Commentary
The Psalm-Singer’s Amusement
For Hartford and Mendom, omitted from this edition of PSA, see the following commentary in The Suffolk Harmony.
Adoration Text att.: D.W. [Dr. Watts]. Watts, Hymns III, No. 32.
Orig., m. 12, Counter: triplets notated as eighth-notes.
Andover Text att.: D.W. [Dr. Watts]. First stanza of Watts, Hymns I, No. 20. The entire text supplied from this source.
Orig., mm. 16–17, 34: repeat sign moved from the beginning of m. 16 to the beginning of m. 17, and first and second endings supplied to correct notation; m. 20, Bass: Billings’s substitution of “Joy” for “Joys” has not been retained; m. 26, Tenor: Billings’s substitution of “Strength” for “Life” has been retained; m. 31: Billings’s substitution of “Strength” for “Life” has been retained.
Assurance Text att.: Dr. W. [Dr. Watts]. Fifth (and last) stanza of Watts, Psalms, Psalm 27. The musical version printed here, differing from the PSA version principally in altered prosody in mm. 6–7, is from Worcester 1791, p. 128. In a letter dated 19 June 1791 to Isaiah Thomas, Ebenezer Andrews wrote: “Assurance, by Billings—he has given permission in writing, and wishes us to purchase some musick he has by him.” (Thomas Papers). Billings’s apparent sale to Thomas and Andrews of the right to reprint Assurance in Worcester 1791, suggests that he made or at least approved of the version printed there. Thus that version is printed here in the belief that it represents Billings’s latest intentions. Differences between it and the PSA version are noted below.
Orig., PSA, mm. 3–4, Tenor: notated as two dotted half-notes in m. 3, with a slur from m. 3, beat, 1 to m. 4, beat 1; m. 5, Bass: the A on beat 1, tied to beat 4, has a choosing note an octave lower; mm. 6–7: Billings’s original is as follows:
mm. 10–11: Billings’s original is as follows:
m. 13: Billings’s original is as follows:
Orig., Worcester 1791, m. 11, Counter: the note on beat 6 is G♯.
Berlin Text att.: Dr. W. [Dr. Watts]. First and second stanzas of Watts, Horae Lyricae, “Christ Dying, Rising and Reigning,” p. 49. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly. Orig., m. 6: apostrophe supplied for “heav’nly”; m. 9: Billings’s spelling of “tydings” has not been retained; m. 19, Bass: the note on beat 3 is D; m. 20, Treble: the whole note lacks dot. Text, stanza 3, line 2: apostrophe supplied for “Deliv’rer”; lines 5–8; the words in quotation marks originally printed in italics.
Emanuel No text att.; text probably by Billings. The first two words of every other line from first stanza are set to indicate text underlay. The complete text is printed on the facing page.
Orig., beginning, Treble: a quarter-rest instead of an eighth-rest; m. 8: Billings’s musical setting divides “trembling,” a two-syllable word, into three syllables; m. 13: the wedgeshaped symbols are “marks of distinction.”163 Text, stanza 3, line 3: Billings’s spelling of “aboad” has not been retained; stanza 5, line 3: Billings’s spelling of “centured” has not been retained; stanzas 2–6: the abbreviation “Cho”, for Chorus, which appears between the 4th and 5th lines of each stanza, has not been retained.
A strong similarity in melody and setting suggests that Emanuel may be a recomposition of Judea (see WBii, pp. 52–53).
Framingham Text att.: Dr. W. [Dr. Watts]. First stanza of Watts, Hymns I, No. 92. The entire text supplied from this source. Published by Billings without the fugal section in MM, p. 3 (see WBii, p. 272).
Orig., mm. 6, 15–28: Billings’s substitution of “Voice” for “Speech” has been retained; mm. 11, 15–28: Billings’s substitution of “Son” for “Word” has been retained. Text: stanzas 3–5 enclosed in brackets.
Golgotha Text att.: D.W. [Dr. Watts]. First and second stanzas of Watts, Hymns II, No. 63. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly.
Orig., m. 19, Bass: the lower note of the second quarter-note diad is a half-note; m. 21, Treble: the eighth-note after beat 2 lacks dot; m. 22: Billings’s spelling of “Rev’rend” has been retained; m. 23, Treble: the eighth-note on beat 1 lacks dot; Tenor: the sixteenth-note after beat 1 lacks flag—notated as a beamed eighth-note.
Manchester Text att.: T & B [Tate and Brady]. Third and fourth stanzas of Brady and Tate, New Version, Psalm 150. Because later stanzas do not fit Billings’s setting, no other stanzas are provided in this edition. Published by Billings without the fugal section in MM, p. 5 (see WBii, p. 286).
Orig., m. 14: apostrophe supplied for “Psalt’ry’s”; m. 20, Treble: Billings’s spelling of “Timbral’s” has not been retained; m. 43, Bass, second ending: low E lacks ledger line.
Redemption Text att.: Words Anon. Source of text: a hymn published in Knapp 1751, pp. 164–167. The entire text supplied from this source.
Orig., m. 3, Bass: the note on beat 2 may be A♭; m. 12, Treble: the repeated note in the slur after beat 1 should be articulated; m. 14: Billings’s substitution of “fate” for “fates” has not been retained; m. 18, Bass: the note on beat 1 is D; m. 25: “Forte” stands over m. 26. Text, verse 2, line 5: the spelling of “abbandon” has not been retained; verse 4, line 6: the spelling of “Paradice” has not been retained; line 7: the spelling of “yeild” has not been retained.
Resignation Text att.: D.W. [Dr. Watts]. First and second stanzas of Watts, Hymns II, No. 83. Since Billings combines the first and second stanzas into one, the third and fourth stanzas have been renumbered as stanza 2. A fifth stanza is included in Watts’s hymn as follows:
Live, glorious Lord! and reign on high;
Let ev’ry Nation sing;
And Angels sound with endless Joy,
The Saviour and the King.
Orig., m. 6: Billings’s spelling of “dreadfull” has not been retained; m. 21: Billings’s text has “to his” instead of “t’his”, which makes too many syllables for the music; m. 30, Tenor: the notation is unclear—the note on beat 1 may be a quarter-note, all of the notes on beat 2 are beamed together, and the triplet sign is omitted.
Rutland Text att.: D.W. [Dr. Watts]. The sixth and then the fourth stanzas of Watts, Psalms, Psalm 17 are set. The unusual selection of texts indicates that Billings intended this to be a set-piece, and no other text stanzas are supplied here.
Orig., m. 13, Treble, beat 2: Billings may have intended a sharp before the F because of the use of that pitch in the previous two measures; m. 23: Billings’s substitution of “Trumpet” for “Trumpet’s” has not been retained; mm. 29–32: Billings’s spelling of “surprize” has not been retained; m. 51, Bass: dot omitted on the note on beat 1; m. 53, Treble: a quarter-rest following the whole-note has not been retained; m. 64, Bass: flag omitted on the second eighth-note.
Wareham Text att.: D.W. [Dr. Watts]. First stanza of Watts, Hymns II, No. 93. The entire text supplied from this source. Published by Billings without the fugal section in MM, p. 31 (see WBii, p. 328).
Orig., m. 18, Bass: marks of distinction supplied (for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368); m. 19, Counter: marks of distinction supplied; m. 21, Counter and Tenor; marks of distinction supplied; m. 22, Counter: the note on beat 1 lacks dot; Bass: marks of distinction supplied; m. 23, Bass: there may be a faint sharp before the second sixteenth-note after beat 1; m. 31, Bass: mark of distinction supplied on beat 1; m. 36, Counter: slur between the quarter-note on beat 2 and the eighth-note following has not been retained; m. 37, Counter, Tenor, and Bass: marks of distinction supplied. Text, stanzas 2–4, 8 enclosed in brackets.
ANTHEMS
Anthem: And I Saw a Mighty Angel.
Orig. heading: An Anthem Revns Chap. 5th. Text from Bible, Authorized Version, Revelation 5:2–8, 12, 9–10; Revelation 4:8; and Revelation 15:3, with the following alterations and additions by Billings: verse 2: “mighty” substituted for “strong”; verse 3, “or” substituted for “nor in”, “neither under the earth” omitted; verse 4, “much” omitted, “and to read” omitted; verse 5, “said” substituted for “saith”; verse 6, “and of the four beasts, and in the midst of the elders,” omitted, “having” added to text before “seven eyes”; verse 7, “right” omitted before “hand”; verse 8, “the four beasts and” omitted, all text in verse 8 after “Lamb” omitted; the text in mm. 100–118 is not from the Bible and may be Billings’s own; the text in mm. 119–129 is an altered combination of phrases from verses 9, 10, and 12; the text in mm. 150–169 is not from the Bible and may be Billings’s own; verse 12, “for he is worthy” added to text; mm. 241–243, “And again they said” added to text; mm. 183–258, “Amen” and “Hallelujah” added throughout.
