Jubilee songs: as sung by the Jubilee singers, of Fisk university, (Nashville, Tenn.) under the auspices of the American missionary association

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JUBILEE SONGS

AS SUNG BY THE

JUBILEE SINGERS,

OF riSK UNIVERSITY,

(NASHVILLE, TENN.J

So 3^, / 0-^
UNDER THE AUSPICES OF THE AMERICAN MISSIONARl' ASSOCIATION.

PRICE 25 CEISTTS.

Published by BIGLO W & MAIN, 426 Broome St.

Tivtou ^'c Bahwood, Mutic Steriolyptre, 27 Row Street, X. i'.

JUBILEE SONGS:

AS SUNG BY THE

JUBILEE SINGERS,

OF FISK UNIVERSITY,

/? rc^'( /^- 3

UNDER THE AUSPICES OF THE AMERICAN MISSIONARY ASSOCIATION.
P^HICE 25 CENTS.

Published by BIGLO W & MAIN, 425 Broome St.

EntercJ, according to Act of Cougrcss, A.D. 1S72, by BIGLOW A MAIN, in the Oflice of tho Librarian of Congress at Washington

PREFACE.

/

In giving these melodies to the world for the first time in a tangible form, it seems
desirable to say a few words about them as judged from a musical stand-point. It is cer-
tain that the critic stands completely disarmed in their presence. He must not only
recognize their immense power over audiences which include many people of the high.est
culture, but, if he be not thoroughly encased in prejudice, he must yield a tribute of admi-
ration on his own part, and acknowledge that these songs touch a chord which the most
consummate art fails to reach. Something of this result is doubtless due to the singers as
well as to their melodies. The excellent rendering of the Jubilee Band is made more
effective and the interest is intensified by the comparison of their former state of slavery
and degradation with the present prospects and hopes of their race, which crowd upon
every listener's mind during the singing of their songs. Yet the power is chiefly in the
songs themselves, and hence a brief analysis of them will be of Interest.

Their origin is unique. They are never " composed" after the manner of ordinary music,
but spring into life, ready made, from the white heat of religious fervor during some protracted
meeting in church or camp. They come from no musical cultivation whatever, but are the
simple, ecstatic utterances of wholly untutored minds. From so unpromising a source we
could reasonably expect only such a mass of crudities as would be unendurable to the culti-
vated ear. On the contrary, however, the cultivated listener confesses to a new charm, and
to a power never before felt, at least in its kind. What can we infer from this but that
the child-like, receptive minds of these unfortunates were wrought upon with a true inspi-
ration, and that this gift was bestowed upon them by an ever-watchful Father, to quicken
the pulses of life, and to keep them from the state of hopeless apathy into which they
were in danger of falling.

A technical analysisi of these melodias jshaws^sptne jntsrestrng facts. The .first pecu-
liarity that strikes the atttnUon !>> in cb'djijiytiim. • This is! ^ff^n complicated, and some-
times strikingly original. The second line of the "Rocks and the Mountains," (page 24)
is one of many illustrations of this "^tateme^it. ]Eii^t' Although so new and strange, it is
most remarkable that these effects are so extremely satisfactory. We see few cases of what
theorists call mis-form, alth'cJi\gK the st.aclfeiit' of musici^rcompositidn is likely to fall into that
error long after he has m^itv^nicf tte iea^ing pnnclples of the aK;. '

Another noticeable feature of the songs is the entire absence of triple time, or three-
part measure among them. The reason for this is doubtless to be found in the beating of
the foot and the swaying of the body, which are such frequent accompaniments of the
singing. These motions are in even measure, and in perfect time ; and so it will be found
that however broken and seemingly irregular the movement of the music, it is always ca-
pable of the most exact measurement. In other words, its irregularities invariably conform
to the "higher law" of the perfect rhythmic flow. i

3

It is a coincidence worthy of note that more that half the melodies in this collection are
in the same scale as that in which Scottish music is written; that is, with the fourth and
seventh tones omitted. The fact that the music of the ancient Greeks is also said to have
been written in this scale, suggests an interesting inquiry as to whether it may not be a
peculiar language of nature, or a simpler alphabet than the ordinary diatonic scale, in which
the uncultivated mind finds its easiest expression.

The variety of forms presented in these songs is truly surprising, when their origin is
considered. This diversity is greater than the listener would at first be likely to suppose.
The frequent recurrence of one particular effect, viz.: that given on the last syllable of the
word " chariot " in the first line of " Swing Low," conveys an impression of sameness
which is not justified by the general structure of the songs. The themes are quite as dis-
tinct and varied as in the case of more pretentious compositions.

One criticism has been made on the singing of the Jubilee Band, which deserves notice.
It has been frequently said, especially by persons who have been at the South, and heard the
singing of the camp-meetings: "This music is too good. It is too refined. There is too
nice a balancing of the parts, and too much delicate shading to be a genuine representation
of slave-music." The objection is easily answered, in this wise. The manner and style of
singing at the South depends entirely upon the degree of culture in the congregation.
There is a very great difference between the lowest and the highest, in this respect. It
cannot be thought strange that the musical feeling which is so prolific in original melodies
should soon find its way to the enjoyment of harmony in the singing of various parts. The
Jubilee Singers, no doubt, represent the highest average of culture among the colored
people, but the singing of these songs is all their own, and the quickness with which they
have received impressions and adopted improvements from the cultivated music they have
heard, only affords an additional illustration of the high capabilities of the race.

The public may feel assured that the music herein given is entirely correct. It was
taken down from the singing of the band, during repeated interviews held for the purpose,
and no line or phrase was introduced that did not receive full indorsement from the singers.
Some of the phrases and turns in the melodies are so peculiar that the listener might not
unreasonably suppose them to be incapable of exact representation by ordinary musical
characters. It is found, however, that they all submit to the laws of musical language,
and if they are sung or played exactly as written, all the characteristic effects will be
reproduced.

It is believed that the selection of melodies here presented will not only prove inter-
esting as a study, but that they will, by their quaint forms, their inherent beauty, and their
genuine pathos, bring a new element of pleasure into any social circle into which they may
be introduced.

THEO. F. SEWARD,

Orange, N. J.

I

TABLE OF CONTENTS.

Been a listening, . 25

Children, we all shall be free, 13

Cliildren, you'll be called on 19

Didn't my Lord deliver Daniel, 16

From every graveyard, 12

Give me Jesus, 19

Gwine to ride up the chariot, 20

Go down, Moses, 22

I'm a rolling, 14

I'll hear the trumpet sound, 15

I've just come from the fountain, 18

I'm traveling to the grave, . . . . . . . 27

Keep me from sinking down, 26

Many thousand gone, 27

Nobody knows the trouble I see. Lord, 5

O Redeemed, 8

Room enough, 7

Roll, Jordan, roll, 9

Rise, mourners, rise, .11

Swing low, ...... ... 6

Steal away, 28

Turn back Pharaoh' s army, 10

The Rocks and the Mountains, 24

We'll die in the field, 21

JUBILEE SONGS.

