Sacred Harp - Knowledge (XXG)

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providing help in orienting the newcomers. For instance, the Rudiments section of the 1991 Denson edition includes information on how to hold a singing; this information would be superfluous in a traditional context, but is important for a group starting up on its own. The tradition of the singing master is still carried on today, and singing masters from traditional Sacred Harp regions often travel outside the South to teach. In recent years an annual summer camp has been established, at which newcomers can learn to sing Sacred Harp.

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singings in Bremen, Hamburg, Berlin, Cologne and Munich, most of them with their own annual All-Day singings. Elsewhere in Germany, singers meet irregularly in Frankfurt, Gießen and Nürnberg. Recently groups have started up in Amsterdam, Paris and Clermont-Ferrand, Oslo, Norway, and Uppsala, Sweden. Both the Swedish and Norwegian groups have arranged all-day singings; the 8th Oslo All-Day Singing was held on June 1, 2024 (starting on Friday night May 31, and ending Sunday afternoon June 2).

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part singable and interesting in its own right, thus giving every singer in the group an absorbing task. For this reason, "bringing out the melody" is not a high priority in Sacred Harp composition, and indeed it is customary to assign the melody not to the trebles but to the tenors. Fuguing tunes, in which each section gets its moment to shine, also illustrate the importance in Sacred Harp of maintaining the independence of each vocal part.

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was held in 1985, with enthusiastic and strongly proactive support by prominent Southern traditional singers. The Midwest Convention is now acknowledged to be one of the major American conventions, attracting hundreds of singers from all over the US and abroad. Similarly, the Sacred Harp singing community in western New England has become a prominent one in recent years; the late songleader

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esthetic cost by filling in the former stark open harmonies of the three-part songs. Wallace McKenzie argues to the contrary, basing his view on a systematic study of representative songs. In any event, there is little support today for abandoning the added alto parts, since most singers give a high priority to giving every side of the square its own part to sing.

3840: 3071: 638:. The first two new editions simply added appendices of new songs to the back of the book. The 1869 revision was more extensive, removing some of the less popular songs and adding new ones in their places. From the original 262 pages, the book was expanded by 1869 to 477. This edition was reprinted and continued in use for several decades. 91: 743:

Even the highly traditionalist James and Denson books followed Cooper in adding alto parts to most of the old three-part songs (these alto parts led to an unsuccessful lawsuit by Cooper). Some people (see for instance the reference by Buell Cobb given below) believe that the new alto parts imposed an

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Sacred Harp singing normally occurs not in church services, but in special gatherings or "singings" arranged for the purpose. Singings can be local, regional, statewide, or national. Small singings are often held in homes, with perhaps only a dozen singers. Large singings have been known to have more

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The most recent layer consists of the songs that were added to the books during the twentieth century. These are the work of musically creative participants in the Sacred Harp tradition, who strove to create songs that would fit into the existing tradition by adopting the style of one of the earlier

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The United Kingdom has had an active Sacred Harp community since the 1990s. The first UK Sacred Harp convention took place in 1996. There are regular singings in London, the Home Counties, the Midlands, Yorkshire, Lancashire, Manchester, Brighton, Newcastle, southwest England, Bristol, as well as in

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The natural path to take—and the one ultimately taken—would be to assert the archaic character of Sacred Harp as an outright virtue. In this view, Sacred Harp should be treasured as a time-tested musical tradition, standing above current trends of fashion. The difficulty with adopting traditionalism

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characterizes Cooper book style thus: it "contains a greater proportion of "camp meeting" songs than the Denson book, with more compressed part-writing, chromatic harmonies, and choruses characterized by call-and-response rather than "fuging" style. Denson book singers generally say that the Cooper

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There are now strong Sacred Harp singing communities in most major urban areas of the United States, and in many rural areas, as well. One of the first groups of singers formed outside the traditional Southern home region of Sacred Harp singing was in the Chicago area. The first Illinois convention

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To say that both communities are traditionalist does not mean they discourage the creation of new songs. To the contrary, it is part of the tradition that musically creative Sacred Harp singers should become composers themselves and add to the canon. The new compositions are prepared in traditional

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It was thus that the traditionalism debate split the Sacred Harp community, and there seems little prospect that it will ever reunite under a single book. However, there have been no further splits. Both the Denson and the Cooper groups adopted traditionalist views for the particular form of Sacred

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son-in-law published the book in 1927, including an appendix compiled by revision committee. The Sacred Harp Book Company was formed in 1949, and subsequent revision has been supervised by editorial committees under its instruction. New editions were issued in 1950, 1960, 1992, 2000, 2006 and 2012.

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The Cooper revision was a success, being widely adopted in many areas of the South, such as Florida, southern Alabama, and Texas, where it has continued as the predominant Sacred Harp book to this day. The "Cooper book", as it is now often called, was revised by Cooper himself in 1907 and 1909. His

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The music itself is also meant to be participatory. Most forms of choral composition place the melody on the top (treble) line, where it can be best heard by an audience, with the other parts written so as not to obscure the melody. In contrast, Sacred Harp composers have aimed to make each musical

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The leader, being equidistant from all sections, in principle hears the best sound. The often intense sonic experience of standing in the center of the square is considered one of the benefits of leading, and sometimes a guest will be invited as a courtesy to stand next to the leader during a song.

