Chapin brothers: Difference between revisions

From ChoralWiki
Jump to navigation Jump to search
No edit summary
m (Text replacement - " \'\'\'Description\:\'\'\' (.*) \=\=" to "{{Descr|$1}} ==")
(5 intermediate revisions by 2 users not shown)
Line 1: Line 1:
==General Information==
==General Information==
 
{{Descr|This is a list of all works said to be composed by [[Lucius Chapin]] or his brother [[Amzi Chapin]], and known publications of those works up to 1850.}}
'''Description:''' This is a list of all works said to be composed by [[Lucius Chapin]] or his brother [[Amzi Chapin]].
 
==List of Works==
==List of Works==
{{top}}
{{top}}
Line 216: Line 214:
{{btm}}
{{btm}}
{{top}}
{{top}}
*'''Thirtieth'''. First published (HTI 11003) as '''The General Doom''' in ''[[The Christian Harmony (Jeremiah Ingalls)|Ingalls' Christian Harmony]]'' (1805): Behold, with awful pomp (S.M., A, 3 vo.)  
*'''Thirtieth'''. First published (HTI 11003) as '''The General Doom''' in ''[[The Christian Harmony (Jeremiah Ingalls)|Ingalls' Christian Harmony]]'' (1805): Behold, with awful pomp (S.M., A, 3 vo.)
::Also (14590) in ''[[Patterson's Church Music (Robert Patterson)|Patterson's Church Music]]'', 1813 – And am I born to die (in G, 4 vo.)
::Also (14590) in ''[[Patterson's Church Music (Robert Patterson)|Patterson's Church Music]]'', 1813 – And am I born to die (in G, 4 vo.)
::Also (14590) in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – And am I born to die (in G, 4 vo.)
::Also (14590) in ''[[The Pittsburgh Selection (John Armstrong)|The Pittsburgh Selection]]'', 1816 – And am I born to die (in G, 4 vo.)
Line 274: Line 272:
:{{aster}}. [http://hymntune.library.uiuc.edu/default.asp Nicholas Temperley. ''The Hymn Tune Index'']
:{{aster}}. [http://hymntune.library.uiuc.edu/default.asp Nicholas Temperley. ''The Hymn Tune Index'']
:†. Included in an informal publication (not distributed) by Andrew Law in 1812.
:†. Included in an informal publication (not distributed) by Andrew Law in 1812.
==References==
*Armstrong, John. 1816. ''The Pittsburgh Selection of Psalm Tunes''. Pittsburgh, Pennsylvania: Cramer, Spear and Eichbaum. 111 pp.
*Boyd, James. 1818. ''The Virginia Sacred Music Repository''. Winchester, Virginia: J. Foster. 112 pp.
*Carden, Allen. 1820. ''The Missouri Harmony, or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors, and Well Adapted to all Christian Churches, Singing Schools, and Private Societies''. St. Louis, Missouri: Compiler. 200 pp.
*Davisson, Ananias. 1816. ''Kentucky Harmony''. Harrisonburg, Virginia: Author.
*Davisson, Ananias. 1820. ''A Supplement to the Kentucky Harmony''. Harrisonburg, Virginia: Ananias Davisson. 103 pp.
*Funk, Joseph. 1832. ''A Compilation of Genuine Church Music, Comprising a Variety of Meters, All Harmonized for Three Voices, Together with a Copious Elucidation of the Science of Vocal Music''. Winchester, Pennsylvania: Robinson and Hollis. 224 pp.
*Hamm, Charles. 1960. ''The Chapins and Sacred Music in the South and West''. Journal of Research in Music Education 8(2):91-98.
*Hauser, William. 1848. ''The Hesperian Harp: A Collection of Psalm and Hymn Tunes, Odes and Anthems''. Philadelphia: S. C. Collins. 556 pp.
*Johnson, Alexander. 1818. ''Johnson's Tennessee Harmony''. Cincinnati, Ohio: Morgan, Lodge, and Company. 110 pp.
