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Illustration 1. A page from The Easy Instructor. Courtesy of the Clements Library, (See "Edition F" in check list, page 45, also Illustration 4, page The Easy Instructor(1798-1831) A History and Bibliographyof the First Shape Note Tune Book

IRVING LOWENS and ALLEN P. BRITTON

ACRUCIAL problem faced by our complexity. It failed to win adherents, earliest music educators- and although the Introduction itself proved one whose difficulties puzzle us still- to be something of a best-seller, going was how to teach successfully the core through eleven editions. skill of reading music at sight. The ap- Among the ingenious notations proach through notational reform, now which followed in the wake of the consideredhopelessly quixotic, came in Tufts experiment, none was more for a good deal of attention in eight- remarkablethan the "shape note" sys- eenth and early nineteenth century tem which made its first public appear- America. Indeed, the first music text- ance in the pages of a quite extraordi- book published on this side of the At- nary tune book, The Easy Instructor, lantic, John Tufts' An Introduction to "by" William Little and William the Singing of Psalm Tunes (Boston, Smith. The shape note idea was the 1721, perhaps earlier), presented an kind of inspired solution to a knotty innovation which was no doubt of some problem which seems perfectly obvi- value in a situation where the art ous once it has been suggested. It con- of reading orthodox notation had vir- sisted merely of using a differently tually disappeared. The nub of the shaped note head to represent each of problem was to devise a system in the four syllables. Thus, a triangular which pitch, time, and solmization note head represented fa, a round note were combined into a single, easily as- head sol, a square note head la, and a similated notation. The Tufts solution, diamond note head mi. In all other re- apparently not wholly original,1 was spects, the notation was completely to abandon ordinary notes entirely and orthodox. (See illustration on opposite to substitute upon the staff the initial page.) letters of the four solmization syllables The clear advantages of the shape (fa, sol, la, mi) then in universal use note system are almost immediately in Great Britain. Time values were in- apparent. Providing an individual dicated with punctuation marks. This shape for each syllable enables any- was quite adequate for the traditional one, after a modicum of attention to tunes Tufts included in his psalm the matter, to name the proper sylla- written and little clearly unpretentious bles of any piece of music instantane- but the was pamphlet, system unwieldy ously. One of the genuine difficultiesin and to music of greater ill-adapted ordinary solmization lies in the fact that keys change and hence do (or fa 1See Sirvart Poladian, "Rev. John Tufts in the fasula system) does not remain and Three-Part Psalmody in America," Jour. in the same place. The student must of the Amer. Musicol. Soc., IV (Fall 1951), 276-277. make continual mental computations. 32 JOURNAL OF RESEARCH IN MUSIC EDUCATION With shape notes, this is completely notes"--had nothing to do with the avoided. A somewhat subtler advan- system's merits or demerits. The shape tage is that the shapes are continually notes from their very inception were before the singer whether he happens closely associated with a remarkable to be singing words or syllables. Thus, indigenous music which began its de- the true function of any solmization velopment in Connecticut in the 1780's system-that of aiding in the auto- and shortly afterward blanketed New matic identification of scale degrees- England and the Middle Atlantic is emphasized and capitalized upon states.3 The "reformers" who quickly through shape notes in a fashion im- arose in earnest protest against this possible in any system which permits first flowering of American musical ex- abandonment of the process of syllabi- pression, all too conscious of the Euro- fication when words are sung. Com- pean musical tradition and possessed parison of the shape note system with of an inferiority complex regarding that of Tonic Sol-Fa, so successful in peculiarly American cultural manifes- the British Isles, highlights the superi- tations, eventually saw to the elimina- ority of the Easy Instructor idea. The tion of this music from American life, symbols of Tonic Sol-Fa are not at least in the North. In the meantime, posited upon a staff, and hence the pic- the shape note system and the music torial suggestion of tonal direction pro- itself became completely identified. vided by staff notation is lost. Failure Shape notes came to be regarded in to use the staff demands a complicated urban centers as the musical notation method of octave identification, and of the country people, the naive, sim- failure to use regular notes demands ple people who sang for their own en- a similarly complicated method of rep- joyment songs in a strange, almost resenting time values. Furthermore, primitive native idiom. Leaders of fine Tonic Sol-Fa is quite independent of city choirs, busy with Pucitta and Neu- orthodox notation, whereas the shape komm as well as Handel and Haydn, notes utilize the standard notation and would have nothing to do with such add to it a graphic, quickly compre- music nor with such notation. Inevi- hended key to relative scale degrees. tably, the city choir leaders became the No one who has witnessed the aston- first music teachers in the public ishing sight-singing virtuosity exhibited schools. Shape notes were never ad- by the shape note singers of the rural mitted to the classroom. As a result, South today, trained with what is the child who learns music in our basically the Easy Instructor method, schools today must do so without the can possibly doubt the effectiveness of aid that they might give.4 the device. Had this pedagogical tool The earliest reference to The Easy been accepted by "the father of sing- Instructor and to the shape note sys- ing among the children," Lowell tem is to be found in a "title-page" Mason, and others who shaped the patterns of American music education, 2Musical Magazine, I (July 1835), 87. we might have been more successful in 3For a brief analysis of this music, see developing skilled music readers and Allen P. Britton, "The Musical Idiom in Early enthusiastic amateur choral in American Tune Books," Jour. of the Amer. singers Musicol. Soc., III (Fall 1950), 186. the public schools. The reasons for the 4This entire subject is dealt with in the rejection of shape notes-Thomas unpubl. diss. (University of Michigan, 1949) one of their most vociferous by Allen P. Britton, "Theoretical Introduc- Hastings, tions in American Tune Books to 1800" (Uni- early detractors, called them "dunce versity Microfilms, No. 1505), pp. 313-332. 0