It will be observed that in most of these songs the first strain is of the nature of
a chorus or refrain, which is to be sung after each verse. The return to this
chorus should be made without breaking the time.

In some of the verses the syllables do not correspond exactly to the notes in
the music. The adaptation is so easy that it was thought best to leave it to
the skill of the singer rather than to confuse the eye by too many notes. The
music is in each case carefully adapted to the first verse. Whatever changes may
be necessary in singing the remaining verses will be found to involve no difficulty.

^0UA^ hxtum tht trauMe g ^tt, ^ox&l

=lw^^3*?==s=:

No- bod - y knows the trou-ble I see, Lord, No- bod - y knows the

trou-ble I see, No - bod - y knows the trou-ble I see, Lord,

Fine.

a=g^

5=^

:q-

^z=d-a:=t2==t2:

No - bod - y knows like Je - sus, Broth - ers, will you

m-=r=-m'-

-=^==1

t^ — t^-

^W=M

:^—^-.

pray for me, Broth-ers will you pray for me, Broth- ers, will you

B.C.

pray forme And help me to drive old 8a - tan a -way.

2 Sisters, will you pray for me, <fec.

3 Mothers, will you pray for me, <fec.

4 Preachers, will you pray for me, <fcc.

6

Jubilee Songs.

3-2

V V ^j "' V V V V

Swing low, sweetchar-i - ot, Com-ing for to car-ry me home,

— •— •— •—- e_-_P^rg-

IPlne.

^

_> '^ _k, _ -f *>tc

^ s-

tf !^ < <
• ^ • ^

S

Swing low, sweet char - i - ot, Com-ing for to car - ry me home.

E^EE^=^EE^!5:3^

> ¥

:?5iq

-i-J--

|«c=15:

334:

1. I looked

2. If you

=^=J^

- ver Jor - dan, and what did I see,
get there be - - fore I do.

-=i —

Com-ing for to car-ry me home? A band of an-geh

els
Com - ing for to car - ry me home, Tell all my friends I'm

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af-ter me.

V

'si A

--¥

-%-

-t-

-" ^1^ "

coming

Com-

■ ing for

to

car-

fj

me home.

com -

ing too.

Com

- ing for

to

car-

ry

me home.

p-

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-• —

— 1^ — 1^ —

— ^ —

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— te —

— 1

— a —

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3.
The brightest day that ever I saw.

Coming for to carry me home,
When Jesus washed my sins away.
Coming for to carry me home.
Swing low. <fcc.

4.
I'm sometimes up and sometimes down,

Coming for to carry me home.
But stillmy soul feels heavenly bound.
Coming for to carry me home.
Swing low, ifcc.

Jubilee Songs,

§aam ^uaugb.

-)*.-j^

^E3

1. Oh, brothers don't stay a - way, Brothers don't stay a - way,

fc.:a==5=£^^^£=

— ^=iirz=J— F=«5— -«— =^—

-->-

r-

izzm-- -t^

Broth-ers don't stay a - way. Don't stay a - way.

;z=iz:|!?ii=:=tzziit=tz=i=i^^

-5"

^ii

:^^E^^^iE=:^==l^=1^3Hl

For my Lord says there's room e - nough, Room e - nough in the

-r-^ — m — m — *-r

1=5 ^— tt==t==:t==t==

..^ ^ ^ *—.--* — *-^ — ^ — --^ — m-^—^ — ^-

:t==t

■--5—1/

'-= — ^ — 1-^ — ^— — ^ — ^ — VI — I

*" Heav'ns for you. My Lord says there's room enough, Don't stay a - way.

^- — '^^ ii?— ! — "-^ Si* 1^ t/ 5 ^ r '

2 Oh, mourners don't stay away,
(;UO._For the Bible says there's room enough, etc.

3 Oh, sinners don't stay away,
(;H0.— For the angel says there's room enough, etc.

4 Oh, children don't stay away,
(jHO.— For Jesus says there's room enough, etc.

* The pecuUar accent here inakes the words sound thus : " rooma nough."

8

Jubilee Songs,

Chorus.

=8:

f

:t^___

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les

^=1^=^

1. 0 redeemed, re - deemed, I'm washed in the Wood of the Lamb, 0 re

i^iilifellSii:

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:qvp

Fine.

T

-I 1 —

deemed, redeemeiCl'm washed in the Mood of the Lamb. Althoughyousee me

^— ^— p.— ^^^-— ^-^— •— j^— •-'^ ^-V— 11^—6^—^=^

going a-loug so, Washed in the blood of the Lamb, I liave my tri - als

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0 \^ ^ ^ W* ^ ^

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here be - low,Washed in the blood of the Lamb. 0 redeemed, redeemed.

13^??=^:

:t2=t2=

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^- J

llii;=i

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2 When I was a mourner just like jou,

Washed in the blood of the Lamb,
I fasted and prayed till I got through,
Washed in the blood of the Lamb.
0 redeemed, <fcc.

3 Heligion's like a blooming rose,

Washed in the blood of the Lamb,
As none but those that feel it knows.
Washed in the blood of the Lamb,
0 redeemed, <S:C.

* Attention is called to this characteristic manner of connecting the last strain with the chorus in the D. C.

Jubilee Songs.

9

§oll, f odan, §0ll

in:

~!s-

I

:=t:

Sz:F:szv-J-?z:

-S f^

=1^=

HolI, Jor-dan, roll, roll, Jor-dan, roll, 1 want to go to

J ^^ / ^ ^^- =- /

:t?:

^1=^==^

::c:

iliii

l=q=:=qV

^=

Heav - en wlien

|-fez=z^

3=:

:il2:

I

=1:

die, To hear Jor

dan

zzizz

I

roll.

It?:

^-

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:=^:

1. Oh, l)rotli-ers, jou ought t'have been there. Yes, mj Lord! A

-r-

, -: ^ — •'__ — I

ta«. 1^ 1 1_ 1 ,

B.C.

Jor - dan roll.

sit -ting in

N N ^

the

pr — r-
King-dom,

^ J

to

SE3E^EEE=jgEE=5^=EtEE^EB

hear

*-
to:

2 Oh, preachers, you ought t'have been there, etc.

3 Oh, sinners, 3'ou ought, etc.

4 Oh, mourners, you ought, etc,

5 Oh, seekers, you ought, etc.

6 Oh, mothers, you ought, etc.

7 Oh, children, you ought, etc.

10

Jubilee Songs.

Mxmx k^fe f luivaoh'!Si g^mjj*

SoiiO. Moderato.

