Religious Folk Songs of The Negro As Sung On The Plantations [PDF]

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RELIGIOUS FOLK

SONGS

OF THE NEGRO AS SUNG ON THE

PLANTATIONS

'

Cfte C. glpfjonso gmtttf) Collection of

American literature iJcqucattjco to

®he Hibrarp

of the

Untbersttp of

Jlorth Carolina

"He gave back

as rain that

which he

received as mist'

THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL

ENDOWED BY THE AND PHILANTHROPIC

DIALECTIC

SOCIETIES

*^iJ«P 1IX KL670

1909

UNIVERSITY OF

N.C.

AT CHAPEL HILL

00011168005

MBRAKX

This book is due at the LJvoIC the last date stamped under "Date Due." be renewed by bringing it to the library.

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Digitized by the Internet Archive in

2011 with funding from

University of North Carolina at Chapel

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http://www.archive.org/details/religiousfolksonOOfenn

RELIGIOUS FOLK SONGS

OF THE NEGRO AS SUNG ON THE

PLANTATIONS

NEW EDITION

Arranged by the musical directors OF

The Hampton Normal and From

Agricultural Institute

the original edition by

Thomas

THE INSTITUTE PRESS HAM PTON, VA. 1909

P. Fenner

-/

vK

,

Copyright, July

i,

1909

by The Hampton Normal and Agricultural Institute

Hampton, Virginia

.

.

PREFACE

1HE

slave music of the South presents afield for research and study very extensive and rich, and one which has been scarcely more than entered upon. -f.O There are evidently, I think, two legitimate methods of treating this music either to render it in its absolute,, rude r

|

I

:

simplicity, or to develop

characteristics

being

in

;

without destroying -

making compensation

shows the necessity, for its

original

its*

such development

for

field

harmony.

Practical experience of

it

the only proper

;

in

•'

some

cases,

loss in being transplanted.

Half its effectiveness in its home depends upon accompaniments which can be carried away only in memory. The inspiration of numbers the overpowering chorus, covering defects the swaying of the body the rhythmical stamping and all the wild enthusiasm of the Negro campof the feet meeting — these evidently cannot be transported to the boards To secure variety and do justice to of a public performance. .

;

;

;

;

the music,

The most

I

have, therefore, treated

nearly untouched.

On

by both methods.

it

characteristic of the songs

are

left entirely

or

the other hand the improvement which

a careful bringing out of the various parts has effected in

such pieces as " Some o dese Morniris" "Bright Sparkles in de Churchyard" " Dust an Ashes" and " The Church of God" which seemed especially susceptible to such development, suggests possibilities of making more than has ever yet been made out of this slave music.

Another obstacle

to its rendering

are frequently employed which ters to represent.

Such, for example,

indicated as nearly as possible by the

Campmeetin ',"

"Hard

Trials,"

is

the fact that tones

we have no is

flat

musical charac-

that which

seventh

and others.

I

in "

have Great

These tones are

variable in pitch, ranging through an entire interval on differ-

ent occasions, according to the inspiration

of the

singer.

IV

They are rarely discordant and often add a charm to the performance. It is of course impossible to explain them in words, and to those who wish to sing them, the best advice is that most useful in learning to pronounce a foreign language :

Study

all the rules yon please

then—go

a native. One reason for publishing this slave music is that it is rapidly passing away. It may be that this people which has developed such a wonderful musical sense in its degradation will, in its maturity, produce a composer who could bring a music of the future out of the music of the past. At present, however, the freedmen have an unfortunate inclination to despise

it

;

as a vestige of slavery

when

;

those

listen to

who

learned

it

in the

was the natural outpouring of their sorrows and longings, are dying off and if efforts are not made for its preservation the country will soon have lost this wonderful music of bondage. The melodies in this book, with few exceptions, are published here for the first time, and the exceptions are themThe words of the selves original in arrangement and effect. through property the South, often common are hymns slave sections of the in different different tunes to sung are but old time,

it

;

country.

Thomas Hampton,

Va., January

i,

1874.

P.

Fenner.