*Law, Andrew. ca. 1812. (A collection of 16 tune settings printed by Andrew Law at the request of John Logan). [Philadelphia?]: [Andrew Law?]. An informal printing, not published.
*Lewis, Freeman. 1814. ''The Beauties of Harmony''. Pittsburgh, Pennsylvania: Cramer, Spear, Eichbaum, and Lewis. 199 pp.
*Metcalf, Samuel. 1818. ''Kentucky Harmonist, Being a Choice Selection of Sacred Music''. Cincinnati, Ohio: Morgan, Lodge, and Company. 128 pp.
*Moore, William. 1825. ''Columbian Harmony: or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors in America''. Cincinnati, Ohio: Morgan, Lodge, and Fisher. 200 pp.
*Patterson, Robert. 1813. ''Patterson’s Church Music, Containing the Plain Tunes used in Divine Worship, by the Churches of the Western Country''. Cincinnati, Ohio: Browne and Looker. 53 pp.
*Scholten, James W. 1976. ''Lucius Chapin: A New England Singing Master on the Frontier''. Contributions to Music Education (Ohio Music Education Association) No. 4, pp. 64-76.
*Steel, David Warren, and Richard H. Hulan. 2010. ''The Makers of the Sacred Harp''. Urbana, Illinois: University of Illinois Press. 322 pp.
*Temperley, Nicholas. 1998. ''The Hymn Tune Index''. Four volumes. Oxford University Press. Updated edition available [http://hymntune.library.uiuc.edu/SourceCode.asp online].
*Walker, William. 1835. ''The Southern Harmony, and Musical Companion: Containing a Choice Collection of Tunes, Hymns, Psalms, Odes and Anthems''. Spartansburg, South Carolina: William Walker. 216 pp.
*White, Benjamin, and Elisha King. 1844. ''The Sacred Harp, a Collection of Psalm and Hymn Tunes, Odes, and Anthems''. Philadelphia, Pennsylvania: S. C. Collins. 262 pp.
*Wyeth, John. 1810. ''Wyeth's Repository of Sacred Music''. Harrisburg, Pennsylvania: John Wyeth. 120 pp.
*Wyeth, John. 1813. Wyeth's Repository of Sacred Music, Part Second. Harrisburg, Pennsylvania: John Wyeth. 132 pp. Second Edition 1820, 132 pp.

Revision as of 15:33, 22 March 2021

General Information

Description: This is a list of all works said to be composed by Lucius Chapin or his brother Amzi Chapin, and known publications of those works up to 1850.

List of Works

  • Bethel (HTI 14115). First published in Law, Twenty Tunes† (1812): Let Zion and her sons rejoice (C.M., C, 4 vo.)
Also in Patterson's Church Music, 1813 – How sweet and awful is the place
Also in The Pittsburgh Selection, 1816 – How sweet and awful is the place
Also in Kentucky Harmony, 1816 – Let Zion and her sons rejoice
Also in The Missouri Harmony, 1820 – Let Zion and her sons rejoice
Also in Moore's Columbian Harmony, 1825 – My God, the spring of all my joys (3 vo.)
Also in A Compilation of Genuine Church Music, 1835 – Let Zion and her sons rejoice (3 vo.)
  • Bourbon (HTI 14915a). First published in The Beauties of Harmony (1814): Look down in pity, Lord, and see (L.M., a, 4 vo.)
Also in The Pittsburgh Selection, 1816 – Look down in pity, Lord, and see
Also in The Virginia Sacred Musical Repository, 1818 – Look down in pity, Lord, and see
Also (14915b) in Kentucky Harmonist, 1818 – Twas on that dark, that doleful night (3 vo.)
Also (14915b) in The Missouri Harmony, 1820 – Twas on that dark, that doleful night (3 vo.)
Also Dismission (14915c) in The Missouri Harmony, 1820 – I cannot bear thine absence, Lord (3 vo.)