::Jz:a=d"L=:^ipizS=:=s==1v===SiFqs==!====lii=F

d==q^=p=?5=^=^=z:»!:

:*=*:

1. Gwineto write to Mas - sa Je - siis, To send some val - iant

2. If YOU "want your souls con-vert - ed, You'd bet - ter be a -

Chorus. Faster.

:S=r

sol-dier, To turn back Pha-raoh's ar - my, Hal- le
- pray-ing, To turn back Pha-raoli's ar - my, etc.

lg=^E5

-t:

- — ? — r t? — ^

5? ■•

iu ! To turn back Pha-raoli's ar - my, Hal - le - In

m

-Mznz

:t=:

y ^ n LZ

K-r— >•-

cJ

:=|t

jah! To turn back Plia - raoli's ar - my, Hal - fe -

— ^=:

hi ! To turn back Pha-raoli's ar - my, Hal - le - in
-m- -•: -j0-_ :^; iP: :*

-\=r-

^ If- , . . ^

:t=:
:te:

Jubilee Songs

11

— « — 1_^ j_ « g_4 — ^_L_^ jj:

jjili ! To turn back Pha-raoh's ar - my, Hal - le - lu !

-1=" ^-n-<

p-^==:»zz--Si=3=|
f^fc=z:t=zzz=:toE3z:l

-^ m- — :^ — -^

:tB=^:

Sli

3.

You say you are a soldier,
Fighting for your Saviour,
To turn 1back Pharaoli's army, etc.

4.
When the children were in bondage.
They cried unto the Lord,
He turned back Pharaoli's army, etc.

0.

When Moses smote the water.
The children all passed over,
And turned back Pharaoh's army. etc.

6.
When Pharaoh crossed the water,
The waters came together.
And drowned ole Pharaoh's army, etc.

§fe^, P^unuv^;

^^EiEK

E:4=5=t=p=:t-=t==tt='^'

T»-F -^—m— — — F — ^ — • — m — •— -I

1. Rise, mourners, rise mourners, 0 can't you rise and

Fine.

»=:p:

:=1:

-^^tj::

tell. What the Lord has done for you. Yes, he's tak-en my feet out of the

D. c.

1^

i^qsziiqv

— 1^— —)%--— j

:*z=5=is

m

mi - ry clay. And he's placed them on the right side of my Fa - ther.

2 Rise, seekers, rise, seekers, etc.

3 Rise, sinners, rise, sinners, etc.

4 Rise, brothers, rise, brothers, etc.

• This hymn is sung with great unction while " seekers " are going forward to the altar.

12

Jubilee Songs,

gxmx tm^ ^x^xn^^xL

:=S==^

:S=:J=S:

~j>-

:^:

:i=:

■* — I —

-S=q

Just be - liold that number, Just be - nokl that number, Just be

^Wd^!>_-zqv

, — N v.^

I \^ ^ ' ^ ^ ^ ^ ^ '

hold that number From ev - e - rj grave - yard, Going to

-A — r-

F=?5:

->» —

meet the brothers there, That used

.*. M. -j«- -m- ^ -«-

|:t==i=

:i=sl=^s=::=^

to join

I —

— -3 ^ — r~

-• — • — m — ^-

in prayer,

=^

Go - ing

=112=

1

Z). c.

^ \^ ^ V V ^1 ^^ '^' ^ i^ g^ " ^

uj) thro' great trib - u

:t2:

la - tion From ev - e - ry grave

^ % N r» ^ -i<

-% — % ^ — r^ — • — J *5J-

:ti2=t=

S=^EE^

yard.

i

5-^^

^V^

2 Going to meet the sisters there,

That used to join in prayer,
Going up, through great tribulation.
From every graveyard.
Just behold that number, &C.

Going to meet the preachers there.
That used to join, &c,
CHO.— Just behold that number, JL-c.

4 Going to meet the mourners there.
That used to join, <Jk;C.

OHO.— Just behold that number, it-c.

5 Going to meet the Christians there,
That used to join, &c.

CHO.— Just behold that number, <fcc.

Jubilee Songs

13

cUMldtiew, xu alt ^M\ U ^vu.

Chil-clren, we all shall be free, Cliil-dren, we all shall he

•: — 0r^js \ ^ — *i_r-* 'f-' — m^ — ^5-, — ! « m.

:=^:
:.-i:

free, Children, we all shall he free, When the Lord shall ap-pear. 1. We
-^ ^ fe I -^ -«- -«-

i^=iii-^

:az=:^:

it^zzztc

:c:

:taEE*=ffz:*±^=z:E

> \^

:ti=:

^

?zl?:

:v=zs=^srF=?5=

■.-.mzizim:

-^ — N-

-_!-

— ^-

want no cow-ards in our hand, That from their col-ors flj, We
i2=L»:=r»;z=ai=:^=:b3z=:t2=:l2=z:U=brfziz:^:i

7«d?:z=ii:^iffiz:zii=i

z>. c

:=|ti:^^!=]v=^:

call for val - iant-heart-ed men, That are not a - fraid to die.
0 — 0 — i*_^_ip — ^ — ^_

t:-Jzz:te:z=ii

:a::

:ai=F;z:=:p:
;:;izzzE:»=te:

:t=;

2 We see the pilgrim as he lies.

With glory in his' soul ;
To Heaven he lifts his longing eyes,
And bids this world adieu.
CHO.— Children, we all shall be free, etc.

3 Give ease to the sick, give sight to the blind.

Enable the cripple to walk ;
He'll raise the dead from under the earth.
And give them permission to fly.
CHO.— Children, we all shall be free, etc.

i

* The words, " On Jordan's stormy banks I stand," are sometimes sung to this strain.

14

Jubilee Songs.

I'm n §0Uittg»

3EE3=i=i«'zzi»!iiESzi:?zz::3**z=3=«=**-'il=*=*=^=3

I'm a roU-ing, I'm a roll -ing, I'm a roll - mg thro' an un

Vr-I— * ^^

^lziu=S=ttzi=t=:^

=^==1=q=

r -I r^^^'* ' ^— =^

friend-lv Avorld, I'm a roll - ing, I'm a roll - 'ing thro' an

?==^3=

1==^:

4=:

nn- friend -ly i>'orld. 1.0 broth - ers wont you help me

' h ^^ J" J^ A -J-

-^. >

r-

r-

i=i=t=ti=i:=^=^=t?^

:^:

:t:

:=lv=:=:^:

^i-r— I-

:g=Et:

?=^;

:=f5:

z^-0.

0 broth-ers, wont you help me to pray, 0 broth-ers wont you

A_A

«;

~^:

S=?!

o. c.

i

=t^=^=F

1^"-

help me, Wont you help me in the ser - vice of the Lord ? *

1

-(=2-

42

* Beturn to the beginning in exact time.