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THE FIRST SHAPE NOTE TUNE BOOK 33 which was deposited for copyright in The report reads as follows: the Southern District of Pennsylvania PHILADELPHIA, August 15, 1798. on 1798: August 15, The Committee appointed by the URA- THE Easy Instructor, or a New Method NIAN SOCIETY of PHILADELPHIA, to of teaching Sacred Harmony, containing the examine a Singing Book, entitled, "THE Rudiments of Music on an improved Plan, EASY INSTRUCTOR," BY WILLIAM wherein the Naming and Timing the notes, LITTLE, are familiarized to the weakest capacity. REPORT.....That having carefully ex- Likewise, an Essay on Composition, with amined the same, they find it contains a directions to enable any person with a toler- well digested system of principles and rules, able voice, to take the air of any piece of and a judicious collection of tunes: And from Music at sight, and perform it by word, the improvement of having only four signi- without singing it by note. Also, the Transpo- ficant characters, indicating, at sight, the sition of Mi, rendering all the keys in music names of the notes, and a sliding rule for as easy as the natural key, whereby the timing the same, this book is considered errors in Composition and the press may be easier to be learned than any we have seen. known. Together with a choice collection of Were it possible to acquire the sound of from most Psalm Tunes, and Anthems, the the eight notes but by imitation, they verily celebrated Authors in Europe, with a number believe they might be obtained by the help composed in Europe and America, entirely of this book, even without an instructor. new; suited to all the metres sung in the The Committee are of opinion the Author different Churches in the United States. merits the patronage and encouragement of Published for the use of Singing Societies all friends to Church Music: in but more for those general, particularly Whichis submittedto, who have not the advantage of an Instructor. EDWARD STAMMERS, EDWARD By STAMMERS, RICHARD T. LEECH.6 WILLIAM LITTLE. Copy right secured according to Three aspects of this report present Act of Congress. special difficulties when considered to- the date coincides with Surprisingly, the name of Edward gether: (1) that of the Stammers appears where one might ex- Pennsylvania copyright Little is as sole au- pect to find that of William Smith. entry; (2) given thor in the of the the Who was Stammers?His name appears body report; (3) names of Stammersand Leech are in every known edition of The Easy pre- ceded the "which sub- Instructor, together with that of Rich- by phrase is mitted to."' A number of ard T. Leech, in connection with a re- questions port of a committee of the Uranian So- 6Ed. A, pp. [3]-4. What the "sliding rule" of Philadelphia printed therein. might have been remains a matter of conjec- ciety ture. No further reference to it occurs in the introductory musical instructions. The title of 'From the original at the Library of Con- Benjamin Dearborn's The Vocal Instructor, gress (M2116 L77). The authors here wish copyrighted in Massachusetts in 1797 but to express their thanks to the staff members apparently never published, mentions "a sliding of the Music Division, the Descriptive Cata- music scale, never before publish'd in which loging Division, and the Rare Book Room for a moveable index points out the names and unstinted assistance and cooperation. Grateful distances of the notes in all their variations." acknowledgment is also made to the staffs of See Evans' American Bibliography, No. 32021. the New York Public Library, the Newberry 7The complete phrase appears before the Library, the Case Memorial Library of the names of Stammers and Leech only in Eds. Hartford Seminary Foundation, the Brown A-Da. In Eds. Db-I, the phrase reads, "which University Library, the Clements Library of is submitted," thus making it appear that the the University of Michigan, and many others two men submitted the report. In Eds. J-BB, for their cooperation over a period of years the whole phrase is omitted, and Stammers without which this study would have been and Leech seem to be the signers of the impossible. recommendation. 34 JOURNAL OF RESEARCH IN MUSIC EDUCATION arise. Since report and copyright entry of a posthumously published tune were submitted on the same day, why book, the Philadelphia Chorister is not Stammers credited as co-author (Philadelphia: J. McCulloch, 1803),8 in both? Did Stammers actually assist Stammers was obviously quite capable Little in compiling the book, or was he of having edited The Easy Instructor engaging in some way to sponsor its and devised the shape note system. publication in return for credit as co- Whether he actually did so must re- author? What is the meaning of the main an unanswered question; what strange closing phrase, i.e., did Stam- little evidence is now available points mers and Leech submit or receive the to the probability that he was respon- report? Since Little is given as sole sible only for instructions and music author in the report, how is it that the in the 1798 manuscript, which, so far name of William Smith is given as co- as is known, never achieved publica- author on the title-page of all known tion under the title Easy Instructor. printed editions? (A further difficulty The invention of the shape note sys- arises in connection with the 1802 New tem itself, however, is even more diffi- York copyright to be discussed below, cult to establish, although here proba- which, like the report, gives Little as bility favors Little as its originator. sole author.) None of these questions William Little's very obscurity as a can now be answered with certainty al- practicing musician lends some cre- though some general conclusions re- dence to this theory. The phrase in the garding the Stammers-Little-Smithre- 1798 copyright deposit, "whereby lationship will presently be deduced. errors in ... the press may be known," The "choice collection of Psalm and the typographical nature of the Tunes, and Anthems, from the most shape note concept give rise to the celebrated Authors in Europe [italics suspicion that someone engaged in the supplied], with a number composed in printing trades was in some way asso- Europe and America, entirely new" of ciated with the venture. If this suppo- the 1798 copyright entry clearly does sition is correct, the William Little who not pertain to any of the known early was an obscure printer in Philadelphia editions of the tune book, all of which during 1802 and 18039 may well have contain almost exclusively American been Stammers'associate. The assump- music in the distinctive native idiom. tion that Little was a printer inter- This description of an Easy Instructor ested in music (he was interested unknown in print presupposes a com- piler familiar with the European tradi- tion, which Stammers certainly must Chorister located to date is at the New-York have been. As a member of a promi- Historical Society. The authors would like nent society and the compiler here to express their indebtedness to Miss singing Geraldine Beard of the Society's staff for considerable help in establishing the chronology 8Stammers is listed as a baker in the of the early Albany printing firms sketched in Philadelphia directories of 1798 through 1802. this study. In 1803 appears, "Stammers, widow of Ed- 9H. Glenn Brown and Maude O. Brown, ward, baker." As the directories were invari- A Directory of the Book-Arts and Book Trade ably published in the October preceding the in Philadelphia to 1820 (New York, 1950), dated year, Stammers apparently died prior to p. 76. A William Little-perhaps the same October, 1802. It is possible that his Phila- individual-was 'also active in New York as delphia Chorister is actually the original a printer during 1808 and 1809; see George manuscript of The Easy Instructor in print, L. McKay, A Register of Artists, Engravers, since it corresponds fairly well with the Booksellers, Bookbinders, Printers & Pub- description of content in the 1798 copyright lishers in New York City, 1633-1820 (New of the latter work. The only Philadelphia York, 1942), p. 44. THE FIRST SHAPE NOTE TUNE BOOK 35

enough to do a little composing, for improved plan, wherein the naming and four of his tunes appear in the earliest timing of the notes are familiarized to the known edition, see Ed. A below) rather weakest capacity. II. A choice collection of tunes and from than a professional musician helps to psalm anthems, the most celebrated with a number explain why another Wil- authors, composed collaborator, in Europe and suited liam became when America, entirely new; Smith, necessary to all the metres sung in the different churches Stammers died before The Easy In- in the United States. Published for the use structor appeared in print, and also of singing societies in general, but more par- the peculiarly distant relationship be- ticularly for those who have not the advan- tween Little and the tune book of tage of an instructor. By William Little and which he was supposedly one of the William Smith. [Philadelphia. 1798. Pp. 74. compilers. Obl. 12mo.] Although it is clear from the Uran- Evans evidently transcribed the title from ian Society committee report that a page one of the undated Albany editions manuscript utilizing shape notes must published between 1808 and have been in existence in 1798 before 1816 (Eds. F-Ob; see Illustration 4). The William Smith entered the picture, it imprint appears to have been sup- is extremely doubtful that the work plied on the basis of the known 1798 was published in that year or that it Pennsylvania copyright and the dated was ever published at all in the form in report of the Uranian Society commit- which it received the recommendation. tee-which Evans erroneously associ- ates with the The existence of a copyright entry is advertisement signed by Little and by no means proof that a title actually Smith to be found in all known editions achieved publication. As it was only (see fn. 12). The 74- necessary at that time to file the name page collation seems inexplicable, but the nature of of a book to receive copyright protec- the entry strongly sug- tion, not an actual copy of the book gests that it is an attempted recon- itself, early copyright records are filled struction of a book not actually ex- with ghost titles of books which were amined.10This supposition is strength- ened never printed. This appears to have by the fact that Evans locates no been the case with the original manu- copy of this purported edition. Why he failed to use the script of The Easy Instructor seen by title as given in the 1798 the committee of the Uranian Society. Pennsylvania copyright, with which he The unique 1798 "title-page" pre- was familiar, remains a mys- served at the Library of Congress was tery. Thus, it must be assumed that no 1798 apparently imprinted for the specific edition was actually published purpose of entering the title in the until more convincing evidence of its copyright records, and examination existence is uncovered. proves that it bears no possible physi- Because very little factual informa- cal relationship to any printed copy of tion is available, any account of The the book known today. ?0TheMassachusetts Historical Society copy The only record of a 1798 edition of of Ed. R. may perhaps be the source of the Evans The The Instructor in a entry. following, written in a Easy appears thor- nineteenth century hand, appears on the fly- oughly self-contradictory entry in leaf: "This Book is probably the 4d Ed. of Evans' American No. the Easy Instructor has 127 pages & index Bibliography, makes 128 pages-& issued abt 1818. The 34004: First Ed. had 74 pages, 2d Ed. 104 pages & LITTLE,WILLIAM. The Easy Instructor; or, 3d Ed. has 112 pages. The Preface by Little & Smith dated a new method of sacred 'Phil. Aug. 15, 1798' is the teaching harmony. Same in Each Ed. But the Music & Tunes are Containing, I. The rudiments of music on an quite different in Each Ed. W. Latham." 36 JOURNAL OF RESEARCH IN MUSIC EDUCATION

