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.
Heptatonic dorian, mode 2 A + B (I II 3 IV V VI 7)
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)
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.
Bibliography
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- Johnson, Guy B. Folk Culture on Saint Helena Island. Chapel Hill, University of North Carolina Press, 1930.
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- Joyce, P. W. Irish Music and Song. Dublin, Gill and Son, new edition, 1901.
- Kennedy, David. Handbook of Scottish Song. London, Henderson, Rait and Fenton, 1866.
- Kentucky Harmony. Compiled by Ananias Davisson, Rockingham County, Virginia, printed in Harrisonburg, Virginia, ca. 1815. (2d ed., 1817, 4th ed., 1821, and 5th ed., 1826, in Libr. of Congress.) 4th ed., also in McGhee Public Library, Knoxville.
- Kirchen-Harmonie. A German supplement to Church Harmony, which see.
- Knoxville Harmony. Compiled by John B. Jackson, Madisonville, Tennessee, printed in Madisonville and Pumpkintown, 1838.
- Krehbiel, Henry E. Afro-American Folk-Songs. New York, G. Schirmer, 1914.
- Last Leaves. (See Greig, Gavin.)
- Lightwood, James Thomas. Hymn-Tunes and their Story. London, 1905.
- Lyric Gems of Scotland. London, Bayley and Ferguson, no date given.
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- Melodeon, The. Compiled by J. W. Dadmun, Boston, 1861.
- “Mercer’s Cluster.” Popular designation for The Cluster of Spiritual Songs Divine Hymns and Social Poems. Compiled by Jesse Mercer, Augusta, Georgia, ca. 1817.
- Mersmann, Hans. Grundlagen einer musikalischen Volksliedforschung, Leipzig, 1930.
- Metcalf, Frank J. Stories of Hymn Tunes. New York, Abingdon Press, 1928.
- Methodist Hymn Book [of England]. London, 1933.
- Methodist Hymnal. Nashville, Tennessee, 1933.
- Methodist Hymn and Tune Book. Nashville, Tennessee, 1889.
- Missouri Harmony. Compiled by Allen D. Carden, St. Louis, Missouri, printed in Cincinnati, 1820.
- Motherwell, William. Minstrelsy Ancient and Modern. Paisley’s edition, 1873.
- Musical Quarterly, The. New York, G. Schirmer.
- Newell, William W. Games and Songs of American Children. New York, Harper and Brothers, 1911.
- New Hymn and Tune Book, The. Nashville, Southern Methodist Publishing House, 1880.
- Olive Leaf. Compiled by William Hauser and Benjamin Turner, Wadley, Georgia, printed in Philadelphia, 1878.
- Original Sacred Harp. Edited by Joe S. James, Atlanta, Georgia, printed in Atlanta, 1911. It is an enlarged and annotated edition of the 1844 Sacred Harp, which see.
- Oxford Book of Carols, The. Edited by Percy Dearmer, R. Vaughan Williams and Martin Shaw. London. Oxford University Press, Third Impression, 1931.
- Petrie, George. The Complete Collection of Ancient Irish Music. Edited by Charles Villiers Stanford, London, Boosey and Co., 1903.
- Playford. (See English Dancing Master, The.)
- Plymouth Collection. Compiled by Henry Ward Beecher, 1855.
- Primitive Baptist Hymn and Tune Book. Compiled by John R. Daily, printed in Madisonville, Kentucky, 1902.
- Publications of The Texas Folk-Lore Society. (See Asbury, Samuel E.)
- Revivalist. Compiled by Joseph Hillman, Troy, New York, 1868; revised and enlarged edition printed in Albany, New York, 1872.
- Richardson, Ethel Park. American Mountain Songs. Edited and arranged by Sigmund Spaeth, New York, Greenburg, 1927.
- Rickaby, Franz. Ballads and Songs of the Shanty-Boy. Cambridge, Harvard University Press, 1926.
- Sacred Harp. Compiled by B. F. White and E. J. King, Hamilton, Georgia, printed in Philadelphia, 1844. Cf. Original Sacred Harp.
- Sacred Harp. Edited by W. M. Cooper, Dothan, Alabama, printed in various places, first in Dothan, 1902. It is an enlarged edition of the 1844 Sacred Harp, which see.
- Sandburg, Carl. The American Songbag. New York, Harcourt, Brace and Co., 1927.
