Holy Manna George Atkin, 1819
William Moore, 1825 arr. Kristina Caswell MacMullen
h = 58
A 2
###C Soprano II solo & œ œ61 1 sol sol la do
5
do
¢
do la sol
3 2 !
re
mi
re do mi re do la
sol sol la do
7
do
la
sol la do re mi re
re
do
8
3 6 œ 6 1 2 2 1 1 6 œ œ
sol
do
do la sol
3 4 ˙
sol
mi
fa
sol
œ œ 6 1 1
2 2 1 3 2 1 6 œ œ 6 1 1
3 2 !
sol
re
mi
sol la do
do
9
re do mi re do la
10
° ### & 1 1 6 œ œ do
### &
4
2 21 321 6 œ œ61 1
6
° ### Soprano I solo & 1 1 6 œ œ ### &
do
3
do la sol
sol
sol
sol la do
do
11
sol la do re mi re
do
12
3 6 œ 6 1 2 2 1 1 6 œ œ la
re
do
do la sol
sol
3 4 ˙ mi
fa
sol
œ œ 6 1 1
2 2 1 3 2 1 6 œ œ 6 1 1
3 2 !
sol
re
mi
sol la do
do
### Alto solo ¢& œ œ 1 1 3 do
do mi sol
sol
re do mi re do la
6 œ la
sol
sol
sol la do
do
1 do
re
œ
œ 1 1 2 3
6 œ
sol
do
la
do re mi
sol
do
!
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sol
do
2 13
14
voices ° ### Add a few & 1 3 3 3 do
mi
mi
mi
### 3 œ œ œ & mi
¢
### &
sol
sol
sol
œ 1 1 1 sol
do
do
¢
### &
sol
do
sol
sol mi
re
do
do re mi
mi
mi
mi
mi
sol mi sol
3 3 1 2 1
3 œ œ œ
3 3 1 @
mi
mi
mi
mi do
re
do
sol mi do
sol
sol
sol
œ 1 1 1
do
18
do
### &
œ œ 3 ˙
la
° ### & 1 1 2 3 3
16
1 3 3 3
6 œ 3 1 1
do
17
15
œ œ 3 2 1
sol
do
do
do
19
mi do
re
3 2
@
mi
re
re
20
4 4 3 œ 3 1
1 1 2 3 3
œ 3 2 #
fa
do
sol
fa mi sol mi do
do re mi
mi
mi re mi
œ œ 6 1 1
2 2 1 3 2 1 6 œ œ 6 1 1
3 2
!
sol
re
mi
do
sol la do
do
re do mi re do la
œ œ 1 1 3
6 œ
do
la
do mi sol
sol
B # ° ## ™ ™œ œœœ œ & 21
1.Breth - ren, Will you
we have pray with
### ™ ™œ œœœ œ & 1.Breth ren, Will you
### ™ ™ ¢&
we have pray with
œ œ œ œœ
1.Breth ren, Will you
we have pray with
sol
sol la do
do
1
sol
do
œ
œ 1 1 2 3
6 œ
sol
do
la
22
do re mi
wor - ship, pow - er,
And a While we
dore try
the to
œ œœœœœœ œ œœœ œ met all
to your
œ œ met all
to your
wor - ship, pow - er,
And a While we
dore try
the to
œ œ wor - ship, pow - er,
sol
do
24
œ œ œœœœ œ œ œœœ œ to your
!
sol
23
met all
re
œ œ œœœ And a While we
dore try
the to
™™ œ œ ˙ Lord our God, preach the word?
œ œ ˙
™™
Lord our God, preach the word?
™™
œ œ ˙ Lord our God, preach the word?
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
3 25
26
27
° ### & œ œ œ œ All
is
vain
un
œ œ œ œ œ -
less
### œ œ œ œ & All
¢
### &
is
vain
un
is
vain
un
spir
-
-
less
the
spir
it
-
Of
less
the
spir
it
-
the
Ho
-
ly
One
œ œ œ œ Of
the
Ho
-
ly
it
Of
the
Ho
-
ly
comes
down;
œ œ œ ˙ One
œ œ œ œ
œ œ œ œ œ -
œ œ œ ˙
œ œ œ œ
œ œ œ œ œ
œ œ œ œ All
the
28
comes
down;
œ œ One
˙
comes
down;
be
29
30
° ### & œ œ œ œ œ Breth - ren,
### &
œ œ œ œ œ
Breth - ren,
¢
### &
pray, and
pray, and
œ œ œ œ œ
Breth - ren,
pray, and
C # ° ## ™ ™œ œœœ œ & 33
2.Sis - sters, Will you
will you help the
### ™ ™œ œœœ œ & 2.Sis - ters, Will you
### ™ ™ ¢&
will you help the
œ œ œ œœ
2.Sis - ters, Will you
will you help the
31
œ œ œ œ œ œ ho
-
ly
man
-
32
œ œ œ œ œ
na
Will
be
show - ered
œ œ œ œ œ œ œ œ œ œ œ œ ho
-
ly
œ œ ho
-
ly
man
-
na
Will
be
show - ered
œ œ man
-
œ œ œ œ œ
na
34
Will
be
show - ered
35
help us? mour - ners,
Mo - ses' Who are
sis - ters strug - gling
œ œœœ œœœ œ œœœ œ join and trem - bling
œ œ join and trem - bling
help us? mour - ners,
Mo - ses' Who are
sis - ters strug - gling
œ œ help mour
-
us? ners,
all
a
-
round.
