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MUSI
ML
3556
.B29

MICHIGAN
MICHIGAN
NIVERSITY OF MIC
IVERSITY
THE
THE
1817
L·LIBRARIES. NV

Plantation Hymns

Pla

OLD
Plantation Hymns
AMS PRESS
NEW YORK

and Plan
A colle
S
W
Lams
I

OLD
19 Plantation Hymns
A collection of hitherto unpublished melodies of the
slave and the freedman, with historical
and descriptive notes.
BY
WILLIAM E. BARTON, D.D.
Author of "A Hero in Homespun."
VT CRESCIT
Lamson, Wolffe and Company
Boston New York London
MDCCCXCIX

MUSIC
Music
ML
3556
B29
7368501
music
67992
REPL
C
Library of Congress Cataloging in Publication Data
Barton, William Eleazar, 1861-1930.
Old plantation hymns.
Original t.p. reads: Old plantation hymns; a
collection of hitherto unpublished melodies of the
slave and the freeman, with historical and descriptive
notes.
Reprint of the 1899 ed.
1. Negro songs. I. Title.
ML3556.B29 1972
ISBN 0-404-09918-1
784.7 56
72-38499
Reprinted from an original copy in the collections
of the Union Theological Seminary of New York
From the edition of 1899, Boston and New York
First AMS edition published in 1972
Manufactured in the United States of America
AMS PRESS INC.
NEW YORK, N. Y. 10003
O
NE of the most
ever given to lo
cured in 1871,
of students from
started North, to ear
school by singing
hymns of their paren
Ward Beecher admit
mouth Church, the
little to say in a jokin
er's Negro Minstrel
prise of everybody, t
cess for which the
scheme had hoped an
ure which the beginn
prise prophesied wer
in a most brilliant
both sides of the oc
the building of Jubile
publication of the "Ju
voice and press, whe
language is known a
The story of these
girls singing their qu
before crowned head
mance. The continu
the airs then first i
tested by their use at
casions, from funerals
ties, and their rep
manner of books, fro
Sunday-school melo
college songs. Whate
say about them,-and
usually divided betwe
tonishment, there is
power. Many of us
congregations swaye
field of grain before t
calls their tunes our
tic American music
based on their airs is
critics and to commo
alike enjoyable.
There is a good de
we shall not discove
3

Music
7368501
music
64992
REPL
; a
f the
scriptive
ONE
OLD PLANTATION HYMNS.
By William E. Barton, D. D.
NE of the most genuine surprises
ever given to lovers of music oc-
cured in 1871, when a company
of students from Fisk University
started North, to earn money for that
school by singing the plantation
hymns of their parents. When Henry
Ward Beecher admitted them to Ply-
mouth Church, the papers had not a
little to say in a joking way of "Beech-
er's Negro Minstrels." To the sur-
prise of everybody, the moderate suc-
cess for which the promoters of the
scheme had hoped and the dismal fail-
ure which the beginnings of the enter-
prise prophesied were both forgotten
in a most brilliant campaign upon
both sides of the ocean, resulting in
the building of Jubilee Hall and in the
publication of the "Jubilee Songs," by
voice and press, wherever the English
language is known and even beyond.
The story of these negro boys and
girls singing their quaint, weird songs
before crowned heads reads like a ro-
mance. The continued popularity of
the airs then first introduced is at-
tested by their use at all manner of oc-
casions, from funerals to yachting par-
ties, and their republication in all
manner of books, from collections of
Sunday-school melodies to books of
college songs. Whatever the critic may
say about them,-and what he says is
usually divided between praise and as-
tonishment, there is no denying their
power. Many of us have seen great
congregations swayed by them as a
field of grain before the wind. Dvorak
calls their tunes our only characteris-
tic American music, and his suite
based on their airs is well known. To
critics and to common people they are
alike enjoyable.
There is a good deal of danger that
we shall not discover many of these
3
songs not already familiar. The grow-
ing conditions among the negroes are
unfavorable to the making of new
songs, and the ground has been pretty
well hunted over for the old ones. It
would be a thing quite worth while to
discover a new or old one as sweet as
"Swing low, sweet chariot," or as
quaint as "Turn back Pharaoh's ar-
my," or as pathetic and powerful as
"Steal away." If anyone knows any
such, he ought to see that they are
preserved, both words and music.
It was the writer's privilege to live
in the South from 1880 till 1887, and
to come into contact with a good
many kinds of people. During the
earlier years especially he made care-
ful records of most that interested
him, and he supplemented these rec-
ords as the years went by with what-
ever came in his way. One of the
things which never was allowed to es-
cape was an odd song, secular or re-
ligious; and wherever possible the
quaint air as well as the words was
written down at the time. These have
waited for eleven years, and it is time
that they were printed if they are to
appear at all. It is possible that some
have been printed already; but even
if so, the variations will be of interest.
The most of them, however, are prob-
ably new to almost all who will see
them here, and many, I am confident,
have never been printed or even writ-
ten before.
Conspicuous among the religious
songs of the colored people, as of the
white people in the Cumberland
Mountains, is the large group of
"Family Songs," in which the chief or
only variation in the successive stan-
zas is the substitution of "father,"
"mother," or other relative in order.
One of the most unique of these is,

4
OLD PLANTATION HYMNS.
HOWDY, HOWDY!
An' a how-dy,how-dy broth-er, An' a
how-dy how-dy do? M-m m-m-m!
-
An' I do might-y well, An' I
DOWN IN THE VALLEY TO PRAY.
O
brother, less go down, Less go down,
Less go down! O
brother, less go down,
Down
REFRAIN.
in the val
ley to pray!
So many
solemn and
when one tr
a lively step
of these, in
neither a st
joyous prog
and almost
GOIN' OV
REFRAIN.
thank God too! M - m m m-m!
This is the entire hymn, except that
it goes on to greet, and be greeted by,
the sisters, mothers, fathers, preachers
and mourners of the company. It is
a song for the opening of service;
and no type can indicate its warmth
and fervor. The "M-m-m-m-m" is a
humming sound with closed lips.
Any one who will close the lips and
hum this sound will discern something
of the perfectly delicious expression of
the joy of meeting.
There are several songs that tell
of going down in the valley to pray.
The valley seems to the colored Chris-
tian the proper place for all prayer
save that of ecstatic fervor; and that
fervor voices itself in song rather than
in prayer. Prayer, to the negro, was
so commonly associated with the
thought of trouble that often had no
other outlet, that all the drapery of the
valley seemed to fit its mental associa-
tion. Sometimes he rose to sing,
"When I git up on de mountain top,
I'll shout an' shout and nebber stop."
Or,
"I'll praise de Lord an' nebber stop!"
but this shout or praise was either
song or hallelujah-it was not com-
monly prayer. One of these songs,
with a very pretty melody, is given
here.
The words are similar to those
of a song used by the Jubilee singers,
but the melody is different.
'S I went down in the val-ley to
pray,
oth
- er
Stud-y-in' a-bout dat good ole
way.
You shall wear
a
star
-
jes' a
I'm
- ry
1. I'm gwine
crown, Good Lord, show me de way!
This song does not usually follow
through the family in order, but, being
in the nature of an exhortation, ad-
dresses the "mourners," "sinners,"
"seekers," etc. The "mourners" of
these songs, it should be remembered,
are not necessarily those in affliction,
but those who frequent the "mourn-
ers' bench" and have not yet "got
through." Some of these songs in-
form these mourners that,
"When I was a mourner just like you,
I prayed and prayed till I got through.'
Not "till I got through mourning"
or praying, but till that necessary in-
termediate state, that limbo bordering
upon regeneration, was passed. A pe-
riod of "mourning" is counted a pre-
requisite for conversion.
The music in this piece is very ex-
pressive. The word "down" has al-
ways a descending note, and in the
first and third lines covers three notes,
re, do, la; the word "pray" falls as it
were to its knees on the dominant be-
low and is held for four beats.
B
gwine a-
The B f
meant to su
tone which
In this, as
melody tur
most before
so that the
as much to
beginning
then take
mother," a
but "my Lo
One of t
syncopation
is in the son
or "No ha
probably th
human cha
great to be
some of the
and "Brer S
pected as ca
In this h
upon the w
and the que
sinnin'?" is

OLD PLANTATION HYMNS.
5
EY TO PRAY.
down,Less go down,
her, less go down,
ley to pray!
So many of the negro songs are
solemn and in 2:2 or 4:4 time, that
when one trips along in 2:4 time with
a lively step it is worth noticing. One
of these, in which the Christian way is
neither a struggle nor a climb, but a
joyous progress with confident hope,
and almost gleeful measure, is
GOIN' OVER ON DE UDDAH SIDE
OF JORDAN.
REFRAIN.
ff
4
TELL BRUDDAH LIJAH.
1. O Sin-nah! Ain you tired of sin-nin'?
dim.
Lay
down you load ob
P
hell An'
REFRAIN.
5
come
a-long to Je - sus!
No harm,
cres.
力
​val-ley to pray,
0, I'm jes' a-go-in' O ver
on de
No harm! Tell Bruddah 'Li - jah! No harm,
Þ
cres.
DOW
good ole way.
No harm! Come along to
oth
-er
side of
Jordan, An'
I'm
FINE.
2-O mourner!
jes' a
goin' over, over home.
star
ry
1. I'm gwine a
B
me de way!
I usually follow
order, but, being
exhortation, ad-
ers," "sinners,"
"mourners" of
be remembered,
ose in affliction,
nt the "mourn-
e not yet "got
these songs in-
that,
mer just like you,
11 I got through."
ugh mourning"
at necessary in-
limbo bordering
is passed. A pe-
s counted a pre-
on.
piece is very ex-
"down" has al-
Lote, and in the
vers three notes,
pray" falls as it
The dominant be-
Our beats.
-
way to
see my Jesus,
D.C.
gwine a- way to see my Lord.
The B flat in the fourth line is
meant to suggest a slight variation of
tone which cannot be written.
In this, as in many such songs, the
melody turns back to the refrain al-
most before the stanza is completed,
so that the held "O!" belongs almost
as much to the end of one line as the
beginning of the next. The stanzas
then take up "my sister," "my
"my
mother," and other godly relatives,
but "my Lord" is retained in each.
One of the most effective uses of
syncopation which I have ever heard
is in the song "Tell Bruddah 'Lijah!"
or "No harm!" Brother Elijah is
is
probably the prophet, for there is no
human character in the Bible too
great to be counted a "brother," and
some of the allusions to "Brer Jonah"
and "Brer Simon Peter" are as unex-
pected as can well be imagined.
In this hymn the explosive stress
upon the word "Sinnah" is startling;
and the question, "Ain' you tired of
sinnin'?" is wonderfully direct.
Je-sus!
Ain' you tired ob mournin'?
Lay down your load ob hell
An' come along to Jesus!
3-O Christian!
Ain' you tired ob prayin'?
I've laid down my load ob hell
An' come along to Jesus!
4-0 preachers!
Ain' you tired ob shoutin'?
I've laid down my load ob hell
An' walk de road wid Jesus!
A corrupted version of a Jubilee
song is familiar to many people, called
"Sooner in de Morning." It should
not be "sooner," but "soon," or early.
Another song with the same burden,
but very different tune, I have often
heard in meetings of colored people.
There is a marked contrast between
the two parts of its melody, the re-
frain keeping the middle registers,
and the verses swinging much lower,
beginning an octave below the first
part, about middle C. It is a major
melody, and moves almost entirely in
thirds. The few intermediate tones
are quite as likely to be accidentals as
to take other notes of the diatonic
scale: indeed, the negro rarely sings
the seventh note true, to a musical in-
strument, but generally flats it more
or less as in the minor scales. Fond-
ness for these slightly variable tones
suggests a reason for the negro's love
of a banjo or violin.

6
OLD PLANTATION HYMNS.
MIGHTY ROCKY ROAD.
SOON IN DE MORNING.
REFRAIN.
NE
REFRAIN.
4:
1. Hit's a mighty rocky road,an' I'm mos' done
Halle
I'm goin' up home soon in de
D.C. O yon-dah stands de two tall
morning,
an - gels,
b
trabbelin', Mighty rocky road,an' I'm mos' done
New-born
goin' up home soon
yon
dah stands de
in de morn ing,
two tall an gels,
-
-
talk-in', Bo
trabbelin', Mighty rocky road,an' I'm mos'done
I'm goin' up home soon in
O yon dah stands de two
de
tall
FINE.
trab-belin'.I'se bound to ker-ry my soul to
morn
-
an
ing, I'm goin' to live with God.
gels, I'm goin' to live with God.
I dun-no what my brother wants to stay here
b
for! Stay here
here
for! Stay
for! Stay here for! I
dun - no
what my broth - er wants
stay here
to
D.C.
for! I'm goin' to live with God!
2-I dunno what the sinner wants to stay
here for, etc.
3-I dunno what the preacher wants to
stay here for, etc.
4-I dunno what the deacons want to stay
here for, etc.
This song is quite in line with the
view of the world which most of these
hymns present. The world is a wil-
derness; the Christian has a hard
time; and heaven is his home. The
thought comes out in "Mighty Rocky
Road." It is a melody in 2:4 time,
and trips along over the rocks very
lightly, rising a full octave at a flight
at the thought of being "most done
trabbelin'." It is an excellent illus-
tration of the way in which the twin
birth of these words and notes fitted
them to each other.
Je-sus,Bound to ker-ry my soul to de Lord
2-Christian's on de road, an' he's mos'
done trabbelin', etc.
3-Mourner's on de road, an' he's mos'
done trabbelin', etc.
4-Sinner's on de road, an' he's a long
time trabbelin', etc.
5-Dis a rough, rocky road, an' I'm mos'
done trabbelin', etc.
The tune to the last song has a
swing not unlike the war-time melody,
"Great big brick house, an' nobody libin'
in't,
Nobody libin' in't, nobody libin' in't,
Great big brick house, an' nobody libin
in't,
Down in Alabam,"
to which air are sung words whence a
popular college song borrows the
lines,
"Hain't I glad to git out de wilderness,
Leaning on de Lamb."
It was in Alabama, by the way,
that I got the song, "New Born
Again," whose rising and syncopated
"Free grace, free grace, free grace,
sinner," make the grace more ample
with each repetition. It has a certain
dignity combined with light joyous-
ness which our Gospel Hymns often
strive for in vain. Indeed, there are
several things for us to learn from
these songs.
Free grace!
2-Free grac
brother!
3-Free grac
sister!
4-Free grac
mourner
Another s
ney through
not a two-st
but a solemn
is in stately
gestion of a
beat on its a
WALK T
March t
REFRAIN. We w
1. Brothers,we
6
peace,come
valley
self
be
walk thro
2-Sisters, w
etc.
3-Peter done
4-Daniel do
den, etc.
At a meet

OLD PLANTATION HYMNS.
7
AD.
'I'm mos' done
NEW BORN AGAIN.
REFRAIN.
Hallelujah! Hal- le- lu - jah!
'I'm mos' done
New-born
a
-
gain. Been a long time
FINE.
talk-in', Bout a start-in' on
de way.
n'I'm mos'done
A
my soul to
oul to de Lord
n' he's mos'
n' he's mos'
he's a long
an' I'm mos'
song has a
me melody,
nobody libin'
y libin' in't,
nobody libin'
ds whence a
orrows the
wilderness,
y the way,
New Born
syncopated
free grace,
more ample
as a certain
ght joyous-
ymns often
d, there are
learn from
A
D.C.
Free grace! Free grace! Free grace, sin - ner!
2-Free grace! free grace! free grace,
brother!
3-Free grace! free grace! free grace,
sister!
4-Free grace! free grace! free grace,
mourner!
Another song represents the jour-
ney through life in another way. It is
not a two-step nor a gay procession,
but a solemn yet confident march. It
is in stately 4:4 time, and has the sug-
gestion of a quiet but effective drum-
beat on its accented notes.
WALK THROUGH THE VALLEY
IN PEACE.
March time.
REFRAIN. We will walk thro' the val
-
ley in
1. Brothers, we'll walk thro' the val ley, etc.
-
peace,come a long, We will walk thro' the
val - ley
-
in peace. If Je sus Him-
self
be
our leader
d
then, we will
walk thro' the val
ley in peace.
2-Sisters, we'll walk through the valley,
etc.
3-Peter done walked on the water, etc.
4-Daniel done walked through the lions'
den, etc.
At a meeting which I used to attend
frequently, one of the leading singers
was Sister Bemaugh, who often
started the tune. One night there
came from another settlement a fa-
mous singer, a man, who quite
usurped Sister Bemaugh's place.
There was no denying that she felt it,
as he stood up before the congrega-
tion whenever a hymn was called for,
in a most comfortable frame of mind,
his head turned well to the left and
the thumb and finger of his right
hand holding the tip of his left ear, as
he sang song after song. Many of the
songs were new to the congrega-
tion, and were sung as solos, and he
liked them none the less on that ac-
count. Several times Sister Bemaugh
attempted to start a song; but each
time he was ahead of her. At first she
It
joined in the singing; but at length,
discouraged and displeased, she gave
it up and sat silent. The meeting
held late, and Sister Bemaugh, who
usually stayed to the very end, pre-
pared to go. She got her lantern,
which she had left in one of the front
corners, and was somewhat ostenta-
tiously lighting a match, when a
hymn was called for,-and the visit-
ing brother could think of none.
was Sister Bemaugh's opportunity.
She quickly lighted and turned down
the wick, and began to sing, "My
good old Auntie's gone along"; and
all the congregation fell in with her.
I can see her now, as in the dimly
lighted tobacco barn where the meet-
ing was held she stood holding her
lantern and singing. She was slender
and had high cheek bones, but her
face was pleasant, and her voice had
a certain soul-quality, with a ring of
satisfaction. Almost every other note
in the song is chromatic, and it is no
small task to sing it well; but Sister
Bemaugh sang it to perfection, stand-
ing and leading, as a woman does not
commonly do, and having sung it to
the end, she went along.
If the reader will pick out the notes
of this song on the piano, and then
sing it, swaying slowly, I think he
will like it.