Orig., m. 1: “Mi is in A,” not retained here, stands above the staff testifying that B major is an unusual key; mm. 8, 18: quotation marks supplied editorially; mm. 14–15: the repeated notes in the melisma should be articulated; m. 17: Billings’s spelling of “seale” has not been retained; m. 29: the designation “♭ key” standing above the Treble at the mode change has not been retained; m. 43: the designation “♯ key” standing above the Treble at the mode change has not been retained; the notation “Mi is in A” standing above the Counter has not been retained; mm. 47, 64: quotation marks supplied editorially; m. 103, Treble: the eighth-notes on beat 2 are flagged separately and the slur omitted; Billings’s spelling of “listned” has not been retained; mm. 119, 148: quotation marks supplied editorially; mm. 157–161: the repeated notes in the melisma should be articulated; m. 163, Counter: dot omitted on the note on beat 1; m. 168, Counter: repeated notes in the melisma should be articulated; mm. 170, 240: quotation marks supplied editorially; mm. 194–196: for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368; m. 217, Counter: dot omitted on quarter-note after beat 1; m. 226, Tenor: dot omitted on eighth-note on beat 1; Bass: the sixteenth-note following beat 1 is D♯ (see m. 178 for parallel passage); m. 229, Bass: note on beat 1 is G♯; m. 230: apostrophe supplied for “Pow’r”; mm. 243, 256: quotation marks supplied editorially.
Anthem: Blessed Is He That Considereth the Poor.
Orig. heading: An Anthem taken from sundry Scriptures for Charity meetings. Text from Bible, Authorized Version, Psalm 41:1–2, Matthew 5:7, I Corinthians 14:1, I Corinthians 13:13, Psalm 41:3, Proverbs 19:17, Psalm 34:6, Psalm 68:6, James 1:27, and Psalm 106:48, with the following alterations and additions by Billings: Psalm 41:2, “into” substituted for “unto”; Matthew 5:7, “find” substituted for “obtain”; I Cor. 13:13, “there is” substituted for “And now abideth”, “these three” omitted from text; Psalm 41:3, “shall” substituted for “will”; Proverbs 19:17, “giveth to” substituted for “hath pity upon”, “to” substituted for “unto”, “that which he hath given” omitted, “he will repay it” substituted for “will he pay him again”; Psalm 34:6, “delivered” substituted for “saved”, “from” substituted for “out of”; Psalm 68:6, “the Widow’s God and guide” substituted for “and a judge of the widows”; James 1:27, “this” omitted from text, “in their affliction” omitted from text; Psalm 106:48, “ye” omitted from text, “let them say” added, “Hallelujah” added.
Orig., m. 6, Tenor: marks of distinction omitted (for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368); m. 55, Bass: the note on beat 1 is a dotted sixteenth-note followed by an eighth-note; mm. 74–76, Bass: tied notes notated as three half-notes and a dotted half-note under a slur; m. 93: the designation “♭ key” standing above the Treble at the mode change has not been retained; m. 96, Bass: the note on beat 1 is a half-note; m. 112, Counter: the sharp sign stands after the note; m. 114: the designation “♯ key” standing over the Treble at the mode change has not been retained; m. 130, Tenor: the last note is G♯ (altered to agree with parallel passage in m. 122); mm. 132, 134, 136: Billings’s spelling of “unspoted” has not been retained; m. 160, Bass: the note on beat 1 is a half-note; m. 182, Treble: the note is G♯.
Anthem: Consonance, Down Steers the Bass.
Orig. heading: Consonance An Anthem. Text att.: Dr. Byles. ON MUSIC by Mather Byles, the complete text of which was published in NEPS, p. 10 of the introduction (see WBi, p. 12). Billings omits lines 7 and 8 of Byles’s poem.
Orig., m. 8, Treble: Billings’s spelling of “Carear” has not been retained; Tenor: “Piano” stands over the first note of m. 9; m. II, Tenor: a faint tie between the half-note on beat 1 and the following eighth-note has not been retained; m. 28, Counter: Billings’s spelling of “Base” has not been retained; m. 30: Billings’s substitution of “melt” for Byles’s “meet” has been retained; mm. 40–49: Billings’s spelling of “inchanting” and “winde” have been retained; m. 94: “Forte” stands over beat 2 of m. 95; Counter: the upper note of the diad on beat 2 lacks a stem; m. 101, Treble: repeat sign and figures 1 and 2 omitted; Counter: the upper note of the diad in the first ending lacks stem.
Anthem: Euroclydon, They That Go Down to the Sea.
Orig. heading: Euroclydon An Anthem Psalms [sic] 107 for Mariners. Text from Bible, Psalms, Common Prayer version, Psalm 107:23–24, and Authorized Version, Psalm 107:25–30, with the following alterations and additions by Billings: verse 24, “God’s wonders” substituted for “the works of the Lord”, “great and mighty” added to text; verse 25, “commanded the stormy winds to blow” substituted for “commandeth, and raiseth the stormy wind”, “and he lifted up” substituted for “which lifteth up”; verse 26, “They are mounted up as it were into heav’n and then down into the deep” substituted for “They mount up to the heaven, they go down again to the depths”, “souls melt away with trouble” substituted for “soul is melted because of trouble”; verse 27, the word order has been rearranged; verse 28, “God” substituted for “the Lord”; verse 29, “thereof” omitted from text; verse 30, “and he bringeth the vessel into port” substituted for “so he bringeth them unto their desired haven”; text from m. 134 to the end does not come from the Bible and is probably Billings’s own.
Orig., m. 8, Bass: the upper two eighth-notes after beat 2 are beamed as sixteenth-notes; mm. 8, 10: Billings’s spelling of “Bus’ness” has not been retained; m. 71, Tenor: the repeat of “stagger” omitted; m. 77, Tenor and Bass: marks of distinction omitted (for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368); m. 90, Bass: slur omitted on beat 1; m. 114: the designation “Mi is in E” standing over the Treble at the mode change has not been retained; m. 117, Bass: the notes on beat 1 are beamed as sixteenth-notes; m. 145: the “Forte” standing over the Treble has been moved to m. 143; Counter: text omitted and has been supplied from a parallel passage in m. 136; m. 148: the “Vigoroso” standing over the Treble has been moved to m. 147.
Anthem: Let Ev’ry Mortal Ear Attend.
Orig. heading: An Anthem Isaiah 55 suitable to be sung at a Communion. Text taken from Watts, Hymns I, No. 7, first stanza, and Bible, Authorized Version, Isaiah 55:1–2, Revelation 22:17 and 22:20, with the following additions by Billings: mm. 50–58, “Hark, hear the Invitation” added to text; Isaiah 55:2, “For” and “your” added to text; Revelation 22:17, “him come and” added to text: Revelation 22:20, “come quickly” added to text.
Orig., m. 1, Bass: time signature omitted; m. 21, Tenor: rests notated as quarter-rests; m. 32, Tenor: slur beginning on beat 1 has been adjusted to begin on beat 2; m. 51: for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368; m. 52, Tenor: a slur which appears faintly between the second and third quarter-notes has not been retained; m. 54, all voices: marks of distinction have been supplied for the half-note, as in mm. 51 and 57; mm. 60–65: apostrophe supplied for “ev’ry”; m. 78, Bass: sharp supplied for last note to agree with parallel passage in m. 96; mm. 100–101, Tenor: the slur from the E eighth-note in m. 100 to the E quarter-note in m. 101 has been retained; m. 127, Bass: repeat sign omitted.
Anthem: Modern Music, We Are Met For a Concert.
No text att.; text probably by Billings himself.
Orig., m. 23: apostrophe supplied for “Author’s”; m. 42, Treble: final eighth-note lacks flag; m. 49, Counter: half-note lacks stem; m. 50: the notation “F♯” appearing above the Treble at the mode change has not been retained; m. 71: apostrophe supplied for “Thro’”; m. 73: Billings’s spelling of “we’d” has not been retained; mm. 89 and 92: apostrophe supplied for “’tis”.
Anthem: The Beauty of Israel.
Orig. heading: An Anthem 2d Samuel Chap 1st. Text from Bible, Authorized Version, II Samuel 1:19–20, 23–24, 26–27, with the following alterations by Billings: verse 20, “should” added to text; verse 23, “altogether” added to text, “deaths” substituted for “death”; verse 26, “O Jonathan” added to text.
