WILLIAM L. CLEMENTS
LIBRARY
IN
TIME
000
Clements
UNIVERSITY OF MICHIGAN

Charlotte J. Bishop,
Worcester
From Mr. Anthony-
at Providence Nov. 20.
Fm. 26th/67




SLAVE SONGS
OF THE
UNITED STATES.
PUR SIMUOVE
New York:
A. SIMPSON & CO.,
1867.

ENTERED according to Act of Congress, in the year 1867, by A. SIMPSON & Co.,
in the Clerk's Office of the District Court of the United States
for the Southern District of New York.
a
8
S
t
t
1
AGATHYNIAN PRESS, 60 Duane Street, New York.
b
T
t

Co.,
THE musical capacity of the negro race has been recog
nized for so many years that it is hard to explain why
no systematic effort has hitherto been made to collect
and preserve their melodies. More than thirty years
ago those plantation songs made their appearance which
were so extraordinarily popular for a while; and if
"Coal-black Rose," "Zip Coon" and "Ole Virginny
nebber tire" have been succeeded by spurious imita-
tions, manufactured to suit the somewhat sentimental
taste of our community, the fact that these were called
66 negro melodies" was itself a tribute to the musical
genius of the race. *
The public had well-nigh forgotten these genuine slave
songs, and with them the creative power from which
they sprung, when a fresh interest was excited through
the educational mission to the Port Royal islands, in
1861. The agents of this mission were not long in dis-
*It is not generally known that the beautiful air "Long time ago," or
"Near the lake where drooped the willow," was borrowed from the negroes,
by whom it was sung to words beginning, "Way down in Raccoon Hollow."

ii
SLAVE SONGS OF THE
covering the rich vein of music that existed in these half-
barbarous people, and when visitors from the North
were on the islands, there was nothing that seemed bet-
ter worth their while than to see a "shout" or hear the
"people" sing their "sperichils." A few of these last,
of special merit, soon became established favorites
among the whites, and hardly a Sunday passed at the
church on St. Helena without "Gabriel's Trumpet," "I
hear from Heaven to-day," or "Jehovah Hallelujah."
The last time I myself heard these was at the Fourth of
July celebration, at the church, in 1864. All of them
were sung, and then the glorious shout, "I can't stay
behind, my Lord," was struck up, and sung by the en-
tire multitude with a zest and spirit, a swaying of the
bodies and nodding of the heads and lighting of the
countenances and rhythmical movement of the hands,
which I think no one present will ever forget.
Attention was, I believe, first publicly directed to
these songs in a letter from Miss McKim, of Philadelphia,
to Dwight's Journal of Music, Nov. 8, 1862, from which
some extracts will presently be given. At about the
same time, Miss McKim arranged and published two of
them, "Roll, Jordan" (No. 1) and "Poor Rosy" (No. 8)
-probably on all accounts the two best specimens that
could be selected. Mr. H. G. Spaulding not long after
gave some well-chosen specimens of the music in an ar-
ticle entitled "Under the Palmetto," in the Continental
*The first seven spirituals in this collection, which were regularly sung at the
church.

UNITED STATES.
iii
e half
North
ed bet
ear the
se last,
vorites
at the
et," "I
lujah."
urth of
of them
't stay
the en
of the
of the
hands
ected to
delphia,
m which
out the
two of
(No. 8)
ens that
ng after
in an ar
ntinental
y sung at the
Monthly for August, 1863, among them, "O Lord, re-
member me" (No. 15), and "The Lonesome Valley"
(No. 7). Many other persons interested themselves in
the collection of words and tunes, and it seems time at
last that the partial collections in the possession of the
editors, and known by them to be in the possession of
others, should not be forgotten and lost, but that these
relics of a state of society which has passed away should
be preserved while it is still possible.*
The greater part of the music here presented has been
taken down by the editors from the lips of the colored
people themselves; when we have obtained it from other
sources, we have given credit in the table of contents.
The largest and most accurate single collection in exist-
ence is probably that made by Mr. Charles P. Ware,
chiefly at Coffin's Point, St. Helena Island. We have
thought it best to give this collection in its entirety, as
the basis of the present work; it includes all the hymns
as far as No. 43. Those which follow, as far as No. 55,
were collected by myself on the Capt. John Fripp and
neighboring plantations, on the same island. In all
cases we have added words from other sources and other
localities, when they could be obtained, as well as varia
tions of the tunes wherever they were of sufficient im
portance to warrant it. Of the other hymns and songs
*Only this last spring a valuable collection of songs made at Richmond, Va.,
was lost in the Wagner. No copy had been made from the original manuscript
so that the labor of their collection was lost. We had hoped to have the use of
them in preparing the present work.

iv
SLAVE SONGS OF THE
we have given the locality whenever it could be ascer-
tained.
The difficulty experienced in attaining absolute cor-
rectness is greater than might be supposed by those who
have never tried the experiment, and we are far from
claiming that we have made no mistakes. I have never
felt quite sure of my notation without a fresh compari-
son with the singing, and have then often found that I
had made some errors. I feel confident, however, that
there are no mistakes of importance. What may appear
to some to be an incorrect rendering, is very likely to
be a variation; for these variations are endless, and
very entertaining and instructive.
Neither should any one be repelled by any difficulty
in adapting the words to the tunes. The negroes keep
exquisite time in singing, and do not suffer themselves
to be daunted by any obstacle in the words. The most
obstinate Scripture phrases or snatches from hymns they
will force to do duty with any tune they please, and
will dash heroically through a trochaic tune at the head
of a column of iambs with wonderful skill. We have in
all cases arranged one set of words carefully to each
melody; for the rest, one must make them fit the best
he can, as the negroes themselves do.
The best that we can do, however, with paper and
types, or even with voices, will convey but a faint sha
dow of the original. The voices of the colored people
have a peculiar quality that nothing can imitate; and
the intonations and delicate variations of even one

UNITED STATES.
ascer
cor-
e who
from
never
mpari
that I
that
ppear
ely to
, and
ficulty
keep
selves
most
s they
, and
ehead
ave in
each
e best
er and
nt sha
people
e; and
en one
singer cannot be reproduced on paper. And I despair
of conveying any notion of the effect of a number singing
together, especially in a complicated shout, like "I can't
stay behind, my Lord" (No. 8), or "Turn, sinner, turn
O!" (No. 48). There is no singing in parts,* as we un-
derstand it, and yet no two appear to be singing the
same thing-the leading singer starts the words of each
verse, often improvising, and the others, who "base"
him, as it is called, strike in with the refrain, or even
join in the solo, when the words are familiar. When
the "base" begins, the leader often stops, leaving the
rest of his words to be guessed at, or it may be they are
taken up by one of the other singers. And the "basers"
themselves seem to follow their own whims, beginning
when they please and leaving off when they please,
striking an octave above or below (in case they have
pitched the tune too low or too high), or hitting some
other note that chords, so as to produce the effect of a
marvellous complication and variety, and yet with the
most perfect time, and rarely with any discord. And
what makes it all the harder to unravel a thread of mel-
ody out of this strange network is that, like birds, they
seem not infrequently to strike sounds that cannot be
precisely represented by the gamut, and abound in
*"The high voices, all in unison, and the admirable time and true accent
with which their responses are made, always make me wish that some great
musical composer could hear these semi-savage performances. With a very
little skilful adaptation and instrumentation, I think one or two barbaric chants
and choruses might be evoked from them that would make the fortune of an
opera."-Mrs. Kemble's "Life on a Georgian Plantation," p. 218.

