the negro spiritual
DESCRIPTION
AN AMERICAN ART FORM: PERFORMANCE PRACTICES OF SELECTED COMPOSITIONS AND COMPARISONS TO GOSPEL. The Negro Spiritual. Dr. Sonja Sep ú lveda. African Music to the Concert Spiritual. Dr. Sonja Sep ú lveda. AFRICAN CHARACTERISTICS. Complex rhythms Percussion and movement - PowerPoint PPT PresentationTRANSCRIPT
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THE NEGRO SPIRITUAL
Dr. Sonja Sepúlveda
AN AMERICAN ART FORM: PERFORMANCE PRACTICES OF SELECTED COMPOSITIONS AND COMPARISONS TO
GOSPEL
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AFRICAN MUSIC TO THE
CONCERT SPIRITUAL
Dr. Sonja Sepúlveda
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AFRICAN CHARACTERISTICS
• Complex rhythms• Percussion and movement• Harmony in open fifths and fourths• Call and Response• Beat emphasis that moves the
melody forward• Singers need to move
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Praise the name of Jesus, for the name is high.
Jesu Waca / African Chant
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• Sotho tradition• There’s no one like Jesus. There’s no
one like Him. I looked around everywhere. I turned around everywhere. I finally found my Jesus. There’s no one like Him.
• L=Z, H=silent, NG=nasal
Ahuna Ya Tswanang Le Jesu
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• Congo/ Zimbabwe Hymn Tune• Ezatele: Come here.• Uyaimose: Come all ye people, come and praise
the Most High. Come now and worship the Lord.
Ezatele / Uyaimose
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CONCERT AFRICAN FOLK
• African song arranged into a European traditional choral arrangement
• Wana Baraka:• Stacks African melodies• Call and response• Open 5ths • Unbridled joy• Latin vowels• Word stress
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• Kenyan religious tune • They have blessings, those who pray;
Jesus himself said so. Alleluia! They have peace, joy and well-being.
Wana Baraka
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• South African song, in Xhosa dialect, arranged into European choral style
• Stacking melodies• Call and response• Open 5ths• Unbridled joy because of hope• Th=T, X=Click or K, S=Z, ND=spoken,
2nd consonant most important. Q=k
Bawo Thixo Somandla
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Father God Almighty what are our sins? What have we done that we kill each other thus? This world is full of troubles. On this earth we carry a heavy burden. I have a continuous cry in my heart. Let this be over. Let this cup pass from me.
Bawo Thixo Somandla
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• Stacking of melodies• Secular• Polyrhythms • Energy• Movement• Added sounds
Dubula, a Xhosa folk song
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• The honey bird carries sour milk. It is no good for my child. Let us chase him away with a big bang.
• XH=click (K sound at back of throat and click backwards like a “kuh” sound), PH=f, TH=t, ND=like hand, NT=plant, G=always hard, even before an “e”, Latin vowels, percussive consonants.
Dubula, Stephen Hatfield
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• Kituba dialect, Congo• Call and answer• Movement• Drums• Polyrhythms • Added sounds• Passion• Vowels like Latin
Noel
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Noel, Jesus has come to live with us. If you want to know the Child, you have to come kneel.
Noel
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CONCERT SPIRITUAL
• Keeps African characteristics• Concert Spirituals are arranged in
European choral format retaining African characteristics
• Combines African music with European hymn tune
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Africa
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HOW TO SING THE CONCERT
SPIRITUALDr. Sonja Sepúlveda
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Jester Hairston (1902-2000)
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Performance Concerns in the SpiritualAccording to Jester Hairston• Dialect/ Style
• Use it. All people can do it, no matter their color
• Tempo and Rhythm• It is the rhythm that sells the songs
• Spirituals bring people together• Unity through purpose with song
• Vocal Color• Sing fully and beautifully…• “Sing it with your heart”
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Purposes of Slave SongsAccording to Jester Hairston
• Religious Spirituals• Images of King Jesus, the devil, judgment day, the
Lord, and Heaven• Freedom Spirituals
• Refers to Moses, the Hebrews, the people of Israel, and earthly deliverance
• Escape Spirituals• Coded or telegraphed spirituals with messages of
escape• The Shout and Hollers
• Instruction, hypnotic song and dance• Work Songs
• Passes time for people who worked in the fields
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Spiritual Style Categories According to John Work
• Call and Response • Rapid in tempo and fiery spirit
• Slow sustained, long-phrase melody• Most beautiful• Most popular as solos
• Syncopated, segmented melody• Segments of melody or rhythmic patterns
• Syncopated figures• Repeated words or word phrases• Fast tempo, usually
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o Call and responseo Religious purpose styleo Some dialect, body percussiono Improvisation at the endo Rising keys represent going to
heaveno Phonetic decay adds buoyancyo Terrace dynamics, driving energy
In Dat Great Gittin’ Up Mornin’Soloist: Herbert Johnson
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o Easter Spiritualo Very chordal o Solo and choir accompanimento Improvisation at the endo Accompanied concert spiritual-not
gospelo Similar to the solo spiritual with
piano
Angels Rolled De Stone AwaySoloist: Michael Loredo
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Birth of the Concert Spiritual
Original Fisk University Singers
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Birth of the Concert Spiritual
George L. WhiteFirst Arranger
of the Concert Spiritual
Ella SheppardFisk Jubilee Soprano,
Pianist, Choral Assistant and Arranger
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My Lord, What a Mourning George L. White’s Original Score
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My Lord, What a Mourning
o Hymn tune textureo This original text had the word
“mourning” which changes the meaning of the song
o This was changed by oral traditiono This is the basis of the arrangement
by H.T. Burleigh
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Harry Thacker Burleigh (1866-1949)
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Performance Concerns of the Spiritual According to H.T. Burleigh
• Sing with deep feeling• Rhythm is more important than the
voice• Never make them funny…serious
music
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My Lord, What a Mornin’ by H.T. Burleigh• Tempo changes• Added parts• Word stress• Dialect for the word “my”• Use of portato for lilt and energy• Changing “mourning” to “mornin’”
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Religious spiritual that has a slow, sustained melody. These are most beautiful and used many times as solos. The use of word stress is still very important. It also has a climax point that changes the energy and that is stylistic of most slow, melodic spirituals.
