| Provided by: John Plunket A BRIEF HISTORY OF THE SACRED HARP AND ITS AUTHOR B. F. WHITE, SR.
AND CONTRIBUTORS BY J. S. JAMES _________________ DOUGLASVILLE, GEORGIA NEW SOUTH BOOK AND JOB PRINT 1904 Entered according to Act of Congress in the year 1904, J. S. James, in the Office of the Librarian of Congress, at Washington, D.C. PREFACE The author of this volume presents it to those who may be interested, with the hope that the labor connected with its compilation and the gathering of the data and information herein contained, may not have been spent in vain and in a limited degree, at least, will give some insight to the character, standing and unselfish purpose of the principal author, promoters and composers of the music contained in the Sacred Harp. While the history here given is , at best, only a synopsis of most matters treated, we believe, however, it is sufficient to answer the object for which it is intended, the purpose being to preserve the early history of this valuable song book, as to give some insight to its authors, composers, and its use in its early days. It has been a difficult matter, and entailed a great deal of hard labor to collect the data and facts therein contained with absolute certainty, in many instances, for the reason that very little has been preserved, and we are compelled to rely largely on that which is remembered by others of the early history of the Sacred Harp, and while we believe that in our extraordinary effort to gather the scattered fragments as best we could from different sections of the country, that we present substantially, if not absolute, a correct statement of these matters. We feel, however, in submitting this brief history that it will bring joy, comfort and sunshine to many old people as well as the young, who may read of the early days of these sacred songs, as well as the just tribute to the old veterans of the cross, who left this heritage to their children and future generations. All things considered, we believe this volume will be of much and assistance to those who may feel inclined to this system of song books, when taken into consideration the present popularity and rapidly increasing revival use of the Sacred Harp in many sections of the country, and the demand for it by a large number of music loving people in this and other states. All who are musically inclined can find in most of the song books such tunes as will suit their taste and which will gratify their wishes when sung to the honor and praise of God, will open the door to the soul. We do not doubt but that many of the sleeping dead were led to accept salvation and Life Eternal on account of singing and hearing tunes sung in this blessed old song book. These tunes were near and dear to our fathers and mothers and they will never grow old. We most sincerely thank all who have aided us in gathering the data and items necessary in the compilation of the pages herewith submitted. While there may be inaccuracies in this volume and many errors, yet we have been careful under the circumstances not to present anything which was not really as it happened, but in the great hurry there may have been mistakes. With an abiding faith that this effort, on our part, will be of service to many people and that it does justice to the memory of those who have long since died, and asking the generosity of the public in their criticism of the defects and other imperfections, we here with submit these pages. Douglasville, Ga. July 15th, 1904. INTRODUCTORY The author does not think it would be out of place in attempting to write the history of the Sacred Harp, and a sketch of its authors and composers of the tune songs, odes an anthems therein. To first make a few observations on the subject of music, the greatest art and science which has attracted the attention of mankind since the advent of the human family into the world. God himself, in the beginning, set all things to music, even before man was made and it has continued from that time up to the present, and will continue throughout eternity. Therefore, it will not be expected in this short article that we can do more than merely hint at what could be said on this subject. Away back as far as Jubal, the father of such as handled the harp and organ, music is mentioned 3875 years B.C. The flute and harmony or concords in music are believed to have been invented by Hayagnis 1566 years B.C. Vocal choruses of men are mentioned in the Bible 556 years B.C. Musical elements entered into the religious service of the Jew from the very earliest date of their history. It is frequently referred to in Genesis and Job, two of the oldest books in the Bible. By music the deliverance of the Jews from Egyptian bondage was perfected. Its sweetness made the bank of the Red Sea ring with joy at their deliverance and subsequently from Jobin and the children of Ammon. These great events were for a long time celebrated with gatherings of musicians who met all over the land of Judea. Silver trumpets were made as well as other musical instruments and in connection with vocal choruses were in tabernacle worship, and music was inaugurated to direct the movements of the Israelites in that day and time; peace or war, and they called it marshal music. David was first greeted with music after his battle with, and the slaughter of the Philistines. The early Prophets accompanied themselves with music, which was an essential part of their program, and practiced in the foretelling of events which are yet to come. The sweet singer of Israel, David, had his first introduction to the great dignitaries, rulers and powers of earth and Judah in songs of music. From the Levites David organized his musicians into a choruses of four thousand men and divided them into twenty four choruses. He provided each class with their own president, musical leader, and director. Not only was David the greatest king who ever lived before the advent of the Savior of the world but was one among the greatest reformers of his age. While he had his faults as other men do, he certainly was the sweetest singer and the greatest musician that had lived in the world up to his time. Not only did he charm his Hebrew brethren with his musical talent, but he astonished the entire world. He organized the best musicians the country afforded into singing organizations and for special music for Tabernacle service and for all the great gatherings of the Jews. David was a man after God’s own heart. Some of the writers on this subject say that it is doubtful if any modern gathering of people ever offered in the world was more magnificent or greater in its proportions than that produced at the dedication of the temple by the singing of music in unison with the whole choruses accompanied by the entire orchestra there engaged. Some contend that this was the grandest gathering of musicians and the finest music ever rendered by the human voice, accompanied by instruments, that it has been the pleasure of the world to see and hear in any age of its history. In hundreds of places in the Old and New Testament is song and music mentioned as being one of the crowning events of life. God spoke to Job out of the whirlwind and said of the creation "that the morning Stars sang together and all the Sons of God shouted for joy." [Job 38:1-7] Wherever we look, wherever we turn, in all nature we are confronted with its sweetness and charms. Imagine if you can, this world without music and what would it be? Even in inanimate life we see its most precious evidences. It causes nature, in all of its ramifications, to smile in beauty and tender its subject with condolence. The whistling wind, as it kisses the mountain tops or ploughs down through the valleys or into the forest, rings out its melodies; the rain when descending and pouring out its torrents, sounds its concord. The great waters, oceans , lakes, rivers, and streams as they plunge over the great precipices, and