8
OLD PLANTATION HYMNS.
GONE ALONG.
味
​1. My good old
auntie's
gone a
long, She's gone
a - long, She's gone a -
long, My good old
aun tie's gone a-
long, Gone across bold Jor-dan's stream.
REFRAIN.
syncopation.
The word "cold" has
the accent of the downward beat, and
the first syllable of "icy" takes a half
note in the middle of the measure.
The surprise of the shock which this
gives to the nerves, together with the
weird tune which prepares one for any
uncanny effect, is not unlike the touch
of a cold hand. The effect is not less
uncanny in the third line of the re-
frain, in an accidental flat or natural
given to the word "cryin'." It is a
wail like that of a lost soul.
Thank God,she's got re
-
do
li-gion, I
be-
1. O
COLD, ICY HAND.
sin -ner! Sin-ner! you bet-ter pray!
Or your soul be lost at de jedg-ment day!
lieve, I do believe, I do believe. Thank
Death goner lay his cold, i
Death goner lay his cold, i
REFRAIN.
ry hand on me!
cy hand on me!}
#
God,she's got re- li-gion, I do
be -
Cry-in', O
Lord! Cry-in', O my
The fo
stanzas
and cont
great co
certain o
mon use
pose,-n
heaven
used. I
like that
of one h
of "Am
it is qui
with the
answere
hymns
The bod
son-the
and all a
In the
harmony
and qua
in negro
S
Am
lieve, Gone a- cross bold Jor-dan's stream.
2-My good old mother's gone along.
3-My good old father's gone along.
4-My good old brother's gone along.
5-My good old sister's gone along.
No classification of negro hymns is
entirely satisfactory; but a very large
class is made up of a refrain to which
is sung a series of verses in variable
order, often having no special relation
to the refrain. Many of them are used
with scores of different songs, and
never twice in the same order. Some
present a slight variation in the re-
frain, but have a uniform response.
Of these I have a large number. One
very rare one, and one that I count
among the best, is "Cold Icy Hand."
The burden of the song is the re-
sponse, "Death goner lay his cold icy
hand on me." An indescribable effect
is given to the "cold icy hand" by a
Lord!Cry-in',O
Lord, Death goner lay his
e
4
me.
cold, i
cy hand on
2-0, sinner, you be careful how you walk
on de cross,-
Or your foot may slip an' you' soul be
los'.
In all these hymns the notes must
adjust themselves to variations in me-
tre. The words of successive stanzas
vary in length, and the notes must be
varied also. In writing the notes one
has to compromise. In singing, they
must be adjusted to the different
verses, as:
1. O sin - ner! Sin - ner! you bet - ter pray!
2. O sinner, you be careful how you walk on the cross.
I
I as
I-Am I
A f
2-Must
On
3-Are th
Mus
4-Sure
Inc

OLD PLANTATION HYMNS.
9
'cold" has
d beat, and
akes a half
e measure.
which this
er with the
one for any
e the touch
is not less
of the re-
or natural
"It is a
pet-ter pray!
-ment day!
and on me!
and on me!
99
The foregoing song uses principally
stanzas that have reference to death,
and contain a warning; but among a
great collection of them there is no
certain order. Several hymns in com-
mon use furnish couplets for this pur-
pose, most of all, "Jesus my all to
heaven is gone. Other hymns are
used. I have the music-strikingly
like that of one of our college songs-
of one hymn which uses half a stanza
of "Am I a soldier of the cross?" and
it is quite effective used in this way,
with the question of the first half un-
answered. It is one of the few negro
hymns which requires a bass clef.
The body of the hymn is sung in uni-
son-the response being sung in bass
and all accordant parts.
In the published Jubilee songs, the
harmony has been added for piano
and quartette; but it is rarely found
in negro songs.
SOLDIER OF THE CROSS.
In this particular song, there is no
refrain, the lines being repeated
several times to make up a stanza out
of half of one. Another hymn, which
is
sung also by the white people of the
Cumberland Mountains, takes the
hymn "Did Christ o'er sinners weep,'
and fits to its stanzas a refrain:
"This world is not my home,
This world is not my home;
This world's a howling wilderness,
This world is not my home."
THIS WORLD IS NOT MY HOME.
REFRAIN.
This world is not my home, This
world is not my home,This world's a howling
FINE.
wil-der-ness, This world is
not my home.
دو
in', O my
goner lay his
me.
Am I a soldier of the cross?
Am
1. Did Christ o'er sin - ners
weep? And
of the cross?
O: 647
254
shall our cheeks be dry? Let floods of pen -i -
D.C.
w you walk
you' soul be
notes must
ons in me-
ve stanzas
es must be
notes one
ging, they
different
ter pray!
on the cross.
I a sol-dier of the cross?
Am
of the cross?
I a soldier of the cross? A follow'r of the Lamb?
I--Am I a soldier of the cross,
A follower of the Lamb?
2-Must I be carried to the skies
On flowery beds of ease?
3-Are there no foes for me to face,
Must I not stem the flood?
4-Sure I must fight if I would reign,
Increase my courage, Lord.
ten- tial grief Burst forth from ev -'ry eye.
2-The Son of God in tears
The wondering angels see.
Be thou astonished, O my soul,
He shed those drops for thee.
The melody above is smooth, flow-
ing and restful, and while sad is not
hopeless. It sounds well with the
words to which it is wedded.
I have one song which starts in
with an introduction which has little
to do either in words or music with
what follows and which belongs only
to the opening stanza, or rather to
the first use of the refrain. It is not
unlike the recitative which precedes a
formal movement, and with change of
tempo.

ΤΟ
OLD PLANTATION HYMNS.
HEAVEN BELLS RINGIN' IN MY SOUL.
RECITATIVE.
SWEET HEAVEN.
REFRAIN.
DES
No-body knows who
I am,
Oh, sweet heaven! Oh, sweet heaven!
FINE.
I.
Wha
Dat
5
who I be till de com in' day.
REFRAIN. (Twice as fast.)
O sweet heaven! But how I long to be there.
-
O de heav'n bells ring-in'! De sing-sol -
Come
Come
I.
(Some people think that I have no grace,But
I'll see
my Sav-iour face to face; Lord,
REF
D.C.
6
An
sing-in'! Heav'n bells a-ringin' in my soul!
Gwine a
-
way to see
my Je- sus,
ます
​Gwine
a
-
way to see my Lord.
O de heav'n bells ring-in'! De sing - sol
sing-in'! Heav'n bells a - ring-in' in my soul!
Walked a - round from door to door,
What to do
I did not know
Heav'n bells a
Heav'n bells a
-
-
ring'-in' in my soul!
ring'-in' in my soul!
2-I'm a-comin' to de Lord, I'm a-comin'
up too,
Heaven bells ringin' in my soul;
I'm comin' to de Lord till heaven I
view,
Heaven bells ringin' in my soul.
3-Heaven is a high an' a lofty place,
Heaven bells ringin' in my soul;
But you can't git dar ef you hain't got
grace,
Heaven bells ringin' in my soul.
Some of these refrains are little
more than reiterated ejaculations, the
monotony of which is somewhat re-
lieved by the variable character of the
couplets which make up the stanzas.
how I long to be there.
how I long to be there.
2-I have a right to the tree of life,
And how I long to be there!
With them that fought my Jesus' fight,
And how I long to be there!
3-The grace of God do reign so sweet,
And how I long to be there!
It spread abroad, both home and
abroad,
Lord, how I long to be there!
4-The tallest tree in Paradise,
Lord, how I long to be there!
The Christian calls it the tree of life,
O, how I long to be there!
5-If you get there before I do,
O, how I long to be there!
Look out for me, I'm coming too,
O, how I long to be there!
In much of our modern preaching
the emphasis has shifted from the life
to come to that which now is; and
sometimes good advice about diet and
hygiene, and of righteousness as tend-
ing to longevity hold the place once
given to immortality. It is not so in
plantation theology. The thought of
heaven is constantly to the fore.
The resurrection is a favorite theme
in these songs, and its figures are well
supplied by Ezekiel's vision. Among
them is one that is very simple in its
movement, starting with plain quarter
notes in 4:4 movement, but growing
irregular in the refrain, and using
with effect a syncopation on, "An' a
Lawd," and bringing in a strong up-
ward swing on the long first syllable
of "mawnin'."
Shall
2-If you
Come
Look o
Come
The eas
be accom
has its co
the prese
and is a
songs. I
is a very
there is a
ful sugge
name. T
not be w
of thoug
feel little
advantag
him the
culty of t
The pe
fore, at o
enjoymer
he holds
like that
miracle p
There
to insinc
Satan is a
always po
else must
science.
responsib
tion agai
self is to

OLD PLANTATION HYMNS.
II
heav-en!
FINE.
o be there.
DESE DRY BONES OF MINE.
1. What kind of shoes is dem you wear?
Dat you may walk up - on
de air,
HARD TO RISE AGAIN.
REFRAIN.
161
O Sa-tan comes like a
bu-sy ole man,
Hally, O hal- ly, O
hallelu!
de
de
mawn in'.
mawn - in'.
-
grace,But
face; Lord,
D.C.
Come to- ged - der in
Come to ged - der in
REFRAIN.
An' a Lawd,dese dry bones of mine.
ere.
ere.
He gets you down at de fcot-y of de hill,
Hally, O
hal - ly, O hallelu!
Ee,
e!
us' fight,
!
sweet,
me and
e!
!
of life,
too,
eaching
the life
is; and
diet and
as tend-
ce once
ot so in
ught of
re.
e theme
are well
Among
e in its
quarter
rowing
using
"An' a
ng up-
syllable
Shall come to-ged-der in de mawn-in'.
2-If you get dah befo' I do,
Come togeddah in de mawnin'!
Look out for me, I'm comin' too,
Come togeddah in de mawnin'!
The ease with which this rising is to
be accomplished in the world to come,
has its contrast in a song of rising in
the present life. Here Satan appears,
and is a familiar figure in negro
songs. It is to be noted that while he
is a very real and terrible personage,
there is always a lively, almost mirth-
ful suggestion in the mention of his
name. The melody of this song could
not be wedded to a very serious line
of thought. The singers appear to
feel little troubled over Satan's easy
advantage, but cheerfully throw upon
him the responsibility for the diffi-
culty of their earthly rising.
The personality of Satan is, there-
fore, at once a terror and a source of
enjoyment to the negro. The place
he holds in negro theology is not un-
like that which he occupied in the
miracle plays of the middle ages.
There seems an inherent tendency
to insincerity in negro demonology.
Satan is a decided convenience. It is
always possible to load upon him what
else must be a weight upon the con-
science. That Satan holds the sinner
responsible for this has its compensa-
tion again in the fact that Satan him-
self is to be dethroned.
He gets you down at
de foot-y of de hill,
FINE.
Hard to
rise
a
gain.
1.{
Jesus, my all
He whom I fix
Hal-ly, O
Hal-ly, O
to heaven is gone,
my hopes up - on,
hal-ly, O
hal - ly, O
-
hal - le lu!
hal le
-
lu!
He whom I
fix my hopes up
Hard to rise
a gain.
-
2-Dis is de way I long have sought
Hard to rise again!
on,
D.C.
And mourned because I found it not.
Hard to rise again!
3-De debbil is a liar and a conjurer, too,
An' ef you don't mind he'll conjure
you.
4-Oh, Satan he's a snake in de grass,
An' ef you don't mind, he'll git you at
last.
One song is satisfied to snatch a
single line from any convenient hymn,
and pair it with one of its own in the
refrain, while borrowing couplets
right and left for the stanzas.

12
OLD PLANTATION HYMNS.
I WANT TO DIE A-SHOUTING.
REFRAIN.
A maz-ing grace,how sweet the sound!I
want
to die
-
a shout
ing!
I
want to feel my Saviour near, When
FINE.
soul
and
bod
1. Je
-
sus my all
-
y's part
ing.
to heaven is gone, I
want
to
die
a shout
ing!
He whom I fix my hopes up-on, I
While the fitting together of coup-
lets and refrains almost at random
leads to some odd and incongruous
combinations, upon the whole one is
surprised to find with what good taste
the mosaic is made, especially when
the singing is led by an old-time
leader with a wide range of couplets
to choose from. Some of these men
when confronted by an inquirer with
notebook and pencil can hardly re-
call half a dozen of these stanzas; but
in the fervor of their worship they not
only remember them by the score, but
by a sort of instinct rather than taste
or judgment fit together words from
different sources without a second's
reflection or hesitation. It comes to
pass sometimes that the words of a
certain hymn attach themselves to a
given refrain so that one rarely hears
them separately. Here is one which
I do not remember to have heard
except with "Jerusalem, my happy
home."
COMFORT IN HEAVEN.
D.C.
REFRAIN.
want to
die
a
shout
ing!
There's a comfort in heav-en, And I
There's a glo ry in heav-en, And
-
a
WAKE
REFRAIN.
O wake
rise!
wake up! A
Old Sa-t
1.{But thank
will serv
2-Old Satan w
And I will
And if you
to you,
And I will
The joys
among which
terial for seve
I WANT TO
REFRAIN.
2-Am I a soldier of the cross?
I want to die a-shouting!
I want to feel my Saviour near,
When soul and body's parting.
Must Jesus bear the cross alone?
I want to die a-shouting!
No, there's a cross for every one,
I want to die a-shouting!
3-Oh, Jesus loves the sinner-man,
I want to die a-shouting!
I want to feel my Saviour near,
When soul and body's parting.
I'm sometimes up and sometimes down,
I want to die a-shouting!
But still my soul is Canaan bound,
I want to die a-shouting!
4-Oh, sinners, turn, why will ye die?
I want to die a-shouting!
I want to feel my Saviour near,
When soul and body's parting.
Then here's my heart and here's my hand,
I want to die a-shouting!
To meet you in the glory land
I want to die a-shouting!
feel it in my soul, O glo- ry hal-le-lu-jah!
glo-ry in my soul, O glo- ry hal-le- lu-jah!
Je ru -
I.
I want to
{When shall my labors have an end? Thy
salem, my happy home,Name
play up on
To play up- o
ev-er dear to me, O glo-ry hal-le-lu-jah!
joys when shall I see, O glo-ry hal-le-lu- jah!
While a majority of the negro melo-
dies are in minor keys, the use of the
major is far from being unusual, and
is often very striking. A song called
"Wake up, Children," is of this char-
acter. It is impossible to imagine a
more appropriate musical setting for
the opening words, or a clearer,
heartier call to awaken.
To play up
1. {le-sus, m
He whom I
play up-on

OLD PLANTATION HYMNS.
13
of coup-
random
ngruous
e one is
pod taste
ly when
old-time
couplets
ese men
rer with
rdly re-
zas; but
they not
core, but
an taste
rds from
second's
comes to
rds of a
ves to a
ely hears
e which
e heard
happy
And
And a
I.
WAKE UP, CHILDREN.
REFRAIN.
O wake up,chil-dren,wake up! O a-
rise!
0
wake up,
children,
A good, ringing, hortatory hymn is
entitled
REFRAIN.
COME ALONG.
Come along, come a long, I am
sor - ry
for to leave you,
wake up! And I will serve that liv - ing God.
On the road to heav-en, come,
FINE.
Old Sa- tan tho't he had me fast,And I
But thank the Lord, I'm free at last, And I
will serve that liv
-
ing God.
2-Old Satan wears de hypocrite's shoe,
And I will serve that living God!
And if you don't mind he'll slip it on
to you,
And I will serve that living God!
The joys of heaven, prominent
among which is its music, afford ma-
terial for several songs.
I WANT TO GO WHERE JESUS IS.
REFRAIN.
friends, will you go?
I
was
but
young when I
be
gun,
And
D.C.
now my race is
near - ly
run.
A cheerful song, with a strong
major melody, is "Down by the
River." The Baptists use it at im-
mersion; but it is not confined to such
occasions.
DOWN BY THE RIVER.
lu-jah!
- lu-jah!
I want to go where Jesus is, To
REFRAIN.
FINE.
Yes, we'll gain this world, Down by the riv -er,
FINE.
play up on the gol - den
harp,
ome,Name
end? Thy
To play up- on the golden harp,
We'll gain this world, Down by the riv -er-side.
- lu-jah!
- lu- jah!
D.C.
1. And if those mourner's would believe,
Down by the riv-er, The gift of life they
ro melo-
se of the
sual, and
ng called
his char-
magine a
tting for
clearer,
To play up- on the gol - den harp.
حاول
I fix my hopes up
-
I.
{He who, my all, to heav'n is gone, To
on, To
would re
play up on the
gol
den
harp.
D.C.
-
- ceive, Down by the riv-er-side.
2-When I was a mourner, just like you,
I mourned and mourned till I got
through.

