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Este site é dedicado aos espirituais afro-americanos tradicionais, e algumas

informações são fornecidas sobre as primeiras canções evangélicas. As
partes deste site são:

História , como a mudança espiritual está ligada à História dos Afro -

Americanos

Cantores em vários períodos

Compositores durante e após o período da escravidão

Pesquisa dá as letras de mais de 200 espirituais tradicionais

Loja para adquirir livros e discos de espíritas

Antes
de 1865
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As melodias e as batidas, antes de 1865

As melodias e as batidas das canções evangélicas e espirituais negras são

altamente influenciadas pela música de seu ambiente cultural atual. Isso
significa que seus estilos estão mudando continuamente.

Os primeiros espirituais negros foram inspirados pela música africana,

mesmo que as melodias não fossem muito distantes das dos hinos. Alguns
deles, que eram chamados de "gritos", eram acompanhados de danças
típicas, incluindo palmas e pés.

GRITOS

Depois de um culto regular de adoração, as congregações costumavam ficar

para um "grito de campainha". Foi uma sobrevivência da dança africana
primitiva. Assim, ministros e membros instruídos proibiram isso. Os homens
e as mulheres se organizaram em círculo. A música começou, talvez com um
espiritual, e o anel começou a se mover, primeiro devagar, depois com ritmo
acelerado. A mesma frase musical foi repetida várias vezes por horas. Isso
produziu um estado de êxtase. As mulheres gritaram e caíram. Homens,
exaustos, saíram do ringue

Alguns cantos religiosos afro-americanos nessa época eram chamados de

"gemidos" (ou "gemidos"). Gemendo (ou gemendo) não implica dor. É uma
espécie de interpretação feliz de uma música, muitas vezes misturada com
zumbido e variação melódica espontânea.

As letras antes de 1865

No início do século XIX, os afro-americanos estavam envolvidos no "Segundo

Despertar". Eles se encontravam em reuniões campais e cantavam sem
nenhum hinário. Canções espontâneas foram compostas no local. Eles foram
chamados de "canções espirituais e o termo "sperichil" (espiritual) apareceu
pela primeira vez no livro "Slave Songs of The United States" (por Allen,
Ware, Garrison, 1867).

Como os espirituais negros são canções cristãs, a maioria delas diz respeito
ao que a Bíblia diz e como viver com o Espírito de Deus. Por exemplo, os
"dias escuros da escravidão" foram iluminados pela esperança e fé de que
Deus não deixará os escravos sozinhos.

A propósito, os afro-americanos costumavam cantar fora das igrejas.

Durante a escravidão e depois, escravos e trabalhadores que trabalhavam
nos campos ou em outros lugares ao ar livre podiam cantar "canções de
trabalho". Este foi o caso, quando eles tiveram que coordenar seus esforços
para transportar uma árvore caída ou qualquer carga pesada. Até os presos
costumavam cantar canções de "gangue da corrente" quando trabalhavam
na estrada ou em alguma obra.

But some "drivers" also allowed slaves to sing "quiet" songs, if they were not
apparently against slaveholders. Such songs could be sung either by only
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one soloist or by several slaves. They were used for expressing personal
feeling and for cheering one another. So, even at work, slaves could sing
"secret messages". This was the case of negro spirituals, which were sung at
church, in meetings, at work and at home.

The meaning of these songs was most often covert. Therefore, only Christian
slaves understood them, and even when ordinary words were used, they
reflected personal relationship between the slave singer and God.

The codes of the first negro spirituals are often related with an escape to a
free country. For example, a "home" is a safe place where everyone can live
free. So, a "home" can mean Heaven, but it covertly means a sweet and free
country, a haven for slaves.

The ways used by fugitives running to a free country were riding a "chariot
or a "train".

The negro spirituals "The Gospel Train" and "Swing low, sweet chariot" which
directly refer to the Underground Railroad, an informal organization who
helped many slaves to flee.

