BIRTH OF A NATION SUITE 3 Early American Songs JOHN W SCHAUM

1 Item Set or Lot of "Birth of a Nation - A Suite of Three Early American Songs"; Liberty Song - General Washington - What Grateful Offering; For Piano / Vocal / Guitar / Organ; Arranged by John W. Schaum; Piano Solo with Words Song Folio Sheet Music. Includes:

ITEM 1.) John W. Schaum, Compiler, Arranger, Editor; "Birth of a Nation - A Suite of Three Early American Songs"; For Piano or Organ; Compiled, arranged and edited by John W. Schaum; Based on Themes Suggested by Alice M. McCullen; For Piano / Vocal / Guitar; Complete Sheet Music; 1975; Schaum Publications, Inc. #?????;

Small Format;

English Throughout;

Front Cover Artwork featuring General Washington and a Liberty Bell;

Preprinted Cover Price of 60 cents;

Inside Front Cover is first page of music; The music for each tune is preceeded by a short paragraph concerning the tune's history;

No Title Page or Table of Contents;

Liberty Song; Lyrics by John Dickinson (1732-1808); Music by William Boyce (1710-1779);

General Washington; Lyrics by Edward Bangs (1756-1818); Traditional Tune (Yankee Doodle);

What Grateful Offering? (Chester); Lyrics and Music by William Billings (1746-1800);

3 Tunes Total;

3 pages of music;

Rear Cover is last page of music;

Published by Schaum Publications, Inc.; Milwaukee, Wisconsin; Copyright 1975; Published for the US Bicentennial in 1976;

Condition Very Good for age and the fact that it was "on display" for some time; Covers May Show Storage Wear; Pages Clean, Tight and Unmarked;

The primary item was part of the collection of Henry J. Hauschild Jr., who billed himself as a “Physiognomist – Bibliopolist – Cognoscente di Eccellentissimo”, and was the very proud owner of the world famous "Nose Gallery” at “The Oldest House” in Victoria, Texas. Henry Senior founded the Hauschild Music Company which was later owned by his 8 children and eventually the four brothers before being closed in 1980; After the Opera House Restaurant failed, the space became the Bible Book Store and later Opera House Antiques; This item was part of the leftover inventory of the Music Store and at one time was on consignment at the Bible Book Store;

"Musicologist and historian, Delmer Rogers, longtime member of the staff of the Department of Music at the University of Texas, is of the opinion that the Hauschild Music Company, founded in Victoria, Texas in 1891, was the second oldest institution to commercially publish sheet music in Texas. (Thos. Goggan of Houston being the first.) Also, his extensive research indicates that Hauschild's was the first in Texas to issues music with Spanish titles. About thirty were published, many by talented writers, and sold in large numbers. In addition, probing seems to prove that Hauschilds was the first to publish the efforts of several of the music-loving Germans of the area. Most interesting, too, is that the spritely composition, the Cowboy Rag offered in 1904 possibly was the purcursor of this genre of popular music." taken from "The Cognoscenti Collections";

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HISTORICAL NOTE: ""The Liberty Song" is an American Revolutionary War song composed by patriot John Dickinson, the author of Letters from a Farmer in Pennsylvania. The song is set to the tunes of "Heart of Oak", the anthem of the Royal Navy of the UK & "Here's a Health", an Irish song of emigration. The song itself was 1st published in the Boston Gazette in July 1768. The song is notable as one of the earliest patriotic songs in the thirteen colonies. Dickinson's 4th verse is the 1st appearance of the phrase, "united we stand, divided we fall," a patriotic slogan that has prominently appeared several times throughout American history. The song is also likely to be a variant of the Irish traditional song from which is often takes its' tune, "Here's a Health". The lyrics of The Liberty Song also hold the same structure. Lyrics: Come, join hand in hand, brave Americans all, And rouse your bold hearts at fair Liberty's call; No tyrannous acts shall suppress your just claim, Or stain with dishonor America's name. Chorus: In Freedom we're born and in Freedom we'll live. Our purses are ready. Steady, friends, steady; Not as slaves, but as Freemen our money we'll give. Our worthy forefathers, let's give them a cheer, To climates unknown did courageously steer; Thro' oceans to deserts for Freedom they came, And dying, bequeath'd us their freedom and fame. Chorus The tree their own hands had to Liberty rear'd, They lived to behold growing strong and revered; With transport they cried, Now our wishes we gain, For our children shall gather the fruits of our pain. Chorus Then join hand in hand, brave Americans all, By uniting we stand, by dividing we fall; In so righteous a cause let us hope to succeed, For heaven approves of each generous deed. Chorus.";

