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Spirituals: Songs
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The slaves based most of their spirituals upon characters and stories from the Bible. The manner in which these stories are told in black spirituals shows a colorful imagination and a simple faith. Many slaves thought of themselves as modern children of Israel and sought freedom from bondage. Their songs were appealing and sincere. Well-known spirituals include "Go Down, Moses," "Deep River," and "Swing Low, Sweet Chariot."
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The most pervasive image in the spirituals is that of the chosen people, for the slaves believed they had been chosen by God just as the Israelites had. They ... believed they understood better than anyone what freedom truly meant in both a spiritual and a physical sense. The Old Testament figures that the slaves used in their songs experienced their deliverance in this world, and the slaves believed God would deliver them from bondage in this world just as God had delivered the people of Israel and all the Old Testament heroes. The slaves believed that the same God that had granted them spiritual freedom would someday loose the chains of slavery. The wonderful flexibility of the spirituals allowed for that double meaning of freedom. For example, Frederick Douglass claimed that the line "I am bound for Canaan" in one of the songs he frequently sang meant he was going to the North, not just that he would experience the freedom of the promised land in a spiritual sense.
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White spirituals include both revival and camp-meeting songs and a smaller number of other hymns. They derived variously, notably from the “lining out” of psalms, dating from at least the mid-17th century. Where congregations could not read, a leader intoned (lined out) the psalm text, one line at a time, alternating with the congregation's singing of each just-given line to a familiar melody. The tune, sung slowly, was ornamented with passing notes, turns, and other graces, each singer producing his own improvised embellishment at whatever pitch level he found comfortable.
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Here for the first time in one collection are well-known traditional spirituals in the King's Singers own performing editions. This third volume in the Colour of Song series contains works from their past repertoire as well as two brand new arrangements. Also includes performance notes for each song.
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Because of the close association of music with dance, most spirituals are in simple duple meter. Body-swaying from side to side and foot patterns involving the two feet found both in the "Ring Shout" and secular dances were strong contributing factors. Tempo was determined by the text, function, and mood of the song. The context of the performance ... was a contributing factor. There appear to be no other unique characteristics in the categories of meter and tempo.
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Noted folklorist focuses on the origins and musical qualities of simple cries and calls to anthems and spirituals, ballads and the blues. Includes authentic versions of over 40 folk songs. Valuable bibliography and discography.
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