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jQuery Mobile Web Development
Essentials Third Edition

Table of Contents
jQuery Mobile Web Development Essentials Third Edition
Credits
About the Authors
About the Reviewer
www.PacktPub.com
eBooks, discount offers, and more
Why subscribe?
Preface
What is jQuery Mobile?
What’s the cost?
What do you need to know?
What about native apps?
Help!
What this book covers
What you need for this book
Who this book is for
Conventions
Reader feedback
Customer support
Downloading the example code
Downloading the color images of this book
Errata
Piracy
Questions
1. Preparing Your First jQuery Mobile Project
Important preliminary points
Building an HTML page
Getting jQuery Mobile
Implementing jQuery Mobile

Working with data attributes
Summary
2. Working with jQuery Mobile Pages
Adding multiple pages to one file
jQuery Mobile, links, and you
Working with multiple files
jQuery Mobile and URLs
Additional customization
Page titles
Prefetching content
Changing page transitions
Summary
3. Enhancing Pages with Headers, Footers, and Toolbars
Adding headers
Icon sneak peek
Working with back buttons
Working with footers
Creating fixed and fullscreen headers and footers
Fullscreen headers and footers
Working with navigation bars
Persisting navigation bar footers across multiple pages
Summary
4. Working with Lists
Creating lists
Working with list features
Creating inset lists
Creating list dividers
Autodividers
Creating lists with count bubbles

Using thumbnails and icons
Creating split button lists
Summary
5. Getting Practical – Building a Simple Hotel Mobile Website
Welcome to Hotel Camden
The home page
Finding the hotel
Listing the hotel rooms
Contacting the hotel
Summary
6. Working with Forms and jQuery Mobile
Before you begin
What jQuery Mobile does with forms
Working with radio buttons and checkboxes
Working with select menus
Custom select fields
Search, toggle, and slider fields
Search fields
Flip switch fields
Slider fields
Using native form controls
Working with mini fields
Summary
7. Creating Grids, Panels, and Other Widgets
Laying out content with grids
Making responsive grids
Working with collapsible content
Using popups
Responsive tables
Working with panels
Using filterable widgets

Working with tabs
Summary
8. Moving Further with the Notekeeper Mobile Application
What is a mobile application?
Designing your first mobile application
Listing out the requirements
Building your wireframes
Designing the Add Note wireframe
The Display Notes wireframe
The View Note/Delete button wireframe
Writing the HTML
Adding functionality with JavaScript
Storing Notekeeper data
Using localStorage
Effective use of boilerplates
Building the Add Note feature
Adding bindings
Collecting and storing data
Building the Display Notes feature
Dynamically adding notes to our listview
Viewing a note
Using the .on() method
Dynamically creating a new page
Deleting a note
Summary
9. jQuery Mobile Configuration, Utilities, and JavaScript Methods
Configuring jQuery Mobile
Using jQuery Mobile utilities
Page methods and utilities
Utilities related to path and URL
jQuery Mobile widget and form utilities

Summary
10. Working with Events
Working with physical events
Handling page events
What about $(document).ready?
Creating a real example
Summary
11. Enhancing jQuery Mobile
What’s possible for designs?
The visual building blocks of jQuery Mobile
Border-radius
Applying drop shadows
Using text-shadow
Using box-shadow
CSS gradients
The basics of jQuery Mobile theming
Bars (.ui-bar-?)
Content blocks (.ui-body-?)
Buttons and listviews (.ui-btn-?)
Mixing and matching swatches
Site-wide active state
Default icons
Creating and using a custom theme
What’s ThemeRoller?
Using ThemeRoller
Preview
Colors
Inspector
Tools
Creating a theme for Notekeeper
Exporting your theme

Updating the Notekeeper app
Adding our custom theme
Summary
12. Creating Native Applications
HTML as a native application
Working with PhoneGap
Adding the PhoneGap functionality
Summary
13. Becoming an Expert – Building an RSS Reader Application
RSS reader – the application
Creating the RSS reader application
The displayFeeds function
Storing our feeds
Adding an RSS feed
Viewing a feed
Creating the entry view
Going further
Summary
Index

jQuery Mobile Web Development
Essentials Third Edition
Copyright © 2016 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmitted in any form or by any means, without the prior written permission of the
publisher, except in the case of brief quotations embedded in critical articles or reviews.
Every effort has been made in the preparation of this book to ensure the accuracy of the
information presented. However, the information contained in this book is sold without
warranty, either express or implied. Neither the authors, nor Packt Publishing, and its
dealers and distributors will be held liable for any damages caused or alleged to be caused
directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the
companies and products mentioned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this information.
First published: May 2012
Second edition: September 2013
Third edition: March 2016
Production reference: 1210316
Published by Packt Publishing Ltd.
Livery Place
35 Livery Street
Birmingham B3 2PB, UK.
ISBN 978-1-78355-505-5
www.packtpub.com

Credits
Authors
Raymond Camden
Andy Matthews
Reviewer
Eliecer Daza
Commissioning Editor
Usha Iyer
Acquisition Editor
Kevin Colaco
Content Development Editor
Rashmi Suvarna
Technical Editor
Rahul C. Shah
Copy Editor
Akshata Lobo
Project Coordinator
Judie Jose
Proofreader
Safis Editing
Indexer
Priya Sane
Graphics
Kirk D’Penha
Production Coordinator
Shantanu N. Zagade
Cover Work
Shantanu N. Zagade