HISTORICAL NOTE: "John Dickinson (Nov. 8, 1732 – Feb. 14, 1808) was an American lawyer & politician from Philadelphia, Pennsylvania & Wilmington, Delaware. He was a militia officer during the American Revolution, a Continental Congressman from Pennsylvania & Delaware, a delegate to the U.S. Constitutional Convention of 1787, President of Delaware & President of Pennsylvania. Among the wealthiest men in the British American colonies, he is known as the "Penman of the Revolution" for his Letters from a Farmer in Pennsylvania; upon receiving news of his death, President Thomas Jefferson recognized him as being "among the 1st of the advocates for the rights of his country when assailed by Great Britain" whose "name will be consecrated in history as one of the great worthies of the revolution." He is the namesake of Dickinson College. Dickinson was born at Croisadore, his family's tobacco plantation near the village of Trappe in Talbot County, Maryland. He was the great grandson of Walter Dickinson who emigrated from England to Virginia in 1654 &, having joined the Society of Friends, came with several co-religionists to Talbot County on the Eastern Shore of the Chesapeake Bay in 1659. There, with 400 acres (1.6 km2) on the banks of the Choptank River Walter began a plantation, Croisadore, meaning "cross of gold." Walter also bought 800 acres (3.2 km2) on St. Jones Neck in what became Kent County, Delaware. Croisadore passed through Walter's son, William, to his grandson, Samuel, the father of John Dickinson. Each generation increased the landholdings, so that Samuel inherited 2,500 acres (1,000 ha) on five farms in three Maryland counties & over his lifetime increased that to 9,000 acres (3,600 ha). He also bought the Kent County property from his cousin & expanded it to about 3,000 acres (1,200 ha), stretching along the St. Jones River from Dover to the Delaware Bay. There he began another plantation & called it “Poplar Hall.” These plantations were large, profitable agricultural enterprises worked by slave labor, producing tobacco in Talbot County & wheat & corn in the more sandy soil of Kent County. As a result the family was enormously wealthy. Samuel Dickinson 1st married Judith Troth on 11 April 1710. They had nine children; William, Walter, Samuel, Elizabeth, Henry, Elizabeth "Betsy," Rebecca, Rachel & Rachel. The three eldest sons died of smallpox while in London seeking their education. Widowed, with two young children, Henry & Betsy, Samuel married Mary Cadwalader in 1731. She was the daughter of the prominent Quaker, John Cadwalader of Philadelphia. Their sons, John, Thomas & Philemon were born in the next few years. For three generations the Dickinson family had been members of the Third Haven Friends Meeting in Talbot County & the Cadwaladers were members of the Meeting in Philadelphia. But in 1739, John Dickinson's half-sister, Betsy, was married in an Anglican church to Charles Goldsborough in what was called a "disorderly marriage" by the Meeting. The couple would be the grandparents of Maryland governor Charles Goldsborough. This event hurt Samuel Dickinson in such a way that he never participated in the Meeting again. It may have also been one of the reasons for Samuel’s decision to move the family to "Poplar Hall" in 1740. Leaving Croisadore to elder son, Henry Dickinson, moved to Poplar Hall, where Samuel had already taken a leading role in the community as Judge of the Court of Common Pleas of Kent County. The move also placed Mary nearer her Philadelphia relations. Poplar Hall was situated on a now-straightened bend of the St. Jones River. There was plenty of activity delivering the necessities, & shipping the agricultural products produced. Much of this product was wheat that along with other wheat from the region, was milled into a “superfine” flour. Most people at this plantation were servants & slaves of the Dickinsons. Dickinson was educated at home, by his parents & by recent immigrants employed for that purpose. Included among them was the Presbyterian minister Francis Alison, who later established New London Academy in Chester County, Pennsylvania. Most important was William Killen, who became a life-long friend, & himself had a distinguished career as Delaware’s 1st Chief Justice & Chancellor. Dickinson was precocious & energetic, & in spite of his love of Poplar Hall & his family, was drawn to Philadelphia. At 18 he began studying the law under John Moland in Philadelphia. There he made friends with fellow students George Read & Samuel Wharton, among others. By 1753 John went to London for three years of study at the Middle Temple. He spent those years studying the works of Edward Coke & Francis Bacon at the Inns of Court following in the footsteps of his lifelong friend, Pennsylvania Attorney General Benjamin Chew, & in 1757 was admitted to the Pennsylvania Bar beginning his career as barrister & solicitor. On July 19, 1770, Dickinson married Mary Norris, known as Polly, the daughter of a wealthy Philadelphia Quaker, & Speaker of the Pennsylvania General Assembly, Isaac Norris. They had five children, but only two survived to adulthood: Sarah Norris "Sally" Dickinson & Maria Mary Dickinson. Dickinson never formally joined the Quaker Meeting, because, as he explained, he believed in the "lawfulness of defensive war." Already wealthy his marriage increased his wealth. In Philadelphia, he lived at the family estate of his wife, Fairhill, near Germantown. Meanwhile he built an elegant mansion on Chestnut Street but never lived there as it was confiscated & turned into a hospital during his 1776-77 absence in Delaware. It then became the residence of the French ambassador & still later the home of his brother, Philemon Dickinson. Fairhill was burned by the British during the Battle of Germantown. While in Philadelphia as State President, he lived at the confiscated mansion of Joseph Galloway at Sixth & Market Streets, now established as the State Presidential mansion. Dickinson lived at Poplar Hall, for extended periods only in 1776-77 & 1781-82. In August 1781 it was sacked by Loyalists & was badly burned in 1804. This home is now owned by the State of Delaware & is open to the public. After his service as President of Pennsylvania, he returned to live in Wilmington, Delaware in 1785 & built a mansion at the northwest corner of 8th & Market Streets. As events unfolded Dickinson was one of Pennsylvania's delegates to the 1st Continental Congress in 1774 & the 2nd Continental Congress in 1775 & 1776. In support of the cause, he continued to contribute declarations in the name of the Congress. Among the most famous is one written with Thomas Jefferson, a Declaration of the Causes & Necessity of Taking Up Arms, with Dickinson’s conclusion that Americans were "resolved to die free men rather than live slaves." Another was the Olive Branch Petition, a last ditch appeal to King George III to resolve the dispute. But through it all, agreeing with New Castle County's George Read & many others in Philadelphia & the Lower Counties, Dickinson's object was reconciliation, not independence & revolution. He was a proud devotee of the British Constitution & felt the dispute was with Parliament only. When the Continental Congress began the debate on the Declaration of Independence on July 1, 1776, Dickinson reiterated his opposition to declaring independence at that time. Dickinson believed that Congress should complete the Articles of Confederation & secure a foreign alliance before issuing a declaration. He abstained or absented himself from the votes on July 2 that declared independence & absented himself again from voting on the wording of the formal Declaration on July 4. Dickinson understood the implications of his refusal to vote stating, "My conduct this day, I expect will give the finishing blow to my once too great &, my integrity considered, now too diminished popularity." Dickinson refused to sign the Declaration & since a proposal had been brought forth & carried that stated, "for our mutual security & protection," no man could remain in Congress without signing, Dickinson voluntarily left & joined the Pennsylvania militia. Following the Declaration of Independence Dickinson was given the rank of brigadier general in the Pennsylvania militia, known as the Associators. He led some 10,000 soldiers to Elizabeth, New Jersey to protect that area against British attack from Staten Island. But because of his unpopular opinion on independence two junior officers were promoted above him. Dickinson resigned his commission in December 1776 & went to stay at Poplar Hall in Kent County. While there he learned that his home on Chestnut Street in Philadelphia had been confiscated & converted into a hospital. He stayed at Poplar Hall for more than two years. The Delaware General Assembly tried to appoint him as their delegate to the Continental Congress in 1777, but he refused. In August 1777 he served as a private with the Kent county Militia at Middletown, Delaware under General Caesar Rodney to help delay General William Howe's march to Philadelphia. In October 1777, Dickinson's friend, Thomas McKean, appointed him Brigadier General of the Delaware Militia, but again Dickinson declined the appointment. Shortly afterwards he learned that the British had burned down his Fairhill property during the Battle of Germantown. These years were not without accomplishment however. In 1777, Dickinson, Delaware's wealthiest farmer & largest slaveholder, decided to free his slaves. While Kent County was not a large slave-holding area, like farther south in Virginia, & even though Dickinson had only 37 slaves, this was an action of some considerable courage. Undoubtedly the strongly abolitionist Quaker influences around them had their effect, & the action was all the easier because his farm had moved away from tobacco to the less labor intensive crops like wheat & barley. Furthermore manumission was a multi-year process & many of the workers remained obligated to service for a considerable additional time. On January 18, 1779, Dickinson was appointed to be a delegate for Delaware to the Continental Congress. During this term he signed the Articles of Confederation, having in 1776 authored their 1st draft while serving in the Continental Congress as a delegate from Pennsylvania. In August 1781, while still a delegate in Philadelphia he learned that Poplar Hall had been severely damaged by a Loyalist raid. Dickinson returned to the property to investigate the damage & once again stayed for several months. While there, in October 1781, Dickinson was elected to represent Kent County in the State Senate, & shortly afterwards the Delaware General Assembly elected him the President of Delaware. The General Assembly's vote was nearly unanimous, the only dissenting vote having been cast by Dickinson himself. Dickinson took office on November 13, 1781 & served until November 7, 1782. Beginning his term with a "Proclamation against Vice & Immorality," he sought ways to bring an end to the disorder of the days of the Revolution. It was a popular position & enhanced his reputation both in Delaware & Pennsylvania. Dickinson then successfully challenged the Delaware General Assembly to address lagging militia enlistments & to properly fund the state’s assessment to the Confederation government. And recognizing the delicate negotiations then underway to end the American Revolution, Dickinson secured the Assembly's continued endorsement of the French alliance, with no agreement on a separate peace treaty with Great Britain. He also introduced the 1st census. However, as before, the lure of Pennsylvania politics was too great. On October 10, 1782, Dickinson was elected to the Supreme Executive Council of Pennsylvania. On November 7, 1782 a joint ballot by the Council & the Pennsylvania General Assembly elected him as president of the Council & thereby President of Pennsylvania. But he did not actually resign as State President of Delaware. Even though Pennsylvania & Delaware had shared the same governor until very recently, attitudes had changed, & many in Delaware were upset at seemingly being cast aside so readily, particularly after the Philadelphia newspapers began criticizing the state for allowing the practice of multiple & non resident office holding. Dickinson’s constitutional successor, John Cook, was considered too weak in his support of the Revolution, & it was not until January 12, 1783, when Cook called for a new election to choose a replacement, that Dickinson formally resigned. When the American Revolution began, Dickinson fairly represented the center of Pennsylvania politics. The old Proprietary & Popular parties divided equally in thirds over the issue of independence, as Loyalists, Moderate Whigs who later became Federalists, & Radicals or Constitutionalists. The old Pennsylvania General Assembly was dominated by the Loyalists & Moderates &, like Dickinson, did little to support the burgeoning Revolution or independence, except protest. The Radicals took matters into their own hands, using irregular means to write the Pennsylvania Constitution of 1776, which by law excluded from the franchise anyone who would not swear loyalty to the document or the Christian Holy Trinity. In this way all Loyalists, Moderate Whigs, & Quakers were kept out of government. This peremptory action seemed appropriate to many during the crises of 1777 & 1778, but less so in the later years of the Revolution, & the Moderate Whigs gradually became the majority. Dickinson's election to the Supreme Executive Council was the beginning of a counterrevolution against the Constitutionalists. He was elected President of Pennsylvania on November 7, 1782, garnering 41 votes to James Potter's 32. As president he presided over the intentionally weak executive authority of the state, & was its chief officer, but always required the agreement of a majority to act. He was re-elected twice & served the constitutional maximum of three years; his election on November 6, 1783 was unanimous. On November 6, 1784 he defeated John Neville, who also lost the election for Vice-President the same day. Working with only the smallest of majorities in the General Assembly in his 1st two years & with the Constitutionalists in the majority in his last year, all issues were contentious. At 1st he endured withering attacks from his opponents for his alleged failure to fully support the new government in large & small ways. He responded ably & survived the attacks. He managed to settle quickly the old boundary dispute with Virginia in southwestern Pennsylvania, but was never able to satisfactorily disentangle disputed titles in the Wyoming Valley resulting from prior claims of Connecticut to those lands. An exhausted Dickinson left office October 18, 1785. On that day a special election was held in which Benjamin Franklin was unanimously elected to serve the ten days left in Dickinson's term. Perhaps the most significant decision of his term was his patient, peaceful management of the Pennsylvania Mutiny of 1783. This was a violent protest of Pennsylvania veterans who marched on the Continental Congress demanding their pay before being discharged from the army. Somewhat sympathizing with their case, Dickinson refused Congress's request to bring full military action against them, causing Congress to vote to remove themselves to Princeton, New Jersey. And when the new Congress agreed to return in 1790, it was to be for only 10 years, until a permanent capital was found elsewhere. While serving this term he donated 500 acres (2 km²) to Dickinson College in Carlisle, Pennsylvania, an educational institution founded in 1783 by his friend Benjamin Rush. After his service in Pennsylvania, Dickinson returned to Delaware, & lived in Wilmington. He was quickly appointed to represent Delaware at the Annapolis Convention, where he served as its President. In 1787, Delaware sent him as one of its delegates to the Constitutional Convention of 1787, along with Gunning Bedford, Jr., Richard Bassett, George Read, & Jacob Broom, There, he supported the effort to create a strong central government, but only after the Great Compromise assured that each state, regardless of size, would have an equal vote in the future US Senate. Following the Convention he promoted the resulting Constitution in a series of nine essays, written under the pen name, Fabius. In 1791, Delaware convened a convention to revise its existing Constitution, which had been hastily drafted in 1776. Dickinson was elected president of this convention, & although he resigned the chair after most of the work was complete, he remained highly influential in the content of the final document. Major changes included the establishment of a separate Chancery Court & the expansion of the franchise to include all taxpayers, except blacks & women. Dickinson remained neutral in an attempt to include a prohibition of slavery in the document, believing the General Assembly was the proper place to decide that issue. The new Constitution was approved June 12, 1792. Once more Dickinson was returned to the State Senate for the 1793 session, but served for just one year before resigning due to his declining health. In his final years he worked to further the abolition movement, donated a considerable amount of his wealth to the "relief of the unhappy." In 1801 he published two volumes of his collected works on politics. Dickinson died at Wilmington, Delaware, where he is buried in the Friends Burial Ground. In an original copy of a letter discovered November 2009 from Thomas Jefferson to Joseph Bringhurst, caretaker of Dickinson in his later years, Jefferson responded to news of Dickinson's death: "A more estimable man, or truer patriot, could not have left us. Among the 1st of the advocates for the rights of his country when assailed by Great Britain, he continued to the last the orthodox advocate of the true principles of our new government & his name will be consecrated in history as one of the great worthies of the revolution." He shares with Thomas McKean the distinction of serving as Chief Executive of both Delaware & Pennsylvania after the Declaration of Independence. Dickinson College & Dickinson School of Law, separate institutions both located in Carlisle, Pennsylvania, were named after him. And along with his Letters from a Farmer in Pennsylvania, Dickinson also authored The Liberty Song. Delaware elections were held October 1 & members of the General Assembly took office on October 20 or the following weekday. The State Legislative Council was created in 1776 & its Legislative Councilmen had a three-year term. Beginning in 1792 it was renamed the State Senate. State Assemblymen had a one-year term. The whole General Assembly chose the State President for a three-year term. Pennsylvania elections were held in October as well. Assemblymen had a one-year term. The Pennsylvania Supreme Executive Council was created in 1776, & counsellors were popularly elected for three-year terms. A joint ballot of the Pennsylvania General Assembly & the Council chose the President from among the twelve Counsellors for a one-year term. Both Assemblies chose the Continental Congressmen for a one-year term as well as the delegates to the U.S. Constitution Convention. Dickinson is a prominent character in the musical drama 1776, billed 3rd after the parts of Adams & Franklin. He was originally portrayed on stage by Paul Hecht, & in the 1972 film adaptation by Donald Madden. Michael Cumpsty portrayed him in the 1997 revival. His portrayal in this musical differs from reality: instead of abstaining from voting & debating, he acts as John Adams' primary antagonist in the debates over independence, to the point where the two men come to blows. His motivation in the musical is to convince the delegates to come to peace terms with the mother country. In Part II of the 2008 HBO series John Adams, based on the book by David McCullough, the part of Dickinson is played by Zeljko Ivanek.";