Jubilee Songs. IB

2 0 sisters, wont you help me,

0 sisters, wont you lielp me to pray ;
0 sisters, wont you help me.
Wont you help me in the service of the Lord 1
CHO.— I'm a-rolling, &c.

3 0 preachers, wont you help me,

0 preachers, wont you help me to fight ;
0 preachers, wont you help me,
Wont you help me in the service of the Lord ?
CHO— I'm a-rolling, <fcc.

ill fe^av th^ ©rumiKt ^omxL

You may bu - ry me in the East, You may bu - ry me

^ 3 o ^

:5EiJ=:^s=i1v

i^

in the W est ; But 1*11 hear the trumpet sound In that morning.

In that morn-ing, my Lord, How I long to go. For to

^ ^ «-• — « ^_j__^_ .^_ 1

hear the trum - pet sound. In that morn - ing.

2 Father Gabriel in that day,
He'll take wings and fly away,
For to hear the trumpet sound

In that morning.
You may bury him in the East,
You may bury him in the West ;
Hut he'll hear the trumpet sound.

In til at morning.
CHO.— In that morning, &c.

3 Good old christians in that day,
They'll take wings and fly away, X-c.

4 Good old preachers, <fcc.

5 In that dreadful Judgment day
I'll take wings and fly away, ic.

* Repeat the music of the first strain for all the verses but the first.

16

Jubilee Songs

^idu't nijj §im& Mim §ixml

Sung in Unison.

tzzS

i

-iN—

:*z=*:

Did - n't my Lord dc - liv - er Dan - iel, D' - liver

1=:

p=^=-

__j_^ — di — s-c-i^=^^^ — ^z — t

->.—

Dan - iol, d'-livcr Dan - icl, Did-n't my Lord d' - liv - er

imm

m — I . W — ^ w ^ — ' ^— H — « — ■

-fm—m-

:2z=t2.

>^— ^=

Dan - iel, And "why not a ev - c - ry man? He de

"5=

liv - er'd Dan - iel from tiie li - on's den, Jo - nah from the

'.±.

hel - ly of the whale. And the He-brew child-ren from the

*

-k—

-b^ 1^ ^

*5 ^— — •

r^inzjBZizii:

cz^=zi:^=!^

=:^==^q

fie - ry fiir-nace, And why not ev - e - ry man ? Did-n't

^^^^^^^^^l^^

my Lord de-liv-er Dan - iel, D'liver Dan - iel, d'liver Dan -iel, Didn't

ti-^:

— ^ — ^-— ^

^S=i=£=i^

my Lord de - liv - er Dan - iel. And why not a ev - e - ry man ?

* Cro on witliout pause, leaving out two beats of the measure.

Jubilee Songs,

17

2d Vebse.

:^z:t=t2=::;^=::tzi=:^z=^:

:it

:p— ^:

:.-t2=:^:

:t:

The moon run down in a purple stream, The sun for -bear to

D. C. *'Didnt my Lordr

^— ^

:^

shine, And ev - c - rj star dis -ap-pear, King Je - sus shall be mine.

3d Veese.

P— •— •-

:p=*=«i£=3^:

•1^ — 1^ — 1^ — 1^: — t*-

Tlie wind blows East and the wind blows West, It 1)1oavs like the judgment

D. C. "Didnt my Lord:

-^-L

day, And every poor soul that never did pray, '11 be glad to pray that day.

±-

4th Vekse.

r:5=P==*==*==:i=:i-ii3z:»-=pz:z=p^=^=:i^=:

I set my loot on the Gos - pel ship. And the

ship it be - gi:i 1 ) sail. It land - ed me o - ver on

-/?k^

zrffzz=ffi=p=i==^=^

il'^^ii'

t=^

Z>. C. "Didnt my Lord."

Canaan's shore, And I'll nev - er come back a - nv more.

18

Jubilee Songs

l^ve ju^t tmt fv0m th^ |autttaitu

^

1. I've just come from the Mn -tain, I've just come from the

2. Been drink- ing from tlie loun -tain, Been drink^- ing, etc.

d

Z -y -r-^-^ ^ > > '.^ 1^

foun-tain, Lord ! I've just come from the fountain, His name's so

??lifc=tz=itz:

JS9__J.„ ^

sweet. 0 Brotli-ers, I love Je-sus, 0 Rroth-ers, I love

Je-siis, 0 Brothers I love Je- sus, His name s so sweet.

> f: :•:

J-J-.J-

^Hil^^ifMl^iiilllitfe^i^

3 1 found free grace at the fountain,
I found free grace, etc.

OHO.— 0, preachers, I love Jesus, etc.

4 My soul's set free at the fountain,
My. soul's set free, etc.

CHO.—O,* sinners, I love Jesus, etc.

* The Tenors usually sing the melody from this point.

Jubilee Songs,

19

ffihiWven, ^m% h a\M m.

i==s^

1. Chil-dren, you'll be called on

To march in the field of

i:^-

■=^--

bat - tie, When this war - fare'll be end - ed, Hal - le - hi.

:-«--f:

^

:t:

^^=i^t=^t==^:

When this war-fare'Il be end - ed, I'm a sol - dier of the

D. c.

;=E5=?;

t:

— gzb -

3|ppl

ju -bi-lee, This wartare'll be end-ed, I'm a sol-dier of the cross.

2 Preachers, you'll be called on, etc.
CHO.— When this warfare, etc.

3 Sinners, you'll be called on, etc,
CHO.— When this warfare, etc.

4 Seekers, you'll be called on, etc.
CHO. — When this warfare, etc.

5 Christians, you'll be called on, etc,
CHO.— When this wai-lare, etc.

1. 0 when I come to die, 0 when I come to die, 0

sus. Give me Je -

i^

when I come

_^ — «^ — *-^-g-
to die— give me Je

-^

=1:

:t2=t

=]=

izij^zi:

■^ '^~
sus, give me Je - sus, You may have all this world, give me Je - sus.

2 In the morning when I rise,
In the morning Avhen I rise,

In the mornmg when I rise— give me Jesus, etc.

3 Dark midniizht was my cry.
Dark midnight was my ciy.

Dark midnight was my cry— give me Jesus, etc.

4 I heard the mourner say,
I heard the mourner say,

I heard the mourner say — give me Jesus, etc.

S

20

JuBii, EE Songs

(^wim U vide up m tftc (Sftariot*

Solo.

W.—4:—miz-m—tzmzzL^:^imizz^z:

--^n^

Choktjs.

1. Gwinc to ride np in the chariot, Soon-er in the morn-ing,

>^ ^ ^ ^

^iii^

:M:

q=^=4=:^:

=&

Solo.

Chokus.

=35=35=^-

:3^3^B^^^^3^^?

^-5:

Ride lip in the chariot, Soon - cr in tlie morn - iug,
n--^— ^^ — ^ — -^ — ^*: ^-

flz|^=^Esg:

SoiiO.