Easy Instructor between 1798 and mers in musical taste. The 1798 copy- 1802, when the genuine first edition right describes a tune book with a (see Ed. A below) seems to have ap- European orientation, whereas the peared, must be largely speculative. music in the earliest known edition, The gap of four years between manu- presumably compiled by Smith, is al- script and book may be accounted for most entirely American. Since both by the typographical novelty of the *Smithand Little were composersin the project and the not inconsiderablediffi- American idiom (Smith is represented culty of preparingsuitable plates. Dur- by one number in Ed. A and Little by ing this period Stammers died, and four), the change in orientation seems Little entered into collaboration with understandable enough. Both men one of the most tantalizingly mysteri- must have originally worked well to- ous figures in the history of American gether, for by 1802 they had gathered music, William Smith. Certainly, he is "upwards" of 3000 subscriptions for not to be confused with the compara- The Easy Instructor, a number presag- tively prominent Rev. William Smith ing its future success.'2 who published The Churchman's Perhaps because of Stammers' death Choral Companion (New York, 1809). and Smith's locus vivendi, the scene of While the authors have not as yet man- Easy Instructor activity shifted from aged to destroy Smith's anonymity, Philadelphia to New York some they have been able to uncover one very time between 1798 and 1802. There, at faint and perhaps fruitless clue to his last, the firm of G. & R. Waite (which identity. In the manuscriptletter books was apparently more interested in sell- of Daniel Read, one of the most dis- ing patent medicines and lottery tick- tinguished practitioners of the Ameri- ets than book publishing, to judge can idiom, are five letters written be- from their advertisements) announced tween 1794. and 1802 addressed to an on November 25, 1802, in the New otherwise unknown New York singing York Chronicle Express, "This day is master called William H. Smith." The published ... THE EASY INSTRUC- content of the letters does not preclude TOR; or A New Method of Teaching the possibility that this was Little's Sacred Harmony by William Little & associate. Unfortunately, New York William Smith. .. ."' A few weeks directories and other contemporary after publication, on December 10, sources such as newspapers disclose 1802, Little deposited the title of the no William Smith or William H. Smith book in the District of New York for engaged in musical activities during copyright. Apparently for the specific this period. In 1803 and 1806 our purpose of befuddling later generations Smith was evidently a resident of of scholars, Little signed himself sole Hopewell, New Jersey, as this is the author." The peculiarity of the copy- place given in the dated prefaces of a 2Ed. A, "Advertisement," p. [3]. In later tune book published unilaterally by editions the August 15, 1798, date is typo- him, The Easy Instructor, Part II graphically set so that it appears to pertain in detail to the advertisement rather than to the rec- (discussed below). ommendation printed immediately below it. Whoever Smith might have been, he That the date pertains to the recommendation differed from Stam- is clear in Ed. A. apparently sharply "The complete advertisement is quoted in Frank J. Metcalf, "The Easy Instructor; a "See Irving Lowens, "Daniel Read's World: Bibliographical Study," Mus. Quar. XXIII the Letters of an Early American Composer," (January 1937), 91. Music Library Association Notes, IX (March '4The 1802 copyright entry is also quoted in 1952), 233-248. its entirety in Metcalf, p. 90. THE FIRST SHAPE NOTE TUNE BOOK 37 right situation makes it evident that least twice before by American tune Smith was a junior partner in the ven- book compilers, by John Poor in his ture, and that Little's was the control- Collection of Psalms and Hymns ling interest. The 1802 copyright also (Philadelphia: J. McCulloch, 1794), makes it amply clear that Little wished and, more significantly, by Andrew to retain undivided control of The Easy Adgate in his Select Psalms and Hymns Instructor and that he had perhaps be- (Philadelphia: Young and McCul- come somewhat suspicious of Smith's loch, 1787). As Adgate was one of the intentions. founders of the Uranian Academy of No copy bearing an 1802 date or a Philadelphia, of which the Uranian So- G. & R. Waite imprint has been lo- ciety was a direct outgrowth,1'the pos- cated, but Edition A (see the check sible connection between the preface list below) conforms to all the par- and Stammers, an official of the Uran- ticulars of the 1802 advertisement and ian Society, is obvious. copyright entry and is presumed, on Of the 105 compositions included in circumstantial evidence, to be the Edition A, only five are of European genuine first edition. Edition A, four origin; even these were old American copies of which have now been located, favorites which had appeared in al- is the only known edition which could most every New England tune book possibly be that advertised. Further- from the time that Daniel Bayley of more, one bit of evidence turns the Newburyport commenced to reprint possibility into probability. The pref- the works of the English singing mas- ace to Smith's Easy Instructor, Part II ters William Tans'ur and Aaron Wil- (see below), dated 1803, begins as fol- liams in the 1760's. The American lows: "The Publisher of this work compositions, among them forty-one meeting with great encouragement in claimed as "never before published," the first edition of the 'Easy Instruc- are excellent examples of the charac- tor,' is induced to publish a second edi- teristic native idiom of the time. Thus, tion, and having added the flats and between 1798 and 1802, the European sharps, so that the singer may take his musical bias of Stammers had been choice, either to sing by characters or transformedinto the thoroughly Amer- by line and space, he hopes to meet the ican one of Smith, with Little serving approbation and patronage of the as a bridge between the two musicians. friends to Vocal Music." The music in From a strictly musical point of view, Edition A is without "flats and sharps" the interest of The Easy Instructor is (i.e. key signatures) excepting for considerably enhanced because of this three numbers only. Unless Smith had change in orientation; from the point published an earlier edition of Part II, of view of the future acceptance of the an extremely unlikely event, it must be shape note idea by the eventual arbi- presumed that Edition A is the "first ters of musical progress in America, edition" he refers to. the change was disastrous. In this man- The sole identifiable remnant of the ner, the individual tastes of a single 1798 manuscript appearing in Edition obscure musician, William Smith, may A would appear to be the preface, have changed the whole future course which consists basically of the first six of American music history. and a of the sev- paragraphs portion In the year after The Easy Instruc- enth of the preface to Ralph Harrison's Sacred Harmony (London, 1784). "'See 0. G. Sonneck, Early Concert-Life in America, 1731-1800 (Leipzig, 1907), pp. 103- This same preface had been utilized at 120. 38 JOURNAL OF RESEARCH IN MUSIC EDUCATION

tor appeared in print, Smith, appar- his partnership with Smith deprived ently without help from Little, brought him of a collaborator.Perhaps annoy- out another tune book making use of ance decided him to sell out on the best the shape note system: possible terms. Perhaps he considered THE Easy Instructor OR A New method of the copyright, already violated by teaching Sacred Harmony. PART II. Con- Smith, no longer of any particular taining the Rudiments of Music on an im- value. At any rate, some time between proved plan.-With a choice collection of 1803 and 1805-no recordof the trans- Psalm Tunes, a number of which are en- action has been found-he apparently tirely new. By William Smith & Co. sold or reassigned the copyright to a The omission of any reference to trio of Albany, New York, printers, "European music" on the title-page possibly suggested to him by G. & R. and the absence of any in the collec- Waite, who maintained a branch of tion itself bear out the idea that their firm in that city. Thereafter, Smith's preference was for American neither of the co-authors of Edition A music in the native idiom. Where the seems to have been in any way con- book was published is not known, but nected with the book, and another per- a physical resemblance between the son assumed the responsibility for its title pages of Part II and Edition A ever-changingmusical content. All the arouses the suspicion that the Waite introductory material remained un- firm was also responsible for this im- altered throughout all editions. print. No copyright record has been In Albany The Easy Instructor located, and the strong probability is really hit its stride, thanks to the that no application was made, as Part astuteness of an editor who success- II does not appear to have been au- fully followed the musical fashions of thorized by Little. Little was the sole the moment. A veritable flood of edi- owner of the 1802 copyright, and tions, the first in 1805 and the last in Smith may have overstepped the 1831, poured from the presses. Tens of bounds of propriety, if not of legality, thousands of copies were sold, and the with the curious author ascription on tune book became celebrated through- the title-page of Part II where the out the country, extending its influence senior partner is reduced to the un- far beyond its Albany base. If Little enviable status of an "& Co." There was then still alive, he must have re- seems to be little doubt that the ap- gretted his decision to dispose of the pearance of Part II, with its noncha- copyright, which suddenly had become lant disregard of Little, did not help an extremelylucrative property. build amicable relations between the One of the most intriguing of the two. Indeed, indications are that it many historical riddles in connection caused a complete break, for when a with The Easy Instructor is the iden- second edition of Part II was published tity of its Albany editor, who certainly in 1806, "& Co." was no longer on the deserves a small niche in the musical title-page, and Smith appears as sole hall of fame. Who chose the music and author. decided what changes should be made A disagreementabout Part II may from edition to edition? The little evi- well have precipitated the next phase dence available points to Daniel Steele in the history of The Easy Instructor. (1772-1828), one of the three figures If Little was in fact a printer by trade, who obtained the 1802 copyright from the book must have been at best a Little. There is no reason to believe peripheralinterest, and the rupture of that either of the other two, Charles THE FIRST SHAPE NOTE TUNE BOOK 39

