternity, eternity,
Happy in eternity.

The white throne will soon appear,
All the dead will then draw near.
Then you'll go to heav'n or hell.
There you must forever dwell.
_Chorus_

Recorded by the author from the singing of Mrs. Elizabeth Showalter-Miller, Dayton, Virginia, Jan. 20, 1930. Further stanzas of the text and variant melodies may be found in Thomas, p. 118, and Richardson, p. 73.

No. 112
FRIENDS OF FREEDOM, CH 285

Heptatonic, mode 1 b (I II -- IV V VI 7)

[Music]

Friends of freedom, swell the song!
Young and old, the strain prolong!
Make the temp'rance army strong,
And on to victory.
Lift your banners, let them wave;
Onward march, a world to save;
Who would fill a drunkard's grave
And bear his infamy?

Shrink not when the foe appears;
Spurn the coward's guilty fears;
Hear the shrieks, behold the tears
Of ruined families!
Raise the cry in every spot:
"Touch not, taste not, handle not!"
Who would be a drunken sot,
The worst of miseries.

Give the aching bosom rest;
Carry joy to every breast;
Make the wretched drunkard blest,
By living soberly.
Raise the glorious watchword high:
"Touch not, taste not till you die"
Let the echo reach the sky,
And earth keep jubilee.

God of mercy, hear us plead,
For thy help we intercede;
See how many bosoms bleed!
And heal them speedily.
Hasten, Lord, the happy day,
When, beneath thy gentle ray,
Temp'rance all the world shall sway,
And reign triumphantly.

Evidently the time should be six-eight. It is found, measured thus, in the 1859 edition of the _Sacred Harp_, p. 152, under the title 'Bruce's Address, Spiritualized', and begins,

Soldiers of the cross, arise!
Lo, your Captain from the skies,
Holding forth the glitt'ring prize,
Calls to victory.
Fear not though the battle lower,
Firmly stand the trying hour,
Stand the tempter's utmost power,
Spurn his slavery.

The earlier tune is given, in _Lyric Gems of Scotland_, p. 242, as that of 'Hey tutti tattie'. It is there associated with the text 'Scots wha ha'e wi' Wallace bled', the same as 'Bruce's Address', of which both the texts cited here are parodies.

No. 113
PILGRIM'S SONG, REV 369

Heptatonic mixolydian, mode 1 A + b (I II III IV V VI 7)

[Music]

Oh, brethren I have found a land that doth abound
With fruit as sweet as honey;
The more I eat, I find, the more I am inclined
To shout and sing hosanna.

And as I pass along I'll sing the Christian's song,
I'm going to live forever.
My soul doth long to go where I may fully know
The glories of my Savior;

Perhaps you think me wild, or simple as a child;
I am a child of glory;
I am born from above, my soul is filled with love;
I love to tell the story.

My soul now sits and sings, and practices her wings,
And contemplates the hour
When the messenger shall say: "Come quit this house of clay,
And with bright angels tower."

The tune is a variant of 'The Winter it is Past', Petrie, No. 439.

No. 114
HOLY MANNA, HOC 122

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Brethren, we have met to worship
And adore the Lord our God,
Will you pray with all your power
While we try to preach the word?
All is vain unless the spirit
Of the holy One comes down;
Brethren, pray, and holy manna
Will be showered all around.

Brethren, see poor sinners round you,
Trembling on the brink of wo;
Death is coming, hell is moving,
Can you bear to let them go?
See our fathers, see our mothers
And our children sinking down;
Brethren, pray, and holy manna
Will be showered all around.

Is there here a trembling jailor
Seeking grace and fill'd with fears?
Is there here a weeping Mary,
Pouring forth a flood of tears?
Brethren, join your cries to help them;
Sisters, let your prayers abound;
Pray, O pray that holy manna
May be scatter'd all around.

Two more stanzas are in SOH 103. This rousing song, still immensely popular, was claimed (probably first recorded) by William Moore, compiler of the _Columbian Harmony_, in 1825. Subsequent compilers have allowed his claim to stand. Found also, KNH 88, OSH 59, HH 244, SOC 191, HOC 107, WP 89, TZ 301, GOS 340, PB 291. The numerous imitations which flattered this tune are exemplified by GOS 243 and 633, and REV 148. For negro adoptions see WS 268.