HISTORICAL NOTE: "William Boyce (baptised 11 September 1711 – 7 February 1779) is widely regarded as one of the most important English-born composers of the 18th century. Born in London, Boyce was a choirboy at St Paul's Cathedral before studying music with Maurice Greene after his voice broke. A house in the present choir school is named after him. His 1st professional appointment came in 1734 when he was employed as an organist at the Oxford Chapel. He went on to take a number of similar posts before being appointed Master of the King's Musick in 1755 & becoming one of the organists at the Chapel Royal in 1758. One of his student's was the prodigy Thomas Linley. When Boyce's deafness became so bad that he was unable to continue in his organist posts, he retired & worked on completing the compilation Cathedral Music that his teacher Greene had left incomplete at his death. This led to Boyce editing works by the likes of William Byrd & Henry Purcell. Many of the pieces in the collection are still used in Anglican services today. Boyce is best known for his set of eight symphonies, his anthems & his odes. He also wrote the masque Peleus and Thetis & songs for John Dryden's Secular Masque, incidental music for William Shakespeare's The Tempest, Cymbeline, Romeo & Juliet & The Winter's Tale, & a quantity of chamber music including a set of twelve trio sonatas. He also composed the British & Canadian Naval March "Heart of Oak". The lyrics were later written by David Garrick for his 1759 play Harlequin's Invasion. Boyce was largely forgotten after his death & he remains a little-performed composer today, although a number of his pieces were rediscovered in the 1930s & Constant Lambert edited & sometimes conducted his works. Lambert had already launched the early stages of the modern Boyce revival in 1928, when he published the 1st modern edition of the Eight Symphonys (Bartlett & Bruce 2001). The great exception to this neglect was his church music, which was edited after his death by Philip Hayes & published in two large volumes, Fifteen Anthems by Dr Boyce in 1780 & A Collection of Anthems & a Short Service in 1790 (Bartlett 2003). Boyce's portraits were painted by Joshua Reynolds & Thomas Hudson. He was drawn & engraved by John Keyse Sherwin, & a vignette made by Drayton after Robert Smirke. His only son William Boyce Jnr (25 Mar 1764-1824), was a professional Double Bass player.";