freaks of nature to perform their proper functions, vibrate its harmony and present to us not only the great catastrophes of the world, but charm our most inward sensibilities with its melody and sweetness. But when we turn from inanimate to Animal Life it comes, with overflowing flowing tide. The little busy bee as he extracts honey from the morning flower, hums its sweetest notes. The fowls of the air as they sail or steady themselves in the heavenly breeze, make the welkin ring out as they chant its melody, giving joy to themselves and edifying all nature around. At the break of day, as the morning light begins to appear from the eastern horizon in its grandeur and beauty, dispelling the darkness and shades of night and , giving evidence of another promising and glorious day for man and beast. Hear the birds as they skip from the branches of the trees and make the earth resound as they warble from their little throats the melody and harmony produced from the highest faculties of their nature. The effect of music upon the human family from the foundation of the world, in all of its ages, to the present, has been the most wonderful of any gift to which human nature is endowed. The effect of music has swayed great armies, and caused the result in a thousand battles to be changed; it awakens the savage and heathen from their sleeping lethargy and quickens the heart of all heathendom into Christianity and harmony with God. In many places in the old and new testament we have evidences of its effect on man, even the prison doors at Phillippi at the dead hours of midnight when songs of praise to God by Paul and Silas refused to hold their fastenings, and their locks sprang from their sockets and the shackles fell from the prisoners feet and their prison keeper cried, "men and brethren what shall I do to be saved." Music is a God given faculty and by sounding its melody and harmony it opens the door to the human hearts and soul and brings man back to his first relations to God. The grand Peace Jubilees that were sung so near Boston in 1866 and other years, attracted the attention of the world, and no doubt had a wonderful effect in keeping peace between the nation for a long time. It is the sweet union which keeps us in close relation with the hearts and conscience of men while we live in the world, and which is quickened into acceptance of Eternal Life and will strike its sweets cords in that spirit land where mortality does not enter and where spiritual songs are sung throughout Eternal Ages and then will come the final triumph of that new song placed in the mouths of the Redeemed of this world and they will sing His praises in the world which has no end. A Brief History OF THE Sacred Harp "The Sacred Harp" is a song book published in four Shaped Notes. "Me" diamond shape, "Faw" triangle", "Sol" round and "law" square. The "Me" in this system is the leading note in all compositions in the book. The different revisions are given in these pages. It first contained 262 pages and 218 pages were added in making the several revisions, which now make it a volume of 480 pages. The work contains a collection of Psalms and Hymns, Tunes, Odes and Anthems, selected from the most eminent authors. Major B.F. White, author of the Sacred Harp, when it was first printed, composed and compiled, resided in Hamilton, Harris County, Georgia. The house in which this songbook was arranged, and much of it composed, contained six rooms, neatly constructed framed cottage, only one story, small windows and large rooms, 16 x 20 feet. On the front side of the house was a large portico, as it was called, 14 feet wide, reaching from one end of the house to the other. The house sat side ways to the street. Between the house and street there was a beautiful grove of oak, hickory and other large trees, and in the yard was an old-fashioned well of pure water. It is said no cooler or better water ever came out of the ground. In this house and grove in the scene around which this book was conceived, composed, written and compiled. We are informed the great crowds of people would assemble there, and in this grove verandah, and house sing the songs long before they were put in book form. At and before this Major White owned and edited a newspaper at Hamilton, Ga., called "The Organ," and all the tune composed by him and others were published in this paper before they were put in the shape of a song book, and he his friends would take the newspaper as the music was published and sing the songs as printed, and thus discover the defects and make all necessary changes before they were selected for the book. From the early efforts of this gifted musician has been given to the singing public one of the valuable sacred song books of this country. The work, as it was published, was believed to be suited to most meters, and well adapted to churches of every denomination, singing schools and private societies, with simple and plain rules for new beginners, and all who desired to learn vocal music. The first preface is as follows:
THE GOVERNMENT OR RULES The Government or Rules, for singing in the Sacred Harp are stated on the first 25 pages, and when properly understood will enable those who master it to sing the notes in any book. It makes no difference what their shape may be. After prefaces the following order comes: 1. Introductory 2. Of Music in General Rudiment of Music, which is divided as follows: 1. Scale of Notes 2. Mood of Time. 3. Of Accents. 4. Of what Music is, and how it is written. 5. Sub-divisions of
Clefs, Lines, Spaces, Letters, and Notes as they are placed 6. The general Scale
and Rules for Pitching and Keying Music, Natural, Major 7. Harmony and Composition, with examples of concords and discords. 8. Of the Diatonic
Scale, Major and Minor Keys, of Degrees, of Relatives, 9. Of Shapes and Flats,
showing how they stand on the scale, and showing 10. Scales showing the
situation of semi-tones in every transposition by flats 11. Of Intervals. 12. Removal of the Key
Note by number of Sharps and of Flats, and its 13. Of the Keys. 14. Transposition in the Major Mode from one key to another; examples given. 15. Transposition in the Minor Mode from one key to another; examples given. 16. Miscellaneous
directions. What is necessary for good singing; taking of breath, 17. Melody lessons fully
explained and examples given in Major and Minor keys 18. General observation with full instructions. 19. A Dictionary of
Musical Terms, explaining many used in this arrangement of The Book as it was
originally arranged was divided into Part 1. Consisting of pieces used by worshipping assemblies. Part 2. Consisting principally of pieces used in Singing Schools and Societies. Part 3. Consisting of Odes and Anthems. REVISION OF THE SACRED HARP