- Scarbrough, Dorothy. On the Trail of the Negro Folk-Songs. Cambridge, Harvard University Press, 1925.
- Scots Musical Museum. Compiled by James Johnson and Robert Burns, Edinburgh, 1787-1803.
- Sharp, Cecil J., and Campbell, Olive Dame. English Folk Songs From the Southern Appalachians. New York, Putnam’s, 1917.
- Sharp, Cecil J. English Folk Songs from the Southern Appalachians. Two volumes, edited by Maud Karpeles, London, Oxford University Press, Humphrey Milford, 1932.
- — One Hundred English Folksongs. Boston, Ditson, 1916.
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- Slave Songs. (See Allen, William Francis.)
- Smythe, Augustine T. and others. The Carolina Low-Country. New York, Macmillan, 1931.
- Smith, Reed. South Carolina Ballads. Cambridge, Harvard University Press, 1928.
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- Social Hymn and Tune Book. Philadelphia, Presbyterian Publication Committee, 1865.
- Songs of Grace. Compiled by E. S. Lorenz and I. Baltzell, Dayton, Ohio, United Brethren Publishing House, 1879.
- Southern and Western Pocket Harmonist. Compiled by William Walker, Spartanburg, South Carolina, printed in Philadelphia, 1846.
- Southern Folklore Quarterly. Gainesville, Florida.
- Southern Harmony. Compiled by William Walker, Spartanburg, South Carolina, printed in New Haven, Connecticut, 1835.
- Supplement to the Kentucky Harmony. Compiled by Ananias Davisson, Rockingham County, Virginia, printed in Harrisonburg, Virginia, 1820. (In McGhee Public Libr., Knoxville.)
- Texas Folk-Lore Society, Publications of. (See Asbury, Samuel E.)
- Thomas, Jean. Devil’s Ditties. Chicago, W. Wilbur Hatfield, 1931.
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- Timbrel of Zion. Compiled by T. K. Collins, Jr., Philadelphia, 1854.
- Union Harmony. Compiled by William Caldwell, Maryville, Tennessee, printed in Maryville, 1837.
- Union Harmony. Compiled by George Hendrickson, Mountain Valley, Virginia, printed in Mountain Valley, 1848.
- Union Harp and History of Songs. Compiled by Joe S. James, Douglasville, Georgia, printed in Douglasville (?), 1909.
- Virginia Harmony. Compiled by James P. Carrell and David S. Clayton, Lebanon, Virginia, printed in Winchester, Virginia, 1831.
- Wesleyan Psalmist. Compiled by M. L. Scudder, (place?), 1842.
- Western Harmony. Compiled by Allen D. Carden, Samuel J. Rogers, F. Moore, and J. Green, printed in Nashville, 1824.
- Western Psalmodist. Compiled by Andrew W. Johnson, Cornersville, Tennessee, printed in Nashville, Tennessee, 1853.
- White, Newman I. American Negro Folk-Songs. Cambridge, Harvard University Press, 1928.
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- Zion’s Harp. Place and year unknown, probably between 1825 and 1840, 312 pages, texts only.
- Zion’s Harp. 33 pages of tunes, issued as a companion to Nettleton’s Village Hymns, compiled by N. and S. S. Jocelyn, registered in the District of Connecticut, 1824.
