R–Z

O’Brien, Dan (white). De hallelujah band, in J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 39; HTC, songsters

Notes: “Written and sung by Dan O’Brien, Banjoist.” “Written” usually means lyrics only, so this may be a contrafactum. Lyrics:

Ring a dem bells, fire a dem guns,

Say all yer niggers does yer hear me?

For I tell you the jubilee surely has come,

Is yer gwine to jine de hallelujah band?

Oh, see dat yer robe is spotless and clean,

Say all yer niggers does yer hear me?

Or else in the chariot yer neber will be seen,

And yer nebber jine de hallelujah band.

Chorus:

Den awake up, wake up, don’t yer hear de news,

Dat’s a trabling like lightning frough de land?

Ole Satan am a waiting and a watching for yer all,

And he’s a-gwine to chain yer in de fiery bands.

Dar’s all dem shoting Methodists dey better hab a care,

Say all yer niggers does yer hear me?

Ole Satan he lift dem by de [l]ong and flowing hair, [letter obscured]

Is yer gwine to joing de hallalujah band.

De Baptists am preparing for a long and weary tramp,

Say all yer niggers does yer hear me?

It’s a long, long way to de gospel camp.

Whar yer gwine to jine de hallelujah band.

Anthologies (lyrics only): James Bland’s “Golden Wedding” Songster (New York: N. Y. Popular Publishing Co., n.d. [ca. 1880]), p. 34, LC, Music Division, Dumont Collection

On de gospel ship we’ll take a trip, in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N. Y. Popular Publishing Co., n.d. [1886 or later]), p. 30; HTC, songsters

Notes: “Sung by Weston and Hanon with great success.” The lyrics to this song could just as easily apply to whites as blacks; the only dialect word is “de,” and there are no overt references to black life other than images from spirituals. (Of course, actual performance could change the interpretation radically.) Lyrics:

The ship is ready and leaving the shore,

Come along sinners, there is one chance more,

Bring along the brethren who have gone astray,

If they sail with us they go the right away.

Old Satan he wanted to engineer,

We knocked him overboard and he felt queer,

So get your tickets and come aboard,

We are setting sail for Canaan’s shore.

Chorus:

On the Gospel Ship then set sail –

Get ready to sail along,

The winds may blow, but we go,

Singing the gospel song.

We’ll sail to the East, we’ll sail to the West,

And we never will make a slip –

Get your baggage checked for you we expect

On board the Gospel Ship.

The other world we will leave behind

With a good and religious crew

Though you may be a sinner without any dinner,

My brothers we will feed you.

The voyage is long and the tempest may blow,

But we never will make a slip.

If you want to sail for the heavenly bale

Get aboard of the Gospel Ship.

Orrin, Ed. W. Do what the good book tells you (New York: T. B. Harms, 1884) http://hdl.loc.gov/loc.music/sm1884.20983

Notes: “Jubilee song & chorus.” Orrin has only 4 titles on deposit at LC; this is only commercial spiritual. C major. This bears no musical relation to spirituals; textual allusions only. Verse in major, chorus in relative minor.

Patrick, H. W. (white). Swing low schottische (San Francisco: M. Gray, 1880) http://hdl.loc.gov/loc.music/sm1880.20144

Notes: Cover: “Introducing the popular jubilee songs ‘Swing low, sweet chariot,’ and ‘Shine, shine, I’ll meet you in the morning.” Title page credits Biglow & Main N.Y. for permission to use the melodies of these two spirituals. The first section of the composition, in C, is a conventional schottische; the trio introduces Swing low in F (the key in which it is notated in vocal scores of the time); the last section is Shine, shine in C, where a few dotted rhythms attempt to capture the schottische style. An early example of a solo piano interpretation of a spiritual. For more on parlor arrangements of spirituals see Sandra Jean Graham, “Reframing Negro Spirituals in the Late Nineteenth Century,” in John Koegel (ed.), Music, American Made: Essays in Honor of John Graziano (Sterling Heights, MI: Harmonie Park Press, 2011).

Peter, go ring them bells, in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N. Y. Popular Publishing Co., n.d. [1886 or later]), p. 35; HTC, songsters

Notes: “As sung by Harry Farrell with Prof. H. P. Lorman’s Indian Oil Co.” Lyrics:

Then Brother and Sister I told you, / Peter, go ring them bells,

I’m gwine to wear the golden shoe, / Peter, go . . .

Straight to glory we will go, / Peter, go . . .

For the angel Gabriel told me so, / Peter, go . . .

Chorus:

Peter, go ring them bells, [4x].

A great big nigger, and a little nigger wench, / Peter, go . . .

They both sat straddle on a crooked rail fence, / Peter, go . . .

The fence it broke, they both got a fall, / Peter, go . . .

Down come nigger wench, fence and all, [Rock a-by baby!] / Peter, go . . .

Peter, ring dem bells (Haverly’s Minstrels Preliminary Pictorial, from Haverly’s Theatre, Chicago, vol. XII, no. 25, 1878; Harvard Theatre Collection, minstrel playbills)

Notes: First line verse: “Light dat lantern, come with me, / Cross over de river to Jordan.” Lyrics only, no score. The structure (with two internal refrains in the verse) differs from the traditional spiritual as sung by both the Fisk and Hampton troupes, but the chorus probably used the same tune, although the parody ends with “I’m on my journey home” and the jubilee students’ version ends with “I heard from heaven today.” This commercial version mixes sacred and secular imagery, the latter including a fancy ball, a hen coop, and advice to leave your razors at home.

Pettit, [Seamon S.] (white). Camp meeting melodies, in Pettit and White’s “Fanny Lucinda” Songster (New York: A. J. Fisher, 1880), p. 9; HTC, songsters

Notes: “Original by Pettit and [J. W.] White, and sung by them with marked success.” Pettit died in 1880, shortly before his 30th birthday. This seems to be a medley of parodies of Swing low, sweet chariot (v. 2) and Rock a my soul (v. 3). See also James Bland.

Now Moses, now Moses, now hearken unto me,

I come down from Richmond town the news for to see.

I know de heavens am mine, I know for de heavens for to be mine,

I know de heavens am mine, oh how are you Miss Catfish?

Look way over yonder, and a who do I see?

A great tall angel, and she’s calling to me.

I’me gwine to join the band, I’me gwine to join the band, – Jubilee heram!

I’me gwine to join the band way over in the promised land.

If you want to make a bad man run, / Oh, rock a my soul!

Just point him at your biggest gun, / Oh, rock a my soul!

Then it’s rock a my soul in de bosom of de Abraham,

Rock a my soul in de bosom of de Abraham,

Rock a my soul in de bosom of de Abraham,

Oh, rock a my soul!

Anthologies (lyrics only): Sanford & Wilson’s Mastodon Minstrel Songster (New York: A. J. Fisher, Publisher, 1880), p. 21, LC, Music Division, Dumont Collection, songsters, vo. 4; Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 14, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 26, LC, Music Division, Dumont Collection; Lester and Williams “Empty Is the Stable, Davy’s Gone” Songster (New York: New York Popular Publishing Co., n.d. [1882 or later]), p. 30, HTC, songsters; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 23, HTC, songsters

Pratt, Charles E. Oh! See dat angel band (Boston: Oliver Ditson & Co., 1878) http://hdl.loc.gov/loc.music/sm1878.01264

Notes: Cover: “Plantation song and chorus.” Dialect song. The verse has no folk traits, but the chorus is the same as that of Children, don’t get weary, with some minor pitch changes. A version of this song is included in Fayette Welsh’s songster (see below) under the title See that angel band, as sung by James Hooey, of the American Four. It uses vv. 1 and 3 of Pratt’s song but a different chorus: “Keep the banjo ringing, we’ll get dar just in time, / Keep the banjo ringing, we want to go to heaven when we die.” Except for that one instance of “dar” the lyrics are not in dialect.

There are 129 titles on deposit at the LC for Pratt as composer or arranger between 1870 and 1885; his most active years as a composer were the 1870s. Of all these songs, only 3 are dialect songs, and only 1 of those 3 is a commercial spiritual.

Anthologies of Pratt song (lyrics only): Harrigan and Hart’s “Mulligan Guard’s Surprise” Songster (New York: Popular Publishing Co., n.d. [ca. 1880]), p. 14; Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 46, HTC, songsters; McIntyre and Heath’s “Scenes on the Mississippi” Songster (New York: N.Y. Popular Publishing Co., n.d. [ca. 1882]), p. 4; LC, Music Division, Dumont Collection

Anthologies of alternate version: Under the title We’ll get dar just in time, in Jas. B. Radcliffe’s Plantation Songster (New York: Popular Publishing Co., 1879), p. 50, LC, Music Division, Dumont Collection; Fayette Welsh’s Celebrated Ethiopian Songster (New York: A. J. Fisher, 1880), p. 15, HTC, songsters

Putnam, James S. (black). Climbing up to glory (Boston: W. A. Evans, 1883) http://hdl.loc.gov/loc.music/sm1883.19186

Notes: “Jubilee song.” Arranged by J. J. Sawyer (black). Verse in minor; internal refrain. Artful touches, like a ritard on the word “slow.” The chorus is slow, unlike usual jubilee songs, and its words refer to “class leaders.” The words are dignified and avoid stereotypes.

I'll be ready when the great day comes (Cleveland: S. Brainard’s Sons, 1882) http://hdl.loc.gov/loc.music/sm1882.07081

Notes: “Jubilee song & chorus.” One of the hit songs of 1883 (Music for the Nation, “Greatest Hits, 1870–85: Variety Music Cavalcade,” Library of Congress, http://memory.loc.gov/ammem/smhtml/smhome.html (accessed 20 June 2008).

The chorus sounds like it could come from a traditional spiritual. Verse has internal refrain and uses the phrase “you may talk about Jerusalem morn” in all 3 vv. This has minstrel elements in the words.

Anthologies (lyrics only): Katie Cooper’s “Cindy Jane” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 47 – as sung by Milt G. Barlow, of Barlow, Wilson & Co.’s Mammoth Minstrels and no credit to Putnam (gives 2 of his 3 verses), HTC, songsters; “Just Down the Lane; or, Under the Old Oak Tree” Songster (New York: N.Y. Popular Publishing Co., n.d. [1882 or later], p. 54 – as sung by Milt Barlow, HTC, songsters

Sailing on the Good Ship Zion

When Gabriel Blows His Trumpet

You Must Shun Ole Satan

Notes: These three titles are mentioned on the inside cover of the sheet music to Putnam’s “Aunty Green” (1882), so they must date from 1882 or earlier. I haven’t located sheet music.

Putnam, Roger (white). The Crusaders, in The “Commercial Drummer” Songster (New York: A. J. Fisher, 1881), p. 9; HTC, songsters

Notes: The credit line states that this song was published and copyrighted by Bruns & Kaufmann, 791 Broadway, N.Y., 1881, but I have not found the sheet music. There are four verses; I transcribed the first. I would not class this as a jubilee song from the words, which have no reference to black life, but I include it because it is marketed as “the ‘hit’ of the Season; great Jubilee Song”:

We are the new Crusader band, / We’re bound for Palestine;

We will drive the Turk from the Holy Land, / Let’s all fall now in line.