INTRODUCTION publishing IN ton Songs,

this little

new and enlarged explanation

is

edition of the

needed, for

it is

Hampdone

in

Ever since the publication of the first edition in 1874, when the band of Hampton Student Singers werehelping to raise the walls of Virginia Hall by its concerts in the North, there have been frequent requests for their music. Meanwhile, though the old favorites have not been neglected, many more melodies, striking and beautiful, have been brought in by students from various parts of the South. The field seems almost inexhaustible. Their origin no One response to a demand.

exactly knows.

declared that

He

feel

tired

An old " aunty," questioned on the subject, When Mass'r Jesus He walk de earth, when He sit a-restin' on Jacob's well and make up

"

dese yer spirituals for His people." A half-familiar strain, recalling some old ballad or psalm-tune, now and then suggests a possible solution for some of them and, as Lowell ;

said of

Chaucer, "

If

one can transmute lead into gold, why

ask where he got his lead as of such

?

"

So

strikingly original, as well

quaint, pathetic, even artistic beauty, are

most

of

them, that they justify Edward Everett Hale's assertion that they are "the only American music."

A

consideration of the slave music of the South, from the

musician's standpoint, was

who

made by Mr. Thomas P. Fenner, Hampton Student Singers

trained the original band of

and arranged the songs in the first edition of this book, his preface to which is subjoined. The disposition which he noticed in the freedmen to be ashamed of the songs of slave times

still

exists.

Some

of

the old ring

is lost

with the ex-

Yet the people are still natural musicians, and it is easy to arouse in the more advanced an intelligent interest in the characteristic music which excites

perience that called

it

forth.

VI

so

much sympathy and

tified

respect for their race, and

is

so iden-

with their past history and their present fortunes.

NOTE TO NEW EDITION For the fourth time we are publishing these Negro ReFolk Songs. To this edition are being added some twenty-five new ones, for the use of which we wish to acknowledge the courtesy of Professor F. J. Work of Fisk University, Mrs. Jennie C. Lee of Tuskegee Institute, the Calhoun Colored School, and the Penn School. ligious

It is exceedingly gratifying to know that these songs and Negro Folklore generally are not only continuing to hold their own among white people but are becoming more and more popular with Negroes themselves. General Armstrong

often referred to the plantation songs as a wonderful possession which the

Negro should hold on

to as a priceless legacy.

Though the words are sometimes rude and the strains often wild, yet they are the outpourings of an ignorant and poverty-stricken people whose religious longings and ideals struggled for expression and found it through limited vocabularies and primitive harmonies. They are not merely poetry, they are more than They

are truly a priceless legacy.

poetry, they are

life itself

— the

life of

the

human

soul mani-

festing itself in rude words, wild strains, and curious though

beautiful harmonies.

For nearly a score of years I have led the plantation songs at Hampton Institute, and while in a general way we adhere to the music as notated in this book, we find that the best results are usually obtained by allowing the students, after they have once caught the air, to sing as seems to them most easy and natural.

Robert R. Moton, Commandant.

Hampton

Institute,

Hampton,

Va.,

May n,

1909

—

:

I

RELIGIOUS FOLK SONGS OF THE NEGRO mg

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goul

little

" This was sung by a boy who was sold mother, tLese were* the words he saug.''

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down South by

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de great

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his master;

H. Bailey.

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ami wlieu he parted from

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a-tion,

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shine,

sliine,

my

Den

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tie soul's

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gwine to »

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shine a

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long. Oh,

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up Jacob's ladder, Den my little soul, &c. up higher and higher, Den my little soul, &e. down at the welcome table, Den my little soul, «frc.

2 I'm gwine to climb 3 I'm gwine to climb

4 I'm gwine to

sit

5 I'm gwine to feast off milk and honey, Den 6 I'm gwine to tell God how-a you sarved me, 7 I'm

gwine to

jine de big baptiziu',

Den my

my

little soul, &c.

Den my

little soul,

little soul,

.fee.

&c,

—

—•—

^

iiing Drm

go

^ctcv,

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J

Jtfclte.

" A secret prayer-meeting song, sung by Thomas Vess, a blacksmith and a slave. He especialsang it when any one confessed religion. Thomas Vess was a man whose heart was given to these songs, for in the neighborhood where he lived, it seemed like a prayer-meeting did not go on well without him. I have long since learned wherever he was known what happiness he got from

ly

them."

