The New Harp of ColumbiaThis excerpt is reprinted with the permission of Dorothy Horn. This was...
12
Number 26 Spring 2001 OLD HARP The New Harp of Columbia Newsletter The Lamons Family (see page 2)
Transcript of The New Harp of ColumbiaThis excerpt is reprinted with the permission of Dorothy Horn. This was...
Nu
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er 2
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OL
DH
AR
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ew H
arp
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olum
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New
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ter
Th
e L
amo
ns
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ily (s
ee p
age
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Itwas the Folk Element in the tunes thatfirst led Dorothy Horn to the New Harp
of Columbia. The quaint harmonic backgroundproved to be as of a great interest as themelodies themselves. Particularly interestingwas the repeated occurrence of certain musicalarchaisms which have disappeared from mod-ern music but which were common enough atone time in the development of the art. Thesewere: (1) the avoidance of the final third in thecadence, (2) the common use of consecutivefifths and octaves, (3) a primitive form ofcounterpoint in which the dissonance's mightresult from the continuance of a melodic line, (4)Crude canonic entrances, and (5) the use of Aeo-lian minor instead of the Harmonic or MelodicForms.
This excerpt is reprinted with the permission ofDorothy Horn. This was taken from Vol. 5, #4 South-ern Folklore Quarterly, December 1941 page #251.
NUMBER 26SPRING 2001
- 2 -
THE COVER PHOTO NEWSLETTER NOTES
The cover photo shows the Lamons family. OfJames and Elizabeth’s 10 children, only ConardLamons and Grace Clabo are still with us. Thephoto shows Minnie Whaley, Wiley Lamons andBessie Eledge (seated). Bessie is on the far right.Standing(left to right) are Lula Cardwell, ConardLamons, Reford Lamons, Roxie Sneed and GraceClabo. Not shown here are Mary Williams andBernice Barnes. Note that the men changed theirname from Lemons to Lamons when theyentered the service.
Dorothy D. Horn passed away Sunday, Febru-ary 18, 2001. She was 94 years old and lived inMaryville, TN. She wrote the compilation Sing tome of Heaven, which shows the music came fromas tunes and chords for the Sacred Harp, SouthernHarmony, and the New Harp of Columbia. Moreinformation can be found at vintagejournal.com.A harp singer was asked to speak at the funeraland the Old Harp singers were part of the ser-vice.
IN MEMORIAM
Old Harp Singing is a traditional form ofcommunity based singing using religious hymnsof the 18th and 19th century. The book used inEast Tennessee is the New Harp of Columbia bySwan. This book was first printed in 1848 inKnoxville, Tennessee, as the Harp of Columbia. In1867, this singing school manual was revisedwith over 30 tunes or lessons omitted.
This year, The University of Tennessee willput out a revised edition restoring the lessons ortunes deleted in 1867. Books should be availablesometime after March of 2001. (Please contactthe University of Tennessee bookstore.)
Books will also be available for use and pur-chase at the Old Harp Singings. These singingsare sponsored by churches, elders of traditionalOld Harp Singing families, community nonprofit and for profit organizations, and peoplewho just like to sing and enjoy the music.
The Old Harp Singings are evolving butbuilt upon certain traditions. Every generationhas contributed to make the singings grow andreach out to the ever changing communities.Everyone who comes to an Old Harp Singing isconsidered community. Extra books are usuallyavailable at the Old Harp Singings for use,review and even some for purchase. Visitors areencouraged to come up to the singing square ofthe class and join in and sing.
For my own part, I do not think
myself confined to any Rules of Com-
position laid down by any who went
before me.– William Billings
OLD HARP NEWSLETTERNumber 26, Spring 2001
c/o Jubilee Community Arts, 1538 Laurel Ave,Knoxville, TN 37916-2016.
Please see back cover for more information aboutmailing, e-mail, and phone lists, books old and new,new recordings, and contributing to the newsletter.
