JACOB FRENCH 


Jacob French (b. Stoughton, Mass., 15 July 1754; d. Simsbury, Conn., May 1817) was a composer and singing master. In 1774 he attended a singing school taught by William Billings in Stoughton. Between 1775 and 1781 he served several hitches in the Continental Army, his military records describing him as a soldier, a Stoughton resident, and a 'husband-man' (farmer) by occupation. Presumably, he became a singing master after the war, though information about his career is lacking. He lived in Medway, Massachusetts, in 1789; a legal document dated July, 1795, describes him as a 'Teacher of Musick' living in Uxbridge, Massachusetts. He is also known to have organized a singing school in Providence (1795-96), and his biographer reports, without documentation, that after the turn of the century he taught singing schools in the wintertime (1802-15), though it is not specified where. In 1815 he moved to Simsbury, Connecticut, where he spent the last two years of his life.

          Amerigrove, Baker's, Bio-bib, Grove, Metcalf. Also Daniel 1966, p. 121-23; Genuchi 1964; Massachusetts Soldiers, 6, p. 74; Osterhout 1978, p. 313-14; Stoughton 1878, p. 4.

HARMONY OF HARMONY, 1802

ASMI 194 

Harmony of Harmony. In five parts. Containing, I. The ground work, or principles of music, by way of question and answer. II. The gamut, or scale of music, in a very plain and concise method; together with observations on music. III. A complete set of psalm tunes, adapted to all the different metres and keys usually sung in churches. IV. A number of pieces set to particular psalms and hymns, together with odes, fuging and flying pieces. V. A number of anthems, suitable for different occasions. By Jacob French, Musico Theorico. Author of the New American Melody, and the Psalmodist's Companion. Published according to act of Congress. Printed, typographically at Northampton, by Andrew Wright. - For the compiler. - 1802.

xii, [9]-151, [1] p. 114 x 22.5 cm. The 3 of page no. 83 is inverted. 

Northampton Hampshire Gazette, 13 Oct. 1802, advertises work as just published. p. [i], t-p.; p. [ii], 'Preface'; p. [iii]-iv, 'Part I'; p. iv-viii, 'The Gamut or Scale of Music'; p. viii-ix, 'Observations'; p. x-xi, 'Lessons for Tuning the Voice'; p. xi, 'Musical Dictionary'; p. xii, 'Errata'; p. [9]-151, music (p. [9]-64, 'Part III'; p. [65]-106, 'Part IV'; p. [107]-51, 'Part V'); p. [152], 'Index.' 'Our Psalmns and Hymns contain a rich variety of sentiments adapted to almost every affection of the pious heart. Adoration, love, praise, confession, intercession, gratitude, faith, hope, joy, triumph, selfdenial, affliction, grief, &c. are cast into easy animated Poetry, for the use of public and private worship . . . These all require to be set to different airs of music, corresponding with the different subjects. Our congregations are necessarily disgusted with such an impropriety, as a tune adapted to expressions of triumph, but sung in a Psalm where deep affliction pours out its sorrows through every line. It is very desirable that our religious assemblies should be abundantly furnished with airs of music, accommodated to every strain of devotion, and that those who lead the singing should attentively regard the choice of tunes for each psalm. It is the design of the author to furnish the public with an additional variety of music, for various christian subjects and in this way contribute a little to their advantage and entertainment.' (Extract from Preface.)