Also in Supplement to the Kentucky Harmony, 1820 – Look down in pity, Lord, and see
Also in Moore's Columbian Harmony, 1825 – Twas on that dark, that doleful night (3 vo.)
Also in A Compilation of Genuine Church Music, 1835 – From deep distress and troubled thoughts (3 vo.)
Also in The Hesperian Harp, 1848 – Twas on that dark, that doleful night (3 vo.)
  • Consolation (HTI 14117). First published in Law, Twenty Tunes† (1812): Come, humble sinner, in whose breast (C.M., a, 4 vo.)
Also in Wyeth's Repository, Part Second, 1813 – Once more, my soul, the rising day (3 vo.)
Also in Kentucky Harmony, 1816 – Once more, my soul, the rising day
Also in Kentucky Harmony, Ed. 2, 1817 – Once more, my soul, the rising day
Also in The Virginia Sacred Musical Repository, 1818 – Now shall my inward joys arise
Also in Johnson's Tennessee Harmony, 1818 – Once more, my soul, the rising day (3 vo.)
Also in Kentucky Harmonist, 1818 – Once more, my soul, the rising day
Also in Kentucky Harmony, Ed. 3, 1819 – Once more, my soul, the rising day
Also in The Missouri Harmony, 1820 – Once more, my soul, the rising day
Also in Moore's Columbian Harmony, 1825 – Once more, my soul, the rising day (3 vo.)
Also in Virginia Harmony, 1831 – Once more, my soul, the rising day (3 vo.)
Also in A Compilation of Genuine Church Music, 1831 – Once more, my soul, the rising day (3 vo.)
Also in Southern Harmony, 1835 – Once more, my soul, the rising day (3 vo.)
Also in The Sacred Harp, 1844 – Once more, my soul, the rising day (3 vo.)
  • Consolation New (HTI 14765). First published as Consolation in Wyeth's Repository, Part Second (1813): Come on, my partners in distress (886.886., a, 2 vo.)
Also in Johnson's Tennessee Harmony, 1818 – Come on, my partners in distress (3 vo.)
Also in Moore's Columbian Harmony, 1825 – Come on, my partners in distress (3 vo.)
Also Consolation in Supplement to the Kentucky Harmony, 1826 – Come on, my partners in distress (3 vo.)
Also in Southern Harmony, 1835 – Come on, my partners in distress (3 vo.)
Also in The Sacred Harp, 1844 – Come on, my partners in distress (3 vo.)
Also in The Hesperian Harp, 1848 – Come on, my partners in distress (3 vo.)
  • Unattributed.
Also (13551c) in Law, Twenty Tunes†, 1812 – My soul forsakes her vain delights (4 vo.)
Also (13551c) in Patterson's Church Music, 1813 – Alas! and did my Savior bleed (4 vo.)
Also (13551c) in The Beauties of Harmony, 1814 – Alas! and did my Savior bleed (4 vo.)
Also (13551c) in The Pittsburgh Selection, 1816 – Alas! and did my Savior bleed (4 vo.)
Also (13551c) in Kentucky Harmony, 1816 – Death! What a solemn word to all (4 vo.)
Also Communion in The New-Brunswick Collection of Sacred Music, 1817 – Alas! and did my Savior bleed (2 vo.)
Also (13551c) in The Virginia Sacred Musical Repository, 1818 – Alas! and did my Savior bleed (4 vo.)
Also Communion in Johnson's Tennessee Harmony, 1818 – Alas! and did my Savior bleed
Also (13551c) in Kentucky Harmonist, 1818 – Alas! and did my Savior bleed (4 vo.)
Also (13551c) in Kentucky Harmony, Ed. 3, 1819 – Death! What a solemn word to all (4 vo.)
Also Sincerity (13551b) in The Evening Star, 1820 – My soul, come meditate the day
Also (13551c) in The Missouri Harmony, 1820 – Death! What a solemn word to all (4 vo.)