No. 115
WAR DEPARTMENT, SOH 94

Chinese pentatonic, cannot be classified (I II -- IV V 6 --)

[Music]

No more shall the sound of the war-whoop be heard,
The ambush and slaughter no longer be fear'd,
The tomahawk buried shall rest in the ground,
And peace and goodwill to the nations abound.

All spirit of war to the gospel shall bow,
The bow lie unstrung at the foot of the plow;
To prune the young orchard the spear shall be bent,
And love greet the world with a smile of content.

The words were found by the _Southern Harmony_ compiler in _Mercer's Cluster_. The tune is found also HH 277, OSH 160, SOC 167. It is possibly related to Petrie, Nos. 1030 and 1285.

No. 116
DROOPING SOULS, OL 184

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Drooping souls, no longer grieve,
Heaven is propitious;
If on Jesus you believe,
You will find him precious.
Jesus now is passing by,
Calling mourners to him;
Drooping souls, you need not die;
Now look up and view him.

For complete text see 'Lebanon'. The song is inscribed "Wm. Hauser, M. D., May 29th, and July 18th, 1874."

No. 117
BE GONE UNBELIEF, OL 187

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

[Music]

Be gone unbelief, my Savior is near,
And for my relief will surely appear;
By prayer let me wrestle and He will perform;
With Christ in the vessel I smile at the storm.

Tho' dark be my way, since He is my guide,
'Tis mine to obey, 'Tis His to provide;
Tho' cisterns be broken, and creatures all fail,
The word He has spoken will surely prevail.

His life in time past forbids me to think
He'll leave me at last, in trouble to sink;
Each sweet Ebenezer, I have in review,
Confirms His good pleasure to bring me quite thro'.

Since all that I meet shall work for my good;
The bitter, the sweet; the medicine, food;
Tho' painful at present 'twill cease before long,
And then, O how pleasant the conqueror's song!

William Hauser, compiler of the _Olive Leaf_ tells that this "air [was] learned of Reverend Samuel Anthony, of Georgia, in 1841." The tune of a Virginia version of the 'Brown Girl' (Sharp, i., 303) is very close to this in note-trend and character. Also 'Pretty Saro', Sharp, ii., 10-12; 'Cuckoo', Sharp, ii., 180; 'Green Bushes', Sharp, ii., 155; 'Farewell, Dear Rosanna', Sharp, ii., 243 and 244, are the same type. Negro adoptions of the tune are Marsh, pp. 144 and 173, and SS, p. 33. A variant in this collection is 'Rest in Heaven'. For its relationship to the 'I Will Arise' tune family, see the song with that title in this collection. The errors in Hauser's notation of the tune (second, fourth, sixth measures etc.) have been left uncorrected.

No. 118
PILGRIM'S TRIUMPH, OL 61

Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)

[Music]

To see a pilgrim as he dies,
With glory in his view;
To heav'n he lifts his longing eyes
And bids the world adieu.
While friends are weeping all around,
And loth to let him go,
He shouts with his expiring breath,
And leaves them all below.

O Christians, are you ready now,
To cross the rolling flood?
On Canaan's happy shore to stand,
And see your smiling God?
The dazzling charms of that bright world
Attract my soul above;
My tongue shall shout redeeming grace,
When perfected in love.

Come on, my brethren in the Lord,
Whose hearts are join'd in one;
Hold up your heads with courage bold,
Your race is almost run:
Above the clouds behold Him stand,
And smiling bid you come;
And angels whisper you away,
To your eternal home.

"This enrapturing song [the text] was written by Rev. Jno. Adam Granade, about 1802", the compiler of the _Olive Leaf_ says. And he adds, "Structure of this air learned of a negro, Mark Hull, 1843." The tune belongs to the 'Hallelujah' group, which see for many related tunes.