The Sacred Harp has been revised three times. The first time was in 1850; the second in 1859 and the third and last in 1869. The book as it was originally printed contained 262 pages up to the first revision. In 1849 the Southern Musical Convention which was held at Tawlaga, Henry County, Georgia, appointed a committee for the purpose of revising and enlarging the book and on the 12th day of January, 1850, this committee made its report at Hamilton, Harris County, Georgia, as follows: "The committee appointed by the Southern Musical Convention at its last session, to whom was referred the revision and enlargement of the Sacred Harp, beg leave to say to all whom it may concern, that we, according to the appointment, have taken the work under consideration and inspection, and have corrected the rudimental errors of said work, and the typographical errors in the music and have added such pieces or composition as we think are calculated to enhance the value of the work, and are happily adapted to the use of the public generally, as an appendix to the Sacred Harp, and have adopted the same, all of which is respectfully submitted." B. F. White, Committee. The corrections in the rudiments of the work and the typographical errors in music are not set out in the report of the committee, hence it has been impossible to find out what corrections were made and as they were not mentioned specifically, it is supposed they were of minor importance. This report of the committee says that they have added such pieces of composition "as we think are calculated to enhance the value of the work and happily adapted to the use of the public generally, as an appendix to the Sacred Harp." The appendix thus made in the book is contained from page 264, to and including page 366, ending with the tune Southwell. In the year 1858 a musical convention was held at Long Cane, Troup County, and appointed another committee to enlarge the Sacred Harp and make a second appendix. The committee made its report on the 15th day of January, 1859, which was in the following words: "The committee appointed by the Musical Convention to enlarge the Sacred Harp, met according to appointment and adopted about one hundred new pieces, being new compositions never before published, for a second appendix to the Sacred Harp, all of which is respectfully submitted." B. F. White, Committee. The new additions made by this committee are embraced in the Sacred Harp from page 366 to 430. The third and last revision of this song book was made in 1869. Another committee was appointed by the Southern Musical Convention to make a further appendix or addition to what had then become one the most popular song books in all the country, and in November 1869 this committee made its report as follows:
NEW APPENDIX TO THE SACRED HARP
The committee appointed by "The Southern Musical Convention of the State of Georgia", at its last session, to whom were referred the revision and enlargement of the Sacred Harp, beg leave to make the following report: "In discharging the duties of said appointment to the best of their ability, they carefully examined the work, and corrected a few verbal and typographical errors which had escaped detection in the previous edition. In this Appendix they have introduced a large number of new compositions from the pens of the most eminent teachers and composers of vocal music. They have also displaced several pieces in the body of the work for others which they think will prove favorite compositions. In the judgment of the committee the Sacred Harp is now fully suited to the wants of the singing public, and will meet the taste and feelings of the Southern people. "All of which is respectfully submitted. B. F. White, November, 1869. Committee." The appendix made referred to in this last addition can be found in the Sacred Harp from page 431 to 480. No revision has been attempted since this time which proved successful. There has been numbers of compositions made since the year 1869, but no satisfactory arrangements for the addition and some of the tunes composed have been published in other music books. Others have been awaiting a new revision of the Sacred Harp. It will be seen that Prof. B. F. White was the chairman of each of the committees, who needs no eulogy at our hands, for the management and selection, in connection with the other members of the committee, of the tunes, songs, Odes and Anthems, comprising these three additions to the Sacred Harp. It is said by those who are in position to know, that the compositions now embodied in these three revisions were selected from over three thousand productions. The members of these committees were men who stood at the top of the ladder, in their day and time, as teachers of vocal music. They were men of unimpeachable character and Christian gentlemen, belonging to different denominations. Soon after the publication of this work the singing teachers all over the country became very much attached to it. Sixty, 50, 40, and 30 years ago it was almost the only song book used in the teaching of singing schools outside of the cities. After 1870 the use of the Sacred Harp began to wane and it was not so extensively taught in the singing schools as before. Within the last six or eight years it has revived again and is coming into general use. When this is properly explained it is very readily understood. The reason why it went out of use, and why it is coming back is fully explained elsewhere. The men who composed the songs in the Sacred Harp and re-arranged its tunes did a great work. They put a class of music before the public that will not down at the bidding of the speculator, neither can their influence be smothered out by competitors in order to gain sale for less worthy music. For Sacred Songs no music book of this day can surpass it, although it has not been revised for over 30 years. There are many songs in point of tone, word and sentiment in the Sacred Harp that are fundamental and constitutional. They are organic in their make up, and when sung with the spirit and understanding they open the window of the soul and find lodgment in the spiritual hearts of the human family. A glance at the names in another place, mentioned, will readily prove to anyone the character, not only of the author, but those who contributed to this work. They were religious men who sprung up from among the common people. They wanted sacred songs which would reach the hearts of the people, and something they could sing to the worship and praise of their Maker. In this effort they accomplished much good for their own day as well as for generations who were to follow after them, and while nearly all of them have passed over the river their work remains as a bright, shining monument to their deeds; to comfort the old, to inspire the young and give consolation to every heart when they sing the songs left in honor and praise to the name of Him who giveth all good and perfect gifts and in whom there is no error. In this article is mentioned the name of a number of different books from which the songs were taken and placed in the Sacred Harp, most of these names appeared in the book, as it was originally published, and a number of these selections were revised and new additions and different arrangements made of the tunes before they were placed given a place in the Sacred Harp. The Psalmist was a hymn book of the Primitive Baptist church, as we get it. Others contend it was used before the division of the Baptist Church. Hymn Book 2, Watts -- A Baptist hymn book. Baptist Harmony -- A hymn book of the Missionary Baptist church. Zion’s Songster -- A hymn book, but its author is not known, nor by whom published. Methodist Hymn Book -- Shell and Ogletree say that it was a hymn book by John and Charles Wesley, and Ogletree says that Watts helped to make it. One book dated in 1849 and the other in the 17th century. Mercer’s Cluster -- A hymn book published by Jesse Cluster [Mercer], who has been dead for many years. Others contend that it was John Cluster. A. Ogletree says that it was a Methodist hymn book by Jesse Cluster. Dover’s Selection -- Cannot find out who published this book. Dorsey’s Choice -- Supposed to be a Primitive Baptist hymn book. Pilsbury-- of date 1790--It was a large note book written by Pilsbury. Ripon’s Hymn -- A hymn composed by Young, called Young Night Thoughts. Buck’s Hymn Book -- It is thought that this was a hymn book agreed on by different denominations. Floyd’s [Lloyd’s] Primitive Book --This was a hymn book that belonged to the Baptist Churches before the Missionary and Primitive Baptists divided. Zion’s Minstrel -- Not known. Eureka Camp Meeting Song s-- This was a song book prepared and used for camp meetings.
We have tried to find out and give below the names of all tunes in the Sacred Harp which were first published in the above named hymn books before they were used in the Sacred Harp. In many of these tunes only the words were in the book from which they were taken. Maj. White and other composers set them to notes and arranged them for the Sacred Harp.