Chokus. ^

Ride np in the chariot, Soon-er in the morning, And I

J^ ^^ ^^ ^ fc i ^ fc

■ ■ S* — 1^ »^— K^ \^ ^ 15 ^ —

:^

:^:

hope I'll join the hand.

ysj^ — 1« « 1 « — f~is» —

0 Lord have mer - cy on me.

-*-«►

==l^==^=

.^— =t=:

Jubilee Songs

21

B.C.

:=1^

:S^

V==r

::^:

:pipi

mer - cy on me, And I hope I'll join the band.

t

.1_A

tzp-

-I —
-Ml

lil

2 Gwlne to meet my brother there, Sooner, etc.
CHO. — 0 Lord have mercy, etc.

3 Gwine to chatter with the Angels, Sooner, etc.
CHO.— 0 Lord have mercy, etc,

4 Crwine to meet my massa Jesns, Sooner, etc.
CHO.— 0 Lord have mercy, etc.

5 Gwine to walk and talk with Jesus, Sooner, etc.
CHO. — 0 Lord have mercy, etc.

Unison

- — ^ — t-

W^ll i\\t m \\u $),t\L

-I — H* 0 •— r-^ — •"

-\r-

1. 0 what do you say, seek - ers, 0 what do you say.

■Jtz.

— ^ — I — ^ — L-i^ — ^ — it

seek-ers ; 0 what do you say, seek-ers, A - bout that Gos-pel war.

dt

-■7 — I >-P — N 1— I— P— I 1 — - — I — IS 1 — '—

fEfctV

And 1 will die in the field. Will die in the field ;
m—^—m—,—^ — *— ! — r* — * — *_^_tf__^_A^^* — «

^ —

t==:

T"

— I — I — \

--S s

Will die in the field, I'm on my jour-ney home.

ym lg m—-~\m—\—

H-jy- m W-

L^ U' k

2 0 what do you say, brothers, etc.

3 0 what do you say, christians, etc.

4 0 Avhat do you say, preachers, etc.

Jubilee Songs,

^0 down, poistsi.

:m

:=l=l=q:

:=i:

3i^=li

1. When Is-raelTvas in E-<;3'pt's land : Let raypeo-ple go,

:£=t=*=:t=|tzi:

-i — 1 — I — r-^^—

-i- r r I I I r -*- -s- 55- -s- -&--

I I I

Op-pressed so hard they could not stand, Let my peo - pie go.

:r— *— ^— *-.-,

I — I — t — r-^ —

ii=i=^=E^

:^=

L:2:

igi

:=]:

Go down, Mo

I

itzi

::j:

:t=:

ses,

1
f=2-

liSE^

way down in E - gypt land,

J J h J \i ^ I

:z:t:^t2:

H

:— =52^

1— •— ^ — -H , 1 1 tr— I i-

Tell ole Pha - roll,

Let my

m

:^

:tz:

:t=

peo - pie go.

-0

-Jmz

T

2 Thus saith the Lord, bold Moses said.

Let my people go ;
ir not I'll smite your first-born dead.

Let mv people go.
Go down, Moses, etc.

3 No more shall they in bondage toil,

Let my people go ;
Let them cbme out with Egypt's spoil.

Let my people go.
Go down, Moses, etc.

4 When Israel out of Egypt came.

Let my people go •
And left tlie proud oppressive land.

Let my people go.
Go down, Moses, etc.

Jubilee Songs.

23

5.
0, 'twas a dark and dismal night,

Let my people go;
When Moses led the Israelites,

Let my people go.

V c.

'Twas good old Moses and Aaron, too.

Let my people go;
'Twas they that led the armies through,

Let my people go.

7.

The Lord told Moses what to do,

Let my people go;
To lead the children of Israel through.

Let my people go.

8.
0 come along Moses, you'll not get lost.

Let my people go;
Stretch out your rod and come across,

Let my 'people go.

9.
As Israel stood by the water side.

Let my people go;
At the command of God it did divide,

Let my people go.

10.
When they had reached the other shore.

Let my people go;
They sang a song of triumph o'er,
" Let my people go.

11.
Pharaoh said he would go across,

Let my people go;
But Pharaoh and his host were lost.

Let my people go,

^-' \i

0 Moses the cloud shall cleave the way,Y

Let my people go;

A fire by night, a shade by day,

Let my people go.

13.

You'll not get lost in the wilderness,

Let my people ^o;
With a lighted candle in your breast.

Let my people go.

14.
Jordan shall stand up like a wall.

Let my people go;
And the walls of Jericho shall tall

Let my people so.

15.
Your foes shall not before you stand,

Let my people go;
And you'll possess lair Canaan's land.

Let my people go.

16.
'Twas just about in harvest time.

Let my people go;
When Joshua led his host divine.

Let my people go.

17.
0 let us all from bondage flee.

Let my people go; "
And let us'all in Christ be free,

Let my people go

18.
We need not always weep and moan.

Let my people go;
And wear these slavery chains forlorn,

Let my people go.*

19.
This world's a wilderness of woe.

Let my people go ^
0, let us on to Canaan go.

Let my people go.

20.
What a beautiful morning that w ill be,

Let my people go ;
When time breaks u|| in eternity.

Let my people go.

21.
The Devil he thought he had me fast,
• Let my people go;
But I thought I'd break his chains at
Let my people go. [last,

K 22.

0 take yer shoes from off yer feet.
Let my people go;

And walk into the golden street.
Let my people go.

\ ^' 23.

Pll tell you what I likes de best.

Let my people go ;
It is the shouting Methodist,

Let my people go.

24.

1 do believe without a doubt.
Let my people go;

That a Christian has the right to shout,
Let my people go.

24

Jubilee Songs

®be §$ick^ m\& the p^untaittjsi^

t&:

■Vn-J-

^S 1-

S-r-\-

i^=.

^^r-^==i-

P— I — — I !s — I 1 1 — F— I — «-v-— N — ^ = 6—^

— I 1 1 i 1 1 — — * — ■ 1 < — "^ 1 1

Lj^ »-T-» — *— * *— ■-* *— -* — :^. :5.— '

Oh, tlie rocks and the mountains shall all flee a - way, x\nd

:^i^=^:

-JV

---3

:i4— J \-

II

■■I — ^ — ^— H-
you shall have a new hid- ing-place that day. Seek-er, seek-er, give

rt'^-^' 1 1 1— 1

k k k 1^ ^

:«=b»i=:tzz=

^^^=H^=t.:

it:

, -A-W-t— ^ ^ ^^ ^— !— J-r-^^ ^^ ^ ^- J^ 1 ^V^ '— =1

up your heart to God, And you shall have a new hiding-place that day.
:^ :•: ^ D.c.

b!Z'=^— jjg— ji^— i^-r: .