About the Authors
Raymond Camden is a developer advocate for IBM. His work focuses on the
StrongLoop platform, Bluemix, hybrid mobile development, Node.js, HTML5, and web
standards in general. He’s a published author and presents at conferences and user groups
on a variety of topics. Raymond can be reached at his blog
(http://www.raymondcamden.com), @raymondcamden on Twitter, or via e-mail at
<raymondcamden@gmail.com>.
Raymond Camden is the author of many development books, including Apache Cordova
in Action, Manning Publications and Client-Side Data Storage, O’Reilly Media, Inc.
I’d like to thank everyone on the jQuery and jQuery Mobile teams for making tools that
have changed my life. Without your hard work and dedication, the Web would be less
awesome.
Andy Matthews has been working as a software engineer for nearly 20 years with
experience in a wide range of industries and a skillset that includes UI/UX, graphic
design, and programming. He is the coauthor of the books Creating Mobile Apps with
jQuery Mobile and jQuery Mobile Web Development Essentials by Packt Publishing. He
has written for online publications, such as Adobe, NetTuts, and .NET Magazine. He has
spoken at conferences all over the country, and has developed a number of projects for the
open source community.
Thanks to Packt for publishing this book. Thanks to the jQuery Mobile team for creating
such a great and easy to use open source project.

About the Reviewer
Eliecer Daza has been a web developer since 2005. He has ample experience in Java,
Python, Perl, jQuery, and jQuery Mobile being a Java developer for more than 8 years. He
has developed software for information management and customer relationship
management (CMR) for health promoting enterprises (EPS), public transportation, and
education companies in the private and public sectors. He has been working as a Python
developer for more than 4 years, working with responsive websites and new languages
and technologies.
His main areas of interest lie in the development of Linux, Python, Android, and Google
Services. He has a huge interest in nurturing blog spaces about Linux administration and
programming.
Look for me on my page at http://www.eliecerdaza.com.
My heartfelt appreciation to God, my beloved mother and friend, my family, and my
girlfriend July.

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As always, I dedicate this book to my wife, Jeanne. You are the best thing in my life. I love you completely.
—Raymond Camden
Thanks to my wife and children who tolerate my time spent learning and writing.
—Andy Matthews

What is jQuery Mobile?
On August 11, 2010, nearly six years ago, John Resig (creator of jQuery) announced the
jQuery Mobile project. While it focused on the UI framework, it was also a recognition of
jQuery itself as a tool for mobile websites and that work would be done to the core
framework itself to make it work better on devices. Release after release, the jQuery
Mobile project evolved into a powerful framework, encompassing more platforms, more
features, and better performance with every update.
But what do we mean when we say a UI framework? What does it mean for developers
and designers? jQuery Mobile provides a way to turn regular HTML (and CSS) into
mobile-friendly websites. As you will see soon in the first chapter, you can take a regular
HTML page, add the required bits for jQuery Mobile (essentially, lines of HTML), and
your page is transformed into a mobile-friendly version instantly.
Unlike other frameworks, jQuery Mobile is focused on HTML. In fact, for a framework
tied to jQuery, you can do a heck of a lot of work without writing one line of JavaScript.
It’s a powerful, practical way of creating mobile websites that any existing HTML
developer can pick up and adapt within a few hours. Compare this to other frameworks,
such as Sencha Touch. Sencha Touch is also a powerful framework, but its approach is
radically different, using JavaScript to help define and layout pages. jQuery Mobile is
much friendlier to people who are more familiar with HTML as opposed to JavaScript.
jQuery Mobile is touch-friendly, which will make sense to anyone who has used a
smartphone and struggled to click the exact spot on a website with tiny text and hard-to-
spot links. It will make sense to anyone who has accidentally clicked on a Reset button
instead of Submit. jQuery Mobile will enhance your content to help solve these issues.
Regular buttons become large, fat, and easy-to-hit buttons. Links can be turned into list-
based navigation systems. Content can be split into virtual pages with smooth transitions.
You will be surprised just how jQuery Mobile works without writing much code at all.

What’s the cost?
Ah, the million dollar question. Luckily, this one is easy to answer: nothing. jQuery
Mobile, like jQuery itself, is completely free to use for any purpose. Not only that, it’s
open source. Don’t like how something works? You can change it. Want something not
supported by the framework? You can add it. To be fair, digging deep into the code base is
probably something most folks will not be comfortable doing. However, the fact that you
can if you need to, and the fact that other people can, will lead to a product that will be
open to development by the community at large.

What do you need to know?
Finally, along with not paying a dime to get, and work with, jQuery Mobile, the best thing
is that you probably already have all the skills necessary to work with the framework. As
you will see in the upcoming chapters, jQuery Mobile is an HTML-based framework. If
you know HTML, even just simple HTML, you can use the jQuery Mobile framework.
Knowledge of CSS and JavaScript is a plus, but not entirely required (while jQuery
Mobile uses a lot of CSS and JavaScript behind the scenes, you don’t actually have to
write any of this yourself!).