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First, the seating arrangement (four parts in a square, facing each other) is clearly intended for the singers, not for external listeners. Non-singers are always welcome to attend a singing, but typically they sit among the singers in the back rows of the tenor section, rather than in a designated

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He retitled many old songs. These songs were formerly named by their tune, using arbitrarily chosen place names ("New Britain", "Northfield", "Charlestown"). The new names were based on the text; thus "New Britain" became "Amazing Grace", "Northfield" became "How Long, Dear Savior", and so on. The

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at which the music is sung is relative; there is no instrument to give the singers a starting point. The leader, or else some particular singer assigned to the task, finds a good pitch with which to begin and intones it to the group. The singers reply with the opening notes of their own parts, and

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In recent years, Sacred Harp singing has experienced a resurgence in popularity, as it is discovered by new participants who did not grow up in the tradition. New singers typically strive to follow the original southern customs at their singings. Traditional singers have responded to this need by

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B. F. White had died in 1879 before completing a fourth revision of his book; thus the version that Sacred Harp participants were singing from was by the turn of the century over three decades old. During this time, the musical tastes of Sacred Harp's traditional adherents, the inhabitants of the

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Marini (2003) traces the earliest roots of Sacred Harp to the "country parish music" of early 18th century England. This form of rural church music evolved a number of the distinctive traits that were passed on from tradition to tradition, until they ultimately became part of Sacred Harp singing.

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In the most recent development, Sacred Harp singing has expanded beyond the limits of English-speaking countries to mainland Europe. In 2008 a singing community was established in Poland (which hosted the first Camp Fasola Europe in September 2012). In Germany there are regular weekly or monthly

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has been credited with re-popularizing Sacred Harp singing in northern New England. In March 2008, the 2008 Western Massachusetts Sacred Harp Convention attracted over 300 singers from 25 states and a number of foreign countries. Other prominent singing conventions outside the South include, for

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In the original core geographic area of Sacred Harp singing, northern Alabama and Georgia, the singers did not in general take to the Cooper book, as they felt it deviated too far from the original tradition. Obtaining a new book for these singers was made more difficult by the fact that B. F.

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styles of contemporaneous European music. The new style gradually prevailed. Shape notes and their music disappeared from the cities prior to the Civil War, and from the rural areas of the Northeast and Midwest in the following decades. However, they retained a haven in the rural South, which

923:, spreading quickly from a class module into the wider community. In March 2011 U.C.C. hosted the first annual Ireland Sacred Harp Convention, and the Cork community held their first All-Day Singing on 22 October 2011. There are now also growing Sacred Harp communities in Belfast and Dublin. 418: 293:

There is no single leader or conductor; rather, the participants take turns in leading. The leader for a particular round selects a song from the book, and "calls" it by its page number. Leading is done in an open-palm style, standing in the middle of the square facing the tenors.

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periods. About a sixth of the Denson edition is taken up with such compositions, dating from as recently as 1990. The twentieth-century composers often have recycled their lyrics from earlier Sacred Harp songs (or from their sources, such as the work of the 18th-century hymnodist

701:, who would have been the natural choice to prepare a new edition, was a non-traditionalist. His "fifth edition" (1909) won little support among singers, while his "fourth edition with supplement" (1911) enjoyed some success in a few areas. Ultimately, a committee headed by 654:– syncopated and chromatic, often with piano accompaniment – had become popular, along with a number of church hymns of the "mainstream" variety, such as "Rock of Ages". Seven-shape notation systems had appeared and won adherents away from the older four-shape system (see 1096:

music is from the mid nineteenth century and represents the popular sensibility of that era. A number of these mid-century works have an almost primal simplicity—the harmony is essentially a single extended major chord, and the parts a decoration in slow tempo of that

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These traits included the assignment of the melody to the tenors, harmonic structure emphasizing fourths and fifths, and the distinction between the ordinary four-part hymn ("plain tune"), the anthem, and the fuguing tune. Several composers of this school, including

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of shape note tunebooks appeared, many of which were widely distributed. As the population spread west and south, the tradition of shape note singing expanded geographically. Composition flourished, with the new music often drawing on the tradition of

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that cannot be assigned to any of these four main layers. There are some very old songs of European origin, as well as songs from the English rural tradition that inspired the early New England composers. There are also a handful of songs by European

1150:, also known as the Denson edition. The widely used "Cooper" edition overlaps considerably (about 60%) in content, but also includes many later songs. A detailed comparison of the two editions has been made by Sacred Harp scholar Gaylon L. Powell. 253:

When Sacred Harp singers begin a song, they normally start by singing it with the appropriate syllable for each pitch, using the shapes to guide them. For those in the group not yet familiar with the song, the shapes help with the task of

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was used as the songbook. During his lifetime, the book became popular and would go through three revisions (1850, 1859, and 1869), all produced by committees consisting of White and several colleagues working under the auspices of the

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Sacred Harp singers view their tradition as a participatory one, not a passive one. Those who gather for a singing sing for themselves and for each other, and not for an audience. This can be seen in several aspects of the tradition.

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All lovers of Sacred Harp Music, and to the memory of the illustrious and venerable patriarchs who established the Traditional Style of Sacred Harp singing and admonished their followers to "seek the old paths and walk therein".