Also in Moore's Columbian Harmony, 1825 – Alas! and did my Savior bleed (4 vo.)
Also Whiting in The Christian Lyre, 1831 – Long have I tried terrestrial joys (2 vo.)
Also in A Compilation of Genuine Church Music, 1835 – Alas! and did my Savior bleed
Also in The Hesperian Harp, 1848 – Death, what a solemn word to all (4 vo.)
  • Atributed to Amzi Chapin in Mudge
    (1889), uncertain on what basis.
  • New Monmouth (HTI 14120). First published in Law, Twenty Tunes† (1812): Come thou fount of every blessing (87.87., a, 4 vo.)
Also in Wyeth's Repository, Part Second, 1813 – Come thou fount of every blessing (2 vo.)
Also New-Monmouth in Kentucky Harmony, 1816 – Come thou fount of every blessing (3 vo.)
Also New-Monmouth in Kentucky Harmony, Ed. 2, 1817 – Come thou fount of every blessing (3 vo.)
Also Monmouth in Kentucky Harmonist, 1818 – Come thou fount of every blessing (3 vo.)
Also Newmonmouth in Kentucky Harmony, Ed. 3, 1819 – Come thou fount of every blessing (3 vo.)
Also New-Monmouth in The Missouri Harmony, 1820 – Come thou fount of every blessing
Also in A Compilation of Genuine Church Music, 1835 – Come thou fount of every blessing (3 vo.)
Also in The Hesperian Harp, 1848 – Come thou fount of every blessing
  • Ninety-Fifth (HTI 14592). First published in Patterson's Church Music (1813): When I can read my title clear (C.M., A, 4 vo.)
Also in Wyeth's Repository, Part Second, 1813 – When I can read my title clear
Also in The Beauties of Harmony, 1814 – When I can read my title clear
Also in The Pittsburgh Selection, 1816 – When I can read my title clear
Also in Kentucky Harmony, 1816 – When I can read my title clear
Also in Kentucky Harmony, Ed. 2, 1817 – When I can read my title clear
Also in Johnson's Tennessee Harmony, 1818 – When I can read my title clear
Also in Kentucky Harmonist, 1818 – When I can read my title clear
Also in Kentucky Harmony, Ed. 3, 1819 – When I can read my title clear
Also in The Missouri Harmony, 1820 – When I can read my title clear
Also in Moore's Columbian Harmony, 1825 – When I can read my title clear
Also in Virginia Harmony, 1831 – When I can read my title clear
Also in Southern Harmony, 1835 – When I can read my title clear
Also in The Sacred Harp, 1844 – When I can read my title clear
Also in The Hesperian Harp, 1848 – When I can read my title clear
  • Attributed to Lucius Chapin by Hamm (1960). Uncertain to what Ninety-Fifth refers.
  • Ninety-Third (HTI 10990a). First published as Delay in Ingalls' Christian Harmony (1805): Ah, whither should I go (S.M., C, 3 vo.)
Also Brentford (HTI 14116) in Law, Twenty Tunes† (1812): Well, the redeemer's gone, t'appear before our God (4 vo.)
Also Kentucky (10990c) in David's Harp, 1813 – My God, my life, my love
Also (10990b) in Patterson's Church Music, 1813 – Raise your triumphant songs (4 vo.)
Also (10990b) in Wyeth's Repository, Part Second, 1813 – Raise your triumphant songs (4 vo.)
Also (10990b) in The Beauties of Harmony, 1814 – Come, all harmonious tongues (4 vo.)
Also (10990b) in The Pittsburgh Selection, 1816 – Come, all harmonious tongues (4 vo.)
Also (10990b) in Kentucky Harmony, 1816 – My Savior and my King (4 vo.)
Also Kentucky (10990c) in The Virginia Sacred Minstrel, 1817 – Behold the throne of grace
Also (10990b) in Johnson's Tennessee Harmony, 1818 – Raise your triumphant songs (4 vo.)
