First observe of how many Notes compass the Tune is. Next, the place of your first Note; and how many Notes above & below that: so as you may begin the Tune of your first Note as the rest may be sung in the compass of your and the peoples voices, without Squeaking above, or Grumbling below.

Manhattan Singing Changes for March 2018

So the third Sunday Manhattan Singing, more usually known as the Upper East Side singing, will be: held on Saturday instead of Sunday; at Ascension on Eleventh and Fifth rather than at Epiphany; at 2:00 instead of 1:30; and will feature a Beginners’ Singing School (if there are any beginners, at least). But otherwise, just as usual!

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Brooklyn singing, June 2016 — notes

whirly ride

Summer fun on the Whirly Ride

Singing from The Sacred Harp, Denson 1991 and Cooper 2012 (CB) Revisions, and from The Shenandoah Harmony (ShH), and from other four-shape sources.

Big turnout this month! Thanks, everyone. We collected $37, of which I added $30 to the gift I delivered to the church that day and reserved $7 to buy new tea, since our tea box has gone missing in the church’s closet cleanout. I was thinking Earl Grey or Irish Breakfast for a black tea, and peppermint or chamomile for herbal; any requests?
Present: Paul, Lynn, Stuart, Patrick, Scott, Nancy B., Leon, Sarah L., Sara L., Molly, Alice W., Alice B., Jacob, Jamie, Jon, Jasmine, Lisa D., Mary Ellen, Chris, Carol, Terry, Brian (visiting), nbm. New: Kevin, Eleanor, Matt (Brian’s friend), Jonathan, Luke

ShH 300t HARMONY GROVE    nbm
ShH 265 MILLBROOK    Paul
312b RESTORATION    Lynn
ShH 161 HARVEST HYMN    Stuart
49t OLD HUNDRED    Molly
ShH 373b WEEPING MARY    Jacob
28b WELLS    Leon
39t DETROIT    Patrick
CB 408 WEEPING MARY    Terry
ShH 260t CONFLICT    Sara L
ShH 13t BOURBON    Nancy
ShH 22b PSALM 30    Sarah L
ShH 147 RIVER OF JORDAN    Mary Ellen
82t BOUND FOR CANAAN    Alice B
83b DYING MINISTER    Jamie
CB 38t ROAD TO LIFE & DEATH    Jon
“JONAH”    Scott
83t VALE OF SORROW    Lisa
30b PROSPECT    Alice W.
215 NEW TOPIA    Brian

BREAK

Callback: 35 SAINTS BOUND FOR HEAVEN    nbm
31b WEBSTER    Paul
271b RESTORATION (2nd)    Lynn
CB 368t REMEMBER ME    Stuart
339 WHEN I AM GONE    Molly
196 ALABAMA    Jacob
214 REPENTANCE    Leon
142 STRATFIELD    Patrick
CB 585 GOSPEL FEAST    Terry
122 ALL IS WELL    Alice
CB 505 CLEANSING FOUNTAIN    Mary Ellen
ShH 398 ELECTION HYMN    Nancy
ShH 309 OVERTON    Jamie
CB 380t NETTIE    Sarah
CB 572 WE WILL SING WITH THE ANGELS THERE    Jon
CB 571 NOT MADE W/HANDS    Scott
ShH 119t LAMENTATION    Lisa
128 PROMISED LAND    Alice
448 (b? GRIEVED SOUL)    Brian with Matt
CB 38b ROAD TO LIFE & DEATH     Lynn
ShH 218t REDEEMING GRACE    Stuart
348t  AINSLIE    Carol
48b DEVOTION    Jacob
ShH 5b BREAKER    Chris
332 SONS OF SORROW    Leon
300 CALVARY    Patrick
CB 583 SAVANNAH    Terry

Total songs:  20 + 27 = 47
SH: 23
CB: 10
ShH: 13
Scott Luscombe brought his own song, JONAH, which I enjoyed singing again.


Midweek singing with lesson on texts, Feb. 24, 2016

beatus angel trumpet

And the fifth angel sounded the trumpet

Annotations, additions, and exhortations are welcome. (Most welcome would be the names of leaders where I missed noting them.)

MIDWEEK SINGING WITH LESSON ON TEXTS
Wednesday, February 24, 2016
Theological expertise from Jason Steidl and Gary Ryan

Jason started by proposing that, to members of the community, the Sacred Harp (that thing within the red covers) stood as an “authoritative text” with songs expressing a broad range of “different thoughts and feelings;” that, in a way, it was almost “a sacred text” itself. Like the Bible, he said, it offered us many perspectives, in part because (like the Bible) it was collected from many times and sources.  He opened the lesson with one of the earliest tunes in the book:

49t OLD HUNDRED (“O come loud anthems let us sing”). Its text (and indeed the setting) comes from the Anglican/Genevan side of our tradition and is a paraphrase of a psalm. Jason contrasted it with 531 DURA (“Dear Lord, forgive my sins, I pray”) and its first-person plea. Gary agreed that there is considerable variation but most texts have an “evangelical slant”  — not Catholic, not Episcopal, generally the “less formal” denominations.