14
OLD PLANTATION HYMNS.
Many songs have a line three times
repeated, with a fourth but little
changed, and thus build a song out of
meagre material; but the tunes are
usually distinct. A very good one of
this sort, and with a good tune, is
THE WINTER SOON BE OVER.
O the winter,
the winter,
winter soon be
the
Over, chil - len,
The win ter,
-
the
winter,
win
-
ter soon be
O
-
the
ver, chil- len,
The win
-
ter, the win ter,
the
I used sometimes to preach in a lit-
tle church built by the colored people,
the result of no small sacrifice and
hard work. Besides the long Sunday
services, held on stated Sundays once
a month and whenever they had a
preacher, they had innumerable night
meetings at "early candle-lighting."
For a bell they had a discarded circu-
lar saw from the sawmill, fastened to
a tree before the door; and when I
came in Uncle Joe would say: "Here
comes Mistah Bahton now; I'll go
out an' knock on de saw." The saw
was a very good church bell, and
brought the people straggling in from
all about. We would spend some
time singing while they gathered.
The young people wanted book
hymns, and had their way in part;
but the older people were pleased
that I liked the others, and I got
many of them in written form. One
that was often sung in those meetings
was "Pray On." It is a hymn with
a fixed refrain and variable stanzas,
and is also a family hymn.
PRAY ON.
-
win ter soon be
over, chil - len,
REFRAIN.
And we'll all
a
-
rise
and
go.
Pray on,broth-ers, O hal- ly - hal-le-
1. Them Metho-dists and Bap-tists can't a-
-
lu
jah!
I
Pray on, broth - ers,
V2 FINE.
It
gree, And we'll all
a rise and
go.
ain't too late.
late. 1. I washed my
An'
stop you long tongue from tell - ing
head
in
the mid
night dew;
D.C.
lies, And we'll all a- rise and go.
2-Oh, may I tell to sinners round
What a Saviour I have found.
3-Oh, may I tell to sisters all,
Stop your tongue from telling lies.
4-Sing glory, glory, glory to the Lamb,
I have held his bleeding hand.
The morn-ing
stars a
witness, too.
2-If you get there before I do,
Just tell them I am coming too.
3-There grows a tree in Paradise,
The Christian calls it the tree of life.
There was
bacco barn, a
ued late into
late in begin
tended were
"early candl
late for a sta
came first sa
thing going o
till nearly da
ings when th
of tough old
been there on
time, there w
called it "ma
when, clearin
marched rour
ers' bench sin
tervals for pra
lieve, mourn
the genial a
was making 1
try at the ti
at such a m
brief visit, an
was a revere
tor, seeing th
that underlay
ceedings, and
that was new
During th
lasted a goo
young lady la
in the large h
lay at night
she enjoyed
ple sing, an
that touched
ness and path
time "drawin
ten for the
hymn grew
the colored p
she cared fo
tomed to sin
all its stanzas
Night after
-an invitati
anticipation
from the hu
worshipers as
ing in the to
girl in the bi
listened nigh

OLD PLANTATION HYMNS.
15
reach in a lit-
plored people,
sacrifice and
long Sunday
Sundays once
- they had a
merable night
adle-lighting."
scarded circu-
11, fastened to
and when I
"Here
ld say:
now; I'll go
w." The saw
rch bell, and
ggling in from
spend some
ney gathered.
wanted book
way in part;
were pleased
rs, and I got
en form. One
hose meetings
a hymn with
riable stanzas,
nn.
O hal-ly - hal-le-
, broth - ers,
It
1. I washed my
night dew;
D.C.
witness, too.
e I do,
oming too.
n Paradise,
the tree of life.
There was a great revival in the to-
bacco barn, and the meetings contin-
ued late into the night. They were
late in beginning, for those who at-
tended were working people, and the
"early candle-lighting" proved very
late for a start. However, those who
came first sang, and there was some-
thing going on some nights from dusk
till nearly daylight; for on the even-
ings when there was a good benchful
of tough old "mourners" who had
been there once a year or so for a long
time, there was a siege. The faithful
called it "marching round Jericho,"
when, clearing the benches away, they
marched round and round the mourn-
ers' bench singing and stopping at in-
tervals for prayer or to shout out, "Be-
lieve, mourners!" Thomas Hughes,
the genial author of "Tom Brown,'
was making his last visit to this coun-
try at the time, and had never been
at such a meeting. He made me a
brief visit, and I took him there. He
was a reverent and interested specta-
tor, seeing the real spirit of worship
that underlay some of the odd pro-
ceedings, and also having an eye to all
that was new to him in the situation.
During this long revival, which
lasted a good many weeks, a bright
young lady lay dying of consumption
in the large house on the hill. As she
lay at night near her open window
she enjoyed hearing the colored peo-
ple sing, and there was one hymn
that touched her heart with its sweet-
ness and pathos. As she felt her own
time "drawing near" and began to lis-
ten for the "charming bells," this
hymn grew more dear to her; and as
the colored people came to know that
she cared for it, they grew accus-
tomed to singing it each night, with.
all its stanzas, for her benefit.
Night after night I heard this song,
-an invitation to the sinner, a glad
anticipation of heaven, and a salute
from the humble but kind hearted
worshipers as they closed their meet-
ing in the tobacco barn, to the dying
girl in the big house on the hill, who
listened nightly for this greeting.
DEM CHARMING BELLS.
1. Come a- long, my brother, come
a-
long, For your time is drawing near; And the
angels say there's nothing to do, But to
REFRAIN.
ring them charming bells. Lord, I'm al- most
home! I'm almost home! Lord, I'm al most
-
home, For to ring them charming bells!
2-Come along, my sister, etc.
3-Come along, my preacher, etc.
4-Come along, my deacon, etc.
5-Come along, po' mourner, etc.
6-Come along, O sinner, etc.
7-Come along, Sister Mary, etc.
8-Come along, Sister Martha, etc.
9-Come along, Brother 'Lijah, etc.
10-Come along, true believer, etc.
As cold weather came on, she
passed away, and we sent her body to
the Northern home whence she had
come too late. We had a simple little
service in the chapel, and a company
of the colored people sang the clear,
bell-like notes of the song, which ever
since has seemed to me most beauti-
ful, with its ringing, confident, hope-
ful and inspiring words,-
"Lord, I'm almost home,
I'm almost home!
Lord, I'm almost home,
For to ring dem charming bells"

16
OLD PLANTATION HYMNS.
The negro hymns seldom make al-
lusion to the Bible as a source of
inspiration. They prefer "heart re-
ligion" to "book religion." In some
places where an ordinary hymn would
strengthen assurance by a promise of
God in Holy Scripture, the negro ap-
peals to his own revelation from the
Lord. The following hymn is an illus-
tration:
WE'RE SOME OF THE PRAYING PEOPLE.
REFRAIN.
frain we find the familiar swing and
syncopation of the negro.
1. O
WEAR A STARRY CROWN.
we are going to wear a crown, O
I
we
are going to wear
a crown, O
HYMNS
BEGAN
hymns
teacher,
to a single
hibited by t
position fro
service.
had more of
Af
we
are going to wear
We're some of the praying people,
a crown, To
REFRAIN.
was somewh
less sensitiv
wear
a star-ry crown.
A-way O
ver
We're some of the praying people,
Jor
dan with my blessed Jesus, A-
We're sonie
of the praying people,
FINE.
way
o-ver Jordan, To wear a star-ry crown.
For my Lord told me
SO.
1. And must I be to judg-ment brought, to
an-swer in that day? And must I be
to
D.C.
judgment brought, to answer in that day?
I have another Alabama hymn
which, like the above, is made up of
a threefold repetition and a conclud-
ing line.
The melody of this hymn starts in
a way that reminds us of the Gospel
Hymn, but when we come to the re-
2-You must be saved to wear a crown.
3-You must live right to wear a crown.
4-My mother's gone to wear a crown.
5-My father's gone to wear a crown.
6-The sinner hain't a-goin' to wear a
crown.
These hymns are fairly representa-
tive of a once numerous, but now
vanishing class. Some are common-
place enough, both in words and mu-
sic. But others glow with genuine
religious
religious fervor, and afford valuable
material for a study of the social and
religious life of the negro, besides be-
ing an important contribution to
American folk lore.
had impress
of my reside
tially made
however, by
who knew
these down
of my best f
Aunt Dinal
learned "De
icy hand on
could never
I not learne
would patie
again till I
syncopations
It is a
music that it
to and time
foot. No m
pears to be,
and forward
the rhythm
friend of m
some of the
auntie, but f
as the tune
when the ol
her work, th
humming ge
while. The
patting the
"Dat's right
way! Now
nuff! You'
wuld till you
Now and
Dinah's cabi
songs. She
17

ar swing and
CO.
CROWN.
ear a crown, O
a crown, O
r a crown, To
REFRAIN.
-way O
ver
ed Jesus, A-
ra star-ry crown.
wear a crown.
wear a crown.
ear a crown.
ar a crown.
roin' to wear a
-ly representa-
Dus, but now
are common-
words and mu-
with genuine
fford valuable
the social and
ro, besides be-
ntribution to
HYMNS OF THE SLAVE AND THE FREEDMAN.
By William E.
BEGAN my quest for quaint
hymns when I was a school
teacher, and was neither confined
to a single place of worship nor pro-
hibited by the responsibilities of my
position from taking notes during
service. After I began to preach I
had more opportunities; but my field
was somewhat restricted, and I was
less sensitive to peculiarities which
had impressed me in the earlier years
of my residence in the South. I par-
tially made my opportunities good,
however, by visiting the older people
who knew old songs, and writing
these down as they sang them. One
of my best friends in this regard was
Aunt Dinah. It was from her I
learned "Death's goner lay his cold
icy hand on me;" and I fear that I
could never have written it down had
I not learned it from some one who
would patiently repeat it again and
again till I mastered its wonderful
syncopations.
It is a peculiarity of the negro
music that it can nearly all be swayed
to and timed with the patting of the
foot. No matter how irregular it ap-
pears to be, one who sways backward
and forward and pats his foot finds
the rhythm perfect. A young lady
friend of mine was trying to learn
some of the melodies from an old
auntie, but found that the time as well
as the tune baffled her. At length,
when the old woman had turned to
her work, the girl got to swaying and
humming gently, patting her foot the
while. The old woman turned and,
patting the girl on the knee, said:
"Dat's right, honey! Dat's de berry
way! Now you's a-gittin' it, sho
nuff! You'll nebbah larn 'em in de
wuld till you sings dem in de sperrit!"
Now and then I would go to Aunt
Dinah's cabin, and ask her for more
songs. She invariably began by de-
Barton, D. D.
claring that I had long since learned
all the songs she knew; but I would
plead with her to cudgel her brains
for some of the old ones, the ones
they sang before the war. After the
requisite amount of protesting, she
would promise to think and see if she
could remember any, but with the
declaration that it was hopeless. "I'll
go to de do' an' call Sistah Be-
maugh," she would say, "an' we'll see
ef we can't find some. An' while she's
a-comin' ober, you se' down dah, an'
I'll finish dis shirt."
a
I was fortunate to find her ironing,
and wise enough not to propose songs
if she were at the washtub.
It was
near a furlong across the hollow to
Sister Bemaugh, and there was
sawmill between; but Aunt Dinah
and Sister Bemaugh had no trouble
about making themselves understood
at this distance, and about the time
Aunt Dinah had finished the shirt and
set her irons down before the open
fire, Sister Bemaugh was on hand.
Then they both protested that they
had sung me every song they knew,
-and they invariably found one or
two more. One of these songs was
"Motherless Child," or "I feel like I'd
never been borned." It is one of the
most pathetic songs I ever heard.
To-
Not very long ago I attended a
concert given by a troupe of jubilee
singers, whose leader was a member
of the original Fisk company.
ward the end of the programme he
announced that a recently arrived
singer in his troupe from Mississippi
had brought a song that her grand-
parents sang in slave times, which he
counted the saddest and most beauti-
ful of the songs of slavery. It was a
mutilated version of Aunt Dinah's
song; and it lacked the climax of the
hymn as I have it,-the "Gi' down on
my knees and pray, PRAY!" The
17

18
H
HYMNS OF THE SLAVE AND THE FREEDMAN.
swell on these words is indescribable.
Its effect is almost physical. From
the utter dejection of the first part it
rises with a sustained, clear faith. It
expresses more than the sorrows of
slavery; it has also the deep religious
nature of the slave, and the consola-
tions afforded him in faith and prayer.
Sister Bemaugh did not know this
song. Aunt Dinah explained it to her,
as she learned it with me, and I wrote
down many scraps of their conversa-
tion while they thought I was only
writing down the hymn; and some-
times they talked for quite a while
undisturbed by my presence, as I sat
at the ironing-table beating out the
tunes which they had sung. Said
Aunt Dinah,-I copy from the mar-
gin of my score:
"You des' gotter staht dat song in
a mourn. Dey hain't no uddah way
to git de hang ub it. Fus' time I hear
it, I wis' de Lawd I cud lun it. I tried
an' tried, an' couldn't. I went home
studyin' it, an' all to once it come
a-ringin' through me. Den I sung it
all night."
The stanzas are double, and the two
halves are sung to the same tune.
MOTHERLESS CHILD.
1. O some-times I feel like a
moth
- er
-
less child, Some-times I
feel
like a moth er - less child, O
my Lord,
sometimes I feel like a moth-er-less child;
Q
Den I gi' down on my knees and
pray,
pray, Gi'down on my knees and
pray.
1-O, sometimes I feel like a motherless
child!
Sometimes I feel like a motherless
child!
O my Lord!
Sometimes I feel like a motherless
child!
Den I git down on my knees and pray,
pray!
Git down on my knees and pray!
O, I wonder where my mother's done
gone,
Wonder where my mother's done gone,
I wonder where my mother's done
gone.
Den I git down on my knees and pray,
pray!
Git down on my knees and pray!
2-0, sometimes I feel like I'd never
been borned,
Sometimes I feel like I'd never been
borned,
O my Lord!
Sometimes I feel like I'd never been
borned,
Den I git down on my knees and pray,
pray!
Git down on my knees and pray!
O, I wonder where my baby's done
gone,
Wonder where my baby's done gone,
Wonder where my baby's done gone.
Den I git down on my knees and pray,
pray!
Git down on my knees and pray!
3-0, sometimes I feel like I'm a long
ways from home, etc.
I wonder where my sister's done gone,
etc.
4-Sometimes I feel like a home-e-less
child, etc.
I wonder where de preacher's done
gone, etc.
Sister Bemaugh had not sung so
much in church since the visit of the
singing brother during the revival, to
which I referred in my previous arti-
cle. Proud as she felt of the fact that
they had had to call on her at the end
to start a song, she felt sore about the
prominence of the strange singing
brother that one night, and my effort
to learn from her some of the songs
which he had sung was futile. They
were "no 'count songs," anyway, she
thought. While I was writing down
another song, I overheard a conver-
sation between her and Aunt Dinah,
and wrote down a scrap of it, which
I quote ver
the sheet w
Quoth S
Dinah: "D
doesn't sing
hain't used
To whic
"Don' you w
right. You
Their co
fact that Au
most fetchin
had sung, a
for me, tak
Bemaugh's
that Sister
though she
him. She s
however, wh
and I got it
things abou
"Gwineter a
chatter wid
heard the ex
ter wid de an
this expressi
gue," as he
mean disput
learnedly; an
ply frivolity
The underly
seemed to m
I'I
REFRAIN
For I'll
I'll
be th
trum-pet s
An' if th
The gift
last trumpe

N.
19
HYMNS OF THE SLAVE AND THE FREEDMAN.
a motherless
a motherless
a motherless
mees and pray,
and pray!
mother's done
r's done gone,
mother's done
nees and pray,
and pray!
ike I'd never
'd never been
'd never been
nees and pray,
and pray!
baby's done
s done gone,
s done gone.
nees and pray,
and pray!
e I'm a long
r's done gone,
a home-e-less
reacher's done
not sung so
e visit of the
he revival, to
previous arti-
I the fact that
er at the end
ore about the
nge singing
and my effort
of the songs
futile. They
anyway, she
writing down
ard a conver-
Aunt Dinah,
o of it, which
I quote verbatim from the corner of
the sheet where I then wrote it.
Quoth Sister Bemaugh to Aunt
Dinah: "Does you know why I
doesn't sing in church no mo'? Dey
hain't used to my voice."
To which Aunt Dinah replied:
"Don' you wait for dat. You voice all
right. You kin sing des' like a parrot."
Their conversation developed the
fact that Aunt Dinah knew one of the
most fetching songs which the visitor
had sung, and she offered to sing it
for me, taking pains to save Sister
Bemaugh's feelings. It appeared later
that Sister Bemaugh knew it also,
though she would not sing it with
him. She sang it with Aunt Dinah,
however, when it was once started,-
and I got it all. One of the quaint
things about it is the expression,
"Gwineter argue wid de Father and
chatter wid de Son." I had often
heard the expression, "Gwineter chat-
ter wid de angels," in these songs, but
this expression was new to me. "Ar-
gue," as here employed, does not
mean dispute, but only to converse
learnedly; and "chatter" does not im-
ply frivolity, but only familiarity.
The underlying theology has always
seemed to me interesting.
I'LL BE THERE.
REFRAIN.
I'll
For I'll
be there be there,
I'll
For
be there, I'll be there, When the last
FINE.
trum-pet shall sound, I'll be there.
An' if those mourners would be-lieve, The
The gift of life they would re-ceive, The
D.C.
last trumpet shall sound, I'll be there.
2-I never can forget the day
When Jesus washed my sins away.
3-Gwine to argue wid de Father and
chatter wid de Son,
Gwine talk 'bout de bright world dey
des' come from.
4-When Jesus shuck de manna tree,
He shuck it for you, an' he shuck it for
me.
5-De trumpet shall sound, an' de dead
shall rise,
And go to mansions in de skies.
6- Of all de folks I like de bes'
I love de shouting Methodist.
Both Sister Bemaugh and Aunt
Dinah agreed that the church to
which they belonged was cold, and
sometimes they had to provoke each
other to love and good works in view
of its depressing influence upon them.
It never seemed cold when I was
there, but they agreed that by the
time meeting would get fairly to go-
ing here, their respective home
churches would have been "all in a
mourn." Aunt Dinah complained (I
copy again from the margin of my
score):
"Dis chu'ch powerful cold. It des'
scrunches me. It's so indifferent from
our home chu'ch. Sometimes I goes
dah, an I feels de Sperrit, but I hangs
my head and squenches it. I knows
I'se changed from nature to grace,
but when I goes dah, I don' feel like
I'se gone to chu'ch. It ain't like it
used to be wid me at home. De
Sperrit has lifted me right up. I'se
shouted dah much as I please, and
sometimes I'se des' sot dah an' tickled
myself, and den agin I've mighty nigh
hugged Sistah Williams to death!"
To this Sister Bemaugh would re-
spond: "When you feels de Sperrit,
you mustn't squench him."
Perhaps the next time the com-
plaint and exhortation would be re-
versed. Anyway, they agreed in their
declaration that the church was not
what it ought to be, and they some-
times grew almost ecstatic as they
hummed and gossiped in the chimney
corner while I wrote at the ironing
table.