Also (10990b) in Kentucky Harmonist, 1818 – Come, all harmonious tongues (4 vo.)
Also (10990b) in The Missouri Harmony, 1820 – My Savior and my King (4 vo.)
Also in Moore's Columbian Harmony, 1825 – And must this body die (4 vo.)
Also in Virginia Harmony, 1831 – O may thy powerful word
Also Kentucky in The Christian Lyre, 1831 – A charge to keep I have (2 vo.)
Also in A Compilation of Genuine Church Music, 1835 – My Savior and my King
Also in The Hesperian Harp, 1848 – We lift our hearts to thee (4 vo.)
  • Scholten (1976) and Steel (2010)
    say 1812-1813 arrangement
    made by Lucius Chapin.
    Uncertain to what
    Ninety-Third refers.
Also (15960b) in Johnson's Tennessee Harmony, 1818 – Come, thou fount of every blessing (87.87.D.3 vo.)
Also (15960c) in The Missouri Harmony, 1820 – Come, thou fount of every blessing (87.87.D.3 vo.)
Also in Supplement to the Kentucky Harmony, 1820 – Come, thou fount of every blessing
Also Ebenezer in Songs of Zion, 1821 – Come, thou fount of every blessing (87.87.D.)
Also in Moore's Columbian Harmony, 1825 – Come, thou fount of every blessing (87.87.D.3 vo.)
Also in A Compilation of Genuine Church Music, 1835 – Hail! Thou once despised Jesus (87.87.D.3 vo.)
Also in Southern Harmony, 1835 – Come, thou fount of every blessing (87.87.D.3 vo.)
Also in The Sacred Harp, 1844 – Come, thou fount of every blessing (87.87.D.3 vo.)
Also in The Hesperian Harp, 1848 – Come, thou fount of every blessing (87.87.D.)
  • Primrose (HTI 14122). First published as Twenty-Fourth in Law, Twenty Tunes† (1812): My Savior, my almighty friend (C.M., A, 4 vo.)
Also Twenty-Fourth in Patterson's Church Music, 1813 – Salvation! Oh, the joyful sound
Also Twenty-Fourth in Wyeth's Repository, Part Second, 1813 – Salvation! Oh, the joyful sound (3 vo.)
Also Twenty-Fourth in The Beauties of Harmony, 1814 – Salvation! Oh, the joyful sound
Also Duffield in The Philadelphia Third Presbyterian Church Collection, 1815 – Give me the wings of faith to rise (in B2 vo.)
Also Twenty-Fourth in The Pittsburgh Selection, 1816 – Salvation! Oh, the joyful sound
Also in Kentucky Harmony, 1816 – Salvation! Oh, the joyful sound
Also in Kentucky Harmony, Ed. 2, 1817 – Salvation! Oh, the joyful sound
Also Twenty-Fourth in The Virginia Sacred Musical Repository, 1818 – Salvation! Oh, the joyful sound
Also Orange in Johnson's Tennessee Harmony, 1818 – Come, happy souls, approach your God
Also Twenty-Fourth in Kentucky Harmonist, 1818 – Salvation! Oh, the joyful sound
Also in Kentucky Harmony, Ed. 3, 1819 – Salvation! Oh, the joyful sound
Also in The Missouri Harmony, 1820 – Salvation! Oh, the joyful sound
Also Orange in Moore's Columbian Harmony, 1825 – Salvation! Oh, the joyful sound
Also in Virginia Harmony, 1831 – Salvation! Oh, the joyful sound (3 vo.)
Also Melody in The Christian Lyre, 1831 – There is a land of pure delight (2 vo.)
Also in A Compilation of Genuine Church Music, 1835 – Hosanna to the Prince of light (3 vo.)
Also in Southern Harmony, 1835 – Salvation! Oh, the joyful sound (3 vo.)
Also in The Sacred Harp, 1844 – Salvation! Oh, the joyful sound (3 vo.)