121:. The work was first published in 1844 and has reappeared in multiple editions ever since. Sacred Harp music represents one branch of an older tradition of American music that developed over the period 1770 to 1820 from roots in 807:, Joe Dan Boyd identified four regions of Sacred Harp singing among African-Americans: eastern Texas (Cooper book), northern Mississippi (Denson book), south Alabama and Florida (Cooper book), and New Jersey (Cooper book). The 425: 423: 420: 419: 1045:. They often employ stark, vivid harmonies based on open fifths. Most of the songs of this layer were originally composed in just three parts (treble, tenor, bass), with the altos added later, as noted above. 424: 564:

Even as they flourished and spread, shape notes and the kind of participatory music which they served came under attack. The critics were from the urban-based "better music" movement, spearheaded by

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is limited to the New Jersey and south Alabama–Florida groups. Sacred Harp was "exported" from south Alabama to New Jersey. It appears to have died out among the African-Americans in eastern Texas.

258:. The process of reading through the song with the shapes also helps fix the notes in memory. Once the shapes have been sung, the group then sings the verses of the song with their printed words. 1037:

A second layer comes from the decades around 1830, following the migration of the shape note tradition to the rural South. Many of the songs in this layer are believed to be originally secular

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Australia has had Sacred Harp singing since 2001, and singings are held regularly in Melbourne, Sydney, Canberra and Blackwood. The first Australian All Day Singing was held in Sydney in 2012.

64: 2120: 422: 278:, that is to say, without accompanying instruments. The singers arrange themselves in a hollow square, with rows of chairs or pews on each side assigned to each of the four parts: treble, 125:, with a significant, related development under the influence of "revival" services around the 1840s. This music was included in, and became profoundly associated with, books using the 905:

since 2011, as well as a monthly afternoon sing, and the first Montreal all-day sing took place in the spring of 2016. Sacred Harp singing has happened on a monthly basis for years in

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On a number of early historical recordings, a piano or parlor organ accompanied the singers. In the ensuing decades, the practice of using such instruments has evidently died out.

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Two other books are currently used by Sacred Harp singers. A few singers in north Georgia employ the "White book", an expanded version of the 1869 B. F. White edition edited by

1493: 503:. The purpose of these schools was to train young people in the correct singing of sacred music. This pedagogical movement flourished, and led ultimately to the invention of 673:, a leading Sacred Harp teacher in his own region, but not part of the inner circle of B. F. White's old colleagues and descendants. In 1902 Cooper prepared a revision of 682:

old system was intended in colonial times to permit mixing and matching of tunes and texts, but was unnecessary in a system where the pairing of tune and text was fixed.

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Includes all the songs in the Sacred Harp book: lyrics, sheet music and the individual parts sung by a synthesised voice, and a beginners guide. In English and German.

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was a popular name for 19th century hymn and tune books, with no fewer than four bearing the title. The first of these was compiled by John Hoyt Hickok and printed in

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6:16: "Thus saith the LORD, Stand ye in the ways, and see, and ask for the old paths, where is the good way, and walk therein, and ye shall find rest for your souls."

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The oldest of these layers comes from 18th century New England, and represents a rendition in shape notes of the work of outstanding early American composers such as

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Around the turn of the 20th century, Sacred Harp singing entered a period of conflict over the issue of traditionalism. The conflict ultimately split the community.

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of 1803. Although this book came out two years later than Smith and Little's book, Law claimed earlier invention of shape notes. In his system, a square indicated

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than a thousand participants. The more ambitious singings include an ample potluck dinner in the middle of the day, traditionally called "dinner on the grounds".

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In Sacred Harp singing, pitch is not absolute. The shapes and notes designate degrees of the scale, not particular pitches. Thus for a song in the key of C,

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as a guiding doctrine was that different singers had different opinions about just what form the stable, traditionalized version of Sacred Harp would take.

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The strength of traditionalism can be seen in the front matter of the two hymnbooks. The Denson book is forthrightly Biblical in its defense of tradition:

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for details). As time passed, Sacred Harp singers doubtless became aware that what they were singing had become quite distinct from contemporary tastes.

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teachers. Both died shortly before the project was complete, and the remaining work was overseen by Paine Denson, son of Thomas. This book was entitled

204: 3282: 1421:, "This notation was invented by Philadelphia merchant John Connelly, who on 10 March 1798 signed over his rights to the system to Little and Smith." 596:. It was this book, now distributed in several different versions, that came to be the shape note tradition with the largest number of participants. 1218:

was published by the Machinists Union Press in 2013, combining the unaltered Sacred Harp arrangements with new secular lyrics by Secretary Michael.

492:, and then by a great number of new compositions by Billings and those who followed in his path. The work of these composers, sometimes called the " 2112: 3769: 1062: 768:

May God bless everyone as we endeavor to promote and enjoy Sacred Harp music and to continue the rich tradition of those who have gone before us.

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that, while retaining most of the old songs, also added new tunes that reflected more contemporary music styles. Cooper made other changes, too:

3815: 1041:, harmonized in parts and given religious lyrics. As one would expect from the folk origin of such music, it often emphasizes the notes of the 476:

Around the mid-18th century, the forms and styles of English country parish music were introduced to America, notably in a new tunebook called

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Campbell, Gavin James (1997) " 'Old Can Be Used Instead of New': Shape-Note Singing and the Crisis of Modernity in the New South, 1880–1920."

