Kedron (Amos Pilsbury)
- Editor: Barry Johnston (submitted 2018-08-28). Score information: 7 x 10 inches (landscape), 2 pages, 61 kB Copyright: Public Domain
- Edition notes: Comparison of seven versions of this tune. Note shapes added (4-shape). MusicXML source file is in compressed .mxl format.
- Pilsbury 1799, United States Sacred Harmony, p. 67. Four parts, first measure 4 beats, second section repeated.
- Davisson 1817, Kentucky Harmony, Garland, p. 22. Four parts, first measure 2 beats, no repeats. Ascribed to [Elkanah] Dare.
- Moore 1825, Columbian Harmony, p. 62. Four parts, first measure 4 beats, second section repeated.
- Walker 1835, Southern Harmony, p. 3. Three parts, first measure 4 beats, second section repeated.
- Swan and Swan 1848, Harp of Columbia, p. 45. Four parts, first measure 4 beats, second section repeated.
- Hauser 1848, Hesperian Harp, p. 21. Four parts, first measure 4 beats, second section repeated.
- Walker 1867, Christian Harmony, p. 208. Four parts, first measure 4 beats, second section repeated.
- Editor: Barry Johnston (submitted 2017-12-15). Score information: 7 x 10 inches (landscape), 1 page, 74 kB Copyright: Public Domain
- Edition notes: Note shapes added (4-shape). All eight stanzas of Wesley's original hymn included. MusicXML source file is in compressed .mxl format.
Description: Arranged by Elkanah Dare for three parts in 1813; then by Ananias Davisson for four parts in 1816 and again in 1817, the latter as Garland (with different words by Isaac Watts, "How pleasant, how divinely fair"). It was arranged again by Alexander Johnson for four parts in 1818; this arrangement became the basis for the three-part versions in Southern Harmony (1835) (p. 3) and The Sacred Harp (1844) (p. 48). Davisson (1816) made the most extensive revision, and the Alto part was revised by Swan and Swan in 1848. Otherwise, the music in Hauser (1848) and Walker (1867) differs very little from Pilsbury's original in 1799.
The complex history of this tune is discussed at length by David Music (1995); he concludes that Pilsbury arranged a folk tune obtained orally or from an unattributed manuscript.
The words Pilsbury (1799) used are the first stanza of Hymn 686 by Charles Wesley, 1762, altered; they were further altered by William Walker (1835), so that the line reads
- Thou man of grief, remember me;
- Thou never canst thyself forget
- Thy last expiring agony,
- Thy fainting pangs, and bloody sweat.
Since these alterations changed the meaning of Wesley's hymn, the words used here are Wesley's original words.
A folk hymn, derived from one or several folk songs (Jackson 1953b, No. 57).
- Davisson, Ananias. 1816.
- Hauser, William. 1848.
- Moore, William. 1825.
- Pilsbury, Amos. 1799.
- Swan and Swan. 1848.
- Walker, William. 1835. Southern Harmony. Second edition, 1837; Third Edition, 1838, Fourth Edition, 1840, Fifth Edition, 1847a, Sixth Edition, 1847b, Seventh Edition, 1854.
- Walker, William. 1867. The Christian Harmony. Philadelphia: E. W. Miller and William Walker. 383 pp.
- Wesley, Charles. 1762.
Original text and translations
Original text and translations may be found at Thou man of griefs, remember me.