What? What is that?
Awhile back, I ran across on Archive.Org the hymn book Sacred Poetry and Music Reconciled, Or, A Collection of Hymns Original and Compiled, by Samuel Willard. (Boston, MA: Leonard C. Bowles, 1830). In it I noticed several hymns labeled with the meters “C.M.A.,” “L.M.A.,” “S.M.A.” I had never noticed that kind of labeling before...
And I am always up for learning more about the meter designations. The hymn meter is the pattern of syllables and stresses in the hymn text. I have posted a number of times on the subject. Here are most, if not all:
- Common Meter Extended hymns
- Explanation of Meter, from The Baptist Standard Hymnal
- Hymn meter
- Hymn Meter Again
- Hymn Meter Explanations and Information
- Metrical Index of Tunes
- Online metrical indices
- 50th hymn meter
- L. M. A. - Long Meter Anapestic. 10.10.11.11. (usually, but not always; this also includes hymn with 4 lines of 11s. and one 8-line hymn that is 10.11.11.11.12.11.11.11.)
- C. M. A. - Common Meter Anapestic. 11.8.11.8.
- S. M. A. - Short Meter Anapestic. 8.8.11.8.
Some relevant excerpts from Willard’s book Sacred Poems:
A considerable number of hymns in this collection are in the anapestic measure, like the first, fourth, and eighteenth, containing in general three syllables for a measure or bar; while most of the tunes, which are named for them, have usually been sung in iambic verse, dividing each measure into two parts, the first a semibreve, or other notes equivalent to it, and the second a minim. If these hymns should be adopted in any society, where these tunes are not actually divided in the collections of music in use, the following rule will remove every difficulty in performing these or any other tunes of the kind, in the manner required; viz.
Let every measure, intended for three syllables, be divided into three equal parts, by splitting semibreves, or removing slurs, and let every part be sounded on the same tone, it would otherwise be. Thus, for instance, in the tune of Froome, named for the first hymn, let the slur be removed from the crotchets in the first full measure of the first line, and let the minim in the first measure of the second line be performed like two crotchets. The only exceptions to this rule are those, which are signified by numbers or points in several hymns, and which may be observed, or not, as may be found convenient. When the first syllable in a measure has the number 1 over it, it is to fill two thirds of the bar, and for the two following syllables, marked with the number 4, the last third of the bar. is to be divided, as in hymn 4. (pages 11-12)
Some of the metres are distinguished in this book into seven varieties, and are marked by the figures 1, 2, 3, &c. prefixed to the tunes, which are named. The first variety is pure iambic from the beginning to the end of every line. The second is precisely the same with the first, excepting a trochee in the beginning of the first line. With a little attention, the chorister will understand the other diversities, which, in the adaptation of tunes, are almost as important to be observed, as the difference of metre. (page 18)
Willard says that most of the named tunes in his book can be found in the Bridgewater, Handel and Haydn, and American Psalmody collections.
A little about Samuel Willard:
Samuel Willard, the son of William Willard and Catherine Wilder, was born April 18, 1775 (his daughter wrote 1776). His grandfather was a Congregational minister and his father a deacon. He graduated from Harvard College and became a Congregational minister. The initial council declined to ordain him due to his Unitarian tendencies, but a more liberal-thinking group was convened and ordained him. Willard became a long-time influential Unitarian in Massachusetts. He compiled two hymn books – Sacred Poems (1830), Regular Hymns: on a Great Variety of Evangelical Subjects and Important Occasions: with Musical Directions, for all the Varieties of Appropriate Expression (1824), and The Family Psalter (circa 1857). The latter may have never been published, and his other books probably found only limited use outside his region (and probably not much outside the Unitarian fold). His daughter writes:
…he gave much thought and time to the subject of sacred music. He composed many hymns; on his favorite plan of adapting the poetical to the musical emphasis. He left a manuscript collection of four hundred or more of these hymns;, about one hundred of which were composed in his eighty-second year. After his birthday of eighty-two he prepared an elaborate preface to this collection, in which he emphasized the idea, that sacred music and poetry, fitly adapted to each other, are to be among the great factors in harmonizing the discordant elements of the world. This collection he named ‘The Family Psalter’.” (Life of Samuel Willard, D.D. A.A.S. of Deerfield, Mass, Mary Willard, editor. Boston, MA: George H. Ellis, 1892, pp. 22-23)
As far as I have discovered, the C.M.A., L.M.A., and S.M.A. metrical designations seem to be limited in use to Willard’s work. They may have been created by him for his work, and not used elsewhere. In Regular Hymns, Willard does not use metrical designations, but simply gave tunes for the hymn. He wrote, “In general, I have named two tunes for each hymn, taken either from the third edition of Deerfield Collection, or the tenth of the Bridgewater Collection. Those from the former are marked with a star, and those from the latter with a cross; to prevent any mistake” (pp. x-xi).
Samuel Willard died October 8, 1859, and is buried at the Laurel Hill Cemetery in Deerfield, Franklin County, Massachusetts.