What about native apps?
jQuery Mobile does not create native applications. You’ll see later in the book how you
can combine jQuery Mobile with hybrid mobile technologies, such as Apache Cordova, to
create native apps; but in general, jQuery Mobile is for building websites. The question on
whether to develop a website or a mobile app is not something this book can answer. You
need to look at your business needs and see what will satisfy them. Because we are not
building mobile apps themselves, you do not have to worry about setting up any accounts
with Google or Apple, or paying any fees for the marketplace. Any user with a mobile
device that includes a browser will be able to view your mobile-optimized websites.
Again, if you want to develop true mobile apps with jQuery Mobile, it’s definitely an
option.

Help!
While we’d like to think that this book will cover every single possible topic you would
need for all your jQuery Mobile needs, most likely there will be things we can’t cover. If
you need help, there are a couple of places you can try.
First, the jQuery Mobile docs (http://jquerymobile.com/demos/) cover syntax, features,
and development in general, much like this book. While the material may cover some of
the same ground, if you find something confusing here, try the official docs. Sometimes, a
second explanation can really help.
Second, the jQuery Mobile forum (http://forum.jquery.com/jquery-mobile) is an open-
ended discussion list for jQuery Mobile topics. This is the perfect place to ask questions.
Also, it’s a good place to learn about problems other people are having. You may even be
able to help them. One of the best ways to learn a new topic is by helping others.

What this book covers
Chapter 1, Preparing Your First jQuery Mobile Project, works you through your first
jQuery Mobile project. It details what must be added to your project’s directory and source
code.
Chapter 2, Working with jQuery Mobile Pages, continues the work in the previous chapter
and introduces the concept of jQuery Mobile pages.
Chapter 3, Enhancing Pages with Headers, Footers, and Toolbars, explains how to
enhance your pages with nicely formatted headers and footers.
Chapter 4, Working with Lists, describes how to create jQuery Mobile list views. These are
mobile-optimized lists, which are especially great for navigation.
Chapter 5, Getting Practical – Building a Simple Hotel Mobile Website, walks you
through creating your first real (albeit simple) jQuery Mobile application.
Chapter 6, Working with Forms and jQuery Mobile, explains the process of using jQuery
Mobile-optimized forms. Layout and special form features are covered in detail.
Chapter 7, Creating Grids, Panels, and Other Widgets, walks you through special jQuery
Mobile UI items for creating grid-based layouts and other common UI elements.
Chapter 8, Moving Further with the Notekeeper Mobile Application, walks you through
the process of creating another website, an HTML5-enhanced note-taking application.
Chapter 9, jQuery Mobile Configuration, Utilities, and JavaScript Methods, describes the
various JavaScript-based utilities your code may have need of.
Chapter 10, Working with Events, details the events thrown by various jQuery Mobile-
related features, like pages loading and unloading.
Chapter 11, Enhancing jQuery Mobile, demonstrates how to change the default
appearance of your jQuery Mobile websites by selecting and creating unique themes.
Chapter 12, Creating Native Applications, takes what you’ve learned previously and
shows how to use the open source PhoneGap project to create real native applications.
Chapter 13, Becoming an Expert – Building an RSS Reader Application, expands upon the
previous chapter by creating an application that lets you add and read RSS feeds on
mobile devices.

What you need for this book
Nothing! Technically, you need a computer and a browser as well, but jQuery Mobile is
built with HTML, CSS, and JavaScript. No Integrated Development Environment (IDE)
or special tool will be required to work with the framework. If you’ve got any editor on
your system (and all operating systems include a free editor of some sort), you can
develop with jQuery Mobile.

Who this book is for
This book is for anyone looking to embrace mobile development and expand their skill set
beyond the desktop.

Conventions
In this book, you will find a number of text styles that distinguish between different kinds
of information. Here are some examples of these styles and an explanation of their
meaning.
Code words in text, database table names, folder names, filenames, file extensions,
pathnames, dummy URLs, user input, and Twitter handles are shown as follows: “You can
find all the source code for this chapter in the c1 folder of the ZIP file you downloaded
from GitHub.”
A block of code is set as follows:
Listing 1-1: test1.html
<html>
<head>
<title>First Mobile Example</title>
</head>
<body>
<h1>Welcome</h1>
<p>
Welcome to our first mobile web site. It's going to be the best site
you've ever seen. Once we get some content. And a business plan. But the
hard part is done!
</p>
<p>
<i>Copyright Megacorp © 2015</i>
</p>
</body>
</html>
New terms and important words are shown in bold. Words that you see on the screen,
for example, in menus or dialog boxes, appear in the text like this: “There are a few
options here, but you want the ZIP file option.”
Note
Warnings or important notes appear in a box like this.
Tip
Tips and tricks appear like this.

Reader feedback
Feedback from our readers is always welcome. Let us know what you think about this
book—what you liked or disliked. Reader feedback is important for us as it helps us
develop titles that you will really get the most out of.
To send us general feedback, simply e-mail <feedback@packtpub.com>, and mention the
book’s title in the subject of your message.
If there is a topic that you have expertise in and you are interested in either writing or
contributing to a book, see our author guide at www.packtpub.com/authors.

Customer support
Now that you are the proud owner of a Packt book, we have a number of things to help
you to get the most from your purchase.