““
- 3 -
NUMBER 26 SPRING 2001
THE NEW HARP OF COLUMBIA CALENDAR — 2001 SINGINGS
DATE DAY TIME DINNER? INFORMATION (CONTACT PEOPLE)
March 23 Friday 6:00 PM No Open the 31st annual Jubilee Festival, Laurel Theatre(D)
March 25 Sunday (4) 11:00 AM Yes Epworth Old Harp Singing, Laurel Theatre, 16th &Laurel Ave., Knoxville. Potluck at noon. (D) (H) (S)
April 8 Sunday (2) 1:30 PM No Oldhams Creek Singing, (end of Kings Branch Rd.)Sevier County (N) (P)
April 15 Sunday (3) 5:30 PM Yes Easter Singing, Gooch-Mabbs Residence, 4401 AltaVista Way, Knoxville (T)(Y)
April 22 Sunday (4) 2:00 PM No Tuckaleechee Methodist Church Singing, Townsend(C)(K)
April 28 Saturday 11:00 AM Yes Greene County Singing at New Bethel Cumberland Presbyterian Church (Q) (W)
May 20 Sunday 2:30 PM No Old College Singing at St. Paul’s Episcopal Church,Athens, TN. Refreshments after. (U)
June 17 Sunday (3) 11:00 AM Yes Beech Grove Primitive Baptist Church Singing, SevierCounty (G) (A)
August 19 Sunday (3) 2:30 PM No Cades Cove Missionary Baptist Church Singing, GreatSmoky Mtns. National. Park (C) (K)
September 9 Sunday (2) 2:00 PM No Wears Valley Methodist Church Singing, Hwy. 321(Wears Valley Rd.), Sevier County (J) (R)
September 23 Sunday (4) 11:00 AM Yes Headrick's Chapel Singing, Hwy. 321 (Wears ValleyRd.), Sevier County (B) (O)
October 7 Sunday (1) 2:00 PM No Wears Valley Singing at Valley View Baptist Church,Valley View Dr. off Hwy. 321, Sevier County (J)(L)
October 13 Saturday (2) 10:30 AM No Museum of Appalachia Homecoming Singing, Norris,and Noon TN (B) (O)
October 21 Sunday (3) 2:00 PM No Dollywood Singing presentation (I) (E)
October 28 Sunday (4) 2:00 PM No Maryville College Singing, Blount County (K) (C)
November 21 Wednesday 6:30 PM Yes Thanksgiving Eve Potluck & Old Harp Singing, LaurelTheatre, 16th & Laurel Ave., Knoxville (D) (H) (S)
December 8 Saturday 10:00 AM No Sugarlands Singing, Sugarlands Visitors Center, GreatSmoky Mountain National Park (I) (E) (L)
December 9 Sunday 7:00 PM No Christmas Singing at Kathy Jones’ home, 9121 Garri-son Rd. (S) (O)
OTHER EVENTS: Second Sundays Singing, 7:00 PM, Laurel Theatre, Knoxville, (Call first) (D) (H) (S); OldHarp Workshop at Kathleen Mavournins 344 S Seven Oaks Drive, Knoxville. First Wed of April and May (I)(X); Last Saturday of each month, 7:00 PM, Central Christian Church, 118 W. Summer St.,Greeneville, TN
(W) (Q)
NUMBER 26SPRING 2001
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- 5 -
NUMBER 26 SPRING 2001
JUBILEE FESTIVAL PRESENTATION —Friday, March23, 6:00 P.M.
Directions: The festival is held every yearat the old Fort Sanders Presbyterian Church,later on called Epworth, at the corner of 16thand Laurel Ave.Take I-40 into Knoxville andtake the 17th Street Exit. On 17th turn southtowards the University of Tennessee. At LaurelAve., turn left one block, Church on the right.For information on the Harp Singing, callGideon Fryer at 865-524-3136. For more infor-mation on the Jubilee Festival call JubileeCommunity Arts at 865-522-5851.
EPWORTH OLD HARP SINGING — Sunday, March25, 11:00 A.M.
Epworth Old Harp Singing at the Old FortSanders Presbyterian Church at the corner of16th and Laurel Ave.(Directions above) Con-tact people are Gideon Fryer at 865-524-3136,Terry Faulkner at 865-584-3659, Kathy Jones at865-690-3906 or e-mail [email protected]. Thereis a potluck dinner at noon.
OLDHAMS CREEK MISSIONARY BAPTIST CHURCH
SINGING — Sunday, April 8, 1:30 P.M. Directions: From Pigeon Forge on Rte #441
head south towards Gatlinburg. After abouttwo miles, turn left over the river and cross theother two lanes onto Kings Branch Road.Take
Kings Branch Road to the end.Turn right onBoogertown Road, church is 100 yards on theleft. Hal Wilson’s phone number is 865-436-2590. Veta King, his sister, phone is 428-1375.
EASTER SINGING — Sunday, April 15, 5:30 P.M.at Bill Gooch and Meg Mabbs house. Theirhome is located at 4401 Alta Vista Way.