Orig., mm. 12–13, 18: Billings’s spelling of “faln” has not been retained; m. 26: the notation “B♭” appearing above the Treble, has not been retained; Billings’s substitution of “let” for “lest” has not been retained; m. 56, Treble: the two quarter-notes are slurred, not the half-note and quarter-note, as in the Counter and Bass; m. 58, Treble: time signature omitted; mm. 59, 61, 63, 65: Billings’s spelling of “than” as “then” has not been retained; m. 59, Bass: the lower note on beat 1 is B♭; mm. 66–67: repeat sign omitted but presumed to occur between these measures; m. 69, Treble: the change in the melodic line from that which occurs in mm. 11, 102, and 131 has been retained, although it may be an engraving error; m. 76, Treble: half-note instead of whole-note; m. 86: Billings’s spelling of “cloathed” has not been retained; m. 118, Treble: the two quarter-notes are slurred, not the half-note and quarter-note; m. 122, 124–125: Billings’s spelling of “wonderfull” has not been retained.
Anthem: The Dying Christian to his Soul, Vital Spark of Heav’nly Flame.
Orig. heading: The Dying Christian to his Soul An Anthem Words by Pope. Source of text: Pope, Works, v. 5, p. 190 (see Julian, p. 1226).
Orig., m. 31: Billings’s substitution of “spirits” for “spirit” has not been retained; m. 48, Treble: the faint notes—B below D on beat 1, and D above B on beat 2—are poorly corrected engraving errors and have not been retained; m. 54, Bass: Billings’s spelling of “recdes” has not been retained.
Anthem: Thou, O God, Art Praised.
Orig. heading: An Anthem. Source of text: Bible, Psalms, Common Prayer version, Psalm 65: 1–2, 12–14, with the following alterations by Billings: verse 1, “and” omitted from text; verse 12, “the clouds” substituted for “thy clouds”; verses 12 and 13 are elided; “Hallelujah” and “Amen” added to text.
Orig., mm. 4–5, Bass: the slur from m. 4, beat 1, to m. 5, beat 1, is a poorly corrected error; mm. 10, 14, 26, 27: Billings’s spelling of “Thee” as “the” has not been retained; mm. 36, 38, 40, Tenor: half-rest instead of two quarter-rests; m. 60, Bass: the double stems on the first two notes are poorly corrected engraving errors; mm. 83–85, 88: Billings’s spelling of “Vallies” has not been retained; m. 94, Tenor: dotted quarter-note followed by an eighth rest, here adjusted to agree with the other parts; m. 97, Tenor: the repeated notes in the melisma should be articulated; mm. 107–109, Counter and Tenor: the repeated notes in the melisma should be articulated; m. 115, all parts: time signature omitted.
Anthem: Who Is This That Cometh From Edom.
Orig. heading: An Anthem taken from sundry Scriptures. Source of text: Bible, Authorized Version, Isaiah 63:1, Isaiah 9:6, Genesis 49:10, Isaiah 7:14, Revelation 1:11, Matthew 1:23, Jeremiah 23:6, Genesis 3:15, John 1:29, John 5:18, John 1:17, Psalm 85:10, Psalm 107:8, Watts, Hymns i, No. 58, stanza 4, with additional text which may have been written by Billings. (The source of the text between mm. 68–139 and mm. 149–160 is unknown and is probably by Billings.)
Orig., mm. 18–22: Billings’s spelling of “Wonderfull” has not been retained; mm. 22–23, Tenor: Billings’s original notation of three half-notes under a slur from m. 22, beat 2, through m. 23, not retained; m. 38, Counter: the eighth-note lacks flag; m. 44, Counter: the rest is a whole-rest; m. 68: the notation “F♯”, which appears above the Treble at the mode change, has not been retained; m. 78: Billings’s spelling of “speakes” has not been retained; mm. 99–100: Billings’s spelling of “dispair” has not been retained; m. 113, Counter: the tie between the quarter-note on beat 2 and the following eighth-note is assumed to have been meant as a slur between the two eighth-notes; m. 133, Counter: the note on the second half of beat 2 is a half-note; m. 138, Counter: the sharp on the final quarter-note is unclear in the sources; m. 141: “Vigoroso” stands over m. 143, beat 2; m. 143: Billings’s substitution of “has” for “hath” has been retained; m. 144: apostrophe supplied for “Pow’r”; m. 156, Treble: only five beats in the measure, quarter-note F♯ on beat 6 has been supplied; m. 157, Treble: the notes on beats 2, 3, and 4 are all D♯; m. 158, Tenor and Bass: only five beats in the measure, quarter-note F♯ has been supplied on beat 1 in the Tenor, and octave B choosing notes on beat 1 in the Bass; m. 158: “us” omitted from the text; m. 160: for a discussion of “marks of distinction”, see note appended to commentary for Emanuel, this volume, p. 368; m. 171, Counter: the note on beat 1 is a dotted half-note; m. 178, Treble: repeat sign omitted; m. 178: the direction “minim beating” directs performers to make the half-note the unit of beat; Billings’s spelling of “minum” has not been retained.
The Suffolk Harmony
For Madrid, omitted from this edition of SH, see commentary in WBii, p. 354. Richmond, also omitted here, differs from the SMA version only by omitting the octave choosing notes in the Bass; for commentary see WBii, p. 349.
Baptism Text att.: Relly. The first stanza of Relly No. 11 by James Relly. The entire text supplied from this source.
Beneficence Text att.: T.B. [Tate and Brady]. The first and second stanzas of Brady and Tate, New Version, Psalm 112. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly. Following the tune name is the notation: “Suitable for a Charity meeting.”
Orig., mm. 9–10: the 6/4 time signature and repeat sign, which stand before the last quarter-note in m. 9, have been moved to the beginning of m. 10, and in m. 17 the first ending has been adjusted to conform to that change; m. 10: Billings’s substitution of “a” for “the” has been retained; m. 12: Billings’s spelling of “inexausted” has not been retained.
Brattle Square Text att.: Dr. Watts. The first stanza of Watts, Hymns I, No. 62. The entire text supplied from this source.
Brattle Street Text att.: Dr. Watts. The first stanza of Watts, Psalms, Psalm 92, First Part. The entire text supplied from this source. The first 16 measures of this tune appear to be an ornamental variant of Brest, published by Billings in MM, p. 4 (see WBii, p. 280).
Orig., m. 30: the repeat sign omitted. Text, verse 7, line 3: apostrophe supplied for “Pow’r.”
Burlington Text att.: Relly. The first stanza of Relly No. 3 by James Relly. The entire text supplied from this source.
Camden Text att.: Dr. Watts. The first stanza of Watts, Psalms, Psalm 104, and then the twelfth stanza of Watts, Psalms, Psalm 148. Because of the unusual selection of texts, it appears that Billings intended this to be a set-piece, and no other text stanzas are supplied here.
Orig., m. 9, Treble and Bass: the repeated notes in the melisma should be articulated; m. 20: Billings’s substitution of “sounds” for “plays” has been retained.
Chelsea Text att.: Relly. The first and second stanzas of Relly No. 43 by James Relly. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly. Relly’s hymn includes a seventh stanza, as follows:
The Father makes known
What he hath bestown
On Christ, and instructs me to call it my own.
Orig., m. 5: Billings’s spelling of “crusify’d” has not been retained; m. 6: Billings’s spelling of “die’d” has not been retained.
Conquest Text att.: Relly. The first stanza of Relly No. 94 by James Relly. The entire text supplied from this source.
Orig., m. 5: the spelling of “achievements” has not been retained. Text, stanza 5: an apostrophe before the “s” in “Honours” has not been retained.
Eden Text att.: Dr. Watts. The first stanza of Watts, Hymns I, No. 41. The entire text supplied from this source. Orig., m. 1: Billings’s substitution of “Those” for “These” has been retained.
Election Text att.: Relly. The first stanza of Relly No. 29 by John Relly. The entire text supplied from this source. Orig., m. 1, Bass: the natural sign on beat 5 has been editorially supplied.
Glocester Text att.: Relly. The first stanza of Relly No. 68 by James Relly. The entire text supplied from this source.
Orig., m. 10, Treble: slur lacking on beat 1.
Hartford Text att.: Relly. Text from Relly No. 84 by James Relly. First published in PSA, p. 103. PSA version differs from SH only by including lower octave choosing notes in the Bass at the following places: m. 5, beat 1; m. 6, beats 1–2; mm. 8–9, all notes; mm. 14, 24–25, all notes; m. 28, the two eighth-notes on beat 2; and m. 29, beat 1. The final difference is the following: m. 30, Treble: half-note B choosing note below D.
Hull Text att.: Relly. The first stanza of Relly No. 58 by James Relly. The entire text supplied from this source.
Jerusalem Text att.: Relly. The first stanza of Relly No. 40 by James Relly. The entire text supplied from this source.