The lyrics of "The Gospel train" are "She is coming... Get onboard... There's
room for many more..." This is a direct call to go way, by riding a "train"
which stops at "stations".

Then, "Swing low, sweet chariot" refers to Ripley, a "station" of the

Underground Railroad, where fugitive slaves were welcome. This town is atop
a hill, by Ohio River, which is not easy to cross. So, to reach this place,
fugitives had to wait for help coming from the hill. The words of this
spirituals say, "I looked over Jordan and what did I see/ Coming for to carry
me home/ A band of angels coming after me"

Here is an example of a negro spiritual and its covert meaning:

THERE IS A BALM IN GILEAD

This is a well-known negro spiritual, which has an interesting meaning.

The "balm in Gilead" is quoted in the Old Testament, but the lyrics of
this spiritual refer to the New Testament (Jesus, Holy Spirit, Peter, and
Paul). This difference is interesting to comment. In the Old Testament,
the balm of Gilead cannot heal sinners. In the New Testament, Jesus
heals everyone who comes to Him.

So, in the book of Jeremiah, several verses speak about Gilead. In

chapter 22, v. 6 and 13: The Lord says (about the palace of the king
of Judea) "Though you are like Gilead to me, like the summit of
Lebanon, I will surely make you like a desert, like towns inhabited...
Woe to him who builds his palace by unrighteousness, making his
countrymen work for nothing, not paying them for their labour".

In the same book of Jeremiah, chapter 46, v. 2 and 11, "This is the
message (of the Lord) against the army of Pharaoh Neco ... Go up to
Gilead and get balm, O Virgin Daughter of Egypt, but you multiply
remedies in vain; here is no healing for you".
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In the New Testament, the four Gospels say that Jesus healed many
people whatever their conditions: he can heal the poor. A Christian
who feels the Spirit must share its faith and "preach", like Peter and
Paul.

Between
1865

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and
1925
The lyrics between 1865 and 1925

Spirituals were sung at churches with an active participation of the

congregation (as it is usual in a Pentecostal church). Their lyrics mainly
remain similar to those of the first negro spirituals.

They were often embellished and they were also called either "church songs"
or "jubilees" or "holy roller songs". But some hymns were changed by African
American and became "Dr Watts"

Dr WATTS

Dr Isaac WATTS was an English minister who published several books:

"Hymns and Spiritual Songs", in 1707, "The Psalms of David" in 1717.
The various Protestant denominations adopted his hymns, which were
included in several hymnals, at that time.

Missionaries reported on the "ecstatic delight" slaves took in singing

the psalms and hymns of Dr Watts.

In his book "The Religious Instruction of the Negroes in the United

States" (1842), the White minister Charles Colock Jones
recommended highly some hymns of Dr Watts ("When I Can read My
Title Clear", etc.). He wrote: "One great advantage in teaching them
(slaves) good psalms and hymns, is that they are thereby induced to
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lay aside the extravagant and nonsensical chants, and catches and
hallelujah songs of their own composing".

However, in the early 1800s, Black ministers took seriously the

admonition of Dr Isaac Watts: "Ministers are to cultivate gifts of
preaching and prayer through study and diligence; they ought also to
cultivate the capacity of composing spiritual songs and exercise it
along with the other parts of the worship, preaching and prayer". So,
homiletic spirituals were created by preachers and taught to the
congregation by them or by deacons.

During the post-Civil War period and later, some congregation

conducted services without hymnbooks. A deacon (or precentor) set
the pitch and reminded the words in half-singing half-chanting
stentorian tones. The people called their songs "long-meter hymns
(because the tempo was very low) or "Dr Watts", even if they have
not been written by this gentleman.

The particular feature of this kind of singing was its surging, melismatic
melody, punctuated after each praise by the leader's intoning of the next line
of the hymn. The male voices doubled the female voices an octave below and
with the thirds and the fifths occurring when individuals left the melody to
sing in a more comfortable range. The quality of the singing was distinctive
for its hard, full-throated and/or nasal tones with frequent exploitation of
falsetto, growling, and moaning.