Downloading the example code
This book contains many code samples. You are not expected to type them in. You should
not type them all in. Rather, you should download them from the public GitHub repository
setup for the book: https://github.com/cfjedimaster/jQuery-Mobile-Book. The GitHub
repository will be updated as typos and other mistakes are found in the book. Therefore, it
is possible the code may not match exactly the text in the book.
If you are not familiar with GitHub, then simply click on the Downloads tab and then
either Download as zip or Download as tar.gz to quickly get an archived collection of all
the files.
You should extract these les onto a local web server. If you do not have one installed, we
recommend installing Apache (http://httpd.apache.org/). Apache works on all platforms, is
free, and is typically easy to install. Once extracted, you can edit these files, view them in
your browser, or copy them as a starting point for your own projects.
You can download the example code files for this book from your account at
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Errata
Although we have taken every care to ensure the accuracy of our content, mistakes do
happen. If you find a mistake in one of our books—maybe a mistake in the text or the
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content.

Random documents with unrelated
content Scribd suggests to you:

play
Orientis partibus
aduentauit asinus
pulcher et fortissimus
Sarcinis aptissimus.
Hez, hez, sire asnes, hez.
Its modern representative is:
play
See Hymns Ancient and Modern, No. 413.
No. 65
FROZEN HEART, OSH 93
Hexatonic, mode 3 A (I II III — V VI VII)

98
play
Lord, shed a beam of heav’nly day
To melt this stubborn stone away;
And thaw, with rays of love divine,
This heart, this frozen heart of mine;
This heart, this frozen heart of mine;
This heart, this frozen heart of mine.
The rocks can rend; the earth can quake;
The seas can roar; the mountains shake;
Of feeling, all things show some sign,
But this unfeeling heart of mine.
To hear the sorrows thou hast felt,
Dear Lord, an adamant would melt!
But I can read each moving line,
And nothing move this heart of mine.
The text is attributed, in the Sacred Harp of 1844, to Joseph Hart and
it is dated 1759. The tune is ascribed to E. J. King. The melodic trend
of the refrain brings to mind ‘The Campbells are Coming’.

No. 66
LEBANON, KNH 88
Hexatonic, mode 5 A (I — 3 IV V 6 7)
play
Mourning souls, no longer grieve,
Heaven is propitious;
If on Christ you do believe,
You shall find him precious.
Jesus now is passing by,
Calls the mourner to him;
He hath died for you and I,
Now look up and view him.
He has pardons, full and free,
Drooping souls to gladden;
Still he cries: “Come unto me,
Weary, heavy-laden.”
Tho’ your sins, like mountains high,
Rise and reach to heaven,
Soon as you on him rely
All will be forgiven.
Precious is the Savior’s name,
All his saints adore him;
He to save the dying came—

99
Prostrate bow before him;
Wand’ring sinners, now return;
Contrite souls, believe him!
Jesus calls you—cease to mourn;
Worship him—receive him!
From his hands, his feet,
his side, runs the healing lotion;
See the consolating tide,
boundless as the ocean!
See the healing waters move
for the sick and dying!
Now resolve to gain his love,
or to perish trying.
Grace’s store is always free,
drooping souls to gladden;
Jesus calls: “Come unto me—
weary, heavy laden.”
Though your sins like mountains high,
rise and reach to heaven,
Soon as you on him rely,
all shall be forgiven.
Now methinks I hear one say:
“I will go and prove him;
If he takes my sins away,
surely I shall love him.
Yes, I see the Father smile,
now I lose my burden;
All is grace, for I am vile,
yet he seals my pardon.”
This text is found HH 413, and also COH 122.

No. 67
SOLDIER’S RETURN, SOH 36
Heptatonic ionian, mode 3 A + b (I II III IV V VI VII)
play
Bright scenes of glory strike my sense,
And all my passions capture;
Eternal beauties round me shine,
Infusing warmest rapture.
I live in pleasures deep and full,
In swelling waves of glory.
I feel my Savior in my soul
And groan to tell the story.
Further stanzas are given under ‘Mecklinburg’. The tune was
borrowed from ‘When the Wild War’s Deadly Blast’, SMM, No. 131.
See also for melodic similarities ‘The Mill Mill O’, SMM, No. 157; and
‘Blue-Eyed Stranger’, Sharp, The Morris Book, Part I, p. 91. See Greig-
Keith, Last Leaves, p. 181, for the tune’s wide use in the British Isles
during the eighteenth century.

100
No. 68
CHRISTIAN SOLDIER, GOS 207
play
Here at Thy table, Lord, We meet To feed on food divine;
Thy body is the bread we eat, Thy precious blood the wine.
He that prepares the rich repast, Himself comes down and dies;
And then invites us thus to feast, Upon the sacrifice.
The bitter torments he endured upon the shameful cross,
For us his welcome guests procured these heart-reviving joys.
His body torn with rudest hands becomes the finest bread,
And with the blessings he commands, our noblest hopes are fed.
His blood that from each opening vein in purple torrents ran
Hath filled this cup with generous wine, that cheers both God and
man.
Sure there was never love so free, dear Savior, so divine;
Well thou may’st claim that heart of mine, which owes so much to
thine.
The text is one of those which rationalize religious rites; in this case,
that of the communion. The tune is credited to Freeman Price. Its

101
second part reminds of ‘The Merry, Merry Milkmaids’, Sharp, Country
Dances, Set No. 5.
No. 69
TRIBULATION, MOH 46
Hexatonic, mode 2 A (I II 3 IV V — 7)
play
Death, ’tis a melancholy day
To those that have no God,
When the poor soul is forc’d away
To seek her last abode.
In vain to heaven she lifts her eyes;
But guilt, a heavy chain,
Still drags her downward from the skies
To darkness, fire and pain.
Awake and mourn, ye heirs of hell,
Let stubborn sinners fear;
You must be driv’n from earth and dwell
Alone forever there.
See how the pit gapes wide for you,
And flashes in your face;
And thou, my soul, look downward too,
And sing recov’ring grace.