No. 119
TO BE WITH CHRIST, REV 14

Hexatonic, mode 2 b (I -- 3 IV V 6 7)

[Music]

This world is beautiful and bright,
O scarce one cloud has dimmed my sky,
And yet no gloomy shades of night
Are gath'ring 'round me though I die;
Yet there's a lovelier land of light,
Illum'd by Bethle'm's beaming star;
E'en now it bursts upon my sight,
To be with Christ is better far.

True, life is sweet and friends are dear,
And youth and health are pleasant things;
Yet, leave I all, without a tear,
No sad regret my bosom wrings.
The ties of earth are broken all,
My chainless soul, above yon star,
Shall wing its way beyond recall,
To be with Christ is better far.

And is this death? My soul is calm,
No sting is here, the strife is done;
Glory to God and to the Lamb!
Sweet triumph! I have won, I've won!
A crown immortal, robes of white,
For me, for me in waiting are;
Arrayed in glory, clothed in light,
To be with Christ is better far.

One more stanza of the text is in the _Revivalist_. The tune is notated "as sung by Rev. B. I. Ives."

No. 120
DEVOTION, OSH 48

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Sweet is the day of sacred rest;
No mortal cares shall seize my breast;
O may my heart in tune be found,
Like David's harp of solemn sound.

Then shall I share a glorious part,
When grace hath well refined my heart,
And fresh supplies of joy are shed,
Like holy oil, to cheer my head.

Then shall I see, and hear, and know
All I desired and wished below;
And ev'ry power find sweet employ,
In that eternal world of joy.

Watts wrote the words. The tune is ascribed in the _Sacred Harp_ to Americk Hall. Found also, MOH 34, GCM 91, SOH 13, UH 48, WP 17, SKH 9, GOS 548; and in _Social Hymn and Tune Book_ (Philadelphia, 1865) under the title 'Penitent'.

In JFSS, viii., 72, Miss Gilchrist calls attention to the likeness of the above tune to Sharp's Appalachian versions of 'Little Musgrave and Lady Barnard'. She also notes Miss Broadwood's discovery of its likeness to two Gaelic tunes, 'Tearlach Og' in the _Gesto Collection_, and 'Muile nam Morbheann' in the _Celtic Lyre_. I append also 'Lost Babe', Sharp, ii., 161, as a further relative.

No. 121
TENDER CARE, GOS 291

Hexatonic, mode 1 b (I II -- IV V VI 7)

[Music]

When all thy mercies, O my God,
My rising soul surveys,
Transported with the view, I'm lost
In wonder, love and praise.
Unnumber'd comforts on my soul
Thy tender care bestow'd,
Before my infant soul conceiv'd
From whom those comforts flow'd.

When in the slippery paths of youth,
With heedless steps I ran,
Thine arm, unseen, conveyed me safe,
And led me up to man.
Ten thousand thousand precious gifts
My daily thanks employ;
Nor is the least a cheerful heart,
That tastes those gifts with joy.

Through every period of my life,
Thy goodness I'll pursue;
And after death in distant worlds,
The pleasing theme renew.
In all eternity to Thee
A grateful song I'll raise;
But! O eternity's too short
To utter all thy praise.

Ascribed to P. M. Atchley who was a singing-school man in eastern Tennessee in the early part of the nineteenth century. The tune belongs to the 'Hallelujah' family. See the song by that name in this collection for many related melodies.

No. 122
REFLECTION, MOH 444

Hexatonic, mode 1 b (I II -- IV V VI 7)

[Music]

No sleep nor slumber to his eyes,
Good David would afford,
Till he had found below the skies
A dwelling for the Lord,
A dwelling for the Lord.

The Lord in Zion placed his name,
His ark was settled there;
And there th'assembled nation came,
To worship twice a year,
To worship twice a year.

We trace no more those toilsome ways,
Nor wander far abroad;
Where e'er thy people meet for praise,
There is a house for God,
There is a house for God.

The tune is usually attributed to Davisson, and this probably as a result of Davisson's own claim in the _Kentucky Harmony_. Found also, KYH 42, UH 31, KNH 22, HOC 13, WP 36.