Our shields are bright, our spears are strong, / Our cry is forward, hoh! hoh!

We will soon be in Jerusalem, / When we’re past Jericho.

Chorus. – Jerusalem,

We’re marching forward, hoh! hoh!

We will soon be in Jerusalem,

When we’re past Jericho.

Richardson, H. J. A few more years (Boston: White, Smith & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.21045

Notes: Words by Sam Lucas. This has the flavor of a gospel hymn in the dotted rhythms and homophonic chorus (with some basing); the words are about “shaking off the dust of a sinful world” and rising to the heavenly spheres – in a few more years (almost a motto song). It’s a good song; Richardson has no other songs on deposit at LC. He may have been connected to Lucas through White.

River of glory, in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 36; HTC, songsters

Notes: “Sung by Beach and Bowers’ Minstrels. Copyright 1886, by Frank Harding.” This song is written from a white point of view, but the theme and imagery relate to Negro spirituals. Lyrics:

There’s a boat that’s been run for many a year,

Straight across the narrow river of glory;

Oh! the boat is plenty wide, for the few who’re going to ride,

When it’s time to cross the river of glory.

For though we jolly live, and a thought we seldom give,

To the chance of getting through the gate of glory,

Yet when Gabriel blows the blast, oh, we’ll run her mighty fast,

To board the boat that crosses o’er to glory.

Chorus:

Crossing the river of glory to the safe, bright side,

Oh, you’d better ready be,

Halleluyah joys to see,

When it’s time to cross the river of glory.

Now, the solid millionaires buy relief from many cares,

Never thinking of the river of glory;

Yet they’ll find out when they die that their gold can never buy

A boat to cross the river of glory.

Now, some smarties try to show that there’s no hot place below,

This to some must seem a very pleasant story,

But we think they’ll change their mind, when they find they’re left behind,

When it’s time to cross the river of glory.

Roll and rock dem, in McIntyre and Heath’s “Scenes on the Mississippi” Songster (New York: N.Y. Popular Publishing Co., n.d. [ca. 1882]), p. 50; LC, Music Division, Dumont Collection

Notes: “As sung by Johnny Allen.” I suspect this song dates from the late 1870s or 1880, since it is at the back of this songster, and because Allen (white; died 1885) took over Dan Bryant’s chair in Bryant’s Minstrels when Bryant died in 1875 and worked in minstrelsy for the rest of that decade. There is no composer given. Lyrics:

1st voice: Whar have you been, my brother, / Since I been so long gone?

2nd voice: Been down by de sea-shore reforming pirates,

An my body goes a rolling on.

1st voice: Den keep on reforming and a pirating.

Chorus: Den a roll an a rock a dem in his arms,

Rock an a roll dem in his arms,

Roll an a rock a dem in his arms,

In the arms of Moses.

1st voice: Whar have you been my sister, / Since I have been so long gone.

2nd voice: Been to the circus a playing wid de monkeys,

An my body goes a rolling on.

1st voice: Den keep on a minkin an a playing. Chorus.

1st voice: Whar have you been, Martha, / Since I been so long gone.

2nd voice: Been down in de valley a standing on my head,

An my body goes a rolling on.

1st voice: Den keep on a standing and a heading. Chorus.

Anthologies (lyrics only): Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 5, LC, Music Division, Dumont Collection; The Four in Hand Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882 or later]),p. 43, LC, Music Division, Dumont Collection

Rollinson, T. H. (white). Blowin de golden horn (Boston: Cundy, W. H., 1884) http://hdl.loc.gov/loc.music/sm1884.26023

Notes: An orchestral schottische, probably for a minstrel show, based on a commercial spiritual. Minor key, gapped scale, in verse + chorus form, with melodic repetition. I have found no vocal corollary; Rollinson specialized in instrumental music.

Chuck full ob glory (Boston: W. H. Cundy, 1884) http://hdl.loc.gov/loc.music/sm1884.05861

Notes: A piano schottische modeled on a commercial spiritual. I have found no vocal corollary. It is labeled “song and dance” on the title page; it is typical of minstrel music. It has an 8-bar verse and chorus structure, in minor, with a major bridge section. Syncopation. A banjo version arr. by G. L. Lansing is at http://hdl.loc.gov/loc.music/sm1884.26003 (1884), and an orchestral arrangement is at http://hdl.loc.gov/loc.music/sm1884.16921 (1884).

Ronaldson, Ralph. Hop along to Zion (Rochester: Mackie & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.0049

Notes: “Written expressly for and dedicated to America’s Favorite of Favorites, The Clipper Quartette” (white). “The greatest of jubilee songs, sung also with immense success by the famous & popular Thatcher Primrose & West’s Minstrels.” Internal refrain (solo call, choral response designated), pentatonic, textual allusions to spirituals. Verses 4 & 5 have political content; v. 4 criticizes Benjamin Butler.

Rosenfeld, Monroe H. [pen names: F. Belasco; F. Heiser] (white). 49 titles deposited at LC under Rosenfeld (some include instrumental versions of songs); 7 titles under Belasco; 2 titles under Heiser (these totals do not include instrumental versions of songs).

[Heiser, F.] Climbing up de golden stairs (New York: Willis Woodward, 1884) http://hdl.loc.gov/loc.music/sm1884.15519

Notes: “Jubilee song and chorus.” Nonsense lyrics that index spirituals; the verse has internal refrain. On cover: “The only Correct and Authorized Edition.” T. B. Harms in New York published a similar version by “Heiser” the same year (see

http://hdl.loc.gov/loc.music/sm1884.15592), in which there is a double verse structure and some words differ. The lyrics appear in I’ll Await My Love Songster (New York: n.d. [1884 or later]) with the note “revised edition”; HTC, songsters. The copyright is 1884 by T. B. Harms, yet the form of the song and the lyrics match the Woodward version, making the nature and timing of the “revision” impossible to ascertain.

There is also a piano waltz (Willis Woodward, 1885 – the Harms melody with some liberties), a piano schottische (Harms, 1884 – the Harms melody); a vocal/banjo arrangement by Edmund Clark, who is credited as composer (Harms, 1884 – using the Harms melody); and two orchestral medleys that incorporate the (Harms) tune: Medley schottische arr. by A. S. Bowman (Philadelphia: J. W. Pepper, 1885) and Medley overture arr. by D. L. Ferrazzi (Pepper, 1885). In addition, in 1884 Harms published While climbing up de golden stairs by William Wylie, which closely resembles the version Harms published of Heiser’s tune; the melody of the refrain is an exact match but the words differ (see Wylie below). All of these, however, seem to be copies of Gwine to climb de golden stairs published in 1880 (see Charles A. Williams).

See also J. F. Zimmerman, Swinging on the gospel gate. This seems to be a burlesque of Climbing up the golden stairs.

Anthologies (lyrics only): Murphy and Mack’s New Comedy Four Songster (New York: New York Popular Publishing Co., n.d. [1883 or later]), p. 26 – rev. ed., HTC, songsters; Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1883 or later]), pp. 10–11 – rev. ed. by Heiser, HTC, songsters; Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1884 or later]), pp. 16–17 – “sung with great success in Howorth’s Grand Hibernica,” HTC, songsters; I’ll Await My Love Songster (New York: n.d. [1884 or later]), HTC, songsters; Flora Moore’s “Bunch of Keys” Songster (New York: N.Y. Publishing Co., n.d. [1884 or later]), pp. 11–12 – Revised edition, by F. Heiser, copyright 1884 by T. B. Harms & Co., HTC, songsters; Mack Vincent’s Banjo Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), p. 38 – rev. ed., HTC, songsters; “Tidings of Comfort and Joy” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1884]), pp. 10–11 – rev. ed., HTC, songsters; D. R. Hawkins’ “I Am King” Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), pp. 4–5 – “revised edition,” HTC, songsters; Charles Diamond and Mary Milton’s “Blue Eyed Floe” Songster (New York: New York Popular Publishing Co., n.d. [1884 or later]), pp. 30–31 – rev. ed., HTC, songsters; Lester and Allen’s Big Minstrel’s Songster, Casket of Gems series [no number] (New York: New York Popular Publishing Co., n.d. [1885 or later]), “sung with great success in Howorth’s Grand Hibernica,” HTC, songsters

Recordings: Harry C. Browne, recorded New York, May 1917, reissued on Early Minntrel Songs Recorded 1916–1923 (British Archive of Country Music, BACM CD D 076).

Come along sinners (Boston: Rosenfeld & White, 1881) http://hdl.loc.gov/loc.music/sm1881.09176

Notes: “To Lotta” (Charlotte Crabtree). Cover: “Who am one to do you justice?” A big white hand reaches down from dark thunderclouds and lightning to pluck a scared black man up off the ground. Gapped melody, lyrics index spirituals. Band parts (1881) available at http://hdl.loc.gov/loc.music/sm1881.12839; schottische (by Chas. D. Blake on Rosenfeld’s tune; 1881) for piano: http://hdl.loc.gov/loc.music/sm1881.14962.

Anthologies (lyrics only): Lotta’s Favorite Songs (New York: Variety Publishing Co., n.d. [1885]), p. 6, HTC, songsters; Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: Popular Publishing Co., n.d. [ca. 1886]), p. 11 – sung by Miss Dollie Davenport with great success, HTC, songsters

Get on de golden train (Chicago: F. S. Chandler, 1882) http://hdl.loc.gov/loc.music/sm1882.03249

Notes: Jubilee and end song. “To my Friend and the Public’s Favorite, Mr. Charles Backus, of the San Francisco Minstrels.” Lyrics index spirituals; internal refrain.

[Belasco] Hush little baby, don't you cry (N.p.: W. F. Shaw, 1884). http://hdl.loc.gov/loc.music/sm1884.14893

Notes: “Written expressly for and inscribed to the inimitable Lotta [Charlotte Crabtree], The Queen of Soubrettes, The Favorite of Favorites.” Cover features black baby with oversized head, and small illustration of Lotta. Orchestral score (1884) at: http://hdl.loc.gov/loc.music/sm1884.20713; piano schottische (1885) under Rosenfeld at http://hdl.loc.gov/loc.music/sm1885.25298; medley overture (1885) by A. S. Bowman using this tune at http://hdl.loc.gov/loc.music/sm1885.13021.

Anthologies (lyrics only): Lester and Allen’s Big Minstrel’s Songster, Casket of Gems series [no number] (New York: New York Popular Publishing Co., n.d. [1885 or later]), as sung by Lotta and Geo. Wilson, HTC, songsters; Lotta’s Favorite Songs (New York: Variety Publishing Co., n.d. [1885]), p. 4, HTC, songsters; Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1884 or later]), p. 19, HTC, songsters; The American Four “Come Down to the Trough” Songster (New York: De Witt, Publisher, 1886), p. 22 – sung by Geo. Wilson, of Barlow, Wilson and Rankin’s Minstrels, HTC, songsters; Wehman Bros.’ Good Old-Time Songs, no. 2 (New York: Wehman Bros, 1910), p. 84, HTC, songsters

Recordings: Uncle Dave Macon, recorded 1927. This adheres fairly closed to Rosenfeld’s sheet music. Macon doesn’t perform the coda to the refrain until the last time through. Macon’s recording is available on several CDs, e.g., Uncle Dave Macon, Classic Cut 2, 1924–1938 (JSP Records 7769, released 2006).