The text has been attributed to Watts. Recent hymnals have been
purged of this doleful ditty and of all other songs which make hellfire
too realistic. The tune was attributed to Chapin in some books and to
Davisson in others. Davisson claims it in his Kentucky Harmony
(1815). It is practically identical with ‘Little Musgrave and Lady
Barnard’, Sharp, i., 182, a tune which Sharp heard in Greenwood,
Albemarle County, Virginia, Davisson’s own territory and near where
he is buried. An early variant which is practically identical with both
the Sharp and the Davisson tunes is in Motherwell, Supplement, No.
30, associated with ‘The Bonnie Mermaid’ text. Found also, KYH 43,
SOH 119, UH 37, KNH 38, OSH 29, HH 55.
No. 70
VOLUNTEERS, CHH 110
Hexatonic, mode 3 b (I II III IV V VI —)
play
Hark, listen to the trumpeters! They sound for volunteers!
On Zion’s bright and flow’ry mount Behold the officers;
Their horses white, their garments bright, With crown and bow
they stand,
Enlisting soldiers for their King, To march for Canaan’s land.

102
It sets my heart all in a flame; a soldier I will be;
I will enlist, gird on my arms and fight for liberty.
They want no cowards in their band (They will their colours fly),
But call for valiant hearted men, who’re not afraid to die.
The armies now are on parade, how martial they appear!
All armed and dressed in uniform, they look like men of war;
They follow their great General, the great Eternal Lamb,
His garments stained with his own blood, King Jesus, is his name.

The trumpet sounds, the armies shout, and drive the hosts of hell;
How dreadful is our God in arms! The great Immanuel!
Sinners, enlist with Jesus Christ, th’ eternal Son of God,
And march with us to Canaan’s land, beyond the swelling flood.
There is a green and flow’ry field, where fruits immortal grow;
There, clothed in white, the angels bright, our great Redeemer
know.
We’ll shout and sing forever more in that eternal world;
But Satan and his armies too, shall down to hell be hurled.
Hold up your heads, ye soldiers bold, redemption’s drawing nigh,
We soon shall hear the trumpet sound; ’Twill shake both earth and
sky;
In fiery chariots then we’ll fly, and leave the world on fire,
And meet around the starry throne to tune th’ immortal lyre.
The tune is attributed to Wm. Bradshaw. Found also HH 159 and
SWP 90. Dett, p. 180, and SOH 301, have the same words but
different tunes.
No. 71
BACKSLIDER, REV 208
Pentatonic, mode 3 (I II III — V VI —)
play

103
How can I vent my grief? My comforter is fled!
By day I sigh without relief And groan upon my bed.
How little did I think when first I did begin
To join a little with the world it was so great a sin.
I thought I might conform, nor singular appear,
Converse and dress as others did, but now I feel the snare.
My confidence is gone, I find no words to say,
Barren and lifeless is my soul when I attempt to pray.
The tune is similar to those used with several text variants of ‘The
Wife of Usher’s Well’. Sharp, i., 150ff. The oldest American song book
record of the ‘Backslider’ tune is in Ingalls’ Christian Harmony of
1805, p. 55, where it is entitled ‘The General Doom’ and begins:
Behold! with awful pomp,
The Judge prepares to come;
Th’ archangel sounds the awful trump
And wakes the general doom.
No. 72
GOOD OLD WAY (B), OL 8
Hexatonic, mode 2 A (I II 3 IV V — 7)
play

104
Lift up your heads, Emmanuel’s friends,
And taste the pleasure Jesus sends;
Let nothing cause you to delay,
But hasten on the good old way.
Our conflicts here, tho’ great they be,
Shall not prevent our victory,
If we but watch, and strive, and pray!
Like soldiers in the good old way.
O good old way, how sweet thou art!
May none of us from thee depart;
But may our actions always say
We’re marching in the good old way!
“A tune and song [words] of the Granade period”, William Hauser,
compiler of the Olive Leaf suggests. John Adam Granade was an
evangelist of the “wild” sort who lived 1775 to 1806. A negro tune
which combines elements of the above and ‘I Went Down to the
Valley’, in this collection, is in Slave Songs, No. 104.
No. 73
REST IN HEAVEN, OL 358
Hexatonic, mode 2 A minorized (I II 3 IV V — 7 [VII])

play
My rest is in heaven, my rest is not here,
Then why should I murmur at trials severe.
Be tranquil, my spirit, the worst that can come
But shortens thy journey and hastens thee home.
Let trouble and danger my progress oppose;
They’ll only make heaven more bright at the close;
Come joy, then, or sorrow—whate’er may befall—
One moment in glory will make up for all.
A scrip on my back, and a staff in my hand,
I march on in haste thro’ an enemy’s land;
The road may be rough, but it cannot be long;
I’ll smooth it with hope, and I’ll cheer it with song.
The tune is related to ‘Be Gone Unbelief’, in this collection, and to
the worldly tunes listed under that song. Negro adoptions of the
tune are Marsh, pp. 144 and 173, and SS 33.
No. 74
TO DIE NO MORE, GOS 363