20
H
HYMNS OF THE SLAVE AND THE FREEDMAN.
One of Aunt Dinah's hymns was
"The heaven bells ringin' and I'm
a-goin' home," which was sung to a
ringing tune. It requires but little
imagination to hear the ringing of
bells to its "going, going home.'
have heard the same words sung to
another tune, but the ring of this one
is remarkable.
HEAVEN BELLS RINGIN', AND I'M
A-GOIN' HOME.
I
MIGHTY DAY.
Yes, the book
And
As
0-
of
ev
ry
Rev
leaf
un
I
went
down
in-to
At the sound ing
-
of
the
1
on that day,
lution's to be bro't forth
fold - ed, the book of sev en seals.
E-gypt, I camped up on the ground;
Holy Ghost came down. J
trum-pet, the
REFRAIN.
Another
at Aunt Dir
ings was "A
who cares t
the melody
so decidedly
might well
poems. The
not only in
fect which
"Within a M
but also in t
the final ton
0
de heav'n bells a
-
ring - in', and
O wasn't that
a might-y day? O
A
REFRAIN.
I'm a-go-in',go - in'home; De heav'n bells a
was
-
n't that a might - y
day? O
Is there a
ring-in',and I'm a-go-in', go- in'home;De
wasn't that a might - y
day? O
Je - sus
heaven bells a- ring - in',and I'm a-go-in',
-
was n't that a
mighty day?
loves
my
2-And when the seals was opened,
The voice said, "Come and see,"
I went and stood a-looking
To see the mystery.
my
The red horse came a-galloping,
go-in' home, a-climb-in' up Zi-on's hill.
2-De heaven bells ringin', an'
mother's goin', goin' home, etc.
3-De heaven bells ringin', and my Jesus
goin', goin' home, etc.
4-De heaven bells ringin', and de sinner's
lost, he's lost a home, etc.
Another of Aunt Dinah's songs was
"Mighty Day." The refrain is a four-
fold repetition of the question, "O
wasn't that a mighty day?"--but this
is usually repeated so as to make
eight repetitions. The verses follow
more or less closely the events of the
Apocalypse, and are of variable
length.
In their fondness for eschatology,
and the joy with which they antici-
pate the day of judgment and dwell
upon its terrific and sublime features,
the hymns are a fair echo and anti-
phon of the preaching which they ac-
company.
And the black horse he came, too,
And the pale horse he came down the
road,
And stole my father away.
Refrain.
3-And then I seen old Satan,
And they bound him with a chain,
And they put him in the fi-ar,
And I seen the smoke arising.
They bound him in the fi-ar,
Where he wanted to take my soul,
Old Satan gnashed his teeth and
howled,
And missed po' sinner man's soul.
Refrain.
4-Then I see the dead arisin',
And stand before the Lamb,
And the wicked calls on the mountains
To hide them from His face.
And then I see the Christian
A-standin' on the right hand of Jesus.
And a-shoutin' Hallelujah,
Singin' praises to the Lamb.
5-I bless de Lord I'm goin' to die,
I'm goin' to judgment by and by.
know
if
I
want
1. The
an
gold, That b
2-What kind
That you n
3-This world
Let us all to
4-I do believe
That a Chr
5-Religion is
As none bu
6-You say yo
Why don't
7-When every
I know Kin

N.
21
HYMNS OF THE SLAVE AND THE FREEDMAN.
Rev
leaf
down
0-
un
-
of
in-to
the
on that day,
sev
-
en seals.
on the ground;
host came down. J
ht-y day? O
Another hymn which I heard both
at Aunt Dinah's fireside and in meet-
ings was "Anybody Here." Anyone
who cares to sing it will recognize in
the melody of the second half a strain
so decidedly like the Scotch that he
might well wed it to one of Burns's
poems. The resemblance is apparent,
not only in the slurring, hopping ef-
fect which almost matches that in
"Within a Mile of Edinboro' Town,"
but also in the threefold repetition of
the final tonic note.
ANYBODY HERE?
REFRAIN.
味
​y
day? O
- y
ty
day? O
day?
opened,
e and see,"
ing
calloping,
he came, too,
came down the
way.
tan,
Is there any-bod-y here That loves my
Jesus? An-y-bod-y here that
loves my Lord? O, I want to
know if
you love my
Jesus;
FINE.
I want to know if you love my Lord.
with a chain,
1. The
e fi-ar,
e arising.
fi-ar,
ake my soul,
his teeth and
r man's soul.
sin',
Lamb,
the mountains
is face.
istian
t hand of Jesus.
ah,
Lamb.
n' to die,
by and by.
an gel's wings were tipp'd with
D.C.
gold,That bro't sal - va-tion to my soul.
2-What kind of shoes is them you wear,
That you may walk upon the air?
3-This world 's a wilderness of woe,
Let us all to glory go.
4-I do believe without a doubt
That a Christian has a right to shout.
5-Religion is a blooming rose,
As none but them that feels it knows.
6-You say you're aiming for the skies;
Why don't you stop your telling lies?
7-When every star refuse to shine,
I know King Jesus will be mine.
It was in connection with the song,
"Rule Death in His Arms," that I
heard Aunt Dinah tell her religious
experience to Sister Bemaugh. She
was only a little girl, she said, when
the war broke out,-"jes' a water-
toter." That was as nearly as she
could estimate her age, that at the
outbreak of hostilities she was large
enough to "tote water" to the men in
the field. Her uncle, she said, was
taken with other slaves to erect for-
tifications in Virginia before the time
when colored troops were allowed to
enlist, and while at that work was
shot. She saw him while he was dy-
ing, and said to him, "You'd better
pray;" but he cursed her and said,
"I done got past prayin';" and she
added, "An' right den he died." She
continued the narrative with a good
deal of awe, but with no special ex-
hibition of concern for her uncle.
Said she: "Dat night I seed him. An'
he was in dat ba-a-ad place! An' de
debbil des' a-shovin' fire on him wid a
pitch-fork! Yeas, ma'am! De deb-
bil has got a pitch-fork! I seed him!
An' one club foot! An' my uncle
looked up an' seed me. An' I
says, 'Aha! You'd orter prayed
when I tole you!' An' he says, 'I
wish de Lawd I had a-prayed!' Dat's
what he said. Sesee, 'You needn't
nebbah want to come heah!' An' I
says, 'I hain't a-comin' dah, now you
des' see!' An' den de ole debbil
looked up, an' he says, 'Yes, an' I'm
a-comin' to git you bime-by.' An'
den I looked, an' I couldn't see what
I was a-stannin' on, an' I was right
over it. Mus' 'a' been de power of God
dat kep' me from fallin' in. An' den
I begun to pray. O, but I had a hard
time a-gittin' through! I reckon de
Lawd mos' made up His mind not to
wash away my sins, 'cause I danced
so much! But bime-by I learn dis
song; and when I learn dat song, de
Lawd spoke peace to my soul."
The song is a chant with very ir-
regular lines and a refrain. The fig-
ure, "Rule death in his arms," is, I
suppose, that of a parent subduing an

22
H
HYMNS OF THE SLAVE AND THE FREEDMAN.
unruly child. It is almost impossible
to write this tune. Even the selection
of a key is difficult. It runs an octave
below its keynote, and while the
range above is only five notes, it is
common to sing the "sinner" verse an
octave higher, thus covering two oc-
taves and a third. The time, also,
varies in the different stanzas, but
with the same cadences. The value
of this melody is almost wholly in the
expression given to it. The notes
alone are colorless.
RULE DEATH IN HIS ARMS.
1. When God command-ed Mi-chael in the
morn-ing, To stretch at
di- vid - ing line,
With the sheep up on his right hand side,
-
And the goats up
REFRAIN.
-
his
on
left.
O did-n't Jesus rule Death in His
4-When God commanded Gabriel
To blow the silver trumpet,
He called the living to judgment,
And the dead come forth from the
grave.
5-See the Christian lyin' on his death-
bed,
An' a Death come a-steppin' in;
You heah dat Christian say to Death,
"O Death, you are welcome."
Sister Bemaugh and Aunt Dinah
sang this over and over while I was
writing it down, first for my benefit
and then for their own enjoyment.
I have other songs which I learned
from these two good old women,
some of them used before and others
to follow in this paper. The songs
obtained from them were unadulter-
ated by book-religion or any modern
tinkering. Every quaver, every slur,
every syncopation was there, and I
took the greatest pains to write them
as they gave them. There was one
which they called "De Coffin to Bind
Me Down." They made a very long
song of it by using the verses again
and again, the first line in one verse
serving as the third in another, and
coupled with a different companion.
There were only four lines and the
refrain, "De coffin to bind me down;"
but out of these they made certainly
four times four stanzas.
arms, Yes, rule Death in His arms, On the
THE COFFIN TO BIND ME DOWN.
2-To dust
De coffi
A golde
De coffi
De coffi
De coffi
A foldin
De coffi
Besides m
hymn out o
women could
tune out of
have heard
could hardly
compass till
found that i
first three no
Such a song
on and leav
little hymn.
I DON'T V
REFRAIN.
I'm a c
Yes, Lord! W
don't want
啡
​I'm trav
1. I've done
My Lor
{I'm
com
He hear
2.
I.
De cof-fin, de coffin to bind
A fold
ing sheet up-on
my
D.C. A sil ver spade to dig my
me
My
Je
3.
4.
FINE.
(The Lor
He save
other side of Jordan, Ah! rule Death in His arms.
2-See the sinnah lyin' on his deathbed,
An' a Death come a-steppin' in;
You heah the sinnah say to Death,
"Let me pray God for my sin!"
An' you heah Death say to the sinnah,
"You been heah long enough to pray
God for you sin."
3-Yes, you heah Death say to the sinnah-
man,
"You been heah long enough to pray
God for you sin."
God Almighty has sent me heah for
you,
An' I can't let you stay."
down, De cof-fin to
lips, De cof- fin to
grave, De cof-fin to
bind me down.
bind me down.
bind me down.
#
travel
lost
"Foll
wait.
heav'n
saved
De coffin to bind
me down, De
mourn
sure
"
D.C.
coffin to bind
me
down.
don't want y

N.
23
HYMNS OF THE SLAVE AND THE FREEDMAN.
Gabriel
mpet,
udgment,
orth from the
on his death-
eppin' in;
say to Death,
come.'
99
Aunt Dinah
while I was
r my benefit
enjoyment.
ich I learned
old women,
re and others
The songs
re unadulter-
any modern
r, every slur,
there, and I
o write them
ere was one
offin to Bind
e a very long
verses again
in one verse
another, and
companion.
ines and the
d me down;"
ade certainly
2-To dust, to dust, to dust we go,
De coffin to bind me down!
A golden chain to let me down,
De coffin to bind me down!
De coffin to bind me down!
De coffin to bind me down!
A folding sheet upon my lips,
De coffin to bind me down!
Besides making a very respectable
hymn out of a few lines, these two
women could make a reasonably good
tune out of three or four notes. I
have heard them sing one which I
could hardly believe had so small a
compass till I came to write it and
found that it was all covered by the
first three notes of the scale, do, re, mi.
Such a song is: "I don't want you go
on and leave me." It is a pathetic
little hymn.
I DON'T WANT YOU GO ON AND
LEAVE ME.
REFRAIN.
56
-8
The singer is toddling along with
short and broken steps, trying to
keep in sight of the Lord, and plead-
ing not to be left behind.
The negroes have many hymns of
the "Old Ship of Zion." The talented
young southern poet, Irwin Russell,
gave an exceedingly funny descrip-
tion of the ark as interpreted in the
light of a negro's experience with a
river steamer. Such anachronisms
sometimes work themselves in perfect
good faith into these hymns. But the
hymn of this sort which I liked best
was one which I learned from Aunt
Dinah. The ring and swing of the
refrain, "I'm no ways weary," are
truly inspiring. I used frequently to
hum it on my long mountain rides
till there came some measure of relief
from fatigue from its buoyant spirit.
THE OLD SHIP OF ZION.
REFRAIN.
I'm a com-in'! Yes,Lord! I'm a com-in'!
I'm no ways weary! I'm no ways tired! O
glo-ry hal-le- u
-
jah! Just let me in the
Yes, Lord! Wait,for I'm comin'! Yes, Lord! And I
FINE.
ME DOWN.
don't want you go on and leave nie.
Kingdom when the world ketch a fire! 0
FINE.
to bind
up on
to
dig my
I'm
trav-'ling thro' the wil - der - ness; I
wea ry, and I've
calls
Lord,
1. I've done got
He
My Lord,
2. I'm com in',
me,
0
from
pray'r and
glo-ry hal-le-lu - jah! 1. 'Tis the old ship of
me
3.
my
4.
FINE.
My
Je
He heard my
The Lord, He
He saved the
sus
came
Zion, hal - le- lu
-
jah! 'Tis the
heard
soul
the
that was
D.C.
me down.
me down.
me down.
e down, De
down.
trav - el
lost
"Foll
all day,
my way, And
And
- low Me,"
And
wait.
heav'n
saved
mourn
sure
for me, And
to earth, And
my soul, And
er's
cry, And
to
And
die,
I
I
I
D.C.
D.C.
don't want you go on
and leave me.
-6-
old ship of Zion, hal-le- lu- jah!
2-She has landed many thousands, Halle-
lujah!
3-King Jesus is her captain, Hallejuh!
4-0, get your ticket ready, Hallelujah!
5-She is coming in the harbor, Hallelu-
jah!
6-She will land you safe in heaven,
Hallelujah!
7-She will never rock nor totter, Halle-
lujah!

24
H
HYMNS OF THE SLAVE AND THE FREEDMAN.
Some of the old slave songs survive
which had in them the bitterness of a
sorrow that never spoke its intensity
in plain words, but sought figures
from the Bible or veiled its real mean-
ing in inarticulate moans or songs of
grief that never uttered the real nature
of the sorrow. Yet every minor note
was the wail of a broken heart, and
every syncopation the snapping of a
heartstring. One of these is called
"Po' Me."
وو
PO' ME!
Refrain.
But, O my Lawd,
Po' me! Po' me!
Trouble will bury me down!
Po' me! Po' me!
Trouble will bury me down!
One of the most pathetic of all these
songs, its minor strains the very acme
of sorrow, is "Troubled in Mind." I
think that it has been printed, but
neither words nor music are as I have
heard them.
TROUBLED IN MIND.
cres.
Slow.
40+
ま
​1. The Lord is on
the giving hand,
Now I'm troubled in mind!
ff
I'm so
Trouble will bur
-
y
me down! The
trou-bled in mind!
dim.
I ask good
more I pray the bet - ter I feel,
Lord
to show me the way,
To
FINE.
Trouble will bur
REFRAIN.
-
y me down!
ad lib.
eas - y
m
my trou-bled in
mind!
Why, breth-er- ing, Po' me! Po' me!
Why, sister-ing,
tempo.
ad lib.
Trouble will bur - y me down! Po' me!
tempo.
Po' me! Trouble will bur - y me down!
2-Hallelujah once, hallelujah twice,
Trouble will bury me down!
De Lawd is on de giving hand,
Trouble will bury me down!
Refrain.
Why, sistering,
Po' me! Po' me!
Trouble will bury me down!
Po' me! Po' me!
Trouble will bury me down!
3-Sometimes I think I'm ready to drop,
Trouble will bury me down!
But, thank de Lawd, I do not stop,
Trouble will bury me down!
1. In
the morn-ing I
bled
am trou
1st. V2d. D.C.
Fo' day! I am troubled in mind! mind!
2-While I'se walkin' I am troubled,
All day!
I am troubled in mind.
3-0 sinnah, I am troubled!
All day!
I am troubled in mind.
4-0 my Jesus, I am troubled!
All day!
I am troubled in mind.
The direct references to slavery in
the negro songs are surprisingly few.
Probably few of the people had come
to think of slavery itself as abnormal
or of its hardships as justly chargeable
to the system; and it is still more
probable that the grief which they felt
they were co
general lam
ing plainly th
garded as in
It is notew
however mu
rows of slav
ment. The
it be an exce
fact that
"When Moses
The waters
And drowned
lelu!"
The secula
Massa Run,
"Bobolishion
are tolerably
one hymn w
which speak
his new mar
sung sometin
panies of e
who introduc
"Holy Bible!
Holy Bible, E
But I never
as a verse of
tation hymn
erences to th
as are giver
series, nam
known narra
ture. The "
probably the
ing preacher
priate, howe
sung to the
the freedma
slavery, and
in a strong a
forts himself
possibility of
the first-class
to play the ch
as is described
heaven, the d
ored man ev
But apart fr
provoke a s
that thrills or
"Before I'd be
I'd be buried in
And go home