Hustle on to glory (Cincinnati: Church, John & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.22327

Notes: “To America’s popular end-man, Mr. Bill Kersands” (black). Orchestral parts (1885) available at http://hdl.loc.gov/loc.music/sm1885.24243. Internal refrain, lyrics index spirituals.

I’ll send you down a letter from the sky (New York: Hitchcock’s Music Sotre, 1884) http://hdl.loc.gov/loc.music/sm1884.12862

Notes: “To my friend Billy Arnold, Louisville, Ky.” Moderato. G major. Internal refrain (“Oh good children, weep”), pentatonic flavor. There is a 4-mm tag or coda after the chorus.

I’se gwine on to Canaan (Cincinnati: F. W. Helmick, 1882) http://hdl.loc.gov/loc.music/sm1882.22746

Notes: Humorous end song. “Dedicated to McIntyre, Heath & Belmont’s Minstrels” (white). Lyrics index spirituals.

[Belasco] I’se gwine to weep no more (New York: T. B. Harms & Co., 1885)

Notes: I cannot locate sheet music, but it carries this copyright date in Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 37, UIUC Special Collections, where it appears in full score. G major. Internal refrain, lyrics index spirituals but also reference current fads, such as roller skating. There are two choruses, the first labeled “refrain” and the second (which follows directly), “chorus” (the second echoes Polly-wolly doodle in its rhythm and lyrics, which begin “Fare ye well! Fare ye well!”).

Jog along to glory (New York: Hitchcock's Music Store, 1884) http://hdl.loc.gov/loc.music/sm1884.25230

Notes: “Ethiopian song.” Lyrics index spirituals.

[Belasco] Johnny get your gun (New York: T. B. Harms & Co., 1886)

Notes: I have not found the original sheet music, but a piano solo arranged as a polka can be seen at:

http://levysheetmusic.mse.jhu.edu/levy-cgi/display.cgi?id=137.047.000;pages=5;range=0-4. From polka sheet music cover: “Ethiopian song and chorus. Originated and sung by America’s popular comedians, Sheffer & Blakely, and written for them by F. Belasco (M. H. Rosenfeld).” The verse form is A[a,b]AAA (16 mm), where b is the internal refrain. The following words come from Adah Richmond’s Songster (New York: N.Y. Variety Publishing, n.d. [1886]), p. 3, HTC, songsters:

One evenin’ in de month of may, / Johnny, get your gun, get your gun,

I met old Peter on de way, / Johnny, get . . .

Moses wept and Abram cried, / Johnny, get . . .

Satan’s coming, don’t you hide, / Johnny, get . . .

Refrain.

Johnny, get your gun, get your gun to-day,

Pigeons a-flyin’ all the way,

If you want to get to heaven in the good old way,

Johnny, get your gun, get your gun.

Chorus.

Rolling on, rolling on to glory, children,

Johnny, get your gun, get your gun.

Oh, now good children, do yo’ best, / Johnny, get . . .

And button on your golden vest, / Johnny, get . . .

Tell your uncles and your aunts, / Johnny, get . . .

Fetch along their linen pants, / Johnny, get . . .

Refrain and Chorus.

The way am rough wid briar roots, / Johnny, get . . .

We’ll shoot ole Satan ’fore he scoots, / Johnny, get . . .

When you hear de rascal yell, / Johnny, get . . .

Aim your musket, give him – well, / Johnny, get . . .

Refrain and Chorus.

I looked old Satan in the eye, / Johnny, get . . .

Said he “I’ll want you by-an’by,” / Johnny, get . . .

Fetch me up an alderman, / Johnny, get . . .

Put him in my frying pan. / Johnny, get . . .

The song remained popular into the 1890s; it was mentioned in verse 3 of James Foley’s Open up de golden gates (1893) along with other popular songs of the day. In his 1927 book Weep Some More My Lady, Sigmund Spaeth wrote that the song is “known to-day by its independent jigging dance tune rather than the actual melody and words” (New York: Doubleday, Page & Co., p. 113).

Anthologies (lyrics only): McNish, Johnson and Slavin’s Refined Minstrel Songster, Casket of Gems no. 87 (New York: New York Popular Publishing Co., n.d. [1886 or later]), p. 4 – sung by Burt Haverly, end man and humorist comedian, of McNish, Johnson and Slavin’s Refined Minstrels, HTC, songsters; full score in Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 40, UIUC Special Collections

Put on de golden sword (New York: T. B. Harms, & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.22326

Notes: Words index spirituals. The verse has an internal refrain but the chorus bears no musical resemblance to spirituals. This song was anthologized with full score in 1883, two years before the earliest sheet music that survives.

Anthologies (lyrics only unless otherwise noted): Adah Richmond’s Songster (New York: N.Y. Variety Publishing, n.d. [1886]), p. 5, HTC, songsters; full score in Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 34, UIUC Special Collections; Moore & Burgess Minstrels’ Book of Songs (London: Moore & Burgess, St. James’s Hall, Piccadilly, n.d. [late 1880s]), p. 26 HTC, songsters; Moore & Burgess Minstrels’ Songs (St. James Hall, London; Moore & Burgess, n.d.), p. 16, HTC, songsters

Ride on dat golden mule (Boston: J. M. Russell, 1885) http://hdl.loc.gov/loc.music/sm1885.19781

Notes: “To my same favorite, the unapproachable Lotta” (Carlotte Crabtree). “As sung with immense success by America’s charming vocalists, Miss Patti Rosa, Miss Hilda Thomas, and Miss Georgie Parker.” Jubilee song. Lyrics index spirituals.

Anthologies (lyrics only): Hilda Thomas’ Favorite Songs (New York: Variety Publishing Co., n.d. [ca. 1885], p. 3), HTC, with the claim “Written by F. Belasco for the beautiful and accomplished vocalist, Miss Hilda Thomas.”

[Heiser, F.] Ring dat golden bell (New York: New York Variety Pub. Co., 1885) http://hdl.loc.gov/loc.music/sm1885.14744

Notes: “To my friends Jas. McIntyre, Frank J. Campbell, & Frank Cushman” (white). “As sung with great success by the beautiful and accomplished vocalist [Miss?] Hilda Thomas.” Internal refrain; lyrics index spirituals.

Anthologies (lyrics only): Lotta’s Favorite Songs (New York: Variety Publishing Co., n.d. [1885]), p. 3 – “Written for and sung by the Great and Only Lotta,” includes 1–4 of the 5 verses, HTC, Harvard

[Belasco] Swim for de golden shore (Philadelphia: Boner, Wm. H., 1884) http://hdl.loc.gov/loc.music/sm1884.15340

Notes: Dedicated to Lotta (Charlotte Crabtree); “Lotta’s Jubilee song.” Verse has pentatonic flavor but only the most superficial allusion to spirituals, in lyrics.

[Belasco] Sailing on de golden stream (N.p.: S. T. Gordon & Son, 1885) http://hdl.loc.gov/loc.music/sm1885.14848

Notes: Dedicated “to my friend, the popular exponent of true minstrelsy, Mr. Frank Cushman” (white). A “celebrated jubilee song,” sung “with great success by the popular favorites Mess. McIntyre & Heath. No musical resemblance to folk spirituals, just textual allusions. Orchestral score at http://hdl.loc.gov/loc.music/sm1885.15778.

Row de boat, in Williams and Sully’s “Darkies Moonlight Picnic” Songster (New York: A. J. Fisher, 1882), p. 3; HTC, songsters

Notes: “Sung with tremendous success by Miss Nellie Germon.” Lyrics:

Dere was a camp meeting down in de swamp, / Row de mighty boat along;

It was so mighty dark dat we had to have a lamp. / Row . . .

The preacher prayed long, and de preacher prayed [loud,] / Row . . .

Long came an alligator, swallowed up de crowd, / Row . . .

Chorus:

Den row, row, row, row, row,

Row de mighty boat along.

From de clouds dere came a mighty light,

From de light de rain did pour

Forty days and forty more,

Water got about de sills of de door,

Inch by inch to de middle of de floor;

People hoist de windows and all jumped out,

Praised Pomp Judah wid a shout,

You get dere den you must tell

The mighty archangel for to toll dat bell,

Den oh, children, ah, children,

Oh, children, row de mighty boat along.

Rutledge, John T. (white). Ev’ry day gwine to be Sunday (Memphis: W. C. Woodward & Co. / H. G. Hollenberg, 1879) http://hdl.loc.gov/loc.music/sm1879.08144

Notes: “To my friend Barney Hughes, Memphis, Tenn.” End song & chorus. “Sung with great success by Tom Sadler, George Wilson, George H. Edwards, Billy Birch, Billy Barry, Cal Wagner, & others” (all white). This predates Sam Lucas’s 1881 Every day’ll be Sunday bye and bye. On the continuum of offensiveness, this scores on the high end. Caricatures; superficial textual allusion to spirituals; internal refrain.

Anthologies (lyrics only): Haverly’s United Mastodon Minstrels Song Book (Chicago: National Printing Co., 1880), p. 26 – “written and sung by Tommy Sadler, with Haverly’s Mastodon Minstrels,” HTC, songsters; Emerson’s Minstrels Songsters (San Francisco: Dodge Bros., 1881), p. 31, HTC, as sung by Gus Bruno (no composer attributed, no musical score); The Famous “Baby’s Lullaby” Song Book (San Francisco: Kohler & Chase, n.d. [ca. 1882]), HTC, songsters.

I’ll meet you at de cross roads in de mornin’ (Parkersburg, W. Va.: H. T. Martin, 1877) http://hdl.loc.gov/loc.music/sm1877.07372

Notes: “To my friend John Plain, Memphis, Tenn.” “Sung by Milt C. Barlow” (white). This has an Irish flavor to it, in the IV-V cadences and the ascending leap of a 6th in the chorus. There is a narrative, but the lyrics seem to be a pastiche. It doesn’t sound like a spiritual, but it does deal with camp meetings, crossing Jordan (going to heaven).

Ride me in a chariot (Memphis: W. C. Woodward & Co., 1879) http://hdl.loc.gov/loc.music/sm1879.09445

Notes: Dedicated to Richards Dorney Esq., New York. “Sung with great success by Milt. G. Barlow, Tom Sadler, Billy Emerson, Geo. Thatcher, Charlie Backus, Geo. Edwards, Lew Benedict, and all the shining lights of Minstrelsy” (all white performers). Internal refrain. The chorus in particular sounds more like a camp meeting song, with its even eighth-note rhythms (there is no notated syncopation in the entire score).

Sabin, Miss Mary Z. (white). De burnin’ lake (New York: H. A. Thomas, 1880) http://hdl.loc.gov/loc.music/sm1880.07013

Notes: Words by Chauncey B. Sabin. Dialect song, written for male quartet. Topic: a burnin’ lake with great big worms (serpents), and going to glory in heaven. In F, with gapped melody. The verse is made up of a repeating 4-mm. phrase (abab', where be is an internal refrain); it is sung 6 times, for a total of 24 mm in verse. The 6-mm chorus is unusual for its syncopation (see mm. 1 and 3 of chorus), which the author marks with accents, suggesting she had first-hand knowledge of African American folk performance. The words contain stereotypes. This is her only song on deposit at LC.

