Title: The Christian Harmony
Description: In Colonial America, the ability to read was far from universal, much less the ability to read music. In the mid-18th century, efforts were made in America to simplify the musical learning process by assigning shapes to notes of the musical scale. These were presented in a number of ways -- shapes without a staff, shapes on the musical staff and as numbers of the staff. Toward the turn of the 19th century shaped note innovation had sorted itself out into a set of four shapes. Fa, Sol and La, repeated once, with a Mi thrown in when absolutely necessary (which wasn't very often) to complete the scale. These four shaped notes were the musical basis of a number of early songbooks and there is evidence that singing schools were teaching the shapes in Western North Carolina by 1815. By 1850, the idea of assigning seven different shapes to the notes of the scale was beginning to come into favor. By the end of the Civil War, William Walker had changed his views about singing with four shapes (as in The Southern Harmony) and had come around to the idea of having a shape for each note of the scale. Unable to get permission from the owners of the patents on existing seven-shape systems, Walker created his own set of shapes. The Christian Harmony was first published in 1866 and was revised in 1873. The music was arranged in four parts to include the alto. There were a number of other editions published through 1909. In the 1950s a group in Alabama revised The Christian Harmony. They took out more than 100 tunes thought to be least sung and added in many songs, often composed with a gospel flavor. This is the so-called "Black Book," and it's one of the books we regularly sing from today. In 1979, Brent Holcomb of Columbia, South Carolina published a facsimile edition of 1,000 of the 1873 edition of The Christian Harmony. Bound in brown cloth, it became the familiar "Brown Book." - Foreword / Zack Allen.