V.
25
HYMNS OF THE SLAVE AND THE FREEDMAN.
e down!
down!
c of all these
he very acme
n Mind." I
printed, but
are as I have
ND.
cres.
nd!
I'm so
ask good
e way,
n mind!
m
-
To
FINE.
trou bled
1st. Vzd. D.C.
mind! mind!
m troubled,
d.
led!
d.
abled!
d.
to slavery in
prisingly few.
ple had come
as abnormal
ly chargeable
is still more
hich they felt
they were constrained to veil behind
general lamentation without speak-
ing plainly the sorrows which they re-
garded as inevitable.
It is noteworthy that these songs,
however much they bewail the sor-
rows of slavery, contain no resent-
ment. The only known exception, if
it be an exception, is the joy over the
fact that
"When Moses smote the water,
The waters came together
And drowned old Pharaoh's army. Hal-
lelu!"
The secular songs of freedom, "De
Massa Run," "Babylon is Fallen,"
"Bobolishion's Comin'" and the rest,
are tolerably familiar. But there is
one hymn which I used often to hear
which speaks the freedman's joy in
his new manhood. I have heard it
sung sometimes in the North by com-
panies of educated jubilee singers,
who introduce it with the lines,
"Holy Bible! Holy Bible!
Holy Bible, Book Divine, Book Divine!"
But I never heard these words sung
as a verse of this or any native plan-
tation hymn in the South. Their ref-
erences to the Bible are few, and such
as are given in the songs of this
series, namely, allusions to well-
known narrative portions of Scrip-
ture. The "Holy Bible" stanza was
probably the addition of some "read-
ing preacher." It is quite as appro-
priate, however, as those which are
sung to the song in the South; for
the freedman, preferring death to
slavery, and singing his solemn joy
in a strong and stirring strain, com-
forts himself in the thought of the
possibility of death, with the details of
the first-class funeral, in which he is
to play the chief rôle. Such a funeral
as is described in this hymn is, next to
heaven, the desire of the average col-
ored man even in a state of grace.
But apart from all this, which may
provoke a smile, there is something
that thrills one in the words:
"Before I'd be a slave,
I'd be buried in my grave,
And go home to my Lord and be saved!"
BEFORE I'D BE A SLAVE.
REFRAIN.
Be-fore I'd be a slave, I'd be buried in my
FINE.
grave, And go home to my Lord and be saved.
1. O, what preachin'! O, what preachin'!
O, what preachin' o - ver me,
2-0, what mourning, etc.
3-0, what singing, etc.
4-0, what shouting, etc.
5-0, weeping Mary, etc.
6-Doubting Thomas, etc.
7-0, what sighing, etc.
0-ver me!
D.C.
As I write the words of this hymn
I seem to hear old Uncle Joe Will-
iams sing them. Slavery had not
been unkind to him. He always
hired his time from his master and
made money enough to pay for his
labor, and had a good start toward
buying his wife and children when
freedom came. But this is the hymn
he loved to sing, sitting before his
door in the twilight.
For the most part the war did
little for negro song. The melodies
which are most characteristic gain
little from association with outside
influences. But here and there we
may trace in words or music a theme
which the war suggested and which is
worth noting. Choicest among these
specimens is "Sinner, You'd Better
Get Ready." In several ways it
seems a departure from ordinary
negro music, but it is quite character-
istic. It is in triple time; it is major;
and the melody of the refrain, which
is its more important part, is entirely
in thirds, unless we take account of
the three notes before the last one,
which as now sung make a slight

26
HY
HYMNS OF THE SLAVE AND THE FREEDMAN.
variation, but which are easily
changed to conform to the rule. As
written, the lower notes are as sung;
the upper harmony is as it would be
played. With this slight change it
can be played on a keyless bugle.
LITTLE DAVID, PLAY ON YOUR HARP.
61
I'M
1. Little
David, play
O
I'm
on your
SINNER, YOU BETTER GET READY.
-
harp, Halle lu! Halle lu!
sing, Goin
FINE.
REFRAIN.
3
4
sing
all
Lit-tle Da-vid, play on your harp, Hal-le-lu!
Sinner, you better get read - y,
1. Lit-tle David was a
Sin - ner, you better get read
y,
2. Josh - u-a was the
shepherd boy; He
son of Nun; He
3.
Jes' wait till I get on the mountain top;Gwine to
D.C.
Sin -ner, you better get read - y, For the
சன்
O
I'm
sing, Goin
killed Goli-ath,and he shout-ed for joy!
FINE.
nev-er did
make my
hour is a-com-in' Dat a sin- ner must die.
The tallest tree in Par
The Chris-tian calls it the tree
a - dise,
of life,
D.C.
Hour is a com-in' Dat a sin-ner must die.
2-I looked at my hands, my hands was
new;
I looked at my feet, my feet was, too.
3-My name's written in de book of life,
If you look in de book you'll find it
there.
4-De good old chariot passing by,
She jarred the earth and hook the sky.
Another song that uses almost
wholly the open notes is "Little
David, Play on Your Harp." It is less
like a bugle song than "Sinner, You
Better Get Ready," but it is striking
in its use of major thirds and fifths,
the more so as, following the negro
predilection for minor beginnings,
this decidedly major tune starts on la.
Its opening notes are, la sol do mi do,
la sol do, do do mi, do mi sol.
4-
stop till his work was done.
wings go flip - pity flop.
-Peter walked upon the sea,
And Jesus told him, "Come to me."
5-Elijah slew the prophets of Baal;
The rain came down and did not fail.
6-If you belong to Gideon's band,
Then here's my heart and here's my
hand.
7-They cast Brer Jonah overboard,
And a big whale swallowed Brer Jonah
whole.
If the foregoing suggest a bugle.
not less so do some others suggest the
tap of the drum. There is no better
example than one lately given me by
Rev. George W. Moore, field mis-
sionary of the American Missionary
Association, and husband of one of
the original jubilee singers, whose
voice still is often heard at annual
meetings of that association. Any-
one who will for a moment disregard
the tones, and tap the notes or sing
them in monotone with a rat-tat-a-tat,
will see that the time of the song
"I'm Goin' to Sing" is such as might
well have been derived from the beat
of an army drum.
sing
all
1. We want no
2. Are there no
will their col-d
I not stem
heart - ed men V
friend to grace
Some of th
ceedingly sim
having only a
called a perma
This is ofter
shortened, and
a hortatory e
address; but t
built up as o
in some cases
cell of the s
greatly in diff
times a single
to the refrain
commonly re
stanza, but for
about for cou
All," or other
same length.
ever, are rathe

N.
27
HYMNS OF THE SLAVE AND THE FREEDMAN.
YOUR HARP.
I'M GOIN' TO SING.
味
​STAY IN THE FIELD.
REFRAIN.
O
I'm goin' to
sing, Goin' to
ay
on
your
O
stay in the field,chil-der- en- ah
- le lu!
sing, Goin'
to
sing, Goin' to
FINE.
Stay in
the field, chil-der- en -ah,
FINE.
harp, Hal-le-lu!
pherd boy; He
of Nun; He
intain top;Gwine to
D.C.
sing
all a
-
· long
my way.
O
I'm goin' to sing, Goin' to
sing, Goin'
to
sing, Goin'
to
FINE.
Stay in the field, Un- til the war is end-ed.
I.
I've got my breastplate,sword, and shield,
And I'll go march-ing thro' the field,
D.C.
hout-ed for joy!
work was done.
Hip - pity flop.
ca,
ome to me."
s of Baal;
1 did not fail.
's band,
and here's my
overboard,
ved Brer Jonah
gest a bugle.
rs suggest the
e is no better
given me by
re, field mis-
n Missionary
nd of one of
ngers, whose
rd at annual
ation. Any-
ent disregard
motes or sing
a rat-tat-a-tat,
of the song
such as might
from the beat
sing
all
a
1
- long my way.
1. We want no cow-ards in
2. Are there no foes for me
our band, Who
to face, Must
will their col-ors fly; We call for val- iant
I not stem the flood? Is this vile world a
D.C.
heart- ed men Who're not a - fraid to die.
friend to grace, To help me on to God?
Some of these war songs are ex-
ceedingly simple in structure, often
having only a single line that can be
called a permanent part of the hymn.
This is often repeated, sometimes
shortened, and again lengthened by
a hortatory ejaculation or a direct
address; but the rest of the hymn is
built up as occasion demands,-and
in some cases the one line, or germ
cell of the song, is found to vary
greatly in different versions. Some-
times a single couplet attaches itself
to the refrain in such a way as to be
commonly recognized as the first
stanza, but for the rest the song hunts
about for couplets from "Jesus, My
All," or other hymns with lines of the
same length. Some of these, how-
ever, are rather effective.
Till the war is end ed.
-
2-Satan thought he had me fast,
Till the war is ended:
But thank the Lord I'm free at last,
Till the war is ended.
No other couplet of this as I
learned it has any military sugges-
tion. The other verses used are such
as are given in the songs with con-
stant refrains and variable stanzas.
There are several simple songs that
fit a military pledge of fealty to famil-
iar words, with a simple but effective
tune, as:
SOLDIER FOR JESUS.
REFRAIN.
1. I'm
a
soldier for Jesus, En-
listed for the war, And I'll fight un
FINE.
Q
til
die.
1. Am.. I a
sol - dier
of
the
cross, And
D.C.
shall I
fear to own His cause.

28
HY
HYMNS OF THE SLAVE AND THE FREEDMAN.
2-This is the way I long have sought
And mourned because I found it not.
3-I've got my breastplate, sword and
shield,
And I will die upon the field.
There are suggestions of enlistment
in songs about joining the band. The
allusions are generally indefinite, but
such as might well come from a gen-
eral suggestion of military figures
adapted for use in worship.
GWINE TER JINE DE BAND.
REFRAIN.
cate yet more plainly the army origin
of some of these songs. One of these
is:
STAND ON A SEA OF GLASS.
REFRAIN.
4
4
:
BIG CAMP ME
O di
O
dis un
-
i on! Sing dis
un - i - on
un - i
on! I
love
dis
FINE.
un- i - on,Stand on a sea
Big camp n
4
Ise
a
gwine ter jine de band,
I'se
a
gwine ter jine de
band,
-
Lit tle children- ah!
FINE.
Ise
a gwine ter jine de band.
1. Haint but one thing that grieves my mind,
D.C.
Band of an - gels leaves me be-hind-ah!
3-Swing low, chariot, pillar in de East,
All God's chillen gwine ter hab a little
feast-ah!
4-Swing low, chariot, pillar in de West,
All God's chillen gwine ter hab a little
rest-ah!
-Swing low, chariot, pillar in the South,
All God's chillen gwine ter hab a little
shout-ah!
Each stanza of the above hymn
ends with a euphonic Ah! which con-
nects it with and merges into the
refrain. A like syllable is used at the
end of the second line of the refrain.
Now and then the word "Union,"
pronounced in three syllables, is
added to the "band," and may indi-
of glass.
I.
I.
{Sword of
Satan tried
to
my soul
faith skeered him
slay
a
way,
D.C.
Stand
on
a
sea
of
glass.
2-When Jesus shook the manna tree,-
Stand on a sea of glass,
He shook it for you and shook it for
me,-
Stand on a sea of glass,
3-Talles' tree in Paradise,-
Stand on a sea of glass,
Christian calls it de tree of life,-
Stand on a sea of glass,
The negro pronunciation of "This
Union" was said to be turned to good
account by certain merchants living
in the border states during the war,
among whom a popular placard bore
a picture of a contraband throwing up
his hat and shouting, "Dis Union For-
ever!" The words were so spaced as
to leave the phrase beautifully ambig-
uous, and it was explained as "This
Union forever," or "Disunion for-
ever," according to the exigencies of
the occasion.
Another version, with a different
tune, is found in a grouping of the
"Union band" with that theme of per-
petual interest and ecstatic contem-
plation, the big camp meeting in the
promised land. There are many
songs that dwell on the last of these,
and some that combine the two.
6
You kin hind
For He sits in d
Big camp me
2-I hain't got
De road is r
I have one
made up fro
and the two
Power" and 1
Cross?"
6
CROWND
REFRAIN.
We
will
d
all,
We
all,
We w
Crownd him Lor
1. Am
I
follower of th
own His cause,

N.
29
HYMNS OF THE SLAVE AND THE FREEDMAN.
e army origin
One of these
F GLASS.
BIG CAMP MEETING IN THE PROMISED
LAND.
0
dis un
i- on!
on! Sing dis
un - i - on
Ove
dis
FINE.
O dis
band! O dis un-i- on!
FINE.
Big camp meeting in de prom-ised land!
One feature of army life impressed
the negro deeply. It was the calling
of the roll and the lining up of the
men to answer to their names. It
has its echoes in several hymns, some
of which have been published; but the
most striking one which I have ever
heard I give below:
WHEN THAT GENERAL ROLL
IS CALLED.
REFRAIN.
sea
of glass.
味
​I.
You kin hinder me here, but you can't do it there,
For He sits in de heavens,and He answers prayer,
D.C.
I'll be there in the morning, I'll
be
soul
to
him a
slay
way,
of
6
D.C.
glass.
manna tree,-
SS,
nd shook it for
ass,
Big camp meeting in de promised land!
2-I hain't got time for to stop an' talk,
De road is rough and it's hard to walk.
I have one song that seems to be
made up from an army march tune
and the two hymns, "All Hail the
Power" and "Am I a Soldier of the
Cross?"
CROWND HIM LORD OF ALL.
there in the morn-ing, I'll be
there
in
the
morning, When that
gen-er-al roll is called, I'll be there, When that
REFRAIN.
ass,
e of life,-
ass,
We
will crownd him Lord of
ation of "This
urned to good
rchants living
ring the war,
all,
We will crownd him Lord
of
r placard bore
gen-er-al roll is called, I'll be there.
1. Gwine to see my father, I'll be there; Gwine to
V2 D.C.
I
d throwing up
is Union For-
e so spaced as
utifully ambig-
ined as "This
Disunion for-
e exigencies of
th a different
ouping of the
t theme of per-
static contem-
meeting in the
re are many
e last of these,
e the two.
all,
We will crownd him Lord,
FINE.
Crownd him Lord, We will crownd him Lord of all.
1. Am
I a sol-dier of the cross, A
follower of the Lamb? And shall I fear to
D.C.
own His cause, Or blush to speak His name?
see my fa-ther, I'll be there;Gwine to there.
2-Goin' to see my mother, etc.
3-Goin' to see my sister, etc.
4-Goin' to see my brother, etc.
5-Goin' to see my Jesus, etc.
These are quite enough to illustrate
the effect of the war upon the songs of
the negro, and are the principal
hymns of this kind which have come
to my notice.
These retain, for the most part, the
genuine negro characteristics, but il-
lustrate the imitative bent of the ne-
gro mind, and manifest more or less
distinctly outside influences.

30
H
HYMNS OF THE SLAVE AND THE FREEDMAN.
There is an element of religious
selfishness in some of these songs and
a rejoicing in the relative exclusive-
ness of religion as the singers under-
stand it. We have noticed it already
in such couplets as:
"Wait till I get in the middle of the air,
There won't be nary sinner there."
It constitutes the burden of some
songs. I do not know that it
is more pronounced in these than
in some more pretentious hymns. I
hear quite often in evangelistic
meetings a song of heaven in which,
as I first heard it, the words were:
"I shall know Him, I shall know Him,
And alone by His side I shall stand,
I shall know Him, I shall know Him,
By the print of the nails in His hand.'
Such songs are as open to criticism
on the ground either of an unspiritual
materialism or of a religious self-
seeking as are any of the negro
hymns. Recently, however, I have
heard this one sung, "And redeemed
by His side I shall stand," which elim-
inates one objectionable feature.
99
The hymn which I give as illustrat-
ing this characteristic is "I'm Going
to Walk with Jesus by Myself." The
tune is much the same as that of
Who Will Drive the Chariot When
She Comes?" And this reminds me
that many of these tunes that seem
monotonously alike when written,
have a much wider variety when sung
to different words and with the ad
libitum of the negro singer. In this
the melodies are much like those of
Scotland. Who ever would have
known by ear alone that the tune of
"I'm wearin' awa, John," is the very
same as that of "Scots wha hae wi'
Wallace bled"? And for that matter,
who, knowing the pathetic sweetness
of the one and the martial solemnity
of the other, would have suspected
that both these airs are simply the
silly old ditty of "Hey, tuttie, tattie"?
Even so these negro melodies are not
to be too lightly scorned because of
their monotony, which is often more
apparent than real.
I'M GOIN' TO WALK WITH JESUS
BY MYSELF.
1. I am goin' to walk with Je-sus by my-
2. I'm
goin' to talk with Jesus by my-
3. I'm
goin' to see King Je-sus by my -
4. I'm
goin' to live with Jesus by my-
self, by myself,
self, by my - self,
self, by myself,
self, by my - self,
I am goin' to walk with
I am goin' to talk with
I am goin' to see King
I am goin' to live with
Jesus by my-self, by my-self, I'm
Jesus by my-self, by my-self, I'm
Jesus by my-self, by my-self, I'm
Jesus by my-self, by my-self, I'm
a number of
selves to be
could any or
it. However
is rather a ra
It may be
sion implies
through," sa
preted, is not
perience.
"walking ald
DONE
1. One
I
day
long, The
goin'
goin'
goin'
goin'
to walk with
Je
- sus, I'm
One
day
to
talk with
Je sus, I'm
to
see King
Jesus,
I'm
to
live with
Je
-
sus,
I'm
long,
He
goin'
goin' to
goin' to
goin' to
to
walk with
Jesus,
I'm
talk with Je sus, I'm
see King Je - sus, I'm
live with Je sus, I'm
Sinner, b
-
goin' to walk with Jesus by my-self.
goin' to talk with Je- sus by my-self.
goin' to see King Jesus by my-self.
goin' to live with Je- sus by my-self.
A good many of the hymns of the
colored people deal with ecstatic ex-
periences; but most of them are suf-
ficiently modest in their claims of re-
generate character and of fruits meet
for repentance. Now and then, how-
ever, there is a song whose singer pro-
fesses to have received sanctification.
It has been my privilege to know a
number of people, white and black,
who were thought by others to be
sanctified in the sense in which that
term is commonly (and incorrectly)
used; but these people always denied
it. On the other hand, I have known
God, The Lo
Sinner, b
God. He
1-One day I'
The Lor
One day I'
He sanct
Mourner, b
The Lor
He sanctifi
He sanct
2-I went to t
The Lord
I climbed t
He sanct
Sinner, beh