Vi
SLAVE SONGS OF THE
"slides from one note to another, and turns and cadences
not in articulated notes." "It is difficult," writes Miss
McKim, "to express the entire character of these negro
ballads by mere musical notes and signs. The odd turns
made in the throat, and the curious rhythmic effect pro-
duced by single voices chiming in at different irregular
intervals, seem almost as impossible to place on the
score as the singing of birds or the tones of an Eolian
Harp." There are also apparent irregularities in the
time, which it is no less difficult to express accurately,
and of which Nos. 10, 130, 131, and (eminently) 128, are
examples.
Still, the chief part of the negro music is civilized in
its character-partly composed under the influence of
association with the whites, partly actually imitated
from their music. In the main it appears to be original
in the best sense of the word, and the more we examine
the subject, the more genuine it appears to us to be. In
a very few songs, as Nos. 19, 23, and 25, strains of familiar
tunes are readily traced; and it may easily be that others
contain strains of less familiar music, which the slaves
heard their masters sing or play.*
On the other hand there are very few which are of an
intrinsically barbaric character, and where this character
does appear,
it is chiefly in short passages, intermingled
*We have rejected as spurious "Give me Jesus," "Climb Jacob's Ladder,"
(both sung at Port Royal), and "I'll take the wings of the morning," which
we find in Methodist hymn-books. A few others, the character of which
seemed somewhat suspicious, we have not felt at liberty to reject without direct
evidence

UNITED STATES.
vii
cadences
tes Miss
ese negro
odd turns
effect pro
irregular
e on the
n Eolian
es in the
ccurately
128, are
ivilized in
fluence of
imitated
De original
e examine
to be. In
of familiar
that others
the slaves
h are of an
s character
termingled
"which
acob's Ladder,
morning,"
acter of which
t without direc
with others of a different character. Such passages may
be found perhaps in Nos. 10, 12, and 18; and "Becky
Lawton," for instance (No. 29), "Shall I die?" (No. 52)
"Round the corn, Sally" (No. 87), and "O'er the
crossing" (No. 93) may very well be purely African in
origin. Indeed, it is very likely that if we had found it
possible to get at more of their secular music, we should
have come to another conclusion as to the proportion of
the barbaric element. A gentleman in Delaware writes:
"We must look among their non-religious songs for
the purest specimens of negro minstrelsy. It is remark-
able that they have themselves transferred the best or
these to the uses of their churches-I suppose on Mr.
Wesley's principle that 'it is not right the Devil should
have all the good tunes.' Their leaders and preachers
have not found this change difficult to effect; or at least
they have taken so little pains about it that one often
detects the profane cropping out, and revealing the ori
gin of their most solemn 'hymns,' in spite of the best in-
tentions of the poet and artist. Some of the best pure
negro songs I have ever heard were those that used to
be sung by the black stevedores, or perhaps the crews
themselves, of the West India vessels, loading and un-
loading at the wharves in Philadelphia and Baltimore.
I have stood for more than an hour, often, listening to
them, as they hoisted and lowered the hogsheads and
boxes of their cargoes; one man taking the burden of
the song (and the slack of the rope) and the others
striking in with the chorus. They would sing in this

vili
SLAVE SONGS OF THE
way more than a dozen different songs in an hour; most
of which might indeed be warranted to contain 'nothing
religious-a few of them, 'on the contrary, quite the
reverse-but generally rather innocent and proper in
their language, and strangely attractive in their music;
and with a volume of voice that reached a square or two
away. That plan of labor has now passed away, in Phil-
adelphia at least, and the songs, I suppose, with it. So
that these performances are to be heard only among
black sailors on their vessels, or 'long-shore men in out-
of-the-way places, where opportunities for respectable
persons to hear them are rather few."
These are the songs that are still heard upon the Mis-
sissippi steamboats-wild and strangely fascinating-
one of which we have been so fortunate as to secure for
this collection. This, too, is no doubt the music of the
colored firemen of Savannah, graphically described by
Mr. Kane O'Donnel, in a letter to the Philadelphia
Press, and one of which he was able to contribute for our
use. Mr. E. S. Philbrick was struck with the resem-
blance of some of the rowing tunes at Port-Royal to the
boatmen's songs he had heard upon the Nile.
The greater number of the songs which have come into
our possession seem to be the natural and original pro-
duction of a race of remarkable musical capacity and
very teachable, which has been long enough associated
with the more cultivated race to have become imbued
with the mode and spirit of European music-often,
nevertheless, retaining a distinct tinge of their native
Africa
f
a
h
g
t
0
n
I
•
to
si
a
in
66

UNITED STATES.
ix
Our; mo
'nothi
quite t
proper
eir mus
are or t
ay, in Pl
ith it.
nly amo
men in o
respecta
on the M
scinating
O secure
music of
escribed
Philadelp
bute for
the rese
Royal to
e.
ve come i
Original
apacity
h associa
ome imb
music-of
their nat
The words are, of course, in a large measure taken
from Scripture, and from the hymns heard at church;
and for this reason these religious songs do not by any
means illustrate the full extent of the debasement of the
dialect. Such expressions as "Cross Jordan," "O Lord,
remember me," "I'm going home," "There's room
enough in Heaven for you," we find abundantly in Metho-
dist hymn-books; but with much searching I have
been able to find hardly a trace of the tunes. The
words of the fine hymn, "Praise, member" (No. 5), are
found, with very little variation, in "Choral Hymns"
(No. 138). The editor of this collection informs us,
however, that many of his songs were learned from ne-
groes in Philadelphia, and Lt. Col. Trowbridge tells us
that he heard this hymn, before the war, among the col-
ored people of Brooklyn.* For some very comical speci-
mens of the way in which half-understood words and
phrases are distorted by them, see Nos. 22, 23. Another
illustration is given by Col. Higginson :†
"The popular camp-song of 'Marching Along' was
entirely new to them until our quartermaster taught it
to them at my request. The words 'Gird on the armor'
were to them a stumbling-block, and no wonder, until
*We have generally preserved the words as sung, even where clearly nonsen-
sical, as in No. 89; so "Why don't you move so slow ?" (No. 22). We will
add that "Paul and Silas, bound in jail" (No. 4), is often sung "Bounden
Cyrus born in jail," and the words of No. 11 would appear as "I take my tex
in Matchew and by de Revolutions-I know you by your gammon," &c.; so
"Ringy Rosy Land" for "Ring Jerusalem."
† Atlantic Monthly, June, 1867.

X
SLAVE SONGS OF THE
some ingenious ear substituted Guide on de army,'
which was at once accepted and became universal.
'We'll guide on de army, and be marching along,' is
now the established version on the Sea Islands."
I never fairly heard a secular song among the Port
Royal freedmen, and never saw a musical instrument
among them. The last violin, owned by a "worldly
man," disappeared from Coffin's Point "de year gun
shoot at Bay Pint."* In other parts of the South,
"fiddle-sings," "devil-songs," "corn-songs," "jig-tunes,"
and what not, are common; all the world knows the
banjo, and the "Jim Crow" songs of thirty years
We have succeeded in obtaining only a very few
ago.
Our intercourse with the
songs of this character.
colored people has been chiefly through the work of
the Freedmen's Commission, which deals with the
serious and earnest side of the negro character. It is
often, indeed, no easy matter to persuade them to sing
their old songs, even as a curiosity, such is the sense of
dignity that has come with freedom. It is earnestly to
be desired that some person, who has the opportunity,
should make a collection of these now, before it is too late.
In making the present collection, we have only gleaned
upon the surface, and in a very narrow field. The wealth
of material still awaiting the collector can be guessed
from a glance at the localities of those we have, and from
* i. e., November, 1861, when Hilton Head was taken by Admiral Dupont-
a great date on the islands.

UNITED STATES.
xi
de army
universa
along?
the Po
nstrume
"world
year g
he Sout
jig-tunes
knows t
irty yea
a very fe
with t
e work
with t
eter. It
em to si
Le sense
arnestly
portunit
is too lat
ly glean
The weal
me guess
, and fre
e,
the fact, mentioned above, that of the first forty-three of
the collection most were sung upon a single plantation,
and that it is very certain that the stores of this planta-
tion were by no means exhausted. Of course there was
constant intercourse between neighboring plantations;
also between different States, by the sale of slaves from
one to another. But it is surprising how little this seems
to have affected local songs, which are different even upon
adjoining plantations. The favorite of them all, "Roll,
Jordan" (No. 1), is sung in Florida, but not, I believe,
in North Carolina. "Gabriel's Trumpet" (No. 4) and
"Wrestle on, Jacob" (No 6) probably came from Vir-
ginia, where they are sung without much variation from
the form usual at Port Royal; No. 6 is also sung in
Maryland.* "John, John of the Holy Order" (No. 22)
is traced in Georgia and North Carolina, and "O'er the
Crossing" (No. 93) appears to be the Virginia original,
variations of which are found in South Carolina, Georgia,
and Tennessee. As illustrations of the slowness with
which these songs travel, it may be mentioned that the
"Graveyard" (No. 21), which was frequently sung on
Capt. John Fripp's plantation in the winter of 1863-4,
did not reach Coffin's Point (five miles distant) until
the following Spring. I heard it myself at Pine Grove,
two miles from the latter place, in March. Somewhere
miral Dupon
*It is worthy of notice that a song much resembling "Poor Rosy" was
heard last Spring from the boat hands of an Ohio River steamboat-the only
words caught being "Poor Molly, poor gal."