Orig., m. 3: an apostrophe supplied for “Battle’s”; m. 4: an apostrophe supplied for “o’er”; m. 13, Treble: the repeated note in the melisma should be articulated; Tenor: flag omitted on the last eighth-note; m. 15, Treble: a tie between the quarter-note on beat 1 and the eighth-note on beat 2 has not been retained; m. 19: Billings’s spelling of “suspence” has not been retained.
Jordan Text att.: Dr. Watts. The first and third stanzas of Watts, Hymns II, No. 66. Because of the unusual selection of texts, it appears that Billings intended this to be a set-piece, and no other text stanzas are supplied here.
Orig., m. 26: “Forte” moved to m. 25.
Kittery Text att.: Dr. Watts. Actual source of text: Supplement, “The Lord’s Prayer,” Second Metre, p. 56 (see Julian, p. 801). The entire text supplied from this source. Orig., m. 4, Counter: the rhythm of beat 1 is reversed—quarter-note followed by two eighth-notes; m. 12, Bass: the sixteenth-note lacks flag, notated as eighth-note; m. 14, Treble: a small figure “3” which appears over the last quarter-note has not been retained.
For a variant version of Kittery published in Brownson 1783 see Appendix I of this volume. Ms copies of the tune, which perhaps predate the Brownson print but which vary only slightly from it, are found in the CtHT-W Ms, the MiU-C Ms 1, and the MHi Ms.
Mendom Text att.: Relly. The first stanza of Relly No. 17 by John Relly. The entire text supplied from this source.
First published in PSA, p. 53. PSA version differs from SH as follows: m. 4, Bass: the second quarter-note has a choosing note an octave higher; m. 15, Treble: the rhythm on beat 2 is a dotted eighth-note followed by a sixteenth-note; m. 16, Treble: the sharp is omitted on beat 1. Orig., m. 16, Counter: the sharp on beat 2 has been editorially supplied.
Moravia Text att.: Relly. The first stanza of Relly No. 16 by James Relly. The entire text supplied from this source.
Orig., m. 3: apostrophe supplied for “’tis”; m. 4, Bass: first note in the measure is a half-note; m. 11: the singular “has,” found in both Relly and Billings, has been retained; m. 13: first ending sign stands over the half-note on beat 4.
Moriah Text att.: Relly. The first stanza of Relly No. 8 by John Relly. The entire text supplied from this source.
Orig., m. 2: Billings’s spelling of “lovly” has not been retained.
Northborough Text att.: Words Anon. Source of text: a hymn published in Knapp 1751, pp. 162–164. The entire text supplied from this source.
Orig.: poetic meter given as L.M.; m. 3: Billings’s spelling of “Hea’ven” has not been retained. Text verse 4, line 6: apostrophe supplied for “Pow’rs.”
Published without attribution in Stickney 1774, p. 41, as Lanesborough. Stickney’s print varies only in very minor details from SH; however, a significantly different version is printed in Pilsbury 1799, p. 145, as Hebron. Pilsbury’s version is printed in Appendix I of this volume.
Petersburgh Text att.: Watts. The first and second stanzas of Watts, Hymns I, No. 87. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly. Watts’s hymn includes a fifth stanza, as follows:
O may thy pard’ning Grace be nigh,
Lest we should faint, despair, and die!
Thus shall our better Thoughts approve,
The Methods of thy chast’ning Love.
Orig., m. 3: Billings’s substitution of “the” for “and” has not been retained; m. 13: “I” omitted from the text; mm. 40–42: “of my Delight” omitted from the text.
Phylanthrophy Text att.: Relly. The first stanza of Relly No. 11 by James Relly. The entire text supplied from this source.
Orig., m. 21, Tenor: flag omitted on the final eighth-note.
Restoration Text att.: Relly. The first stanza of Relly No. 5 by James Relly. The entire text supplied from this source.
Shiloh Text att.: Billings. The first and second stanzas of a ten-stanza hymn printed on the verso of the title page facing p. 1 of the music. Since Billings combines the first two stanzas into one, later stanzas have been renumbered accordingly. In the printed text, stanza 1 is labelled “First Shepherd”; stanza 2, “First Angel”; stanza 5 is enclosed in brackets and is labelled “Narrative”; stanza 7 is labelled “First Angel”; stanza 9, “Narrative”; and stanza 10, “Grand Chorus.” Orig. heading of the printed text: Shiloh, for Christmas by Wm. Billings. The designation, “for Christmas”, also stands over the Treble part at the beginning of the music. Citations to Biblical sources which appear as footnotes below the printed text have not been retained in this edition.
Orig., m. 2: Billings’s substitution of “a” for “an” has not been retained; m. 15: Billings’s substitution of “we” for “I” has not been retained.
Sinai Text att.: Relly. The first stanza of Relly No. 69 by James Relly. The entire text supplied from this source.
Orig., m. 16: the repeat sign has been moved to the beginning of m. 17 and the first ending adjusted to correct notation. Text, verse 3, line 5: apostrophe supplied for “Mountain’s.”
West Boston Text att.: Relly. The first and second stanzas of Relly No. 28 by John Relly. The entire text supplied from this source. Since Billings combines the first two stanzas into one, later stanzas are renumbered accordingly.
Orig., m. 24, Tenor: natural sign has been supplied editorially.
Wheeler’s Point Text att.: T & B [Tate and Brady]. The first stanza of Brady and Tate, New Version, Psalm 126. The entire text supplied from this source.
Orig., Title: apostrophe supplied; m. 1: apostrophe supplied for “Sion’s”; m. 23, Counter: although the G on the second quarter-note appears in the source, because of the treble note Billings may have intended an A; m. 28: “Loud” stands over the beginning of m. 29.
This tune was published in Shumway 1793, p. 150, called Dartmouth, and claimed as a newly published tune. There are a few minor differences in Shumway’s version which, together with the new tune name and his indication that it had not previously been published, suggest that Shumway printed the tune from a manuscript copy.
ANTHEMS
Anthem: Funeral Anthem, Samuel the Priest.
Orig. heading: Funeral Anthem Words from Sundry Scriptures. Source of text: Bible, Authorized Version, I Samuel 25:1 (paraphrased); Job 19:21; Psalm 88:18; Psalm 6:6; Psalm 119:25 and 28; Job 1:21.
Orig., m. 24, Treble: the designation “Chorus” which stands over beat 2 has not been retained; m. 36, Treble: the whole-note is notated as a half-note; mm. 41–49, 59–67, and 74–82: the repeat of the Chorus is indicated by written directions.
Another version of this anthem, probably dating from before it, is found the MHi Ms. There the work is entitled “An Anthem Words from Job,” is in G minor, and begins with the text “Have pity on me” (m. 15ff). The other principal differences are a bass added to mm. 17–19, and eighth-note passing tones added to the Treble, Counter, and Tenor parts in mm. 96–98 where an interval of a third exists between two half-notes. Gillian Anderson has shown that “Samuel the Priest” was sung in the funeral service for Rev. Samuel Cooper on 2 January 1784.164 It seems probable that at some time before Cooper’s death Billings had composed the anthem in its shorter form, and that for the funeral he added the opening fourteen measures to give the piece topical significance. The variant version was published in French 1802, p. 149, transposed to A minor.
Anthem: Lift Up Your Eyes.
Orig. heading: An Anthem Word[s] by Dr Watts. Source of text: Watts, Hymns II, No. 43, stanzas 6–7.
Orig., m. 5, Counter: the note on beat 1 is a dotted sixteenth-note; m. 9: the notation “(Mi natural)” which stands over the Treble at the key change has not been retained; Tenor: a precautionary natural sign on beat 3 has not been retained; m. 12, Counter: the first A eighth-note lacks flag; m. 15, Bass: the original notation of a half-note C followed by a quarter-note C, all under a slur, has been interpreted as a continuous sound, notated here as a dotted half-note; m. 20, Counter: the note on beat 3 is F; m. 36: the direction “Shout and Swell,” unique in Billings’s works and not cited in the glossaries of tunebooks of the time, surely calls for a loud, full, and dramatic conclusion to the anthem. It is suggested that m. 36 be performed forte with a gradual crescendo to the final measure.
Anthem: Union, Behold How Good and Joyful.
Orig. heading: Union An Anthem Ps. 133. Source of text: Bible, Psalms, Common Prayer version, Psalm 133:1–4; plus Thomas Ken’s Doxology, the final verse of his “Morning Hymn”, “Evening Hymn”, and “Midnight Hymn” (see Julian, pp. 618–621), with the following alterations by Billings: verse 1: “for” added to text, “and peace” added to text; verse 2, “of Aaron” substituted for “even unto Aaron’s beard”; verse 4, “Amen” added to text. Orig., m. 11, Bass: the final quarter-note is D; m. 28, Bass: “and went” omitted from text; mm. 30–34: Billings’s spelling of “cloathing” has not been retained.