HISTORICAL NOTE: "Yankee Doodle and the Country Dance from Lexington to Yorktown; By Raymond F. Dolle, Indiana State University. A Song, a Shot, and a Shock. On April 19, 1775, as British Regulars under General Hugh Percy marched out of Boston to reinforce those under fire from Lexington to Concord, they taunted the rag-tag Minutemen by playing "Yankee Doodle." Among the Minutemen was Thomas Ditson, who had been tarred & feathered by British soldiers a month earlier & paraded through Boston to the song. By the end of the day, with the Regulars in full retreat, Ditson & the Americans were the ones singing "Yankee Doodle." ... Like "The Lexington March" & "Yankee Song," "A Visit to the Camp" has been read as English satire, but Sonneck & Damon liked the tradition that it was by a Minuteman named Edward Bangs in 1778. Accepting the "authority of Edward Everett Hale," Damon declares, "This version came from a single pen & can definitely be attributed to a Harvard sophomore, Edward Bangs". Sonneck observed: "If we turn to the text itself, it clearly reveals an American origin. It is so full of American provincialisms, slang expressions of the time, allusions to American habits, customs, that no Englishman could have penned these verses". Lemay agrees: "they would never have been written as a satire on the Americans—not because they are so knowledgeable about Americans but because they are so good-natured & because they really mock the condescending attitudes toward Americans." The attribution of these verses to Edward Bangs rests on a note from Judge Thomas Dawes to Edward Everett Hale’s father, editor of the Boston Daily Advertiser: Boston, 25th June 1824 Sir: —The Eleven Yankee-Doodle stanzas in your paper of yesterday & perhaps the additional ones were the sudden effusions of my departed classmate, Edward Bangs, father of the present secretary of Massachusetts, written when a student under Theophilus Parsons, in 1778. I think he wrote them when on a visit to Cape Cod, his native place. Yours with much regard, Thomas Dawes. Edward Bangs answered the call in Middlesex on April 19, so the story makes good myth, but Lemay has doubts. Was Edward Bangs Yankee Doodle? Yes & No. Eight stanzas in "A Visit to the Camp" are versions of verses in "Yankee Song." As Lemay notes, the stanzas common to both texts "are usually better, aesthetically, in the Yankee Song broadside. Therefore, if Bangs did revise the stanzas, he made them worse rather than better. The logical conclusion is that the stanzas were not revised by Bangs, but that the versions in the usual Visit to camp broadsides represent the result of deterioration while in the oral tradition". Damon concedes: Bangs was credited with the entire song, but now it is evident that he built his poem on the earlier "Yankee Song", locating the camp at Cambridge, & mounting Washington on the slapping stallion. He pulled the whole narrative together into a unit, omitting any superfluous stanzas about the Yankee relatives & customs. The hero is now definitely not an ignorant yokel but a naïve, inquisitive, & timid boy who flees home in a panic, thus bringing the song to a satisfactory conclusion & giving it the popular title of "The Yankee’s Return from Camp." He also added stanzas 2 & 3 about ’Squire David (which were not too successful), & stanza 7 about Cousin Simon. Bangs also provided the new chorus. The chorus, of course, comes long before in The Disappointment (1767). Lemay closes the question of authorship of this folksong: knowing that the stanzas in the Yankee Song broadside are evidently pre-Revolutionary, I see little reason to believe that Edward Bangs had anything to do with any "Yankee Doodle" texts. Judge Dawes may have learned a Visit to Camp version of "Yankee Doodle" from Bangs, & he evidently believed (over forty years later) that Bangs said he wrote "Yankee Doodle." I conclude that the Visit to Camp stanzas—like the Cape Breton stanzas & the Corn Stalks stanzas—are traditional, that they antedate by at least two decades their supposed composition by Edward Bangs in 1778 at Cape Cod, & that they are of American origin. The stanzas tell a scared yet curious country boy’s story of his 1st day initiation at a Continental army camp. Sonneck pointed to the stanzas about Washington & wrote, "With this allusion the conjecture becomes fairly safe that the text of ‘Father & I went down to camp’ originated at or in the vicinity of the ‘Provincial Camp,’ Cambridge, Mass., in 1775 or 1776". Lemay puts the setting in context: "The persona & locale reflect two traditions in colonial American humor". First is the same pose as an unbelievably naive bumpkin used in the Cape Breton stanzas of "The Lexington March." Second is the comical description of a colonial militia training day, "a standard subject for humor." The comedy in "A Visit to the Camp" is not so much the setting & military images as it is the 1st-person speaker’s narrative, language, metaphors, & character development. The 1st verse sets the tone of his voice & his situation: Father and I went down to camp, Along with Captain Gooding, And there we see the men and boys As thick as hasty pudding. The boy has joined his family & the rest of Captain Gooding’s local militia company for joint training with other units. He is proud to serve under Captain Gooding, who personifies the good American officer. He is proud to due his duty like the many other men & boys. The crowd at the camp so impresses him that he must try to convey his wonder, but he has only his childhood experiences on the farm for comparison, so he uses a distintly American simile, "As thick as hasty pudding" (cornmeal mush). Likewise, almost in riddles, he describes a cannon as "a swamping gun, / Large as a log of maple," a bayonet as "a crooked stabbing iron," a mortar as "a pumpkin shell, / As big as mother’s bason," & his future instrument, a drum: I see a little barrel too, The heads were made of leather, They knock’d upon’t with little clubs, And call’d the folks together. Though cautious, he must investigate the big gun that "makes a noise like father’s gun, / Only a nation louder." I went as nigh to one myself, As ’Siah’s underpinning; And father went as nigh again, I thought the duce* was in him. *deuce; the devil Cousin Simon grew so bold, I thought he would have cock’d it, It scar’d me so I shriek’d it off, And hung by father’s pocket. "Yankee Song" goes, "I went so nigh to get a peep / I saw the under-pinning," which makes more sense, but the sharp boy’s courage is the same, even if he naturally hid behind his father when they prepared to fire it. His initiation ends with a glimpse of the cost of war & of his own mortality: I see another snarl of men, A digging graves they told me, So tarnal long, so tarnal deep, They ’tended they should hold me. It scar’d me so I hook’d it off, Nor stopt as I remember, Nor turn’d about ’till I got home, Lock’d up in mother’s chamber. The joke is that the eternal long & deep graves are probably just trench latrines, & the snarling men are just teasing the boy as part of his rite of passage. When he gets the joke, he will see his youth. For now he returns to "mother’s chamber," where he 1st heard "Yankee Doodle" as "the nurse’s lullaby". Psychologically, he returns to the safety & security of the womb. But, he then "turn’d about," that is, thinks back on his experience. When he emerges tomorrow & goes back to camp, he will be a step closer to the boy in Archibald Willard’s painting. This boy will be like the kid remembered in William Gordon’s History of the Rise, Progress, & Establishment of the Independence of the US (1788). As Lord Percy’s brigade marched toward Lexington to the step of "Yankee Doodle," a farmer’s son spoke up: "A smart boy observing it as the troops passed through Roxbury, made himself extremely merry with the circumstance, jumping & laughing, so as to attract the notice of his lordship, who, it is said, asked him at what he was laughing so heartily; & was answered, ‘To think how you will dance by & by to Chevy Chace.’ It is added, that the repartee stuck by his lordship the whole day". Aptly, the boy was alluding to a ballad about the defeat of Henry "Hotspur" Percy (Lord Percy’s ancestor) by the Scots in 1388. This Yankee Doodle boy will be reborn from mother’s chamber as a future Thomas Ditson, Edward Bangs, Captain Gooding, Ben Franklin, or George Washington.";