xii
SLAVE SONGS OF THE
upon this journey this tune was strikingly altered, as
will be seen from the variation given, which is the form
in which I was accustomed to hear it. Nos. 38, 41, 42, 43,
118, 119, 122, 123, were brought to Coffin's Point after
Mr. Ware left, by refugees returning to the plantation
from "town" and the Main. No. 74, likewise, "Nobody
knows the trouble I see," which was common in Charles-
ton in 1865, has since been carried to Coffin's Point, very
little altered.
These hymns will be found peculiarly interesting in
illustrating the feelings, opinions and habits of the slaves.
Of the dialect I shall presently speak at some length.
One of their customs, often alluded to in the songs (as
in No. 19), is that of wandering through the woods
and swamps, when under religious excitement, like the
ancient bacchantes. To get religion is with them to
"fin' dat ting." Molsy described thus her sister's expe-
rience in searching for religion: "Couldn't fin' dat leetle
ting-hunt for 'em-huntin' for 'em all de time-las'
foun' 'em." And one day, on our way to see a "shout,"
we asked Bristol whether he was going:-" No, ma'am,
wouldn't let me in-hain't foun' dat ting yet-hain't
been on my knees in de swamp." Of technical religious
expressions, "seeker," "believer," "member," &c., the
songs are full.
The most peculiar and interesting of their customs is
the "shout," an excellent description of which we are per-
mitted to copy from the N. Y. Nation of May 30, 1867:
"This is a ceremony which the white clergymen are
inclined to discountenance, and even of the colored elders
t
f
t
a
n
n
S
h
ty
W

UNITED STATES.
xiii
altered, a
s the form
,41,42,48
Point afte
plantation
"Nobod
in Charles
Point, ver
eresting i
the slave
me lengt
#songs
the wood
at, like th
them t
ter's expe
'dat leet]
time-la
a "shout
No, ma'an
yet-hain
al religion
," &c., t
-customs
n we are pe
By 30, 186
ergymen a
olored elde
some of the more discreet try sometimes to put on a face
of discouragement; and although, if pressed for Bibli-
cal warrant for the shout, they generally seem to think
'he in de Book,' or 'he dere-da in Matchew,' still it is
not considered blasphemous or improper if 'de chillen'
anddem young gal' carry it on in the evening for amuse-
ment's sake, and with no well-defined intention of 'praise.'
But the true 'shout' takes place on Sundays or on
'praise '-nights through the week, and either in the
praise-house or in some cabin in which a regular religious
meeting has been held. Very likely more than half the
population of the plantation is gathered together. Let it
be the evening, and a light-wood fire burns red before
the door of the house and on the hearth. For some
time one can hear, though at a good distance, the voci-
ferous exhortation or prayer of the presiding elder or of
the brother who has a gift that way, and who is not 'on
the back seat,'-a phrase, the interpretation of which is,
'under the censure of the church authorities for bad
behavior;'-and at regular intervals one hears the elder
'deaconing' a hymn-book hymn, which is sung two lines
at a time, and whose wailing cadences, borne on the
night air, are indescribably melancholy. But the
benches are pushed back to the wall when the formal
meeting is over, and old and young, men and women,
sprucely-dressed young men, grotesquely half-clad field-
hands the women generally with gay handkerchiefs
twisted about their heads and with short skirts-boys
with tattered shirts and men's trousers, young girls bare-

xiv
SLAVE SONGS OF THE
footed, all stand up in the middle of the floor, and
when the sperichil' is struck up, begin first walking
and by-and-by shuffling round, one after the other, in a
ring. The foot is hardly taken from the floor, and the
progression is mainly due to a jerking, hitching motion,
which agitates the entire shouter, and soon brings out
streams of perspiration. Sometimes they dance silently,
sometimes as they shuffle they sing the chorus of the spir-
itual, and sometimes the song itself is also sung by the
dancers. But more frequently a band, composed or
some of the best singers and of tired shouters, stand at
the side of the room to 'base' the others, singing the
body of the song and clapping their hands together or
on the knees. Song and dance are alike extremely ener-
getic, and often, when the shout lasts into the middle of
the night, the monotonous thud, thud of the feet pre-
vents sleep within half a mile of the praise-house."
In the form here described, the "shout " is probably
confined to South Carolina and the States south of it. It
appears to be found in Florida, but not in North Caro-
lina or Virginia. It is, however, an interesting fact that
the term "shouting" is used in Virginia in reference to
a peculiar motion of the body not wholly unlike the
Carolina shouting. It is not unlikely that this remark-
able religious ceremony is a relic of some native African
dance, as the Romaika is of the classical Pyrrhic.
Dancing in the usual way is regarded with great horror
by the people of Port Royal, but they enter with infinite
zest into the movements of the "shout."
แ
t
P
y
h
se
ch
11
66
66
L
tu
"L
in
th
pr
tha
It has its
mu
C
a
t
a
T

UNITED STATES.
XV
floor,L
st walk
other, a
Dor, and
CD
ing mot 1,
brings it
nce siler y,
of the r
sung by he
compose or
cers, star at
singing he
s togeth or
tremely er
the midd of
the feet re
e-house d
is pro oly
outh of It
North ro-
ting fact hat
a refere to
ly unlik the
this re rk-
native A can
sical P hic.
Th great rror
er with inite
"Its its
connoisseurs, too. "Jimmy great shouter," I was told;
and Jimmy himself remarked to me, as he looked pa-
tronizingly on a ring of young people, "Dese yer
worry deyseff we don't worry weseff."
And indeed,
although the perspiration streamed copiously down hi
shiny face, he shuffled round the circle with great eas
and grace.
66
The shouting may be to any tune, and perhaps all the
Port Royal hymns here given are occasionally used for
this purpose; so that our cook's classification into
sperichils" and "runnin' sperichils" (shouts), or the
designation of certain ones as sung "just sittin' round,
you know," will hardly hold in strictness. In practice,
however, a distinction is generally observed. The first
seven, for instance, favorite hymns in the St. Helena
church, would rarely, if ever, be used for shouting;
while probably on each plantation there is a special set
in common use. On my plantation I oftenest heard
"Pray all de member" (No. 47), "Bell da ring" (No. 46),
"Shall I die?" (No. 52), and "I can't stay behind, my
Lord" (No. 8). The shouting step varied with the
tune; one could hardly dance with the same spirit to
"Turn, sinner," or "My body rock 'long fever," as to
"Rock o' Jubilee," or "O Jerusalem, early in de morn-
ing." So far as I can learn, the shouting is confined to
the Baptists; and it is, no doubt, to the overwhelming
preponderance of this denomination on the Sea Islands
that we owe the peculiar richness and originality of the
music there

xvi
SLAVE SONGS OF THE
'The same songs are used for rowing as for snouting.
I know only one pure boat-song, the fine lyric, "Mi-
chael row the boat ashore" (No. 31); and this I have
no doubt is a real spiritual-it being the archangel
Michael that is addressed. Among the most common
rowing tunes were Nos. 5, 14, 17, 27, 28, 29, 30, 31,
"As I have written these tunes," says
32, 33, 36, 46.
Mr. Ware, "two measures are to be sung to each stroke,
the first measure being accented by the beginning of the
stroke, the second by the rattle of the oars in the row-
locks. On the passenger boat at the [Beaufort] ferry,
they rowed from sixteen to thirty strokes a minute;
twenty-four was the average. Of the tunes I have heard,
I should say that the most lively were 'Heaven bell a-
ring' (No. 27), 'Jine 'em' (No. 28), 'Rain fall' (No. 29),
'No man' (No. 14), 'Bell da ring' (No. 46), and 'Can't
stay behind;' and that 'Lay this body down' (No. 26),
'Religion so sweet' (No. 17), and 'Michael row' (No. 31),
were used when the load was heavy or the tide was
against us. I think that the long hold on 'Oh,' in 'Rain
fall,' was only used in rowing. When used as a 'shout'
I am quite sure that it occupied only one measure, as in
the last part of the verse. One noticeable thing about
their boat-songs was that they seemed often to be sung
just a trifle behind time; in 'Rain fall,' for instance,
'Believer cry holy' would seem to occupy more than its
share of the stroke, the 'holy' being prolonged till the
very beginning of the next stroke; indeed, I think Jerry
0
it
P
a
W
u
m
d
L
tu
fe
m
sp
be
th
ce
an
tir
dr
a
de

