"Come, we that love the Lord, And let our joys be known; Join in a song with sweet accord, And thus surround the throne. Then let our songs abound, And ev’ry tear be dry; We’re marching through Immanuel’s ground To fairer worlds on high. "
1 Come, we that love the Lord, and let our joys be known; join in a song with sweet accord, and thus surround the throne. 2 Let those refuse to sing who never knew our God; but children of the heav'nly King may speak their joys abroad. 3 The hill of Zion yields a thousand sacred sweets before we reach the heav'nly fields, or walk the golden streets. 4 Then let our songs abound, and ev'ry tear be dry; we're marching through Emmanuel's ground to fairer worlds on high.
@@ShoutsWillEcho1 Yes. It appears they are only singing the first and last verses of each hymn. I understand that they need to shorten the time spent on each song to sing as much examples as possible, but I'd still like to hear the whole versions.
Charles Wesley, the founder of the weslyan church and the modern day methodist church, was on a trip from england to France by boat. Mid-journey, a storm hit and everyone was running about scared for their life. A group of german Baptists sang church songs amidst the chaos. They survived. Charles wesly was inspired by this event and this may have influenced him more to start the weslyan church.
Tune: P. Dan Brittain, 1989 Words: Isaac Watts, 1707 Meter: Short Meter (6,6,8,6) Come, we who love the Lord, And let our joys be known; Join in a song with sweet accord, And thus surround the throne. Let those refuse to sing Who never knew our God; But children of the heav'nly King May speak their joys abroad. Then let our songs abound, And ev'ry tear be dry; We're marching through Immanuel's ground To fairer worlds on high.
Albert Head: The movement of the hand is to keep time and also because of tradition. Because the leader is in the center of a square formed by four groups of singers he always has his back to some people and this hand movement helps there too,when you are unable to see the leaders hand beating time.
Greetings, friends, from far NE Texas to you in the Republic. I see many comments here wanting more information. I claim no expertise, but the genre began in the United States. Itinerant "singing masters" from New England found esp. fertile ground for their "singing schools" in our South, which (I think) "took the ball and ran," as we say here. The genre's apogee seems to have been in the mid-19th century. Sacred Harp is written in four-part harmony and intended to be sung a capella, with the singers seated by their respective parts in a hollow square (e.g., all the bass singers on one of the four sides). The singing masters had first to teach their classes to read music--the old shape(d) notes. That is, notes of a certain shape were fa, others so(l), yet others la, still others mi. Period. (In other words, fa, for example, actually had TWO tones, or values.) The singing master would teach his class to learn a tune by "singing the notes." (The uninformed may mistake their first encounter for glossolalia, or "speaking in unknown tongues.") This was enjoyable and so it became customary, even after the class had become fully accomplished. So singing only the words is quite an exception, but far from unknown. (The choice rests with the ad hoc leader. These rotate from among members of the square. Tempo is also the leader's bailiwick, as is choice of verses: all, or just certain ones.) At the beginning of any selection the leader keys the parts, perhaps with help--depending, I suppose, on his/her range. Such helpers may stand with the leader, or remain seated within the square. Then the song is sung, Many of these feature minor tunes, even though the words may be "happy." And. as the genre is rooted in and before the 19th Century, when life was so often cut short, there is a recurring theme of preparing oneself for death--but also for resurrection. Owing to cultural conservatism the genre hung on in the South after it was fairly well extinct in other parts of the States. But in the mid- to late-20th Century a renaissance began among educated populations in urban centers outside of the South--say in Boston, Mass., or in our Pacific Northwest. The renaissance continues today among persons who value the genre as not as worship, but as an expression of folk music. In my (limited) experience, they seem to be classically/formally trained singers, which is outside the Southern tradition. (Not a criticism, at all; just a comment.) For good examples of the Southern style, query youtube with "sacred harp" and alabama, plus pisgah or henegar. I think the annual "singing convention" in Henderson, Texas is also quite good. If you have more questions, please query Wikipedia. I haven't looked in awhile but I think there are links there to additional sources. Oh. How could I forget? One such as I may enjoy simply hearing the music; but it is intended for PARTICIPANTS. And, I will grant that it may be an acquired taste, esp. for folks grounded in later genres. Peace be unto you.