The following tunes were taken from the Psalmist:
Bethel.............................Psalmist ................691st Hymn Rochester........................ " ................346th " Prospect.......................... " ..............1072nd " Webster.......................... " .................767th " Corinth........................... " .................554th " Weeping Savior.............. " .................471st " Abbeville........................ " .................362nd " Bleeding Savior.............. " .................472nd " Augusta........................... " .................248th " America.......................... " .................183rd " Ninety Fifth.................... " .................1156th " China.............................. " .................1092nd " Windham........................ " ...................686th " Primrose Hill.................. " .................1156th " Supplication................... " ...................467th " Distress.......................... " .................1088th " Christian Soldier............ " ...................721st " Sweet Prospects............. " ..................1173rd " Salem............................. " ..................232nd " Cussetta......................... " ...................484th " The Inquirer.................. " ...................552nd " Cookham....................... " ....................207th " Happy Matches.............. " ...................1143rd " Pleasant Grove............... " ................... 934th " Suffield.......................... " ...................1055th " Song to the Lamb.......... " ................... 343rd " Stratfield....................... " .................. 1073rd " Washington................... " .......................64th " Morning........................ " ......................232nd " Exhortation................... " .........................8th " Phoebus........................ " .........................8th " Schenectady.................. " .......................926th " Worcester...................... " .......................949th " Florida.......................... " .......................761st " Ballstown...................... " .........................20th " Montgomery.................. " .........................18th " Albion........................... " ......................762nd " The following from Hymn Book No. 2, Watts: Tribulation, Hymn 55,
Primrose, Hymn 88 The following were taken from book known as Baptist Harmony:
Ninety Third Psalm,
Peterborough,
The following were taken from Mercer’s Cluster. Bellevue, The Child of
Grace,
The following were taken from the Methodist Hymn Book: Watchman, Idumea,
The following were taken from Dover’s Selection: Imandra New, The
Christian Hope, The following were taken from the books named. Columbia--Buck’s Hymn
Book
The following songs, hymns, tunes and anthems have no internal evidence in the Sacred Harp as to who the author or composers are. So far as the book is concerned, there is no indication about it: Aylesbury, Arlington, BEWARE! There are many
errors below Prof. B. F. White The subject of this sketch was born on the 20th of September, 1800, near Spartanburg, S.C., and died in Atlanta, Ga., in the year 1879. He married a Miss Theresa [Thurza] Golightly in Spartanburg on the 30th of December, 1825. He removed from this place by private conveyance and stopped for awhile in Pike County. He then settled in Hamilton, Harris County, Ga. His wife died in 1877 at their home in Atlanta. She was five years younger than her husband and was the aunt of Hon. J. F. Golightly, a prominent lawyer of Atlanta, Ga., and is related to the Golightly families living in Atlanta and Campbell County. Major B. F. White and a number of his grandchildren named below are buried in Oakland cemetery, in Atlanta, near the Decatur street entrance in the northeast corner. The graves are mixed and mingled among the eighty one thousand sleeping dead of this beautiful and well kept cemetery. The names of those of the family buried there are B. F. White, W. D. and R. H. White, two sons, Mrs. Carry Adder, a daughter and two of her daughters, Thomas B. Bird, husband of Mrs. Annie O. Bird, another daughter and two of the Bird children, also the infant child of Prof. and Mrs. J. L. White, at another place in the cemetery Mrs. Lola White , a grand daughter, is buried. Major B. F. White, as he was usually called, and his wife, had born unto them 14 children, five of whom died before they were grown, and nine lived to grown men and women ---five boys and four girls--- all of whom were posted in music and were first class musicians. Those who lived to be grown men and women are as follows: James L., W. D. , RAH., D. P., B. F. Jr., Mrs. Annie O. Bird, Mrs. W. B. Mann, Mrs. Carry Adair, and Mrs. E. H. Clark. A partial sketch of these children who lived to be grown are given in another place in these pages. Major White was the embodiment of music. His talent for this great science, when considering all of its details, is astonishing and amazing, when all the surroundings and circumstances are considered. He was not a classic scholar and did not have the opportunity of early training in the schools of the country, yet he educated himself. We are informed he only attended a literary school for about three months. He was reared on a farm near Spartanburg, S. C., and attended three sessions of the school held after laying by crops. These were the only schools that were anywhere taught in the country at that time. His father was inclined to music and the son fell into line and it seems that the transmission of musical talent has gone through the entire family. J. T. White, a nephew of B. F. White, lives in Dallas, Texas, and was a son of Robert White. His father was the oldest brother of B. F. White, Sr. Major White’s father’s name was Robert White and his oldest son was named Robert. Major White was the youngest child of 14 children. His brother, Robert, took him when he was an infant and reared him to manhood. Robert White, the oldest brother, lived to be 104 years old, and was in a perfect state of health at this age and appeared as if he might live many years but he received a fall and from the injuries died, in Augusta, Ga. Robert White, Sr., the father of B. F. White, lived in South Carolina to a good old age. He was 102 when he died. The immediate cause of the death of Major White was also on account of an accident he received. He slipped and fell while walking along Spring Street, in Atlanta, receiving sever injuries from which he died eight days afterwards. The scene around his death bed and his last sickness will never be forgotten by those who witnessed the same. He had been a Christian man -- belonged to the Missionary Baptist Church and was ready for the end to come at any time. Major B. F. White was the author of the Sacred Harp, a partial history of which is published in these sketches under the head of "History of the Sacred Harp." He wrote and first published it in Harris County, in April 1844. The circumstances surrounding the making and arranging of this book are as follows: Previous to this time Major White and his brother-in-law, William Walker, wrote a music book known by the older people as the Southern Harmony, in four shape notes, the same as those used in the Sacred Harp. Walker and White married sisters and lived not far apart in South Carolina. An arrangement was made between them for Walker to go north and have the book published, there being no publishing houses in the south with plant suitable to print the book. Walker took the manuscript, and he and the publishers changed the same without the knowledge or consent of Major White and brought it out under the name of Walker, giving Major White no credit whatever for its composition. Walker also entered into a combination with the publishers and in this way managed to deprive Major White of any interest in the Southern Harmony, although all of the work, or most of it, was done by Major White. On account of this transaction and treatment, the two men never spoke to each other again. It was such an outrage that Major White would never have any thing to do with Walker and he soon after moved to Harris County, Georgia. and engaged in composing and writing the songs in the Sacred Harp. After that the two books often came in competition with each other but the Sacred Harp soon became the favorite and went into general use all over the section of the country where Major White was known. He was a sociable, pleasant man and soon endeared himself to the people of Georgia, and those from other states who loved music, and when it became known how the publishers and Walker had treated him about the Southern Harmony, it was not long before a displacement of the Southern Harmony was made and the Sacred Harp substituted. An extraordinary effort was made by Major White and his associates to get in touch with the musical people, societies and conventions as well as the different churches of the denominations most numerous in the country. The genial disposition and pleasant manners, the Christian character and the ability of Major White as a musician, and his aptitude in the selection