UNITED STATES.
xvii
Mi
as for sno ing.
e lyric,
nd this have
the are ngel
e most c mon
28, 29, 3 31,
se tunes says
to each roke,
Deginning of the
oars in tl row.
Beaufort 'erry,
okes aute;
es I have eard,
'Heaven ell a
in fall' (1.29),
- 46), and Can't
down' (26),
el row' (.31),
or the t was
on 'Oh,'i Rain
used as a hout'
me measu as in
able thin about
often to sung
all,' for i tance,
upy more an its
prolonged 11 the
eed, I thi Jerry
often hung on his oar a little just there before dipping
it again."*
As to the composition of these songs, "I always won-
dered," says Col. Higginson, "whether they had always
a conscious and definite origin in some leading mind, or
whether they grew by gradual accretion, in an almost
unconscious way. On this point I could get no infor-
mation, though I asked many questions, until at last, one
day when I was being rowed across from Beaufort to
Ladies' Island, I found myself, with delight, on the ac-
tual trail of a song. One of the oarsmen, a brisk young
fellow, not a soldier, on being asked for his theory of the
matter, dropped out a coy confession.
'Some good
sperituals,' he said, 'are start jess out o' curiosity. I
been a-raise a sing, myself, once.'
"My dream was fulfilled, and I had traced out, not
the poem alone, but the poet. I implored him to pro-
ceed.
"Once we boys,' he said, 'went for tote some rice,
and de nigger-driver, he keep a-callin' on us; and I say,
'O, de ole nigger-driver!' Den anudder said, 'Fust
ting my mammy told me was, notin' so bad as nigger-
drivers.' Den I made a sing, just puttin' a word, and
den anudder word.'
"Then he began singing, and the men, after listening
a moment, joined in the chorus as if it were an old ac-
For another curious circumstance in rowing, see note to "Rain fall," No. 29.

xviii
SLAVE SONGS OF THE
quaintance, though they evidently had never heard it
before. I saw how easily a new 'sing' took root among
them."
A not inconsistent explanation is that given on page
12 of an "Address delivered by J. Miller McKim, in
Sansom Hall, Philadelphia, July 9, 1862."
you,
A
"I asked one of these blacks-one of the most intelli-
gent of them [Prince Rivers, Sergeant 1st Reg. S. C. V.]
-where they got these songs. 'Dey make 'em, sah.'
'How do they make them?' After a pause, evidently
casting about for an explanation, he said: 'I'll tell
it's dis way. My master call me up, and order me a
short peck of corn and a hundred lash. My friends see
it, and is sorry for me. When dey come to de praise-
meeting dat night dey sing about it. Some's very good
singers and know how; and dey work it in-work it in,
you know, till they get it right; and dat's de way.'
very satisfactory explanation; at least so it seemed to me."
We were not so fortunate as Col. Higginson in our
search for a poet. Cuffee at Pine Grove did, to be sure,
confess himself the author of "Climb Jacob's Ladder;"-
unfortunately, we afterwards found it in a Northern
hymn book. And if you try to trace out a new song,
and ask, "Where did you hear that?" the answer will.
be, "One strange man come from Eding's las' praise-
night and sing 'em in praise-house, and de people catch
'em;" or "Titty 'Mitta [sister Amaritta] fetch 'em from
Polawana, where she tuk her walk gone spend Sunday.
Some of her fahmly sing 'em yonder." "But what does
66
be
th
SI
W
an
W
CO
mi
the
a t
an
tur
pu
all
ha
car
dir
lar
CO
pe
Sta
fro
Cro
no

UNITED STATES.
xix
never hd it
ook root nong
t given page
iller Mc m, in
the most telli
st Reg. $.V.
make 'e sah'
pause, e lently
d: 'I'll 1 you,
and ord me a
My frids see
me to doraise
Some's ver good
T
it in-w it in,
at's de w. A
it seeme o me."
Higginso in our
e did, to e sure,
cob's La er:"-
t in a 1rthern
e out a v song
the ans er will
ling's la praise
catch
d de peop
ta] fetch a from
ne spend unday.
"But it does
'Ringy rosy land' [Ring Jerusalem, No. 21] mean?"
"Me dunno."
Our title, "Slave Songs," was selected because it
best described the contents of the book. A few of
those here given (Nos. 64, 59) were, to be sure, composed
since the proclamation of emancipation, but even these
were inspired by slavery. "All, indeed, are valuable as
an expression of the character and life of the race
which is playing such a conspicuous part in our history.
The wild, sad strains tell, as the sufferers themselves
could, of crushed hopes, keen sorrow, and a dull, daily
misery, which covered them as hopelessly as the fog from
the rice swamps. On the other hand, the words breathe
a trusting faith in rest for the future-in 'Canaan's air
and happy land,' to which their eyes seem constantly
turned."
Our original plan hardly contemplated more than the
publication of the Port Royal spirituals, some sixty in
all, which we had supposed we could obtain, with per-
haps a few others in an appendix. As new materials
came into our hands, we enlarged our plan to the present
dimensions. Next to South Carolina, we have the
largest number from Virginia; from the other States
comparatively few. Few as they are, however, they ap-
pear to indicate a very distinct character in different
States. Contrary to what might be expected, the songs
from Virginia are the most wild and strange. "O'er the
Crossing" (No. 93) is peculiarly so; but "Sabbath has
no end" (No. 89), "Hypocrite and Concubine" (No. 91),

XX
SLAVE SONGS OF THE
"O shout away" (No. 92), and "Let God's saints come
in" (No. 99), are all distinguished by odd intervals and
a frequent use of chromatics. The songs from North
Carolina are also very peculiar, although in a different
way, and make one wish for more specimens from that
region. Those from Tennessee and Florida are most
like the music of the whites.
We had hoped to obtain enough secular songs to
make a division by themselves; there are, however, so
few of these that it has been decided to intersperse them
with the spirituals under their respective States. They
are highly characteristic, and will be found not the
least interesting of the contents of this work.
It is, we repeat, already becoming difficult to obtain
these songs. Even the "spirituals" are going out of use
on the plantations, superseded by the new style of religious
music, "closely imitated from the white people, which is
solemn, dull and nasal, consisting in repeating two lines
of a hymn and then singing it, and then two more, ad
infinitum. They use for this sort of worship that one
everlasting melody, which may be remembered by all
persons familiar with Western and Southern camp-meet-
ings, as applying equally well to long, short or common
metre. This style of proceeding they evidently consider
the more dignified style of the two, as being a closer
imitation of white, genteel worship-having in it about
as little soul as most stereotyped religious forms of well
instructed congregations."
* Mrs. H. B. Stowe, in Watchman and Reflector, April, 1867.

UNITED STATES.
xxi
God's sain come
odd inter and
Songs from forth
ngh in aerent
ecimens for that
Florida a most
seculars gs to
e are, how er, so
o intersper them
tive States They
be found t the
s work.
difficult to obtain
re going of of use
ew style of igious
te people, ich is
repeating lines
then two re, ad
f worship at one
remembered by all
outhern can meet
,short or mmon
evidently nsider
o, as being closer
having in about
gious forms well
It remains to speak of points connected with the ty-
pography of the songs.
We have aimed to give all the characteristic variations
which have come into our hands, whether as single notes
or whole lines, or even longer passages; and of words
as well as tunes. Many of these will be found very in-
teresting and instructive. The variations in words are
given as foot-notes-the word or group of words in the
note, to be generally substituted for that which precedes
the mark: and it may be observed, although it seems
hardly necessary, that these variations are endless; such
words as "member," "believer," "seeker," and all
names, male and female, may be brought in wherever
appropriate. We have not always given all the sets of
words that we have received often they are improvised
to such an extent that this would be almost imprac
ticable. In Nos. 16, 17, 19, etc., we have given them
very copiously, for illustration; in others we have omit-
ted the least interesting ones. In spelling, we proposed
to ourselves the rule well stated by Col. Higginson at
the commencement of his collection: "The words will
be here given, as nearly as possible, in the original dia-
lect; and if the spelling seems sometimes inconsistent,
or the misspelling insufficient, it is because I could get
no nearer."
As the negroes have no part-singing, we have thought
it best to print only the melody; what appears in some
places as harmony is really variations in single notes.
And, in general, a succession of such notes turned in the
pril, 1867.