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 B C D E F G H I J K L M N O P Q R S T U V W X Y Z
- A
- Number
- Address for All29
- Albert83
- Albion78
- All is Well58
- All the Way ’Long170
- Alverson213
- Angels Hovering Round211
- Animation62
- Antioch166
- Atonement200
- Autauga204
- Away Over Yonder178
- B
- Babe of Bethlehem51
- Babylon Is Fallen192
- Backslider71
- Balm in Gilead127
- Bartimeus21
- Bates188
- Beautiful Home Sweet Home222
- Beggar2
- Be Gone Unbelief117
- Beloved163
- Bound for the Promised Land246
- Bourbon109
- Bowers172
- Bozrah138
- C
- Captain Kidd142
- Carry Me Home85
- Carter238
- Ceylon132
- Chariot of Mercy102
- Charming Name126
- Christian Prospect161
- Christian Race249
- Christian’s Hope162
- Christian Soldier68
- Church of My Youth45
- Church’s Desolation28
- Clamanda93
- Columbus75
- Come Along and Shout Along195
- Come Friends Go With Me223
- Come to Jesus159
- Condescension30
- Converted Thief (A)23
- Converted Thief (B)35
- Cross of Christ91
- Cuba156
- D
- Davisson’s Retirement97
- Death Ain’t You Got No Shame158
- Deep Spring35
- Derrett237
- Detroit147
- Devotion120
- Done With the World209
- Down By the Riverside182
- Down in the Garden77
- Drooping Souls116
- Dulcimer163
- Dunlap’s Creek79
- Dying Boy15
- Dying Californian10
- E
- Ecstacy197
- Edgefield149
- Enquirer87
- Ester17
- Eternity111
- Exhileration177
- Experience37
- F
- Faithful Soldier59
- Farewell25
- Female Convict42
- Few Days226
- Florence82
- For Me the Savior Died200
- Free Salvation5
- French Broad96
- Friends of Freedom112
- Frozen Heart65
- G
- Gaines124
- General Roll Call244
- Give Me Jesus208
- Glad News160
- Glorious Prospect110
- Golden Harp152
- Good Morning Brother Pilgrim36
- Good Old Way (A)169
- Good Old Way (B)72
- Good Physician31
- Go Preachers156
- Grace is Free199
- Great Day165
- Great Provider242
- Green Fields60
- H
- Had I Wings197
- Hallelujah225
- Happy in the Lord189
- Happy Sailor210
- Happy Souls (A)50
- Happy Souls (B)172
- Hark My Soul64
- Harmony Grove135
- Heaven Born Soldiers195
- Heavenly Dove131
- Heavenly Home186
- Heavenly Port201
- Heavenly Union37
- Heaven’s My Home173
- Hebrew Children194
- He’s Promised to Be with You242
- Hicks’ Farewell4
- Holy Manna114
- Holy Son of God140
- Holy War212
- Humble Penitent125
- I
- I Am Bound for the Kingdom205
- I Belong to This Band (A)220
- I Belong to This Band (B)181
- I Can Not Tarry Here247
- I Can’t Stay Away153
- I Don’t Care to Stay Here Long183
- I Don’t Expect to Stay209
- Idumea137
- I’ll Ramble and I’ll Rove38
- I Love Jesus224
- I Love Thee134
- I’m Alone In This World219
- I’m a Long Time Traveling196
- I’m a Poor Mourning Pilgrim176
- I’m Bound for the Land of Canaan190
- I’m Bound to Die In the Army215
- I’m Going Home183
- I’m Traveling to My Grave234
- I Never Shall Forget the Day177
- In Jesus’ Blood174
- Invitation63
- I Shall Be Satisfied148
- It Won’t Be Long237
- I Want a Seat In Paradise240
- I Want To Go There Too231
- I Want To Go To Glory248
- I Went Down To the Valley207
- I Will Arise239
- I Yield250
- J
- Jerusalem143
- Jester220
- Jesus Is My Friend (A)150
- Jesus Is My Friend (B)236
- John Adkins’ Farewell11
- Jordan86
- Joyful227
- Judgment Scenes175
- K
- Kedron57
- L
- Land of Rest81
- Leander107
- Lebanon66
- Lep’rous Jew44
- Lisbon247
- Little Family8
- Liverpool7
- Lone Pilgrim18
- Lonesome Grove34
- Long-Sought Home221
- Look Out32
- Lost City151
- M
- Marion38
- Martin193
- Mecklinburg94
- Miss Hataway’s Experience9
- Missionary’s Farewell56
- Mississippi99
- Morning Trumpet241
- Moses27
- Mouldering Vine22
- Mount Watson90
- Mourner’s Lamentation28
- My Bible Leads to Glory233
- My Father’s Gone178
- My Home Is Over Jordan154
- N
- Nettleton101
- Never Get Tired195
- Never Turn Back (A)217
- Never Turn Back (B)238
- Newberry34
- New Britain135
- New Indian Song230
- New Orleans139
- New Prospect133
- North Port240
- O
- O Brother Be Faithful203
- O God What Shall I Say213
- O He’s Taken My Feet232
- O I’m So Happy155
- O Land of Rest133
- Old Ship of Zion (A)191
- Old Ship of Zion (B)210
- Old-Time Religion218
- Old Troy174
- One More River to Cross229
- On the Other Side of Jordan235
- Orphan Girl19
- O Tell Me No More130
- O That Will Be Joyful227
- O Ye Young and Gay and Proud111