Bun84067 that is exactly the idea of this style of singing. It came out of a desire to try to teach common people how to sing. If you dont like it that's fine but the point was worship not choral perfection. Sacred harp singing is not a choir, its not a performance , its something that is done by singers for each other and for God. As a non formally trained singer it has given me enough musical capacity to be able to sing 200 year old music alongside classically trained professinal musicians.
I find it interesting that if you open two UA-cam players of this, then start them at completely different times, it will never sound awful, no matter how mismatched. Curious!
Well, it's called "polyphonic", or even "multiphonic", which gives it it's unique sound. It's a very old style, and can be heard in music from the Balkans and Eastern Europe as well. It is made by basically singing four different melodies at once, one for the bass, one for the tenors, one for the altos, and one for the trebles, with different pitching. I am not musically conversant, but I would guess that playing the same sound pattern over again would simply add more to this effect, and having the meters not match up would in effect alter the sound to an overall different meter form? This is basically conjecture, so don't take my word for it. It sounds plausible at the moment though. If I am saying anything terribly incorrect, I hope someone will set me right, I hope someone will set me straight. I'm trying very hard to learn everything about this music. It has inspired me deeply.
It´s not sad, Albert. I did the same. I heard sacred harp music in "Could Mountain" for the first time and i started to listent it online. No matter the situation if you like you found. ;)
OK, so the first time I ever saw tis kind of singing was ointhe church scene in the movie, "Cold Mountain". (Yes, sad, I know!). Nevertheless, I was intrigued by both the singing style and hand actions. So I started doing some reading (and listening) online. Can someone please explain the hand actions? Is it strictly to do with timing, or is there some other significance?
Similar only in the use of solfege, and there's much more to Kodaly than just solfege. Sacred Harp only uses mi, fa. sol and la. With no "do," the tonal center is "fa," so a Major scale is expressed as fa sol la fa so la mi, and a minor scale is expressed as la mi fa sol la fa sol la. Kodaly hand signs are not used. Rhythm is taught differently. Dynamics are not addressed. Improvisation is not taught. It is not the Kodaly Method.
Mh name is Jonh Pedro Novakoski and Silva so this.music is mine só give the money arrecado in this music this is a bethuful music i love i lisérgico Éverton days
No offense, but I don't get it. Why is this better than singing from a "normal" hymn book? The singers aren't staying together very well, and some people seem off, tonally. What am I missing? (I'm trying to understand, not offend.)
Those ladies just knock it out of the park!
Make a joyful noise unto the LORD.
"Come, we that love the Lord,
And let our joys be known;
Join in a song with sweet accord,
And thus surround the throne.
Then let our songs abound,
And ev’ry tear be dry;
We’re marching through Immanuel’s ground
To fairer worlds on high. "
Does anyone else burst into tears at the sheer power and beauty of this music?
Step into the square and lead the singing. It's unbelievable the focus of God's love coming from the singers.
No tears, but I can feel the pure energy!
Yes I do. It's overwhelmingly beautiful. It is as close as I've heard to angels.
Yes
I do , it just makes my spirit soar in awe
It's nice to see so many young faces singing together with elders.
Good music for a revolution.
1 Come, we that love the Lord,
and let our joys be known;
join in a song with sweet accord,
and thus surround the throne.
2 Let those refuse to sing
who never knew our God;
but children of the heav'nly King
may speak their joys abroad.
3 The hill of Zion yields
a thousand sacred sweets
before we reach the heav'nly fields,
or walk the golden streets.
4 Then let our songs abound,
and ev'ry tear be dry;
we're marching through Emmanuel's ground
to fairer worlds on high.
Did they skip the 2nd and 3rd verses?
@@ShoutsWillEcho1 Yes. It appears they are only singing the first and last verses of each hymn.
I understand that they need to shorten the time spent on each song to sing as much examples as possible, but I'd still like to hear the whole versions.
Charles Wesley, the founder of the weslyan church and the modern day methodist church, was on a trip from england to France by boat. Mid-journey, a storm hit and everyone was running about scared for their life. A group of german Baptists sang church songs amidst the chaos. They survived. Charles wesly was inspired by this event and this may have influenced him more to start the weslyan church.