HISTORICAL NOTE: ""Yankee Doodle" is a well-known Anglo-American song, the origin of which dates back to the Seven Years' War. It is often sung patriotically in the US today & is the state anthem of Connecticut. It has a Roud Folk Song Index number of 4501. The 1st verse & refrain, as often sung today, runs: Yankee Doodle went to town, Riding on a pony; He stuck a feather in his hat, And called it macaroni Traditions place its origin in a pre-Revolutionary War song originally by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French & Indian War. It is believed that the tune comes from the nursery rhyme Lucy Locket. One version of the Yankee Doodle lyrics is "generally attributed" to Doctor Richard Shuckburgh, a British Army surgeon. According to one story, Shuckburgh wrote the song after seeing the appearance of Colonial troops under Colonel Thomas Fitch, Jr., the son of Connecticut Governor Thomas Fitch. As a term Doodle 1st appeared in the early 17th century, & is thought to derive from the Low German dudel or dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s & became contemporary slang for foppishness. The implication of the verse was therefore probably that the Yankees were so unsophisticated that they thought simply sticking a feather in a cap would make them the height of fashion. The earliest known version of the lyrics comes from 1755 or 1758, as the date of origin is disputed: Brother Ephraim sold his Cow And bought him a Commission; And then he went to Canada To fight for the Nation; But when Ephraim he came home He proved an arrant Coward, He wouldn't fight the Frenchmen there For fear of being devour'd. (Note that the sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect.") The Ephraim referenced here was Ephraim Williams, a popularly known Colonel in the Massachusetts militia who was killed in the Battle of Lake George. He left his land & property to the founding of a school in Western Massachusetts, now known as Williams College. The tune also appeared in 1762, in one of America's 1st comic operas, The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. It has been reported that the British often marched to a version believed to be about a man named Thomas Ditson, of Billerica, Massachusetts. Ditson was tarred & feathered for attempting to buy a musket in Boston in March 1775, although he later fought at Concord: Yankee Doodle came to town, For to buy a firelock, We will tar and feather him, And so we will John Hancock. For this reason, the town of Billerica claims to be the "home" of Yankee Doodle, & claims that at this point the Americans embraced the song & made it their own, turning it back on those who had used it to mock them. After the Battle of Lexington & Concord, a Boston newspaper reported: "Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, — 'Dang them,' returned he, 'they made us dance it till we were tired' — since which Yankee Doodle sounds less sweet to their ears." The British responded with another set of lyrics following the Battle of Bunker Hill: The seventeen of June, at Break of Day, The Rebels they supriz'd us, With their strong Works, which they'd thrown up, To burn the Town and drive us. There is another version attributed to Edward Bangs, a student at Harvard College, who in 1775 or 1776 wrote a ballad with fifteen verses circulated in Boston & surrounding towns. Yankee Doodle was also played at the British surrender at Saratoga in 1777. On February 6, 1788, Massachusetts ratified the Constitution by a vote of 186 to 168. To the ringing of bells & the booming of cannons, the delegates trooped out of Brattle Street Church. Before many days had passed, the citizens sang their convention song to the tune of "Yankee Doodle." Here are the lyrics to their song... The vention did in Boston meet, The State House could not hold 'em So then they went to Fed'ral Street, And there the truth was told 'em... And ev'ry morning went to prayer, And then began disputing, Till oppositions silenced were, By arguments refuting. Now politicians of all kinds, Who are not yet decided, May see how Yankees speak their minds, And yet are not divided. So here I end my Fed'ral song, Composed of thirteen verses; May agriculture flourish long And commerce fill our purses! The Spirit of '76 (aka Yankee Doodle) ArtistArchibald MacNeal Willard Yearcirca 1875 Typeoil Dimensions61 cm × 45 cm (24 in × 18 in) LocationUnited States Department of State A full version of the song, as it is known today, goes: Yankee Doodle went to town A-riding on a pony, Stuck a feather in his cap And called it macaroni'. Chorus: Yankee Doodle keep it up, Yankee Doodle dandy, Mind the music and the step, And with the girls be handy. Fath'r and I went down to camp, Along with Captain Gooding, And there we saw the men and boys As thick as hasty pudding. Chorus And there we saw a thousand men As rich as Squire David, And what they wasted every day, I wish it could be saved. Chorus The 'lasses they eat it every day, Would keep a house a winter; They have so much, that I'll be bound, They eat it when they've mind ter. Chorus And there I see a swamping gun Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus And every time they shoot it off, It takes a horn of powder, and makes a noise like father's gun, Only a nation louder. Chorus I went as nigh to one myself As 'Siah's inderpinning; And father went as nigh again, I thought the deuce was in him. Chorus Cousin Simon grew so bold, I thought he would have cocked it; It scared me so I shrinked it off And hung by father's pocket. Chorus And Cap'n Davis had a gun, He kind of clapt his hand on't And stuck a crooked stabbing iron Upon the little end on't Chorus And there I see a pumpkin shell As big as mother's bason, And every time they touched it off They scampered like the nation. Chorus I see a little barrel too, The heads were made of leather; They knocked on it with little clubs And called the folks together. Chorus And there was Cap'n Washington, And gentle folks about him; They say he's grown so 'tarnal proud He will not ride without em'. Chorus He got him on his meeting clothes, Upon a slapping stallion; He sat the world along in rows, In hundreds and in millions. Chorus The flaming ribbons in his hat, They looked so tearing fine, ah, I wanted dreadfully to get To give to my Jemima. Chorus I see another snarl of men A digging graves they told me, So 'tarnal long, so 'tarnal deep, They 'tended they should hold me. Chorus It scared me so, I hooked it off, Nor stopped, as I remember, Nor turned about till I got home, Locked up in mother's chamber. Chorus Many other variations & parodies have since arisen, including one taught to schoolchildren today: Yankee Doodle went to town A-riding on a pony He stuck a feather in his hat And called it macaroni Yankee Doodle, keep it up Yankee Doodle dandy Mind the music and the step and with the girls be handy! Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus And there was Captain Washington And gentle folks about him They say he's grown so tarnal proud He will not ride without him. Chorus President John F. Kennedy, from Mass., bought a pony for his little daughter Caroline while he was in the White House. The family named the pony "Macaroni", after the pony in Yankee Doodle. A famous picture shows President Kennedy leading Macaroni around with the toddler Caroline in the saddle. The Voice of America begins & ends all broadcasts with the interval signal of "Yankee Doodle". The Spirit of '76, also known as Yankee Doodle, is the most famous painting by Archibald MacNeal Willard. The song featured in a famous sequence in the 1942 James Cagney film, Yankee Doodle Dandy. The title of the song has also been parodied in the Looney Tunes Cartoon "Yankee Doodle Daffy". At the conclusion of the 1981 Wimbledon Championships, in which American tennis star John McEnroe had defeated his long-time rival Björn Borg, TV commentator Bud Collins took note of the July 4th holiday & also McEnroe's red-white-&-blue attire, & quipped "Stick a feather in his cap & call him 'McEnroe-ni'!" In an episode of The Simpsons, titled Homer's Barbershop Quartet, "Melvin & the Squirrels" sing "Yankee Doodle," but Melvin alters the lyrics to read: "Stuck a feather in his head & called him Rice-A-Roni." He is yelled at for this. This song was sang in the Batman: The Brave & the Bold episode "Cry Freedom Fighters". But Plastic Man altered the lyrics to read: "And ate some rigatoni" which the lyrics can be seen onscreen.";