of songs, on all and any occasion, suitable for the particular moment, brushed out of his way all opposition. His keen sense of organization and his quickness of observation led him to see in the then sparsely settled conditions of the country that it was necessary to have some kind of a musical organization in the state and he went to work at once conferring and getting the views of his musical brethren. He conceived the idea of this organization and the outcome of it was the formation of the Southern Musical Convention in 1847 in Upson County. Before he began the writing of the Sacred Harp he was running a newspaper called "The Organ," which was the official paper published in Harris County, Georgia, at Hamilton. We call attention to the fact that on the marginal page of the Sacred Harp statement is made, "arranged for the Organ," the of this is that it was published in the paper called the "Organ." A large number of the compositions that were first printed in this paper are now embodied in the Sacred Harp. The Ordinary and Sheriff, as well as the Clerk of the Superior Court of Harris County have, or should have, copies of this paper in which these musical compositions were first printed. Major White was a modest man. He did not claim that to which he was not entitled to. All of the music published in the Sacred Harp passed under his critical eye before it was allowed to become a part of the song book. He was gentle in his nature, lovable in disposition and treated everyone with universal kindness. He had close bosom friends, and those who became acquainted with him were not long in becoming his friends. He had sufficient resentment, however, for his own protection, but he would not allow his wrath or unkind feelings to go any farther than to protect his own reputation and dignity as a gentleman. He loved his home, relatives and friends in South Carolina, but to keep from having disputes and broils with his brother-in-law he left his friends and the scenes of his childhood to return no more. It is said that he had as many friends in South Carolina as any one in the State. He taught music a long time with great success. It was easy for him to understand music for nature had given him a natural talent for it. He was engaged in the composition of music up to a short time before his death, and he had the keenest perception of this most gifted art and science. It is said of him that if he found in his travels in teaching music a person with a musical voice, and they were unable to pay their tuition for instruction, he invariably gave them their tuition free. He never turned one away on account of poverty, or inability to pay. He carried to his home in his early days many poor girls and boys and learned them music and boarded them, without any compensation whatever. It was a habit of his never to allow any one to pay board or lodging who stayed at his house, it made no difference whether the visit was long or short. Major White gave to the world some of the sweetest and most melodious music that is now printed in any of the song books, in this or past ages. In the composition and publication of this sacred book of songs he had just cause to feel great pride, yet he did not seem to think or assume to himself the position of an author of a song book, but he freely extended invitations to all contributors of music to place their songs before the public in the Sacred Harp, and numbers of tunes in this book, which were composed and arranged by him, he has given other people credit for such compositions, when in fact they did but little of the work towards bringing the tunes before the public. He never used his talent as a musician to make money. He had a higher, greater and more glorious intention? in view, and was untiring in his efforts and energy to bring simplicity to the singing of music, and furnish to beginners, and to the poor, a form of music, when sung, that would find lodgment in the hearts and quicken the inner recesses of the soul, to look farther than the mere rendering of the song, and to bring them to a higher and intimate relation to the Author of all music, and in harmony from the fountains from whence blends all the charms and concords in music, and to teach all? to sing such songs as would bring them in sacred? nearness to their Maker. He was a strict member of the Missionary Baptist Church, yet he was liberal in his views toward all Christian people. He worshipped in the various churches; the Primitive Baptist, Presbyterian, Lutheran, Methodist, Christians and in several? churches wherever he found that they claimed? salvation through Christ; he gave them ???? and hand?, and all the aid in his power. He was not a stickler for creeds but believed that religion? was a principle of the heart renewing, and ever pouring out the soul in its supplication and desire for perfect unity and harmony with God. He said a religion that did not enter in to all the walks of life, in the different avocations thereof, was no religion at all. When he attended the churches of any denomination, or their meetings or gatherings, he lead the music, regardless of what the book was, or the shape of the notes. Verily some men come into the world backed up with such moral sentiment and character of mind to render great benefits and blessings to the human family. In many cases is this true over seemingly insurmountable difficulties, yet others with all the advantages that the world and wealth can give, and influence to back them, and without any excuse, fell by the wayside. Here is a picture: A man who starts out in life without money, without friends, without education, influence or advantages whatever to meet the difficulties and trials which will confront him, except he is possessed of that gift which predominated and overshadowed any and everything that surrounded him, "Courage." Like the brave conscientious man that he was he stemmed the tide; he met life’s conflict; he went at it with energy and with a determination to succeed, and as he went he studied, and labored day in and day out. He was a man of great energy of mind and body; untiring and determined, but behind all of it, was his reliance and daily invocation of the blessing on his efforts from his Lord and Master, and in this was his great success. He studied music and at the same time improved his literary education. As a teacher, none could excel him, as a composer and compiler none in his day could surpass him. He never had an opportunity to attend singing schools nor normal instruction for the reason none were in his reach until after, by his own effort, he established and organized the people into societies, choirs and conventions to suit his own idea. He took up the science of music without a preceptor, and while it was hard to get hold of sufficient treaties on the subject, he started out with determination to master the science. It is said of him that he would sit? for hours at a time and look at the different breaks?? of nature, its system of regularity and harmony with which it did all its work, and would watch? and listen to birds as they sang from the branches of trees, and learned as much or more from these observations than he did from other men’s works. He was so possessed of musical talent that it entered into all his life. When he started to compose a tune it was his habit to invoke the Blessings of his Maker, and if he felt that he did not have it on the particular work he was engaged in, he would abandon and lay aside the piece of music. He got the title of Major from being a member????? of the militia before the Civil War, in the old? days when the militia had to meet. He went into the militia as a private and soon rose to the rank of Major. For several years he was the Clerk of the Superior Court of Harris County; was a very popular man in that section of the state and wherever he was known?. It is claimed that he has taught more people to sing than any other man who lived in the south: not that he taught all of them himself but has been instrumental in putting the ball into motion by which the people had an opportunity to learn music. Some of the most noted teachers in the state were under his instruction and tuition. We mention a few of them: J. P. Reese, H. S. Reese, R. F. M. Mann, E. T. Pounds, Elder E. Dumas, E. J. King, A. Ogletree, and in fact most of the composers whose names are given in the Sacred Harp. He always taught all who came to his home in Harris County when he was not otherwise engaged in teaching, and they were there by the hundreds, and as before stated, he never allowed any of them to pay board while they were receiving instructions at his hands. He was president of the Southern Musical Convention in 1845-9-50-1-2-3-4-5-6-7 8-9-60-1-2- and 1867 and perhaps other years. He wrote the rules and regulations of this convention and submitted them to the committeemen appointed with him for ratification and adoption. He composed the following tunes now incorporated in the Sacred Harp, as well as aided and assisted in a large number of others not credited to him:
Hamilton, The Inquirer,
The last tune that Major White composed or arranged for the Sacred Harp was the tune "Rest for the Weary," on page 474. He applied these old familiar words to it:
Come, Thou fount of
every blessing,
I the last eight days of Major White’s life he recounted all the mistakes as well as the good that had followed him, through his adversities as well as prosperity, in his younger days and in his declining years, and summed it all up in a few words that places it all in charge of his Lord and Savior and said, "the end has come and I am ready." He sang the following tune and the words to it plainly and distinctly a short time before he died, to wit:
"Behold, the morning sun begins its glorious rays, etc." See Sounding Joy, page 391. B. F. WHITE’S CHILDREN AND GRANDCHILDREN PROF. J. L. WHITE, Is a son of B. F. White, Sr.,; was born January 22, 1847, at Hamilton, Georgia; married Miss Annie Clark, of DeKalb County, Georgia, in 1887. They have the following children: Mary, Bernice, Jennie, Melvin, and Julia. While Prof. White did not take a great deal of interest in attending musical gatherings until after he was 18 years of age, he sang with the family and was studying music long before that. He is one of the best posted musicians in the State, and has been engaged in teaching music ever since 1875. His schools have principally been confined to Fulton, DeKalb, Henry, Clayton, Oconee, Hall, Gwinette, Rockdale, and several other counties in the State. His engagements in teaching takes all of his time. He has also taught several schools in Alabama. Prof. White’s whole soul is engaged in carrying forward the work of music. He says he would engage in some other pursuit were he to take a monied view of the question. His method is right up to date. He teachers his scholars to read and compose from the beginning, and gives them the first principles that govern music, and they are enabled to sing in any kind of notes, round or shape. He has composed a great deal of music, and finds no trouble in this work. He has a keen perception of melody and harmony, and at a glance can readily detect a defect in any composition of music. He the author of the tune "Evening" in the Sacred Harp on page 70. He also composed the popular song book, "The New Sacred Harp," in seven shaped notes. This music book has a large number of valuable and beautiful tunes. Several years ago he wrote all the tunes in the Sacred Harp into sever shape notes, but after doing so decided not to publish it, as he believed the Sacred Harp, as left by his father and the others who aided him, would be more beneficial in its present shape that to change its notation. It is but doing Prof. White justice to say that he is a thorough musician, and has mastered, as far as possible, the science of music. He plays well on any instrument, and teaches music by the latest methods and fully understands how to impart it to those under his tuition. He studied music under his father for a long time, and has attended Normal schools for several terms, which were taught by Denington, Pounds, Lion, Wisenfield and others. A friend of Prof. White, who is a noted musician, said in our presence, "In two instances where White attended normal schools before the end of the term he had become so proficient that the teachers put him in charge of the classes, and in place of being pupil he became teacher." He further said Jim White was as well posted as any of them. He can readily read and render any composition in music. Like his father, he is an unassuming man but is quick to detect errors, want of harmony or melody in rendering a piece of music, in notes or words, as any man in the country. He has a very large collection of song books of all kinds, as well as many treatise of different authors in his library. As a leader none can excel him. It is no trouble for a class to follow him when he starts out. It appears that he is made for the position. He is a great believer in soft, smooth harmonious music. To show his popularity in teaching singing schools he has taught successfully, in one section, for over 25 years, and his services are in greater demand than ever before. Prof. White is a member of the Missionary Baptist church and has been for many years. He says that music should be rendered with the spirit and understanding; that the very soul and heart should enter into the song when being sung. He loves all good music -- is not a stickler for any particular song book. He claims that the Sacred Harp is unlike any song book for the reason that every piece in the book is so arranged that it will make melody and good music if sung one part alone, in other words, the separate parts will make music if sung correctly, without joining the other parts with it. It is known that Prof. White did a great deal of the work in making the last revision of the Sacred Harp, yet his name does not appear as one of the revisers. His at this time was getting old and his son to relieve him of the hardship di most of the work for him. His father desired to give him credit for it but Prof. White declined, as he wanted the committee and his father to have full credit for the revision. When questioned about writing the Sacred Harp in seven shape note, correcting its errors and harmony, he said: "After I had gone through all and completed my work I decided not to disturb the old book but let it
remain as the handiwork of my father and the other good men who had aided
him and made the glorious old songs incorporated in the Sacred Harp." Prof. White says "that the present form of writing music has one leading melody only, and all the parts lend to it, while under the arrangements of the Sacred Harp, it ignores this method, and each part is a complete melody in its self. The music in this book has stood the test for over a half of a century, and it is just as good today as it was in the beginning. My experience is that no song book, taken as a whole so stirs the hearts of the people as does the Sacred Harp. There are many good tunes in all the works and I love to sing them." Prof. White was one of the musicians and perhaps the leading spirit in the organization of the Stone Mountain Convention (originally the Fulton and DeKalb Singing Convention), and has been chairman of the finance committee and is chairman of the music committee. He is the musical director of the convention and keys the music when called on to do so. He is following in the footsteps of his father and has been greatly benefited by the precepts of Major B. F. White. He is a jolly good fellow and is a great favorite among the singing public and all who love good music. Everybody loves Jim White and he numbers his friends by the thousands. D. P. White A son of B. F. White, died in Texas last October. He married in Texas. His wife is also dead. We haven’t been able to get a history of his family. He has one daughter living at Mt. Selman, Texas. Mr. White was extremely fond of music and sang in the old Sacred Harp as long as he lived. He understood it well, and composed music. He has the following songs in the Sacred Harp, namely: Auburn, Song To The Lamb, Columbiana, and Norwich. He taught music in Alabama and Texas for many years. He was a member of the church and had been for years. He died in full faith of life everlasting, through the merits of his Lord and Master. Each of the tunes composed by him have fine sentiment in the words. The words to Columbiana are: May the grace of Christ our
Savior, W. D. WHITE Is a son of B. F. White; died in 1903. He was the father of seven children, all of whom are married except two boys. One of his sons is on the police force in Atlanta. Mr. White was for a long time a deacon and escorter in the Baptist church and a consistent member. He was man of sobriety and always looked on the right side of every question. He married Miss Lydia Street December 5, 1852, at Hamilton, Ga. He was educated in music same as the other White children, and was a dear lover of Sacred Songs. He was the father Harry D. White, who is now engaged on the detective force of the city of Atlanta and president of the Stone Mountain Singing Convention. W. D. White was also the father of Miss Lola White, who was well-known by all Sacred Harp singers. W. D. White was an honorable citizen, just man and a Christian gentleman. The following are the names of his children: Bennie, Charles J., W. W., Carry, H. D., Mena, J. A. F., Lola and J. A. R. H. WHITE A son of B. F. White, Sr., was born April 14, 1831, died March 11, 1891 at his home in the city of Atlanta. He married Miss Mollie Mann, a sister of R. F. M. and W. B. Mann. Mr. White only had three children, W. J., T. B. and Annie. Only one of them living, T. B. White. R. H. White was a fine singer and loved music as well as any of the family. He belonged to the Church. No man stood higher among his neighbors than Mr. White. It was a great shock to the family when he died, but he was ready for the call. B. F. WHITE, JR. A son of B. F. White, Sr., lives in DeKalb County in East Atlanta, he is married --has eight children, one child dead, --having died several years ago. He is fifty-nine years old, born January first 1845 and is a fine musician and can compose music and does so readily. He composed New Bethany on page 431, as well as the words to the same.