I thought it was Moravians whose courage during the storm inspired him?
This is so hypnotic and moving. Thanks for posting. Adds to the richness of the human experience.
Outstanding video, our new reference for catching singers-to-be. If this can't get people interested in Sacred Harp, nothing can.
This singing is what is meant by "on earth as it is in heaven".
Amen to that!!
Amen!
Yes. Band of angels.
Thanks so much for putting this up!
Tune: P. Dan Brittain, 1989 Words: Isaac Watts, 1707 Meter: Short Meter (6,6,8,6)
Come, we who love the Lord, And let our joys be known;
Join in a song with sweet accord, And thus surround the throne.
Let those refuse to sing Who never knew our God;
But children of the heav'nly King May speak their joys abroad.
Then let our songs abound, And ev'ry tear be dry;
We're marching through Immanuel's ground To fairer worlds on high.
I'm privileged to know the composer. A fine musician and tireless promoter of sacred Harp singing worldwide. Happy to call him my friend!
I got to meet and sing with Mr. Brittain at Camp FaSoLa last week. What an honor!
MVP
Pogchamp comment.
@@cvryder2000 It's just wonderful music.
Never fails to give me goosebumps all over
Albert Head: The movement of the hand is to keep time and also because of tradition. Because the leader is in the center of a square formed by four groups of singers he always has his back to some people and this hand movement helps there too,when you are unable to see the leaders hand beating time.
What a wonderful sound!
Absolutely speechless!
Heart warming for me to see the videos. Missing the singing in Dublin - it was great to meet you all while I was there! :D
Just so beautiful
Precious.
That was amazing.
all i can say is wow
Amazing
Greetings, friends, from far NE Texas to you in the Republic. I see many comments here wanting more information. I claim no expertise, but the genre began in the United States. Itinerant "singing masters" from New England found esp. fertile ground for their "singing schools" in our South, which (I think) "took the ball and ran," as we say here. The genre's apogee seems to have been in the mid-19th century. Sacred Harp is written in four-part harmony and intended to be sung a capella, with the singers seated by their respective parts in a hollow square (e.g., all the bass singers on one of the four sides). The singing masters had first to teach their classes to read music--the old shape(d) notes. That is, notes of a certain shape were fa, others so(l), yet others la, still others mi. Period. (In other words, fa, for example, actually had TWO tones, or values.) The singing master would teach his class to learn a tune by "singing the notes." (The uninformed may mistake their first encounter for glossolalia, or "speaking in unknown tongues.") This was enjoyable and so it became customary, even after the class had become fully accomplished. So singing only the words is quite an exception, but far from unknown. (The choice rests with the ad hoc leader. These rotate from among members of the square. Tempo is also the leader's bailiwick, as is choice of verses: all, or just certain ones.) At the beginning of any selection the leader keys the parts, perhaps with help--depending, I suppose, on his/her range. Such helpers may stand with the leader, or remain seated within the square. Then the song is sung, Many of these feature minor tunes, even though the words may be "happy." And. as the genre is rooted in and before the 19th Century, when life was so often cut short, there is a recurring theme of preparing oneself for death--but also for resurrection. Owing to cultural conservatism the genre hung on in the South after it was fairly well extinct in other parts of the States. But in the mid- to late-20th Century a renaissance began among educated populations in urban centers outside of the South--say in Boston, Mass., or in our Pacific Northwest. The renaissance continues today among persons who value the genre as not as worship, but as an expression of folk music. In my (limited) experience, they seem to be classically/formally trained singers, which is outside the Southern tradition. (Not a criticism, at all; just a comment.) For good examples of the Southern style, query youtube with "sacred harp" and alabama, plus pisgah or henegar. I think the annual "singing convention" in Henderson, Texas is also quite good. If you have more questions, please query Wikipedia. I haven't looked in awhile but I think there are links there to additional sources. Oh. How could I forget? One such as I may enjoy simply hearing the music; but it is intended for PARTICIPANTS. And, I will grant that it may be an acquired taste, esp. for folks grounded in later genres. Peace be unto you.
Thank You 😊 for all the GREAT info and background about Scared Harp singing .