HISTORICAL NOTE: "Among the patriotic anthems sung during the American Revolutionary War, only Yankee Doodle was more popular than William Billings's Chester. Billings wrote the 1st version of the song for his 1770 songbook The New England Psalm Singer, & made improvements for the version in his The Singing Master's Assistant (1778). It is the latter version that is best known today. The curious title of the song reflects a common practice of Billings's day, in which tunes were labeled with (often arbitrarily chosen) place names. Billings's song evidently has little more to do with any particular town named Chester than his hymn tune Africa has to do with Africa. With identifiable names for compositions, performers could select different lyrics to sing with the music without creating confusion. Although this cannot be established with certainty, it appears that these lyrics are by Billings himself. Let tyrants shake their iron rod, And Slav'ry clank her galling chains, We fear them not, we trust in God, New England's God forever reigns. Howe and Burgoyne and Clinton too, With Prescot and Cornwallis join'd, Together plot our Overthrow, In one Infernal league combin'd. When God inspir'd us for the fight, Their ranks were broke, their lines were forc'd, Their ships were Shatter'd in our sight, Or swiftly driven from our Coast. The Foe comes on with haughty Stride; Our troops advance with martial noise, Their Vet'rans flee before our Youth, And Gen'rals yield to beardless Boys. What grateful Off'ring shall we bring? What shall we render to the Lord? Loud Halleluiahs let us Sing, And praise his name on ev'ry Chord. The song was later provided with religious (as opposed to patriotic) words by Philip Doddridge, & in this form is a favorite of Sacred Harp singers. The Doddridge words are as follows: Let the high heav'ns your songs invite, These spacious fields of brilliant light, Where sun and moon and planets roll, And stars that glow from pole to pole. Sun, moon, and stars convey Thy praise, 'Round the whole earth and never stand, So when Thy truth began its race, It touched and glanced on ev'ry hand. A slightly altered version of this text & the music by Billings was recorded in 1975 by the Old Stoughton Musical Society for their LP album, "An Appeal to Heaven". The modern American composer William Schuman employed the tune of "Chester" in his New England Triptych.";