Ere mountains reared their forms
sublime, It is said that he is one of the finest bass singers in all the country, like all the other White family -- he is a dear lover of music. He is a strict member of the Methodist Church and has been for several years. His wife is still living. He married a Miss Annie Cobb, in 1872. He has many friends in Atlanta and in the county where he lives. All who know Mr. White speak well of him as a citizen and Christian gentleman. None stands higher than he. His character is unimpeachable. The names of his children are Ida, W. A., Paul F. Ella, James Linton, Alton W. Loring. Emma and Glenn are dead. He holds the office of J. P. at this time. MRS. CARRIE ADAIR The wife of Col. Adair was a daughter of B. F. White. She was married to Col. Wm. Adder, a prominent and influential lawyer of the State of Alabama. She has been dead several years and is buried in the city of Atlanta in the family burying ground. She was the mother of one child, a daughter, who is also buried by the side of her mother. Mrs. Adair was well versed in music -- took lessons from her father for a long time -- share was a fine singer and was no less in devotion, and in the advocacy of the cause of vocal music, than that of her father, mother, brothers and sisters.’ She was a strict member of the Baptist Church and believed in the atonement made by her Lord and Master. She died with a Christian hope of eternal salvation. She was noted for her performing on the instrument, and was a gifted musician and taught instrumental music. MRS. W. B. MANN A daughter of B. F. White, Sr., married W. B. Mann, who was a brother of R. F. M. Mann, who is elsewhere mentioned in this book. She is the mother of nine children, two of whom are dead. Her husband died in 1903. She resides at their home place in East Atlanta. All of her children are living in Atlanta. She is 61 years old, and loves the old Sacred Harp -- the work of her father, and believes in music. She is a devoted Christian woman and has been a consistent member of the Missionary Baptist Church for many years. She has reared an honorable set of children. The names of her children are: Edgar, Frank, Lula, Jesse, Emma, Annie, Sam and George. Edgar and Jesse are dead. MRS. NANNIE O. BIRD, Life of Thos. Bird, deceased, and a daughter of B. F. White, Sr. , lives in Atlanta,; her husband having died sometime ago and is buried in Oakland Cemetery in Atlanta. She is the mother of nine children -- three boys and six girls. Three of whom are dead and the others living. Mr. C. P. Bird, the printer of Atlanta, is one of her sons. He is well known to most of the people of Atlanta, and has a wide circle of friends in the state. B. F. Bird of Jacksonville, Fla., is also her son. He has a fine position on the Louisville & Nashville Railroad in Florida. He other children have lucrative positions and are all honorable men and women. Mrs. Bird, like her brothers and sisters, were born with the faculty of music, and was educated in music by her father, and is a great admirer of the old Sacred Harp, but loves all good music. She is a member of the Missionary Baptist Church and has been for many years. She is a woman of amiable disposition and Christian character. The writer having been unable to get the given names of her other children can not state them. She was one of the leaders in the Sacred Harp when she was a young woman and all her children are musicians. Mrs. John Cooper, one of her daughters, is the leader of the first Presbyterian church choir in Atlanta. MRS. E. H. CLARK, A daughter of B. F. White. She is the wife of Rev. E. H. Clark, a Methodist minister, who died about four years ago, and was known by many people of this state. Mrs. Clark is 55 years of age and is considered to be very stout for her age. She is the mother of seven children -- five living and two dead. Only two of her children are married. They all live in Atlanta. The names of the children are as follows: Pearl N., Robert M., Charles E., James D., Frank K. Mrs. Clark is a fine singer, has a splendid voice and well remembered by all the people who attended the singings during the lifetime of her father. Perhaps she was better known to the singing public than any of the family at the different singing associations, conventions, etc. Mrs. Clark still attends the different associations and conventions and numbers her friends by the score. She is a strict member of the church, a Christian woman and highly loved and esteemed by all who know her. It is characteristic of the White family to love music, and she is not exception to the rule. Her children are all inclined to music. They live with and near her in the city of Atlanta. SPECIAL MENTION OF B. F. WHITE’S GRANDCHILDREN J. T. WHITE J. T. White is a nephew of B. F. White, Sr. A son of Robert White, a brother of B. F. White. His father died at the age of 104 in Augusta, GA. He moved to Texas 25 years ago, and perhaps longer than that. He is proficient in music. He taught singing schools in Texas and is still living at Dallas at the age of 90. He is a great lover of music and attended the Southern Musical Convention up to about 35 years ago. It is said that he belongs to the Methodist Church. Mr. White composed the following tunes in the Sacred Harp: Pleasant Grove, All is Well, Edgefield, The Church of Desolation. HARRY D. WHITE AND MISS LOLA WHITE Harry D. White and Miss Lola White are the children of W. D. White and grandchildren of Major B. F. White. Harry D. White lives in the city of Atlanta and is prominently connected with the city in its detective force. Several years ago he moved to the state of Alabama and taught several singing schools in connection with his brother, C. J. White. He went from there to Texas and married. His wife and one child died. Then he returned to Atlanta and married again seven or eight years ago. He and his wife are consistent members of the Baptist Church, in Atlanta. Mr. White stands well with the public officials in the city and has many friends in Atlanta and in various parts of the state. Like the other members of the White family, he is a musical man and often attends the singing societies, gatherings and conventions, when he can spare time from his duties on the detective force. Among his neighbors and those who know him intimately, are his strongest friends. Mr. White is the president of the Stone Mountain Singing Convention, which was organized about eight years ago and has been president of this convention four or five years and understands music and can sing in any book. Mr. White prefers the old Sacred Harp, and has great respect and reverence for the name of his grandfather, Major B. F. White, as well as that of his own father W. D. White, and feels that it is quite an honor to be continually elected without opposition to the Presidency of the Stone Mountain Convention, which convention, uses the Sacred Harp the book in which his grandfather, grandmother, his mother and father and his uncles and aunts all sang in, when they were young people; he also attends regularly the memorial singing established and kept up in memory of Miss Loll, his sister, who died a few years ago. And is one of the great workers in the cause of music, especially in the Stone Mountain Convention and devotes all the time to it that he can spare from his official duties. Miss Loll White died in Atlanta a few years since, she was a bright musician, and could sing most any tune in the book. She was a leader in music for eight years; performed well on the piano and organ, and was thoroughly posted in music. She was in the choir in one of the leading churches and led the music for several years, up to the time of her death. She was a woman of great beauty, well educated, highly esteemed and a Christian lady, having been a member of the Baptist Church most all her life. She was in the bloom of womanhood when death claimed her as its victim. The writer of this sketch only met Miss Loll twice. She was at the meeting, of the Concord Convention held at Douglasville the year before she died and led two beautiful lessons during that convention, and endeared herself to the people of Douglasville, and the surrounding country. She had a sweet voice, pleasant manners and led music to perfection. In honor of her name, one of the quarterlies of the Stone Mountain Singing Convention, has been converted into a memorial singing, in memory of Miss Loll White. We don’t suppose there was a more popular young woman that belonged to the convention than Miss Loll. If she had lived, she was to have been married in a few months, to one of the leading physicians of Atlanta. SOUTHERN MUSICAL AND CHATTAHOOCHEE CONVENTIONS SOUTHERN MUSICAL CONVENTION The Southern