Part 13 (1/2)

”The Lord will come and He will not,”

and after singing that line through heard the second line,--

”Keep silence, but speak out.”

Many new psalm-books appeared about the time of the Revolutionary War, and many church pet.i.tions have been preserved asking permission to use the new and more melodious psalm and hymn books. Books of instruction also abounded,--books in which the notes were not printed on the staff, and books in which there were staffs but no notes, only letters or other characters (these were called ”dunce notes”); books, too, in which the notes were printed so thickly that they could scarcely be distinguished one from the other.

”A dotted tribe with ebon heads That climb the slender fence along, As black as ink, as thick as weeds, Ye little Africans of song.”

One book--perhaps the worst, since it was the most pretentious--was ”The Compleat Melody or Harmony of Sion,” by William Tansur,--”Ingenious Tans'ur Skilled in Musicks Art.” It was a most superficial, pedantic, and bewildering composition. The musical instruction was given in the form of a series of ill-spelled dialogues between a teacher and pupil, interspersed with occasional miserable rhymes. It was ill-expressed at best, and such musical terms as ”Rations of Concords,” ”Trilloes,” ”Trifdiapasons,”

”Leaps,” ”Binding cadences,” ”Disallowances,” ”Canons,” ”Prime Flower of Florid,” ”Consecutions of Perfects,” and ”Figurates,” make the book exceedingly difficult of comprehension to the average reader, though possibly not to a student of obsolete musical phraseology.

A side skirmish on the music field was at this time fought between the treble and the tenor parts. Ravenscroft's Psalms and Walter's book had given the melody, or plain-song, to the tenor. This had, of course, thrown additional difficulties in the way of good singing; but when once the trebles obtained the leading part, after the customary bitter opposition, the improved singing approved the victory.

Many objections, too, were made to the introduction of ”triple-time” tunes.

It gave great offence to the older Puritans, who wished to drawl out all the notes of uniform length; and some persons thought that marking and accenting the measure was a step toward the ”Scarlet Woman.” The time was called derisively, ”a long leg and a short one.”

These old bigots must have been paralyzed at the new style of psalm-singing which was invented and introduced by a Ma.s.sachusetts tanner and singing-master named Billings, and which was suggested, doubtless, by the English anthems. It spread through the choirs of colonial villages and towns like wild-fire, and was called ”fuguing.” Mr. Billings' ”Fuguing Psalm Singer” was published in 1770. It is a dingy, ill-printed book with a comically ill.u.s.trated frontispiece, long pages of instruction, and this motto:--

”O, praise the Lord with one consent And in this grand design Let Britain and the Colonies Unanimously join.”

The succeeding hymn-books, and the patriotic hymns of Billings in post-Revolutionary years have no hint of ”Britain” in them. The names ”Federal Harmony,” ”Columbian Harmony,” ”Continental Harmony,” ”Columbian Repository,” and ”United States Sacred Harmony” show the new nation.

Billings also published the ”Psalm Singer's Amus.e.m.e.nt,” and other singing-books. The shades of Cotton, of Sewall, of Mather must have groaned aloud at the suggestions, instructions, and actions of this unregenerate, daring, and ”amusing” leader of church-singing.

It seems astonis.h.i.+ng that New England communities in those times of anxious and depressing warfare should have so delightedly seized and adopted this unusual and comparatively joyous style of singing, but perhaps the new spirit of liberty demanded more animated and spirited expression; and Billings' psalm-tunes were played with drum and fife on the battlefield to inspire the American soldiers. Billings wrote of his fuguing invention, ”It has more than twenty times the power of the old slow tunes. Now the solemn ba.s.s demands their attention, next the manly tenor, now the lofty counter, now the volatile treble. Now here! Now there! Now here again! Oh ecstatic, push on, ye sons of harmony!” Dr. Mather Byles wrote thus of fuguing:--

”Down starts the Ba.s.s with Grave Majestic Air, And up the Treble mounts with shrill Career, With softer Sounds in mild melodious Maze Warbling between, the Tenor gently plays And, if th' inspiring Altos joins the Force See! like the Lark it Wings its towering Course Thro' Harmony's sublimest Sphere it flies And to Angelic Accents seems to rise.”

A more modern poet in affectionate remembrance thus sings the fugue:--

”A fugue let loose cheers up the place, With ba.s.s and tenor, alto, air, The parts strike in with measured grace, And something sweet is everywhere.

”As if some warbling brood should build Of bits of tunes a singing nest; Each bringing that with which it thrilled And weaving it with all the rest.”

All public wors.h.i.+ppers in the meetings one hundred years ago did not, however, regard fuguing as ”something sweet everywhere,” nor did they agree with Billings and Byles as to its angelic and ecstatic properties. Some thought it ”heartless, tasteless, trivial, and irreverent jargon.” Others thought the tunes were written more for the absurd inflation of the singers than for the glory of G.o.d; and many fully sympathized with the man who hung two cats over Billings's door to indicate his opinion of Billings's caterwauling. An old inhabitant of Roxbury remembered that when fuguing tunes were introduced into his church ”they produced a literally fuguing effect on the older people, who went out of the church as soon as the first verse was sung.” One scandalized and belligerent old clergyman, upon the Sabbath following the introduction of fuguing into his church, preached upon the prophecy of Amos, ”The songs of the temple shall be turned into howling,” while another took for his text the sixth verse of the seventeenth chapter of Acts, ”Those that have turned the world upside down, are come hither also.” One indignant and disgusted church attendant thus profanely recorded in church his views:--

”Written out of temper on a Pannel in one of the Pues in Salem Church:--

”Could poor King David but for once To Salem Church repair; And hear his Psalms thus warbled out, Good Lord, how he would swear

”But could St Paul but just pop in, From higher scenes abstracted, And hear his Gospel now explained, By Heavens, he'd run distracted.”

These lines were reprinted in the ”American Apollo” in 1792.

The repet.i.tion of a word or syllable in fuguing often lead to some ridiculous variations in the meanings of the lines. Thus the words--

”With reverence let the saints appear And bow before the Lord,”