xxii
SLAVE SONGS OF THE
same direction indicates a single longer variation.
Words in a parenthesis, with small notes, (as "Brudder
Sammy" in No. 21), are interjaculatory; it has not, how-
ever, been possible to maintain entire consistency in
this matter. Sometimes, as "no man" and "O no
man," in No. 14, interchangeable forms are put, for con-
venience sake, in different parts of the tune.
It may sometimes be a little difficult, for instance in
Nos. 9, 10, 20 and 27, to determine precisely which part
of the tune each verse belongs to; in these cases we have
endeavored to indicate it as clearly as is in our power.
However much latitude the reader may take in all
Buch matters, he will hardly take more than the negroes
themselves do. In repeating, it may be observed that
the custom at Port Royal is to repeat the first part of
the tune over and over, it may be a dozen times, before
passing to the "turn," and then to do the same with
that. In the Virginia songs, on the other hand, the
chorus is usually sung twice after each verse-often the
second time with some such interjaculatory expression
as "I say now," "God say you must," as given in
No. 99.
We had some thought of indicating with each the
tempo of the different songs, but have concluded to print
special directions for singing by themselves. It should
be remarked, however, that the same tune varied in
quickness on different occasions. "As the same songs,"
writes Miss McKim, "are sung at every sort of work, of
course the tempo is not always alike. On the water, the
27
a
a
i
1
1
S
6
S
a

UNITED STATES.
xxiii
nger varion.
, (as "Br der
it has not ow
consiste in
"and"
no
re put, fo con
ne.
for insta in
sely whic art
se cases w ave
s in our ver.
may take
all
han the noes
e observe hat
the firstt of
en times, fore
the same with
other han the
verse-oft the
atory exprsion
,"as givin
with ead the
ncluded to rint
ves. It uld
S
tune var in
17
he same sgs,"
sort of w, of
in the wat the
oars dip 'Poor Rosy' to an even andante; a stout boy
and girl at the hominy mill will make the same 'Poor
Rosy' fly, to keep up with the whirling stone; and in
the evening, after the day's work is done, 'Heab'n
shall-a be my home' peals up slowly and mournfully
from the distant quarters. One woman, a respectable
house-servant, who had lost all but one of her twenty-
two children, said to me: 'Pshaw! don't har to dese
yer chil'en, missee. Dey just rattles it off-dey don't
know how for sing it. I likes 'Poor Rosy' better dan
all de songs, but it can't be sung widout a full heart and
a troubled sperrit.
The rests, by the way, do not indicate a cessation in
the music, but only in part of the singers. They over-
lap in singing, as already described, in such a degree that
at no time is there any complete pause. In "A House
in Paradise" (No. 40) this overlapping is most marked.
Ir will be noticed that we have spoken chiefly of the
negroes of the Port Royal islands, where most of our
observations were made, and most of our materials col-
lected. The remarks upon the dialect which follow have
reference solely to these islands, and indeed almost exclu-
sively to a few plantations at the northern end of St. Hel
ena Island. They will, no doubt, apply in a greater or
less degree to the entire region of the southeasterly slave
States, but not to other portions of the South. It should
also be understood that the corruptions and peculiarities
here described are not universal, even here. There are

xxiv
SLAVE SONGS OF THE
all grades, from the rudest field-hands to mechanics and
house-servants, who speak with a considerable degree of
correctness, and perhaps few would be found so illiterate
as to be guilty of them all.
Ordinary negro talk, such as we find in books, has
very little resemblance to that of the negroes of Port
Royal, who have been so isolated heretofore that they
have almost formed a dialect of their own. Indeed, the
different plantations have their own peculiarities, and
adepts profess to be able to determine by the speech of
a negro what part of an island he belongs to, or even, in
some cases, his plantation. I can myself vouch for the
marked peculiarities of speech of one plantation from
which I had scholars, and which was hardly more than
a mile distant from another which lacked these peculiari-
ties. Songs, too, and, I suppose, customs, vary in the
same way.
A stranger, upon first hearing these people talk, espe-
cially if there is a group of them in animated conversa-
tion, can hardly understand them better than if they
spoke a foreign language, and might, indeed, easily
suppose this to be the case. The strange words and
pronunciations, and frequent abbreviations, disguise the
familiar features of one's native tongue, while the rhyth-
mical modulations, so characteristic of certain Euro-
pean languages, give it an utterly un-English sound.
After six months' residence among them, there were
scholars in my school, among the most constant in at-
tendance, whom I could not understand at all, unless
they happened to speak very slowly.

UNITED STATES.
XXV
mechanics id
able deg of
nd so illit te
in books as
egroes of ort
Fore that ey
Indeed he
culiarities nd
the spee of
to, or ev in
vouch fo the
lantation om
dly more an
these pec ari
s, vary the
ople talk pe
nated con sa
r than if hey
indeed, sily
ge word and
ns, disgui the
while the th
certain ro
English nd
em, there ere
constant at
at all, less
With these people the process of "phonetic decay"
appears to have gone as far, perhaps, as is possible, and
with it an extreme simplification of etymology and syntax.
There is, of course, the usual softening of th and v, or
f, into d and b; likewise a frequent interchange of v and
w, as veeds and vell for weeds and well; woices and pun-
kin wine, for voices and pumpkin vine. "De wile'
(vilest) sinner may return" (No. 48). This last example
illustrates also their constant habit of clipping words and
syllables, as lee' bro,' for little brother; plänt'shun, for
plantation. The lengthening of short vowels is illus-
trated in both these (a, for instance, rarely has its short
English sound). "Een (in) dat mornin' all day" (No. 56).
Strange words are less numerous in their patois than
one would suppose, and, few as they are, most of them
may be readily derived from English words. Besides the
familiar buckra, and a few proper names, as Cuffy, Quash,
and perhaps Cudjo, I only know of churray (spill), which
may be "throw 'way;" oona or ona, "you" (both singular
and plural, and used only for friends), as "Ona build a
house in Paradise" (No. 40); and aw, a kind of expletive,
equivalent to "to be sure," as, "Dat clot' cheap." "Cheap
aw." "Dat Monday one lazy boy." "Lazy aw-I'bleege
to lick 'em."
Corruptions are more abundant. The most common
of them are these: Yearde (hear), as in Nos. 3, etc.
"Flora, did you see that cat?" "No ma'am, but I
yearde him holler." "Sh'um," a corruption of see 'em,
applied (as 'em is) to all genders and both numbers.

xxvi
SLAVE SONGS OF THE
"Wan' to see how Beefut (Beaufort) stan'-nebber
sh'um since my name Adam." Huddy (how-do?), pro-
nounced how-dy by purists, is the common term of greet-
ing, as in the song No. 20, "Tell my Jesus huddy O."
"Bro' (brother) Quash sen' heap o' howdy." Studdy,
(steady) is used to denote any continued or cus-
tomary action. "He studdy 'buse an' cuss we," was
the complaint entered by some little children against a
large girl. "I studdy talk hard, but you no yearde me,"
was Rina's defence when I reproved her for not speaking
loud enough. When we left, we were told that we must
"studdy come back." Here, however, it seems to mean
steady. Titty is used for mother or oldest sister; thus,
Titty Ann was the name by which the children of our
man-of-all work knew their mother, Ann.
Sic-a or
sake-a, possibly a condensation of same and like. "Him
an' me grow up sic-a brudder an' sister." Enty is a
curious corruption, I suppose of ain't he, used like our
"Is that so?" in reply to a statement that surprises one.
"Robert, you have n't written that very well." "Enty,
sir?" John, it's going to rain to-day." "Enty, sir?"
Day-clean is used for day-break. "Do, day-clean, for let
me go see Miss Ha'yet; and de day wouldn't clean." Sun-
up is also common. Chu' for "this" or "that there;" as
"Wha' chu?" "See one knife chu?" Say is used very
often, especially in singing, as a kind of expletive;
"(Say) when you get to heaven (say) you 'member me."
(No. 27.) "Ain't you know say cotton de-de?" In the
last sentence "de-de" (accent on first syllable) means