Also in The Hesperian Harp, 1848 – Salvation! Oh, the joyful sound
  • Attributed to Lucius Chapin by Temperley*,
    but Lucius himself, Scholten (1976),
    and Steel (2010) attribute to
    Amzi Chapin. Uncertain to
    what Twenty-Fourth refers.
  • Rockbridge (HTI 14121). First published in Law, Twenty Tunes† (1812): Sweet is the work, my God, my king (L.M., C, 4 vo.)
Also in Patterson's Church Music, 1813 – Far from my thoughts, vain world, be gone
Also in Wyeth's Repository, Part Second, 1813 – Far from my thoughts, vain world, be gone (3 vo.)
Also in The Beauties of Harmony, 1814 – Far from my thoughts, vain world, be gone
Also in The Philadelphia Third Presbyterian Church Collection, 1815 – The Lord, how wondrous are his ways (2 vo.)
Also in The Pittsburgh Selection, 1816 – Far from my thoughts, vain world, be gone
Also in Kentucky Harmony, 1816 – Sweet is the work, my God, my king
Also in Kentucky Harmony, Ed. 2, 1817 – Sweet is the work, my God, my king
Also in The New-Brunswick Collection of Sacred Music, 1817 – Far from my thoughts, vain world, be gone (2 vo.)
Also in Johnson's Tennessee Harmony, 1818 – Before Jehovah's awful throne
Also in Kentucky Harmonist, 1818 – Far from my thoughts, vain world, be gone
Also in Kentucky Harmony, Ed. 3, 1819 – Sweet is the work, my God, my king
Also in The Missouri Harmony, 1820 – Sweet is the work, my God, my king
Also in Moore's Columbian Harmony, 1825 – Sweet is the work, my God, my king
Also in Virginia Harmony, 1831 – Sweet is the work, my God, my king (3 vo.)
Also in A Compilation of Genuine Church Music, 1835 – Sweet is the work, my God, my king (3 vo.)
Also in Southern and Western Pocket Harmonist, 1846 – Life is the time to serve the Lord (3 vo.)
Also in The Hesperian Harp, 1848 – Sweet is the work, my God, my king
  • Law (1812), Hamm (1960),
    Scholten (1976), and Temperley*
    all attribute this
    to Lucius Chapin.
  • Rockingham (HTI 14593). First published in Patterson's Church Music (1813): My God, the spring of all my joys (C.M., A, 4 vo.)
Also in Wyeth's Repository, Part Second, 1813 – Salvation! Oh, the joyful sound
Also in The Beauties of Harmony, 1814 – My God, what endless pleasures dwell
Also in The Pittsburgh Selection, 1816 – My God, what endless pleasures dwell
Also in Kentucky Harmony, Ed. 2, 1817 – Thus saith the mercy of the Lord
Also in Kentucky Harmonist, 1818 – My God, what endless pleasures dwell
Also in Kentucky Harmony, Ed. 3, 1819 – Thus saith the mercy of the Lord
Also in The Missouri Harmony, 1820 – Thus saith the mercy of the Lord
Also in Moore's Columbian Harmony, 1825 – Alas, and did my Savior bleed
Also in A Compilation of Genuine Church Music, 1835 – Come, happy souls, approach your God (3 vo.)
Also in The Hesperian Harp, 1848 – Thus saith the mercy of the Lord
Also in The Sacred Harp, 1850 – Salvation! Oh, the joyful sound (3 vo.)
  • Thirtieth. First published (HTI 11003) as The General Doom in Ingalls' Christian Harmony (1805): Behold, with awful pomp (S.M., A, 3 vo.)
Also (14590) in Patterson's Church Music, 1813 – And am I born to die (in G, 4 vo.)
Also (14590) in The Pittsburgh Selection, 1816 – And am I born to die (in G, 4 vo.)
Also (14590) in Kentucky Harmonist, 1818 – And am I born to die (in G, 4 vo.)