Directions: Alta Vista Way is off KingstonPike, opposite Western Plaza and just east ofdowntown Knoxville. The house is the lastone on Alta Vista Way, on the right. For moreinformation call Bill or Meg at 865-522-0515.
TUCKALEECHEE UNITED METHODIST CHURCH
SINGING — Sunday, April 22, 2:00 P.M.Directions: From Knoxville take Alcoa
Hwy. (Rte 129) past McGhee Tyson Airport. Goleft at the fork towards Townsend. Take Rte321 into Townsend (20+ miles). You will see abillboard saying Tuckaleechee Caverns, turnright here. The church is a mile on the left.John Wright Dunn is the host. His phone num-ber is 865-448-6445. Tom Taylor is his assistantfor this singing. His phone is 865-984-8585 ore-mail [email protected].
GREENE COUNTY OLD HARP SINGING — Satur-day, April 28, 2:00 P.M. at New Bethel Cum-berland Presbyterian Church. Note: Potluckstarts at 11:00 a.m. For more information call
Jeff Farr at 423-639-8211, or Lynn Bowerman at 423-798-9819.
UPCOMING SINGINGS — 2001
Directions from Johnson City: Travel south on 11E. From the first traffic light past Greene Valley Dev. Center, travel 6.8miles, through Greeneville, and turn right onto Hwy. 70 north just before the Phillips 66 gas station. Travel 2.8 miles and turn
left onto Cox Road. New Bethel is the white church on the right, visible from 70.
Directions from Knoxville: Take I-40 N and then I-81 N toward
Greenville. Take exit 23 and turnright onto 11E north. Travel 12.3miles, entering Greeneville, and
turn left onto Hwy. 70 north at thePhillips 66 gas station. Travel 2.8miles and turn left onto Cox Rd.
New Bethel is the white church onthe right, visible from 70.
Directions to GreeneCounty Singing
NUMBER 26SPRING 2001
- 6 -
OLD COLLEGE SINGING —Sunday, May 20, 2:30 P.M. Traditional Old Harp Singing has been
moved to St. Paul’s Episcopal Church, 123 S.Jackson, two blocks east of Tennessee Wes-leyan College, Athens, Tennessee. Refresh-ments and social after. This singing is hostedby Carroll Ross.
Directions: From I-40, take Exit #49. Goeast 4 miles on Route #30. Off Hwy. 30 on theleft is Jackson. St. Turn left into the parking lot.
BEECH GROVE PRIMITIVE BAPTIST CHURCH
SINGING — Sunday, June 17, 11:00 A.M. Traditional Old Harp Singing. Potluck din-
ner at noon. Contact people are Sharee Rich865-429-5877, [email protected]; and ShirleyHenry at 865-453-5983.
Directions: From Pigeon Forge headingtoward Gatlinburg on Rte #441, take the firstright onto Caney Creek Rd. There will also be asign for Beech Grove Primitive Baptist Church.The church is situated two miles or so up onthe left.
CADES COVE MISSIONARY BAPTIST CHURCH
SINGING —Sunday, August 19, 2:30 P.M. A traditional style Old Harp Presentation at
the Cades Cove Missionary Baptist Church.The host for many a year, is the retired Post-master of Townsend, John Wright Dunn. Johncan be reached for more information at 865-448-6445
Directions: From Knoxville take Alcoa Hwy.past the McGhee Tyson Airport and take theleft fork into Alcoa. Stay on this road as youenter Maryville and continue south on what isnow #321 to Townsend, Tennessee. Continue straight through Townsend into theGreat Smoky Mountains National Park. At thefork of the river (the “Y”) turn right to CadesCove. The Cades Cove ranger station has thelast non primitive facilities before you returnfrom the singing. Take the Cades Cove Loop.The Missionary Baptist Church is the thirdchurch on the loop. Whatever time that youfigure on getting to the church, you will needto add one hour after you get your final
answer. WEARS VALLEY SINGING AT THE UNITED
METHODIST CHURCH — Sunday, September 9, 2 P.M.
Old Harp traditional singing. Henry Law-son will host. He can be reached at 865-453-7638.
Directions: From Townsend turn left oreast on Rte. #321 over into Wears Valley. The Methodist Church is about 10 miles on the left.
HEADRICK’S CHAPEL SINGING —Sunday, September 23, 11 A.M.