No. 123
PISGAH, OSH 58

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

Jesus, thou art the sinner's friend, As such I look on thee,
Now in the bowels of thy love, O Lord remember me.
O Lord remember me, O Lord remember me;
Now in the bowels of thy love, O Lord remember me.

Remember thy pure words of grace, remember Calvary,
Remember all thy dying groans, and then remember me.
O Lord remember me, O Lord remember me;
Remember all thy dying groans, and then remember me.

Thou wondrous advocate with God, I yield myself to thee,
While thou art sitting on thy throne, O Lord remember me.
O Lord remember me, O Lord remember me;
While thou art sitting on thy throne, O Lord remember me.

And when I close my eyes in death, and creature helps all flee,
Then O my great Redeemer, God, I pray remember me.
I pray remember me, I pray remember me;
Then O my great Redeemer, God, I pray remember me.

The poem is attributed in the _Sacred Harp_ to Richard Burnham. The tune there, and generally in the southern books, is credited to J. C. Lowry. Found also, MOH 59, GCM 104, SOH 80, UH 23, KNH 56, HH 112, SOC 205, WP 83, TZ 92, SKH 25, GOS 311. A negro spiritual inspired by this song is 'Lord, Remember Me', SS 12, No. 15. Miss Gilchrist sees in 'Pisgah' a variant of 'Little Musgrave and Lady Barnard' as found in the Appendix of Motherwell, _Minstrelsy_, and later published in Chappell's _Popular Music_. (See JFSS, viii., 61-95.) Despite the apparently English source of 'Pisgah', the _Methodist Hymn Book_ of England reproduces the tune under the title 'Covenanters' and calls it "an American Melody."

No. 124
GAINES, HH 122

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

O for a thousand tongues to sing,
My great Redeemer's praise!
The glories of my God and King,
The triumphs of his grace,
The triumphs of his grace.

My gracious Master and my God,
Assist me to proclaim,
To spread through all the earth abroad
The honors of thy name,
The honors of thy name.

Jesus! the name that charms our fears,
That bids our sorrows cease;
'Tis music in the sinner's ears,
'Tis life and health and peace,
'Tis life and health and peace.

Charles Wesley wrote the words. William Hauser, _Hesperian Harp_ compiler, claims the tune. For melodic similarities in other spiritual songs see 'One More River to Cross', in this collection; 'Cherry Tree Carol', Sharp, i., 92 and 93; and 'Geordie', Sharp, i., 240.

No. 125
HUMBLE PENITENT, SKH 14

Hexatonic, mode 3 b (I II III IV V VI --)

[Music]

Stay, thou insulted spirit, stay! Though I have done thee such
despite,
Cast not a sinner quite away, Nor take thine everlasting flight.

Though I have most unfaithful been, of all whoe'er thy grace
received;
Ten thousand times thy goodness seen, ten thousand times thy
goodness griev'd.

But O, the chief of sinners spare, in honor of my great priest;
Nor in thy righteous anger swear I shall not see thy people rest.

If yet thou canst my sins forgive, e'en now, O Lord, relieve my
woes;
Into thy rest of love receive, and bless me with the calm repose.

E'en now my weary soul release, and raise me by thy gracious hand;
Guide me into thy perfect peace, and bring me to the promis'd land.

Davisson, the compiler of the _Supplement to the Kentucky Harmony_, claims this tune. It is similar to 'The Bird Song', Sharp, ii., 215. For other tune relationships see 'I Will Arise' in this collection.

No. 126
CHARMING NAME, CHH 90

Heptatonic ionian, mode 3 A b (I II III IV V VI VII)

[Music]

Jesus, I love thy charming name,
'Tis music to my ear;
Fain would I sound it out so loud
That earth and heav'n should hear,
That earth and heav'n should hear.

Yes, thou art precious to my soul,
My transport and my trust;
Jewels, to thee, are gaudy toys,
And gold is sordid dust.

I'll speak the honors of thy name
With my last lab'ring breath;
Then speechless clasp thee in mine arms,
The antidote of death.

The notated form of this tune (the work is claimed by, and is doubtless that of, William Walker) illustrates excellently the manner of singing in rural America in earlier times. See also WS, p. 211 f.

