No other specific songs for halyards are mention around this time; "Cheerl'y Man," then, appears to have been the song of choice attached to this activity. Even as other songs came into existence for halyard work in the mid-1830s, "Cheer'ly Man" remained eminent beside them. It makes notable appearances in the work of Dana (sea experience 1834-36).

>>When we came to mast-head the top-sail yards, with all hands at the halyards, we struck up "Cheerily, men," with a chorus which might have been heard half way to Staten Land.<<

Later references attach it to other hauling tasks, especially that of catting anchor. In early 1840s London, aboard a brigantine, the song was "familiar":

>>Then as the anchors came up to the hawse pipes, and when the cats were hooked on, there came over the still waters of the Downs the familiar song, "Cheerily, men!" from all quarters... <<

Herman Melville, who had experience working in South Pacific whalers, 1841-3, mentioned in his novels the "lively" and "deep mellow old song," variously as "Ho, cheerly men!," "Ho-o-he-yo, cheerily men!," and "Ho! the fair wind! oh-he-yo, cheerly men!" for catting anchor and squaring yards. The wide applicability of the song for hauling tasks is seen in the following reference describing a scene from April 1842, in a ship bound out from New York.

>>The men have been at work most of this day getting the guns up out of the hold and mounting them. They were stowed away below shortly after leaving New York. Being quite heavy, it took several men to hoist them up out of the hold, and they raised the song of "Cheerily, oh cheerily," several times. This is a favorite song with the seamen. One acts as leader, and invents as he goes along, a sentence of some six or eight syllables, no matter what. To-day some of the sentences were, "Help me to sing a song;" "Now all you fine scholars;" "You must excuse me now," &c.; then comes in a semi-chorus "Cheerily oh!" then another sentence, and a full chorus, "Cheerily oh ~~~~~~ cheerily." <<

Such a "full chorus" appears to have merely been a melismatic extension of the syllable "oh" or other nonsense. This elongated gesture seems to have indicated a cadence, a rounding out of a set of pulls. Thus unlike most chanties the refrain was not of a significant metrical length; it did not balance the length of the solo, but rather came as a simple cry at the end.
"Cheer'ly Man" was still known as a halyard song into the 1850s. While chanties would have been current at this time, the following author includes "Cheer'ly" as an example of a topsail halyard song.

>>In a little schooner in which I made a voyage up the Mediterranean, we had some excellent singers; and scarcely was a rope touched, sail set, or other heavy work done, without a song: and this may, in some measure, be accounted for by the encouragement given them by our captain, who would often promise all hands a tot of rum, if they did their work in a seamanlike manner, and sang well…

Polly Racket, hi-ho, cheerymen—(pull),
Pawned my jacket, hi-ho, cheerymen—(pull),
And sold the ticket, hi-ho, cheerymen—(pull);
Ho, hawly, hi-ho, cheerymen—(pull).

Rouse him up, hi-ho, cheerymen—(pull),
Pull up the devil, hi-ho, cheerymen—(pull);
And make him civil, hi-ho, cheerymen—(pull),
Oh, hawly, hi-ho, cheerymen—(pull). <<

In this example, there is a clear four-phrase stanza-like form. In other words, it was not just a matter of "say a line, then pull at the end," but rather the melodic cadences and the "hawly" phrase caused sets of four lines to be grouped. It is in this sense that "Cheer'ly can be positively considered a more sophisticated form than earlier work-cries—a song.