IN.
31
HYMNS OF THE SLAVE AND THE FREEDMAN.
ITH JESUS
Je-sus by my-
Jesus by my-
Je-sus by my-
Jesus by my-
goin' to walk with
goin' to talk with
goin' to see King
goin' to live with
by my-self, I'm
by my-self, I'm
by my-self, I'm
a number of people who thought them-
selves to be sanctified, and in no case
could any one else be made to believe
it. However, here is the hymn, which
is rather a rare one of its sort.
It may be noted that while conver-
sion implies a long struggle to "get
through," sanctification, as here inter-
preted, is not related to antecedent ex-
perience. It occurs simply while
"walking along."
61
DONE BEEN SANCTIFIED.
1. One day
I'se a walk-ing a
N
3-Before I learned to pray,
The Lord done sanctified me;
I'd trouble all the day,
He sanctified my soul.
Brother, behold the Lamb of God, etc.
4-I'se lost and now I'm found,
The Lord done sanctified me;
My soul is heaven bound,
He sanctified my soul.
Preachers, behold the Lamb of God,
etc.
A good old hymn is "Don't you
want to go?" I count it one of the
gems of negro song.
DON'T YOU WANT TO GO?
by my-self, I'm
long, The Lord done sanc-ti-fied me;
1. O
-
2. O
3. O
broth er, don't you want
sister, don't you want
sin ner, don't you want
to go?
to go?
to go?
e sus, I'm
One
day I'se walking a -
e
2
sus,
e-sus,
I'm
I'm
e
CD
-
sus, I'm
long,
He sanctified my soul.
Je
sus, I'm
I'm
Jesus,
Te sus, I'm
Je sus, I'm
Sinner, be - hold the Lamb of
000
000
-
brother, don't you want
to go?
sis
sin
ter,don't you want
ner,don't you want
to go?
to go?
-
broth - er, don't you want to
sister, don't you want to
sin ner, don't you want to
go? Come,
go? Come,
go? Come,
s by my-self.
5 by my-self.
by my-self.
5 by my-self.
hymns of the
h ecstatic ex-
them are suf-
- claims of re-
of fruits meet
nd then, how-
ose singer pro-
sanctification.
ge to know a
te and black,
others to be
in which that
d incorrectly)
always denied
I have known
God, The Lord done sanc-ti - fied me;
less go down to Jordan, Hal - le
REFRAIN.
Sin - ner, be I hold the Lamb of
God. He
lu!
Less
go down
to Jordan! Less go
#
sanctified
my soul.
1-One day I'se walkin' along,
The Lord done sanctified me.
One day I'se walkin' along,
He sanctified my soul.
Mourner, behold de Lamb of God,
The Lord done sanctified me.
He sanctified me, he'll sanctify you,
He sanctified my soul.
2-I went to the valley to pray,
The Lord done sanctified me;
I climbed to the mountain top,
He sanctified my soul.
Sinner, behold de Lamb, etc.
down
to Jordan! Less go down to
Jordan, Hal - le- lu
jah!
Less go down to Jor-dan! Less go down to
Jordan! Less go down to Jordan, Hal-le- lu!

32
HYMNS OF THE SLAVE AND THE FREEDMAN.
Jordan and the sea furnish abundant
figures for these songs; and the river
applies equally well to baptism or to
death. One of these songs is, "You
can't cross here." It is a dialogue,
and a warning to the sinner who will
one day attempt to cross where he will
not be able.
YOU CAN'T CROSS HERE.
REFRAIN.
This brings us around again to the
theme of the resurrection, which al-
ways suggests a song. This time it
may as well be, "Dese bones gwine ter
rise again." Sometimes family names
are interjected before the third "I
know," and varied.
THESE BONES GWINETER RISE AGAIN.
REFRAIN.
I
know, I know,my Lord,
I
FINE.
O where you going, sin - ner? O
know These bones gwine-ter rise
a - gain.
where you go-ing, I say?
Go-ing
down to the rivers of
Jor
-
dan, You
FINE.
can't cross here. 1. Yes, you must have that
true
re
true re
-
li-gion, Yes, you must have that
li-gion, Yes, you must have that
D.C.
true religion, Or you can't cross here.
2-Lord, I'm so glad my soul's converted,
Lord, I'm so glad my soul's converted,
Lord, I'm so glad my soul's converted,
You can't cross here.
3-I'm so glad my soul's converted,
I'm so glad I've got religion;
Yes, I'm going down to Jurdin,
You can't cross here.
4-I'm so glad that Jesus loves me,
I'm so glad I'm going to heaven,
I'm so glad my soul's converted,
You can't cross here.
Heav-en is a high and a lofty place,
1. But you can't get there if you haint got the grace,
{
D.C.
These bones gwine-ter rise a - gain.
2-Little did I think dat he was so nigh;
Dese bones gwineter rise again;
Spoke, and he made me laugh and cry;
Dese bones gwineter rise again.
3-When Gabriel makes his trumpet sound,
De saints shall rise and bust de ground,
4-You kin hender me here, but you can't
do it dah,
For he sits in de heavens and he answers
prah,
With this good old hymn, I bring
this paper to a close. It is a fitting
one for a finale. It is irregular in its
composition, but with a flowing metre
and with phrases of equal length as
measured, though wedded to lines of
two, four, seven, ten and more sylla-
bles. It has the characteristic intro-
ductory refrain and the monotonous
croon for the couplet and response.
It has also the clear faith, the fond-
ness for the supernatural and the joy-
ous conception of the Christian life
common to these songs.
NOTE. Dr. Barton's first paper was published in the NEW ENGLAND MAGAZINE for December, 1898. A third
and final paper will appear in the February number. So large a collection of these songs has not, we believe, appeared
outside the Fisk and Hampton collections, and the total is nearly equal to either of those books.-EDITOR.
N two
IN
given
hymns,
unquestion
which show
and the eff
dom. In th
to consider
recent influ
I cannot
classification
strictly chr
lacking for
these songs
song which
and which
me assured
man well k
characterist
I have sele
that had co
ures in meld
include in th
were simply
ceding on
"railroad s
part of this
present for
very old typ
had their b
days of slav
them, nor
ever comple
ored to foll
of grouping
their probab
Beside the
there are so
road. One
modern influ
affected the
To the r
steamboat is
But to the
place of the
pology is as
There are
Gospel Trai
miliar. The
natural that
33

J.
again to the
n, which al-
This time it
es gwine ter
amily names
me third "I
RISE AGAIN.
Lord,
se
1
FINE.
a - gain.
lofty place,
int got the grace,
D.C.
a - gain.
was so nigh;
again;
n and cry;
-gain.
rumpet sound,
- de ground,
but you can't
nd he answers
mn, I bring
t is a fitting
regular in its
owing metre
al length as
d to lines of
I more sylla-
eristic intro-
monotonous
nd response.
ch, the fond-
and the joy-
Christian life
ber, 1898. A third
we believe, appeared
TOR.
RECENT NEGRO MELODIES.
By William E. Barton, D. D.
N two previous articles I have
given fifty-four old plantation
hymns, including both those of
unquestioned antiquity and those
which show the influence of the war
and the effects of newly found free-
dom. In the present paper I propose
to consider some which show more
recent influences.
I cannot pretend, however, that the
classification which I have made is
strictly chronological. Material is
lacking for a hard and fast division of
these songs into historical groups. A
song which I have recently learned,
and which the man who sang it for
me assured me was composed by a
man well known to him, has all the
characteristics of the older melodies.
I have selected, in part, the songs
that had common or contrasting feat-
ures in melody or doctrine, and I shall
include in this article some songs that
were simply left over from the pre-
ceding ones. And the so-called
"railroad songs" which make up a
part of this article, though in their
present form modern, represent a
very old type of hymn structure, and
had their beginnings far back in the
days of slavery. No one man made
them, nor are they ever written or
ever complete. But I have endeav-
ored to follow the general principle
of grouping these songs according to
their probable age.
Beside the "railroad songs" proper,
there are some that are about the rail-
road.
One of these will illustrate how
modern influences in the South have
affected the content of negro hymns.
To the negro on the levee the
steamboat is the greatest thing afloat.
But to the negro of the interior the
place of the steamer in religious ty-
pology is assigned to the locomotive.
There are several songs about the
Gospel Train, some of which are fa-
miliar. The railroad seems so super-
natural that it is hard to convince
some faithful old souls that heaven is
not at one or the other terminus.
There is a good old song with this
suggestion. It is in triple time, and
pronounces "evening" in three sharp
syllables.
GIT ON THE EVENING TRAIN.
Gwine to git on de e-ven -ing train, train,
Git on
de
e- ven- ing train. O train.
Git on
de
e- ven-ing train, train,my Lord,
Git on
de
e- ven
-
ing train.
0,
how do you know,know, O
how do you
know, O, know, 0,
how do you know,
know,my Lord, 0, . .
how do you know?
me So,
So,
My Lord told -a
1. Gabriel's trum-pet shall blow, blow,
My Lord
told - a me So,
O So,
Ga-briel's trum-pet shall blow, O blow,
My Lord told - a me So, So, my Lord,
Ga-briel's trumpet shall blow, Blow,my Lord,
My Lord
Ga briel's
me
SO.
told -a
trum-pet shall blow.
33

34
RECENT NEGRO MELODIES.
2-Old Death stayin' in de grave, grave, imagine the effect of it all, the powder
etc.
3-Swing low, chariot, swing low, low, etc.
4-Prayer, prayer is de way, way, etc.
5-Let God's people git 'board, 'board, etc.
6-Gwine to heaven on de mor-en-ing
train, train, etc.
7-My Lord send a me here, here,
My Lord send a me here, to pray.
8-Do thyself a no harm, harm.
Railroad songs are so named from
the fact that they are sung by large
bodies of men in the construction of
railroads and other public works.
Not many of them originated on the
railroad, but their use in the army
building fortifications, and in these
more modern kinds of labor, has
probably served to elongate them.
The wise contractor employing col-
ored men at work of this character
lets them sing. The songs require lit-
tle expenditure of breath, and are
long drawn, monotonous chants.
They usually have a Scripture theme,
and often tell at length a long Scrip-
ture story with the negro's own
improvements and interpretations
thrown in. The refrain comes at con-
siderable and irregular intervals, just
often enough to quicken the lagging
interest of any who may have dropped
out. Only the leader attempts to sing
the words, though perhaps a few
nearest him catch a strain here and
there; but the tune, which often runs
along for a dozen verses between la
and do, is hummed by others far and
near, and gives the time to which the
spades sink into the clay or the picks
descend.
To hear these songs, not all of
which are religious, at their best, one
needs to hear them in a rock tunnel.
The men are hurried in after an ex-
plosion to drill with speed for another
double row of blasts. They work two
and two, one holding and turning the
drill, the other striking it with a
sledge. The sledges descend in uni-
son as the long low chant gives the
I wonder if the reader can
time.
smoke filling the place, the darkness
made barely visible by the little lights
on the hats of the men, the echoing
sounds of men and mules toward the
outlet loading and carting away the
rock thrown out by the last blast, and
the men at the heading droning their
low chant to the chink! chink! of the
steel. A single musical phrase or a
succession of a half dozen notes
caught on a visit to such a place
sticks in one's mind forever. Even as
I write I seem to be in a tunnel of this
description and to hear the sharp me-
tallic stroke and the syncopated chant.
Chink!
T
0-0! Lu - lah!
Chink!
Lu - lah!
One occasionally hears these long
songs in an evening meeting. They
are interminable, and the only way to
end them is to stop. One of them, a
part of which has been published, and
the whole of which no one man
knows, is "Walk Jerusalem just like
John." Different versions of it have
been printed, but none like the one I
have.
This song throws in almost at ran-
dom couplets like:
Walk around from do' to do',
What to do I did not know;
Walk Jerusalem on Zion's hill,
Walk about on heaven and earth;
Satan thought he had me fast,
Thank the Lord I'm free at last.
I bless the Lord I'm going to die,
I'm going to judgment by and by.
Oh, John he heard the trumpet blow,
Hills and mountains fall below.
It has no proper end. It goes on
at the will of the leader, and, unlike
the ordinary hymn, which may be
ended either with a stanza or the re-
frain and usually is meant to end with
the latter, this is meant never to end
so far as the structure of the song is
concerned. It may end with "When
I come to
but in eith
incomplete
and Irish s
on re and
Some of t
end, and
any time;
ble occurr
two lines,
biography
WALK JE
b b
Walk
When
read
1. Walk
Walk
(Omit
Walk J
Walk
Walk
While th
song and
solo, which
there is a
with man
and frequ
laugh," es
of giving t
to be his d
Providence
ners. On
have heard

RECENT NEGRO MELODIES.
35
the powder
me darkness
little lights
The echoing
toward the
g away the
t blast, and
oning their
ink! of the
phrase or a
Ozen notes
ch a place
r. Even as
nnel of this
e sharp me-
pated chant.
I come to die," or "Jes' like John";
but in either case it gives the air of
incompleteness, like the old Scotch
and Irish songs which ended so often
on re and were ready to begin again.
Some of these songs have a proper
end, and may stop with the refrain
any time; but the refrain is of varia-
ble occurrence, and may come every
two lines, or run on for an epitomized
biography of some Bible character.
WALK JERUSALEM JES' LIKE JOHN.
Walk Je ru
-
-
sa-lem, jes' like John.
in an evening meeting, is "The New
Burying Ground."
1.
NEW BURYING GROUND.
0,
my Lord, Good and kind,
To-morrow's the day, First go-in' by,
Open the
grave, Let him down,
Take the little
Take the little
There he's go - in
babe, Leave its
babe, To the
t'lay Till
the
When I come to die, I want to be
moth
er
new
bur
-
Judg
be
ry in'
ment
hind.
ground.
day.
- lahi!
these long
ting. They
only way to
e of them, a
blished, and
• one man
em just like
s of it have
e the one I
most at ran-
ready, . . When I come
to
die.
1. Walk Jeru sa-lem,'jes like John,
-
Walk Jer ru sa-lem up and down,
(Omit or repeat at will.)
Walk Je-ru-sa-lem, walk Je - ru sa - lem.
Judgment day! God's a call-in'! Stars a - fall-in'!
Chariot's com in' down To the
new buryin' ground! O, Jesus,
-
come this a way! Let not your char-iot
do',
ow;
's hill,
nd earth;
e fast,
at last.
Walk Je
-
ru
-
sa-lem 'jes like John,
3
wheels
de
lay! Want you to live
hum-ble-l-humble-1-Humble your-selves! The
ng to die,
by and by.
umpet blow.
below.
It goes on
and, unlike
ch may be
a or the re-
to end with
never to end
the song is
with "When
Walk Je
-
ru-sa-lem round and round.
While the narrative portions of this
song and others like it are used as a
solo, which is a great saving of breath,
there is a humming accompaniment,
with many an "Amen" and "Yes,"
and frequently a chuckle or "holy
laugh," especially at any suggestion
of giving the devil what is conceived
to be his due, or of any sharp turn of
Providence for the worsting of sin-
ners. One of these songs, which I
have heard both on the railroad and
bells done rung, Bells done ring, Angels done sing.
O don't it look like a judg-ment day?
Gwine to glo -ry an' - a -
O
hon-or! Praise
Jesus! Gwine to glory an'-a-honor! Praise the Lamb!