Sarsfield, Steve (white). Gwine to see Pete baptized, in Fayette Welsh’s Celebrated Ethiopian Songster (New York: A. J. Fisher, 1880), p. 54, HTC, songsters

Notes: “Written and sung by Steve Sarsfield.” Sarsfield became partners with Clarence Boyd in the late 1870s, and the duo was known as the Two Solitaires, performing song and dances in blackface until about 1887 (Rice, Monarchs of Minstrelsy, 299). This probably dates from the 1870s, since the most recent songs appeared at the front of songsters and older ones at the back. Lyrics:

Good evening, white folks, how do you do?

Gwine to see Pete baptized; come along with us,

And the way we’ll show to you; / Gwine to see Pete baptized,

Do preacher man am waiting down by the river. / Gwine to see Pete baptized,

Put a nigger in the water, / And you bet he’s going to shiver,

Gwine to see Pete baptized.

Chorus:

Come along, children, / Bring Suze and Ann-Eliza,

Come along and jine us, / For ter see Brother Pete baptized.

We’ll sing and dance on the river shore, / Gwine to see Pete baptized,

And make all de white folks holler for more, / Gwine to see Pete baptized,

Yeller girls fainting, when dey all begin to pray, / Gwine to see Pete baptized,

Come along and jine, and you’ll have a gala day, / Gwine to see Pete baptized.

Anthologies (lyrics only): Barlow, Wilson, Primrose & West’s New Minstrel Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 3, HTC, songsters; The Four in Hand Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882 or later]), p. 20, LC, Music Division, Dumont Collection

Saunders, Albert (black). Playing on the golden harp (Boston: G. D. Russell, 1882) http://hdl.loc.gov/loc.music/sm1882.01059

Notes: “Member of the Pine Cottage Jubilee Quartette.” Arranged by Harry Williams. Saunders was also a baritone with the Louisiana Jubilee Singers (around 1879), and bass and character artist with the Boston Ideal Colored Troubadours and Jubilee Singers (ca. 1883). Folk model: It begins with chorus, not verse; lyrics show race pride (“Go way white man, you can’t fool dis nigger, Play on de Golden Harp”). Harry Hogan (white) performed this as an end song with a different set of lyrics. The song as found in Songs as Sung by Chas. B. Hicks’ Minstrels [black]. Casket of Gems no. 170 (New York: New York Popular Publishing Co., n.d. [ca. 1886]), p. 47:

I got a book was give to me, / Play on the Golden Harp;

Every line is a victory, / Play on the Golden Harp;

I know my hid’es chuck full of sin, / Play . . .

I guess old Pete will let me in, / Play . . .

Chorus:

Play on that Harp.

Play on that Harp.

Children, come and hear me play,

On that Golden Harp.

Angels floating in the sky, / Play . . .

I gwine to go yonder when I die, / Play . . .

Come, my love, and go with me, / Play . . .

Dar we’ll ever happy be, / Play . . .

Anthologies with Hogan’s version: J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 55, HTC, songsters

Sawyer, Jacob J. (black). Blow, Gabriel, blow (Boston: W. A . Evans & Bro., 1882) http://hdl.loc.gov/loc.music/sm1882.19260

Notes: Published in series of “Choice Collection of Ethiopian Songs, by Jacob J. Sawyer.” Pentatonic verse; internal refrain; prosodic syncopation. Refrain has basses singing “blow” on low note at end of measure. Cole Porter later wrote a song titled Blow, Gabriel, blow for the musical Anything Goes (1934), which has any number of nineteenth-century models.

De golden chariot

Notes: Quintette of Beautiful Jubilee Songs series. [1883?] This was listed on front cover as being published, but I have not found the sheet music.

Gwine to ring dem hebenly bells (Cleveland: S. Brainard’s Sons, 1883) http://hdl.loc.gov/loc.music/sm1883.17252

Notes: Words by Sam Lucas. Verse starts in F-major, with pentatonic melody, then abruptly modulates to d-minor, modulates back to F at cadence; internal refrains. The chorus uses melodic material from verse. Lucas published a song that same year called Ring dem heavenly bells (see Lucas for comparison of these two songs).

Hail, Jerusalem morn (Boston: W. A. Evans & Bro., 1883) http://library.duke.edu/digitalcollections/hasm.b0512/

Notes: Published in the series “Choice Collection of Ethiopian Songs, by Jacob J. Sawyer.” The second (which is also the last) page of sheet music is missing. The words are comic but index spirituals (‘Look out, brudder, how you ’proach de cross . . . Your foot might slip an’ your soul get lost”). Internal refrain, repetitive verse (abcb', where each letter accounts for 2 mm; this sequence is repeated once).

Hand me down dem golden shoes (Boston: W. A. Evans & Bro., 1883) http://hdl.loc.gov/loc.music/sm1883.18904

Notes: Published in the series “Choice Collection of Ethiopian Songs, by Jacob J. Sawyer.” Oddly titled song, since the internal refrain “Keep dat lamp a-burning” is the most iterated phrase (especially in the chorus) – maybe it was a conscious choice to avoid confusion with other songs using that phrase. The chorus uses the folk formula of repetition (first 2 mm on tonic, second 2 repeat the melody on dominant harmony, then back to tonic).

I’se gwine to get home byme by (Chicago: National Music Co., 1883) http://hdl.loc.gov/loc.music/sm1883.10663

Notes: Published in the series “Quintette of Beautiful Jubilee Songs.” Sawyer is identified on the cover as “Pianist Slayton Ideal Company” (this was Sam Lucas’s jubilee troupe). Concert effects: accents on “my Lord.”

My Lord is writin’ down time (Chicago: National Music Company, 1883) http://hdl.loc.gov/loc.music/sm1883.10662

Notes: Published in the series “Quintette of Beautiful Jubilee Songs.” Sawyer is identified on the cover as “Pianist Slayton Ideal Company” (this was Sam Lucas’s jubilee troupe). The Fisk Jubilee Singers added the traditional spiritual (titled My Lord’s writing all the time) to their printed anthology in 1880; uncharacteristically, the score begins with the verse rather than the chorus. Sawyer’s chorus matches that in the Fisk score (with insignificant differences). In the Fisk version, the verse and chorus melodies are the same; Sawyer uses a different melody (and different words) for the verse. Sawyer uses dialect; the Fisk version does not.

Put on de golden crown (Boston: W. A. Evans & Bro., 1882) http://hdl.loc.gov/loc.music/sm1882.05483

Notes: See also song of same name by Hughey Docherty, above. Published in the series “Quintette of Beautiful Jubilee Songs.” Very folklike: Intensely repetitive melody with internal refrain. Lyrics loosely allude to spirituals; verse 2 contains the phrase “Den Hannah bile dat cabbage down,” which comes from Sam Lucas’s 1878 song.

Railroad train, full score in Jubilee Songs and Plantation Melodies (sung by the Original Nashville Students) (Chicago, 1884)

Notes: Copyright line is H. B. Thearle, who was proprietor of the Original Nashville Students Colored Concert Company. Arranged by Sawyer, who was the troupe’s musical director in 1884. Style of a folk spiritual, employs a quartet. Lyrics:

1. Says dat blackbird to de crow, / Oh, my! hallelujah!

What makes dese white folks love us so? / Oh, my! hallelujah!

As I went down in de valley to pray, / Oh, my! hallelujah!

I met old Satan on de way, / Oh, my! hallelujah!

Chorus:

Railroad train am passing thro’, dis world am saying how de do;

And sister, I am coming to, Oh, my! hallulujah!

Byme bye, byme bye,

Stars number one, number two, number three, number four.

Byme by, byme bye, Good Lord, byme bye.

2. As I was crossing yonder field / Oh, my! hallelujah!

Black snake bit me on de heel, / Oh, my! hallelujah!

Turned around to run my best, / Oh, my! hallelujah!

Left foot stepped in a hornets next, / Oh, my! hallelujah!

Ring dem chimin’ bells (Chicago: National Music Company, 1883) http://hdl.loc.gov/loc.music/sm1883.10664

Notes: Published in the series “Quintette of Beautiful Jubilee Songs.” Sawyer is identified on the cover as “Pianist Slayton Ideal Company” (this was Sam Lucas’s jubilee troupe). Verse is repetitive (abab' repeated once, where each letter represents 2 mm), otherwise no folk elements. The first verse concerns the Emancipation Proclamation, the second heaven, where “De black man dar’s as good as white.” The chorus uses long note values in homophonic hymn style, with V/V and V/iii chords that are atypical of this genre. The rhythm is four-square throughout, no syncopation. [Note: There is an error in the melody, the pitch on “Brown” in m. 2 of verse should be D, not E.]

Yes, I’ll be dar (Chicago: National Music Company, 1883) http://hdl.loc.gov/loc.music/sm1883.10665

Notes: Published in the series “Quintette of Beautiful Jubilee Songs.” Sawyer is identified on the cover as “Pianist Slayton Ideal Company” (this was Sam Lucas’s jubilee troupe). Four-square rhythm, lots of chromatic stepwise movement (atypical of this genre), internal refrains. Allegro, lively. In 1880 James Putnam (see above) published the song I’ll be dar, which was sung in a stage version of Uncle Tom’s Cabin (Boston: White, Smith & Co.; see http://hdl.loc.gov/loc.music/sm1880.05654). It was not a commercial spiritual, but concerned an African American going back to Kentucky to wed his love, Lucinda (hence, “I’ll be dar”). Sawyer’s commercial spiritual seems to borrow from this song. Both songs are in G-major, and the choruses begin in exactly the same way (except for different part writing). Thus the folk process of pastiche is applied to borrowings between commercial tunes.

Scanlan, Wm. J. (white). Rock dat ship in de morning (New York: T. B. Harms & Co., 1880) http://jhir.library.jhu.edu/handle/1774.2/22726

Notes: No. 3 in a series of Scanlan’s “New and Popular Songs, as sung in his highly successful drama “Friend and Foe” (cover). As sung by John P. Smith and Wm. A. Mestayer’s Tourists (title page). Ab major.

Anthologies (lyrics only): Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 60, UIUC Special Collections; Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 37, HTC, songsters

Scott, George W. (black). Dese bones shall rise again (Boston: John F. Perry & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.04421

Notes: “Jubilee end song and chorus.” Pentatonic, internal refrain, asymmetrical phrasing in chorus (4 + 2 mm), highly repetitive. Definitely modeled on folk spiritual; words are comic (Peter at the gate is “Uncle Pete”). This seems to be the only song he published.

Anthologies (lyrics only): Barlow, Wilson, Primrose & West’s New Minstrel Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 7 – sung by Fields & Hanson of Barlow, Wilson, Primrose & West’s Minstrels, HTC, songsters; James Bland’s “Golden Wedding” Songster (New York: N. Y. Popular Publishing Co., n.d. [ca. 1880]), p. 26 – as sung by Fields & Hanson of Barlow, Wilson, Primrose & West’s Minstrels, LC, Music Division, Dumont Collection; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 28 – sung by Fields and Hanson . . . words and music by George W. Scott, HTC, songsters

Schoolcraft, Luke (white). Oh! Dat watermelon (Boston: White & Goullaud, 1874) http://hdl.loc.gov/loc.music/sm1874.15157

Notes: Front cover: “Luke Schoolcraft’s Ethiopian melodies.” Title page lists Braham as arranger (his name is not on cover; this is probably John Braham). It is not clear who originated this song. Compare this to Martyn’s Contraband Children, with words by T. H. Hengler, and Horace Weston’s version (see under Frank L. Martyn). The verse alternates calls of secular material with the internal refrain of “gwine to get a home bye and bye.” Pentatonic melody; lyrics index spirituals; full of stereotypes.