Great job, Amanda!
Bun84067 that is exactly the idea of this style of singing. It came out of a desire to try to teach common people how to sing. If you dont like it that's fine but the point was worship not choral perfection. Sacred harp singing is not a choir, its not a performance , its something that is done by singers for each other and for God. As a non formally trained singer it has given me enough musical capacity to be able to sing 200 year old music alongside classically trained professinal musicians.
I find it interesting that if you open two UA-cam players of this, then start them at completely different times, it will never sound awful, no matter how mismatched. Curious!
Even three almost. Perhaps someone knowledgeable about this style of music and all it's nuances could better explain this?
Well, it's called "polyphonic", or even "multiphonic", which gives it it's unique sound. It's a very old style, and can be heard in music from the Balkans and Eastern Europe as well. It is made by basically singing four different melodies at once, one for the bass, one for the tenors, one for the altos, and one for the trebles, with different pitching. I am not musically conversant, but I would guess that playing the same sound pattern over again would simply add more to this effect, and having the meters not match up would in effect alter the sound to an overall different meter form? This is basically conjecture, so don't take my word for it. It sounds plausible at the moment though. If I am saying anything terribly incorrect, I hope someone will set me right, I hope someone will set me straight. I'm trying very hard to learn everything about this music. It has inspired me deeply.
alot of religious music uses pentatonic scales (=scales of 5 notes), where pretty much all the notes sound good together.
This is not pentatonic music.
Rachel Hopke pentatonic melody, Also a pretty lush and dense harmony.
to bun. Better? to taste! "normal" hymns harmonies are written different. its different music! keep listening for the magic! it is SO much Fun.!,
It´s not sad, Albert. I did the same. I heard sacred harp music in "Could Mountain" for the first time and i started to listent it online. No matter the situation if you like you found. ;)
RIP P Dan Brittain
como é linda essa mulher
Questa musica è la potenza di Dio!
Wow! This is amazing. I wish more people could see this video.
Spread it my brother and I will too. It's very special.
Awesome
Oops it is not about the Left or the Right hand you do your things.
It is about the Left or Right Knee Cap !
The signing is for the singers...not for an audience. Most modern ears are not tuned to polyphonic music like this.
Am I the only one who always gets messed up on the "we're marching through Emmanuels ground" part? I can't get it right!
OK, so the first time I ever saw tis kind of singing was ointhe church scene in the movie, "Cold Mountain". (Yes, sad, I know!). Nevertheless, I was intrigued by both the singing style and hand actions. So I started doing some reading (and listening) online. Can someone please explain the hand actions? Is it strictly to do with timing, or is there some other significance?
Yes, it is strictly a simple timing beat, with occasional cuing as the fuging parts are brought in.
So you like the Kodaly Zoltan Method
do re mi fa so la ti do.
Similar only in the use of solfege, and there's much more to Kodaly than just solfege. Sacred Harp only uses mi, fa. sol and la. With no "do," the tonal center is "fa," so a Major scale is expressed as fa sol la fa so la mi, and a minor scale is expressed as la mi fa sol la fa sol la. Kodaly hand signs are not used. Rhythm is taught differently. Dynamics are not addressed. Improvisation is not taught. It is not the Kodaly Method.
what is the significance of the hand movements may i ask?
They're to keep time.
To keep everyone on the same beat. Like a conductor, but the tradition is to use simpler, less flashy movements, just up and down.
Another reason I'm proud to be "Irish"..........
We need to practice banking like the Irish. My grandma was a treefry and she was a teamster. She knew how to save a family!!!
Mh name is Jonh Pedro Novakoski and Silva so this.music is mine só give the money arrecado in this music this is a bethuful music i love i lisérgico Éverton days
No offense, but I don't get it. Why is this better than singing from a "normal" hymn book? The singers aren't staying together very well, and some people seem off, tonally. What am I missing? (I'm trying to understand, not offend.)
The simple 4 shape notes also allows singers to catch onto the tune quickly
It's just another way to glorify God. Don't think too deeply about it. Just love God.
Brilliant.
She is Left handed of the Orange kind.
The left hand is Cursed according to Bible.
Brexit?
It's as beautiful as Mary and as powerful as Samson.