1/ k k ^ L^ I k

L« l> L^ i< U I Ld I I

Oh, the rocks and the mountains shall all flee away,
And you shall have a new hiding-place that day.

Doubter, doubter, give up your heart to God,
And you shall have a new hiding place that day.
Oh, the rocks, etc.

Mourner, mourner, give up your heart to God, etc.

Sinner, sinner, give up your heart to God, etc.

Sister, sister, give up your heart to God, etc.

Mother, mother, give up your heart to God, etc.

Children, children, give up your heart to God, etc.

Jubilee Songs,

25

Been a listening all the night long, Been a listening all the night long, Been a

J:

Fine.

^

:qv

I^^zEe^eIeS^

list-en-ing all the night long, To hear some sin- ner pray. 1. Some

--^-

:^=t2:

:Si=i:^=S=:i=:

- • — — •- — ^-^-j-^"?—* — I

say that John the Bap-tist was noth-ing hut a hw, But the

=S:

~1-

;^

Z).C Been a listening.

1^=^

Ho - ly Bi - ble tells us he was a preach - er too.

~-W-
-V-

Iff:

2 Go read the third of Matthew, and read the chapter through.
It is the guide for Christians, and tells them what to do.
CHO.— Been a listening all the night long, etc.

26

Jubilee Songs

lu^ mt fvom i^iufeiug §omu

ZZZ\-=Z-^-=\-3-

f

-^—t

P

my good Lord ! Keep

-#=t

:=f^

Fine. /

iiie

~^"

1 —

from sink-iui]: down.

— I 1 1-

tell

you "vvhat I

-- ^

:-fi==^

P

f

do ; Kec])

inean to

:tz==''

i^izd

me from sink - ing down :

. . ^ ^ ^ ^

-S —

p

D.C.

]

mean to go to lieav-en too ; Keep me from sink- ing doAvn,

.. ^ ^ ^

•#4* — zs — -+5 — — 1 ^^-n* — ^ — ^ •— F— •---: — — ' 1 ' — — ,• — ^"H

-r-

2 1 look up yonder, and w hat do I see ;

Keep me from sinkin:]? down ;
I see the angels beckoning to me ;
Keep me from sinking down.
Oil, Lord, etc.

3 When I was a mourner just like you ;

Keep me from sinking down :
I mourned and mourned till 1 i,ot through ;
Keep me from sinking dow n.
Oh, Lord, etc.

4 1 bless the Lord I'm gwine to die :

Keep me from sinking down :
I'm gwine to judgment by-and-by ;
Keep me from sinking down.
Oh, Lord, etc.

Jubilee Songs

I'jtt a im'Wn to the 6mf.

rm a tav-'ling to the grave, I'm a tvav-'ling to the
grave, my'tord, I'm a trav-'ling to the grave, For to lay this hoi - J

Fine. z=~===F*=^*^=^*~^''rzj

' down. l.My Mas-sa died a shout-ing, Sing-ing glo-ry lial-le-

J), c

^ T luTa^^The last word he said to me, Was a-bout Je - ru-sa-lem.

2 My Missis died a shouting, singing glory, hallelujah, etc.

3 My brother, etc.

4 My sister, etc.

Plaintively. ,,^ __^ 3I==?*==1=F=!**^=5^=^3

" iTo" more auc - tioii block for me. No more, no more.

■« »-

No more anc - tion block for me, Man - y thon-sand gone.

2 No more peck o' corn for me, etc.

3 ^0 more driver's lash for me, etc.

4 No more pint o' salt for me, etc.

5 No more hundred lash for me, etc.

6 No more mistress' call for me, etc.

28

Jubilee Songs,

^teal ^^wajj.

way, steal a - wav, steal a - way

-»4 — ^ g — I Rb^ g — I r ^—

r ^ J-

'^ ^ I ^ ^ ^ '^ I

Steal a - way, steal a -way home, I haint got long to stay here.

-i^ — -^ ^ ^ * — h^ — -* ^— ^— 1»-

1==*=^=

z^^-Kzii^zzi^ ^-E?

ztzizH

il&^i

1. My Lord calls

2. Green trees are bend

^ j^. .J. .^

me. He calls me
ing, poor sin - ners

by the thun - der ; The
stand trem-bling ; The

1^

:t;

^ ^ s

:ff— J-

:?==t=:

-->-

trumpet sounds it
trumpet sounds it

in my soul,
in my soul.

^ V ^ r>. c.

hain't got long to stay here,
hain't got long to stay here.

0 — f^- ^ ^ — rta — • — —

^

tzfc

:^

.^— ••

11

3 My Lord calls me— He calls me by the lightning ;

The trumpet sounds it in my soul :
I hain't got long to stay here.
CHO.— Steal away, <fcc,

4 Tombstones are bursting— poor sinners stand trembling ;

The trumpet sounds it in my soul :
I hain't got long to stay here,
CHO,— Steal away, &c.

INTRODUCTION

THE AMERICAN MISSIONARY ASSOCIATION.

In giving this little 'volume to the public, it seems due to all concerned that
some statements should be made respecting the Songs, the Singers, and the Inter-
ests they represent.

I. The Songs. — Of these neither the words or the music have ever before been
published, or even reduced to written form, at least, to the knowledge of the
Jubilee Singers.*

The most of them they learned in childhood — the others, which were not com-
mon in the portion of the South in which they were raised, they have received
directly from those who were accustomed to sing them. These songs, therefore,
can be relied upon as the genuine songs of their race, being in words and music
the same as sung by their ancestors in the cabin, on the plantation, and in their
religious worship.

By the severe discipline to which the Jubilee Singers have been subjected in
the school-room, they have been educated out of the peculiarities of the Negro
dialect, and they do not attempt to imitate the peculiar pronunciation of their
race. They have also received considerable musical instruction, and have become
familiar with much of our best sacred and classical music, and this has modified
their manner of execution. They do not attempt to imitate the grotesque bodily
motions or the drawling intonations that often characterize the singing of great
congregations of the colored people in their excited religious meetings.

It is true, however, both of the words and the music that whatever modification
they have undergone, has been wholly in the minds of the Singers under the in-
fluence of the training and culture they have received in the University of which
they are members.

The words were taken down from their lips by Mr. White, who has had the
charge of their musical training, and the music was reduced to writing by
Theo. F, Seward, Editor of the New Fork Musical Gazette, and as he states in
his introduction, "Every melody was tested by being played on the piano-
forte, and no line or phrase was introduced that did not receive full indorsement
from the Singers."

• " I'm traveling to the grave," and " Keep me from sinking down," were taken down at a concert,
after tlie other pieces were in the hands of the printer, and this introduction prepared , aiiii before it.
was known that they had been previously written by Mr. Robbins Battel!, and published, with
pianoforte accompaniment, by Messrs. Oliver Ditson & Co., of Boston. — fT P S.