No. 127
BALM IN GILEAD, REV 15

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

How lost was my condition Till Jesus made me whole
There is but one Physician Can cure a sin-sick soul.

There's a balm in Gilead to make the wounded whole;
There's pow'r enough in Jesus to cure a sin-sick soul.

I have reproduced the notation of the _Revivalist_ tune with all its mistakes. A fuller text is given under 'Good Physician' in this collection. A negro version entitled 'There is a Balm in Gilead' is given in Dett, p. 88. Another is in Work, p. 43.

No. 128
PLENARY, SOH 262

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Hark, from the tombs a doleful sound,
Mine ears, attend the cry;
"Ye living men, come view the ground,
Where you must shortly lie,
Where you must shortly lie,
Where you must shortly lie;
Ye living men come view the ground
Where you must shortly lie.

"Princes, this clay must be your bed,
In spite of all your towers;
The tall, the wise, the reverend head
Must lie as low as ours."
Grant us the power of quickening grace,
To fit our souls to fly;
Then, when we drop this dying flesh,
We'll rise above the sky.

The tune is the same as the popular 'Old Grimes is Dead' and 'Auld Lang Syne'. It occurs also OSH 162 and CHH 94. The _Methodist Hymnal_ (1935) attributes it to William Shield. In the _Southern Harmony_ its author is given as A. Clark.

No. 129
SAWYER'S EXIT, OSH 338

Hexatonic, mode 3 A (I II III -- V VI VII)

[Music]

How bright is the day when the Christian
Receives the sweet message to come,
To rise to the mansions of glory
_Chorus_
And be there forever at home;
And be there forever at home,
To rise to the mansions of glory,
And be there forever at home.

The angels stand ready and waiting,
The moment the spirit is gone,
To carry it upward to heaven,
And welcome it safely at home.
_Chorus_

The saints that have gone up before us,
All raise a new shout as we come,
And sing hallelujah the louder,
To welcome the travelers home.
_Chorus_

For source of tune and words see WS, p. 167. The tune is borrowed from 'Old Rosin the Bow', see Sandburg, p. 167. See also 'My Sister She Works in a Laundry', Sandburg, 381; 'When Sherman Marched Down to the Sea', Dolph, 347; 'Washington Badge', HH 536; 'Lord Randal', Sharp, i., 39; and 'I wonder When I'm to Be Married', from Dumphriesshire, England, 1855, see JFSS, viii., 142.

No. 130
O TELL ME NO MORE, OL 301

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

O tell me no more of this world's vain store;
The time for such trifles with me now is o'er.
A country I've found, where true joys abound,
To dwell I'm determin'd on that happy ground.

The souls that believe, in Paradise live;
And me in that number will Jesus receive:
My soul, don't delay, he calls thee away;
Rise, follow thy Savior, and bless the glad day.

No mortal doth know what he can bestow,
What light, strength, and comfort; go after him, go!
Lo! onward I move, to a city above;
None guesses how wondrous my journey will prove.

The text is attributed to "John Gambold, of England." I find the tune to be a relative of a 'Lord Randal' variant which Sharp (i., 43, G) found in eastern Tennessee. The resemblance of the two tunes runs throughout; but in the last four-measure phrase (going with the worldly sentence "I'm sick to the heart and I fain would lie down") they are practically identical. 'Rose' in this collection is a variant of this tune, notated in the folk manner of singing.

No. 131
HEAVENLY DOVE, SOC 23

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Come, Holy Spirit, heav'nly dove,
With all thy quick'ning powers;
Come shed abroad a Savior's love,
And that will kindle ours.

This is quite clearly the 'Barbara Allen' tune as it is seen, for example, in Sharp, i., 183ff. It is also related to 'Lonesome Grove' in this collection. The "dove" theme in the text of the above song and in the 'Lonesome Grove' song was possibly the magnet which attracted the texts to variant tunes.

No. 132
CEYLON, PB 372

Pentatonic, mode 3 (I II III -- V VI VII)

[Music]

How long, O Lord our Savior, wilt thou remain away?
Our hearts are growing weary of thy so long delay.
O when will come the moment when, brighter far than morn,
The sun-shine of thy glory will on thy people dawn.