HISTORICAL NOTE: "William Billings (b. Boston, October 7, 1746 – d. Boston, September 26, 1800) was an American choral composer, & is widely regarded as the father of American choral music. Originally a tanner by trade, & lacking formal training in music, Billings created what is now recognized as a uniquely American style. "He had one eye, a deformed arm & a harsh voice; he was lame in one leg; & he was addicted to snuff." At the age of 14 his father's death stopped his formal schooling. He was married with six children. Billings died in poverty on September 26, 1800. His funeral was announced in the Columbian Centinel "Died- Mr. William Billings, the celebrated music composer. His funeral will be tomorrow at 4 o'clock, PM from the house of Mrs. Amos Penniman, in Chamber-street, West-Boston." Virtually all of Billings' music was written for four-part chorus, singing a cappella. His many hymns & anthems were published mostly in book-length collections, as follows: The New-England Psalm-Singer (1770); The Singing Master's Assistant (1778); Music in Miniature (1779); The Psalm-Singer's Amusement (1781); The Suffolk Harmony (1786); The Continental Harmony (1794). Sometimes Billings would revise & improve a song, including the new version in his next volume. Billings' music can be at times forceful & stirring, as in his patriotic song "Chester"; ecstatic, as in his hymn "Africa"; or elaborate & celebratory, as in his "Easter Anthem". The latter sounds rather like a miniature Handelian chorus, sung a cappella. As might be expected from a composer who was very close to his roots in folk music, Billings' music shows a striking purity. His "Jargon," written to a tongue-in-cheek text, contains jarring dissonances that sound more like those of the 20th century than of the 18th century. He also wrote several Christmas carols, including "Judea" in 1778 & "Shiloh" in 1781. Billings often wrote the lyrics for his own compositions. Like the notes, the words are occasionally awkward but always forceful & vivid. As an example, McKay & Crawford compare Billings' metrical rendering of Luke 2:8-11 with that of Nahum Tate, thought to be the inspiration for Billings' work: Tate: While shepherds watched their flocks by night All seated on the ground, The angel of the Lord came down, And glory shone around. Billings: As shepherds in Jewry were guarding their sheep, Promiscusly seated estranged from sleep; An Angel from heaven presented to view, And thus he accosted the trembling few Dispel all your sorrows, and banish your fears, For Jesus our Saviour in Jewry appears. Billings wrote long prefaces to his works in which he explained (often in an endearingly eccentric prose style) the rudiments of music & how his work should be performed. His writings reflect his extensive experience as a singing master. They also provide information on choral performance practice in Billings's day; for instance, a passage from the preface to The Continental Harmony indicates that Billings like to have both men & women sing the treble (top) & tenor lines, an octave apart: "...in general they are best sung together, viz. if a man sings it as a Medius, & a woman as a Treble, it is in effect as two parts; so likewise, if a man sing a Tenor with a masculine & woman with a feminine voice, the Tenor is as full as two parts, & a tune so sung (although it has but four parts) is in effect the same as six. Such a conjunction of masculine & feminine voices is beyond expression, sweet & ravishing, & is esteemed by all good judges to be vastly preferable to any instrument whatever, framed by human invention. Billings' work was very popular in its heyday, but his career was hampered by the primitive state of copyright law in America at the time. By the time the copyright laws had been strengthened, it was too late for Billings: the favorites among his tunes had already been widely reprinted in other people's hymnals, permanently copyright-free. With changes in the public's musical taste, Billings' fortunes declined. His last tune-book, The Continental Harmony, was published as a project of his friends, in an effort to help support the revered but no longer popular composer. His temporary employment as a Boston street sweeper was probably a project of a similar nature. Billings died in poverty at age 53, & for a considerable time after his death, his music was almost completely neglected in the American musical mainstream. However, his compositions remained popular for a time in the rural areas of New England, which resisted the newer trends in sacred music. Moreover, a few of Billings' songs were carried southward & westward through America, as a result of their appearance in shape note hymnals. They ultimately resided in the rural South, as part of the Sacred Harp singing tradition. In the latter part of the 20th century a Billings revival occurred, & a sumptuous complete scholarly edition of his works was published. Works by Billings are commonly sung by American choral groups today, particularly performers of early music. In addition, the recent spread of Sacred Harp music has acquainted many more people with Billings' music: several of his compositions are among the more frequently sung of the works in the Sacred Harp canon. The Stoughton Musical Society, formed by former students of Billings, has carried on his tradition for over 200 years, & included 27 Billings tunes in their 1878 music collection, The Stoughton Musical Society's Centennial Collection of Sacred Music. Among the favorite tunes by Billings sung by this choral society are: "Majesty" & "Chester". The modern American composer William Schuman featured Billings' American Revolutionary War anthem "Chester", along with two other of Billings' hymns, in his composition New England Triptych. William Billings was inducted into the Songwriters Hall of Fame in 1970.";