It is believed that the/brm and spin'/ of the best Spiritual Songs of slave-life in
the South were never before so perfectly presented to the public.

2. The Jubilee Singers are a Company of Students of Fisk University, Nash-
ville, Tenn., organized by and under the direction of Geo. L. White, Treasurer
of the University, and composed as follows:

Miss ELLA SHEPPARD, Pianist and Soprano.
" JENNIE JACKSON, Soprano.
" MAGGIE POKTER, Soprano.
" MINNIE TATE, Contralto.
'• ELIZA WALKER, Contralto.
Mr. THOMAS RUTLING, Tenor.
" BEN. M. HOLMES, Tenor.
" LP. DICKERSON. Bass.
" GREENE EVANS, Bass.

Seven of the nine have been slaves, and were freed by the Emancipation Pro-
clamation. The other two were born free, but have always lived in the South.
They became members of Fisk University in order to secure a liberal Christian
education that should fit them to become the instructors of theii race. Their
musical training has been only incidental, while they have been pursuing their
regular studies, with the exception of the special drill given during the vacation of
last summer, preparatory to entering upon their present mission.

They are before the public not as professional singers, but as a company of
students desirous of using their musical ability to help the University of which
they are members, in the time of its necessity.

3. The Interests represented by the Jubilee Singers deserve special notice.

As has been said, they are students, and are before the public in behalf of the
education of their race. They represent one of the earliest established, and most
successful, of the chartered educational institutions that have been founded, and
are being fostered in the South, by the benevolence of the Christian and phil-
anthropic people of the North. In themselves, they illustrate the value of these
Institutions, and their singing of the spiritual songs which have cheered their an-
cestors in their bondage, in order to raise the needed funds to enlarge their useful-
ness, is a touching plea for more generous help on the part of their friends.

They hope not only to raise $20,000 by their own efforts, but to make the
friends, who shall as needed, give the hundreds of thousands which will be re-
quired to enable Fisk University to realize the hopes and plans of its founders,
and to do the work for God and humanity which they believe it is possible for it
to accomplish. A few words of history will, it is hoped, help them in doing
this.

In October, 1865, a half-block of land in the city of Nashville, Tenn., was
pui chased, and the use of the large Government Hospital located on it, was
secured for the purpose of establishing a permanent institution for the education
of the freedmen. At that time no provision for colored children was made by
either the city or State, in the public schools.

For the first two years the Institution was conducted virtually as a free public
school, and had an attendance of over a thousand pupils annually. In August,
1867, the charter of Fisk University was secured, and the societies, with the help
of a Board of Trustees, began in faith and hope the work of building up an in-
stitution, that should, as soon as possible, in the nature of the case, become to the
colored people what the older Universities of Tennessee are to the whites.

The title to the hospital buildings was secured, a large chapel and dormitory
for girls were erected, and the Academic, Normal and Collegiate Preparatory De-
partments were at once established.

The annual attendance since that time has been about five hundred, near one
hundred of whom are from abroad and board in the Institution.

The College Department was established at the beginning of the present year,
and a Freshman class of four regularly entered.

There are also four students pursuing theological studies.

Thus the work of Collegiate and Professional Education has been fairly begun,
and the number of pupils who are pressing forward towards these higher depart-
ments is large.

It has therefore become an imperative necessity in the development of Fisk
University to prepare for this higher educational work, by the erection of new and
suitable buildings.

The question, how shall this necessity be met, has weighed heavily on the
minds of teachers and pupils, as well as of the officers of the American Mission-
ary Association, under whose fostering care the work is being carried forward.
The answer has come, under God, through the instrumentality of the students
themselves.

The success of the Jubilee Singers will secure the erection of Jubilee Hall,
which shall stand as a memorial, and be an inspiration for the future.

It will be a testimony that ' ' hitherto hath the Lord helped us," and will beget a
faith that shall be the "substance of things hoped for."

In a broader sense, the Jubilee Singers represent the interests of the great work
of the American Missionary Association, as embodied in a system of schools,
reaching to every Southern State, and including six other institutions similar in
character to Fisk University, and nineteen Academic Schools with Normal Depart-
ments, besides nearly one hundred common schools.

It is hoped that the visit of these students to the communities and churches that
have hitherto given them a helping hand, and the touching power of their songs,
as heard from their lips or learned from these pages, will result in a quickening of
interest and a deepening of conviction, which will be manifest in years to come in
more liberal giving.

E. U. CRAVATH, Field Secretary.

Rooms of the American Musionary Association,

59 Reade Street, New York City, March ist, 1872.

NOTICES FROM THE PRESS.

Since the peculiar songs of the Jubilee Singers have never before been published, but have been
brought to the notice of the public only as sung by them, naturally, the Singers and their songs have
been spoken ot together iu such a way, that it is niipossible fairly to present what has been said of the
one without giving much that has been said of liie 01 hers

The Jubilee Songs as sung by the Jubilee Singers, have been extensively noticed in the secular and
religious press during the past three months, and tlie extracts here presented fairly represent tlie present
public estimate of them.

Rev. W. II. Goodrich, D.D., of Cleveland, Ohio, says in tlie N. Y. Evangelist:

"We have an abundance of the best musical performance in our citv. but we have never listened to
any music which compared with this in sympathetic power. We )iave never heard voices which
were blended in a harmony so absolute. Witli no accessory of dress, with no stage manners, or daptraj)
of any kind, they have simply thrilled their audiences and held them spell-bound. They do not confine
themselves to tlieir own songs, but have a wide range of pieces; choruses from the operas, familiar
English and Scotch ballads, and occasionally a Sunduy-school hymn. Every thing becomes new under

the charm of tlieir un-English voices. Their tones are molten somid, and their expression is quaint and
instinctive. They render " Home, Sweet Home," as it never was rendered before, perhaps because only
of late liad they "themselves a home they could call their own.

"The most remarkable part of their singing, however, is in the "Praise songs" v^'hich they bring
out of their old slave-life. Born of ignorant emotion, uncorrected by any reading of Scripture, ihev are
contused in language, broken ni connection, wild and odd iu suggestion, but inconceivably toucliing,
and sometimes grand. At tirst you smile or laugh out at the queer association of ideas, but before you
know it your eyes fill and your heart is heaving with a true devotional feeling. You see clearly that
these songs have been, in their untaught years, a real liturgy, a cry of the soul to God. It is easy to
understand how gi-eat congregations or household groups might have found a living and exhaustless
worship in them."

Kev. TllEO. L. CCYLEU in the jV. Y. Tribune says:

" I never saw a cultivated Brooklyn assemblage so moved and melted under the magnetism of mus'^
before. The wild melodies of these emancipated slaves touched the fount of tears, and gray -haired men
wept like little children.