36
RECENT NEGRO MELODIES.
2-All along down by de watery shore,
De waters run steady, level as a die;
Hearse come down next day gone by;
Take de lill babe to new burying
ground.
Yes, I went down to the valley to pray,
Met ole Satan on de way.
Look out, Satan, out my way!
Took my sword an' cut him down;
Satan shot one ball at me:
Missed my soul and got my sin.
Refrain.
3-O, no, brethering, dat ain't all,-
Golden girdle round my waist,
Starry crown upon my head,
Palm of victory in my hand.
Refrain.
4-I went to meeting on a certain day,
Went fo' to hear what de preacher say.
Bout de time dat I got in,
Spoke one word condemned my sin.
Went back home an' counted de cost,
Heard what a treasure I had lost.
Refrain.
5--Yes, mysteree! Come and see!
Heard a great voice shoutin' in de new
buryin' ground.
B for book and be forgiven,
Wrote by wise men sent from heaven.
If you want to go to heaven when you
dies,
Stop you long tongue from telling lies.
Stars a-fallin'! God's a-callin'!
Don't dat look like judgment day?
Refrain.
6-I went down by the tottery sho'.
Found a ship all ready to go.
Cap'n he come, troubled in mind,
"Wake up! wake up, you sleep, sleepy
man!"
O, cap'n, if it's me,
Pray you cast me overboard!
Cast Brer Jonah overboard;
Whale did swaller Brer Jonah whole.
Three long nights, three long days,
Jonah lied in de body of de whale.
Las' words I hear Brer Jonah say,
He had no place to lie his head.
God commanded fish to land,
Cast Brer Jonah on dry sand.
Gourd vine growed all over his head,
Inchworm come long and cut it down.
Refrain.
7-Hit 'em wid de hammer cryin', "Sin-
ner, repent!"
Wrought sorrow in de Jedge-e-ment.
Green trees burn, and why not dry?
Sinner man die, and why not I?
Sea ob glass all full of fire.
H for Hannah, happy was she,
Lill boy Samuel on her knee.
B for book an' God forgiven,
Young child Jesus came from heaven.
Refrain.
8-Sing ole hymn at new buryin' ground,
Dar gwine lay his body down.
He gave me pree, and sot me free
An' bought my soul from libertee.
Death come along at break of day,
Take de lill baby on his way.
Give me a horn and tell me to blow,
Come along, don't you want to go?
Bell done ring, angels done sing,
God A'mighty bought my heart and
tongue.
Went down hill, fell on my knees,
Help me, Jesus, if you please.
Refrain.
Another of these is "How Long
Watch-a-Man?" The melody of this
is worthy of special attention. It is
sweet, full, dignified and descriptive.
The variations of "Watch-a-man" are
very telling, and the repeated and re-
tarded final tonic notes, suggestive of
the passing of time as seen by the
"Watch-a-man" are fine. It deserves
to be fitted with a strong, full har-
mony and to be widely known. I con-
sider it a gem. It is partly in 3:4 and
partly in 4:4 time, and the fitting of
these into a smooth, flowing melody
in perfect taste is noteworthy. The
words are not so good.
HOW LONG, WATCHMAN?
O how long,watch-a - man? How long,
watch-
- a
-
man, How long, watch
- a man?
FINE.
-
C
How long, watch a- man? How long?
2-Oh, dey
Built his
Foolish
Hawk an
My siste
Sitting in
3-Watah c
Marched
Den I w
out;
I see ole
Try an' 1
I know
I b'lieve
Come al
side,
Come al
4-My dung
Glory to
Brer Jo
whale,
Brer Jon
whale.
De ark s
God com
De rainb
Glory to
5-How lon
Mo'n a h
6-How lon
the wh
For thre
sailed.
7-How lon
be?
For ever
A good
whom kne
and last to
the degree
here show
The neg
service to
night, the
often a
heavenly a
"Where co
And Sab
The tho
I.
How long did it rain? Can any one
For for- ty days and nights it
tell?
fell. (
DC.
I'm gwine to jine God's heavenly choir.
How long, watch a man? How long?
own songs
interminab

RECENT NEGRO MELODIES.
37
she,
nee.
iven,
from heaven.
yin' ground,
own.
- me free
libertee.
ak of day,
way.
me to blow.
ant to go?
me sing,
y heart and
y knees,
ease.
How Long
lody of this
tion. It is
descriptive.
-a-man" are
ated and re-
uggestive of
een by the
It deserves
g, full har-
own. I con-
y in 3:4 and
he fitting of
ing melody
orthy. The
MAN?
n? How long,
tch - a
FINE.
man?
How long?
y one
s it
11
SPTE
tell?
fell. (
DC.
How long?
2-Oh, dey called ole Noah foolish man,
Built his ark upon dry sand.
Foolish Jews come a-ridin' by,
Hawk and spit on Noah's timber.
My sister done broke de ice an' gone
Sitting in heaven wid 'er raiment on.
Refrain.
3-Watah come up to de cellah door,
Marched an' slipped on de upper floor,
Den I went up to de winder an' peep
out;
I see ole Noah passin' by,
Try an' help me out er my miseree.
I know ole Noah felt and seen,
I b'lieve God A'mighty locked de door.
Come along my muddah to de watah
side,
Come along an' be baptized.
Refrain.
4-My dungeon open, my chains flew wide,
Glory to God, I've found him at last.
Brer Jonah lied in de bowels ub de
whale,
Brer Jonah prayed in de bowels ub de
whale.
De ark got stuck on de mountain-top,
God commanded de rain to stop.
De rainbow show, de sun he shine,
Glory to God, my sins are forgiven.
Refrain.
5-How long was Noah buildin' of de ark?
Mo'n a hundred years he kept to work.
6-How long was Jonah in the bowels of
the whale?
For three whole days and nights he
sailed.
7-How long will the righteous in heaven
be?
For ever and ever their Lord they see.
A good many people, no one of
whom knew it all, contributed first
and last to give the foregoing hymn
the degree of completeness which is
here shown.
The negro is reluctant to bring a
service to a close. When, late at
night, the end finally comes, there is
often
a quotation concerning the
heavenly assembly:
"Where congregations ne'er break up,
And Sabbaths have no end."
The thought enters several of their
own songs, among them one of the
interminable ones such as we are now
considering. It runs on in narrative
form with long or short stanzas, but
calls for active and repeated responses
The re-
in the refrain, "I believe!"
frain changes, also, from time to time,
to suit the tenor of the stanzas, but
the end is always the same, "And
Sabbath has no end."
SABBATH HAS NO END.
SOLO.
ALL.
I'm a go- in' in Zi-on, I
SOLO.
believe.
ALL.
I'm a go-in' in Zi-on,
SOLO.
I be-lieve.
ALL.
I'm a-go-in' in Zi-on,
I be-lieve,
FINE.
And
has
Sab- bath
no end.
1. When John first came out of Egypt, He
स
camp'd upon the ground, He sang one of Zi-on's
D.C.
praises, And the Holy Ghost came down.
2-He done blessed him and cheered him
And told him not to weep,
For the power was in Christ Jesus
To raise him from his sleep.
Refrain.
Mighty meeting in Zion,
I believe,
Mighty meeting in Zion,
I believe,
Mighty meeting in Zion,
I believe,
And Sabbath has no end.
3-When Jesus came to the world,
He came to do no harm,
But they placed on him a thorny crown,
And the blood came streaming down.

38
RECENT NEGRO MELODIES.
Refrain.
Wasn't that a shame?
I believe,
Wasn't that a shame?
I believe,
Wasn't that a shame?
I believe,
And Sabbath has no end.
4-Not all the blood of beasts
On Jewish altars slain
Could give a guilty conscience peace,
Or wash away the stain.
Behold he wore the mortgage,
He was Almighty God;
At once they might have 'stroyed him,
But he saved them by his word.
Refrain.
I know, 'twas Jesus,
I believe,
I know, 'twas Jesus,
I believe,
I know, 'twas Jesus,
I believe,
And Sabbath has no end.
5-Want you to look at you dying Saviour.
Want you to look at you dying Lord;
Stand near the cross and view him,
Behold the Lamb of God.
They rebuked him and they scorned
him,
And told him to come down,
Before the cross of suffering,
They changed him for his crown.
Jesus came in many mysterious ways,
His wonders to perform,
He placed his footsteps in the seas,
And rode upon the storm.
Refrain.
I'm going to heaven,
I believe,
I'm going to heaven,
I believe,
I'm going to heaven,
I believe.
And Sabbath has no end.
6-They took my blessed Jesus,
And led him to the whiteoak island,
They hewed him out a yoke,
And they yoked it on to him.
His ankle bones they done give way,
His knees they smote the ground,
And every star shall disappear,
King Jesus shall be mine.
Refrain.
I'm going to Zion,
I believe,
I'm going to Zion,
I believe,
I'm going to Zion,
I believe,
And Sabbath has no end.
7-I met old Judas at the spring.
The history how he talked,-
"For thirty pieces of silver,
I show you where my Jesus walk."
Refrain.
Walked the road to heaven,
I believe,
Walked the road to heaven,
I believe,
Walked the road to heaven,
I believe,
And Sabbath has no end.
8-Mary saw her father coming,
Done run and met him too,
She told him 'bout her brother,
Who was dead and passed away.
Refrain.
Then come forth Lazarus,
I believe,
Then come forth Lazarus,
I believe,
Then come forth Lazarus,
I believe,
And Sabbath has no end.
9-Well, they taken my blessed Jesus,
They led him to the low ground of
sorrow,
They hewed him out a Roman cross,
They placed it on his shoulder.
They speared him long in his side!
They speared him long in his side!
(Wasn't that a shame!)
There came out water and blood!
There came out water and blood!
(O my Lord!)
The blood was for redemption,
The water for baptism.
Refrain.
So we'll rock trouble over.
I believe,
So we'll rock trouble over,
I believe,
So we'll rock trouble over,
I believe.
And Sabbath has no end.
This last hymn I have heard in dif-
ferent places, but the part relating to
the crucifixion I have not heard ex-
பய
cept at reli
of these hy
one that I
know that i
with, but s
ring!" whic
may be us
descent of
heard it, ho
evening me
ing the sto
line, while
heavy bass
தா
THE CHR
I,
SOLO.
O re-
re
SOLO.
What de 1
I na
With
SOLO.
Send for th
O
Docto
SOLO.
They stret
He ble
I hear
SOLO.
You hang
So sin
Don't wee
SOLO.
You hang
How free
I
go
SOLO.
1'll come
SOLO.
With a band

RECENT NEGRO MELODIES.
39
1,
no end.
ng.
zed,-
er,
sus walk."
eaven,
aven,
aven,
end:
ng,
too.
other,
d away.
arus,
arus,
arus,
nd.
d Jesus,
w ground of
man cross,
ulder.
his side!
his side!
e!)
I blood!
I blood!
mption,
over.
over,
over,
end.
Leard in dif-
relating to
t heard ex-
The last
cept at religious services.
of these hymns which I shall give is
one that I heard but once. I do not
know that it is used as a song to work
with, but suspect that the "ham-mer-
ring!" which is the constant response,
may be used sometimes to time the
descent of the pick or sledge. As I
heard it, however, it was sung at an
evening meeting, a single voice tell-
ing the story, repeating twice each
line, while the congregation sang a
heavy bass "Ham-mer-ring!"
THE CHRISTIANS' HYMN OF THE
I.
SOLO.
CRUCIFIXION.
(0 re pent, sin-ner,
10 re
pent, sin-ner,
SOLO.
What de ham - mer
nailed him
ALL.
Ham-mer - ring!
Ham-mer - ring!)
ALL.
say? Ham-mer-ring!)
down, Ham-mer-ring!
With ten - penny nails, Ham-mer-ring!)
I
SOLO.
Send for the doc-tor,
O
Jesus,
Doctor Jesus,
SOLO.
ALL.
Ham - mer - ring!
Ham - mer - ring!
Ham - mer -
ring!
ALL.
They stretch'd him high, Ham-mer - ring!
He bled and groaned, Ham-mer - ring!
I heard them say, Ham-mer - ring!
ALL.
SOLO.
You hang me high, Ham-mer ring!
Ham-mer- ring!
Ham-mer- ring!
-
So sin ner see,
Don't weep for me,
SOLO.
ALL.
You hang me
How free
wide,
I died,
I go a way,
SOLO.
1'll come
SOLO.
a-
gain,
Ham-mer ring!)
Ham-mer ring!
Ham-mer ring!
ALL.
Hammer - ring!
ALL.
With a band of ang-els, Ham - mer-ring!
2-Mary wept (Ham-mer-ring)
And Martha mourned. (Ham-mer-
ring)
If thou'd been here, (Ham-mer-ring)
My brother hadn't died. (Ham-mer-
ring)
They buried him, (Ham-mer-ring)
And on the third day (Ham-mer-ring)
He ascended high, (Ham-mer-ring)
To his Father's house. (Ham-mer-
ring)
Jesus came, (Ham-mer-ring)
His friend he rise, (Ham-mer-ring)
And found a home (Ham-mer-ring)
Above the skies. (Ham-mer-ring)
O. Lazarus, (Ham-mer-ring)
I know Lazarus! (Ham-mer-ring)
Come forth, Lazarus! (Ham-mer-ring)
Want you to loose him Ham-mer-
ring)
And let him go. (Ham-mer-ring.)
a
A good many of these railroad
songs, I am satisfied, originated in
those grewsome vigils wherein
dozen or more people "sit up" with
the dead. The night is largely spent
in singing, and the set songs run out
long before morning. The family
sleep, or are supposed to sleep, often
in the same room, and if not there
then in a room within easy hearing
distance, and the singing is thought
to comfort them, as well as to help in
keeping the watchers awake and to
apply the occasion to the profit of
those present. The song about "The
New Burying Ground" is evidently of
this kind. Its references to the little
babe that had been taken, the mother
left behind, and to the next day as
that of the burial, plainly show its
original meaning; but it is sung now
on other and very different occasions.
These songs are long, low, monoto-
nous croons, wherein the recitative is
half half spoken, and the voices
sung,
other than that of the leader merely
hum with occasional ejaculations and
The songs
an intermittent refrain.
are modified by their subsequent uses,
but originating, as they do, without a
distinct purpose to make a song, they
are most irregular in everything but
rhythm, which is always such that
they can be swayed to and patted with
the foot. They afford a good illus-
tration of the way in which the more
elaborate songs originate.

40
RECENT NEGRO MELODIES.
There are some of the more recent
plantation hymns which have added
an element of culture without dimin-
ishing religious fervor. One of the
best of these is "Were You There
When They Crucified My Lord?"
It dwells on the details of the crucifix-
ion, and the separate stanzas add only
a single line each to the song. It is a
tender and beautiful hymn, the climax
of its effect depending largely on the
hold and slur on the exclamation
"Oh!" with which the third line
begins, and the repetition and expres-
sion of the word "tremble! tremble!
tremble!"
WERE YOU THERE?
1. Where you there when they cru- ci - fied my
2. Were you there when they nail'd him to the
3. Were you there when they pierced him in the
4. Were you there when the sun re-fused to
I.
2.
PETER ON THE SEA.
Peter! (Peter,) Peter, (Peter,)
Ga-briel! (Ga-briel,) Ga-briel, (Ga-briel,)
3. Who did (who did) Jo - nah? (who did?)
4. Whale did(whale did) Jo - nah!(whale did!)
5. Daniel (Daniel) li - on's (Daniel!)
Peter on the sea, sea, sea, sea!
Ga-briel,blow your trump, trump,trump, trump!
Who did swallow Jo nah, Jo-nah?
Whale did swallow Jonah, Jo- nah!
Daniel in the li on's, li- on's!
.
Peter, (Peter,) Pe ter, (Peter,)
Gabriel, (Gabriel,) Gabriel, (Ga -briel,)
Who did (who did) Jo nah? (who did?)
Whale did (whale did) Jo - nah!(whale did!)
Daniel (Daniel) li - on's (Daniel!)
Peter on the sea, sea,
Ga-briel,blow your trump, trump, trump,trump!
sea, sea!
Lord? (Were you there?) Were you
cross? (Were you there? Were
side? (Were you there?) Were
shine? (Were you there?) Were
ad lib.
Who did swallow
Whale did swallow
Dan - iel
in the
Jo nah,
Jonah,
li - on's,
Jo
Jo - nah?
Jonah!
li - on's!
you
you
You
Pe-
there when they cru-ci-fied my Lord?
there when they nail'd him to the cross?
there when they pierced him in the side?
there when the sun refused to shine?
0000
ter, (Peter,) Peter, (Pet - er,)
Gabriel, (Gabriel,) Ga- briel, (Gabri-el,)
did (who did) Jo- nah? (who did?)
did (whale did) Jo - nah! (whale did!)
Daniel (Daniel)
Who
Whale
li on's, (Daniel!)
rit.
some-times it caus
some-times it caus
some-times
it caus
some-times
it caus
13
es ine
es
to
swallow Jo - nah,
Peter on the sea, sea, sea,
Ga-briel,blow your, trump,trump,trump,trump!
ho did swallow Jo- nah, Jo - nah?
hale did
Jo - nah!
sea!
me
es me
es me
to
Dan - iel
in
the lion's,
to
to
pp
Pe
Ga
li - on's!
The fores
much of th
It is in strik
ceding song
full of resp
shy of the
and is thor
perhaps in
criticism h
negro theol
raculous.
with his t
whale and I
all here in
and with a
nothing less
One of t
in which I h
is a well bui
meeting ho
people, wel
adorned wit
a desire to
the Lord.
mer when t
did not ex
and I have
the minister
"cold, breth
in de body
yet I have
pointed in
while. The
meeting of
day mornin
clusions fro
conduct," as
read when I
infrequently
ceived into
experiences
them on the
gins very
after anothe
-
ter
briel,
on
the
blow
your
swal - low
swallow
sea,
trumpet!
Jo
sea!
tide rises ur
nah?
who is said
Dan iel
in
the
Jo - nah!
li
on's!
tremble! trem-ble! trem - ble! Were you
tremble! trem-ble! trem - ble! Were you
tremble! trem-ble! trem - ble! Were you
tremble! trem-ble! trem - ble! Were you
Who did
Whale did
there when they cru cified my Lord?
there when they nail'd him to the cross?
there when they pierced him in the side?
there when the sun refused to shine?
Peter on the sea,
sea, sea!
blow!
Gabriel, blow your trumpet,
Who did swallow Jo - nah? Who?
Whale did swallow Jo - nah! Whale!
Daniel
den!
in the
lion's
settled past
begins; and
tion. The
swaying ba
of the preac
then there h
to the oft
the preache

