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Shape notes are a system of music notation designed to facilitate choral singing. Shape notes of various kinds have been used for over two centuries in a variety of sacred choral music traditions practiced primarily in the Southern region of the United States. "Shape-note singers used tune books rather than hymnals. Hymnals were pocket-size ...
Harmonia Sacra is a Mennonite shape note hymn and tune book, originally published as A Compilation of Genuine Church Music in 1832 (Singers Glen, Virginia) by Joseph Funk (1778–1862). The original publication was a "four-shape" shape note book using the shapes and syllables "faw, sol, law, and mi".
New Britain is a hymn tune which was first published under other names in the early 19th century, including St Mary's, Gallaher, Symphony, Harmony Grove and Solon. In 1835, it was paired with the lyrics of John Newton's hymn "Amazing Grace" in William Walker's The Southern Harmony, and Musical Companion. This sold over 600,000 copies in ...
An 1847 publication of Southern Harmony, showing the title "New Britain" ("Amazing Grace") and shape note music. Play ⓘ. The roots of Southern Harmony singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services.
The "Alabama" edition was a revision carried out under the leadership of O. A. Parris and John H. Deason and published in 1958. This edition utilized Jesse B. Aikin's seven-shape system; this change was made because Aikin's system was the most common among gospel singers in the South.
The Union Harmony is a shape note hymn and tune book compiled by William Caldwell. The book was released in 1837, and is part of the larger tradition of shape note singing. William Caldwell was born in 1801 in Tennessee, the son of Anthony Caldwell and Elizabeth Aiken. William Caldwell first married Cinderella Blackburn in 1829.
Modulation is sometimes said to be problematic for shape-note systems, since the shapes employed for the original key of the piece no longer match the scale degrees of the new key; [5] but the ability to use of sharp and flat symbols along with shape notes is a matter of the range of sorts available to the typographer and musical preferences.
The traditional tune, Holy Manna, is a pentatonic melody in Ionian mode originally published by William Moore in Columbian Harmony, a four-note shape-note tunebook, in 1829. [1] Like most shape-note songs from that century, it is usually written in three parts. It is commonly sung as the opening song at shape-note singing events.