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- Page Use and Removed Song Statistics for The Sacred Harp: 2025 Edition
- In Memoriam: Mike Hinton
- Songs Added to The Sacred Harp: 2025 Edition
- Newly Added Song Statistics for The Sacred Harp: 2025 Edition
- Register Now for the “Revising The Sacred Harp” Symposium
- Introducing the Page Design of The Sacred Harp: 2025 Edition
- Pricing for The Sacred Harp: 2025 Edition
- Introducing “Collins,” a New Shape-Note Music Typeface for The Sacred Harp: 2025 Edition
- Introducing Vol. 6, No. 2 of the Sacred Harp Publishing Company Newsletter
- Shape-Note Singing in Mississippi: A Preliminary History
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Category Archives: Of Harmony and Composition
Bound Together: What Makes an Effective Pairing of Text and Tune
In a skillfully composed [nineteenth-century American] composition, the whole acquired a larger significance not foreseeable by merely reading the words or examining the air. —Nicholas E. Tawa1 Why do the text and tune of certain Sacred Harp songs go so well … Continue reading
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The “Stacked Fourths” Chord: A Canonical Discord in The Sacred Harp
The rudiments of The Sacred Harp and other shape-note tunebooks have traditionally categorized the intervals between any two degrees of the scale, or dyads, as either concords, “which produce harmony when sounded together,” or discords, “which, when sounded together, produce … Continue reading
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Help Me to Sing: Raymond Hamrick as Composer and Teacher
Raymond Hamrick was a master craftsman. For close to eight decades, he worked as a jeweler repairing watches at Andersen’s Jewelers. For most of those years, he also used this eye for detail to craft and teach the art of … Continue reading
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The Variety of Influence: Forms of Craftsmanship in the 1960 Edition
Introduction The Original Sacred Harp: Denson Revision, 1960 Edition,1 produced by an august music committee consisting of A. M. Cagle (chairman), H. N. McGraw, T. B. McGraw, Elmer Kitchens, Hugh McGraw, and Ruth Denson Edwards and edited by Owel Denson, … Continue reading
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