HISTORICAL NOTE: "John W. Schaum (Arranger); Born: January 27, 1905 - Milwaukee, USA; Died: July 19, 1988 - Milwaukee, USA; The American piano pedagogue, John W(illiam) Schaum, studied at Milwaukee State Teachers College, at Marquette University (B.M., 1931), & at Northwestern University (M.M., 1934). John W. Schaum established a successful piano teaching class in Milwaukee & published several piano methods & many collections of piano pieces that sold an enormous number of copies: The Schaum Piano Course (9 vols.); The Schaum Adult Piano Course (3 vols.); The Schaum Duet Albums (2 vols.); also theory books: The Schaum Theory Lessons (2 vols.) & The Schaum Note Spellers (2 vols.)." Schaum republished some HMC sheet music in the 1970's.;

HISTORICAL NOTE: "Founder & director of the Schaum Music School in Milwaukee, John W. Schaum is the composer of internationally famous piano teaching materials including over 200 books & 450 sheet music pieces. He was president of the Wisconsin Music Teachers Association & a soloist with the Milwaukee Philharmonic Orchestra. He held a Master of Music degree from Northwestern University, a Bachelor of Music degree from Marquette University & a Bachelor of Music Education degree from the University of Wisconsin Milwaukee. I often talk with teachers who share warm memories of my father, John W. Schaum. They recall the special pleasure of meeting him at one of his workshops or their pride in joining him in a duet. They tell how his artistry, personality & musical philosophy touched them & ultimately, their students. Schaum Publications is the continuation of his work. Knowing the story of John Schaum is to know how our company was conceived & built, where we are now, & what we envision for the future to bring music to others. My father was a saver. As a result, his office had an accumulation of things scattered over the top of every horizontal surface, including his antique Steinway grand piano. When visitors came, he liked to show a reproduction of an old engraving of Beethoven in his study, sitting among numerous piles of papers & manuscripts in conspicuous disarray. Contrary to the appearance of his office, Dad was really very well organized. There was always a purpose for the things he saved. He saved clippings from magazines & newspapers. Among many concert reviews & articles about performers & composers were clippings reflecting his political and social interests. There were copies of occasional letters to the editor he had written when he had strong feelings. Also included were articles on dozens of topics from animals & zoos to railroads & astronauts that he felt might serve to stimulate ideas in his teaching, writing & workshops. He saved copies of correspondence with publishers, pianists, teachers, insurance companies, & manufacturers whose products he found irksome or defective. There were copies of recital & concert programs beginning in the mid 1920's, along with souvenir programs from countless ballets, circuses, musicals, magic shows, operas, ice skating extravaganzas & wrestling matches. He also saved postcards, photographs, sight-seeing brochures & historical pamphlets from his travels throughout all fifty states. Needless to say, he had a vast collection of music, mostly for piano (more about this later). Fortunately, he was able to hire a team of librarians who helped to organize & catalog the music along with all the other things. All of this brings to mind an appreciation of the wide array of interests that formed the background for his creative endeavors. It all started when he decided to make a career of piano teaching in the late 1920's. Dad began working as a private teacher & after several years organized the Schaum Piano School in 1933. The teaching faculty gradually expanded to a point where the school had eleven teaching studios up on the 3rd floor of an office building on the east side of Milwaukee, just a few blocks from Lake Michigan. The collective teaching experiences in his school became the fountainhead for his writings....";

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