We Shall Walk Through the Valley in Peace arr. Moses Hogan
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Like the last two spirituals, this is a slow melodic style that is based on Psalm 23. It is full of hope and also has a contrasting center section. “My” is sung in a dialect and word stress with contrasting dynamics continues to be very important to the style. This spiritual has a solo built into the middle with the choir accompaniment.
Deep River, arr. Norman LuboffSoloist: Byron Barr
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William Dawson (1899-1990)
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Performance Issues in the SpiritualAccording to William Dawson
• Recreate Spiritual motivations• Dialect• Rhythms are highly syncopated• Keep the tempo• Spirituals are serious music• Observe markings of arranger• Seek the real music
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Accents of William Dawson
• Legato or tenuto -• Strong or marcato ۸• Normal Accent ح• fz or forzando fz• Staccatissimo ▼• Staccato •• Normal and Staccato ح •
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Portato Device
It achieves a kind of pulsation or undulation, rather than separating the notes. It has been notated in various ways. Not as heavy as a fp. The pulse of the meter is one of the most important things in performing the Spiritual.
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Soon Ah Will Be Done Accents
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Soloist: Carla Thomas•Combining the two tempos that speak of two different stories•Terrance dynamics•Accents for energy•Unbridled enthusiasm at the climaxes•Portato
Soon Ah Will Be Done by William Dawson
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Roland Carter (b.1942)
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Performance Issues in the SpiritualAccording to Roland Carter• Dialect
• Don’t over do it• Tempo and Rhythm
• There is a direct correlation between the tempo and the purpose of the song
• All strong beats are not equal• Understand all the accents• Don’t interrupt rhythmic flow
• Vocal Color• Use Italian vowels• Be careful that dark sound does not hurt pitch
• Dynamics are relative• Lilt must be flexible• Clipping should not be too harsh
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In Bright Mansions by George L. White
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In Bright Mansions by Roland Carter
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In Bright Mansions by Roland Carter• Thicker texture than White’s
arrangement• Use Italian vowels• Lilt of phrases• Combination of Madrigal style &
dark tone• Changing meter to accommodate
the text• Word stress• Anthem style
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Undine Moore (1904-1988)
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Performance Issues in the SpiritualAccording to Undine Moore• Tempo and Rhythm are important• Vocal Color: timbres should be chosen
carefully• Scales and their awareness are
important• Harmonies with 4ths and 5ths
prominent• Sing climax with unrestrained fullness
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Soloists: Paul Nutter and David Simmons•Accents on unusual parts of words•Use of two soloists gives contrast in vocal color•Driving rhythms•Parallel 4ths in soprano and 5ths in the bass and alto
Daniel, Daniel, Servant of the Lord by Undine Moore
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Hall Johnson (1888-1970)
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Hall Johnson
• “The Negro spiritual is a distinct type of music which resembles no other and therefore requires special treatment in performance.”
• “The singer who has not first-hand acquaintance with the authentic racial style should have, for the best results, either an intelligent model or a coach who is thoroughly familiar with this music at its source.”