Traditional Old Harp Singing at Headrick’sChapel. Potluck dinner at noon. LarryOlszewski and Lois Luebke 865-693-9292 arethe contact people.
Directions: From Townsend, Tennessee,take the turn onto Rte #321 east to the SevierCounty line. 100 yards past the line is Head-rick’s Chapel on the right.
WEARS VALLEY SINGING AT VALLEY VIEW BAPTIST
CHURCH —Sunday, October 7, 2:00 P.M.Traditional Old Harp Singing at Valley
View Baptist Church, hosted by Dr. BruceWheeler 865-974-5421 and Henry Lawson 865-453-7638.
Directions: From Townsend, Tennesseetake the turn on Rte #321 east into Wears Val-ley. When you pass Headrick’s Chapel on theright you will have to go about eight to tenmiles to Valley View Rd. (after an “s” turn)Church will be about one mile at the fork inthe road.
MUSEUM OF APPALACHIA HOMECOMING SINGING
— Saturday, October 13, 10:30 A.M & 12 NOON
Old Harp presentation at the Museum ofAppalachia Homecoming. 30 tickets are givenout to the singers for this yearly event. Formore information call Lois Luebke at 865-693-9292. Tickets are usually available at the WearsValley Singings.
Directions to Museum of Appalachia: ExitI-75 at the Clinton/Norris exit. Head east andone mile on the left is the Museum.
UPCOMING SINGINGS 2001 (CONT’D)
- 7 -
NUMBER 26 SPRING 2001
DOLLYWOOD SINGING — Sunday, October 21,2:00 P.M.
Presentation at Dollywood in Pigeon ForgeTennessee. For information call Martha Gra-ham at 865-453-3276.
Directions: Follow the signs to Dollywoodin Pigeon Forge. Tell the parking attendantthat you are singing at the church today, showthem your Old Harp book (New Harp of Colum-bia). Take trolley to main gate. Show tickettaker on the left side your Old Harp book andtell them you are singing at the old churchtoday. Proceed to church.
MARYVILLE COLLEGE SINGING — Sunday, Octo-ber 28, 2:00 P.M.
Traditional Old Harp Singing at MaryvilleCollege. Contact people are Tom and Nan Tay-lor. They can be reached at 865-984-8585.
Directions: From Knoxville, head south onAlcoa Hwy., Rte #129. A half mile pastMcGhee Tyson Airport, take the left fork intoAlcoa and Maryville. Stay on this road. InMaryville this becomes Rte. #321. At LamarAlexander Parkway, turn right and then takean immediate left into Maryville College. TheSinging will be held in the campus’ middlebuilding, the old Post Office.
EPWORTH THANKSGIVING EVE SINGING —Wednesday, November 21, 6:30 P.M.
Thanksgiving Eve Old Harp Singing Com-munity Celebration at the Laurel Theatre inKnoxville. This is located at 16th and LaurelAvenues in Fort Sanders near the UT campus.For more information, call Gideon Fryer at865-524-3136, Kathy Jones at 865-690-3906, orTerry Faulkner at 865-584-3659.
SUGARLANDS VISITORS CENTER SINGING — Satur-day, December 8, 10 A.M.
Old Harp Singing Presentation in the GreatSmoky Mountains National Park.
Directions: From Pigeon Forge, go throughGatlinburg on Rte #441 (or the bypass aroundGatlinburg) about three miles. The VisitorsCenter is just inside the park boundary. Bruce
Wheeler will preside. He can be reached at865-974-5421 or contact Martha Graham at865-453-3276.
CHRISTMAS SINGING — Sunday, December 9,7:00 P.M.
Christmas Old Harp singing in Karns(Knox County) Tennessee. Kathy Jones hashosted singers off and on for more than fiveyears at her home, but is now making a formalannouncement. She lives at 9121 GarrisonRoad.
Directions: Take Oak Ridge Hwy towardOak Ridge for several miles. At the stoplightby Hardees and Weigals, turn left onto Bying-ton Beaver Ridge Rd (Hwy 131). Go about 1/2mile, then turn right onto Garrison Rd.
The driveway is on the right and 9121 is onthe mail box. Kathy’s phone number is 690-3906.
UPCOMING SINGINGS 2001 (CONT’D)
CHRISTIAN HARMONY SINGINGS
Our fellow 7-shape note singers “over thehill” are active as usual. The schedule is avail-able for these singings throughout the year2001. There are primarily in North Carolinaand northern Georgia, but also Greenville, SC,Spartanburg, SC, and Johnson City, TN.