Musical Convention was organized at Huntersville, Upson County, GA., September, 1845, there was no book used at that time in the convention except the Sacred Harp. The organization of this convention was conceived by Major B. F. White, and after talking with a large number of friends, it was organized. The data that we have and herewith submit is obtained from the survivors, most of whom are getting very old, and there may be some inaccuracies in the dates and in the names of some of the officers. We haven’t bee able to get the early records, or even any of the records of this convention, but most of those who participated in the different sessions of this great gathering, and are still living, say that the facts herein detailed are substantially correct. In 1845 B. F. White was elected president, and L. P. Breedlove secretary. In 1846 the convention was held at Barnesville, Ga., with the same officers, when J. M. Denson was elected vice-president. In 1847 the convention met in Randolph county, J. M. Denson President, L. P. Breedlove, secretary. In 1848 the convention met in Merriwether county. The same officers were elected. In 1849 it met in Towalaga, Henry county, Ga., B. F. White, president, L. P. Breedlove, secretary. In 1850 it convened in Crawford county, Ga., B. F. White president, L. P. Breedlove, secretary. In 1851 it met at Antioch church, Fayette county, Ga., B. F. White, president, S. R. Penick, secretary, J. R. Turner, vice-president. In 1852 it met at Bethel church, Upson county, Ga. Same officers as in 1851. In 1853 it convened at Cowen, Pike county, Ga. Same officers as in 1851-52. In 1854 it met at Antioch church, Merriwether county. Same officers as in 1851-52-53. In 1855 it convened at Lebanon, Henry county, where the city of Hampton now stands. The same officers as in 1851-54. In 1856 it met at Mt. Zion, Merriwether county, Ga. B. F. White, president, J. R. Turner, vice-president, and T. C. Andrews, secretary. 1857 in convened at Tursey church, Henry county, Ga., B. F. White, president, and B. F. Wilson, vice-president, T. C. Andrews, secretary. 1858 the convention met at Long Cane, Troup county, Ga., B. F. White president, James M. Turner, vice-president, T. C. Andrews, secretary. At this convention, among the many other things done, there was a committee appointed to revise the Sacred Harp, and to make their report to the next annual meeting in 1859. In 1859 the convention assembled at Rocky Mount church, Merriwether county, Ga. The same officers as in 1858. Revision committee made their report and it was adopted. (See Sacred Harp, p. 26.) In 1860 the session was held at County Line church, Henry county, Ga., but now Spaulding county, with the same officers as in 1858-59. In 1861 it convened at Liberty Hill, Pike county, Ga., with the same officers as 1859-1860. In 1862 it met again in Upson county, Ga., with the same officers as in 1859-1861. In 1863-64 there was no meeting of the convention, on account of the civil war between the States. In 1865 its session was held at Locust Grove church, Henry county, Ga. This was the first session of the convention after the war closed. Rev. E. Elmore was elected president, Absalom Ogletree, vice-president, and M. M. Mann, secretary. Rev. Elm ore above named was a Lutheran preacher, and lived at Luthersville, Ga., or near there, and preached in that section of the country, and at Luther Chapel, then Campbell, but now Douglas county, about two miles west of Douglasville. In 1866 it met at Mount Zion, Pike county, with the same officers as in 1865. In 1867 the next meeting was held in Hebron church, Pike county, GA., now known as Concord church, B. F. White, president, A. Ogletree vice-president, J. P. Reese secretary. A committee was appointed at this session to make a revision of the Sacred Harp, which was finally made in 1869, and adopted. At this time Prof. E. T. Pounds, of Barnesville, was on the committee, and a very serious split occurred in the convention. Pounds and his friends contended for the use of other books besides the Sacred Harp. This contention on the part of Prof. Pounds was bitterly opposed by the older set of teachers and Sacred Harp singers. After wrangling for some time, it was finally agreed, at last, to elect Prof. Pounds president. The convention has met irregularly several times, and perhaps most of the years from that time to the present, but with much smaller attendance, on account of the use of other books, those, or most of them, who were inclined to the Sacred Harp began to fall off from the annual meetings of the convention. Prof. Pounds kept up the convention and organization as best he could. It is contended on one hand that a large number of the membership of the convention opposed the use of the publication of Prof. Pounds and that he and his friends, on the other hand, contended that the convention should use all kinds of books. From that time on the attendance of Sacred Harp singers was nothing like it had been before and most of those who did not like round or even the seven shape notes, became members of the Chattahoochee Musical Convention. This convention was no doubt the greatest organization of vocal musicians that ever met in Georgia. At each of the sessions a committee was composed of the best musicians in the convention, to examine teachers, and when they proved proficient in the profession, a certificate was given them, or license, which contained the official signatures of the officers of the convention, and when a teacher exhibited this license, no further question was made about his qualification to teach vocal music. it was the strict policy of the convention not to grant any license or certificate unless the applicant was well qualified. The result of it was that the country had in all parts men who were well versed in music for their teachers. It was considered quite an honor to be an officer of this association. For a long time it was the only organization which amounted to any thing of a general nature. In the Southern States most all other singing conventions, associations and assemblies were auxiliaries to this body. The men who composed it were the leading teachers and best singers in the State. It met annually. By an examination it will be seen that B. F. White was president of the convention for most of the time. Nearly all of those who composed the convention were members of some branch of the Christian Church. To remain a member of the convention it was required that one’s walk should be upright and character good. It had a regular constitution and by-laws, but we have not been able to secure a copy of either. It had standing committees on finance, rules and regulations, one on leaders of music at its conventions, and a committee on music generally. It was the duty of this committee to see that the music was rendered correctly and to make such suggestions as would, from time to time, advance the cause of music. No leader was permitted to vary in rendering music from the way it was written. If it had defects it was the duty of the committee on music to detect them, and to make such suggestions as they deemed best and report the same to those who were appointed from time to time to revise the Sacred Harp. At all these conventions the strictest order was preserved and everybody required to obey its rules. The consequence was that the convention had no trouble in preserving order anywhere. On several occasions, charges were brought against members, and oftentimes they were expelled. After the split in the convention came, there was no effort on the part of a great many of the teachers of the Sacred Harp, to send delegates to the convention, except in local sections, as stated before, the Sacred Harp singers, or most of them, turned their attention toward the Chattahoochee Convention, which has been kept up regularly since 1852 except perhaps, two years during the war, to the present time. A notice of its proceedings is stated elsewhere in these sketches. After the Southern Musical Convention passed into the hands of Prof. E. T. Pounds, it is claimed by him and his friends, that it was not their purpose to bar the Sacred Harp or any other music book from the convention, but to sing in any and all good books. A great many of the Sacred Harp singers have attended the convention and frequent lessons have been led in the Sacred Harp. We have been unable, so far, to get a further statement of the proceedings of the convention and owing to the limited time we have in which to get these pages printed, we shall be unable to give further notice of this great musical gathering, which is so closely identified with the authors and composers of the Sacred Harp, as well as its early use. |