"In the programme last evening were not only the well known slave songs "Go down, Moses,"
"Roll, Jordan lioU," and "Turn back Pharaoh's army,'" but a fresh collection of the most weird and
plaintive hymns sung in the plantation cabins in the dark days of bondage. One young uegress —
exceediug " black yet comely," — sang a wild yet most delicious melody, '• I'll hear de trumpet sound iu
the morning," which was the verv embodiment of African heart-music. Listening to their rich,
plaintive voices, one might imagine liimself in the veritable Uncle Tom's cabin of the "old dispensation.'"

Rev. H. \V. Beecher in a Lecture-room talk, says :

" We hear a good deal of fine singing in this city, but there are some things we cannot have. You
can now hear the songs that have been fung by generations of benighted souls, on the plantation, by
day and by night — songs that have enabled the captive to endure his chains, the mother to Uope against
hope, and keep her soul up when all looked black and dark ; when she had parted from all slie loved,
and the iron had entered into her soul."

The New Haven Palladium.

" If success consists in the ability to draw a crowd, the Jubilee Singers achieved the greatest success
last evening. The North Church was literally packed with eager listeners, and many were compelled
to turn away for want of room. But the singers were successful beyond this. They fully met the anti-
cipations of the audience, and showed that they had fairly won the praise that has been lavished
upon them.

'"The slave songs of the South have ne.arly passed into history. This is one of the last — the last and
only chance to many — that will ever be afforded lor hearing the quaint and wild strains in which the
Southern negroes gave vent to their pent up feelings.

'•Their Praise songs are remarkable. They are full of tiiat uncultlrated emotion winch, because it is
real, touches every heart. They are weird, and wild, original in style, but touching, and at times
grand."

T/ie Neirark Courier.

" Space will not permit allusion to every song, but the religious melodies must not go unnoticed.
The music and words were strange and weird. The sensation produced was one of joy and sadness
combined; it was a study to watch the audience — some were laughing, some crying — all seemed hys-
terical. The melody was absolutely perfect, the time absolutely correct. They were sung generally
without accompaniment of any kind. Tiiey would swing from major to minor keys and back, with
strange swayings, like boughs in the wind. Fugues abounded — such fugues! but never a discord — now
fast, now slow ; now soft, now loud. The authorship of these songs is lost in the dark past of tliis
strange race. They come to us now as traditions of their weary bondage."

Oranrje, (X. J.,) Chronicle.

"The slave songs of praise were impressive and really beautiful, and what is most singular about
them their origin is entirely unknown. They seem to bave sprung up among the colored people with-
out outside aid, and they are sung by none else.''

Norwich Bulletin.

" Tliose who have heard them bear testimony to their power in rendering the songs, the very history
of which is full of mournful interest The wild melody of these emancipated slaves has a magnetism
about it rarely equalled. They give the genuine soul-music of the slave cabins, and have at command
a collection oi the most weird and plaintive hymns peculiar to their race."

West Meriden Recorder.

" All their purely Southern melodies of the plantation, of the camp-meetings, are of such a semi-
mournful cast ; of such simplicity of construction, and delivered with such a freeuess from affectation,
that no wonder an audience is fascinated by their performance."

Jersey City Journal.

"The peculiar intonations, the sudden changes, the intense vitality of the music, the oddity of the
language, all Combine to make such "Jubilee "songs most effective. In the different class of songs, the
plaintive and pathetic, the effect is not less note- worthy.'

^

PRICE LIST OF MUSIC BOOKS,

PUBLISHED BY

BIOLOW & MAIN, successors to WM. B. BRADBURY,

426 Broome Street, Xew York, and 726 Wabash Arenne, Chicago.

*PureGold,

BOARD OOTER8. 1

Laurels and Jewels, i vol..

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No Sunday School Song Cook has
ever been received with greater
favor, the sales reachiuc over
300.000 copies in the flmt

♦Songs of Salration,

A Tery popular book — containing
the gems of T. E. Pebkins'

S.S Songs.

Bright Jewels,

New Chain and >'ew Shower,
I vol.,

New Chain and Xew Censer,

New Shower and >'ewCen-

Thc Bradbury Trio, (Chain,
Shower and Censer, in

A remarkably popular work of
sterling merit. Over 300,000
copies sold during the first two
years of publication .

Fresh Laurels,

Cbapel Melodies,

A book for the Chapel and Devo-
tional Meeting.

Songs of Devotion,

The last work o 1" the lote pioneer
in Sunday School Music, Wit.

15. BRAUIiOUV

Xew Golden Chain,

»w Golden Shoircr,

>'ew Golden Censer,

♦Christian Songs, (224 pp.).

1 Compiled from all our new works.

1 under the advisement of emin-

1 ent Sunday School men. with

muchchoiccnewnatfirialadded.

Clariona,

« " Beautifully

655 Hymns, with Music. For the
Pr.-iVer Meeting, or Public and
SocialReligious Meeting, Young
Men's Christian Associations,
etc., this work has no superior.

The Singer, (128 pages)

A capital work for Singing
Schools. Day Schools and the
Social Circle.

The Tictory, (416 pages). . .

A compilation ofchoice selections
mainly from Mr Bkadbuky's
most popular works.

New Praises of Jesus,

! Especially adapted to seasons of
deep religious interest.

! No choir bnok gives more univer-
sal satisfaction, and the "Sing-
' ing School Department" has
1 never been equalled.

20 00 j The Sceptre, (304 pages). . . .
1 A most excellent Collection of
Church and Singing School
Music.

Voice Culture, by G. J.

1 WEBB& C. G. Allen,.

j Mr WEBB'smethod of developing

1 thevoiceisattractingtheatten-

tion of teachers and students

to a remarliable extent.

Popular Hymns, (without music)
mostly "from tlie " liolden '
Series with refereni^es to books
in which the music will be
found.
»New.

rS^.\ SINGLE Specimen Copy of any of the above Books sent bv mail, pos
on receipt of the RETAIL PRICE.

16 Pages, 60 cents a year. Ten Copies to one address, $.
Eight Pages of Choir and Sunday School 3Iusic every month.

t paid,
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BINGHAMTON, N. Y.
Six WeekHf from July 10th to August 2l8t.

Teachers.
GEO. JAS. WEBB, formerly of Boston. j DUDLEY BUCK, of Boston.

WILLIAM MASOX, ol New York. | W. S. B. MATHEWS, of Chicago.

JOSEPH MOSENTHAL, of Xew York.

THEO. F. SEWARD. ^pui^-ciru^
CHESTER G. ALLEN, ^^RI^ciial...

This school is now permanently located in Bina;liamtou. and from the above list of teachers it will
be seen that it offers superior advantages over all others of its class For Circulars apply to

THEO. F SEW^ARD. Orange, N. J.
or CHESTER G. ALLEN, 42.5 Broome Street, N. Y.

SlS.?,m,':."^'-'t:UBRAHy

3 9999 05500 858 3