105
play
My heav’nly home is bright and fair,
No pain nor death can enter there;
Its glitt’ring tow’rs the sun outshine,
I hope that mansion shall be mine.
Chorus
I’m going home to Christ above,
I’m going to the Christian’s rest,
To die no more to, die no more,
I’m going home to die no more.
My Father’s house is built on high,
Far, far above the starry sky;
When from this earthly prison free,
I hope that mansion mine shall be.
Chorus
I envy not the rich and great,
Their pomp of wealth and pride of state;
My Father is a richer King,
That heav’nly mansion still I sing.
Chorus
The tune is identical with one used with the worldly ballad ‘Three
Ravens’, see Davis 562.

No. 75
COLUMBUS, OSH 67
Pentatonic, mode 2 (I — 3 IV V — 7)
play
Oh, once I had a glorious view
Of my redeeming Lord;
He said, I’ll be a God to you,
And I believ’d his word.
But now I have a deeper stroke
Than all my groanings are;
My God has me of late forsook,
He’s gone I know not where.
Oh, what immortal joys I felt
On that celestial day,
When my hard heart began to melt,
By love dissolved away!
But my complaint is bitter now,
For all my joys are gone;
I’ve strayed! I’m left! I know not how;
The light’s from me withdrawn.

106
Once I could joy the saints to meet,
To me they were most dear;
I then could stoop to wash their feet,
And shed a joyful tear;
But now I meet them as the rest,
And with them joyless stay;
My conversation’s spiritless,
Or else I’ve nought to say.
The words appeared in Mercer’s Cluster, a Georgia hymn and
spiritual-song collection of the 1820’s. The earliest appearance of the
tune seems to have been in the Southern Harmony (1835). Found
also in HH 128, UH 57, KNH 42, HOC 37, SOC 109, GOS 380, PB
343. The tune is a variant of ‘Antioch’, in this collection.
For negro tune derivatives see White Spirituals, 259. Among the
tunes in secular environment, ‘Virginian Lover’, Sharp, ii., 149, tune
B, shows closest relationship to the above. See also ‘Flat River Girl’,
Rickaby, p. 6; and ‘Driving Saw Logs on the Plover’, Rickaby, p. 89.
No. 76
YONGST, BS 203
play
Father, I sing thy wondrous grace
And bless my Savior’s name,

107
Who bought salvation for the poor,
And bore the sinner’s shame.
His deep distress has raised us high;
His duty and his zeal
Fulfilled the law which mortals broke,
And finished all thy will.
Zion is thine, most holy God;
Thy Son shall bless her gates;
And glory, purchased by his blood,
For thine own Israel waits.
The tune is attributed to W. B. Gillham. It is member of the ‘Lord
Lovel’ group mentioned in the Introduction, page 14. Noteworthy in
this connection is a variant of the above tune as sung by a negro in
North Carolina; see Scarbrough, p. 55. Further tunes belonging to
the ‘Lord Lovel’ group are listed under ‘Dulcimer’ in this collection.
No. 77
DOWN IN THE GARDEN, REV 108

play
Dark was the hour, Gethsemane,
When through thy walks was heard
The lowly Man of Galilee,
Still pleading with the Lord.
Down in the garden, hear that mournful sound;
There behold the Saviour weeping,
Praying on the cold damp ground.
Jesus, my Saviour, let me weep with thee;
Mercy, O thou Son of David,
Mercy’s coming down to me.
Alone in sorrow see him bow,
As all our griefs he bears;
Not words may tell his anguish now,
But sweat and blood and tears.
Down in the garden etc.
Four more stanzas of the text are given in the Revivalist. The last
part of the tune and the whole text are obvious parodies of the
Foster song ‘Massa’s in the Cold, Cold Ground’. For possible folk
sources of Foster’s song, see my article “Stephen Foster’s Debt to

108
American Folk-Song”, The Musical Quarterly, xxii (1936), No. 2, p.
159.
No. 78
ALBION, MOH 49
Pentachordal, cannot be classified (I II III IV V — —)
play
Come, ye that love the Lord,
And let your love be known;
Join in a song of sweet accord
And thus surround the throne,
And thus surround the throne.
The sorrows of the mind
Be banished from this place;
Religion never was designed
To make our pleasures less,
To make our pleasures less.
Let those refuse to sing,
Who never knew our God;
But fav’rites of the heav’nly King
May speak their joys abroad,
May speak their joys abroad.