R. Webster (1762-1832) or his twin include the transfer of the original brother George Webster (1762-1821), plates, as a new set engraved by Henry was sufficiently interested or skilled in W. Snyder, an Albany craftsman, was music to undertake the difficult edi- used for the earliest group of Albany torial task. Both were prominentprint- editions (Eds. B, C. Da, Db, and E), ers in the community, and there is no the first of which was issued in 1805 indication in their well documented and the last in 1808. Snyder's work life histories that they participated in was more skillful than that of the any musical activities; their only con- anonymous original engraver,who may nection with music seems to have been perhaps have been Little himself, but their publishing activities, which are it is still quite crude compared to the known to have commenced as early as productions of other engravers active 1800. On the other hand, Steele, al- during the same period. Although the though a lesser figure in Albany local music editor radically revised the con- history and consequently a more ob- tents, omitting twenty-five tunes from scure one, may have been the singing the first edition and adding twenty-two master who advertised as follows in others, he did not change its emphasis the Albany Argus of December 16, upon music in the native idiom. 1817: Beginning with the first undated SINGING SCHOOL Albany Easy Instructor (Ed. F), the music characteristic Mr. Steele will commence school this eve- engraved plates of prior editions were abandoned. This ning for the purpose of instructing youth in and editions were the Rudiments of vocal Music, at the Ses- subsequent printed sion Room of the Presbyterian Church in from a type-font designed specifically Beaver Street. Those who are desirous of for the shape note system.16The origi- attending, can become members by applying at the room. "6Onemight naturally assume that this was no definite evidence that the first such type-font in existence, but the Although facts are otherwise. About a year after the Steele functioned as a practicing musi- appearance of Ed. A, Andrew Law, one of cian earlier than 1817 has been found, the most prominent singing masters of the there are indications that this day, brought out the fourth edition of his may Art of Singing (Cambridge: W. Hilliard, have been a part-time career engaged 1803) "printed upon a new plan." This par- in over a long period of time, simul- ticular edition and later publications of Law's were printed typographically with shape notes taneously with his book-selling and identical to those in The Easy Instructor. printing activities. The tune books he However, Law interchanged the characters advertised for sale as as 1801 for fa and la and entirely abandoned the use early of staff lines. Significantly, he made no claim strengthen the impression that he was that the shapes were his own invention but more than casually interested in music. stressed the fact that the staff was eliminated, The fact that creative revision of The strongly implying that this was the essence of his "new plan." Yet, in a book published Easy Instructor virtually ceased at the six years later, The Art of Playing the Organ close of his life is until and Piano Forte (Philadelphia: Jane Aitken, suggestive; c. he did more information comes to 1809), insist that he had a shape light, it note system ready for publication as early as should probably be assumed that the 1786, but could not print it because it was Albany editions published to then impossible to obtain type. But if Law's prior system was ready in 1786, why could not the 1828 are the product of Steele's imagi- shapes have been engraved? At that time nation and labor. almost all tune books, including Law's own, were printed from engraved plates. Law can- Apparently, the transaction between not be credited with the invention of the shape note system, but he no doubt was first Little and the Albany group did not to make typographical use of the characters. 40 JOURNAL OF RESEARCH IN MUSIC EDUCATION nator of this font was undoubtedly tunes were added (see Table VIII). At either William Wood or Obadiah R. irregular intervals, extra eight-page Van Benthuysen, whose names are signaturescontaining almost exclusive- found in the colophon of Edition F. ly European music were also added, The probability is that Van Benthuy- thus progressively enlarging the num- sen deserves the major share of the ber of pages from 104 in the first typo- credit, as Wood disappears from the graphicaledition to 136 in the last. At history of The Easy Instructor after the same time, the uniquely native the appearance of this single edition, flavor of the early editions was gradu- while Van Benthuysen continued his ally watered down to the point where association with the book throughout the character of its music was prac- its existence, first as its typographer tically indistinguishable from that of and later as its printer. In 1809 Van the "reform" collections. Indeed, ex- Benthuysen formed a brief partnership cept for title, instructions, and nota- with George Newton (see Eds. G and tion, there is but little resemblancebe- H). Thereafter he continued in busi- tween the early and late editions of ness independently (see Eds. I and J) The Easy Instructor. until 1812, when he joined forces with Before the last of the engraved edi- Robert Packard (see Eds. K and all tions came out in 1808, other pub- following Albany editions). The firm lishers, particularly in Pennsylvania, of Packard and Van Benthuysen was had become aware of the phenomenal to become illustrious in the annals of success of The Easy Instructor and the Albany printing trade, continuing imitations began to appear in print. in existence throughout the nineteenth Ironically, one of the first of these century and well into the twentieth, brings the story back to Philadelphia, finally closing its books in 1922." where the history of The Easy Instruc- Typographicaleditions of The Easy tor had its inception in 1798. The John Instructorwere broughtout at the rate Jenkins Husband'1edition of Andrew of one or two each year from 1808 to Adgate'sPhiladelphia Harmony (Phila- 1822. Thereafter, as the demand for delphia: M. Carey, 1807; also 1811)"' the book tapered off, they were issued appearedin a shape note guise derived at bi-yearly intervals with one excep- in conception from The Easy Instruc- tion. The printing record of The Easy tor, although its editor used consider- Instructor demonstrates that it prob- ably differentshapes. During the same ably reachedthe peak of its popularity year the Philadelphia musician-book- between 1814 and 1817. Editorial seller Charles Woodward brought out changes, presumablymade by Steele to his Ecclesia Harmonia (Philadelphia, keep the collection up to the moment, 1807; another ed. publ. by W. W. followed a clear-cut pattern. In each new edition, a greater or lesser number "1An English musician who apparently ar- of old American favorites was deleted rived in the United States in 1806 or 1807. He and new has a stronger claim to immortality if the and fashionable European tune "Revive Us Again" (better known in secular circles as "Hallelujah, I'm a Bum"), '7See John Clyde Oswald, Printing in the attributed to him in Lester Hostetler, Hand- Americas (New York, 1937), p. 226, and book to the Mennonite Hymnary (Newton, Clarence T. Brigham, History and Bibliog- Kansas, 1949), pp. 253-254, is actually his raphy of American Newspapers, 1690-1820 composition. (Worcester, 1947), I, 587. The authors are l"Although Adgate died in the yellow fever deeply indebted to Dr. Brigham and the epidemic of 1793, the publication of this American Antiquarian Society for supplying popular collection was continued, the last them with much helpful information. edition appearing in 1811. THE FIRST SHAPE NOTE TUNE BOOK 41

Woodward, 1809), in which the shape of Sacred Music, Part Second (Harris- note idea was borrowedintact, although burg, 1813; also 1820). This proved he also used differently shaped note to be the first really influential an- heads, while a year later Nathan thology of what George Pullen Jackson Chapin and Joseph L. Dickerson's The has termed spiritual folk song, and Musical Instructor (Philadelphia: W. Part Second was a major source drawn McCulloch, 1808; also 1810) appeared upon for materials by later compilers in a seven shape system of which the such as Ananias Davisson, James M. Little and Smith shape notes formed Boyd, Joseph Funk, Allen D. Carden, the basis. William Walker, and many others.2 It With the publication of the first of undoubtedly set the pattern for the the typographical editions, a more im- distinctive combination of Yankee portant series of imitations, also printed psalm and fuging tunes and secular typographically, was brought out by folk melodies which constitutes the John Wyeth, a Harrisburg publisher. Southern folk hymnody tradition out The first to be issued, Joseph Doll's of which such magnificent tune books Leichter Unterricht (Harrisburg, 1810; as Walker's Southern Harmony and also 1814, 1821; Vol. II, 1815) was White and King's Sacred Harp grew. not only a direct plagiarism in trans- Part Second was perhaps more impor- lation of the Little and Smith title, but tant than The Easy Instructor itself in a direct appropriationof the distinctive the eventual disseminationof the shape shapes as well. As the Leichter Unter- note idea to the South. Still another of richt was designed to appeal to the Wyeth's shape note publications was German-speaking Pennsylvania popu- Johannes Rothbaust's bilingual Die lation which would not ordinarily be Franklin Harmonie, und leichter Un- reached by such a book as The Easy terricht (Harrisburg, 1821; Vol. II, Instructor, its compiler chose primarily 1821), reprinted by a different pub- music from the continental European lisher as a second, revised edition under tradition, although he did include some the English title The Franklin Har- of the favorite native American tunes mony and Easy Instructor (Chambers- set to German texts. Wyeth's compre- burg: H. Ruby, c. 1830). This curious hensive Repository of Sacred Music tune book, with its frank indebtedness (Harrisburg, 1810; also 1811, 1812, to The Easy Instructor flaunted on its 1814, 1816, 1818, 1823, 1826, 1834), title-page, exhibits a most interesting on the other hand, duplicated the char- crossblendof Germanand Anglo-Saxon acter of The Easy Instructor almost music traditions in its contents. exactly, but masqueradedits indebted- The firm name Websters & Skinner, ness to the earlier tune book under a found in the second engraved Albany totally different title. There appears to edition of The Easy Instructor (Ed. C), be strong evidence that nearly half its came into existence on May 19, 1806, 156 tunes were taken directly from when Elisha W. Skinner, the brothers various editions of The Easy Instructor, Webster's nephew, joined them in their as in many cases Wyeth reprinted without change distinctive typograph- ical errors and mistakes in '?For a study of the important role played composer by this tune book in the development of the ascription found only in the Little and Southern tradition, see Irving Lowens, "John Smith work. One of the most significant Wyeth's Repository of Sacred Music, Part music of the nine- Second; a Northern Precursor of Southern publications early Folk Hymnody," Jour. of the Amer. Musicol. teenth century was Wyeth's Repository Soc., V (Summer 1952), 114-131. THE EASY INSTRUCTOR,

OR, A NEW METTOD OF TEACHING SACRED HARMONY. | C NTA I 'INAG, The Rudiments of Music on an improved Plan, wherein the Naming and Timing of the Notes are familiarized to the weakest Capacity. With a choice Collection of Psalm Tunes and Anthems from the most celebrated Authors, with a Number com- posed in Europe and America, entirely new; suited to all the Metres sung in the different Churches in the United States. Published for the use of Singing Societies in general, but more particularly for those who have not the advan- tage of an Instructor.