Independent Publications
The Bird Text att.: T & B [Tate and Brady]. The first stanza of Brady and Tate, New Version, Psalm 11. The entire text supplied from this source.
Orig., m. 7, Bass: the natural sign on beat 3 has been supplied editorially; m. 17: repeat sign omitted; m. 23, Counter: the slur is to the second quarter-note of beat 2; m. 33: first and second endings have been supplied to correct notation.
A variant version, possibly dating from the mid-1770s, is found in the NN Ms. In this copy, set for Tenor and Bass only, the first 14 measures are missing, there are no changes of time signature (3/2 is used throughout), the Tenor is rhythmically offset from the bar-line by one beat from m. 19 to the end, and some small changes are found in a few pitches.
Crucifixion Text att.: Words Anon. Source of text: a hymn published in Law 1783, No. 34. The entire text supplied from this source.
First published in MM, p. 7, in abbreviated form (see WBii, p. 298). The version in MM is identical to the first 16 measures of the later version except that MM is in F♯ minor.
Orig. heading: Crucifiction for good Friday (Billings’s spelling has not been retained); mm. 12–13: Billings’s spelling of “indure” has not been retained; m. 15, Tenor: the eighth-note after beat 1 lacks flag; m. 29, Treble: only 5 quarter-notes in the measure, a sixth C has been supplied; m. 32: Billings’s spelling of “indure” has not been retained; m. 38: first and second endings supplied to correct notation.
The Lark Text att.: Words Anon. Source of text unlocated.
Orig., mm. 2–3: Billings’s spelling of “th’unweard” has not been retained; m. 4, Bass: Billings may have intended a C instead of a G (second inversion triads are uncommon in Billings’s music generally, particularly at cadences); m. 5: Billings’s spelling of “alwready” has not been retained; m. 9–11, Counter and Bass: this two-voiced passage in parallel octaves is unprecedented in Billings’s music. It is possible that the Bass is to be read a third lower, beginning with beat 2, m. 9. On the other hand, the octaves later on the same words in mm. 31–33 suggest that their appearance in mm. 9–11 is intentional; m. 38, Bass: flag omitted on second eighth-note of beat 2.
Resurrection Text att.: Words Anon. The first stanza of an anonymous translation of the Latin hymn “Surrexit Christus hodie,” first published in Lyra Davidica. Billings’s text appears to be a combination of that and a variant version published in Arnold 1749 (see Julian, pp. 596–597). The second and third stanzas are supplied from Arnold 1756, Book IV, p. 10.
The “Hallelujah” phrase in mm. 3–4 is essentially the same as that in mm. 86–87 of Billings’s anthem, Peace (see this volume, p. 257); mm. 11–12 and mm. 19–20 are also varied repeats of mm. 90–91 and mm. 94–95 respectively of Peace. Since Resurrection was published four years after Peace, it appears that Billings went back to his earlier anthem to borrow music for the hymn tune.
Orig. heading: Resurrection For Easter; m. 310 end: Billings’s spelling of “Halleluiah” has not been retained; m. 4, Bass: the half-note on beat 4 lacks dot; m. 11, Treble: the tie between the two C quarter-notes has been supplied editorially.
This composition appears to be modelled on A Hymn For Easter Day, often attributed to the English composer, Henry Carey, and frequently published in English and American collections during the eighteenth century. (See Bayley 1773, Vol. 2, p. 96.)
ANTHEMS
Anthem: Except the Lord Build the House.
Orig. heading: An Anthem Psalm 127 Composed by Wṃ Billings. Source of text: Bible, Psalms, Common Prayer version, Psalm 127:1–4, 6, with the following alterations by Billings: verse 2, “watchmen” substituted for “watchman”; “but” omitted from text; verse 3, all text after “carefulness” omitted; verse 4, “and the fruit of the womb” omitted; verse 6, “he” substituted for “they”, “to speak” substituted for “when they speak”, and “his” substituted for “their”.
Orig. note at foot of p. 1: “Set this piece in G” (i.e., the piece should be performed a whole step lower than it is notated); m. 23, Treble: the eighth-rest omitted; m. 49: Billings’s spelling of “hast” has not been retained; mm. 61–62, 66–67. Counter, Tenor, and Bass: marks of distinction omitted (for a discussion of the mark of distinction, see note appended to commentary for Emanuel, this volume, p. 368); m. 75: tempo designation has been supplied from Billings’s direction over the Treble—“NB This strain no faster than Largo.”
Anthem: The Lord is Ris’n, Indeed.
Orig. heading: AN ANTHEM for Easter Words from Scripture & Dṛ YOUNG Composed by Wṃ Billings. Source of text: Bible, Authorized Version, Luke 24:34; I Corinthians 15:20; and Young, Night the Fourth, “The Christian Triumph,” lines 271–273, 288–293, and 298–300.
This edition of the anthem includes the section added by Billings in 1795, but this section is here separated from the preceding and succeeding sections to indicate clearly that it is a later addition. The anthem may be performed with or without the addition. Two sets of measure numbers follow the added section: italic numbers in a diamond refer to the earlier version and Roman numbers in a square to the later.
No copy of Billings’s original edition of 1795 seems to have survived. However, after Billings’s death there were at least five printings of the anthem with the added section. The earliest is found in Village 1800, p. 170; however, the source for this edition is French 1802, pp. 133–134. Discrepancies in the Village Harmony version, such as beginning the Counter entrance of the fuge a measure later and simultaneously with the Treble entrance (uncharacteristic of Billings’s fuging style), suggest that French’s version is closer to Billings’s original than any other printing.
Orig., m. 3, Bass: flag omitted on final eighth-note; m. 23, Treble and Counter: repeat sign omitted; mm. 75–80: repeated notes in the melisma should be articulated.
Anthem: O Clap Your Hands.
Orig. heading: An Anthem. Psalm 47. For thanksgiving, by Wṃ Billings. Text by Perez Morton. (See Queen Street, WBi, pp. 188–189).
Orig. m. 18, Billings’s spelling of “terible” has not been retained; mm. 23–31: apostrophe supplied for “trumpet’s”; m. 44: repeat sign stands over the first beat of the measure.
Anthem: Peace, God is the King.
Orig. heading: Peace an Anthem Words from sundry Scriptures and elsewhere. Source of text: Bible, Psalms, Common Prayer version, Psalm 47:7; Authorized Version, Psalm 106:48; Deuteronomy 32:43 (paraphrased); Psalm 97:1; Revelation 11:15; Luke 2:14; Isaiah 49:23; Isaiah 11:6–9; Watts, Hymns I, No. 10, stanzas 1–2; with possibly some words by Billings (mm. 198–208), and the following alterations by Billings: Isaiah 11:9, “saith the Lord” added, “fill’d” substituted for “full”, “fill” substituted for “cover.”
Note at foot of p. 1: “Symphony is sounds without words intended for instruments”; at foot of p. 13: “Wṃ Billings Author.” The instrumental prelude, postlude, and interludes in Peace appear to have been intended for a small group of instruments rather than for an organ. In addition to playing alone when the voices are silent, the instruments would probably have also played along with the singers. Billings assigned no specific instruments to any of the parts, leaving performers free to choose an accompanying ensemble. Among instruments available during the composer’s own time besides the organ, a “bass viol” (or violoncello) and/or bassoon would probably have sounded the Bass line; a viola and/or clarinet could have supported the Tenor; a violin, clarinet, oboe, or flute might have played the Counter part, and a violin, oboe, and/or flute would have played the Treble. In choosing instruments, the present-day performer should keep in mind that the Tenor part, which carries the melody, may be doubled at the upper octave, especially in full ensemble sections; that the Counter part, which was seldom prominent, should probably not be doubled at all; that the Treble voice could probably also bear doubling; and that a discrete organ accompaniment, playing Billings’s instrumental voices but not applying figure-bass harmonies to them, is also appropriate.
The “Hallelujah” section (mm. 86–97) appears in a slightly revised and expanded form in Billings’s hymn-tune Resurrection (see this volume, p. 234). A slightly revised version of mm. 310–334 comprises the final section of Billings’s An Anthem for Ordination (CH, pp. 115–116).