Also in The Sacred Harp, 1844 – And am I born to die (in G)
  • Temperley* says 1813 arrangement
    is by Lucius or Amzi Chapin;
    Steel (2010) says 1844 arrangement
    is by Elisha J. King.
    Uncertain to what Thirtieth refers.
  • Tribulation (HTI 14594). First published in Patterson's Church Music (1813): Lord, what a wretched land is this (C.M., d, 4 vo.)
Also in The Pittsburgh Selection, 1816 – Lord, what a wretched land is this
Also in Kentucky Harmony, 1816 – Death! 'Tis a melancholy day
Also in Kentucky Harmonist, 1818 – Lord, what a wretched land is this
Also in The Missouri Harmony, 1820 – Death! 'Tis a melancholy day
Also in Moore's Columbian Harmony, 1825 – Death! 'Tis a melancholy day
Also in Virginia Harmony, 1831 – Death! 'Tis a melancholy day (3 vo.)
Also Youthful Piety in A Compilation of Genuine Church Music, 1835 – Come, let us now forget our mirth (3 vo.)
Also in Southern Harmony, 1835 – Death! 'Tis a melancholy day (3 vo.)
Also in The Sacred Harp, 1844 – Death! 'Tis a melancholy day (3 vo.)
Also in The Hesperian Harp, 1848 – Death! 'Tis a melancholy day
  • Unitia (HTI 14118). First published as Eunitia in Law, Twenty Tunes† (1812): Oh, tell me no more (55.65., G, 4 vo.)
Also in Wyeth's Repository, Part Second, 1813 – Oh, tell me no more
Also in Patterson's Church Music, 1813 – Oh, tell me no more
Also in The Beauties of Harmony, 1814 – Oh, tell me no more
Also in The Pittsburgh Selection, 1816 – Oh, tell me no more
Also in The Virginia Sacred Musical Repository, 1818 – Oh, tell me no more
Also in Kentucky Harmonist, 1818 – Oh, tell me no more
Also (17140) in Supplement to the Kentucky Harmony, 1820 – Oh, tell me no more
Also in Moore's Columbian Harmony, 1825 – Oh, tell me no more
Also in A Compilation of Genuine Church Music, 1835 – Begone, unbelief (3 vo.)
Also in The Hesperian Harp, 1848 – But this I do find
  • Vernon (HTI 10998a). First published as Farewell Hymn in Ingalls' Christian Harmony (1805): Give ear to me, ye sons of men (L.M., d, 4 vo.)
Also (10998b) in Patterson's Church Music, 1813 – Lord, what a heaven of saving grace (in e)
Also (10998b) in Wyeth's Repository, Part Second, 1813 – Lord, what a heaven of saving grace (in e)
Also (10998b) in The Pittsburgh Selection, 1816 – Lord, what a heaven of saving grace (in e)
Also (10998b) in The Virginia Sacred Musical Repository, 1818 – Lord, what a heaven of saving grace (in e)
Also (10998c) in Kentucky Harmonist, 1818 – Come, O thou traveller unknown (in e)
Also (10998c) in The Missouri Harmony, 1820 – Come, O thou traveller unknown (in e)
Also (10998b) in Supplement to the Kentucky Harmony, 1820 – Lord, what a heaven of saving grace (in e)
Also in Moore's Columbian Harmony, 1825 – Come, O thou traveller unknown (in e)
Also in A Compilation of Genuine Church Music, 1835 – Come, O thou traveller unknown (88.88.88.in e)
Also in Southern Harmony, 1835 – Come, O thou traveller unknown (88.88.88.in e3 vo.)
Also in The Sacred Harp, 1844 – Come, O thou traveller unknown (88.88.88.in e)
Also in The Hesperian Harp, 1848 – Come, O thou traveller unknown (in e)

__________________________________________________________________________

 *. Nicholas Temperley. The Hymn Tune Index
†. Included in an informal publication (not distributed) by Andrew Law in 1812.