BY WILLIAM LITTLE AND WILLIAM SMITH.

ALBAN Y: Printed by CHARLES R. and GEORGE WEBSTER, and DANIEL STEELE, Proprietors of the Copy-right ; abid sold at WEBSTER'S BookstOre, corner of State and Pearl Streets, and at STEELE'S Bookstore, near the Court House, in Court Street. 1805.

Illustration 3. Edition B. Courtesy of the New York Public Library. (See check list, page 47.) THE FIRST SHAPE NOTE TUNE BOOK 43 business. In the fall of 1811, Elisha's the proprietors apparently decided to two brothers, Hezekiah and Daniel, license other publishers to cast and use were taken into partnership and the their patented shape notes and to re- firm then became known as Websters print The Easy Instructor itself. The & Skinners. Despite mutations in the first to obtain a license seems to have firm's name, the Easy Instructor copy- been William Williams of Utica, New right seems to have remained the sole York, whose name is found in the list property of the two Websters and of authorized agents printed on the Daniel Steele. Understandably enough, title-page of Edition P. Williams, who the three men were not anxious to sur- was also the publisher of Thomas render their lucrative property to the Hastings and Solomon Warriner's in- public domain when the copyright on fluential Musica Sacra (Utica, 1816; the work was due to expire on Decem- many later editions),21 brought out edi- ber 10, 1816. One of the three, ap- tions of The Easy Instructor in 1818 parently George Webster, hit upon a and 1820 (Eds. S and W), using the clever idea to prolong their control of 120-page Edition P as prototype. His the shape note idea regardless of the only editorial change was to delete a expirationof the copyright, which could single long American tune and to sub- only be renewed, according to the law, stitute for it three shorter European by the original owner. On February 28, ones, thus giving his editions, both of 1816, a patent covering the casting which are identical in content, a total and use of the shape note types was of 127 compositions as compared with granted to George Webster, obviously the 125 of his model. Working with the as agent for the Albany trio. Most un- unfamiliar shape notes apparently fortunately, the original patent ap- proved somewhat troublesome to him, plication, which ordinarily would have as his editions are poorly executed and been preserved, was destroyed in one are replete with typographicalerrors in of the many fires which ravaged the both music and text. Only one other United States Patent Office early in its printer, J. Pace of Cincinnati, is known career, and only a bare notice of the to have brought out an authorized patent grant is extant. Were the details Easy Instructor. The Pace imprint, of the application itself available, con- published in 1819 (Ed. U), used the siderable information about the early first of the Williams editions as the history of The Easy Instructor might source of its music rather than the 120- have been gathered from it. Notice of page Albany edition, in some instances the patent grant is found on the title- duplicating textual errors found there page of the 120-page Edition P, pub- only. The Cincinnati edition omits the lished shortly after the expiration of last thirteen tunes in the Utica edition. the copyright, where the familiar That the Albany group failed to sell phrase "Proprietorsof the Copy-Right" additional licenses is not surprising. is omitted and in its place appears the Part of their plan, possibly conceived legend: "The Music Types used in at the same time application for a printing this Book are secured to the patent was made, may well have been Proprietors by Patent Right." This to cut the ground out from under the notice is unquestionably the genesis of feet of their self-manufactured com- the term "patent notes," frequently petitors by issuing revised editions used in later years as a synonym for notes. 2See John C. Williams, An Oneida County shape Printer, William Williams, Printer, Publisher, With the expiration of the copyright, Editor (New York, 1906). hJ ,?bII 0rL--L.lb - - I .& 6. & " A & d THE EASY INSTRUCTOR; OR, A NEWVMETHOD OF TEACHING 4 *atrtb armonu.

CONTAINING I. THE RUDIMENTS OF MUSIC on an improvedPlan, wherein the Naming and Timing of the Notes are familiarized to the weakest Capacity. X II. A choice Collectionof PSALM TUNES and ANTHEMS, from the most celebratedAuthors, with a numbercomposed in in Europe and America, entirelynew ; suited to all the Metres sung in the differentChurches in the United States.

Publilhed for the Ufe of SINGING SOCIETIES in general, but more particularly for thofe who have not the Advantage of an INSTRUCTOR. BY WILLIAM LITTLE AND WILLIAM SMITH.

l '"~ '"""""""'";''PRINTED, Tylotgral/liically, at ALBANY, B WEBSTERS & SKINNER AND DANIEL STEELE, (Proprietors of the Copy-Right,) in . And fold at theirrefpeaive Bookftores, at the coner of Stateand Pearl-Streets,and a few doors fouth of the Old City-Hall, Court-Street;by T. & J. SWoRDS, lEVERT DuYCKINCK and WILLIAM FALCONER,NIw-York; MATHIW CAREY, JOHNSON& WARNit, WILLIAM W. WOODWARDand Ho?KINS & EARL, 4 Philadelphia; and INCREASE COOK, New-Haven.

Illustration 4. Edition F. Courtesy of the Clements Library, University of Michigan. (See check list, page 47.) THE FIRST SHAPE NOTE TUNE BOOK 45 while selling licenses to reprint the old. data, is quite valuable; those interested Thus, on the one hand, they hoped to in comparing his results with those of reap a profit from the sale of permis- the authors should consult Table VIII, sions, while on the other, they main- where the numbers assigned to the edi- tained command of the market by con- tions seen by Metcalf are listed in con- tinuing to adjust the content of their junction with letters assigned in this own editions to conform to the changing study. musical tastes of the moment. On the A Check List of Editions latter account, all Albany editions pub- and Issues lished after Edition P are designated "revised and enlarged." These, the last In the following list, each edition is of which appeared in 1831, bring to a assigned a letter in accordance with close the history of The Easy In- the chronology of its publication. Sep- structor. arate printings which embody no The check list which follows is an changes of title, imprint, or content attempted solution to one of the most have been defined as issues of a given complex bibliographical problems in edition and are indicated by combining the entire range of American printing a lower case italic letter with that as- history. The authors cannot presume signed the edition (e.g. Aa, Ab). Unless to have untangled all the snarls and to otherwise indicated, omitted titles and have evaded all the booby-traps hidden imprints or various sections thereof in the jungle of Easy Instructor edi- may be presumed similar to those of tions and issues, but they believe they the edition or issue next above. Location have been successful in establishing the symbols are those used by the Union chronology of those editions they have List of Serials. Except for capitaliza- examined, and have ascertained exact tion of initial letters, which has been dates of publication within one year. followed exactly, no attempt has been The solution of this problem is of more made to indicate original typography; than bibliographicalinterest. With each however, referenceis made to the meth- printing accurately dated and placed in od of printing (i.e. whether from proper chronological order, The Easy engraved plates or from type). Title- Instructor becomes an extremely ac- pages of key editions have been re- curate barometer of American musical produced photographically. Although tastes over a period of nearly three dozens of points of distinction among decades. The tale told by the addition editions and issues were ascertained of one tune and the deletion of another and tabulated in preparing the chro- is invaluable, highly detailed docu- nology given below, only those unique mentation of a significant, though much points are given which may serve easily neglected aspect of our cultural de- to identify a particularedition or issue. velopment. Two bibliographicalstudies Special attention is called to the eight of The Easy Instructor have previously tables, which are designed to give com- appeared in print, one by Frank J. parative data succinctly. Table I dis- Metcalf' and another by Lester Con- tinguishes all undated typographically dit." The Metcalf study, although printed editions, and Table VIII is a fragmentary and based on incomplete conspectus of all editions and issues. Since William Smith's The Easy In- 22See fn. 13 for reference. structor, Part II is a completely sep- 23"Editionsof Little & Smith's Easy Instruc- arate its two editions are not in- tor," Papers of the Bibl. Soc. of Amer., XL work, (Third Quarter 1946), 233-236. cluded in this list. TABLE I. A CONDENSED IDENTIFICATION CHART FOR UNDATED ALBANY EDITIONS