Anthologies (lyrics only): The “Old Man’s Drunk Again” Songster (New York: Robert M. De Witt, 1873), p. 45, HTC, songsters; “Mother He’s Going Away” Songster (New York: American News Co., n.d. [1870s]), p. 54, HTC, songsters – “sung by McAndrews”; Fayette Welsh’s Celebrated Ethiopian Songster (New York: A. J. Fisher, 1880), p. 16 – sung by McAndrews, HTC, songsters; Evans, Bryant & Hoey’s “Book Agent” Songster (Pittsburgh: American Publishing Co., n.d. [1883 or later]), p. 18 – “sung by McAndrews”, HTC, songsters; Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 19, UIUC Special Collections

Shine on (Boston: White & Goullaud, 1874) http://hdl.loc.gov/loc.music/sm1874.08460

Notes: Arr. by John Braham. Full of offensive stereotypes, the lyrics are a nonsense pastiche glued together with internal refrains and a chorus that index spirituals. Repetitive melody. Schoolcraft was a popular minstrel performer; this is his only song on deposit at LC. The printed music first appeared in 1873’s The Luke Schoolcraft “Shine On” Songster (New York: A. J. Fisher); HTC, songsters. Schoolcraft wrote or performed several songs with secular content that borrowed phrases from spirituals for the chorus (see, e.g., I ain’t going home any more and Shake your dusty wings from the Shine On songster).

Anthologies: The Dockstaders’ “Get Thee Gone Girl” Songster (New York: Popular Publishing Co., 1878), p. 30, HTC, songsters; Mme. Rentz’s Celebrated Minstrel Songster (New York: Popular Publishing Co., 1878), p. 43; Jas. B. Radcliffe’s Plantation Songster (New York: Popular Publishing Co., 1879), p. 43, LC, Music Division, Dumont Collection; Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 59 – as sung by Haverly’s Colored Minstrels, LC, Music Division, Dumont Collection; The Four Eccentrics’ Songster (New York: New York Popular Publishing Co., n.d. [1881 or later]), p. 57 – as sung by Haverly’s Colored Minstrels, HTC, songsters; J. H. Haverly’s New Mastodons Minstrel Songster (New York: New York Popular Publishing Co., n.d. [1883], p. 11 – as sung by Haverly’s Colored Minstrels, HTC, songsters; J. H. Haverly’s Genuine Unique Refined Minstrel Songster, Casket of Gems, no. 12 (New York: New York Popular Publishing Co., n.d. [ca. 1883]), p. 11 – as originally sung by Haverly’s Colored Minstrels, HTC, songsters; full score in Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 25, UIUC Special Collections

Schwenseck, Joseph. Hear dat golden trumpet, chillun (New York: William J. A. Lieder, 1882) http://hdl.loc.gov/loc.music/sm1882.15295

Notes: Words by Chas. W. Mark. Caricatures, internal refrain, double verse of 4+4. This is the only commercial spiritual among his 9 songs on deposit at LC.

Sedgwick, A. C. (white). De old camp meetin’ (n.p.: W. F. Shaw, 1885) http://hdl.loc.gov/loc.music/sm1885.05198

Notes: A ridiculous song with nonsense lyrics and no folk elements; lyrics index spirituals. Sedgwick has 3 titles on deposit at LC; the other two are piano waltzes from 1872 & 1875.

Send em up higher, in Frank Lawton’s “Little Nigs” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 19; HTC, songsters

Notes: Lawton (d. 1914) was a white actor and performer who specialized in whistling (at least in the 1890s). This was an end sung that he sang with Hague’s British Minstrels and Haverly’s Minstrels. It displays the nonsensical structure of many end songs, beginning with a reference to entering through the gates of heaven and then moving on to two unrelated secular topics in the remaining verses. The song also appears in 3 Comets’ Songster (see “Anthologies” below), with the credit line “written by Frank Harris for Miss Dollie Davenport, and sung by her with great success”; that version does not include the 3rd verse. Lyrics:

What will we do when de great day comes,

Blowing of the trumpets, and de banging of de drums.

Great many sinners will be cotched out late,

Find no latch on de outside gate.

Chorus:

No use to wait until to-morrow,

Sun never sot on de morrow.

Cullered man smarter than a bamboo briar,

Den I send him up a higher and a higher.

Went down in de cellar for to get a little cider;

When I got there, I saw a great big spider.

Spider and a bed-bug had a terrible tussel,

Spider kicked the stiffening out of bed-bug’s bustle.

Chorus

Old Jimmie Pate went out for to skate,

When he got there, it was too late.

He fell on the ice and he busted his pants,

So did his sisters and his cousins and his aunts.

Anthologies: 3 Comets’ Songster, Casket of Gems series no. 157 (New York: New York Popular Publishing Co., n.d. [1888 or later]), p. 29, HTC, songsters

Sheffer, Chas. H. (white). Mighty day, in Harrigan & Hart’s “Little Green Leaf in Our Bible” Songster (New York: Popular Publishing Co., 1879), p. 48; HTC, songsters

Notes: “Sung by Foley & Sheffer, with immense success.” The chorus seems to be a contrafactum of the spiritual Great day:

As I was a-crossing yonder field,

A snake he stung me on the heel;

Turned right around to do our best,

Slapped our foot in a hornet’s nest.

Chorus.

Wasn’t that a mighty day,

Wasn’t that a mighty day, little children;

Wasn’t that a mighty day,

When us two nigs were born.

What kind of shoes does the angels wear?

They don’t wear any, for they walk in the air;

They walk in the air until somebody knocks,

Then we put all the niggers in the missionary box.

Anthologies (lyrics only): Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 52, LC, Music Division, Dumont Collection; Thatcher, Primrose & West Songster (New York: New York Popular Publishing, n.d. [1883 or later]), p. 48, HTC, songsters

Skelly, J. P. (white). Come and join the band (New York: E. H. Harding, 1875) http://hdl.loc.gov/loc.music/sm1875.13948

Notes: Sung by Gus Williams (white). This isn’t a commercial spiritual, but I include it here because it is subtitled “revival song” and is sung from the point of view of Moody & Sankey: the chorus goes “Come every Yankee, Every sinner through the land, Pray with Moody, sing with Sankey, come, come and join the band.” It is written like a gospel hymn. By this time Moody & Sankey had had their great success in England and were coming back to the U.S. to evangelize; such evangelists account for the increasing mention of revivals in commercial spirituals and theater songs. Of 200 titles on deposit at the LC, Skelly wrote only 3 dialect songs: 2 sentimental songs longing for the plantation, and one “coons on parade” song.

Anthologies (lyrics only): Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 27, LC, Music Division, Dumont Collection; Goss & Fox’s “Huckleberry Picnic” Songster (New York: Popular Publishing Co., n.d. [ca. 1879]), p. 29 – “as sung by [Tom?] McIntosh,” HTC, songsters; Geo. Jarvis’ “Wed the Flag You’re Under” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 18, HTC, songsters

Smith, Ed. C. (white). The golden door, in Songs as Sung by Chas. B. Hicks’ Minstrels, Casket of Gems no. 170 (New York: New York Popular Publishing Co., n.d. [ca. 1886]), p. 26; HTC, songsters

Notes: “Words and music by Ed. C. Smith. Sung by Smith and Carl.” Smith, who was married to performer May Vernon, worked with several partners, including Henry Leopold (in 1882) and John H. W. Byrne. All of his 11 songs on deposit at the Library of Congress are parlor songs; I doubt that The golden door was ever published as sheet music. It reminds me of The gospel train (also known as Get on board), and the words would even fit that melody. Lyrics:

De judgment day am coming, / Sinners don’t be too late’

You must get your tickets, / To pass in froo de gate.

Dis world am berry wicked, / Dat you all well know,

If you want to get a ticket, / You musn’t be so slow.

Chorus:

Good-bye children, I am going, / And you’ll never see me more,

Boat am ready, bell is ringing, / We’ll soon reach the golden shore.

Door-keeper at de door, / He wont let you in, [sic]

He says dat your soul / Is chock full of sin.

Here you am a waiting, / Out in de crowd,

For no wicked sinner / In dat place am allowed.

Smith, Hubbard T. (white). Come along my chillun (Cincinnati: John Church & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.21797

Notes: Plantation song & chorus. Internal refrain. A watermelon causes some blacks to forget about the year of jubilee. Veers back and forth between major and minor. This and the next song are the only dialect songs among 40 by Hubbard that I checked.

Mosey on to glory (Washington, D.C.: John F. Ellis, 1886) http://library.duke.edu/digitalcollections/hasm.b0682/

Notes: Dedicated to G.H. Primrose of Thatcher, Primrose & West's Minstrels. No tempo marking. Verse begins in e-minor, ends in G. Internal refrain, prosodic syncopation, but no other folk elements. Verse has 16 mm. The chorus has a 4-measure coda for a total of 12 mm.

Steirly, Richard R. (arr.) Do you think I’d make a soldier” (The “Hamtown Students” Songster, De Witt’s Song and Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), p. 36; HTC, songsters

Notes: The tune to this song is We are climbing Jacob’s ladder; in the 1870s it was known as the tune to Rise and shine as sung by the Fisk Jubilee Singers, the first verse of which was “Don’t you want to be a soldier, soldier, soldier” and the second verse “Do you think I will make a soldier…” Steirly was of English birth; in New York City he performed as a piano player and singer (ca. 1867, at the American Theatre on Broadway), and also worked as an arranger. He was friends with Hughey Dougherty, Cool Bridges, and Henry Vandemark (Thomas F. Hogan, The History of the Order of Elks): http://www.jollycorkspub.com/jollycorks.html (accessed 30 Aug. 2010).

Anthologies (lyrics only): “Sweet By and By” Songster, De Witt’s Song & Joke Book Series, no. 229 (New York: Clinton T. De Witt, Publisher, 1877), pp. 36–37, HTC, songsters – “sung by Gooding, Griffin, Gilbert and Holdsworth.”

Turn back Pharaoh’s army (The “Hamtown Students” Songster, De Witt’s Song and Joke Book Series, no. 212 (New York: Robert M. De Witt, Publisher, 1875), p. 10; HTC, songsters

Notes: Steirly is arranger. This is the same as the Fisk Jubilee version except in m. 5 on the words “turn back Pharaoh’s” the tenor has a Bb rather than a D on beat 2 (this pattern is consistent throughout the song). All other pitches identical, as are expressive markings. In verse 6, the Fisk version has “The waters came together,” but Steirly’s version has “closed together.”

Anthologies (lyrics only): “Sweet By and By” Songster, De Witt’s Song & Joke Book Series, no. 229 (New York: Clinton T. De Witt, Publisher, 1877), p. 32, HTC, songsters – “sung by Gooding, Griffin, Gilbert and Holdsworth.”