Orig., m. 22, Tenor: flag omitted on the eighth-note; m. 36: for a discussion of “marks of distinction,” see note appended to commentary for Emanuel, this volume, p. 368; m. 45, Treble: half-rest on beat 1 has not been retained; m. 58, Counter: the quarter-note lacks dot; Bass: slur to note on beat 2 has not been retained; m. 78, Tenor: the quarter-note lacks dot; mm. 84–85, Treble: marks of distinction omitted; m. 86, Treble: the slur extends to the last note of the measure; m. 89, Bass: both half-notes lack dots; m. 90, Treble: the tie between the two quarter-notes has been supplied editorially; Counter: the repeated notes in the melisma should be articulated; Tenor: the slur extends to the last note in the measure; m. 96: “Forte” stands over the last two quarter-notes of m. 96; m. 117, Bass: the quarter-note lacks dot; m. 119 to end: Billings’s capitalization of all letters in “PEACE” has not been retained; mm. 132–133, Counter: the tie between the two A quarter-notes has been supplied editorially; m. 137: “Forte” stands over m. 139; m. 145: apostrophe supplied for “Sion’s”; m. 148, Treble: the rhythm is 𝅘𝅥.𝅘𝅥𝅘𝅥𝅮𝅘𝅥 (such rhythmic complications are most uncharacteristic of Billings’s style and probably result from an engraver’s error in placing the eighth-note flag); m. 155, Treble: “Who” omitted from text; mm. 177, 183, Tenor: the tie between the two A’s has been supplied editorially; m. 185, second ending: “Forte” stands over m. 186; m. 189, Bass: tie omitted; m. 197: “Forte” stands over m. 198; Tenor: the natural sign has been supplied editorially; Bass: half-note lacks stem; m. 199: “Sprightly” stands over m. 200; m. 226: “Forte” stands over m. 227; m. 232: the Treble contains an extra quarter-rest, the Counter only a quarter-rest, the Tenor lacks a quarter-rest on beat 1, and the Bass lacks a measure rest; m. 265: “Forte” stands over m. 267; m. 268, Tenor: sixteenth-note lacks flag, notated as eighth-note; m. 271: “Piano” stands over m. 273; m. 293, Counter: natural sign supplied editorially; m. 298: Billings’s substitution of “water” for “waters” has not been retained; mm. 314–327: the performer’s attention is called to Billings’s use of cross accents in the text. Although the music proceeds in 2/4 time, much of the text is accented as if in 3/4 time. Because these textual and musical accents do not coincide in each voice, Billings’s original notation has been retained; however, in performing the work, the cross accents might well be emphasized; m. 334, Treble: the eighth-notes on beat 2 lack flags; m. 336: “Fortissimo” stands over m. 338.
Appendix I
Ashham Textless. Text att. in SMA: Dr. Watts. Source of text; Watts, Hymns I, No. 67. The entire text supplied from this source.
This variant version was published in French 1793, p. 9, as Lesson VIII, without attribution. Billings himself published Ashham in SMA, p. 40 (see WBii, p. 150).
Orig., m. 6, Tenor: beats 1 and 2 notated as eighth-notes. Text: stanzas 4 and 5 enclosed in brackets.
Barry No text att. The first stanza of Watts, Songs, Song I. The entire text supplied from this source.
Published by Billings in NEPS, p. 67, as Barre (see WBi, p. 243). This variant version was published in French 1793, p. 12, without attribution.
Bedford No text att. The first stanza of Watts’s Hymns I, No. 64. The entire text supplied from this source.
This tune appears to be a compositional variant of Waltham, published by Billings in NEPS, p. 95; SMA, p. 20; and MM, p. 10 (see WBi, p. 332, and WBii, p. 100). Published in Sacred 1788, p. 98, without attribution. Bedford seems to represent a later reworking of the melody with accompanying voices that are mostly new.
Hatfield [I] No text att. The first and second stanzas of Watts, Hymns I, No. 5. The entire text supplied from this source. Since the compiler combined the first two stanzas into one, later stanzas are renumbered accordingly. Watts’s hymn includes a fifth stanza, as follows:
If smiling Mercy crown our Lives,
Its Praises shall be spread;
And we’ll adore the Justice too
That strikes our Comforts dead.
Published in Shumway 1793, p. 137, attributed to “Unknown.” Not published by Billings. Orig., m. 1, Treble: the pitches of the two quarter-notes on beat 2 are B♭ and C respectively; m. 9, Treble: all notes are D; Counter: the note on beat 2 is A; m. 10, Treble: the notes on beat 1 are C, D, and E♭ respectively; m. 13, Counter: the second quarter-note is E♭; m. 14, Counter: the quarter-note on beat 1 is F.
Hatfield [II] No text att. The first and second stanzas of Watts, Hymns II, No. 9. The entire text supplied from this source. Since the compiler combined the first two stanzas into one, later stanzas are renumbered accordingly.
Published in PSA 1804, p. 5, attributed to Billings. Not published by Billings. This is a variant of the tune published by Shumway, with differences such as to lead one to suspect that it may be an earlier version.
Orig., m. 8, Counter: the natural sign has been supplied editorially; m. 13, Counter: the second quarter-note is E♭; mm. 15, 17, Counter: the natural signs have been supplied editorially. Text: stanza 3 enclosed in brackets.
Hebron Text att.: Words Anon. Source of text: a hymn published in Knapp 1751, pp. 162–164. The entire text supplied from this source.
Published by Billings in SH, pp. 17–19, as Northborough (see this volume, p. 157). This variant version was published in Pilsbury 1799, p. 145, without attribution.
Orig., m. 6, Bass: the grace notes, called Notes of Transition, are to be performed very quickly and lightly and “with such elasticity of voice, as not to introduce any distinct notes or sounds.” (Pilsbury 1799, p. 10). This grace was usually improvised by the performers to fill in melodic leaps of a third or more and was seldom written into the music; m. 6, Bass: the grace note following the quarter-note on beat 2 is A: mm. 21–22, Counter: although the notes on m. 21, beat 2, and m. 22, beat 1, do not fit harmonically with the other parts, they seem melodically consistent within themselves and have thus been retained; m. 28, first ending, Counter: dot on upper note of the diad only.
Kittery No text att. The first stanza of Supplement, “The Lord’s Prayer,” Second Metre, p. 56 (see Julian, p. 801). The entire text supplied from this source.
Published by Billings in SH, pp. 12–14 (see this volume, p. 152). This version was published as Kettery in Brownson 1783, p. 17, without attribution. Ms versions of the tune, resembling the Brownson print but predating it perhaps by as much as a decade, are found in the CtHT-W Ms and MiU-C Ms 1.
Mansfield No text att. The eleventh and twelfth stanzas of Watts, Psalms, Psalm 148. Since these are the final two stanzas of the Psalm, no earlier ones have been provided.
Published in Boston 1799, p. 31, attributed to Billings. Not published by Billings. Also published without attribution, in Worcester 1788, p. 105, and Worcester 1791, p. 72. The Worcester version differs only by having a natural sign at m. 25, Treble, beat 2.
Orig., m. 6, Treble: the last note in the measure is F; m. 29, Tenor: the last note in the measure is F.
Plymouth New No text att. The ninth and then the eighth stanzas (slightly altered) of Brady and Tate, New Version, Psalm 24. The unusual selection of text suggests that Plymouth New is intended to be a set-piece; thus no other text stanzas are supplied here.
Published in French 1802, p. 70–71, attributed to Billings. Not published by Billings. Ms versions of the tune in the CtHT-W Ms, MiU-C Ms 2, and in the Waterhouse Ms, appear under the title Plymouth and consist only of Tenor and Bass parts. They probably date from the 1770s or early 1780s.
Orig., m. 12, Treble: flat has been supplied editorially.
St. Peter’s No text att. The first stanza of a hymn by Charles Wesley, first published in Wesley, Hymns (see Julian, p. 1262). The entire text supplied from this source.
Published by Billings in SMA, p. 3, as Savannah (see WBii, p. 44). This variant version was published in Pilsbury 1799, p. 118, attributed to Billings.
Orig., m. 9, Tenor: the grace note, called a Note of Transition, is to be performed very quickly and lightly and “with such elasticity of voice, as not to introduce any distinct notes or sounds.” (Pilsbury 1799, p. 10). This grace was usually improvised by the performers to fill in melodic leaps of a third or more and was seldom written into the music. Text: verse 7, line 4: apostrophe supplied for “Pow’r.”
St. Vincent’s No text att. The first stanza of Watts, Hymns I, No. 9. The entire text supplied from this source.
This version was published without attribution in Sacred 1788, p. 98. Also published with variant Treble and Counter parts in French 1793, p. 54. (French uses Watts, Psalms, Psalm 56, stanza 3, as the text.) The tune appears to be an ornamental variant of Concord, published by Billings in NEPS, p. 5 (see WBi, p. 58).
Orig., m. 13, Treble: the sharp on beat 3 supplied editorially. Text: stanzas 5 and 6 enclosed in brackets; verse 6, line 2: apostrophe supplied for “Pow’rs.”
Sheffield No text att. The first and second stanzas of Watts, Psalms, Psalm 98, Part II. The entire text supplied from this source. Since the first two stanzas have been combined into one, later stanzas are renumbered accordingly.