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contain a prominent passage about 1/3 of the way through in which each of the four choral parts enters in succession, in a way resembling a

3093: 2473: 1105:). A number of these modern compositions have become favorites of the singing community, and it is anticipated that future editions of 3185: 1670: 3008: 3874: 3869: 3744: 3724: 3714: 3119: 3002: 2988: 2965: 2909: 2876: 2707: 874:

example, the Keystone Convention in Pennsylvania, the Missouri Convention, and the Minnesota State Convention, which began in 1990.

1491: 1385: 712: 3236: 3729: 3427: 1234: 394: 320:. However, Sacred Harp songs are quite different from "mainstream" Protestant hymns in their musical style: some tunes, known as 3231: 1451:, p. 81. Evidence that Americans outside the rural South were slow, even reluctant, to give up their old music is given in 3879: 3764: 3759: 3739: 3549: 1560:

further judges that the Cooper alto parts were more successful than the Denson ones in retaining the original harmonic style.

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styles, and could be considered a kind of tribute to the older material. New songs have been incorporated into editions of

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He transposed some songs into new keys. This is thought to have brought the notation closer to actual performing practice.

484:. This stimulus soon led to the development of a robust native school of composition, signaled by the 1770 publication of 406: 1079: 305:

The music is usually sung not literally as it is printed in the book, but with certain deviations established by custom.

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The music used in Sacred Harp singing is eclectic. Most of the songs can be assigned to one of four historical layers.

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King died soon after the book was published, and White was left to guide its growth. He was responsible for organizing

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is assigned to two distinct notes of the scale. For example, the C major scale would be notated and sung as follows:

1837: 1811: 507:, which originated as a way to make the teaching of singing easier. The first shape note tunebook appeared in 1801: 197:). The four-shape system is able to cover the full musical scale because each syllable-shape combination other than 3894: 3843: 3447: 3391: 972: 385:

Some of the largest and oldest annual singings are called "conventions". The oldest Sacred Harp convention was the

2234: 1957: 1863: 1073:(1991 edition), "Amazing Grace" is harmonized quite differently. Note that the "air", or melody, is in the tenor. 511:

by William Smith and William Little. At first, Smith and Little's shapes competed with a rival system, created by

3884: 3515: 964: 736:, and was itself revised 1960, 1967, and 1971; a more thorough revision and remodeling of this book, overseen by 552: 460: 161:. There are two prevalent systems, one using four shapes, and one using seven. In the four-shape system used in 3833: 3805: 3800: 3774: 3508: 3268: 2810: 2808:

Miller, Kiri (Winter 2004). "'First Sing the Notes': Oral and Written Traditions in Sacred Harp Transmission".

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Regular singings also take place in Israel, and in April 2016, an all-day singing was held in Paris, France.

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A guide to singings that demonstrates this dramatic spread may be found at the "fasola.org" web site, under

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Sacred Harp singers, although primarily users of the Cooper book, also make use of a supplementary volume,

3401: 3201: 1781: 998:'s 2019 track "Frontier" includes a performance of Herndon's music by a singing class in Berlin, Germany. 619: 604: 398: 2264: 1611: 1434:

The shape note systems continued to evolve throughout the 19th century; for a more complete history, see

290:. The treble and tenor sections are usually mixed, with men and women singing the notes an octave apart. 3790: 3493: 2972: 2953: 2787: 2146: 1422: 1172:

in 1834, as part of the "better music" movement mentioned above. The publisher released their book as a

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are longer songs, less regular in form, that are sung through just once rather than in multiple verses.

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are present. The term "Sacred Harp" is sometimes taken by singers to be a metaphor for the human voice

535:. Law used the shaped notes without a musical staff. The Smith and Little shapes ultimately prevailed. 181:, and these syllables are employed in singing the notes, just as in the more familiar system that uses 2938: 1297:

This is a simplified version of Guidonian solmization which was also used in Elizabethan England: see

3864: 3569: 1645: 1417:(1803) attributes the invention to 'J. Conly of Philadelphia'." According to David Warren Steel, in 1203: 1007:

features an original Sacred Harp composition in the second episode, "Hard Times at the Huskin' Bee".

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I Belong to This Band, Hallelujah!: Community, Spirituality, and Tradition Among Sacred Harp Singers

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The name of the tradition comes from the title of the shape-note book from which the music is sung,

3889: 3694: 3542: 2369: 2085: 1132: 786: 698: 622:. Together they compiled, transcribed, and composed tunes, and published a book of over 250 songs. 209: 157:

In shape-note music, notes are printed in special shapes that help the reader identify them on the

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The James edition was further revised in 1936 by a committee under the leadership of the brothers

3503: 3469: 3334: 2839: 2827: 2754: 1284: 1082: 848: 469: 287: 3054: 3021: 3674: 3558: 3432: 3050: 3031: 3017: 2998: 2984: 2961: 2944: 2924: 2905: 2872: 2847: 2724: 2718: 2703: 2031: 984: 894: 790: 740:, is known simply as the "1991 Edition", though some singers still call it the "Denson book". 493: 1979: 882:

In more recent times Sacred Harp singing has spread beyond the borders of the United States.

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edition, while they preferred to urbanize their audience by releasing a round note edition.