J. .

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t

1.

Oh Pe - ter, go

s

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Szzzj— «.— ^ZT--if^Eg ring

dem bells, t

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my

I wonder where

day. »

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I heard from heav-en to I

dem bells,

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mother

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won-der where f"

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my mother

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I don't

want

to leave

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Oh I

Cho.

de good ole chariot will take us don't want to leave me behind.

—Oh swing low, sweet chariot,

all

kc.

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home,

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me behind

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?

Lord

De judgment day

is

a comin'!

I do love de Lord.

—My bretheren,

&c.

3 You'll see de world on fire! I do love de Lord You'll see de element a meltin',

Lord. Lnrdl

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I do love de Lord. bretheren, &c.

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Cho. My 4 You'll see de moon a bleedin'; I do love de Lord You'll see the stars a fallin'; I do love de Lord. Cho. My bretheren, .r.

~V runnin', sinner

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Moati.

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f9-i-^-^ —*— »- B— *— i Oh

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sheep done know de road, De

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young lambs mus' » -» »

find

de way.

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Oh, soon-er in de mornin' when I rise, De young lambs mus* find My brudder aint ye got yer counts allsealed.De young lambs, &c.

cle

way.

me Wid

crosses an'

tri-als

on

em 'foTeye

You'd bet-ter go get

tb-ry side. De young lambs mus' find de way. leave dis field, De young lambs. Ac

mP

-?-•-

my sister, for you are free, De young lambs. &c, For Christ hab bought your liberty, De young lambs. &c, I raly do believe widout one doubt, De young lambs, &c., Dat de Christian hab a mighty right to shout, De young lambs, &c.

2 Oh, shout

Cho.— Oh, de 3

ole sheep, &c.

cross, De young lambs, Sec, yer soul git lost, De young lambs, Ac, Better mind dat sun, and see how she run, De young lambs, &c, An' mind don't let her catch ye wid yer works undone, De young lambs, &c Cho. Oh, de ole sheep, &c.

My

brudder, better

For your

foot

mind how you walk on de

might

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slip, an'

—

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.

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27

20c (tfijurd) of

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Oh, did you hear my Jesus say " Come unto me, I am de way Oh, come along, Moses, don't get lost. Oh, stretch your rod, an' come acrosa Cho. De church ob God, Ac. ;

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28

Bright gparftles This peculiar but beautiful medley factories in Danville, Va.

May de Lord— He "*" -

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iisg=jEEE de heav-en

me~T.

May

de Lord

—He

will

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de Lord

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en, twice, In

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Bright jsparfclcs in

tie

Cijurrfearti.

— Continued.

DXJO — Soprano and Tenor.

=t==*=z£=t Bright spar-kles J

in

de church-yard, Give light un -0-

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de tomb,

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r Oh, sinner man, you bad

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pray,

Time

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is

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com -in'

dat

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©i), 3>inner, gouTr tetter get teatrg.— Concluded.

m

must die

sin-ner

heard

;

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lumbring

a

de

in

sky,

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is

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1 Capo dal Segno.

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com-in' dat

#

sin-ner

:t=t

i

must

— p— J?

Cho.

Oho.

—

my Jesus

a many one say a-comin' dat sinner must die, Could 'move poor sinner's sins away Time is a-comin' dat sinner must die. Yes, I'd rather a pray myself away Time is a-comin' dat sinner must die, Dan to he in hell an' burn a-one day Time is a-comin' dat sinner must die. Oh, sinner, you'd better get ready, —-(—

.

—

—

i

- in',

at

Our

Sav

-

sweet iour spoke dese words so sw
_|_#._|-| long

,g

dav.

see dat

to

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1.

hail

to

my

sis

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my

ter,

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§£^§«mg -A-4

she

bow

low,

>

don't

Say,

you want

to

CHO.

—

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How

long

I

to see dat

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Oh, de Oh, ....

day.

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twelve white hor hitch'em to the cha - ri

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twelve white hor hitch'em to de cha -

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ses,

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ri - ot,

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ft

Concluded.