Stewart, James E. (white). Angel Gabriel (New York: J. L. Peters, 1875) http://hdl.loc.gov/loc.music/sm1875.03069

Notes: Cover: Words by Frank Dumont (white). “To Geo. Edwards.” “End song, as sung by Callender’s Jubilee Minstrels.” One of the hit songs of 1875 (Music for the Nation, “Greatest Hits, 1870–85: Variety Music Cavalcade,” Library of Congress, http://memory.loc.gov/ammem/smhtml/smpop.html#1875 (accessed 30 Aug. 2010).

Lyrics index spirituals with the theme of crossing over into heaven. Moderato. G-minor, using both raised and lowered seventh degree. Verse of 16 mm, with form A[ab]AB[cd]A. where b is internal refrain. Chorus in begins in relative major but ends in minor. This song also appears under the title Gabriel, blow de horn in some songsters, with very slightly altered words.

Of 159 titles on deposit at LC (some of which are duplicates (e.g., arrangements for banjo), only 4 besides the 2 songs listed here seem to be written from a black point of view. Stewart had a connection with the Georgia Minstrels; he arranged Henry Hart’s 1873 song Good Sweet Ham, wrote The flower of Tennessee for Callender’s Georgia Minstrels (1878), and Chas Hicks of the Original Georgia Minstrels sang Stewart’s 1876 song Old massa’s dead – in fact his name appears on the cover of the sheet music.

Stewart’s song has entered the folk tradition and in recent years has been recorded by numerous artists, among them Norman and Nancy Blake (The Hobo’s Last Ride), Flying Jenny (Flying Jenny), Peter Fischman and Deb O’Hanlon (Carrying on the Tradition, vol. 2), Chloe Davidson (Nightshoots and Morningsongs), and Among the Oak and the Ash (self-titled CD).

Anthologies (lyrics only): Callender’s Georgia Minstrels Songster (San Francisco: printed at the office of Francis & Valentine, 1878), p. 6 – as sung by Billy Kersands, containing vv. 1 and 3 only, HTC, songsters; Harry Beckwith America’s Own Comique Songster (New York: A. J. Fisher, 1878), p. 60, under the title Gwine to take de tickets at de gate (which is the last line of v. 3), as sung by Johnson and Bruno, containing vv. 1 and 3 only, HTC, songsters; Haverly’s Genuine Colored Minstrels’ Songster (New York: New-York Popular Publishing Co., 1879), p. 8, LC, Music Division, Dumont Collection; Fayette Welsh’s Celebrated Ethiopian Songster (New York: A. J. Fisher, 1880), p. 55, under the title Gwine to take de tickets at de gate, vv. 1 & 3 only, HTC, songsters Birch and Backus’ Songs of the San Francisco Minstrels, no. 20, ed. Frank Dumont (New York: De Witt Publishing House, 1881), p. 86 – as sung by Lew Davis, containing vv. 1 and 3 only, HTC, songsters; Katie Cooper’s “Cindy Jane” Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 34, HTC, songsters; Jas. E. Larkins’ Variety Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 5, HTC, songsters; Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 17, LC, Music Division, Dumont Collection; The Four in Hand Songster (New York: New York Popular Publishing Co., n.d. [ca. 1882 or later]), p. 14, LC, Music Division, Dumont Collection; Irwin Bros.’ Big Show ([Lockport, NY:]: Merchant’s Gargling Oil, 1887), p. 25, HTC, songsters; under title Gabriel, blow de horn in [J. P.] Patterson’s Ideal Songster (Bryant’s Pond, Me.: Chase & Co., Printers, n.d.), pp. 24–25 (personal copy).

Recordings: Harry C. Browne, recorded 1916 and reissued on Early Minstrel Songs Recorded 1916–1923 (British Archive of Country Music, BACM CD D 076).

How d’y do, Aunt Susie? or, Down in Georgia (New York: J. L. Peters, 1873) http://hdl.loc.gov/loc.music/sm1873.07333

Notes: Words by Frank Dumont (white). “Cal Wagner’s great plantation song.” Freely mixes secular words with textual allusions to spirituals; internal refrain.

Strong, Mrs. L. J. (white). I'se a waitin' an' a listenin' (Cincinnati: John Church, 1884) http://hdl.loc.gov/loc.music/sm1884.05838

Notes: Not strictly a commercial spiritual, but it uses internal refrains and some phrases from lyrics to spirituals. Four of her 5 songs on deposit at LC were published 1884–1885 by Church (the other is 1883, Galesburg, IL, self-published). Score for voice and banjo: http://hdl.loc.gov/loc.music/sm1884.21662.

Straight, Ned (white). Children look up yonder (New York: Hitchcock's Music Store, 1885) http://hdl.loc.gov/loc.music/sm1885.24964

Notes: Prosodic syncopation, internal refrains, lyrics (fairly innocuous) index spirituals. Verse is a double verse of 16 + 16; it has two internal refrains (the first one begins an octave higher than preceding pitch); it begins in F major and ends in d-minor, then the chorus jumps without transition to Bb major. The verse has a folk flavor; the chorus does not.

The golden chariot (New York: Mrs. Pauline Lieder, 1880) http://hdl.loc.gov/loc.music/sm1880.04171

Notes: Front cover lists several of Straight’s songs and says: “The above are now being sung with immense success by Haverlys, Sandford’s & other leading Minstrels.” There are strong similarities to Children up yonder: The octave jump to the first internal refrain, the modulation in the verse from F to d-minor; and the chorus that sounds like it comes from another song altogether, and the use of the word “honey.” Double verse of 8 + 8. Lyrics index spirituals, no extreme stereotypes. See also Gus Brigham, De golden chariot.

Golden sunrise (New York: Pond, Wm. A. & Co., 1881)

http://hdl.loc.gov/loc.music/sm1881.05152

Notes: “Dedicated to and Sung by Jas. A. Bland, with Haverly’s Minstrels.” Double verse of 8 + 8, starts in g-minor and cadences on d-minor (using melodic minor scale in melody); chorus in Bb. Like Children up yonder and Golden chariot, the four-square chorus sounds like it belongs to another song. Lyrics index spirituals, no extreme stereotypes.

Hab dem ladders ready! (New York: Mrs. Pauline Lieder, 1880) http://hdl.loc.gov/loc.music/sm1880.04176

Notes: “Respectfully dedicated to A. B. Straight.” “Sung by the Kayes.” Front cover lists several of Straight’s songs and says: “The above are now being sung with immense success by Haverlys, Sandford’s & other leading Minstrels.” The lyrics index spirituals (as in “we are climbing Jacob’s ladder”) but there are no folk elements in the tune.

Anthologies (lyrics only): Under the title Hab your ladders ready for to climb (end song, sung by Ben Downie) in Songs as Sung by Chas. B. Hicks’ Minstrels, Casket of Gems no. 170 (New York: New York Popular Publishing Co., n.d. [ca. 1886]), p. 29; HTC, songsters

Keep your eye upon de finger board (New-York: Hitchcock’s Music Store, 1883) http://hdl.loc.gov/loc.music/sm1883.10306

Notes: “Ethiopian jubilee end song and chorus.” Moderato. Eb major. Internal refrain. Theme is to live a life without sin.

Meet me at de golden gate (New York: Hitchcock’s Music Store, 1884) http://hdl.loc.gov/loc.music/sm1884.24795

Notes: This is one of those commercial spirituals where the lyrics are so ambiguous that it is unclear whether the content is “sacred” (the golden gate signifying heaven) or secular (going to a party). Internal refrains; a large verse form: 8 (AB) + 8 (AB) + 8 (CD), followed by chorus (8 + 8) with a coda (8 mm). An unusually ambitious form for this genre.

Anthologies (lyrics only): Moore & Burgess Minstrels’ Book of Songs (London: Moore & Burgess, St. James’s Hall, Piccadilly, n.d. [late 1880s]), p. 25, HTC, songsters

Open up dem doors (New York: Mrs. Pauline Lieder, 1881) http://hdl.loc.gov/loc.music/sm1881.08723

Notes: Banjo arrangement (it is possible piano/vocal score was published in 1880, as with Settle dat bill). The lyrics begin in a similar way to the spiritual Turn back Pharaoh’s army (“Gwine to write to Massa Jesus”; Straight: “I’se gwine to write a letter, to my great Jehovah”), although the similarity ends there. An unusual song for Straight: no internal refrains, though the verse features repeated melodic fragments and gapped melody.

Anthologies (lyrics only): Birch and Backus’ Songs of the San Francisco Minstrels, no. 20, ed. Frank Dumont (New York: De Witt Publishing House, 1881), p. 9, HTC, songsters;

Edwin Joyce and Verona Carroll “Face to Face” Songster (New York; Wm. J.A. Lieder Publisher – successor to A. J. Fisher – 1883), where it is labeled “Great Shout Song, sung by Billy Barry, and by Heverly’s Sandford’s [sic] and other celebrated minstrels” (with composer and copyright acknowledgment) (HTC).

Put my foot in de golden shoe (New York: Hitchcock's Music Store, 1885) http://hdl.loc.gov/loc.music/sm1885.24098

Notes: Another large-scale verse form in F major (a favorite key with Straight), with internal refrains and gapped melody: abac abac defc ghij (each letter represents 2 mm), where the b refrains end in minor. The verse begins on C and is harmonized by the dominant, which is unusual: Most songs of this genre begin using tonic harmony. (Straight does this in other songs, such as the minstrel song Hannah Venus Culiflower of 1885, which is not a commercial spiritual.) The chorus is inconsequential and adds nothing of interest musically. Lyrics index spirituals.

Settle dat bill (New York: Mrs. Pauline Lieder, 1880) http://hdl.loc.gov/loc.music/sm1880.04167

Notes: Banjo arrangement (1881) located at http://hdl.loc.gov/loc.music/sm1881.08724 (last page). Front cover lists several of Straight’s songs and says: “The above are now being sung with immense success by Haverlys, Sandford’s & other leading Minstrels.” “Respectfully dedicated to Goss & Fox.” Another song that veers ambiguously between the “sacred” and secular (see Meet me at de golden gate): It is unclear whether settling the bill refers to Judgment Day or a cash debt (or both). Key of G. Verse has an echo internal refrain and cadences in relative minor; chorus follows same pattern.

Anthologies (lyrics only): Barlow, Wilson, Primrose & West’s New Minstrel Songster (New York: New York Popular Publishing Co., n.d. [ca. 1880]), p. 5, HTC, songsters

Sweet peaches and honey plantation, in Fayette Welsh’s Celebrated Ethiopian Songster (New York: A. J. Fisher, 1880), p. 39; HTC, songsters

Notes: “Sung with the Arnold Bros. Novelty Troupe and Original [illegible word] by Murphy & Kline, Leslie & Mack” (all ahite). The lyrics mix the themes of preparing for a party and climbing to heaven:

Here we are a happy pair as you can plainly see,

Glory, glory, hallelujah.

Old massa gave us a holiday to have a jubilee,

All you little niggers come and shine on,

The bones and fiddle, banjo and tambourine,

Glory, glory, hallelujah.

Then we will have the greatest time that ever yet was seen.

All you little niggers come and shine on.

