This uncouth and eccentric tanner was the father of American church music, and of American choirs, concerts, and singing-schools as well. He wrote his first tunes on the boards of the tannery as he tended the bark-mill. He was a zealous patriot; and as Governor Samuel Adams was not only a still more zealous patriot, but devotedly attached to music, the [322] two became warm friends and at one time sang together in a choir, evidently much to the distress of Adams, as his companion had a stentorian voice. His association with Adams led him to the composition of songs of a patriotic and religious character, one of which, set to the tune known as "Chester," played an important part in rousing the martial spirit of the colonists. It runs as follows:--

"Let tyrants shake their iron rod,

And slavery clank her galling chains;

We'll fear them not, we'll trust in God;

New England's God forever reigns.

"The foe comes on with haughty stride,

Our troops advance with martial noise;

Their veterans flee before our arms,

And generals yield to beardless boys."

That the tanner had a sly humor of his own is demonstrated by the following instructions appended to one of his anthems which was performed in a concert:--

"We've met for a concert of modern invention;

To tickle the ear is our present intention;

The audience seated, expect to be treated

With a piece of the best.

"And since we all agree

To set the key on E,

The author's darling key

He prefers to the rest,

The bass take the lead,

And firmly proceed;

Let the tenor succeed," etc.

In 1770 his first compositions appeared in a work of one hundred and eight pages entitled "The New England Psalm Singer; or American Chorister. Containing a number of Psalm Tunes, Anthems, and Canons. In four and five parts. (Never before published.) Composed by William Billings, a native of Boston, in New England. Matt. xii. 16, 'Out of the mouth of Babes and Sucklings hast thou perfected Praise;' James v. 13, 'Is any merry, let him sing Psalms.'

'O, praise the Lord with one consent,

And in this grand design

Let Britain and the Colonies

Unanimously join.'

Boston: New England. Printed by Edes and Gill."

In the preface to this work he quaintly says:--

"To all Musical Practitioners.

"Perhaps it may be expected by some, that I could say something concerning rules for composition; to these I answer that Nature is the best Dictator, for all the hard dry studied rules that ever were prescribed will not enable any person to form an Air any more than the four and twenty letters, and strict Grammatical rules will qualify a scholar for composing a piece of Poetry, or properly adjusting a Tragedy without a Genius. It must be Nature; Nature must lay the Foundation, Nature must give the Thought. But perhaps some may think I mean and intend to throw Art entirely out of Question. I answer by no Means, for the more Art is displayed, the more Art is decorated. And in some sorts of composition there is dry [324] Study requir'd, and Art very requisite. For instance, in a Fuge. But even there Art is subservient to Genius, for Fancy goes first, and strikes out the Work roughly, and Art comes after and polishes it over. But to return to my Text: I have read several Authors' Rules on Composition, and find the strictest of them make some Exceptions, as thus, they say that two 8vos or two 5ths may not be taken together rising or falling, unless one be Major and the other Minor; but rather than spoil the Air, they will allow that Breach to be made, and this Allowance gives great Latitude to young Composers, for they may always make that Plea, and say, if I am not allowed to transgress the Rules of composition I shall certainly spoil the Air, and cross the Strain that Fancy dictated. And indeed this is without dispute, a very just Plea, for I am sure I have often and sensibly felt the disagreeable and slavish Effect of such Restraint as is here pointed out, and so I believe every Composer of Poetry as well as Musick, for I presume there are strict Rules for Poetry, as for Musick. But as I have often heard of a Poetical License I don't see why with the same propriety there may not be a musical License, for Poetry and Musick are in close Connection, and nearly allied besides they are often assistants to each other, and like a true friend often hide each other's feelings. For I have known a Piece of Poetry that hath neither Rhime nor Reason in it, pass for tolerable good sense because it happened to be set to an excellent Piece of Musick, and to get Respect rather for its good Fortune in falling into such respectable company than for any Merit in itself: so likewise I have known and heard a very indifferent Tune often sung and much caress'd, only because it was set to a fine Piece of Poetry, without this recommendation, perhaps it would not be sung [325] twice over by one Person, and would be deemed to be dearly bought only at the expense of Breath requisite to perform it.

"For my own part, as I don't think myself confined to any Rules for Composition laid down by any that went before me, neither should I think (were I to pretend to lay down rules) that any who comes after me were any ways obligated to adhere to them any further than they should think proper; so in fact I think it is best for every composer to be his own learner. Therefore upon this consideration, for me to dictate, or pretend to prescribe Rules of this Nature for others, would not only be very unnecessary but also a very great piece of Vanity."

His second work was the "Singing Master's Assistant," an abridgment and revision of his first. His humor again crops out in the following extract from its preface:--