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Sing to me of Heaven: A Study of Folk and Early American Materials in Three Old Harp Books

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Shape notes became very popular, and during the first part of the nineteenth century, a

3669: 3654: 3624: 3597: 3577: 3535: 3464: 3442: 976: 950: 939: 729: 626: 589: 568:, which advocated a more "scientific" style of sacred music, more closely based on the 337: 110: 3174: 2584:

Musical Narrative and Cultural Context in the Animated Miniseries Over the Garden Wall

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He wrote new alto parts for the many songs that originally just had three vocal lines.

3858: 3488: 3476: 3457: 2519:"Bruce Springsteen: Wrecking Ball (Columbia) | Under the Radar – Music Magazine" 2058: 1052: 995: 800: 341: 298: 255: 158: 2981:

The Chattahoochee Musical Convention, 1852–2002: A Sacred Harp Historical Sourcebook

1381: 3810: 3664: 3634: 3619: 3614: 3607: 3587: 3483: 3406: 3396: 2426: 2399: 2004: 1136: 1124: 837:(the "White book"). Atlanta, Georgia: J. L. White. Released 1911; republished 2007. 565: 352: 321: 309: 279: 17: 3167: 1696: 1061: 547:

for tunes and inspiration. Probably the most successful shape note book prior to

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that use words, meters, and stanzaic forms familiar from elsewhere in Protestant

62: 3339: 1288:(Oxford University Press: article updated 16 October 2013) Subscription required 1128: 1102: 1031: 737: 312:

and originated as Protestant Christian music. Many of the songs in the book are

213: 122: 118: 106: 3354: 3349: 3178: 2883: 2342: 1747: 1435: 1298: 1254: 1173: 1169: 1038: 980: 803:(1883–1958) in 1934 and later revised in two subsequent editions. In his book 655: 544: 504: 402: 275: 134: 126: 82: 31: 2781:

McKenzie, Wallace (1989). "The Alto Parts in the 'True Dispersed Harmony' of

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Harp they favored, and these forms have now been stable for about a century.

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remained a fertile territory for the creation of new shapenote publications.

3639: 3324: 3309: 3305: 3255: 2227:"Sacred Harp Singing in Hamburg – Sacred Harp Hamburg Singing School – Home" 1187:

and E. J. King (1844), the origin of today's Sacred Harp singing tradition.

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in 1832. The second was compiled by Lowell and Timothy Mason and printed in

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Canada has a decades-long tradition of Sacred Harp singing, particularly in

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A Sacred Feast: Reflections on Sacred Harp Singing and Dinner on the Ground

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style of notation popular in America in the 18th and early 19th centuries.

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For the system of notation with which Sacred Harp music is associated, see

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in general, can be observed by comparing versions of the well-known hymn "

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in 1845. The two oldest surviving Sacred Harp singing conventions are the

2431: 2404: 2347: 2090: 2063: 2036: 2009: 1907:"South West Shape Note (Cornwall, Devon, Somerset, Dorset and Wiltshire)" 1906: 1833: 825:(the "Denson book"). Carrollton, Georgia: Sacred Harp Publishing Company. 467:. For further information on the English roots of Sacred Harp music, see 3249: 3157:, a large and well-annotated collection of resources on shape-note music 3140: 2200: 1803: 1055:", which is familiar to many Americans in a form such as the following: 3602: 3314: 2831: 2226: 1953: 1859: 916: 906: 709:(1911) that largely satisfied the wishes of this community of singers. 329: 194: 898: 3160: 2823: 1927: 1885: 3100:

external links, and converting useful links where appropriate into

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Hoboken Style: Meaning and Change in Okefenokee Sacred Harp Singing

2316: 2286: 2113:"Australia's First Ever Sacred Harp Singing Convention Hits Sydney" 1646:"Sacred Harp Singing in Europe: Its Pathways, Spaces, and Meanings" 361:, mostly composed in four-bar phrases and sung in multiple verses. 355:, Sacred Harp songs fall into three basic types. Many are ordinary 98:, showing the four-shape notation and the traditional oblong layout 90: 3561: 3260: 711: 416: 366: 283: 265: 89: 2689:. Compiled and written by workers of the Writers' Program of the 2256: 584:

Sacred Harp singing came into being with the 1844 publication of

165:, each of the four shapes is connected to a particular syllable, 105:

singing is a tradition of sacred choral music that originated in

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Public Worship, Private Faith: Sacred Harp and American Folksong

1310: 317: 313: 3531: 3264: 1777: 154:. This book exists today in various editions, discussed below. 3225: 3064: 1608: 499:

Billings and his followers worked as singing masters, who led

117:, a ubiquitous and historically important tunebook printed in 2142: 1214:

In order to increase accessibility to the Sacred Harp tunes,

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The Cooper book also shows a warm appreciation of tradition:

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The hollow-square seating arrangement for Sacred Harp singing

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The Sacred Harp, J. L. White Fourth Edition, with Supplement

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Sacred Song in America: Religion, Music, and Public Culture

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The harmony and form of Sacred Harp music are discussed in

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The sound of this musical layer, as well as to some extent

3228:, includes composer sketches, including one of B. F. White 3222:, article on Sacred Harp from the Handbook of Texas online 2995:

Traveling Home: Sacred Harp Singing and American Pluralism

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also laid claim to the invention of the shape note system.