œ œ all
a
˙ -
round.
œ œ ˙ all
a
-
round.
36
œ œ œœœ œ œ œ œœœ œ join and trem - bling
œ œ œ ˙
œ œ œœœ Mo - ses' Who are
sis - ters strug - gling
™™ œ œ ˙ aid - ed him; hard with sin?
œ œ ˙
™™
aid - ed him; hard with sin?
™™
œ œ ˙ aid - ed him; hard with sin?
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
4 37
38
° ### & œ œ œ œ Tell them
all
a
-
bout
### œ œ œ œ & Tell them
¢
### &
all
a
all
a
41
pray, and Sis
-
pray, and
¢
-
bout
the
Sav - iour,
œ œ œ œ œ -
bout
the
Sav - iour,
-
40
œ œ œ œ Tell them that
He
œ œ œ œ Tell them that
He
œ œ œ œ Tell them that
He
43
œ œ œ œ œ œ ho
-
ly
man
-
na
œ œ œ ˙ will
be
found;
œ œ œ ˙ will
be
found;
œ œ will
˙
be
found;
44
œ œ œ œ œ Will
be
show - ered
œ œ œU ˙ all
a
-
round.
ters,
œ œ œ œ œ Sis
### &
Sav - iour,
42
° ### & œ œ œ œ œ ### &
the
œ œ œ œ œ
œ œ œ œ Tell them
39
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ho
-
ly
man
-
na
Will
be
show - ered
U ˙
œ œ all
a
-
round.
ters,
U œ œ œ œ œ pray, and Sis
-
œ œ ho
-
ly
œ œ man
-
na
œ œ œ œ œ Will
be
show - ered
œ œ ˙ all
a
ters,
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
-
round.
Learned musicians of the 20th century regarded the shape-note tradition as primitive, improper, harsh, unschooled, and even offensive. William Billings, whose works occupy a significant part of The Sacred Harp (the most popular tunebook of the tradition), received criticism for his improper writing. With roots in the Anglo-American sacred music, shape-note singing has a rightful place alongside spirituals as a uniquely American heritage, and as one of the oldest surviving song traditions in the United States. Shape-note notation originated as a means of music education, growing from the New England singing schools. Rural Southerners soon adopted the practice. This scattering led to the development of regional styles, with variations of ornamentation, tempo, pronunciation, and timbre. The method assigns shapes (also called buckwheat, character, and patent notations) for each solmization syllable (diamond for mi, etc.). The earliest version of the 19th century involved four syllables (mi-fa-sol-la). Eventually, a seven-syllable version (do-re-mi-fa-sol-la-ti) emerged, reflecting the influence of European systems. I have chosen this system to realize Holy Manna. All systems utilize standard rhythmic notation. The collections include songs, anthems, odes, preludes, hymns, psalm settings, spirituals, set pieces, and fuguing tunes. In the 1911 edition of The Sacred Harp, most tunes have four parts. Tunes originally composed for three parts have been adjusted with an added alto part. The tenor typically carries the melody. When performed, men may choose to sing the soprano or alto line in their own octave. In this case, the second soprano carries the tenor, the alto carries the bass, and the soprano carries the treble. Shape-note gatherings, known as “singings,� enjoy a wealth of traditions. Often, singings are separate from liturgical services, acting as social and recreational activities – a true communal sing! These range from meetings of a few hours to conventions of several days. The musicians sit in a hollow square several rows deep, with one voice part per side, and all face the center. The song leader, different for each tune, stands in the center. His or her responsibilities include: selecting a favorite tune (or sugar stick), establishing a key for performance, and setting a tempo. All singers conduct the pulse together. The group begins by performing the tune in solmization syllables, and immediately follows by singing the text. Performance Notes Shape-note notation appears in the first 20 bars of this edition. The nineteenth century collections of shape-note tunes are without dynamics, tempo, or editorial markings. The flexible character of this tradition invites performer to choose a key, dynamic, and tempo that best fits the ensemble. Many excellent recordings of popular tunes can be found online. The tone chosen should reflect the rugged quality of this tradition. Feel free to render each melodic line with new variation. In the shape-note tradition, rarely will a singer render a tune the same way twice, creating a beautiful diversity. The collective sense of pulse should be executed with strength. Take liberty to experiment with singing in a square, with conducting the pulse, and with ornamenting each strophe. I hope you enjoy the experience of a most sacred American tradition! This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.