104-page editions

Edition Title-page points Typographer Last dealer's name F 1808 none Increase Cook G 1809 Van Benthuysen & Newton Increase Cook H 1809 Van Benthuysen & Newton M. Cary [sic] I Z1810 O. R. Van Benthuysen D. Allenson & Co. 112-page editions Title-page points Other points Typographer Last dealer's name Page 61* Page 81 J 1811 O. R. Van Benthuysen E. Lewis Salisbury Judgment Anthem K '1812 Packard & Van Benthuysen E. Lewis Salisbury Judgment Anthem L 1813 Packard & Van Benthuysen William Norman under "n"* Judgment Anthem Ma '1814 Packard & Van Benthuysen E. Lewis under "m" Judgment Anthem Mb 1814 Packard & Van Benthuysen E. Lewis under "e" Judgment Anthem Mc '1815 Packard & Van Benthuysen E. Lewis before "D" Judgment Anthem N 1815 Packard & Van Benthuysen E. Lewis between "n" and "m" Judgment Anthem Oa '1816 Packard & Van Benthuysen E. Lewis between "n" and "m" New York Ob :1816 Packard & Van Benthuysen E. Lewis under "D" New York 120-page edition P [1817] There is only one edition of 120 pages 127, [1]-page editions: "Revised and Enlarged" Title-page points Other points Stecle's firm name Steele's address Page [3]t Miscellaneous Q 1817' Daniel Steele 472 S. Market St. roman Anthm [sic], p. 89 R '1818: Daniel Steele 472 S. Market St. roman Endfield [sic], p. 23 T 1819 Daniel Steele 472 S. Market St. roman Armeley [sic], p. 41 V '1820 Daniel Steele 472 S. Market St. italic Armley, p. 41 X '1822' Daniel Steele 435 S. Market St. italic Armley, p. 41 Ya 1824' D. Steele & Son 437 S. Market St. italic Armley, p. 41 Yb '1826' D. Steele & Son 437 S. Market St. roman Armley, p. 41 AA '1830' Oliver Steele 437 S. Market St. roman Armley, p. 41

*On page 61 of Eds. L-Ob the continuation of the tune "Denmark" appears; the point listed under "Page 61" indicates where the first letter of the word "soft" is printed in relationship to the various letters in "Denmark." tThe phrase "Philadelphia, August 15, 1798," appears in the middle of page [3] of the 127, Ill-page editions; the point listed under "Page [3]" refers to the typeface in which this phrase is printed. THE FIRST SHAPE NOTE TUNE BOOK 47

EDITION Aa: [see illustration] The Proprietorsof the Copy-right; and sold Easy Instructor, or A New method of at Webster's Bookstore, corner of State teaching Sacred Harmony. Containing and Pearl-Streets,and at Steele's Book- the Rudiments of Music on an im- store, near the Court-House, in Court- proved plan, wherein the naming and Street. 1805. timing the notes are familiarized to the 108 pp. T.-p. and pp. [21-12 typeset; pp. weakest capacity.-With a choice col- 13-108 engraved. 13.5 x23 cm. NN. lection of Psalm Tunes and Anthems The engraver's signature, "Snyder Sculp," from the most celebrated Authors, appears at the foot of p. 108. with a number in composed Europe EDITIONC: ... Smith. Albany: Printed and suited to America, entirely new; by Websters & Skinner, and Daniel all the metres in the different sung Steele, Proprietors of the Copy-Right; Churches in the United States. Pub- and sold at their respective Bookstores lished for the use of Societies singing at the corner of State and Pearl-Streets, in but more for general, particularly and near the Court-House, in Court- those who have not the advantage of Street. 1806. an Instructor. William Little & By 108 William Smith secured pp. T.-p and pp. [2]-12 typeset; pp. Copy right 13-108 engraved. MWA. according to Act of Congress. [New York: G. & R. Waite, 1802] EDITIONDa: . . . Albany: . . . Pearl- [2], 105 (i.e. 106) pp. No. 12 is repeated Streets, and a few Doors South of the in the paging. T.-p. and pp. 12b-105 en- Court-House, in Court-Street. 1807. graved; pp. [1]-12a typeset. 14x23.5 cm. 108 CtHC. (i.e. 104) pp. Nos. 9-12 are omitted in the because smaller This issue may readily be distinguished paging type was used by the presence of a printed key signature to print the introductory matter. T.-p. and of A major on p. 87, at the beginning of pp. 13-108 engraved; pp. [21-8 typeset. NjR. Daniel Read's tune "Stafford." It was adver- This is the last edition in which the full tised as just published on November 25, phrase, "which is submitted to," appears in New York 1802, the Chronicle Express, by immediately preceding the names of Edward the firm of G. & R. Waite. Stammers and Richard T. Leech at the foot of EDITION Ab: [same] p. [3]. CtHWatk, DLC, MWA. EDITIONDb: [same] This issue, otherwise identical to Aa, lacks ICN, MWA, NjR, NN. the on 87 referred to above. key signature p. This issue, otherwise identical with Da, Apparently, the signature was originally en- has a new type set-up for the introductory graved as an oversight and later expunged matter which may quickly be identified by from the It shows in plate. through faintly the absence of the word "to" from the the DLC copy. Other key signatures appear phrase on p. [3] referred to above and by in both issues only with Morgan's "Judg- the presence of a misprint "INSTUCTOR" ment Anthem," pp. 99-105, and Babcock's in the caption on p. 7. "Admonition," pp. 63-64. A facsimile of the DLC title-page appears in Metcalf (see EDITIONE: . . . Albany: . . . 1808. note 13 above), opposite p. 92. 108 (i.e. 104) pp., as Da-b. CtHWatk, IU, MWA, NNUT. EDITION B: [see illustration] . . . By William Little and William Smith. EDITIONF: [see illustration] . .. Con- Albany: Printed by Charles R. and taining I. The Rudiments of Music George Webster, and Daniel Steele, .... II. A choice Collection of Psalm 48 JOURNAL OF RESEARCH IN MUSIC EDUCATION

Tunes .... Printed, Typographically, Cook, New-Haven. Van Benthuysen at Albany, By Websters& Skinnerand & Newton, Typographers. [1809] Daniel Steele, (Proprietors of the 104 pp.; typeset. See Tables I and II. Copy-Right,) And sold at their respec- CtHC, DLC, ICN, MWA, N, NjR (2), tive Bookstores,at the corner of State NNUT, RPB. A facsimile of this is in Metcalf and Pearl-Streets,and a few doorssouth title-page (see note 13 above), opposite p. 93. of the Old City-Hall, in Court-Street; by T. & J. Swords, Evert Duyckinck EDITIONH: ... Albany, . . . Troy; In- and William Falconer, New-York; crease Cook, New-Haven; and M. Van Ben- Mathew Carey, Johnson & Warner, Cary [sic], Philadelphia. & William W. Woodward and Hopkins thuysen Newton, Typographers. & Earl, Philadelphia; and Increase [1809] 104 See Tables I and II. Cook, New-Haven. [1808] pp.; typeset. ICN(2), MiU-C. 104 pp.; typeset. 13.5 x 23 cm. See Tables I Obadiah R. Van Benthuysen and George and II. DLC, MiU-C, NN. Newton apparently established their firm in At foot of p. 104: "Van Benthuysen & November, 1808. It was in existence only Wood, Typographers." In this and all suc- through December, 1809. Eds. G and H were thus in all both in ceeding editions the music is printed from probability published and could not have after that type. Obadiah R. Van Benthuysen and 1809, appeared date. Because Eds. E and F both in William Wood apparently established their appeared 1808, it is extremely doubtful that Ed. G typographical firm in November 1807. It was actually printed before 1809, although was in existence through November 1808, this is theoretically possible. only. This edition, which clearly must have EDITIONI: appeared some time after the last dated . . . Albany, . . . New- edition and some time before the dissolution Haven,; [sic] M. Cary [sic], Phila- of the partnership, thus was unquestionably delphia; J. Bogert, Geneva; J. D. published in 1808, probably during the latter Bemis, Canandaigua; P. Potter, part of the year. Poughkeepsie; E. Lewis, Newburgh, [sic, comma] and D. Allenson & Co. EDITIONG: ... Albany,... by T. & [sic, no comma] Burlington, N.J. J. Swords,Everet [sic] Duyckinck and O. R. Van Benthuysen, Typographer. William Falconer, New-York; Wm. J. [1810] A. 104 pp.; typeset. See Tables I and II. ICN, M'Cartee, Schenectady; Seward, N. Utica; & Tracy Bliss, Lansingburgh; This edition was advertised as "just pub- Parker & Bliss, Troy; and Increase lished" in the [Albany] Balance & New- York