851:, describing the basics of music and Sacred Harp singing. 1722: 1081:

Audio playback is not supported in your browser. You can

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In summary, three revisions of and one companion book to

3192:. Alabama Center for Traditional Culture. Archived from 975:, recorded at the 1959 United Sacred Harp Convention in 3089: 3084:

may not follow Knowledge (XXG)'s policies or guidelines

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John Wyeth and the Development of Southern Folk Hymnody

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includes a sample of "The Last Words of Copernicus" by

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In January 2009, Sacred Harp singing was introduced to

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Stormy Banks and Sweet Rivers: A Sacred Harp Geography

1139:, long ago the implacable enemy of the tradition that 496:", forms a major part of the Sacred Harp to this day. 429:

Performance in Alabama of the tune "Schenectady", 2011

3133: 2540:

Plunkett, John; Karlsberg, Jesse P. (28 March 2012).

650:

rural South, had changed in important ways. Notably,

3151:

by Warren Steel, another web site on the Sacred Harp

1384:

by Keith Willard, posted at the fasola.org web site

348:

or similar "gapped" (fewer than seven-note) scales.

246:

designates G and C, and so on; hence it is called a

138:(voice only, without instruments) and originated as 3783: 3707: 3633: 3568: 3524: 3415: 3374: 3298: 1481:

book sounds more like "new book or gospel singing".