Chorus:

For I’m going to have all the peaches and honey,

I’m going to climb the golden ladder,

I’m going to eat at the welcome table,

All you little niggers come and shine on, [repeat line]

Swing for de golden train, in Lotta’s Favorite Songs (New York: Variety Publishing Co., n.d. [1885]), p. 5; HTC, songsters

Notes: The song carries a copyright line of 1884 by C. F. Johnston, but I cannot find sheet music. The lyrics are notable for the nonsense internal refrain, which is unusual in commercial spirituals (it is usually the internal refrain that indexes traditional spirituals, even when the rest of the words are secular/nonsensical). Lyrics:

Oh, my brethren, ease your pain, / Chic-a-dic-a-dee, chic-a-dic-a-dee,

Yonder comes de golden train, / Chic-a-dic-a-dee, chic-a-dic-a-dee,

Buckle on yo’ silver sword, / Chic-a- . . .

Make you haste and get on board, / / Chic-a- . . .

Chorus:

Ride on to glory, ride on to glory, / Ride on de golden train.

Ride on to glory, ride on to glory, / Ride on de golden train. (repeat)

Way up yonder in de sky, / Chic-a-dic-a-dee, chic-a-dic-a-dee,

See ole Gabriel wink his eye, / . . .

Taje dat traub an’ come wid me, / . . .

Make you joyful, gay and free, / . . .

Chorus

Oh, de train is coming fast, / . . .

Come on board befo’ ’tis past, / . . .

Don’t you stop to curl your har, / . . .

You’ll hab no mudder-in-law up dar, / . . .

Chorus

Swing on board de golden train, / . . .

From de sunshine and de rain, / . . .

Yo’ road am rough, unless yo’ go, / . . .

An’ Satan’s watchin’ from below, / . . .

Talbert, Harry C. (white). The gravel train; Or Riding on to Glory (New York: T. B. Harms, 1884) http://hdl.loc.gov/loc.music/sm1884.05545

Notes: “As sung by Pete Mack, with Thatcher, Primrose & West’s Minstrels.” F major. Vague textual allusions to spirituals amid secular verses; internal refrains. Syncopations on beat 2 are marked with an accent – the only expression marking in the vocal score.

Anthologies: Full score in Thatcher, Primrose and West’s Minstrel Songs; A Collection of Old and New Jubilee and Minstrel songs (New-York: T. B. Harms, 1887), p. 54, UIUC Special Collections).

Traditional Spirituals published as sheet music (alpha by title)

Notes: See also J. Ahrem; Frederick Carnes; Asa B. Hutchinson; J. R. Murray. For a history of parlor arrangements of spirituals see Sandra Jean Graham, “Reframing Negro Spirituals in the Late Nineteenth Century,” in John Koegel (ed.), Music, American Made: Essays in Honor of John Graziano (Sterling Heights, MI: Harmonie Park Press, 2011).

My Lord's writing all the time (Cincinnati: John Church & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.18069

Notes: Cover: “Songs of the Jubilee Singers from Fisk University.” Title page: “Transcribed from the singing of the Jubilee Singers by Miss Ella Sheppard, pianist. Arranged by D.C.A. As sung by the Jubilee Singers.” This song was added to the 1880 edition of Jubilee Songs (J. B. T. Marsh, The Story of the Jubilee Singers; With Their Songs). The sheet music and anthology score are identical in the part writing; the only difference is the addition of piano accompaniment by “D.C.A.” in the sheet music.

The gospel train (Cincinnati: John Church & Co., 1881) http://hdl.loc.gov/loc.music/sm1881.06564

Notes: Cover: “Songs of the Jubilee Singers from Fisk University.” Title page: “Plantation song.” Arranged by D.C.A. There are differences with the score published in the Fisk Singers’ anthologies: Some rhythms and pitches differ (but it is the same tune); the key of sheet music is C rather than G; the part writing is voiced differently (but still SATB). Pitch changes seem to be because harmony was added to the verse, whereas the original Fisk version has unison (or solo) on the verse, no accompaniment. The words also differ somewhat, but are identifiable as the same song.

Reign, Massa Jesus, reign (Cincinnati: John Church & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.18068

Notes: Cover: “Songs of the Jubilee Singers from Fisk University.” “Transcribed from the singing of the Jubilee Singers by Miss Ella Sheppard, pianist. Arranged by D.C.A. As sung by the Jubilee Singers.”

What kind of shoes you going to wear? (Cincinnati: John Church & Co., 1880) http://hdl.loc.gov/loc.music/sm1880.13650

Notes: Cover: “Songs of the Jubilee Singers from Fisk University.” Title page: “Arranged by D.C.A. As sung by the Jubilee Singers.”

Vernor, Max (white). Keep dose lamps a-burnin’ (Cleveland: S. Brainard's Sons, 1877) http://hdl.loc.gov/loc.music/sm1877.15728

Notes: “Plantation jubilee.” Pentatonic, internal refrain, textual allusion to spirituals but “narrative” is nonsense secular. This is his only commercial spiritual among 32 songs on deposit at LC. It was "sung nightly" by the Georgia Minstrels according to an ad by Brainard's in the New York Clipper, 28 Sept. 1878.

Ward, F. T. (white). Hand down the trumpet, in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: Popular Publishing Co., n.d. [ca. 1886]), p. 18; HTC, songsters

Notes: Frank (Francis) Ward organized the original Clipper Quartette in 1879, which debuted in New York at Tony Pastor’s theater. The group initially performed commercial spirituals. This song is billed as a “Negro shout,” with words and music by Ward, as sung by the clipper Quartette, Hyde & Behman’s Minstrels. Lyrics:

This world am full of sinful sin – yum, / Hand down the trumpet, hand it down,

The devil comes along and put you all in / Hand down . . .

Chorus:

Yes, them bells are ringing, [2x]

Ringing so early in the morning. [repeat all 3 lines]

Father, mother, brother and son / Hand down . . .

The devil will have you one by one, / Hand down . . .

Chorus

The world will some day have an end, / Hand down . . .

He’ll count out the sinners, ten by ten. / Hand down . . .

Anthologies (lyrics only): McNish, Johnson and Slavin’s Refined Minstrel Songster, Casket of Gems no. 87 (New York: New York Popular Publishing Co., n.d. [1886 or later]), p. 29

We mus’ go dar by an’ by, in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 50; HTC, songsters

Notes: “As sung by I. E. Newhall, with Moulton & Johnson’s Minstrels.”

Dar’s a land ob plenty away up high, / We mus’ go dar by an’ by;

Whar you neber need to fret or sigh, / We mus’ . . .

Dar’s angels all dressed up in white, / We mus’ . . .

You open wide your eyes at de sight, / We mus’ . . .

Chorus.

Den chil’ren tell yer mudders,

Yer sisters an’ your brudders,

Tell your farder to come along too –

We mus’ go dar by an’ by;

Dar’s sweet music floatin’ ’frough de air, / We mus’ . . .

An’ golden slippers am what you’ll wear, / We mus’ . . .

De gate am always open to receive, / We mus’ . . .

Den all good folks you needn’t grieve, / We mus’ . . .

Chorus

When you hear de angel’s voices callin’, / We mus’ . . .

An’ darkness fast am a fallin’, / We mus’ . . .

De bid your friends to weep no more, / We mus’ . . .

’Cause you’se boun’ for dat golden shore, / We mus’ . . .

Welch, Billy (white). Down by the river, in Haverly’s United Mastodon Minstrels Song Book (Chicago: National Printing Co., 1880), p. 33; HTC, songsters

Notes: “Written by Billy Welch, and sung by Welch & Rice, with Haverly’s Mastodon Minstrels.” See also Ned Goss, Jubilee Hymn. Lyrics:

Don’t you hear them horses feet, / Down by de River Jordan?

Prancing up and down the street, / Down by de river side.

Walking on de silver shore, / Down by de River Jordan!

We’re happy, yes, for ever more, / Down by de river side.

Chorus:

Den clear de way / Down by de River Jordan!

Den clear de way. / Down by de river side.

Oh, yes, yes! clear de way / Down by de River Jordan!

Den clear de way / Down by de river side.

Sorrow is left and day has come, Down by de River Jordan,

Wid care and strife, you will be done, / Down by de river side.

West, Eva (white). Oh! Don’t get weary children (New York: Spear & Dehnhoff, 1877) http://hdl.loc.gov/loc.music/sm1877.08722

Notes: “The great plantation song composed by Eva West, and sung by her throughout the U.S.” Dedicated to Fannie M. Linton. See Children, don’t get weary; both are in Bb, and both borrow the same tune for the chorus. In West’s chorus the ATB parts base the soprano, in the style of a gospel hymn.

Westendorf, Thomas P. (white). An extremely prolific composer, Westendorf has 245 titles on deposit at the LC (some of these are orchestrations of songs on deposit). Of the 245, 7 are commercial spirituals and 6 are minstrel dialect songs; the rest are parlor songs encompassing Irish, sentimental, motto, novelty, and political categories, as well as solo piano music. Unlike many composers, who used internal refrains to signify black life no matter what the song topic, Westendorf makes a musical distinction between his commercial spirituals and his sentimental dialect songs.

Brighter am de heb’nly glories (Philadelphia: Thos. Hunter, 1882) copyright 1882 W. F. Shaw http://hdl.loc.gov/loc.music/sm1882.14086

Notes: Dedicated to Wm. Grieve, Greensboro, PA. An ode to the beauty of the earth; internal refrains, lyrics index spirituals.

Anthologies (lyrics only): Popular Songs and Ballads, no. 1 (n.p.: W. F. Shaw, 1882), HTC, songsters

Chil’en come along (n.p.: W. F. Shaw, 1884) http://hdl.loc.gov/loc.music/sm1884.08956

Notes: “Plantation song & chorus.” Orchestral score: http://hdl.loc.gov/loc.music/sm1884.15804. The verse is molded on folk spirituals: repetition (double verse of 4 + 4 mm), internal refrains, prosodic syncopation (on “chil’en”), and the chorus continues immediately after the verse cadences (a run-on quality). The refrain, on the other hand, has a musical style resembling a gospel hymn. The words are fairly innocuous for a commercial spiritual by a white composer.

Dar's one more ribber for to cross (n.p.: W. F. Shaw, 1881) http://hdl.loc.gov/loc.music/sm1881.02938

Notes: Words by James Hosey. [or Hoey?] “The Great Jubilee Song.” The last page of the refrain is missing on the LC website; I have not found a complete digital copy. This is possibly a contrafactum of the hymn/spiritual One more river to cross (but impossible to say without the full score).

Anthologies (lyrics only): Gems of Minstrel Songs, no. 1 (n.p.: W. F. Shaw, 1882), p. 46, HTC, songsters – gives copyright as 1881 by Shaw and words to 14 verses; Popular Songs and Ballads, no. 1 (n.p.: W. F. Shaw, 1882), HTC, songsters

De lam' a strayin' (n.p.: W. F. Shaw, 1882) http://hdl.loc.gov/loc.music/sm1882.20171

Notes: Words by Bob M’Gee. From cover: “Exhortation at a Colored Camp Meeting. The dialect is that of a Mississippi Plantation.” This is not really in the spiritual mold; the verse is an exhortation with a 4 + 4 structure and no syncopation; the chorus resembles a gospel hymn in style.