The beats of Dr Watt's songs were slow, while there are other types of
spirituals. These beats are usually classed in three groups:

- the "call and response chant",

- the slow, sustained, long-phrase melody,

- and the syncopated, segmented melody,

- "Call and response"

For a "call and response chant", the preacher (leader) sings one verse and
the congregation (chorus) answers him with another verse.

An example of such songs is "Swing Low, Sweet Chariot":

SWING LOW SWEET CHARIOT

Lead: Swing low, sweet chariot

Chorus: Coming for to carry me home

Lead: Swing low, sweet chariot

Chorus: Coming for to carry me home

Lead: If you get there before I do

Chorus: Coming for to carry me home

Lead: Tell all my friends, I'm coming too

Chorus: Coming for to carry me home

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- "Slow and long-phrase song"

Here are some examples of negro spirituals with a slow, long-phase melody.

MP3

"I'm Troubled in Mind", by Spiritual Workshop Paris, click here

- "Syncopated melody"

For the syncopated, segmented melody, the tempo is usually fast and the
rhythm features a "swing". This concerns spirituals sung at church, by a
group (not by a soloist). The rhythm of such a spiritual is based on the
swinging of head and body. The swaying of the body marks the regular beat,
but more or less strict in time. The singer takes the fundamental beat,
almost monotonously, with his left hand, while he juggles it with his right
hand

MP3

"Heaven" by JoAnne Stephenson, acc. Lorna Young-Wright click here

Between 1865 and 1925, many tunes were arranged as classical European
pieces for choirs. Some negro spirituals had been sung during worship
services.

Here are negro spirituals sung by a congregation during a worship service.

MP3

"His eye is on the sparrow", click here

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Between
1925
and
1985
The lyrics between 1925 and 1985

As traditional negro spirituals continued to be sung, new Gospel songs were

created. The lyrics of these new songs dealt with praising the Lord, with

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personal improvement and with brotherly community life. Many of them were
inspired by social problems: segregation, lack of love, drugs, etc.

For the struggle for Civil Rights, in the 1960s, negro spirituals like "We shall
overcome", "Oh Freedom" and "This Little Light of Mine" used to be sung.

Sometimes the words of traditional negro spirituals were slightly changed

and adapted to special events. For example, the words of "Joshua Fought the
Battle of Jericho (and the walls came tumbling down)" were changed into
"Marching 'round Selma".

MARCHING 'ROUND SELMA

Marching 'round Selma like Jericho,

Jericho, Jericho

Marching 'round Selma like Jericho

For segregation wall must fall

Look at people answering

To the Freedom Fighters call

Black, Brown and White American say

Segregation must fall

Good evening freedom's fighters

Tell me where you're bound

Tell me where you're marching

"From Selma to Montgomery town

During this period, some Gospel songs were more secular. They were
included in shows like "Tambourine to Glory" (by Langston Hughes). In the
1970s, mainly Edwin Hawkins ("Oh Happy Day") created the "pop-gospel"».
This type of singing needs several instruments to accompany the singers who
are often assembled in choirs.

The music between 1925 and 1985

Between 1925 and 1985, negro spirituals were sung in local communities.
Some scientists, such as Alan Lomax and John Lomax, collected them, as
they were spontaneous performed.

At the same time, composers, such as John W. Work, arranged their tunes.
Some of these composers , such as Jester Hairston, were influenced by the
Black Renaissance. This means that their arrangements were influenced by
the European classic music.

After 1925, artists created Gospel songs, which were either "soul" or "hard
beat". The number of instruments accompanying singers increased.

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After
1985
Some composers, such as Moses Hogan, arranged traditional negro
spirituals.

The new Gospel songs created after 1985 are of two types. The first type
concerns songs, which are for either worship services or special events in
churches. The second type includes songs, which are for concerts. They are
more or less secular even when they speak of Christian life.

This section is organized

by Spiritual Workshop, Paris (France)

Contact us

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