Gary mentioned a few frequently mentioned themes that might need explanation, including: Zion (i.e., Jerusalem, both actual and figurative) and Bethel (“house of God”). He said that he had a sense of the tradition as focused on “longing,” longing for “a better life and a better world,” but with different angles and emphases.

Moving on to favorite Bible stories, Gary told the story of King David and his vain, handsome son, Absalom, caught in a thicket by his hair during battle, and we sang

268 DAVID’S LAMENTATION

Reviewing the questions that had been asked on Facebook, Jason explained that the “Ebenezer” was a “stone of help” marking a victory of the Israelites over the Philistines, as told in I Samuel 7, 7–13, which he read for us. We sang:

135 OLNEY (“Here I’ll raise my Ebenezer, hither by thy strength I’m come” [v. 2])

Next was the frequently-asked question, What are “Mary’s or Manassah’s stains?” Jason drew out a connection between sin and stain involving blood-stained cloth that proved a little graphic for some of the more squeamish members of the class. He said that Mary here is probably the Mary of Magdala associated with a prostitute who follows Jesus and that Manasseh is a notoriously corrupt, idol-worshiping, altar-profaning, extremely bad king of Israel.  We sang:

569b SACRED THRONE, led by Jamie. (“And Mary’s or Manasseh’s stains, Or sins more vile than they” [v. 3]).

The first verse of this text prompted a question about the sacred geography involved in the river that flows from “beneath the sacred throne of God.” Jason identified this as a quotation from Revelation 22 and its description of the City of God. The river, the “sacred flood,” is then made equivalent to Jesus’s sacrificial blood. Gary spoke of the ancient Jewish tradition of animal sacrifice and particularly of the two goats sacrificed on the Day of Atonement, one killed and one, the “scape-goat,” sent away to the wilderness bearing the community’s sins.

Emma asked about the text of, and led:

317b JACKSON (“I am a stranger here below, /  And what I am is hard to know / I am so vile, so prone to sin/ I fear that I’m not born again”), as it seemed to her very different from the Wattsian type. Gary agreed and referred to its “direct expression of personal anxiety” as associated more with the Wesleyan (Methodist) style of “experiential” religious writing. A distinction was drawn between the Calvinist/Baptist/Presbyterian and the Wesleyan/Methodist perspectives classically represented by Watts and Wesley, roughly associated with predestination on the one hand and free choice on the other. Jason complicated the matter by noting that the text expresses “a fundamental uncertainty as to salvation, whether Calvinist or Arminian.” Along the same line of doubt, Gwen led:

287 CAMBRIDGE verses 1&2 (if I recall correctly) (“The Lord will happiness divine / On contrite hearts bestow; / Then tell me gracious God is mine / A contrite heart or no.”) Its lack of positive resolution Jason compared to that of many of the psalms, and commented that it did stand out in American Protestantism, which “looks for a happy ending.”  Mary Jane compared the speaker to St. Paul, talking of doing the things he ought not to have done, and Aldo told us a bit about the poet, William Cowper, who was a depressive.

Carol led
47b IDUMEA (“Waked by the trumpet sound / I from my grave shall rise”)
asking “Why am I getting woken up when the sky is on fire?” Indeed, said Jason, this touches on different views of the great question of death. Christianity generally believes in a general resurrection in the flesh and day of judgement. But, meanwhile, what? Is it a kind of sleep? Or is the spirit alive with God while waiting for its body to join it? The prime texts on this question, like I Thessalonians 4 (verses?), come from a period when the big day was expected very soon in which the trumpet of God raises the dead and the living. Aldo added that Idumea, the place name, was another way of saying Edom,

Gary told the story of Jacob and Esau, leading to an explanation of Jacob’s wrestling with the angel and getting a new name: instead of Jacob,”heel-grabber,” he was now to be known as Israel, “wrestler with God.” We sang:

95 VERNON (“Wrestling, I will not let thee go / Till I thy name, thy nature know”)

Aldo mentioned the ongoing mystery of the little Scripture quotations, added to the SH in the 1911 and later editions, and how they often seem to have little to do with the song texts.

Carol led
49b MEAR (“Will God forever cast us off?”) and it was identified as a paraphrase of Psalm 74 and another tune of doubt. Aldo told us that Isaac Watts texts dated 1719 were all psalms. Gary observed that, like many psalms, it asks, Why do the people of God suffer? And Jason noted that it was a Jewish text here taken for a Christian situation.

Aldo led
114 SAINTS DELIGHT (“When I can read my title clear / To mansions in the skies”), a 1707 Watts text and so not a psalm, but a free standing hymn.

Asa led
448t CONSECRATION (“Mold as thou will my passive clay / But let me all thy stamp receive”) and Gary noted that potters’ stamps were reserved for the good pots; the failures, unstamped, would be thrown back into the clay.