Published in Huntington 1807, p. 48, attributed to Billings. Not published by Billings. While the piece’s stylistic traits make its attribution to Billings doubtful, in the absence of proof of other authorship Sheffield is included here.
Orig., m. 26: first and second endings supplied to correct notation; the original ending is the second.
Union No text att. The first three stanzas of Watts, Psalms, Psalm 148, LM version. The entire text supplied from this source. Since the first three stanzas have been combined into one, later stanzas are renumbered accordingly.
Published in Worcester 1788, p. 118; without attribution. Attributed to Billings in Worcester 1791, p. 88. Not published by Billings.
Orig., m. 37: the spelling of “terrours” has not been retained; m. 58: for a discussion of “marks of distinction,” see note appended to commentary for Emanuel, this volume, p. 368; m. 59: repeat sign omitted.
Uxbridge Textless. No text att. The entire text supplied from Supplement, No. 9, “The Lord’s Prayer”, Second Metre, to conform with earlier version printed in NEPS (see WBi, p. 228). Published by Billings in NEPS, p. 64. This variant version was published in French 1793, p. 8, without attribution, as Lesson VI. It may be a later revision of the tune, similar to those tunes from NEPS published by Billings in SMA and MM.
Appendix II
Bennington No text att. The first two words of the first stanza of Watts, Horae Lyricae, “The Nativity of Christ,” p. 10. The entire text supplied from this source.
This tune is found in both the Waterhouse Ms, p. 12, and in the MiU-C Ms 2; neither carries an attribution. However, it appears to be an ornamental variant of Friendship, published by Billings in NEPS, p. 61 (see WBi, p. 217). The version printed here appears in the Waterhouse Ms.
Orig., m. 8: the E-minor seventh chord on beat 3 appears in both sources; a G in the Bass may have been intended, since at this point in Friendship the Bass sings the tonic pitch.
Bradford Text att.: Psalm 47th. Dr. Watts. The first stanza of Watts, Psalms, Psalm 47. The entire text supplied from this source. Watts’s original version of stanza 6, line 1, has “The British Islands”; some later editions of Watts’s Psalms, both British and American, substitute “The gentile Nations”; and others, like Watts, Psalms, 1784, substitute “These ransom’d States.” The last is used as the text source here.
This tune is found in the Waterhouse Ms, p. 15, without attribution. It appears to be a compositional variant of Consolation, published by Billings in SMA, p. 19 (see WBii, p. 98).
Orig., m. 9, Counter: the note on beat 2 is C♯. Text, verse 6, line 2: “Abraham’s” has been contracted editorially to “Abra’m’s.”
Dunstable No text att. The first stanza of a hymn set by Billings to St. Thomas in CH, pp. 127–129. In CH, Billings attributes the words to Dr. Watts, but only the second, third, and fourth stanzas are by him (see Watts, Hymns II, No. 95, stanzas 1, 4, and 5). The first stanza is by an unknown author. The entire text supplied from CH.
This tune is found in the MHi Ms and appears to be a compositional variant of Saybrook, published by Billings in MM, p. 30 (see WBii, p. 324). It also appears to be a variant of Concord, published in NEPS, p. 5 (see WBi, pp. 58–59).
Orig., beginning: the clefs and key signature are missing from the Ms; m. 13, Counter: the sharp has been supplied editorially.
Germantown Text att. in Waterhouse Ms: Dr. W. [Dr. Watts]. The first stanza of Watts, Hymns II, No. 3. The entire text supplied from this source.
The version of the tune presented here is a composite made from two sources. Its basis is the version for four voice parts in the MHi Ms. However, because the bass part of m. 12ff has been trimmed off in that Ms, those measures are supplied from the Waterhouse Ms, where it is set for Tenor and Bass only. The tune is attributed to “WB” in the Waterhouse Ms, but it never appeared in print. It is also found, set for Tenor and Bass only, in MiU-C Ms 2. Orig., beginning: time signature omitted in MHi Ms; mm. 18, 20, Treble: the eighth-note triplets are notated as quarter-notes; m. 19, Counter: the sharp has been supplied editorially; m. 22: the repeat sign and the first and second ending signs have been omitted in the MHi Ms, but the two measures for the first and second endings are included.
The Waterhouse Ms varies from MHi in m. 6, Tenor, by having two quarter-notes on beat 1 (notated as eighth-notes), by having a lower octave choosing note in the Bass on beat 1 of m. 6, and by having a B♭ quarter-note only on beat 3 of m. 20 in the Tenor.
Hacker’s Hall No text att. The first, third, and fourth lines of the first stanza of Sternhold & Hopkins, Psalm 47. The entire text supplied from this source.
This tune is found in both the Waterhouse Ms and MiU-C Ms 2. In both sources it is attributed to “Wm B.” and appears in only Tenor and Bass parts. Not published by Billings. The Waterhouse Ms version is printed here.
Orig., m. 1, Bass: in the Waterhouse Ms the note on beat 2 is F. Text, verse 8, line 1: “Abraham’s” has been contracted editorially to “Abra’m’s.”
Hadley Text att.: Dr. Watts. The source of the text is unlocated; the hymn may be by Billings himself.
This tune is found in the CtHT-W Ms and in MiU-C Ms 3 (as Hadly), without attribution in either source. It was published by Billings, however, in altered form, as the opening section of his An Anthem for Christmas, in CH, p. 117. The CtHT-W Ms version is printed here. Measure numbers cited here refer to the rebarred version.
Orig., m. 3, Counter: CtHT-W Ms has a half-rest on beat 2; m. 12, Treble: MiU-C Ms 3 has an A on beat 2; m. 13, Treble: the note on beat 1 is G, beat 2 is C; mm. 19–22, beat 1, Bass: MiU-C Ms 3 has a C choosing note beneath the G throughout these measures; mm. 24–26, Tenor: CtHT-W Ms has 
for each of the three groups of two sixteenths and an eighth note; in the first two, the eighth-note is slurred to the first sixteenth-note.
Hallifax No text att. The first stanza of Watts, Psalms, Psalm 50, Part II, PM version. The entire text supplied from this source.
This tune is found in the MiU-C Ms 1. It appears to be an altered version of Halifax, published by Billings in SMA, p. 23, and MM, p. 17 (see WBii, p. 111), and differs from the printed version principally in its rhythm. The Ms version contains no accidentals, but those found in SMA and MM have been supplied editorially above the notes that they affect, as was done with similar tunes in WBi. (See WBi, p. lx, for a discussion of editorial policy on accidentals.)
Orig., m. 4, Counter: the note on beat 1 is G; m. 8, Counter: the notes in this measure should perhaps be written a third higher, as in SMA; m. 13, Counter: the lower note of the diad is E♭; m. 25, Tenor: the B♭ on beat 2 should probably be B natural. Text: Watts’s notations of “Pause The First” following stanza 5, “Pause The Second” following stanza 10, and “Epiphomena” following stanza 14, have not been retained; stanza 7, line 2: apostrophe supplied for “Threat’nings.”
Hatfield [III] No text att. The sixth stanza of “A Poem on Death” from Peck, pp. 27–29. The entire text supplied from this source. Since the sixth stanza is set, it is considered here to be stanza 1, and succeeding stanzas have been renumbered accordingly.
This tune is found in the Waterhouse Ms, p. 1, attributed to “W B” and dated “May 30th 1780.” Although it bears a slight similarity to Hatfield published in Shumway 1793 and in PSA 1804 (see Appendix I, this volume, p. 282–285), its differences are so substantial as to make it questionable whether it should be considered a version of that tune. Orig., m. 7: the substitution of “shall” for “will” has not been retained.
Morriston Text att. in MiU-C Ms 2: Hymn 146, Bk. 2 Dr. W. [Dr. Watts]. The first line of the first stanza of Watts, Hymns II, No. 146. The entire text supplied from this source. This tune is found unattributed in both the Waterhouse Ms and MiU-C Ms 2. It appears to be an ornamental variant of Medfield, published by Billings in NEPS, p. 94, and SMA, p. 10 (see WBi, p. 328, and WBii, p. 66). In the Waterhouse Ms the tune name and poetic meter are followed by the initials “SH”, which may denote Susanna Heath, the compiler of the Waterhouse Ms, or Solomon Howe, a psalmodist who was acquainted with Billings by that time. Perhaps “SH” was responsible for the arrangement of Billings’s tune. However, the initials do not appear in MiU-C Ms 2, and since the tune is clearly related to Billings’s Medfield, it is included here as a possible Billings variant. The MiU-C Ms 2 version is printed here.