TABLE II. CONTENT CHANGES IN 104-PAGE EDITIONS

Page F G and H I 34 Southwell Mount Sion ...... 35 Sherburne Williamstown 38 Caldwell, Sherburne Williamstown 70 Babel, ...... Concord Plymouth ...... 93 23rd Psalm, ...... Arnheim, 29th Psalm ...... *Arlington 100 Crucifixion ...... *Newark 101 (cont.), - *Columbia *Newmark *------*- *Of European origin. THE FIRST SHAPE NOTE TUNE BOOK 49

TABLE III. CONTENT CHANGES IN 112-PAGE EDITIONS

Page J K L Mabc N Oab 16 Whitestown *Dalston * *Martyrs * 24 Calvary, *Mear, * * * *Mear *4 *Evening Hymn * * 34 Mt. Sion *Tunbridge * * 35 (cont.), Williamstown, Williamstown *Pleyel's * * * 39 Sharon *St. Asaph's * * * 42 Grafton *Bethesda * * * 43 (cont.), Coronation Coronation Sutton 53 Stratfield *Portugal, *Hymn *.- 57 Ballstown *. . *Pelham * 61 Salisbury *Denmark * * * * 62 Lena *(cont.) ------64 Rome *Sunday, * ------

*Bedford ------* * 65 Judgment *Pleyel's 2d ------68 Berne Lena .------

69 Providence Salisbury New Jordan .------4 * 71 Brentwood, *Bangor, ------* 4 *Bangor *Salem ------77 Heavenly Vision (cont.) *Portugal 4, 81- Judgment 84 Anthem *New York 85 (cont.) *(cont.), *Munich 86 (cont.) *Musick 87 (cont.) *German 88 (cont.) *Green's 100, *Dunchurch 92 *Piermont * *Portsmouth * 95 Westminster *Rutland * * 96 Exhortation *Portuguese *.. Hymn * 97 Milton *Plympton * * --.... - -. - - - - . -- - - 98 Christian Song *Ashley * * ------99 (cont.), China, China *Bethel * *.. * 101 Columbia, *Newmark, *------*-----* ------*Newmark * * *St. Thomas * 105 *Pleyel's, * *Silver St. * * *... *Silver St. * 110 Winter, *St. Mich- Funeral ael's * * Thought *Of European origin. B THE EASY INSTRUCTOR;8

8 SAEWVc METHOD OF TEJiCHIG 8 acreb tarmon. CO.NTAIX.ING, I. The RUDIMENTS or MUSIC on an improvedPlan, whereinthe Namingand Timing of the Notes are familiarizedto the weakestCapacity. II. A choice Collectionof PSALM TUNES and ANTHEMS, from the mnostcelebrated Authors, with a numbercomposed in Europe and X America, entirely new; suited to all the Metres sung in the differentChurches in the United States. Published for the Use of SINGING SOCIETIES in but more fi. tliose who have not the ot- an INSTRUCTOR. ~ general, particularly advanltage ~f----- Bl WILLIAM LITTLE ANIn WILLIAM SMITH. j2 ~ The Music 1'svpesused in printing thiisBook are seclred to the Proprietors hb Patent Righl. t JiLB T5'Y; SKINNERS AND DANIEL AdCLo^ a PRINTED FOR WEBSTERS a STEELE, (PROPRIETORS,) And sold at their respective Book-Stores, at the corner of State anldPearl-streets, and at No. 472 South Market--street; by T. & J. SwoUDS,E, Dv.YCKICK, , CoLtINs i Co. and D).SMITH, JVew-York; M. CAnrEy, B. WARBE, W.. W WOI?WABD and A. SMALL,P/ullacl&phia; J. CvsKInG?Ba1timotc; H. HoWE, XYew f i aven; WELLS&LILLY, Boscon; G. GoovwN SONS, Hartford; P. POTTEE, Poughkeepsie; B. F. LEWIs, J\ewhturgh; E. NORMAiN, Hudson; PARKERf Geneva , u BLISS, Tioy; TRACY , BLISS, LanLing-burgh; DODD U STEVINS, Salem; H. STEVENS, Schenectady; W.WILLIAMS, Utica; 3. BOGERTr, J.D BUMISi,s Canandaigua; SKINNIuxnCRosBY, auburn; S. H. & H. A. SALISBUMY, Bufilo.

•'~,r20~ P' ~~JPCKAJll) V.IX BETI'WHUYSEJ, PRINTERS.

Illustration 5. Edition P. Courtesy of the General Library, University of Michigan. (See check list, page 53.) THE FIRST SHAPE NOTE TUNE BOOK 51

State Journal on February 6, 1810. Condit Increase Cook, New-Haven; Matthew (see note 23 above) reports an edition iden- Cary [sic], Philadelphia; J. Bogert, tical with I Ed. except that the name of Geneva; J. D. Bemis, Canandaigua; M. Carey [Cary] is missing from the list of P. William E. booksellers. The authors have been unable Potter, Poughkeepsie; Hudson. Packard & Van to locate such an edition. As the title-page Norman, is incorrectly transcribed in other respects, Benthuysen, Typographers. [1813] the omission of the bookseller's name may 112 pp.; typeset. See Tables I and III. perhaps have been an oversight or a typo- MWA, MiU-C, NN. graphical error. EDITIONMa: . . . Albany, . . New- EDITION J: . . . Albany, By Websters York; Riggs & Stevens, Schenectady; & Skinners and Daniel Steele, . . . A. Seward, Utica; Tracy & Bliss, Lan- Duyckinck [sic, no comma] New- singburgh; Parker & Bliss, Troy; M. York; Wm. J. M'Cartee, . . . E. Lewis, Carey, Philadelphia; . . . Pough- Newburgh. O. R. Van Benthuysen, keepsie; E. Lewis, Newburgh. Packard Typographer. [1811] & Van Benthuysen, Typographers. 112 pp.; typeset. See Tables I and III. [1814] RPB. 112 pp.; typeset. See Tables I, III, and Van Benthuysen was in business alone be- IV. CBB (2), ICN (2), MWA (2), NN, tween December, 1809, and the fall of 1812; NNUT. therefore, Eds. I and J, which bear his name EDITION Mb: comma as sole typographer, must have been pub- [same, except lished between these dates. Ed. J. however, omitted after "T. & J. Swords"] must have appeared between the fall of [1814] 1811 and that of as its 1812, title-page gives See Tables I, III, and IV. CtHWatk, the as Websters & printers Skinners, a change MBC, N. in title which took place in the fall of the former year. EDITION Mc: [same] [1815] See Tables and IV. MWA. EDITION K: . . Albany, . .. Evert I, III, CtHC, Duyckinck, New-York; . . . Packard EDITION N: [same] [1815] & Van Benthuysen, Typographers. 112 pp.; typeset. See Tables I, III, and [1812] IV. N, NN, NNS, RPB. 112 pp.; typeset. See Tables I and III. DLC, ICN, OCHP. EDITION Oa: [same] [1816] 112 pp.; typeset. See Tables I, III, and V. EDITIONL: ... Albany,... New-York; MB, N, NNUT. A. Seward, Utica; Tracy & Bliss, Lan- singburgh; Parker & Bliss and Solomon EDITION Ob: [same] [1816] Wilber, Jun. [sic, no comma] Troy; See Tables I, III, and V. MWA (2).

TABLE IV. COMPARISON OF ISSUES, EDITION M

Page Points Ma Mb Mc 17 Last two words, upper line Surprize, And Surprize, And Suprise [sic], and of text, "Sutton" 61 First letter of word "soft" under "m" under "e" before "D" in relation to letters in "Denmark" t THE EASY INSTRUCTOR;8 0 R, 1| t Jl IVEW METHOD OF T'ECHIAG7 v ,"I,&art nO ^fc^ lI *acreb

I. The Rudiments of Music on an improvedPlan, wherein the Naming and Timing of the Notes are familiarizedto the weakest Capacity. II. A choice Collection of PSALM TUNES and ANTHEMS, from the most celebrated Authors, with a number composed in Europe and America, entirely new; suited to all the Metres sung in the different Churches in the United States. Published for the Use of SINGING SOCIETIES in genelal, but more particularly for those who have lnot the advantage ot an INSTRCCTOR. By WILLIAM LITTLE. AND WILLIAMI SMITH.