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Soloists: Byron Barr and David Simmons•Extreme syncopation•Sharp accents•Imploded consonants like the “t” in “ain’t”•Rest after “takes” so you can attack “all”•Clip the “s” on Jesus•Features “lining” by the soloist
Ain’t Got Time to Die
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Keep Your Lamps by George L. White
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André Thomas (b.1952)
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Performance Issues in the SpiritualAccording to André Thomas • Dialect:
• Use it but don’t over do it• Tempo and Rhythm:
• Drive and energy important• Keep it vibrant and alive• Energy comes from a rapport, “a joy”, built between conductor and choir in rehearsal
• Vocal Color: • Rich and at the same time bright with focus
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Performance Issues in the SpiritualAccording to Anton Armstrong
• Use of dialect• Phonetic
decay• Diphthongs• Schwa• Clipping
• Tempo and Rhythm• Most important part of the spiritual• Make sure there are accents and lilt
• Appropriate Type of Vocal Timbre/Color• Darker hue is typical of the Afro-American voice
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• Jamey Johnson, Percussion• Demonstration of how the tempo
of a song changes the meaning• Coded spiritual• Clipped consonances • Missing word: “Christian journey
soon be over” has missing “will”
Keep Your Lamps!
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Rosephanye Powell (b.1970)
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Performance Issues in the SpiritualAccording to Rosephanye Powell • Prepare history of the song• Study the text like a foreign
language• Use the dialect• Stress accents and words• Learn melody without text• “Feel the music”• Use good diction to be understood
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I’m Gonna Let It Shine
• Jazz chords peppered throughout the song
• Song has thick texture• Rhythm can not drag• Vamp at the end that allows
improvisation• Vocal color is lighter in places to
allow the tune to come out of the texture
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Moses Hogan (1957-2003)
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Performance Issues in the SpiritualAccording to Moses Hogan
• Crescendo through long notes• Terrace dynamics• Emphasis on wrong syllable• Clipped vowels• Sing “Off the Voice” for buoyancy• “Embody” the feeling and rhythm• Loss of energy in piano sections• Use correct diction for
percussiveness
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• Clipped vowels going straight to the consonant
• Syncopation• Easy tempo that grooves• Improvisation at the end• Repeated chorus• Terrace dynamics
Walk Together Children
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Other Performance IssuesAccording to Moses Hogan
• Dialect: Don’t over do• Tempo and Rhythm: Most important
• Use consonants for percussiveness
• Vocal Color: Full rich singing• Thick texture of voicing can add
richness and power
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Hear My Prayer by Moses Hogan
• Slow, long phrase melody• Personal to Moses: reflected his
own life and death struggle• Dedicated to Jester Hairston• Word stress
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My Soul’s Been Anchored in the Lord by Moses Hogancenter section repres
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My Soul’s Been Anchored in the LordMoses Hogan • Call and answer• Altar call at the end• Unbridled enthusiasm• Solo sections• Lilt• “Anchored” means to be
saved in the Lord• Clipping and accents
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Summary of Performance Issues & Practices
• Burleigh: feeling, rhythm, serious• Dawson: know motives, keep tempo,
observe markings, syncopation, dialect
• Hairston: listen to others, use dialect, rhythm most important, sing fully
• Thomas: don’t over do dialect, drive and energy important, rapport, rich and focused vocal color.
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Summary of Performance Issues & Practices
• Moses: crescendo long notes for life, terrace dynamics, wrong syllable is accented for sake of rhythm, off the voice, use diction, clip voice, full singing
• Powell: Prepare history of the song, study the text like a foreign language
• Moore: Sing climax with unrestrained fullness, scales and their awareness are important
• Carter: Use Italian vowels, the lilt must be flexible
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“The spiritual is our American Heritage and will bring all of us closer together through the sharing of this music.”
- Nathaniel Dett
Why keep the Spiritual Alive?
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The Concert Spiritual
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GOSPELDr. Sonja Sepúlveda
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Gospel Style
• 1933-Thomas A. Dorsey • Precious Lord Take My Hand.
• Influence of Jazz and the Blues• It adds instruments such as organ, drums,
piano, guitar or sax and adds a driving beat.
• Gospel was a direct outgrowth of the Spiritual. The Gospel song is accompanied. The Concert Spiritual is almost always a cappella unless it is a solo arrangement.
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Gospel Characteristics
• Call & Answer• Fast syncopated melody or slow
syncopated long phrased melody• Melodies that are more ornamented• Many polyrhythms• Instrumental accompaniment:
tambourine, drums and piano • Ostinato melodies and rhythms• Driving beat• Chicago was the cradle of the Gospel
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Leaning On the Everlasting Arms• Hymn tune• Dareion Malone,
piano
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God’s Gonna Set This World On Fire with I’m Gonna View That Holy City arr. Moses HoganSoloist: David Simmons
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Rosephanye Powell
Hallelujah from “The Cry of Jeremiah”
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‘Til I Die
arr. by Herbert JohnsonSoloist: David Simmons
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Arr. by Barbara Baker
The Storm Is Passing Over
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• Soloists: David Simmons and Beth Tuten• Clipping• Solos in contrast with the chorus
All Right by Robert Winder
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He Never Failed Me Yet by Robert RaySoloists: Beth Tuten and David Simmons
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The Spiritual and Gospel:Our American Heritage
“It is our American heritage and will bring all of us closer together through the sharing of this music.”
Nathaniel Dett