Pickin’ on a harp (n.p.: W. F. Shaw, 1882) http://hdl.loc.gov/loc.music/sm1882.12321

Notes: “Jubilee song with chorus.” “To my friend, Wm. Grieve, Esq., Greensboro, Ga.” Definite folk influences in verse: Double verse of 4 + 4 with two internal refrains; each 4-m phrase begins in major and ends in relative minor. Syncopation and slides are indicated in slurs of a third on words at the end of phrases. The chorus, which begins “Oh! Hallelujah!” (iterated 3 times) over a I-IV progression, reminiscent of Handel’s Hallelujah Chorus.

Anthologies (lyrics only): Gems of Minstrel Songs, no. 1 (n.p.: W. F. Shaw, 1882), p. 45, HTC, songster – gives copyright as 1881 by Shaw; Popular Songs and Ballads, no. 1 (n.p.: W. F. Shaw, 1882), HTC, songsters; Irwin Bros.’ Big Show ([Lockport, NY:]: Merchant’s Gargling Oil, 1887), p. 23, HTC, songsters; Tom Warfield’s Latest Songster, Casket of Gems no. 33 (New York: New York Popular Publishing, n.d.), p. 5, HTC, songsters

Temper de win’ to dat poor sheep (Cincinnati: John Church & Co., 1885) http://hdl.loc.gov/loc.music/sm1885.13727

Notes: To Rev. Frank Gray. Jubilee song & chorus. Orchestral score at http://hdl.loc.gov/loc.music/sm1885.15552. Most commercial spirituals are lively dance numbers; this is more sedate. It has folk elements: repetition, syncopation. The wording “Lawd, temper de win[d] to dat poor sheep” is unusual and may be borrowed from a hymn or spiritual.

Wheeler, J. W. (white). Don’t close dat golden gate (n.p.: W. F. Shaw, 1885) http://hdl.loc.gov/loc.music/sm1885.12427

Notes: Song and chorus. The dialect is the only clue to black identity; the words are not specific to black life. The verse uses syncopation and internal refrain, but the overall flavor is that of a march; the form is larger than a traditional spiritual. Wheeler has 61 songs on deposit at LC; this is the only commercial spiritual. Another of his, Don’t take de left hand road (1885), has no musical characteristics of the spiritual and the words have no strong connection to spirituals, so I have not listed it here.

White, Alfred. Dem glory kyars (New York: Wm. J. A. Lieder, 1881) http://hdl.loc.gov/loc.music/sm1881.16882

Notes: Arranged by Joseph Schwenseck. Double verse of 8 + 8, internal refrains, with 4-phrase structure of abac. In a-minor. Lyrics index the “gospel cars” theme but contain stereotypes.

White, Frank (white). The band of Canaan (1880), in Cool Burgess’ “In the Morning by the Bright Light” Songster (New York: New York Popular Publishing Co., n.d. [1880 or later]), p. 13, HTC, songsters

Notes: Sung by Hines & Blossom. Copyright secured 1880. Lyrics:

Come, my ma and go with me, / Oh! oh! my boy;

I’ll take you to the jubilee, / Ah, ah, my child.

And then we’ll jine the happy band, / Umph! umph! my love;

And sing about de heavenly band, / Oh! I shall die.

Chorus:

Now the time has come, / Sinners we must go;

Now the time has come, / We can no longer stay.

We’ll play the bones no more, / Nor dance on the cabin floor,

We’re gwine to jine de happy band of Canaan.

There we’ll hab some custard pie, / Oh! oh! my boy;

And Preacher Johnson how he’ll cry, / Ah, ah, my child.

Dere we’ll cut de pigeon wing, / Umph! umph! my love;

How dem wenches dey will sing, / Oh! I shall die.

Anthologies (lyrics only): Olympia Quartette Songster (New York: New York Popular Publishing Co., n.d. [ca. 1881]), p. 20, LC, Music Division, Dumont Collection

Wheeler, J. W. Don’t close dat golden gate (W. F. Shaw, 1885) http://hdl.loc.gov/loc.music/sm1885.12427

Notes: Song and chorus. Folk flavor in verse, which begins in G-major but cadences in e-minor, but the chorus is a march. Lyrics index spirituals.

Don’t take de left hand road (W. A. Evans, 1885) http://www.lib.duke.edu/texis/smi/search/more.htm?id=37973eb915f (citation only)

Notes: Lyrics by H. G. Wheeler. First line: I'm on de road to glory, fo shout de joyful news… Refrain: Rouse up de mo'ners, shout out de joyful news.

Who’s dat callin’ so sweet (Boston: Chas. D. Blake & Co., 1886) http://baylordigitallibrary.cdmhost.com/u?/p4018coll10,9349

Notes: Title page: Words by H. G. Wheeler. Jubilee song and refrain. Cover: “Sung everywhere by Miss Lydia Yeamans, the new Jenny Lind, from the Avenue Theatre, London.” Moderato. G major. Theme of going to promised land, words have no comic imagery. Internal refrain, prosodic syncopation. Verse form is A[a.b]B[c,d] AB (double verse, 16 mm total). Chorus is sung twice, once as solo and once in SATB harmony. Bass has a moving line that connects phrases, as in gospel hymnody and foreshadowing jubilee gospel style.

Anthologies (lyrics only): Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 48 ­­– “sung by Bob Slavin, of McNish, Johnson and Slavin’s Minstrels,” HTC, songsters; McNish, Johnson and Slavin’s Refined Minstrel Songster, Casket of Gems no. 87 (New York: New York Popular Publishing Co., n.d. [1886 or later]) – sung by Bob Slavin, HTC, songsters

Recordings: Mr. Knoll and Miss McNeil, on Berliner disc 3643-Z (http://settlet.fateback.com/Berliner.htm) (accessed 30 Aug. 2010).

Wiggins, A. [Alfred]. Let go dem brakes for glory (New York: R. A. Saalfield, 1884) http://hdl.loc.gov/loc.music/sm1884.22175

Notes: “Respectfully dedicated to my friend Frank Stevenson.” As sung in the play of McFad, the Politician. Words by T. E. McGuines. Words from white point of view (“coons as good as whites if they settle up”); lyrics index spirituals; internal refrain. 8 songs on deposit at LC; 2 are commercial spirituals.

Sitting on the golden fence (New York: Spear & Dehnhoff, 1884) http://hdl.loc.gov/loc.music/sm1884.16388

Notes: A popular jubilee song. “Dedicated to his Friends The Memphis Students.” “Sung with Great Success by all the leading minstrels.” Secular song that indexes spirituals; internal refrain.

Williams, Charles A. Gwine to climb de golden stairs (Cincinnati: Geo. D. Newhall, 1880) http://hdl.loc.gov/loc.music/sm1880.18113

Notes: “The greatest of all end songs,” dedicated to “the peerless comedian, Geo. Wilson.” “As sung by Geo. Wilson and Charley Yale.” Lyrics index spirituals; internal refrain; fermatas (concert spiritual effect); See also Rosenfeld (Heiser, F.): Both Heiser and Williams songs are in G, melodic contours very similar (Heiser seems to have copied Williams).

Anthologies (lyrics only): Billy Rice and Hooley’s Minstrels Songster (Printed for Hooley’s theatre, Chicago, by Knight & Leonard, Printers, Chicago, n.d. [ca.1876]), p. 14, HTC, songsters; Emerson’s Minstrels Songsters (San Francisco: Dodge Bros., 1881, p. 10), HTC, songsters, sung by R. G. Allen; The Famous “Baby’s Lullaby” Song Book (San Francisco: Kohler & Chase, n.d. [ca. 1882]), p. 10, HTC, songsters.

Whipple, Wade (white). Ham, the national him of Africa (New York: Wm. A. Pond & Co., 1881) http://jscholarship.library.jhu.edu:8080/handle/1774.2/8174

Notes: “Respectfully dedicated to my old friends Shem and Japheth” (front cover); “song and dance” (title page). Not overtly “spiritual,” but there are biblical references.

Wylie, William. While climbing up de golden stairs (New York: T. B. Harms, 1884) http://hdl.loc.gov/loc.music/sm1884.15163

Notes: On cover: “The famous jubilee song.” “Written and sung by Wm. Wylie.” See notes to Heiser’s (M. H. Rosenfeld) Climbing up de golden stairs.

Young, Charlie. Climbing up de ladder to de sky (New York: Frank Harding, 1889)

Notes: “Jubilee song.” Sheet music available at Duke University (not digitized). First line: “I was strolling thro' the woods and spied old Satan.” Refrain: “Climbing! Climbing up de golden ladder to de sky!”

Younker, F. (white). Silver bells are ringing away up in de sky (New York: Pauline Lieder, 1879) http://library.duke.edu/digitalcollections/hasm.b0403/

Notes: Words by Thomas E. Powers. Title page: “To Frank Dumont, Esq.” Moderato. D major. A song full of awkwardness (rhythm in m. 2 of verse, text setting in chorus), this is not a typical commercial spiritual in that the verse describes slaves working in the field in the first person; it is the chorus that is related to the spiritual in textual imagery. The harmony (use of secondary dominant in chorus) and square rhythm more closely resemble white hymnody than black folk song.

Zimmerman, J. F. (white). Swinging on the gospel gate (1885), in Sheffer & Blakely’s “New Coon Done Gone” Songster (New York: N.Y. Popular Publishing Co., n.d. [1886 or later]), p. 41; HTC, songsters

Notes: “Written by Phil Rossiter. Composed by J. F. Zimmermann, and sung in The Tin Soldier, Bunch of Keys, We Us & Co., and the FOYS, in their great sketch, Entanglement.” Copyright 1885, by W. F. Shaw. This song has strong similarities to Heiser’s (M. H. Rosenfeld) Climbing up de golden stairs. The form of both songs is the same; the first lines are similar (Rosenfeld: “Come all you little niggers,” Rossiter: “Hurry up you little sinners”), and the choruses are similar (Rosenfeld: “Den hear dem bells a-ringin’ / Tis sweet I do declare / Just hear dem darkies singin’, Climbin’ up de golden stair.” Rossiter: “Salvation bells are ringing, / Hurry up and don’t be late; / List to the darkies singing – / Swinging on the gospel gate.”). The full lyrics are:

Hurry up you little sinners, if you want to be the winners,

Swinging on the gospel gate.

Salvation day is drawing nigh, you’ll join the angels by and bye,

Swinging on the gospel gate.

You will see your fathers, mothers, and your sisters and your brothers,

Swinging on the gospel gate.

And your first and second cousins, and your relatives by dozens,

Swinging on the gospel gate.

Chorus:

Salvation bells are ringing,

Hurry up and don’t be late;

List to the darkies singing –

Swinging on the gospel gate.

All the tony politicians will be seeking fat positions, / Swinging . . .

But little fry from Tamny Hall, will not be recognized at all, / Swinging . . .

But Benny “Butler with his spoons, will work among free lunch saloons, / . . .

And Logan pass from man to man, New Jersey lightning in a can, / . . .

Chorus

All the bold commercial drummers, must give up imbibing hummers, / . . .

And old tramps upon their uppers, won’t be laying plans for suppers, / . . .

You won’t see the census takers, nor insurance men, nor fakirs,[sic] / . . .

And wealthy residents won’t skip away to Europe on a trip, / . . .