          98 compositions, incl. 7 anthems & 11 set-pieces, for 4 voices, a few for 3; full text. Attribs. to Babcock (2), Berkenhead, N. Billings (3), W. Billings (7), Brow[n]son, Capin, Coan, Dexter, Dowland (2), Field, Findley, Fisher (2), French (45), Holden (4), Ingalls, Kimball (3), Lane (2), Munson, Norton, Saunders, Stephenson, Stone, Tansur, Weeks, Williams. (Anthem and set-piece attribs. on p. xii of introduction.) 48 1st pr. identified (Anthems: Descend from Heav'n, Hear O Heav'ns, Lift up your Heads; ASCENSION, ASSOCIATION, ATTLEBOROUGH, BABYLON, BELLINGHAM, BROWNSON, CELESTIAL QUEEN, CHARLESTOWN, CHARLTON, CHRISTIANITY, COELESTIS, COLCHESTER, COMMAND, CONNECTICUT, CONVICTION, COVENTRY, CREATION, DISSOLUTION, DORMANT, FARMINGTON, FLY, GRATITUDE, MARLBOROUGH, MEDITATION, MES-SIAH, MIDDLESEX, MORNING SONG, MORNING VIEW, MOUNT VERNON, NORFOLK, NORTHAMPTON, NORTH BOLTON, PLYMOUTH NEW, PROCLAMATION, PROVIDENCE, RECEPTION, RESURRECTION, RETRIBUTION, SABBATH, SCIPIO, TERROR, VANITY, WARREN, WINTHROP, WISDOM), & 1 poss. 1st pr. (NEW HUNDRED), also 6 1st Am. pr. (ATTENTION, DESIRE, HAMPTON, MUSICAL CONCERT, RELIANCE, SAVONA). 180 American compositions, 12 non-American, 6 unidentified [ATTENTION, DESIRE, HAMPTON, LIVONIA, RELIANCE, SAVONA] (78 attrib. Americans, 2 traced [MESSIAH, MOUNT VERNON]; 5 attrib. non-Americans, 7 traced). 

11 Core Repertory.

S2277 (MWA). CLU, Ct, CtHC (2), CtY, DLC (2; 1 inc.), MB (2), MHi, MNF (4), MWA (front matter inc.), MiU-C*, NN (2), NRU-Mus, NcWsM (2; I w. inc. front matter), NjPT, RPB.

THE NEW AMERICAN MELODY, 1789

ASMI 195

The New American Melody. In three parts. Containing, I. An introduction to the grounds of musick: or rules for beginners. II. A new and complete body of church musick suited to all metres usually sung in churches[.] III. A number of new anthems adapted to several occasions. The whole entirely new and composed for the use of singing societies. By Jacob French. Boston: printed and sold by John Norman, near Oliver's Dock, and by Jacob French, in Medway Massachusetts. MDCCLXXXIX.

2 p.l., [7]-100 p. 12 x 22 cm. Frontispiece & p. 13-100 engraved [probably by William Norman]. See note below, under John Norman. All copies have the apparent skip in pagination at the beginning. P. 51 is misnumbered 45. 

Copy in MH signed by author and dated 25 Aug. 1789. 1st p.l. recto blank; verso, frontispiece: picture encircled by 5-voice canon; 2d 1. recto, t-p.; verso, 'Preface'; p. [7]-11, "Introduction To The Grounds Of Musick'; p. [12], 'Index'; p. 13-100, music. In composing the following sheets of Musick, I have had regard to Time as it is laid down in the Introduction. As there are so many different Moods of different Measures and Swiftness, besides other Characters and Words to regulate musical airs, there is no occasion for an Author to leave his Musick half finished. [New par.] If for instance, an Author should write an Introduction to Musick, without any fixed rules of Time, then his musick would be unfinished; for, one Performer would give his judgment how fast a particular piece of musick ought to be sung, another would say he sung too fast, the third would observe that the marks of Time were no rule, but that the Notes ought to be sung according to the length of the words to which they are applied, then, there would arise another dispute about words, which should be sounded longest: Suppose things to be thus circumstanced, there would be more disputing than singing. [New par.] Musick ought to be properly applied to Lan-guage, and that may be better done by adhearing to the Rule of Pendulums, than any other way in respect to Time, it is simply marked by Characters: If Authors find these Movements inadequate to their designs, as to swiftness, it is customary to write over the musick slow or quick, and by applying these words or something similar, there can be no movement but what may be exactly expressed, and if necessary, the Time may be shifted in every Bar through a Tune, according as the Author thinks proper; and it is much better for every Author to regulate the Time of his own musick than to leave it to the wild judgment of unskilfull Performers: I mean not to direct any Author how to perform his own musick, but think myself under an obligation whenever I attempt to make use of any musick, to perform it according to the Directions set forth by the Composer of it, and I hope, the Public will be kind enough to indulge me so far, as to use my musick in the same tmanner. [sic]' (Extract from Preface.) 

          57 compositions, incl. 5 anthems, 2 set-pieces, & 1 canon (front.) for 4 voices; full text (a few w. partial text). T-p. attribs. all to French. 57 1st pr. identified. All are American.