3155:Sacred Harp and Related Shape-Note Music Resources 2970:Jackson, George Pullen (1933b) "Buckwheat notes", 1752:United Kingdom Sacred Harp & Shapenote Singing 611:in collaboration with a younger man, E. J. King, ( 3026:Steel, David Warren with Richard H. Hulan (2010) 1628: 1626: 1624: 855:The spread of Sacred Harp singing in modern times 847:Sacred Harp books generally contain a section on 2921:Like Cords Around My Heart: A Sacred Harp Memoir 1190:Lastly, according to W. J. Reynolds, writing in 831:. Samson, Alabama: The Sacred Harp Book Company. 109:and was later perpetuated and carried on in the 1413:Dick Hulan writes, "My copy of William Smith's 1582:For an extended narrative of this spread, see 1490:This edition may be viewed in digital form at 1260:Southwest Texas Sacred Harp Singing Convention 3543: 3276: 3256:BBC Radio 4 programme about Sacred Harp music 3252:, a large collection of shape-note recordings 2687:Georgia: A guide to its towns and countryside 2546:The Sacred Harp Publishing Company Newsletter 1834:"Sheffield & South Yorkshire Sacred Harp" 829:The Sacred Harp, Revised Cooper Edition, 2012 818:are currently in use in Sacred Harp singing: 344:. In their melodies, the songs often use the 8: 2596:See the online Index to the Denson edition: 1229:Awake, My Soul: The Story of the Sacred Harp 599:B. F. White (1800–1879) was originally from 561:, published in 1835 and still in use today. 3136:, a web site dedicated to Sacred Harp music 2474:"Via 'Cold Mountain', old music is revived" 3550: 3536: 3528: 3283: 3269: 3261: 2902:The Sacred Harp: A Tradition and Its Music 2740:The Sacred Harp: A Tradition and Its Music 2598:http://fasola.org/indexes/1991/?v=composer 2455:"'Cold Mountain' shows off sacred singing" 1341:harvnb error: no target: CITEREFCobb1978 ( 308:As the name implies, Sacred Harp music is 3120:Learn how and when to remove this message 2882:See also the bibliographic entries under 2869:Judge Jackson and The Colored Sacred Harp 2453:Wurst, Nancy Henderson (4 January 2004). 2427:"Sacred Harp Paris – 1st All Day Singing" 2169:"Application form for Camp Fasola Europe" 1377: 901:. Singings have been organized weekly in 805:Judge Jackson and The Colored Sacred Harp 463:, are represented in the 1991 Edition of 405:Sacred Harp Convention (organized as the 332:tends to deemphasize the interval of the 3186:"Wiregrass Sacred Harp Singers Era 1980" 2958:White Spirituals in the Southern Uplands 2542:"Bruce Springsteen's Sacred Harp Sample" 1557: 1135:). The book even includes five hymns by 716:"Original Sacred Harp (Denson Revision)" 413:Sacred Harp music as participatory music 2586:(Thesis). University of North Colorado. 1595: 1464:The primary source for this section is 1271: 1146:The description just given is based on 480:, published 1764 by the singing master 3816:Contemporary Catholic liturgical music 2960:. University of North Carolina Press. 2844:The Music of the English Parish Church 2267:from the original on 28 September 2017 1632: 1583: 1477: 1448: 1401: 1373: 991:" (2012) also samples this recording. 80: 2777:See chapter 3, "Sacred Harp singing". 2643: 2492:"Sacred Harp in contemporary culture" 2323:from the original on 17 November 2018 1314: 1250:Sacred Harp hymnwriters and composers 1017:Sacred Harp hymnwriters and composers 734:Original Sacred Harp, Denson Revision 242:designates C and F; for a song in G, 7: 3839: 3720:Christian bands and artists by genre 3177:(for other shape note tunebooks see 2717:Clawson, Laura (15 September 2011). 2123:from the original on 13 October 2016 1545: 1533: 1521: 1509: 1465: 1452: 1360: 1348: 1336: 1114:There are a few additional songs in 603:, but since 1842 had been living in 2472:Burghart, Tara (13 February 2004). 2297:from the original on 20 August 2018 1382:"Distant Roots of Shape Note Music" 954:(2012), and as background music in 2750:History of Church Music in America 2380:from the original on 20 March 2016 2374:The Sacred Harp Publishing Company 2237:from the original on 27 March 2016 2207:from the original on 28 March 2016 2149:from the original on 14 April 2016 1960:from the original on 14 April 2016 1934:from the original on 9 August 2016 1840:from the original on 14 April 2016 1814:from the original on 22 March 2016 1784:from the original on 23 March 2016 1758:from the original on 4 August 2014 1671:"Sacred Harp sing draws followers" 843:. Ozark, Alabama: Judge Jackson. . 302:then the song begins immediately. 25: 2181:from the original on 10 June 2013 1866:from the original on 28 June 2016 1703:from the original on 3 March 2016 1677:from the original on 9 April 2016 878:Sacred Harp Singing beyond the US 3838: 3829: 3828: 3428:Christian electronic dance music 3232:Shape Note Historical Background 3190:Musics of Alabama: A Compilation 3069: 3030:. University of Illinois Press. 2997:. University of Illinois Press. 2871:. Alabama Folklife Association. 1347:and in more technical detail in 1235:Chattahoochee Musical Convention 1059: 1034:, who worked as singing masters. 395:Chattahoochee Musical Convention 81:Problems playing this file? See 60: 27:Tradition of sacred choral music 3770:Christian worship music artists 3202:"Shape Note Singing in Florida" 3175:(1911, rev. J. S. James et al.) 3163:, songbooks and other resources 2904:. University of Georgia Press. 2775:. University of Illinois Press. 2747:Gould, Nathaniel Duren (1853). 2723:. University of Chicago Press. 2702:. University of Georgia Press. 2517:Chris Tinkham (22 March 2012). 1202:published by J. M. D. Cates in 938:Sacred Harp singing appears as 274:Sacred Harp groups always sing 132:Sacred Harp music is performed 3161:Sacred Harp Publishing Company 2943:University of Nebraska Press. 2846:. Cambridge University Press. 2766:. University of Florida Press. 2693:. University of Georgia Press. 2231:Sacred Harp Singing in Hamburg 1980:"Montreal Sacred Harp Singers" 450:History of Sacred Harp singing 1: 3330:Hymnody of continental Europe 3028:The Makers of the Sacred Harp 2753:. Gould and Lincoln. p. 2691:Works Progress Administration 1860:"Brighton Shape Note Singing" 1240:East Texas Musical Convention 1148:The Sacred Harp, 1991 edition 1116:The Sacred Harp, 1991 edition 1001:The 2014 animated miniseries 823:The Sacred Harp, 1991 edition 777:throughout the 20th century. 