We regret we do not have space in thisnewsletter to print it in its entirety. For more information, please see the new web site
http://www.blueridge.net/~larryb/larryxh.htmlor contact one of the following to receive calendarinformation or directions:Larry Beveridge (828) 287-9757
[email protected] Huger (828) 274-8899
[email protected] Israel (828) 254-1330 [email protected] Kellam (828) 263-0905 [email protected]
NUMBER 26SPRING 2001
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1. Look for an oblong book that fits in yourhand easily, whether standing or sitting.
2. Look for the rudiments of music in thebeginning. Many of the early singingschool masters were self-taught as well assome of the students.
3. Since 1804 look for the notes to be printedin characters as opposed to round notes. Adifferent shaped character for each note onthe scale. In some 4-note variations, theydouble up and reuse 3 of the characters.
4. Each book is called a singing school man-ual. A way to teach basic music to stu-dents of all learned abilities.
5. The music is written in dispersed harmo-ny as opposed to close harmony.
6. Each line has its own melody which iscalled polyphony (the alto may have beenwritten in as an after thought to many ofthe lessons)
7. Many of the lessons were pirated from tra-ditional sea chanteys, dirges, marchingtunes, etc.
8. Odes, anthems and the harder tunes are inthe back of the book for advanced classes.
9. Each of the four parts is written and sepa-rated from the other parts so students arebetter able to follow their own lines.
10. The Tenor is the top line, sung by bothmen and women with high voices.
11. The second line down is Alto, sung bywomen with low voices (and in the pastmen).
12. The third line down is the lead or melodyline sung by men and women with normalvoices (and in the past women).
13. The bottom line is the Bass sung by menwith low voices.
14. Traditionally, though, any part may besung one octave higher or lower as is thewish of the singer. This is called doublingup. Children often sang with their parentsno matter what part they sang.
15. Each of the four parts is sung in a group oflike singers in a square facing each other.
16. The choir is called a Class.17. The song or tunes are called Lessons.
18. The lessons are called out by the pagenumber.
19. The shapes or characters are sung, solem-nized, before the poetry is sung.
20. Every one in the class can lead a lesson ifthey so wish.
21. Anyone in the audience can request a les-son or a person to lead a lesson of theirchoice.
22. A traditional singing will usually openwith, and close with a prayer.
23. All day singings will have a covered dishor a potluck for dinner.
24. It is community singing; everyone who cancarry a bucket to carry a tune is invited.
TRADITIONS
(As noted on the inside cover, the Lemons brothers changedtheir name to Lamons when they joined the service. Thisinterview was conducted by Larry Olszewski)
Look at the “wish-es engage” on the lead lineof #89, Morality. Ti-do re-do-ti-la so sung witheights and 16th notes in 2/4 time. We had justplayed some tapes with Reford and VelmaLamons, Wiley Lamons, and Grace singing outon the front porch. The katydids are doing thedrone. I asked Grace if she would sing the ti-do, re-do, ti-la-so for me. Grace repeats it backfor me without missing a lick.
Grace Clabo and Henrietta Sharp usuallywind up sitting behind me at Headrick’sChapel, and when Paul Clabo leads #89, theyhit those notes solid. I have to refrain from rub-ber necking around and saying, “how did youdo that?” Now, I have Grace alone for thisinterview and ask her to repeat it for me oncemore, finally telling her I have never gottenthose notes together in the time it needs to besung. That piece of information gets her tick-led. Her dad made her learn that. That wasJames Lemons. Her mother, Elizabeth, wouldalways sing tunes while she cooked. Sundayafternoon was a time for sitting around andsinging Old Harp as well as gospel tunes.
(continues on next page)
GRACE (LAMONS) CLABO
NUMBER 26 SPRING 2001
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(Grace Lamons Clabo Interview, continued)
Grace had a couple of Primitive Baptist hym-nals, “Good Old Songs,” by Cayse they wouldsing from. Sunday was a family time for keep-ing the Sabbath holy. Singing those old tunesalways kept them in good measure.
The tape on the recorder switches over toWiley Lamons. Wiley is singing the lead linesolo of many of the Old Harp tunes. In the last15 years that I’ve known him, Wiley never gotup to lead except once and that was at CaneyCreek (Beech Grove Primitive Baptist Church).He wanted to hear #83. Wiley got up and ledthat one song standing in the pew. His voicewas still strong and carried the church.