The words are by Watts. The tune is ascribed to R(obert) Boyd. It is
found also, KYH 18, GCM 171, SOH 23, UH 21, GOS 126, KNH 51,
OSH 52, HH 201, HOC 12. It sounds like one of the old psalm tunes.
No. 79
DUNLAP’S CREEK, SOH 276
play
My God, My Portion, and my Love,
My everlasting all,
I’ve none but thee in heav’n above,
Or on this earthly ball.
What empty things are all the skies,
And this inferior clod!
There’s nothing here deserves my joys,
There’s nothing like my God.
In vain the bright, the burning sun
Scatters his feeble light;
’Tis thy sweet beams create my noon;
If thou withdraw, ’tis night.
The words are Watts’. The tune is given as by F(reeman) Lewis.
Found also, GCM 63, SOC 238, WP 44, TZ 77, GOS 650, SKH 83, CM
120, Baptist Hymn and Tune Book (1857), p. 106, where it is called

109
a ‘Western Melody’. It is practically the same as ‘Wife of Usher’s
Well’, Sharp, i., 160, Q. See Introduction, page 14, for
mention of the ‘Lord Lovel’ type of tune to which ‘Dunlaps’
Creek’ belongs.
No. 80
SINNER’S INVITATION, OL 211
play
Sinner go, will you go
To the highlands of heaven,
Where the storms never blow
And the long summer’s given,
Where the bright blooming flow’rs
Are their odors emitting
And the leaves of the bow’rs
In the breezes are flitting.
Where the rich golden fruit
Is in bright clusters pending,
And the deep laden boughs

110
Of life’s fair tree are bending;
And where life’s crystal stream
Is unceasingly flowing,
And the verdure is green,
And eternally growing.
The tune and words which are parodied here are those of the ‘Braes
o’ Balquhidder’. The text is attributed, by the compiler of the Olive
Leaf, to “Rev. Wm. McDonald, I guess”. The Scotch song begins:
Will you go, lassie, go to the braes o’Balquhidder,
Where the blackberries grow in the bonnie blooming heather.
See Gilchrist, JFSS, viii., 77. Another variant of the ‘Braes o’
Balquhidder’ tune in this collection is ‘Lone Pilgrim’. Gilchrist traces
the Scotch tune back still farther to ‘Brochan Buirn’, an old Gaelic air.
See JFSS, viii., 76. It influenced Stephen Foster in his making of the
tune ‘Linda Has Departed’. (See my article in The Musical Quarterly,
vol. xxii, No. 2.)
No. 81
LAND OF REST, OL 117

play
There is a land of pure delight
Where saints immortal reign,
Infinite day excludes the night
And pleasures banish pain.
O the land of rest, O the land of rest,
Where Christ and His people meet;
The land of the blest, all in beauty drest,
Where the saints all their lov’d ones greet.
“Inspiration of this tune,” says the compiler of the Olive Leaf,
“caught from a female voice at a distance, at Barbee Hotel, High
Point, N. C., June 9th, 1868.” The mountain woman must have been
singing ‘Lord Lovel’; for the tunes of that ballad, as found for
example in Davis, p. 574, O; and Sharp, i., 148, are practically the
same as ‘Land of Rest’. See Introduction, page 14.
No. 82
FLORENCE, OSH 121

111
play
Not many years their rounds shall roll,
Each moment brings it nigh,
Ere all its glories stand revealed,
To our admiring eye.
Ye wheels of nature, speed your course,
Ye mortal pow’rs decay;
Fast as ye bring the night of death,
Ye bring eternal day.
“It is an old melody”, J. S. James, editor of the 1911 Original Sacred
Harp, says. “Prof. T. S. Carter of Georgia took the outlines and
arranged it in 1844.”
The tune is found also, SOC 77, GOS 178. A variant is GOS
165, entitled ‘Lonesome Dove’. Another variant is ‘The Weary
Soul’, OSH 72. I find this tune to be a member of the group which I
have called the ‘Roll Jordan’ family of melodies. See the song with
that title in this collection.
No. 83
ALBERT, SOC 153

play
My brethren all, on you I call,
Arise and look around you,
How many foes bound to oppose,
Who’re waiting to confound you;
How many foes bound to oppose,
Who’re waiting to confound you.
Credited in the Social Harp to E. R. White and dated 1855. The tune
is a clear adaptation of ‘The Girl I Left Behind Me’.
No. 84
ROYAL PROCLAMATION, SOH 146

112
play
Hear the royal proclamation,
The glad tidings of salvation,
Publishing to every creature,
To the ruin’d sons of nature.
Jesus reigns, he reigns victorious,
Over heaven and earth most glorious,
Jesus reigns.
See the royal banner flying,
Hear the heralds loudly crying:
“Rebel sinners, royal favour
Now is offer’d by the Saviour.”
Jesus reigns, etc.
Hear, ye sons of wrath and ruin,
Who have wrought your own undoing,
Here is life and free salvation,
Offered to the whole creation.
Jesus reigns, etc.
Although Ananias Davisson claims, in the Supplement to The
Kentucky Harmony, to have made the tune, no subsequent user of
the song seems to have looked on him as its author. It has all the

earmarks of an eighteenth century fife-and-drum-corps tune which
was appropriately set to the religio-martial text. Found also, UH 91,
KNH 91, HH 468, SKH 107, GOS 643.
No. 85
CARRY ME HOME or PENICK, OSH 387
play
While trav’ling through this world below,
Where sore afflictions come,
My soul abounds with joy to know
That I will rest at home.
Carry me home, carry me home,
When my life is o’er;
Then carry me to my long sought home where pain is felt no
more.
Yes, when my eyes are closed in death,
My body cease to roam,
I’ll bid farewell to all below