Merv had asked about the “third heaven” and we sang
299 NEW JERUSALEM (“From the third heaven where God resides”). Gary said the layering and labeling of heaven was a Hellenistic concept adopted into Christianity.

led
297 CONVERSION (“My tongue broke out in unknown strains”) and we discussed its relation to the day of Pentecost, to a more general “speaking in tongues,” and possibly to “strains” of music. Gary related its use here to “outbreaks of pietism” around the turn of the 19C.

Gary took a moment to offer a few more identifications. The GOSPEL POOL (see 34t) was a real place, the pool of Siloam in Jerusalem, of which it was said that from time to time an angel would pass by and stir the waters, and whoever bathed in the waters so disturbed could be healed.  Mention of BABEL’S STREAMS (see 126) signals a song of exile, JUBILEE (144) speaks of the every seven-, or every fifty-year sabbath and forgiveness of debt, NEW TOPIA (215) is a pun on the utopian hopes and communities of the period, and the MERCY SEAT is specifically the golden lid of the Ark of the Covenant, between angels’ wings. LABAN (147b) was Jacob’s deceitful father in law, and MARS HILL in Rome was where St. Paul taught that the “unknown god” was the god of Abraham. Emma led

517 MARS HILL (“How shall the young secure their hearts / And guard their lives from sin?”), suggesting it was a kind of “meta-song” (“That holy book shall guide our youth / And well support our age”).      led

391 SOUNDING JOY (“Oh, may I never read in vain”) as another meta-song (and another Watts 1719 psalm text, presumably)

Paul tested us with a reading from MOBY DICK and led us in
66 JORDAN (“Could we but climb where Moses stood / And view the landscape o’er”)
and Mary Jane made the connection with Mt Pisgah as Moses’ scenic overlook and led
58 PISGAH

Charles led
60 DAY OF WORSHIP (“Dear people, we have met today / To sing, to hear, to preach and pray; / It is our Father’s great command / The road that leads to his right hand. / But oh, the sad and awful state / Of those who stand and come too late, / The foolish virgins did begin / To knock, but could not enter in”). Those hopeful virgins waiting for their Bridegroom! Gary alluded to the “romance” of the soul, connecting it to the Kabbalistic theme of love between God and the Spirit and even to Sufism.

We finished with
229 IRWINTON, Merv
67 COLUMBUS Stina (“My God has me of late forsook,” but concluding, “When I’m tried sufficiently / I shall come forth as gold”)
Closer: 464 SHEPPARD (“How beauteous are their feet / Who stand on Zion’s hill) Gary and Jason.

Thanks to everyone who asked a question or offered a comment, and particularly to Jason and Gary for their thoughtful responses.


Singing school and visiting group today, Sunday, April 6, 2-5

Today’s regular East Village singing has been translated to St. John’s Lutheran Church in Greenwich Village (our Wednesday location) to accommodate a visiting 38-person French gospel choir.  Aldo Ceresa will run a beginner’s singing school for part of the session and local singers are strongly encouraged to come and support the school and to meet French singers devoted to American gospel music. Bring your own book if you have one as loaners will be in high demand, and please also note the 2 pm start time. The Facebook event listing is here.


Leading workshop with guest prof Sunday 2/16 at Upper East Side

The Manhattan Third Sunday Upper East Side singing continues February’s workshop series (in which Aldo Ceresa has so far, and very helpfully, discussed accent and leading) with a special guest appearance by Ian Quinn.  Aldo says:

Ian will offer coaching for singers who’d like to improve their leading skills, and for new folks who might like to try their hands at leading for the first time. Ian teaches at Yale University, and has fostered a strong Sacred Harp singing community in New Haven. A great supporter of New York City singings, he is also a talented singer, keyer, and song leader—and a lot of fun! Don’t miss out on this opportunity to practice leading and learn from a great teacher!

See you Sunday at 2:00 at the Church of the Epiphany, 74th Street and York Avenue.  FB event here.


Singing School at St. Paul’s Chapel, December 1, 2012

On Saturday, December 1, in place of our regular First Saturday singing on the Lower East Side, a Singing School was held in historic & beautiful St. Paul’s Chapel on lower Broadway.  I was honored to be asked to draft the minutes; they have been submitted to the Minutes Book and appear below as revised by Aldo.

We had close to a hundred singers, I’d say, including most of the regular locals, a big handful of Connecticut singers, and quite a few newbies, which was after all the principal point.  I had never been to a Rudiments singing school (other than the brief sessions we often hold for new singers) and enjoyed the systematic working-through of the modes of time.  Aldo also took the opportunity to remind us all of the importance of accent and, in the open singing session after lunch, to offer help with leading.

It still remains to see what the long-term recruitment results will be, but meanwhile we regular singers enjoyed ourselves.  A pleasant aura of collegiality seems to have settled over the community.

Minutes after the jump. Read the rest of this entry »