How long, O gracious Saviour, wilt Thou Thy household leave?
So long hast Thou now tarried, few Thy return believe;
Immersed in sloth and folly, Thy servants, Lord, we see;
And few of us stand ready, with joy to welcome Thee.

How long, O heav'nly Bridegroom, how long wilt Thou delay?
And yet how few are grieving, that Thou dost absent stay;
Thy very bride her portion and calling hath forgot,
And seeks for ease and glory, where Thou, her Lord, art not.

The tune is a close relative of 'Love Divine' CHI 63, 'Heavenly Welcome' HH 482, 'Baltimore' SKH 53, 'Garden Hymn' REV 164, and a less close one to 'Heavenward', _Christian Science Hymnal_ (1932), No. 136, which is an ancient Irish tune from the Petrie collection. Compare Petrie, No. 993.

No. 133
NEW PROSPECT or O LAND OF REST, OSH 390

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

O land of rest, for thee I sigh,
When will the moment come
When I shall lay my armor by
And dwell in peace at home,
And dwell in peace at home;
When shall I lay my armor by
And dwell in peace at home.

No tranquil joy on earth I know,
No peaceful, sheltering dome;
This world's a wilderness of woe,
This world is not my home.

Our tears shall all be wiped away
When we have ceased to roam,
And we shall hear our Father say,
"Come, dwell with me at home."

J. S. James, editor of the 1911 _Original Sacred Harp_, attributes tune and words to W. S. Turner of Georgia. It is found also, GOS 390.

Close relatives of this tune are 'Deep Spring' in this collection, 'Lord Thomas and Fair Eleanor', Sharp, i., 118; and 'Little Musgrave and Lady Barnard', Sharp, i., 166.

No. 134
I LOVE THEE, OL 318

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

I love thee, I love thee, I love thee, my Lord.
I love thy dear people, thy ways and thy word.
I love thee, I love thee, and that thou dost know;
But how much I love thee, I never can show.

I'm happy, I'm happy, O wondrous account!
My joys are immortal, I stand on the mount!
I gaze on my treasure, and long to be there,
With Jesus and angels, my kindred so dear.

O Jesus, my Savior, with thee I am blest!
My life and salvation, my joy and my rest!
Thy Name be my theme, and thy love be my song!
Thy grace shall inspire both my heart and my tongue.

O who's like my Savior? He's Salem's bright King;
He smiles, and he loves me, and helps me to sing:
I'll praise him and bless him, with notes loud and shrill,
While rivers of pleasure my spirit do fill:

O Jesus, my Savior! I know thou art mine;
For thee all the pleasures of sin I resign:
Of objects most pleasing I love thee the best;
Without thee I'm wretched, but with thee I'm blessed.

Tho' weak and despised, by faith I now stand,
Preserv'd and defended by Heaven's kind hand:
By Jesus supported, I'll praise his dear name,
Regardless of danger, of praise, or of blame.

I find him in singing, I find him in prayer;
In sweet meditation he always is near:
My constant companion, Oh may we ne'er part!
All glory to Jesus, who dwells in my heart!

The text is attributed to John Adam Granade, the "Billy Sunday" of the revival movement which reached a high point in its trend at about the beginning of the nineteenth century. Granade was the author of many widely sung texts.

The tune is clearly of the 'Lord Lovel' family. Compare, for example, the melody which Sharp found in North Carolina; see Sharp, i., 38, A. Its earliest appearance in American religious song books seems to have been in Ingalls' _Christian Harmony_, 1805, p. 44.

No. 135
NEW BRITAIN or HARMONY GROVE, SOH 8

Pentatonic, mode 3 (I II III -- V VI --)

[Music]

Amazing grace! (how sweet the sound)
That saved a wretch like me!
I once was lost, but now am found,
Was blind, but now I see.

The poem is by Newton. The tune's source is unknown to the southern compilers. It goes also under the names 'Symphony', 'Solon', and 'Redemption'. Found also, WP 27, GCM 105, OSH 45, HH 104, SOC 190, TZ 90, VH 19, _Church Harmony_ 91. A close relative of the tune is 'Primrose' in this collection. Further stanzas of the text are given under 'Melody'.