113
And meet my friends at home.
Carry me home etc.
And then I want these lines to be
Inscribed upon my tomb:
“Here lies the dust of S. R. P.,
His spirit sings at home.”
Carry me home etc.
The initials in the third stanza belonged to “Professor S. R. Penick, a
devoted Christian man, and one who was very fond of music,”
according to James, 1911 editor of the OSH. But he ascribes tune
and words to M. Sikes, a singing-school teacher in Georgia before
the Civil War. The tune is a variant of ‘Dying Boy’ in this collection.
No. 86
JORDAN, SKH 86
play
On Jordan’s stormy banks I stand
And cast a wishful eye,
To Canaan’s fair and happy land

114
Where my possessions lie.
O the transporting rapt’rous scene
That rises to my sight,
Sweet fields arrayed in living green
And rivers of delight.
There generous fruits that never fail
On trees immortal grow;
There rocks and hills and brooks and vales
With milk and honey flow.
(Four stanzas omitted.)
Soon will the Lord my soul prepare
For joys beyond the skies,
Where never-ceasing pleasures roll,
And praises never die.
The tune belongs to the ‘Roll Jordan’ group; see Introduction, page
14. See also the song by that title in this collection.
No. 87
ENQUIRER, OSH 74
Hexatonic, mode 4 a (I II — IV V 6 7)

play
I’m not asham’d to own my Lord,
Or to defend his cause,
Maintain the honor of his word,
The glory of his cross.
Jesus, my God, I know his name;
His name is all my trust;
Nor will he put my soul to shame,
Nor let my hope be lost.
Firm as his throne his promise stands,
And he can well secure
What I’ve committed to his hands,
Till the decisive hour.
Then will he own my worthless name,
Before his Father’s face,
And in the new Jerusalem
Appoint my soul a place.
The words are attributed to Isaac Watts; the tune to B. F. White of
Georgia, and dated 1844. The tune is a member of the ‘Babe of
Bethlehem’ group. See Introduction, p. 14, and, ‘Babe of Bethlehem’
in this collection. A secular related tune is ‘Lowlands of Holland’,
Sharp, i., 200. Since the tune has clear dorian implications, its proper
key signature is one flat.

115
No. 88
WONDROUS LOVE, OSH 159
Hexatonic, mode 4 a (I II — IV V 6 7)
play
What wondrous love is this, O my soul, O my soul;
What wondrous love is this, O my soul;
What wondrous love is this That caused the Lord of bliss
To bear the dreadful curse for my soul, for my soul,
To bear the dreadful curse for my soul.
When I was sinking down, sinking down, sinking down;
When I was sinking down, sinking down;
When I was sinking down beneath God’s righteous frown,
Christ laid aside his crown for my soul, for my soul;
Christ laid aside his crown for my soul.
To God and to the Lamb I will sing, I will sing;
To God and to the Lamb I will sing;
To God and to the Lamb who is the great I AM,
While millions join the theme, I will sing, I will sing;
While millions join the theme I will sing.
And when from death I’m free I’ll sing on, I’ll sing on;
And when from death I’m free I’ll sing on.

And when from death I’m free I’ll sing and joyful be,
And through eternity I’ll sing on, I’ll sing on,
And through eternity I’ll sing on.
The song is found also, SOH (1854) 252, GOS 436, PB 384, OL 371,
and in various tune books of the Baptists up to the present time. The
Southern Harmony attributes the tune to “Christopher”; Good Old
Songs, to “J. Christopher”; and the Hesperian Harp attributes the
words to the “Rev. Alex Means, A. M., M. D., D. D., LL. D.”, a
Methodist minister of Oxford, Ga. It looks as though tune and words
were born together, so beautifully they fit. The stanzaic form is that
of the ‘Captain Kidd’ ballad which has been widely sung and
parodied since the beginning of the eighteenth century. A spiritual
song tune related to ‘Wondrous Love’ is ‘Villulia’ in this collection. I
have heard the country folk sing this tune with the dorian raised
sixth.
No. 89
SALVATION (A), BS 127
Hexatonic, mode 1 B (I II — IV V VI VII)
play
O thou God of my salvation,
My Redeemer from all sin,
Moved by thy divine compassion,

116
Who hast died my heart to win.
I will praise thee, I will praise thee;
Where shall I thy praise begin?
Angels now are hov’ring round us,
Unperceived amid the throng;
Wond’ring at the love that crown’d us,
Glad to join the holy song;
Hallelujah, hallelujah,
Love and praise to Christ belong.
The tune is evidently a remake of ‘Locks and Bolts’. Compare, for
example, Sharp, ii., 19. The difference between the two tunes is
probably due in part to their structure, which provided real
difficulties for their recorders, and in part to the efforts of the Bible
Songs arranger to make the apparently dorian tune fit into current
scale formulas. Compare also ‘Bed of Primroses’, Thomas, p. 176.
No. 90
MOUNT WATSON, OL 272
Heptatonic dorian, mode 2 A + B (I II 3 IV V VI 7)
play
Death shall not destroy my comfort,
Christ shall guide me thro’ the gloom;

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