The Waterhouse Ms varies from MiU-C Ms 2 as follows: in mm. 3, 4, 6, 7, and 14, the dotted quarter- and eighth-notes in the various voices are two quarter-notes; m. 15, Tenor: only a G quarter-note following beat 2; m. 16, Bass: no choosing note on beat 2.
Orig., m. 10, Treble: natural sign supplied editorially; m. 15, Tenor: a D eighth-note below the G after beat 2 has not been retained; m. 16, Bass: a G choosing note an octave below the G on beat 2 has not been retained.
New Haven No text att. The source of the text is unlocated.
This tune is found in the Waterhouse Ms and MiU-C Ms 2, without attribution. It appears to be an ornamental variant of Duxborough, published by Billings in NEPS, p. 8; SMA, p. 3; and MM, p. 9 (see WBi, p. 70, and WBii, p. 42). The MiU-C Ms 2 version is printed here. Orig., m. 8, Treble: the Waterhouse Ms has only a C♯ quarter-note on beat 3.
Raleigh No text att. The sixth (and final) stanza of Watts, Psalms, Psalm 17. The text has been supplied from this source.
This tune, never published by Billings, is found in the RPB Ms, p. 66, attributed to Billings. The date and provenance of the Ms are unknown; but it must have been compiled after 1815, since the compiler refers several times to “E. Hartwell’s Collection” as a source of tunes. (Hartwell 1815 is the compiler’s only tunebook.) Its style traits and the source’s late date make the attribution of the tune to Billings doubtful. However, it cannot be disproven and is included here on that account.
Spencer Textless. No text att. Text supplied from Watts, Psalms, Psalm 33, Part I.
This tune is found in the Waterhouse Ms, p. 7, without attribution. It appears to be a compositional variant of Bolton, published by Billings in SMA, p. 25 (see WBii, p. 116).
ANTHEM
Anthem: Praise the Lord, O My Soul.
Orig. heading: An Anthem Ps 103 by WB Composd [sic]. Source of text: Bible, Psalms, Common Prayer version, Psalm 103, verses 1–3; “Hallelujah” and “Amen” added by the composer.
Two copies of this anthem are found in the NN Ms, apparently in different hands but essentially the same music. Not published by Billings, but the style of the music and the location of copies in a Ms collection devoted to other compositions by Billings support the attribution. If the piece is by Billings, it must be an early work, written before he gained competence in setting a non-metrical prose text, for in many places the accents of the music and words are in conflict. In this edition the music has been rebarred as have the anthems in NEPS (see WBi, pp. lxi–lxii, for a discussion of editorial policy regarding rebarring). The basic note values are unaltered; only the bar-lines have been shifted to coordinate musical and textual accents. The original barring is indicated above the Treble part.
In the following commentary, copy 1 refers to the first appearance of the work in the NN Ms; copy 2 to the second. Measure numbers cited here refer to the rebarred version.
Orig., m. 2, Counter: copy 1 has two choosing notes, G and E, on both beats; m. 5, Counter: both sources have G; m. 11: repeat sign omitted; m. 12, Tenor: the note on beat 2 is C; mm. 15–16, 18: all rests are whole rests, except m. 18, Treble; m. 24, Counter: copy 2 has G on beat 3; mm. 32–33, Bass: the lower notes in the diads are B in both sources; m. 42, Treble: the note on beat 2 is B; m. 46, Treble: the second and third notes are C and B respectively; m. 47, Treble: both notes are C; Bass: in copy 1 there is a G choosing note an octave below the quarter-note; m. 50: the repeat sign has been moved to m. 51 and first and second endings added at m. 64 to correct notation; m. 54, Treble: in copy 1 the notes on the third beat are three eighth-notes; m. 60, Counter: the note on beat 3 is D; m. 63, Treble: in copy 1 there is a choosing note B below the D on beat 2; m. 65: repeat sign omitted; m. 67 to the end, Bass: beginning with beat 3, copy 1 has lower choosing notes as follows: G, B, none, A [sic], G, G, A, G, G, F, G, E [sic]; mm. 70–71, Treble and Counter: both copies appear to be faulty in these measures. The Treble has, respectively, half-notes C, B, C, and quarter-notes C and E. The Counter has, respectively, half-notes E, G, G, and A. The Tenor and Bass appear to be correct in these measures; m. 72, Counter: the note on beat 1 is G.
Appendix III
Bangor Textless. No text att. Text taken from a setting found in Tans’ur 1755, p. 58. Source of text: Sternhold & Hopkins, Psalm 11. The entire text supplied from this source.
Published in MM, p. 18. The Tenor and Bass there are similar to but not identical with versions found in tunebooks published by Daniel Bayley: Bayley 1764, Bayley 1771, and Stickney 1774. The Treble and Counter voices are different and are perhaps Billings’s own arrangements.
Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef.
Buckingham Textless. No text att. Text taken from a setting found in Stickney 1774, p. 186. Source of text: Sternhold & Hopkins, Psalm 12. The entire text supplied from this source. Published in MM, p. 22. The Tenor and Bass there are the same as those found in Bayley 1771. The Treble and Counter are different and are perhaps Billings’s own arrangements.
Orig., Text, stanza 4, line 1, 4: quotation marks supplied editorially.
Isle of Wight Textless. No text att. Text taken from a setting found in Law 1793, p. 48. Source of text: Watts, Hymns II, No. 95. The entire text supplied from this source.
Published in MM, p. 18. No previously published setting of this tune, such as those of Bayley 1771 and Flagg 1764, corresponds to Billings’s version, which omits most passing tones in the melody. Bayley’s tunebook, however, may have been the source for Billings’s setting, since it also gives the title as “Isle of White.”
Orig., Title: Billings’s version of the tune name, Isle White, has not been retained; Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef; m. 14, Bass: the note on beat 3 is G.
New Colchester Textless. No text att. Text taken from a setting found in Williams 1770, p. 52. Source of text: Watts, Psalms, Psalm 84. The entire text supplied from this source.
Published in MM, p. 23. No previously published setting of this tune, such as those in Flagg 1764 and Stickney 1774, corresponds to Billings’s version, which is transposed a whole-tone higher than usual and which omits most passing tones from the melody.
Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef. Text: Watts’s notation of “Pause” following stanza 4 has not been retained.
Old Hundred Textless. No text att. Text taken from a setting found in Williams 1770, p. 45. Source of text: Watts, Psalms, Psalm 100. The entire text supplied from this source.
Published in MM, p. 19. No previously published setting of this tune, such as those of Bayley 1771 and Flagg 1764, corresponds to Billings’s version, which is transposed a half-tone higher than usual. While the Tenor and Bass are similar to those found in other tunebooks, the Treble and Counter are different and are perhaps Billings’s own arrangement. Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef.
Portsmouth Textless. No text att. Text taken from a setting found in Flagg 1764, p. 66. Source of text: Sternhold & Hopkins, Psalm 63. The entire text supplied from this source. Published in MM, p. 18. The Tenor and Bass are similar to but not identical with the setting found in Flagg, but the Treble and Counter are different and are perhaps Billings’s own arrangement.
Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef; m. 5, Treble: the note on beat 3 is A.
Putney Textless. No text att. Text taken from a setting found in Stickney 1774, p. 185. Source of text: Watts, Hymns II, No. 146. The entire text supplied from this source.
Published in MM, p. 19. The Tenor and Bass are similar to but not identical with the setting found in Bayley 1771, p. 1, but the Treble and Counter are different and are perhaps Billings’s own arrangement.
Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef.
St. Ann’s Textless. No text att. Text supplied from a setting found in Stickney 1774, p. 171. Source of text: Watts, Hymns II, No. 94. The entire text supplied from this source.
Published in MM, p. 26. The Tenor and Bass are similar to but not identical with the setting found in Bayley 1771 and Stickney 1774, but Billings’s setting is transposed a minor third higher than usual. The Treble and Counter voices are different and are perhaps Billings’s own arrangement.
St. Hellen’s Textless. No text att. Text taken from a setting found in Stickney 1774, p. 174. Source of text: Watts, Psalms, Psalm 146. The entire text supplied from this source.
Published in MM, p. 8. The setting in MM is quite close in all parts to but not identical with that found in Bayley 1771 and Stickney 1774. The principal difference is that Billings has omitted passing tones in the Treble, Counter, and Tenor voices, and reversed the rhythm in the penultimate measure.
St. Martin’s Textless. No text att. Text taken from a setting found in Worcester 1786, p. 41. Source of text: Watts, Hymns I, No. 1. The entire text supplied from this source.
Published in MM, p. 19. The Tenor and Bass are similar to but not identical with the setting found in Stickney 1774, p. 100. The Treble and Counter are different and are perhaps Billings’s own arrangement.
Orig., Bass: a treble clef appears at the beginning of the line, but the notes read in the bass clef. Text: stanzas 4 and 5 enclosed in brackets.