I recorded this tune also as it was sung by F. Fagan Thompson of Vanderbilt University, Nashville, Tennessee, February, 1936. I reproduce here his version, one in which the tune is slowed and many graces are introduced, as an excellent illustration of the widespread southern folk-manner in the singing of hymns of this sort.

_very slow_

[Music]

Amazing grace! (how sweet the sound)
That saved a wretch like me!
I once was lost, but now I'm found,
Was blind but now I see.

No. 136
SPIRITUAL SAILOR, SOH 41

Heptatonic aeolian, mode 2 A + b (I II 3 IV V 6 7)

[Music]

The people called Christians have many things to tell
About the land of Canaan where saints and angels dwell;
But here a dismal ocean enclosing them around,
With its tides still divides them from Canaan's happy ground.

Many have been impatient to work their passage through,
And with united wisdom have tried what they could do;
But vessels built by human skill have never sailed far,
Till we found them aground on some dreadful, sandy bar.

The everlasting gospel hath launch'd the deep at last;
Behold the sails expanded around the tow'ring mast!
Along the deck in order, the joyful sailors stand,
Crying, "Ho!--here we go to Immanuel's happy land!"

We're now on the wide ocean, we bid the world farewell!
And though where we shall anchor no human tongue can tell;
About our future destiny there need be no debate,
While we ride on the tide, with our Captain and his Mate.

To those who are spectators what anguish must ensue,
To hear their old companions bid them a last adieu!
The pleasures of your paradise no more our hearts invite;
We will sail--you may rail, we shall soon be out of sight.

The passengers united in order, peace, and love;
The wind is in our favour, how swiftly do we move!
Though tempests may assail us, and raging billows roar,
We will sweep through the deep, till we reach fair Canaan's shore.

The _Southern Harmony_ gives the maker of this song as I. Neighbours, who may indeed have been the author of the text. This text is clearly a parody, and the tune a close variant, of 'When the Stormy Winds do Blow' or 'You Gentlemen of England', a song of seafaring which appears to have been widely sung in England over a long period. References to a 'Stormy Winds' ballad reach back to 1660. The tune with different texts appeared as 'Saylers for my Money', 'The Bridegroom's Salutation', 'You Calvinists of England' and 'England's Valour and Holland's Terrour'. See Vincent Jackson, _English Melodies from the 13th to the 18th Century_, p. 114.

Other melodic relatives which have come to my notice are 'The Trees do Grow High', Sharp, _One Hundred English Folk-Songs_, No. 25; and 'John Anderson My Jo John', _The Singer's Companion_, p. 72, and SMM, No. 146.

No. 137
IDUMEA, OSH 47

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

[Music]

And am I born to die,
To lay this body down?
And must this trembling spirit fly
Into a world unknown?

Waked by the trumpet's sound,
I from the grave shall rise,
To see the Judge with glory crowned,
And view the flaming skies.

How shall I leave the tomb?
With triumph or regret?
A fearful or a joyful doom?
A curse or blessing meet?

I must from God be driv'n,
Or with my Saviour dwell;
Must come at His command to heav'n,
Or else depart--to hell.

The words are by Charles Wesley. The tune is claimed by Ananias Davisson in his _Kentucky Harmony_ (1815) whence it was borrowed by practically all the subsequent book compilers in the South. The tune was used for the secular ballad 'Lord Lovel'; see _White Spirituals_, 177. Also found KYH 33, GCM 36, SOH 31, UH 19, KNH 36, HH 224, SOC 55, HOC 44, TZ 122, MOH 38, _Church Harmony_, p. 35, GOS 184, PB 246. An imitation of this tune is GOS 325. 'Lord Thomas and Fair Eleanor', Davis, p. 570, shows the same trend, as does also 'Young Hunting', Sharp, i., 112.

No. 138
BOZRAH, GOS 59

Hexatonic, mode 2 b (I -- 3 IV V 6 7)

[Music]