Back to Grace. One of her uncles was RussellHenry Clabo. “He was preacher over at CaneyCreek. Many of the traditional singers havecome from there,”she said. “Arthur BlaineShields, Giles Adams and others of the Adamsclan. Also remembered were Haskew Trevina,James King, Will Perryman and his daughters,Zelma, Rue and Althea (Alred). All these peo-ple were great singers that formed great memo-ries in our minds growing up.”
After most of her elder siblings moved away,she can remember walking through PigeonForge and Wears Valley on a Saturday to makethe Singing at Coker Hill, Blount County, withher father. Her dad called it Tuckaleechee asGrace remembers it. She spent the night withfriends and sang all day, then trekked back toPigeon Forge later that Sunday after thesinging. That was in the 1930’s.
Fond memories, warm humor, old stories,good folks all tie in. She is happy to have usyoungsters take up the Singings. She hopesthat we know we are entrusted in somethingthat means a lot to her and her folks, that weare to treasure it and pass it on like the Lemonshave.
Before I leave, I get a promise of one ofGrace’s tapes, as well as a copy of #89 Morality.
Interviewed and written by Larry Olszewski
THE CHANGING OF TRADITIONS
As Old Harp Singing was being replaced inthe towns as it was growing in the rural com-munities. Circuit Riders and self taught SingingMasters would hold periodic two week singingschools every 5, 10 or 15 years as Elders of acommunity would warrant. After the last classwas held, a presentation to the "Publik," washeld to show what they had learned, or howthey had progressed since the last meeting. Stu-dents would get up and lead a “Lesson,” oftheir choice to the community, followed by“dinner on the grounds,” where everyonewould bring their best dish, and sing again inthe afternoon. In the afternoon session the peo-ple in attendance would join the class andeveryone would get a chance to lead or not ifthey wished. Even those in the audience wouldhave a chance to request a tune of their choiceor someone to get up and lead. Everyone wasable to contribute if they so chose.
As a member of the class gets up to lead, noone knows if it is a lesson in learning how tolead or whether a lesson that the “class” is ableto follow, or a lesson in the poetry, or a memori-al of those who have gone before. No one reallyknows, unless they announce it. The class justfollows along as if the lesson were their own.
People had so much enjoyment at theseevents, that they would hold annual reunionscalled Harp Singings. Many of these oblongsinging school manuals had a lyre embossedon the bindings on the covers, thus the deriv-ing the name “Harp” Singings.
When the old books were no longer in print,like The Harp of Columbia, families would getup to sing and lead from the tunes that werenot carried over into the new books. They werecalled Old Harp Singers. Nowadays, any onesinging out of the New Harp of Columbia iscalled an “Old Harp Singer.”
This book that you hold in your hands wasmeant, as a way to understand and sing musicfor every individual who would give it a try. Intruth, any group singing from the oblongshaped-note-singing school manuals, singingthe shapes first, setting in a singing square,singing acapella, the music written in dis-persed harmony, everyone getting a chance tolead or not as they wished, would be calledOld Harp Singing. This would be true whetherfrom the Sacred Harp, Christian Harmony,
(Continued on page 11)
NUMBER 26SPRING 2001
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In the 1960’s Phil Tabor, a traditional HarpSinger, had a hard time finding copies of theNew Harp of Columbia to use at the singings inEast Tennessee. He used a small inheritance tohave 1,000 copies printed and had 950 deliv-ered. (A box of 50 books disappeared en-route)He spent the next ten years traveling to thesingings and making books available at cost tothose who wanted them until the books were allsold.
The Epworth Old Harp Singers were singingout of copies of the New Harp of Columbia. Dr.Ron Petersen of the University of Tennessee incollaboration withDorothy Horn and Can-dra Philips asked TheUniversity of TennesseePress to do a reprint in1978. The introductionis extensive andenlightening to the newand traditional singer.(That is another story tobe told.)
That was a hardbackedition that sold well.However, in the 1990s, the hard cover editionsold out and a loose binder copy was printed. Itwas not as durable as the UT ‘78 edition. Aboutsix years ago, the Hymn Society came toMaryville and part of its program was to singout of the New Harp of Columbia edition and singwith the area traditional singers still locatedhere.
There were 300 books that were not bought bytheir members and the local singers were able topick up 300 used copies. These ran out as well asat the UT Book Store at the beginning of1999.Negotiations began with UT Press. Ourcontact person was Scott Danforth, an editor ofthe UT Press. He was highly interested in theproject and asked that the Old Harp Singersbring a proposal to the table and see what wouldhappen.