13anXi.

twelve white hor hitch'em to de cha -

j^f

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Twelve white hor - ses, twelve white hor - ses, Hitch'em to the chariot, hitch'em to the chariot,

Duo.

ses ot

o o

-

— I hail to my brudder,

1

How I How I

you want

my

to go to

!

—

;

How It's

I

long to see dat day

!

a golden chariot, a golden chariot,

Golden chariot ober in Jordan Golden chariot, a golden chariot How I long to see dat day

;

!

3 Dtjo.

—I hail to de mourner,

de mourner he

bow

Say, don't you want to go to hebben ?-

How Cho.

— Oh,

I

long to see dat day

!

de milk an' honey, milk an' honey,

Milk an' honey ober in Jordan Milk an' honey, milk an' honey How I long to see dat day

;

!

Oh, de healin' water, de healin' water, Healin' water ober in Jordan ;

Healin' water, de healin' water

How

Jor-dan, Jor - dan,

I long to see dat

day

!

ft

_s.

long to see dat day. long, &c.

brudder he bow low, hebben ? How I long to see dat day Oh. ride up in de chariot, ride up in de chariot, Ride up in de chariot ober in Jordan Ride up in de chariot, ride up in de chariot — Say, don't

Cho.

ber in her in

&—*—*—*-• -m- _

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ri -

low,

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72

23e SSUnter'U soon be KdK

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L_-,_ _v

Yes,

:g:

watch

yes

yes,

19-

^im

§ni;

and

pray

Q

=¥=

1

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2

Gwine

to sell us

down

Georgia?

in

Yes, yes, yes to sell us down in Georgia? Yes, yes, yes to sell us way down in Georgia? Yes, yes, yes !

Gwine

!

Gwine

!

watch and pray

!

3 Farewell, mother, I must lebe you. Yes, yes, yes Farewell, mother, I must lebe you. Yes, yes, yes Farewell, mother, I must lebe you. Yes, yes, yes !

!

!

watch and pray

!

4 Mother, don't griebe arter me. No, no, no Mother, don't griebe arter me. No, no, no Mother, don't griebe arter me. No, no, no watch and pray !

!

!

!

Mother,

I'll

Yes,

Mother,

I'll

Yes,

Mother,

I'll

Yes,

meet you

my

child

in heaven.

!

meet you in heaven.

my

child

!

meet you

my

child

in heaven.

!

watch and pray

!

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^rlorg anti l^onot.

hum-ble yourselves, de

done ring. Live

bell

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yourselves, de bell done ring. Talk de glo-ry and oie yourselves,de hum-ble, humble, humoie

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Talk de glo- rv and hon

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T3b 1.

Oh

my young

Christians,^ (f

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organ of the clay, J

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^

be jud

i "When God goin'

False pretenders wear\ sheep s clothin' on his I „,„„ Aa „ „,„„ » _ one da y- one d ^' back. In his heart like \ a raving wolf,

falge

Chris-

tian band. Live humble, etc.

S=g EE^E? 2.

d

p4enders,get{hA

to call

dem chil-

dren from de distant land. Tombstones cra'king, graves bustin', hell and the seas gwine Live t' give up their dead.

humble,

etc.

a

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^eter on fyz g>ea. &

Altos.

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sea, sea, sea, sea!

Gabriel, Gabriel, Gabriel blow your trump, trump, trump, trump! Gabriel blow your trumpet, Gabriel blow your trumpet loud!

Daniel, Daniel, Daniel in the lions', lions', ::| Daniel in the lions', Daniel in the lions' den.

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sea, sea, sea, sea!

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them were

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you want to know de Conqueror, He is de word of God, His eyes are like a burnin' throne, He is de word of God. Cho. If

3 Hossanna to de Prince of Life, Who clothed Himself in clay, And entered de Iron Gate of death, And bore de ties away. See how de conqueror mounts aloft. And to His Father flies With scars of honor on His flesh, And trials in His eyes. Cho. !

Lamb.

rt-t

John saw de Heavens open,

De Conqueror

—* — *-7—•—^-H

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Hal- le- lu-jah to the Lamb, Je-sus died for eb-'ry man. In my room right by my bed, Jesus take me when I'm dead.

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He died for me He get on dat oth-er shore.1 11

for you,

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CHORUS.

died to save de whole world free. bless my Lord for ev - er - more.

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