The Music Types of this Book, as to casting and using, are secured by Patent Right to GEORuEWEBSTER, of the city of Albany. Rights to make or use them may be obtained of him. JLBdYY: PRINTED FOR WEBSTERS 4 SKINNERS AND DANIEL STEELE, J Alndsold at their respective Book-Stores, at the comer of State and Pearl-streets, and at No. 472 South Market-street. PJICKARHD& VAY BELErIIUYSEX; PRIN TERS.

Illustration 6. Edition Q. Courtesy of the Library of Congress. (See check list, page 53.) THE FIRST SHAPE NOTE TUNE BOOK 53

EDITIONP: [see illustration] . .. The early in its history, and so no details as to Music Types used in printing this the exact nature of the patent are available. Book are secured to the Proprietorsby See also Eds. S, U, and W, which are deriva- tives of this Patent Right. Albany: Printed for edition, apparently printed by license of the holders of the patent. Websters & Skinnersand Daniel Steele, at their re- (Proprietors,) And sold EDITIONQ: [see illustration] Revised at the corner of spective Book-Stores, and Enlarged Edition. The Easy In- and at No. 472 State and Pearl-streets, structor; . .. The Music Types of this T. & South Market-street; by J. Book, as to casting and using, are E. Collins & Co. Swords, Duyckinck, secured by Patent Right to George and D. M. Smith, New-York; Carey, Webster, of the city of Albany. Rights W. and A. B. Warner, W. Woodward to make or use them may be obtained Balti- Small, Philadelphia; J. Cushing, of him. Albany: Printed for Websters Wells & more; H. Howe, New-Haven; & Skinners and Daniel Steele, And sold G. Goodwin & Lilly, Boston; Sons, at their respective Book-Stores, at the B. Hartford; P. Potter, Poughkeepsie; corner of State and Pearl-streets, and F. Lewis, Newburgh; E. Norman, at No. 472 South Market-street. Pack- Parker & Hudson; Bliss, Troy; Tracy ard & Van Benthuysen, Printers. Dodd & & Bliss, Lansingburgh; [1817] Stevens, Salem; H. Stevens, Schenec- W. 127, [1] pp.; typeset. See Table VI. CLU, tady; Williams, Utica; J. Bogert, MdBJ. D. DLC, Geneva; J. Bemis, Canandaigua; This edition was advertised as Skinner & S. H. & "just pub- Crosby, Auburn; lished" in the Gazette & Ad- H. A. Buffalo. Packard & Albany Daily Salisbury, vertiser on November 6, 1817. Van Benthuysen, Printers. [1817] 120 pp.; typeset. CtHWatk, DLC (2), EDITIONR: [same] [1818] MWA, MiU, PPeSchw, RPB, SCU. 127, [1] pp.; typeset. See Table VI. CSU, This is evidently the earliest edition printed MHi, N, NHi, NN. after the lapse, on December 10, 1816, of the original New York copyright, which ran EDITIONS: [text of title-page same as for fourteen years; a patent notice is sub- Ed. P through "Patent Right," then:] stituted for the copyright notice appearing Utica: Printed by William Williams, on the title-pages of previous editions. A No. 60, Genesee Street. 1818. patent on the casting and use of the shape 126, [1] pp.; typeset. CtY, DLC, ICN (2), note types was issued to George Webster, of MH, MWA, OClWHi. the firm of Websters & Skinners, on Febru- 1816. The notice of the ary 28, original EDITIONT: [same as Ed. [1819] patent was apparently destroyed in one of Q] the fires which ravaged the U.S. Patent Office 127, [1] pp.; typeset. See Table VI. ICN.

TABLE V. COMPARISON OF ISSUES, EDITION 0

Page Points Oa Ob [3] In line beginning, URANIAN SOCIETY URANIAN SNCIETY [sic] "The Committee .." [4] First word, second line ample the 5 Last word on page of ensue 61 First letter of word "soft" in relation to between "n" and "m" under "D" letters in "Denmark" 54 JOURNAL OF RESEARCH IN MUSIC EDUCATION

TABLEVI. CONTENTCHANGES IN 127, [1]-PAGE EDITIONS

Page Q R T, V, X-AA 20 New Durham, *Gilboa *.-...... Invitation 21 Mortality, *Wells, *..... *Wells *Brighthelmstone *.....-... * 22 Ocean *Blendon, -...-.-..... *Messiah * 38 Sherburne *Christmas, *Dundee, *Chelmsford *...... 45 Delight *Pensance *-.....-- 102 Exhortation *Arundel, * -...- . *St. Ann's *--- *Of European origin.

EDITIONU: [text of title-page same as EDITIONYa: [same as Ed. X, except Ed. P through "the advantage of an that the imprint reads:] . . . and D. instructor," then:] By Little and Steele & Son,... and at No. 437 South Smith. Cincinnati: Printed by J. Pace, Market-street. . . . [1824] No. 106, Main-Street. 1819. 127, [1] pp.; typeset. See Tables VI and 112 pp.; typeset. OC. VII. MnU, MWA.

EDITIONV: [same as Eds. Q and T, ex- EDITION Yb: [same] [1826] cept that "Sacred Harmony" is printed See Tables VI and VII. CtHWatk, in shadowed rather than plain black OClWHi. letter] [1820] EDITIONZ: that the im- 127, [1] pp.; typeset. See Table VI. ICU, [same, except MiU-C. print reads:] . . . and Oliver Steele ... 1828. EDITION W: [same as Ed. S, except 127, [1].; typeset. See Table VI. DLC, that the date has been changed to:] MWA, N, NNUT. 1820. EDITION AA: that the 126, [1] pp.; typeset. CtY, MWA, NN. [same, except imprint is without date] [1830] EDITIONX: [same as Ed. V, except 127, [1] pp.; typeset. See Table VI. DLC. that Daniel Steele's address is given as 435 South Market-street] [1822] EDITION BB: [same, except that the 127, [1] pp.; typeset. See Table VI. ICN, imprint is dated:] 1831. MWA. 135, [1] pp.; typeset. MWA, N. Daniel Steele was at the street address An extra signature of music has been given in this edition only between April added to this, the last edition of The Easy and September, 1822. Instructor.

TABLE VII. COMPARISON OF ISSUES, EDITION Y

Page Points Ya Yb 4 First word, second line ample example 5 Last word on page of persons 61 First letter of word "soft" in relation to under "D" before "D" letters in "Denmark" THE FIRST SHAPE NOTE TUNE BOOK 55

TABLE VIII. CONSPECTUS OF EDITIONS AND ISSUES

Number of musical compositions Place if Edition other than Metcalf Actually Of Amer. Of Eur. Albany number Pages Indexed printed origin origin

Aa [1802] [New York] [2], 105 105 105 100 5 (i.e. 106) Ab [1802] [New York] A [2], 105 (i.e. 106) 105 105 100 5 B 1805 108 102 102 88 14 C 1806 3 108 102 102 88 14 Da 1807 108 102 102 88 14 (i.e. 104) Db 1807 4 108 102 102 88 14 (i.e. 104) E 1808 5 108 102 102 88 14 (i.e. 104) F [1808] 6 104 95 95 76 19 G [1810] 7 104 94 94 75 19 H [1809] 104 94 94 75 19 I [1809] 8 104 95 95 73 22 J [1811] 10 112 106 105 75 30 K [1812] 1 112 107 106 75 31 L [1813] 12 112 107 106 68 38 Ma [1814] 13 112 104 105 61 44 Mb [1814] 112 104 105 61 44 Mc [1815] 112 104 105 61 44 N [1815] 15 112 107 108 57 51 Oa [1816] 112 111 113 56 57 Ob [1816] 14 112 111 113 56 57 P [1817] 16 120 124 125 50 75 Q [1817] 17 127, [1] 139 139 34 105 R [1818] 127, [1] 141 141 27 114 S 1818 Utica 22 126, [1] 127 127 49 78 T [1819] 127, [1] 141 141 27 114 U 1819 Cincinnati 112 111 112 49 63 V [1820] 127, [1] 141 141 27 114 W 1820 Utica 23 126, [1] 127 127 49 78 X [1822] 18 127, [1] 141 141 27 114 Ya [1824] 19 127, [1] 141 141 27 114 Yb [1826] 127, [1 141 141 27 114 Z 1828 20 127, [1] 142 141 27 114 AA [1830] 127, [1] 142 141 27 114 BB 1831 21 135, [1] 142 153 27 126

Hyattsville, Maryland School of Music, University of Michigan