1. The first proposal that came to mind was go backto the hard bound copy. The "floppies" were notholding up under constant use. I had seen severalcopies re-bound by Kinkos or other bookbinder.
2. It would make it historically accurate if the tunesthat were omitted in the 1867 ed. New Harp ofColumbia were restored. Many of these tunes are
used in the Southern Harp Books. 3. To help make this happen, Steve Cotham of the
McClung Historical Collection was contacted to seeif he would make a copy in his possession avail-able. Other copies were found at The University ofTennessee in the Hoskins Special Collections. RonPetersen had donated many of his 60 odd singingschool manuals to Hoskins. In addition, Cenda andCharlie Price of Austin, Texas, also offered theircopy of the Harp of Columbia to help the New Harpof Columbia to become a reality.
4. Also to make this happen, a floppy edition wasunbound and pages inserted where changes were
proposed. There wereno changes in thefront pages. Changeswere made in theindex. There, the oldtunes to be includedand the Indexes inthe back were goingto be all-inclusivewith the restoredtunes of the Harp ofColumbia. All these
additions wereincluded and presented on computer disk to UTPress in a ready to use fashion.
5. Dr. Bruce Wheeler, a UT History Professor and theleader of one of the traditional Singings in WearsValley, was asked to do a preface.
This proposal was accepted by UT Press man-agement and reviewed by them. They madesome suggestions. The Old Harp Singers gottogether and wrote and rewrote an introductionto this. Many thanks to Kathleen Mavournin,Bob Richmond, Lois and Rhonda Luebke, Mari-on Hatchett and Ann Strange for their time andefforts. Gideon Fryer and Virginia Douglas pro-posed to add the poetry to the book that wehave used to some tunes. This idea was rein-forced by Judge Carroll Ross of the Athens OldHarp singing. We put that additional proposal toUT Press and they accepted it as a growing andliving tradition. This would be added at the endof the book.
The New Harp of Columbia will be able to bepurchased at the UT Bookstore and UT Press.The cost has not yet been determined. In addi-tion, the new books will be available for sale atOld Harp Singings.
NEW HARP OF COLUMBIA - REVISED, 2001
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NUMBER 26 SPRING 2001
(continued from page 9)Southern Harmony, New Harp of Columbia or
other singings still going on to this day. Thesinging school manuals are just different in thetype of shapes used and the music and poetrytherein.
Most communities would have a visitingpreacher once or twice a month, usually of dif-ferent denominations. For it was Sunday, andeveryone would attend. One could nobetter keep it Holy, whether they are aMethodist, Baptist or a Presbyter. Butthere were Sundays that a preacherwas not available. Various communi-ties felt free to hold their Old HarpSingings on those days. They wouldpick a Sunday of a month every yearto hold these Singings. The visit bythese preachers and ministers werescheduled around these annual events. Peo-ple from nearby communities would trek inand join as well.
People improvised by singing those goodtunes, with the “lessons” from the great hymnand sermon writers of early America. Manyyoung people also started court'n at thesesingings, many a family was created with theseharmonies, many a newborn or 80-year-old
was buried to these tunes especially after theCivil War and during the flu epidemic duringWW II. Singing those “good old songs,” was away to cope, a way to show grief.
As areas became more populated, manychurches were able to sponsor a minister or apreacher of their own full time. Denomination-al services would be on Wednesday, Saturdayand Sundays. The local churches were taking
over much of the everyday spiritual needsin a formalized manner.
Many of the new Old Harp Singersare loosely affiliated with localchurches of worship. The sense ofcommunity, and well being for themcan be found in the giving and harmo-
nizing of people and voice at thesesingings. Mixed with this is a strong
blend of second to tenth generation OldHarp Singer who feel duty bound, to give
these young, new singers, a strong influence, orreminder of how it was when they startedsinging.
As areas became more populated, manychurches were able to sponsor a fulltime minis-ter.
by Larry Olszewski
An Old Harp singer, Jim Franklin, cousin toMartha Graham and Henrietta Sharp, passedaway this winter. You will remember himplaying the piano at times when we sangAmazing Grace. He played piano by ear andworked at the Carriage shop in Dollywood.
The Old Harp singers received “ThankYou's” from the National Park Service for theSugarlands Singing, Dollywood, and Museumof Appalachia.