RECENT NEGRO MELODIES.
41
SEA.
cer, (Peter,)
iel, (Ga-briel,)
mah? (who did?)
nah!(whale did!)
n's (Daniel!)
sea, sea!
mp,trump, trump!
Jo-nah?
sea,
nah,
mah,
Jo- nah!
on's, li - on's!
.
ter, (Pe ter,)
briel, (Ga -briel,)
nah? (who did?)
ah!(whale did!)
on's (Daniel!)
sea,
sea, sea!
mp,trump,trump!
ah, Jo - nah?
ah, Jo - nah!
on's, li on's!
ter, (Peter.)
briel, (Gabri-el,)
nah? (who did?)
nah! (whale did!)
on's, (Daniel!)
sea!
sea, sea,
mp,trump,trump!
nah, Jo-nah?
ah, Jo- nah!
on's,
lion's!
sea!
sea,
trump - et!
Jo
nah?
Jo
- nah!
li
- on's !
sea,
sea!
- et,
blow!
nah? Who?
nah! Whale!
on's den!
The foregoing modern song keeps
much of the spirit of the older ones.
It is in striking contrast with the pre-
ceding song. It is a lively staccato, is
full of responses, is not in the least
shy of the fourth and seventh notes,
and is thoroughly up to date except
perhaps in its theology. No higher
criticism has yet eliminated from
negro theology a vestige of the mi-
raculous. Peter on the sea, Gabriel
with his trumpet, Jonah and the
whale and Daniel in the lions' den are
all here in a swift-moving panorama,
and with a lively good humor that is
nothing less than mirth-provoking.
One of the most interesting places
in which I have ever attended worship
is a well built and fairly well appointed
meeting house erected by the colored
people, well out in the country, and
adorned with crude frescoes that show
a desire to beautify the sanctuary of
the Lord. I have been there in sum-
mer when the temperature of the day
did not exceed that of the meeting,
and I have been there in winter when
the minister announced that he was
"cold, brethren; cold two ways, cold
in de body and cold speritually"; and
yet I have never been wholly disap-
disap-
pointed in seeing something worth
while. The records of the business
meeting of Saturday are read on Sun-
day morning with a good many ex-
clusions from the church "for immoral
conduct," as the charge has invariably
read when I have been there; and not
infrequently there are people to be re-
ceived into membership with ecstatic
experiences proved by a repetition of
them on the spot. The preaching be-
gins very moderately, but as one
after another comes to the front, the
tide rises until the preacher in charge,
who is said to have been the longest
settled pastor in Kentucky, rises and
begins; and then there is a demonstra-
tion. The company has long been
swaying back and forth in the rhythm
of the preacher's chant, and now and
then there has come a shout of assent
to the oft repeated text. Each time
the preacher's almost incoherent talk
becomes articulate in a shout, "I have
trod de wine-press," there are cries of
"Yes!" "Praise
"Praise de Lawd!" and
"Glory!" from the Amen corner, where
sit the "praying brethren," and the
Hallelujah corner, where sit the "ag-
onizing sistering."
In the earlier
demonstrations the men rather lead,
but from the time when Aunt Melinda
cries out "Nebbah mind de wite folks!
My soul's happy! Hallelujah!" and
leaps into the air, the men are left be-
hind. Women go off into trances,
roll under benches, or go spinning
down the aisle with eyes closed and
with arms outstretched. Each shout
of the preacher is the signal for some
one else to start; and, strange to say,
though there are two posts in the aisle,
and the women go spinning down like
tops, I never saw one strike a post. I
have seen the pastor on a day when the
house would not contain the multitude
cause the seats to be turned and take
his own position in the door with a
third of the audience inside and the
rest without, and have heard him pro-
voke the most ecstatic response to a
reference to his wife such as this, "O,
I love dat yaller woman out dar in dat
buggy, but I love my Jesus bettah!"
I have seen the minister in grave
danger of being dragged out of the
pulpit by some of the shouters who in
their ecstasy laid hold upon him. I
have seen an old man stand in the aisle
and jump eighty-nine times after I be-
gan to count, and without moving a
muscle of his thin, parchment-like face,
and without disturbing the meeting.
There is more or less variation in the
service at this church, but there is one
invariable feature, the collection; and
the more white people there are pres-
ent, the more important is this feature.
Two deacons sit at a table in front of
the pulpit; a song is sung, and the con-
tributors walk up the aisle and deposit
their contributions amid exhortations
and plaudits thrown in at the end of
the line. Each coin is scrutinized, and
there is no opportunity to pass a mu-
tilated coin at par, as some people do
in dealing with the Lord, or make a

42
RECENT NEGRO MELODIES.
99
button do duty for legal tender. One
day some one started a new fashioned
hymn, and the people came up slowly.
The preacher interrupted the hymn
dah
midway saying, "Breddern,
hain't no money in dat tune. Sing one
of de good ole tunes.' In response to
this suggestion they sang "Jes' gwine
ober in de heabenlye lan'." It has a
high air, covering only a diminished
fifth, and running mostly on the tonic
note, but the monotony is broken and
a decided character is given to the
melody in the refrain, "De heabenlye
lan'," when from the last syllable of
"heabenlye" to "lan'" the voice rises
from E flat tonic to D flat, which it
holds with a strong accent on a half
note filling the last half of the measure.
JES' GWINE OBER IN DE HEABENLYE
LAN'.
I
Lively
You can hinder me here, but you can't do it there,
For He sits in de heavens,and He answers prayer,
Jes' gwine o- ber in de heabenlye lan'!
REFRAIN.
De heabenlye lan', Heab-en - lye lan',
Jes' gwine ober in de heabenlye lan'!
2-Sinnah jine de church an' he run pretty
well,
Jes' gwine ober in de heabenlye lan'!
An' afore six weeks he's on his road to hell,
Jes' gwine ober in de heabenlye lan'!
De heabenlye lan'!
De heabenlye lan'!
Jes' gwine ober in de heabenlye lan'!
3-Hebben is a high an' a lofty place,
Jes' gwine ober in de heabenlye lan'!
But yer can't git dah ef you hain't got de
grace,
Jes' gwine ober in de heabenlye lan'!
De heabenlve lan'!
De heabenlye lan'!
Jes' gwine ober in de heabenlye lan'!
4-Satan he's like a snake in de grass,
Jes' gwine ober in de heabenlye lan'!
An' ef you don' mind he'll git you at las',
Jes' gwine ober in de heabenlye lan'!
De heabenlye lan'!
De heabenlye lan'!
Jes' gwine ober in de heabenlye lan'!
5-Way ober yander in de harves' fiel',
Jes' gwine ober in de heabenlye lan'!
De angels are rollin' at de chariot wheel,
Jes' gwine ober in de heabenlye lan'!
De heabenlye lan'!
De heabenlye lan'!
Jes' gwine ober in de heabenlye lan'!
What conception the worshipers
have of an angel is patent, for two of
them are wrought into the frescoes of
the room. The feet of one turn ab-
ruptly to the right, and the feet of the
other to the left. One of them is cross
eyed; both are white. There was
every indication that this song brought
a good collection.
A good many of the negro songs are
written in the pentatonic scale. The
same is true of a majority of Scotch
songs and the songs of Oriental na-
tions. When Luther W. Mason went
to Japan to teach our system of music
in the government schools, he sought
out melodies common among us that
are written in the scale of five notes.
The first which he taught and which
they received with great pleasure was
one that we received from the Orient,
I think from India, "There is a happy
land." Few of the thousands of thou-
sands who have sung this air all round
the world have thought how a part of
its hold upon so many million of hearts
is its omission of the two notes 4 and
7 from the diatonic scale. Several of
the best of the Scotch songs are of this
character, as "Auld Lang Syne," and,
with the exception of one or two notes
which I believe are modern, "Annie
Laurie." It is a little strange that just
when the breaking up of Primrose and
West's minstrel troupe might seem
to indicate, and probably does in-
dicate, a decline of interest in the
burnt cork show that has been so
popular for generations, and still is
popular in England, there should be a
great increase of so called "coon
songs," some of whose airs are very
pleasing, arr
any one who
tation of a
ody, one sim
with: compo
the piano.
rule, howeve
song, and t
adapted to
banjo fits the
frets to distri
sharp and E
cally the san
resented by
The negro is
crimination
and this mak
sent the tone
but the five
suffice for n
Dat Great I
song whose
ranges over
no suggestio
tone variety.
between the
breathless,
nah?" and t
a-rel"
power.
The
6
It is
use of the n
markable be
theme and t
incidents de
suggest the
This song
the negro
theory the so
there is no
practice the
ers introduc
and the hi
range above
thirds in th
tions, especi
In this song
O Isarel!"
where those
the notes wh
but as the s
theme is wo
and with m
the notes he
a manner w

RECENT NEGRO MELODIES.
43
you at las',
nlye lan'!
nlye lan'!
ves' fiel',
nlye lan'!
ariot wheel,
nlye lan'!
nlye lan'!
worshipers
, for two of
e frescoes of
ne turn ab-
e feet of the
hem is cross
There was
ong brought
To songs are
scale. The
y of Scotch
Oriental na-
Mason went
em of music
s, he sought
ong us that
f five notes.
- and which
leasure was
the Orient,
e is a happy
nds of thou-
air all round
ow a part of
ion of hearts
notes 4 and
Several of
gs are of this
Syne," and,
or two notes
ern, "Annie
nge that just
Primrose and
might seem
ly does in-
erest in the
as been so
and still is
should be a
alled "coon
irs are very
pleasing, arranged for the piano. To
any one who desires to write a fair imi-
tation of a characteristic negro mel-
ody, one simple rule is good to start
with: compose it on the black keys of
the piano. It takes more than this
rule, however, to make a good negro
song, and the best of them are ill
adapted to a piano. The violin or
banjo fits them best, for they have no
frets to distribute the error in tone. A
sharp and B flat are not mathemati-
cally the same, but they must be rep-
resented by one tone on the piano.
The negro is able to make this fine dis-
crimination when he uses accidentals,
and this makes it impossible to repre-
sent the tones exactly upon the staff;
but the five notes of the simpler scale
suffice for most of the hymns. "In
Dat Great Day" is an example of a
song whose tune is major and which
ranges over an octave and a half with
no suggestion of a lack of sufficient
tone variety. There is great contrast
between the startling warning, almost
breathless, "Whah you runnin', sin-
nah?" and the clear, exultant "O Is-
a-rel" The entire piece is of great
power. It is a negro Dies Ira. The
use of the major is all the more re-
markable because the eschatological
theme and the sombre succession of
incidents described would naturally
suggest the minor.
This song illustrates a way in which
the negro varies his melodies. In
theory the song is sung in unison, and
there is no harmony proper. But in
practice the more independent sing-
ers introduce grace notes and slurs,
and the higher and lower voices
range above and below in fifths and
thirds in the more descriptive por-
tions, especially in the latter verses.
In this song the melody of "O Isarel!
O Isarel!" is given in the first line
where those words are used, and in
the notes which run nearest the tonic;
but as the song proceeds this simple
theme is worked out quite elaborately
and with much greater variety than
the notes here given indicate, but in
a manner which they illustrate.
IN THAT GREAT DAY.
REFRAIN.
Oh,whah you run-nin', sin - ner? I'se
run nin' from de
-
run-nin' from de fi - ah,
fi - ah, I'se a
In dat great day.
-
0
Is
a - rel! O
Is a
rel!
FINE.
ま
​0
Is a rel! In dat great day.
1. Don' you hear you Saviour call-in'? Don' y
you
hear you Saviour call- in'? Don' you
D.C.
hear you Sav-iour call-in'? In dat great day?
2-Don' you see de dead arisin'? etc.
3-Don' you heah de trumpet soundin'?
4-Don' you see dem tombs a-bustin'?
5-Yes, we'll see our chillen risin'.
6-Don' you see de chariot comin'?
7-Don' you see de sinnah tremblin'?
8-Don' you heah de saints a-shoutin'?
This quaint Dies Ira may well be
paired with an equally quaint "Halle-
lujah Churus." It is a Baptist hymn,
"Been down into the Sea." Its exult-
ant hallelujahs suggest, as one hears
them, some passages in Handel's great
masterpiece. I cannot expect any one
to agree with this statement who
merely picks out the notes on the
piano; but one who hears the piece
sung by a great congregation will not
think the statement wholly extrava-
gant.

44
RECENT NEGRO MELODIES.
BEEN DOWN INTO THE SEA.
REFRAIN.
ま
​Hal - le
lujah! an' a Hal-le
lu - jah! Hal - le
lu - jah, Lord, I've
been down
in - to
the sea.
品
​Yes, I've been
Yes, I've done
to the sea, and I've
been tried
in
done been tried, Been down in - to the sea.
Jesus' name, Been down in - to the sea.
4-Hallelujah! an' a hallelujah!
Hallelujah, Lord! I've been down into the
sea!
Yes, I've been to the sea and I've been bab-
tized,
Been down into the sea;
I've been babtized in Jesus' name,
Been down into the sea!
Hallelujah! an' a hallelujah!
Hallelujah, Lord! I've been down into the
sea!
Now and then there is a piece that
not only uses the diatonic scale, but
makes the most of it. One effective
"When the Chariot Comes,"
song,
uses the seven toned scale, and empha-
sizes the fact by the prominence of its
major thirds. For instance, the
first time the word "comes" is used,
it is cut into five syllables with em-
phatic rough breathings, and fitted to
a do-sol-mi-sol-do.
Among th
do not rem
fected me as
Yandah?" A
"Who's dat
beats in the
and the effe
the syncopat
phasized sile
expectancy.
runs almost
song is so pa
picturing as
turning of th
some majes
with a refrai
every stanza
is usually t
opens with t
WH
REFRAI
f
Hal - le
-
lu - jah! an' a Hal-le
WHEN THE CHARIOT COMES.
O w
lu - jah! Hal - le
-
lu - jah, Lord, I've
1. O who will drive the cha - riot when she
who's dat
been down in
to
the sea.
cu-hu-hu-hu-hums? O who will drive the
Looks like
I.
{The
won't
glo
-
-
rise and tell, Been down in to the sea;
man-u - el, Been down in - to the sea.
those
ries
mourn -ers
of
Im
cha -riot when she comes? O who will drive the
JO, li
1.
Hesp
d
cha-riot?
O who will drive the cha-riot?
Looks lik
2-Hallelujah! an' a hallelujah!
Hallelujah, Lord! I've been down into the
sea!
Why don' dem mourners rise an' tell-
Been down into the sea-
The glories of Immanuel?
Been down into the sea!
3-Hallelujah! an' a hallelujah!
Hallelujah, Lord! I've been down into the
sea!
I do believe without a doubt-
Been down into the sea-
That a Christian has a right to shout,
Been down into the sea!
O who will drive the chariot when she comes?
2-King Jesus, he'll be driver, when she
cu-hu-hu-hu-hums, etc.
3-She'll be loaded with bright angels, etc.
4-She will neither rock nor totter, etc.
5-She will run so level and steady, etc.
6-She will take us to the portills, etc.
f
O who
who's dat
Looks like

RECENT NEGRO MELODIES.
45
!
own into the
ve been bab-
ame,
own into the
a piece that
c scale, but
ne effective
pot Comes,"
and empha-
nence of its
tance, the
es" is used,
s with em-
nd fitted to
Among the eschatological songs, I
do not remember any that have af-
fected me as did the song, "Who's Dat
Yandah?" At the end of each inquiry,
"Who's dat yandah?" is a rest of two
beats in the middle of the measure;
and the effect is more startling than
the syncopation of a note. It is an em-
phasized silence of eager and fearful
expectancy. It is a pure minor, and
runs almost wholly in thirds. This
song is so painfully realistic in its tone
picturing as to cause an involuntary
turning of the head in expectation of
some majestic Presence. It starts
with a refrain, which is repeated after
every stanza and again at the end, as
is usually the case where the song
opens with the refrain.
WHO'S DAT YANDAH?
REFRAIN.
2-Sinnah, sinnah, you'd bettah pray,
Looks like-a my Lord comin' in de sky!
Or you' soul be los' at de jedgment day,
Looks like-a my Lord comin' in de sky!
3-Wait till I gits in de middle of de air,
Won't be nary sinnah dere.
4-De debbil is a liar and a conjurer, too,
An' ef you don' mind he'll conjure you.
5-I nebbah can fo'git de day,
When Jesus washed my sins away.
6-Washed my haid in de midnight dew,
De mawning star's a witness, too.
7-Sinnahs jines de church, and dey sing
and dey shout,
An' afore six months des all turned out.
8-When I was a mourner jes' like you,
My knees got 'quainted wid de hillside,
too.
COMES.
riot when she
will drive the
o will drive the
the cha-riot?
hen she comes?
er, when she
at angels, etc.
cotter, etc.
f
4
b
4
O who's dat yan
dah?
an' a
who's dat yan dah? Say, who's dat yan-dah?
FINE
Looks like a my Lord com-in' in de sky.
1.
JO, lit-tle did I think He was so nigh,
Hespoke,and He made me laugh and cry,
de sky.
bb
26
Looks like a' my Lord com-in' in
f
6
O who's dat
yan
dah?
An' a
ff
who's dat yan - dah? Say,who's dat yandah?
D.C.
Looks like a' my Lord com-in' in de sky
In this and the two preceding arti-
cles I have given nearly seventy of
these songs. It has been a sincere
pleasure to prepare them for preser-
vation in this form. Growing out of
the heart experience of the negro, the
older ones are absolutely natural and
unaffected, and exhibit no attempt to
express the religious life in conven-
tional terms. Even their crudest odd-
ities are of interest as data for study
in religious and social development,
and this is by no means the limit of
their value.
I have not counted it a part of my
duty to write harmonies for these
songs, but have endeavored to pre-
serve the melodies as accurately as
possible.
These songs are such excellent ex-
ponents of "heart religion" that they
are certain to disappear before the
swift coming "book religion," save as
they are carefully recorded and pre-
served. I exhort all teachers, pastors
and others who are able to secure
these songs to do so, with the music
wherever possible, and to see that
they are suitably preserved in print.
eady, etc.
tills, etc.



THE UNIVERSITY OF MICHIGAN
Univ. of Mich.
Music Library
NEW BOOK
AUG 26 1992
SEP
DATE DUE
RECT AUG ¹311994
SEP 2 8 1994
REC'DAPR 15 1995
NOV 26 1995
REC'DOCT2 2 1995
MAR 1 8 1997
FEB 1 0 RECO
JAN 0 2 2003
APR 0 4 2019

UNIVERSITY OF MICHIGAN
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