Two songs of mine, “Douglasville” and “Wilscot,” are included in The Shenandoah Harmony, a four-shape shape-note tunebook published in early 2013.
Edited by a group of eight singers from Boston and the Mid-Atlantic States, this new tunebook was originally imagined by its compilers as “a collection of songs compiled, printed, and published by Ananias Davisson from 1816 to 1826 in the Shenandoah Valley of Virginia,” The music committee ultimately “decided to make a book suitable for all-day singing” and so sought out a larger and broader array of compositions. My two songs are among sixty-eight newly-composed songs in the tunebook. The bulk of the 480-page book features music drawn from shape-note tunebooks published in the Mid-Atlantic states in the first half of the nineteenth century, supplemented by large numbers of earlier New England compositions, and later southern ones.1
Though more weighted toward minor music than The Sacred Harp, my two songs in The Shenandoah Harmony are major fuging tunes. I wrote “Douglasville” in March 2008 while on a trip to Georgia with Aldo Ceresa for the Hoboken annual singing and the Georgia State Convention. Inspired by the early-twentieth-century fuging tunes of T. J. and S. M. Denson, and their children Paine, and S. Whitt, the song features an F major key, Common Meter Double text, and limited chordal palette. Though its three separate fuge entrances create some textural interest, the song is among the most conventional I’ve composed. The song was first sung at in April 2008 at the Potomoc River Convention’s “new traditions singing,” where the alto class—a group that included future Shenandoah Harmony music committee member Nora Miller—was particularly enthusiastic about their part.
I wrote “Wilscot” a month later, during the last day of a two-week residency at the Sustainable Arts Society in Blue Ridge, Georgia in April of 2008 and named it for Wilscot, Georgia, a nearby town. I’d continued to experiment writing Denson-style fuging tunes during the stay and this song mixed the idiom with somewhat less conventional chords and ranges. I introduced a larger than usual number of sol-(mi)-sol (V) chords and transplanted the style from its F/Eb major home to A major. I first heard the song at the home of George and Jean Seiler at a social following the June 2008 New York Regional Singing in Albany.
- Rachel Wells Hall, “The Making of The Shenandoah Harmony,” Sacred Harp Publishing Company Newsletter 2, no. 2 (July 2013), http://originalsacredharp.com/2013/07/29/the-making-of-the-shenandoah-harmony/. [↩]