No Core Repertory. 

          E21841 (MWA). MH* (2), MWA (lacks frontispiece).

THE PSALMODIST'S COMPANION, 1793

ASMI 196 

The Psalmodist's Companion, in four parts. Containing, I. The rudiments of musick, in a concise and easy method. II. A complete collection of psalm tunes, suited to all metres and keys, usually sung in churches. III. A number of favourite choruses, fuges, &c. suited to many occasions. IV. A number of anthems. The whole in alphabetical order, in each part. Many of the pieces never before published. By Jacob French, Philo Musicae, author of the New American Melody. (Published according to act of Congress.) Printed at Worcester, Massachusetts, by Leonard Worcester, for Isaiah Thomas. MDCCXCIII.

100 p. 14.5 x 23.5 cm. p. 45 wrongly numbered 54.

Worcester Massachusetts Spy, 24 Oct. 1793, advertises work as 'now in the press'; issue of 21 Nov. 1793 advertises it as just published. p. [1], t-p.; p. [2], 'Preface'; p. 3-4, 'Part I. The Rudiments of Musick'; p. 5-9, 'Lessons'; p. 10-100, music (p. 10-59, 'Part II'; p. 60-75, 'Part III'; p. 76-100, 'Part IV'). 'Having been many years a teacher of musick, and been acquainted with most of the singing books which have been published in America, I have long wished for such a book as I now present to the publick. I think the several lessons upon the different moods of time and transposition, will facilitate the obtaining those necessary parts of the rules; for, there the scholar has a lesson upon all the moods of time made use of in vocal musick, and all the several keys; with which he ought to be well acquainted before he proceeds to learning the tunes. That the whole may be as useful as possible to the Churches, I have, in addition to many pieces of my own composition, collected those, from European and American Authors, which have been most approved, and which afford the greatest variety in metres and keys.' (Extract from Preface.)

          71 compositions, incl. 4 anthems, 2 set-pieces, & 1 canon, for 4 voices (1 for 3); full text. No attribs. 12 1st pr. identified (Anthem: The song of songs; DAUPHIN, DECLARATION, HARMONY, MONMOUTH, PSALM 119, SANBORNTOWN, SUTTON, TOLLAND, TYOT, VENUS, WILLINGTON), also 23 apparent 1st pr. (Anthem: Sing o daughter; BETHEL, CANON, CHRISTMAS ODE, COMPLAINT, CONTENTMENT, DISSOLUTION, DOUGLASS, FORMATION, JERUSALEM, LONDON, MENDON, MOUNT ZION, PILGRIM'S FAREWELL, POND, SHARON, SHIPWRECK, STOUGHTON, STRATTON, UNIVERSAL PRAISE, VANITY, VENGEANCE, WASHINGTON) & 1 1st Am. pr. (AMESBURY). 147 compositions traced to Americans, 5 traced to non-Americans (AMESBURY, Anthem: Already see; DUNSTAN, LYDD, PRODIGAL), 19 unidentified (Anthem: Sing o daughter; CANON, CHRISTMAS ODE, COMPLAINT, CONTENTMENT, DISSOLUTION, DOUGLASS, FORMATION, JERUSALEM, LONDON, MENDON, MOUNT ZION, POND, SHARON, STOUGHTON, STRATTON, UNIVERSAL PRAISE, VANITY, WASHINGTON). 

15 Core Repertory (poss. Ist pr. SUTTON).

          E25513 (MWA). DLC, ICN, MWA*.

NOTE: Many of the pieces in this work are assigned to specific composers in other collections. Most are Americans-William Billings, S. Chandler, Lewis Edson, Jacob French, Ezra Goff, [?] Hibbard, Oliver Holden, Jacob Kimball, Justin Morgan, [Ezra?] Parmenter, Daniel Read, [?] Smith, Timothy Swan, Abraham Wood: two are not: G. F. Handel and Martin Madan. The title-page claim, 'Many of the pieces never before published,' suggests that French himself composed most of the first printings untraceable beyond this collection. In the tabulation, however, only tunes attributed to French in later tunebooks are here 'traced to Americans'; the rest are listed as unidentified.

ASMI pp. 277-280