An Introduction to America’s Music

30 PART 1 | FROM COLONIZATION THROUGH THE CIVIL WAR

condemning a custom of worship that had slipped out of their control. Singers com-

mitted to the Old Way made no attempt to justify themselves in writing; they simply

continued singing as they liked. In the meantime, the champions of Regular Sing-

ing argued that its order and solemnity would help to make public worship more

pleasing in the sight of God. And they supported their opinions with references to

the Bible.

W hen seen as a confl ict pitting the clergy against the people, rules against

customs, and control against freedom, the Regular Singing controversy stands

as a colorful episode in New England’s cultural history. But in the history of

CD 1.3 Listening Guide 1.3

“Guide Me, O Thou Great Jehovah”

ANONYMOUS

date: unknown

performers: George Spangler and the

congregation of the Thornton Old Regular

Baptist Church, Mayking, Kentucky

genre: Anglo-American lined hymn

meter: unmeasured

form: strophic

timing text comments

0:00 Guide me, O Thou great Jehovah, The leader slowly intones the fi rst phrase of the tune, and

members of the congregation gradually join in as they

recognize the words and melody.

0:18 Pilgrim through this barren land. The leader quickly calls out the second line of text, and the

congregation responds by singing the words to the second

phrase of the tune.

0:39 I am weak, but Thou art mighty;

Hold me with Thy powerful hand.

Bread of Heaven, Bread of Heaven,

Feed me till I want no more.

The third line is similarly lined out, and the third phrase

sung. The process continues with the fourth, fi fth, and sixth

lines.

note Recorded in 1959. The recording fades out at the end of the fi rst stanza.

WHAT TO LISTEN FOR

• alternation of leader and congregation


• loose rhythmic coordination of voices

Listen & Refl ect

1. Many of the older metrical psalms fi ll six to eight stanzas. How long might it take to sing a
   complete psalm using the style of lining out heard here?


2. And how might we apply that insight to the clergy’s objections to the Old Way of singing
   described in the text?

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