Through Jubilee Community Arts and BrentCantrell, we are creating an instruction singingtape/CD. Doug Barber is the coordinator.More information will be available later this
year and in the 2002 newsletter.Marion Hatchett turned in his “Companion
to the New Harp of Columbia” to UT Press.The University of Tennessee Press expects there-printing of the hard cover New Harp ofColumbia to be available in July 2001. If youwant to be notified about the new book, pleasecheck the box on the back cover.
Our mail lists, phone lists, and e-mailaddresses need to be updated. Please help uskeep expenses down by letting us know if youchange addresses. Thank you!
Old Harp Newsletter(865) 522-585; [email protected]
THE CHANGING OF TRADITIONS
OLD HARP NEWS AND
INFORMATION
NUMBER 26SPRING 2001
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Please fill out this form and return to: Jubilee Community Arts, c/o Old Harp Newsletter, 1538 Laurel Ave., Knoxville, TN 37916-2016. Your donation of just $2 will cover our printing the newsletter you are receiving for an entire year (issue). Make checks out payableto Old Harp please. Please consider donating your old book, the spiral-bound, floppy cover New Harp of Columbia if you purchase one ofthe newly revised hard-cover books which should be ready by July. We will make them available at singings or to groups.
ο I need more information on Old Harp and maybe starting up a new group.ο I would like to be notified about singing for funerals in East Tennesseeο I want to receive a newsletterο I am interested in an Old Harp instructional tapeο I am interested in the New Harp of Columbia, revised edition 2001 (will you be at any singings to get one?)
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A STORY OF HOW NEW SINGERS GET COMFORTABLE
As a beginning singer in the early 1980’s, I canremember going into Helen Hutchinson's house andtrying to learn how not only to sing the shapes buthow to sing and sing in harmony. The bass was agood place to put me in the beginning. Gideon Fryerwas singing bass, usually alone. Sometimes I sat in achair and moved my head forward so Gideon wouldsing towards me. After a couple sessions I sat downon the floor in Helen's' living room and let Gid singinto my ear. Soon, the two of us would reverberate, bein perfect tune. The two of us singing the part wouldsound as strong as four.
It was wonderful. I would sometimes play themusic back in my head until two or three in the morn-ing. The intonals of the harmonies were fascinating.Remembering where I had missed a note and ruinedthem left me chagrined, made me more determined toget the notes right.
The neat thing about all of this is that that I was sointent on this spiritual elixir of The Old Harp, I foundthat I could memorize the notes being sung into myear. Trying to sing the poetry was not an accom-plished feat until I learned the shapes or memorizedthem. Oddly enough missing notes was as not as bada disgrace, as not showing up for the next SundaySinging. We were missed, new singers and old alike.There were no commitments to showing up atHelen's. Just a good way to wind down a week andstart another.
Tolerance was a big part of the singing at Helen'splace. In between singing the tunes or “lessons,” dis-cussions often erupted on the text of the music. Wheredid it come from? How was it used? Gideon Fryer evengave a sermon on the “Year of Jubilee,” once at church.
Every once in a while, a potluck would be held at
Helen's place, there on Highland Ave. Everyonewould bring a covered dish. After the first time Idecided to bring Gwumpkie or cabbage rolls. Ques-tions as to ingredients, trading of various recipes werealways in progress. Singing sometimes became aninterlude to discussions. If there were visitors whowanted to listen it would be reversed, discussionswould be stifled for a song or two, but we quicklywould revert back to the easy natural setting that wehad begun. People new and old were made to feel athome and partake of the music, discussions or thespirit. It was a recipe for harmony with everyoneadded into the pot and everyone taking out what theyneeded at that time.
I found out there were traditional singings beingheld. I wanted to find out about them. The first onewas not a sing at a church but at Silver Dollar City,now Dollywood. I figured it was a good way to get ataste of the traditional ways and be unobtrusive.Wrong! I did not get a chance to sit down before I wascalled up to lead by Martha Graham and Reford Lam-ons. I had a book and, therefore, I was family. Since Iwas new, I did not know enough to refuse to lead.The first shall be of the least was never more true.Burl Adams another year later said that he was gladto see new people taking up the Old Harp. He wasglad to see me. He was glad to see all who came.Mimicry was a sincere form of flattery. The newsingers and the traditional singers have influencedeach other and have melded in the spirit. I imaginethat is what happened when the Germans andSwedes moved into the area in the 1840s, quicklyassimilating in a generation to the culture of East Ten-nessee. It is no difference with us. The circle is notbroken. Larry Olszewski