UNITED STATES.
xxvii
stan-ne er
how-do?) o
term of get
us huddy"
dy." Stoly,
nued or 18-
cuss we, as
ren again a
no yearde e,"
r not spea ng
that we st
seems to an
t sister; us,
hildren of ur
Ann. Si or
nd like. im
"Ents &
used likur
t surprises ne.
well." "
3,
ty,
"Entyr?"
my-clean, flet
n't clean." un
that there as
ay is used ery
of exp ve;
'member e."
de-de?" he
syllable) ins
"is there;"-the first de, a corruption of does for is, will
be explained presently; the other is a very common form
for dere, there.
I do not remember any other peculiar words, but
several words used peculiarly. Cuss is used with great
latitude, to denote any offensive language.
(6
"Him cuss
me 'git out." "Ahvy (Abby) do cuss me," was the
serious-sounding, but trifling accusation made by a little
girl against her seat-mate. Stan' is a very common
word, in the sense of look. My back stan' like white
man," was a boast which meant that it was not scarred
with the lash. "Him stan' splendid, ma'am," of the
sitting of a dress. I asked a group of boys one day
the color of the sky. Nobody could tell me. Presently
the father of one of them came by, and I told him their
ignorance, repeating my question with the same re-
sult as before. He grinned: "Tom, how sky stan'?"
"Blue," promptly shouted Tom. Both they seldom use;
generally "all-two," or emphatically, "all-two boff to-
gedder." One for alone. "Me one, and God," answered
an old man in Charleston to the question whether he es-
caped alone from his plantation. "Gone home one in
de dark," for alone. "Heab'n 'nuff for me one" (ie., I
suppose, "for my part"), says one of their songs (No. 46.)
Talk is one of their most common words, where we
should use speak or mean. "Talk me, sir?" asks a boy
who is not sure whether you mean him or his comrade.
"Talk lick, sir? nuffin but lick," was the answer
when I asked whether a particular master used to

xxviii
SLAVE SONGS OF THE
whip his slaves.
as,
Call is used to express relationship;
"he call him aunt." Draw, for receiving in any
way-derived from the usage of drawing a speci
stated times. "Dey draw
A
fic amount of supplies at
letter," was the remark when a mail arrived and
was distributed among us whites. Meet is used in the
sense of find. "I meet him here an' he remain wid me,"
was the cook's explanation when a missing chair was
found in the kitchen. When I remarked upon the
absurdity of some agricultural process--"I meet 'em so,
an' my fader meet 'em so," was the sufficient answer.
grown man, laboring over the mysteries of simple addi-
tion, explained the gigantic answer he had got by "I
meet two row, and I set down two." "I meet you dere,
sir," said Miller frankly, when convinced in an argument.
Too much is the common adverb for a high degree of a
quality; "he bad too much" was the description of a hard
master. Gang, for any large number; "a whole gang of
slate-pencils." Mash in the sense of crush; " mammy
mash 'em," when the goat had killed one of her kids by
lying on it. Sensibble and hab sense are favorite expres-
sions. A scholar would ask me to make him "sensibble"
of a thing. "Nebber sh'um since I hab sense" (i.e., since
I was old enough to know). Stantion (substantial) was
a favorite adjective at Coffin's Point. Strain is also a
favorite word. "Dem boy strain me," explained Billy,
when some younger boys were attempting to base him.
"I don't want to give more nor fifty-five dollar for a
horse," said Quash, "but if dey strain you, you may
give fifty-six." "Dat tune so strainful," said Rose.

UNITED STATES.
xxix
lationshi
ng in an
ga spe
Dey dra
rived a
sed in t
in wid me
chair w
upon t
1
meet 'em
answer.
imple ad
got by
et you de
m argume
Hegree of
on of a ha
ole gang
"mamn
her kids
prite expr
sensibbl
"(ie., sin
antial) w
in is also
ined Bill
o base hi
Hollar for
u, you m
Rose.
The letters n, r and y are used euphonically. "He
de baddes' little gal from y'ere to n'Europe," said Bris-
tol of his troublesome niece Venus; "ought to put him
on a bar'l, an' den he fall 'sleep an' fall down an' hut
heself, an' dat make him more sensibble." "He n'a
comin', sir," was often said of a missing scholar. At first
I took the n for a negative. I set Gib one day to pick-
ing out E's from a box of letters. He could not distin-
guish E from F, and at last, discouraged with his re-
peated failures, explained, holding out an F, "dis y'ere
stan' sic-a-r-um." (This looks like that.)
It is sug-
gested also that d is used in the same way, in "He d'a
comin';" and s, in singing, for instance, ""Tis wells and
good" (No. 25). So the vowel a; "De foxes have-a
hole" (No. 2), "Heaven bell a-ring" (No. 27).
The most curious of all their linguistic peculiarities
is perhaps the following. It is well known that the
negroes in all parts of the South speak of their elders as
"uncle" and "aunt,--"* from a feeling of politeness,
I do not doubt; it seemed disrespectful to use the bare
name, and from Mr. and Mrs. they were debarred. On
the Sea Islands a similar feeling has led to the use of
cousin towards their equals. Abbreviating this, after
their fashion, they get co'n or co' (the vowel sound u as
in cousin) as the common title when they speak of one
another; as, C'Abram, Co' Robin, Co'n Emma, C'Isaac,
Co' Bob. Bro' (brother) and Si (sister) and even T" (Tit-
* In South Carolina "daddy" and "maum" are more common.

XXX
SLAVE SONGS OF THE
ty) are also often used in the same way; as, Bro' Paris,
Si' Rachel, T' Jane. A friend insists that Cudjo is
nothing but Co' Joe.
Where and when are hardly used, at least by the
common class of negroes.
you spill the milk?" was
The question.
The question "Where did
answered only with a stare;
but "which way milk churray?" brought a ready re-
sponse.
"What side you stayin', sir?" was one of the
first questions put to me. Luckily I had been initiated,
and was able to answer it correctly.
There is probably no speech that has less inflection,
or indeed less power of expressing grammatical relation
in any way. It is perhaps not too strong to say that the
field-hands make no distinction of gender, case, number,
tense, or voice. The pronouns are to be sure distin-
guished more or less by the more intelligent among
them, and all of these, unless perhaps us, are occasion-
ally heard. She is rare; her still more so; him being
commonly used for the third person singular of all cases
and genders; 'em, if my memory serves me rightly, only
for the objective case, but for all genders and both num-
bers. He, or 'e, is, I should think, most common as
possessive. "Him lick we" might mean a girl as well
as a boy. Thus we is distinguished from I or me, and
dey or dem from him or dat; and these are, I think, the
only distinctions made in number. "Dat cow," is singu-
lar, "dem cow" plural; "Sandy hat" would mean in-
differently Sandy's hat or hats; "nigger-house" means
the collection of negro-houses, and is, I suppose, really a
plural.

UNITED STATES.
xxxi
, Bro' Pa
at Cudjo
east by
Where
with a sta;
a ready
as one of
een initial
1
ess inflect
tical relati
say
that
case, num
e sure dis.
ligent am
are occasi
=0; him be
ar of all c
rightly, or
and both n
common 3
a girl as 1
I or me,
e, I think, e
cow," is si
ould mean ·
house" me 3
ppose, reall
I do not know that I ever heard a real possessive case,
but they have begun to develop one of their own, which
is a very curious illustration of the way inflectional forms
grow up. If they wish to make the fact of possession
at all emphatic or distinct, they use the word "own."
Thus, they will say "Mosey house," but if asked whose
house that is, the answer is "Mosey own."
"Co' Molsy
y'own" was the odd reply made by Mylie to the ques-
tion whose child she was carrying. Literally translated,
this is "Molsy's;" Co' is title, y euphonic. An officer
of a colored regiment standing by me when the answer
was made himself born a slave-confessed that it was
mere gibberish to him. No doubt this custom would in
time develop a regular inflectional possessive; but the
establishment of schools will soon root up all these orig-
inal growths.
وو
Very commonly, in verbs which have strong conjuga
tions, the forms of the past tense are used for the pres-
ent; "What make you leff we?"
leff we?" "I tuk dem brud-
der" (No. 30). Past time is expressed by been, and less
commonly done. "I been kep him home two day," was
the explanation given for a daughter's absence from
school. "I done pit my crap in de groun'.
Present
time is made definite by the auxiliary do or da, as in the
refrains "Bell da ring," "Jericho da worry me." (Nos.
46, 47). "Bubber (brother) da hoe he tater." So did
occasionally: "Nat did cuss me," complained one boy of
another. It is too much to say that the verbs have no
inflections, but it is true that these have nearly disap-

