Front 7
INTRODUCTORY.
On
the
8th
day
of
September,
1906,
the
United
Sacred
Harp
Musical
Association,
in
Atlanta,
Ga.,
passed
resolutions,
directing
the
appoint-
ment
of
a
committee
on
the
revision
of
the
Sacred
Harp.
This
com-
mittee
was
appointed
and
proceeded
with
the
work
specified
in
the
resolutions,
but
was
hindered
in
one
way
and
another
from
carrying
out
the
resolutions
above
mentioned.
Several
attempts
have
been
made
within
the
last
two
or
three
years
to
revise
the
Sacred
Harp
by
others,
but
the
work
was
done
in
such
a
way
this
committee
could
not
endorse
and
accept
the
same,
although
their
names
are
attached
to
some
of
these
books
as
endorsing
them.
This,
however,
is
without
authority
by
the
members
of
the
committee.
The
endorsement
could
not
be
made
because
the
revisors
of
these
volumes
did
not
comply
with
the
resolu-
tions
under
which
the
committee
was
appointed,
and
after
all
efforts
to
get
a
book
published
as
specified
and
required
in
the
resolutions
had
failed,
and
no
prospect
of
getting
a
publication
in
accordance
with
the
resolutions,
the
committee
proceeded
last
February
to
make
and
compile
what
they
have
christened
the
"Original
Sacred
Harp."
A
brief
statement
of
the
work
performed
is
in
part
as
follows:
1.
None
of
the
tunes
have
been
removed
from
the
book
as
it
was
published
in
1869.
All
retain
the
same
names
and
occupy
the
same
page
or
pages,
except
in
two
or
three
instances,
in
which
cases
it
was
unavoidable.
2.
The
bass,
tenor,
alto
and
treble
are
exactly
as
they
were
in
the
old
book
of
1869,
except
to
correct
errors
where
notes
and
other
char-
acters
of
music
were
not
on
the
proper
line
or
space.
3.
In
all
tunes
which
could
not
be
improved
by
adding
alto,
it
has
been
left
out.
Notwithstanding
this,
alto
has
been
composed
and
added
to
number
of
tunes
and
composed
in
the
same
harmony
as
the
other
parts
in
such
a
way
as
to
greatly
improve
the
melody
of
each
and
all
the
tunes.
These,
alto
are
unlike
those
other
books.
Dispersed
Harmony
has
been
adhered
to
and
the
alto
is
in
perfect
accord
with
the
other
parts
of
the
music.
4.
More
words,
or
verses,
of
the
same
hymn
have
been
added
to
a
large
number
of
the
church
tunes,
in
most
cases,
placed
under
the
lines
of
the
music
so
it
can
be
easily
sung
or
played,
and
when
the
tune
has
only
one
verse,
it
is
generally
put
in
the
lower
and
upper
spaces
of
the
tune,
in
many
of
them
under
the
different
parts,
where
it
is
necessary
to
do
so.
5.
At
the
top
of
the
page
the
key
is
stated,
in
addition
to
the
sharps
and
flats.
6.
Following
the
name
of
the
tune,
the
letters
or
figures
which
rep-
resent
the
metre
are
placed.
7.
Under
the
name
of
the
tune
is
placed
the
scripture
text
upon
which
the
words
of
the
tune
are
founded,
giving
citation
of
the
book,
chapter
and
verse
in
the
Bible.
8.
In
Fugue
pieces
of
music,
the
lines
of
poetry
have
been
generally
placed
under
each
of
the
parts
of
the
music,
so
as
to
prevent
confusion
in
rendering
them.
Prismas
have
been
used
in
but
few
instances.
9.
Corrections
of
words,
in
spelling,
division
of
words
into
syllables,
arranging
and
correcting
them
in
many
cases
so
as
to
get
proper
pro-
nunciation
and
accent.
In
many
other
instances,
placing
the
notes
and
other
characters
on
the
right
line
or
space,
correcting
all
the
parts
so
as
to
get
the
music
as
correct
as
possible.
Inserting
rests
and
other
characters
on
correct
line
or
space,
slurs
and
ties
of
notes-these
correc-
tions
run
up
into
thousands.
10.
On
the
left
hand
corner
of
the
page,
the
name
of
the
composer
of
the
words
or
poetry,
where
known,
and
the
date
when
composed,
are
stated.
On
the
right
hand
corner
of
the
page,
the
name
of
the
composer
of
the
music
appears,
where
possible
to
find
the
name
of
the
author
of
the
composition.
Some
of
the
tunes
have
been
published
for
a
century
or
more,
and
no
intimation
appearing
as
to
who
is
the
author
of
the
words
or
music,
or
date
of
either;
and
after
unlimited
research
to
find
out
the
correct
authors
of
words
and
music,
we
haven't
been
able
to
determine
in
some
cases
who
are
the
authors
of
the
music
and
words.
Quite
a
number
of
persons
are
claiming
the
authorship
of
words
and
music,
especially
the
latter.
Where
this
occurs,
we
have
tried,
as
best
we
could,
to
secure
the
name
of
the
original
author,
and
give
credit
as
we
believe
it
to
be.
In
some
of
them
there
are
only
changes
of
a
few
notes
in
the
tunes,
and
on
this,
claim
them
as
their
own
productions.
In
such
cases,
we
have
credited
the
original
author
wherever
found.
In
some
of
them,
we
may
make
mistakes;
if
so,
an
examination
will
show,
they
are
few
in
number.
11.
Following
each
of
the
tunes,
odes
and
anthems,
is
a
brief
history
of
the
author
of
the
music
and
of
the
hymn
or
words,
where
known,
or
else
reference
to
where
such
information
can
be
found.
In
these
sketches,
the
date
of
the
birth
and
death
of
the
authors
is
stated
and
other
circumstances
about
them
where
known.
Many
of
them
make
interesting
reading
and
will
give
an
insight
into
the
character
and
standing
of
the
authors.
This
has
been
a
very
difficult,
tiresome
task,
for
the
reason
that
in
many
of
the
hymn
and
tune
books
published,
there
appear
quite
a
number
of
mistakes
in
regard
to
the
authorship
of
music
and
hymns,
as
well
as
dates
of
births
and
deaths.
The
infor-
mation
herein
contained
can
be
relied
on
as
being
correct,
except
in
a
few
cases.
We
have
also
stated
where
and
when
many
of
these
tunes