References

  • Armstrong, John. 1816. The Pittsburgh Selection of Psalm Tunes. Pittsburgh, Pennsylvania: Cramer, Spear and Eichbaum. 111 pp.
  • Boyd, James. 1818. The Virginia Sacred Music Repository. Winchester, Virginia: J. Foster. 112 pp.
  • Carden, Allen. 1820. The Missouri Harmony, or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors, and Well Adapted to all Christian Churches, Singing Schools, and Private Societies. St. Louis, Missouri: Compiler. 200 pp.
  • Davisson, Ananias. 1816. Kentucky Harmony. Harrisonburg, Virginia: Author.
  • Davisson, Ananias. 1820. A Supplement to the Kentucky Harmony. Harrisonburg, Virginia: Ananias Davisson. 103 pp.
  • Funk, Joseph. 1832. A Compilation of Genuine Church Music, Comprising a Variety of Meters, All Harmonized for Three Voices, Together with a Copious Elucidation of the Science of Vocal Music. Winchester, Pennsylvania: Robinson and Hollis. 224 pp.
  • Hamm, Charles. 1960. The Chapins and Sacred Music in the South and West. Journal of Research in Music Education 8(2):91-98.
  • Hauser, William. 1848. The Hesperian Harp: A Collection of Psalm and Hymn Tunes, Odes and Anthems. Philadelphia: S. C. Collins. 556 pp.
  • Johnson, Alexander. 1818. Johnson's Tennessee Harmony. Cincinnati, Ohio: Morgan, Lodge, and Company. 110 pp.
  • Law, Andrew. ca. 1812. (A collection of 16 tune settings printed by Andrew Law at the request of John Logan). [Philadelphia?]: [Andrew Law?]. An informal printing, not published.
  • Lewis, Freeman. 1814. The Beauties of Harmony. Pittsburgh, Pennsylvania: Cramer, Spear, Eichbaum, and Lewis. 199 pp.
  • Metcalf, Samuel. 1818. Kentucky Harmonist, Being a Choice Selection of Sacred Music. Cincinnati, Ohio: Morgan, Lodge, and Company. 128 pp.
  • Moore, William. 1825. Columbian Harmony: or a Choice Collection of Psalm Tunes, Hymns, and Anthems, Selected from the Most Eminent Authors in America. Cincinnati, Ohio: Morgan, Lodge, and Fisher. 200 pp.
  • Patterson, Robert. 1813. Patterson’s Church Music, Containing the Plain Tunes used in Divine Worship, by the Churches of the Western Country. Cincinnati, Ohio: Browne and Looker. 53 pp.
  • Scholten, James W. 1976. Lucius Chapin: A New England Singing Master on the Frontier. Contributions to Music Education (Ohio Music Education Association) No. 4, pp. 64-76.
  • Steel, David Warren, and Richard H. Hulan. 2010. The Makers of the Sacred Harp. Urbana, Illinois: University of Illinois Press. 322 pp.
  • Temperley, Nicholas. 1998. The Hymn Tune Index. Four volumes. Oxford University Press. Updated edition available online.
  • Walker, William. 1835. The Southern Harmony, and Musical Companion: Containing a Choice Collection of Tunes, Hymns, Psalms, Odes and Anthems. Spartansburg, South Carolina: William Walker. 216 pp.
  • White, Benjamin, and Elisha King. 1844. The Sacred Harp, a Collection of Psalm and Hymn Tunes, Odes, and Anthems. Philadelphia, Pennsylvania: S. C. Collins. 262 pp.
  • Wyeth, John. 1810. Wyeth's Repository of Sacred Music. Harrisburg, Pennsylvania: John Wyeth. 120 pp.
  • Wyeth, John. 1813. Wyeth's Repository of Sacred Music, Part Second. Harrisburg, Pennsylvania: John Wyeth. 132 pp. Second Edition 1820, 132 pp.