xxxii
SLAVE SONGS OF THE
peared. Ask a boy where he is going, and the answer
is "gwine crick for ketch crab" (going into the creek
to catch crabs); ask another where the missing boy is,
and the answer is the same, with gone instead of gwine.
The hopeless confusion between auxiliaries is sometimes
very entertaining: as "de-de," "ain't you know?" "I
didn't been." "De Lord is perwide" (No. 2). "You'd
better pray, de worl' da [is] gwine" (No. 14). "My
stomach been-a da hut me."
Some of these sentences illustrate two other peculiari-
ties-the omission of auxiliaries and other small words,
and the use of for as the sign of the infinitive. "Unky
Taff call Co' Flora for drop tater." "Good for hold comb"
was the wisest answer found to the teacher's question
what their ears were good for. "Co' Benah wan' Mr.-
for tuk 'em down," was Gib's whispered comment when
the stubborn Venus refused to step down from a bench.
After school the two were discovered at fisticuffs, and on
being called to account--" dat same Benah dah knock me,'
said Gib, while Venus retorted with "Gib cuss me in
school."
""
"Him
It is owing to this habit of dropping auxiliaries that
the passive is rarely if ever indicated. You ask a man's
name, and are answered, "Ole man call John."
mix wid him own fät," was the description given of a
paste made of bruised ground-nuts, the oil of the nut
furnishing moisture. "I can't certain," "The door didn't
fasten," "The bag won't full," "Dey frighten in de dark,"
are illustrations of every-day usage.
t
C
I
I
t
T
pr

UNITED STATES.
xxxiii
nd the an er
nto the ek
Lissing be is,
tead of ge
is some les
u know? "I
. 2). "1'd
0.14). My
ds,
other pect ari
er small
itive. "ky
for hold ob"
cher's quion
ah wan'-
comment hen
from a ich.
sticuffs, a on
dah knock 1e,"
Gib cuss
in
auxiliarie chat
ou ask a an's
John."
Tim
tion give of a
oil of nut
The door in't
aten in de rk"
Proper names furnish many curious illustrations of
the corruption in pronunciation. Many of them are im-
possible to explain, and it is still only a surmise that
Finnick is derived from Phoenix, and Wyna from Mal-
vina (the first syllable being dropped, as in 'Nelius for
Cornelius, and 'Rullus for Marullus.) Hacless is un-
questionably Hercules, and Sack no doubt Psyche; Strap-
pan is supposed to be Strephon. All these are common
names on the Sea Islands. Names of trades, as Miller,
Butcher, are not uncommon. One name that I heard of,
but did not myself meet with, was After-dark, so called
because he was so black that "you can't sh'um 'fo' day-
clean."
In conclusion, some actual specimens of talk, illus-
trating the various points spoken of, may not be without
interest. A scene at the opening of school:*
แ Charles, why did n't you come to school earlier?"
"A-could n't come soon to-day, sir; de boss he sheer out
clo' dis mornin'." "What did he give you?" "Me, sir?
I ain't git; de boss he de baddest buckra ebber a-see.
De morest part ob de mens dey git heaps o' clo'-more'n
'nuff; 'n I ain't git nuffin." "Were any other children.
All de chil'n dah fo' sun-
there?" "Plenty chil'n, sir.
up." "January, you have n't brought your book." "I
is, sir; sh'um here, sir?" "Where is Juno?" "I ain't
*It is proper to state that most of the materials for this scene were furnished
by Mr. Arthur Sumner, which accounts for the similarity of certain of the ex-
pressions to those in the dialogue given in the September number of the Boston
Freedman's Record.

xxxiv
SLAVE SONGS OF THE
know where he gone, sir." "Where is Sam?" "He
didn't been here." "Where is the little boy, John?"
"He pick up he foot and run." A new scholar is
brought: "Good mornin', maussa; I bring dis same chile
to school, sir: do don't let 'em stay arter school done.
Here you, gal, stan' up an' say howdy to de genlmn. Do
maussa lash 'em well ef he don't larn he lesson." "Where's
your book, Tom?" "Dunno, sir. Somebody mus' a tief
'em." "Where's your brother?"
"Sh'um dar? wid
bof he han' in he pocket?" "Billy, have you done your
sum?" "Yes, sir, I out 'em." "Where's Polly?"
"Polly de-de." Taffy comes up. "Please, sir, make me
sensibble of dat word-I want to ketch 'em werry bad,
sir, werry bad." Hacless begins to read.
He spells
in a loud whisper, "g-o; g-o; g-o-can't fetch dat word,
sir, nohow."
The first day Gib appeared in school I asked him
whether he could read, and received a prompt answer in
the affirmative. So, turning to the first page of Willson's
Primer, I told him to read. The sentence was "I am
on," or something of that sort, opposite a picture of a
boy on a rocking-horse. Gib attacked it with great
volubility, "h-r-s-e, horse. De boy is on top ob de
horse"-adding some remarks about a chair in the
background. His eye then fell on a
then fell on a picture of an eagle,
and without pausing he went on, "De raben is big bird."
Next he passed to a lion on the opposite page, "D-o-g,
dog;" but just then a cut above, representing a man
and an ox, proved too strong for him, and he proceeded

UNITED STATES.
XXXV
am?"
He
boy, Jo ?"
w scho is
lis same ile
school ne.
genlm
Do
n." "Wre's
dy mus tief
um dar wid
you don our
re's P7?"
sir, ma me
em werrad,
1. He ells
tch dat ord,
I aske him
mpt ans rin
e of W on's
ce was am
a pictur of a
it with reat
n top de
chair the
are of an igle,
en is big rd."
page,0-g
senting man
he pro ded
to give a detailed history of the man and the cow.
When this was completed, he took up a picture of a boy
with a paper soldiers' cap and a sword. "Dis man hab
sword; he tuk' e sword an' cut' e troat." Here I checked
him, and found, as may be expected, that he did not
know a single letter.
A scene at a government auction: Henry and Titus
are rivals, bidding for a piece of "secesh" furniture.
Titus begins with six dollars. "Well, Titus, I won't
strain you-eight." "Seven," says Titus. "Ten," says
Henry. "Twelve,"
"Twelve," says Titus. "And den," said our
informant, "Henry bid fourteen an' tuk 'em for fifteen."
One day when we returned from a row on the creek,
to make a call, Dick met us with his face on a grin:
"You seen him? you seen Miss T? I seen him. I tole
him you gone wid intention call on she, but de boat
didn't ready in time. He cotch you at Mr. H., on'y de
horse bodder him at de gate." One of the boys came
to me one day with the complaint, "Dem Ma' B. Fripp
chil'n fin' one we book," i. e., those children from Mr. T.
B. Fripp's have found one of our books. "'E nebber
crack 'e bret," i. e., say a word.
What make you
don't?" "Mr. P. didn't must." "I don't know what
make I didn't answer." "How do you do to-day?"
Stirrin,"; "spared," "standin';" "out o' bed,"
(never "very well.") Or, of a friend, "He feel a lee bet-
ter'n he been, ma'am."
دو
66
"Arter we done chaw all de hard bones and swallow
all de bitter pills," was part of a benediction; and the

xxxvi
SLAVE SONGS OF THE
prayer at a "praise-meeting" asked "dat all de white
bredren an' sister what jine praise wid we to-night might
be bound up in de belly-band ob faith." At a funeral
in a colored regiment: "One box o' dead meat gone to
de grave to-day-who gwine to-morrow? Young man,
who walk so stiff-ebery step he take seem like he say,
'Look out dah, groun', I da comin'." The following is
Strappan's view of Love. "Arter you lub, you lub, you
know, boss. You can't broke lub. Man can't broke lub.
Lub stan'-'e ain't gwine broke. Man hab to be berry
smart for broke lub. Lub is a ting stan' jus' like tar;
arter he stick, he stick, he ain't gwine move. He can't
move less dan
Hab to kill all two arter
burn him.
you
he lub 'fo' you broke lub."
It would be an interesting, and perhaps not very diffi-
cult inquiry, to determine how far the peculiarities of
speech of the South Carolina negroes result from the
large Huguenot element in the settlement of that State.
It would require, however, a more exact acquaintance
than I possess with the dialects of other portions of the
South, to form a judgment of any value upon this point.
Meanwhile, I will say only that two usages have struck me
as possibly arising from this source, the habitual length-
ening of vowel sounds, and the pronunciation of Maussa,
which may easily have been derived from Monsieur.
After all, traces of Huguenot influence should by right
be found among the whites, even more than the blacks.
[W. F. A.]