705:produced an edition entitled 642:Origin of the modern editions 612: 407:East Texas Musical Convention 3387:Contemporary Christian music 3382:Christian adult contemporary 3226:Sacred Harp singing in Texas 3007:Sommers, Laurie Kay (2010) " 2893:Journal of American Folklore 2657:"Jo Puma - Wild Choir Music" 2565:"Holly Herndon – "Frontier"" 1754:. Edwin and Sheila Macadam. 1372:Sources for this paragraph: 1245:List of shape-note tunebooks 1109:will also include new songs. 1078: 601:Union County, South Carolina 490:The New England Psalm Singer 438:separate audience location. 324:, contain sections that are 2771:Marini, Stephen A. (2003). 1609:http://fasola.org/singings/ 1447:Source for this paragraph: 1154:Other books with the title 1143:has preserved to this day. 665:The first move was made by 636:Southern Musical Convention 387:Southern Musical Convention 113:. The name is derived from 72:Alabama Sacred Harp Singers 53:"186 (Sherburne)" from the 3911: 3448:Christian alternative rock 3392:Contemporary worship music 3040:Wallace, James B. (2007) " 2983:. The Sacred Harp Museum. 2979:Miller, Kiri (ed.) (2002) 2571:. Prometheus Global Media. 2563:Gray, Julia (2 May 2019). 1216:Jo Puma – Wild Choir Music 1014: 146:The music and its notation 29: 3824: 3745:Christian hip hop artists 3725:Christian country artists 3715:Anglican church composers 3516:Urban contemporary gospel 3361: 2937:Eastburn, Kathryn (2008) 2762:Horn, Dorothy D. (1970). 2622:resources.texasfasola.org 2370:"406 and More, in Sweden" 1723:"UK Sacred Harp Calendar" 1496:19 September 2015 at the 1194:, there was yet a fourth 864:The U.S. beyond the South 629:and conventions at which 262:Singing Sacred Harp music 3875:American Christian hymns 3870:American styles of music 3806:Christian music industry 3801:Christian music festival 3730:Christian hardcore bands 3166:Public-domain editions: 1614:21 February 2008 at the 1415:Easy Instructor, Part II 494:First New England School 3765:Christian vocal artists 3760:Christian record labels 3740:Christian metal artists 3423:Christian country music 2900:Cobb, Buell E. (1989). 2738:Cobb, Buell E. (2001). 2618:"Comparison Tune Index" 2603:11 October 2015 at the 2317:"Sacred Harp Amsterdam" 1886:"Newcastle Sacred Harp" 1727:UK Sacred Harp Calendar 1166:Lewistown, Pennsylvania 1083:download the audio file 983:. The album version of 921:University College Cork 841:The Colored Sacred Harp 796:The Colored Sacred Harp 781:Other Sacred Harp books 586:Benjamin Franklin White 94:Windham (38b) from the 3880:Christian music genres 3593:Ethiopian and Eritrean 3402:Neues Geistliches Lied 3368: 2954:Jackson, George Pullen 2582:Resler, Chloe (2022). 2521:. undertheradarmag.com 2343:"Sacred Harp Auvergne" 770: 762: 717: 620:Talbot County, Georgia 605:Harris County, Georgia 430: 399:Coweta County, Georgia 271: 216: 99: 46: 3791:Anglican church music 3494:Latin Christian music 3367: 2973:The Musical Quarterly 2867:Boyd, Joe Dan (2002) 2788:The Musical Quarterly 2698:Bealle, John (1997). 2496:Sacred Harp Australia 2287:"Sacred Harp Cologne" 2119:. 17 September 2012. 1928:"Bristol Sacred Harp" 1644:Lueck, Ellen (2017). 919:, by Juniper Hill of 766: 753: 715: 428: 391:Upson County, Georgia 269: 207: 93: 45: 3750:Christian punk bands 3735:Christian rock bands 3559:Christian liturgical 3299:Roots and beginnings 3141:"Sacred Harp Bremen" 3090:improve this article 2993:Miller, Kiri (2007) 2919:Cobb, Buell (2013). 2634:Jackson (1933b, 395) 2376:. 31 December 2015. 2257:"Sacred Harp Berlin" 2201:"Sacred Harp Bremen" 1954:"Shapenote Scotland" 1778:"London Sacred Harp" 1280:"Shape-note hymnody" 1278:David Warren Steel, 1204:Nashville, Tennessee 1011:Origins of the music 1004:Over the Garden Wall 994:Electronic musician 989:Death to My Hometown 934:Use in popular works 707:Original Sacred Harp 703:Joseph Stephen James 328:in texture, and the 3755:Christian ska bands 3237:Sacred Harp Singing 3149:Sacred Harp Singing 3102:footnote references 2923:. Outskirts Press. 2840:Temperley, Nicholas 2801:10.1093/mq/73.2.153 2661:machinistsunion.org 2616:L. Powell, Gaylon. 2480:. Associated Press. 2291:Sacred Harp Cologne 2086:"Blackwood Academy" 1569:The passage quotes 1536:, pp. 110–117. 1388:16 May 2008 at the 1133:Henry Rowley Bishop 809:Colored Sacred Harp 728:, both influential 618:–44), who was from 515:(1749–1821) in his 509:The Easy Instructor 18:Sacred Harp singing 3504:Black Gospel music 3470:Christian hardcore 3369: 3335:Exclusive psalmody 3196:on 8 January 2013. 2261:Sacred Harp Berlin 2143:"Cork Sacred Harp" 1808:London Sacred Harp 1512:, pp. 98–110. 1309:In particular, no 1285:Grove Music Online 1192:Hymns of Our Faith 718: 517:The Musical Primer 470:West gallery music 431: 401:in 1852), and the 377:Venues for singing 272: 217: 100: 47: 3895:Four-part harmony 3852: 3851: 3703: 3702: 3438:Christian R&B 3433:Christian hip hop 3239:historical marker 3220:Sacred Harp Music 3130: 3129: 3122: 3036:978-0-252-07760-9 2949:978-0-8032-1831-4 2930:978-1-4787-0462-1 2853:978-0-521-27457-9 2730:978-0-226-10959-6 1548:, pp. 95–96. 1524:, pp. 94–98. 1092:A third layer of 1087: 1064: 985:Bruce Springsteen 895:Eastern Townships 457:Joseph Stephenson 426: 231:a rectangle, and 70:Performed by the 65: 16:(Redirected from 3902: 3885:Musical notation 3842: 3841: 3832: 3831: 3775:Gospel musicians 3552: 3545: 3538: 3529: 3285: 3278: 3271: 3262: 3216: 3214: 3212: 3197: 3144: 3134:Fasola Home Page 3125: 3118: 3114: 3111: 3105: 3073: 3072: 3065: 2934: 2915: 2857: 2835: 2804: 2776: 2767: 2758: 2743: 2734: 2713: 2694: 2672: 2671: 2669: 2667: 2653: 2647: 2641: 2635: 2632: 2626: 2625: 2613: 2607: 2594: 2588: 2587: 2579: 2573: 2572: 2560: 2554: 2553: 2537: 2531: 2530: 2528: 2526: 2514: 2508: 2507: 2505: 2503: 2498:. 16 August 2015 2488: 2482: 2481: 2478:The Boston Globe 2469: 2463: 2462: 2450: 2444: 2443: 2441: 2439: 2423: 2417: 2416: 2414: 2412: 2396: 2390: 2389: 2387: 2385: 2366: 2360: 2359: 2357: 2355: 2339: 2333: 2332: 2330: 2328: 2313: 2307: 2306: 2304: 2302: 2283: 2277: 2276: 2274: 2272: 2253: 2247: 2246: 2244: 2242: 2223: 2217: 2216: 2214: 2212: 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