UNITED STATES.
xxxvii
1 de whi
Light migh
t a funer
at gone
Young ma
like he sa
ollowing
ou lub, y
broke lu
to be ber
s' like ta
He ca
11 two art
St very di
uliarities
It from
that Sta
cquaintan
tions of
this po
ve struck
tual leng
of Maus
Monsie
ald by ris
the blac
V. F. A.
Ir remains for the Editors to acknowledge the aid they
have received in making this compilation. To Col. T.
W. HIGGINSON, above all others, they are indebted for
friendly encouragement and for direct and indirect con-
tributions to their original stock of songs. From first
to last he has manifested the kindest interest in their
undertaking, constantly suggesting the names of persons
likely to afford them information, and improving every
opportunity to procure them material. As soon as his
own valuable collection had appeared in the Atlantic
Monthly, he freely made it over to them with a liberality
which was promptly confirmed by his publishers, Messrs.
TICKNOR & FIELDS. It is but little to say that without
his co-operation this Lyra Africana would have lacked
greatly of its present completeness and worth. Through
him we have profited by the cheerful assistance of Mrs.
CHARLES J. BOWEN, Lieut.-Colonel C. T. TROWBRIDGE,
Capt. JAMES S. ROGERS, Rev. HORACE JAMES, Capt. GEO.
S. BARTON, Miss LUCY GIBBONS, Mr. WILLIAM A. BAKER,
Mr. T. E. RUGGLES, and Mr. JAMES SCHOULER. Our
thanks are also due for contributions, of which we have
availed ourselves, to Dr. WILLIAM A. HAMMOND, Mr.
GEO. H. ALLAN, Lt.-Col. WM. LEE APTHORP, Mr. KANE
O'DONNEL, Mr. E. J. SNOW, Miss CHARLOTTE L. FORTEN,
Miss LAURA M. TOWNE, and Miss ELLEN MURRAY; and for
criticisms, suggestions, communications, and unused but
not unappreciated contributions, to Mr. JOHN R. DENNETT,
Miss ANNIE MITCHELL, Mr. REUBEN TOMLINSON, Mr. AR-
THUR SUMNER, Mr. N. C. DENNETT, Miss MARY ELLEN

Xxxviii
SLAVE SONGS.
PEIRCE, Maj-Gen. WAGER SWAYNE, Miss MARIA W. BEN-
TON, Prof. J. SILSBY, Rev. JOHN L. McKIM, Mr. ALBERT
GRIFFIN, Mr. A..S. JENKS, Mr. E. H. HAWKES, Rev. H. C.
TRUMBULL, Rev. J. K. HOSMER, Rev. F. N. KNAPP, Brev.
Maj.-Gen. TRUMAN SEYMOUR, Maj.-Gen. JAMES H. WIL-
SON, Mr. J. H. PALMER, and others; and, finally, to the
editors of various newspapers who gratuitously an-
nounced the forthcoming volume.
Conscious of many imperfections in this, the result of
not inconsiderable joint labor for nearly a year, the Edi-
tors submit it, nevertheless, to the public judgment, in
the belief that it will be pronounced deserving of even
greater pains and of permanent preservation.
WILLIAM FRANCIS ALLEN,
CHARLES PICKARD WARE,
LUCY MCKIM GARRISON.
D
S

LARIA W..
M, Mr. ALB
KES, Rev.
4
KNAPP, B
JAMES H.
finally, to e
ratuitously
CONTENTS.
s, the resu f
year, the i
INTRODUCTION.....
Directions for Singing.
PAGE.
.i-xxxviii
.xliii
ie judgmenn
serving of a
ion.
PART I.
South-Eastern Slave States, including South Carolina, Georgia and the Sea Islands ........1-61
1 Roll, Jordan, roll. Port Royal Islands, South Carolina. C. P. W. Variation, L. McK. G.
2 Jehovah, Hallelujah. Port Royal Islands. C. P. W...
1
2
CIS ALLEN
RD WARE
3 I hear from Heaven to-day. Port Royal Islands. C. P. W..
2
4 Blow your trumpet, Gabriel. Port Royal Islands. C. P. W. Variation, Mr. Reuben
Tomlinson. Second version, Charleston. Mrs. C. J. Bowen
3
.
ARRISON.
8 I can't stay behind.
5 Praise, member. Port Royal Islands. C. P. W...
6 Wrestle on, Jacob. Port Royal Islands. C. P. W....
7 The Lonesome Valley.
Port Royal Islands. C. P. W...
9 Poor Rosy. Port Royal Islands. C. P. W. Variation, L. McK. G...
4
4
Port Royal Islands. C. P. W.
5
6
7
10 The Trouble of the World. Port Royal Islands. C. P. W. Variation, Savannah. Mr.
Arthur L. Ware....
8
11 There's a meeting here to-night. Port Royal Islands. C. P. W. Second version,
Charleston. Mrs. Bowen...
9
12 Hold your light. Port Royal Islands. C. P. W..
13 Happy Morning. Port Royal Islands. C. P. W.
10
10
14 No man can hinder me. Port Royal Islands. L. McK. G. Second version, C. P. W... 10
15 Lord, remember me. Port Royal Islands. C. P. W...
12
16 Not weary yet. Port Royal Islands. C. P. W..
17 Religion so sweet.
18 Hunting for the Lord.
Port Royal Islands. C. P. W..
19 Go in the wilderness. Port Royal Islands. C. P. W.
20 Tell my Jesus "Morning." Port Royal Islands, C. P. W.
21 The Graveyard. Port Royal Islands. C. P. W. Variation, W. F. A.
12
Port Royal Islands. C. P. W..
13
13
14
15
15
22 John, John, of the Holy Order. Port Royal Islands. C. P. W.
16
23 I saw the beam in my sister's eye. Port Royal Islands. C. P. W..
17
24 Hunting for a city. Port Royal Islands. C. P. W..
25 Gwine follow. Port Royal Islands. C. P. W..
18
18
26 Lay this body down.
Port Royal Islands. C. P. W. Variation, Lt,-Col. C. T. Trow-
bridge...
19
27 Heaven bell a-ring. Port Royal Islands. C. P. W..
28 Jine 'em. Port Royal Islands. C. P. W.....
29 Rain fall and wet Becca Lawton. Port Royal Islands. C. P. W..
20
21
21

xl
CONTENTS.
30 Bound to go. Port Royal Islands. C. P. W. Second version, W. F. A..
31 Michael row the boat ashore. Port Royal Islands. C. P. W.
32 Sail, O believer.
Port Royal Islands. C. P. W..
Port Royal Islands. C. P. W.
33 Rock o' Jubilee.
34 Stars begin to fall. Probably from Edisto Island. C. P. W..
35 King Emanuel. Port Royal Islands. C. P. W...
36 Satan's Camp A-fire. Port Royal Islands, C. P. W.
37 Give up the world. Port Royal Islands. C. P. W..
38 Jesus on the Waterside. Port Royal Islands. C. P. W..
39 I wish I been dere. Port Royal Islands. C. P. W..
40 Build a house in Paradise, Port Royal Islands. C. P. W..
41 I know when I'm going home. Port Royal Islands. C. P. W.
42 I'm a trouble in de mind. Port Royal Islands. C. P. W
43 Travel on. Port Royal Islands. C. P. W....
44 Archangel, open the door.
45 My body rock 'long fever.
46 Bell da ring. Port Royal
47 Pray all de member.
48 Turn sinner, turn O.
49 My army cross over.
W. F. A...
PAGE.
22
23
24
25
25
26
27
27
28
29
29
30
30
31
32
Port Royal Islands.
Port Royal Islauds.
Islands. W. F. A...
Port Royal Islands. W. F. A.....
Port Royal Islands. W. F. A....
Port Royal Islands. W. F. A. Second Version, Col. Higginson's
W. F. P. Second Version, Mc. K. G.. 32
regiment. Lt.-Col. Trowbridge....
50 Join the angel band.
Bowen..
51 I and Satan had a race.
52 Shall I die? Port Royal
53 When we do meet again.
34
35
36
38
Port Royal Islands. W. F. A. Variation. Charleston. Mrs.
39
40
41
41
Port Royal Islands. W. F. A.
Islands. W. F. A...
Port Royal Islands. W. F. A....
54 The White Marble Stone. Port Royal Islands. W. F. A. Second Version, C. P. W... 42
55 I can't stand the fire. Port Royal Islands. W. F. A. Second Version, C. P. W.
56 Meet, O Lord. Port Royal Islands. W. F. A....
...... 42
43
57 Wai', Mr. Mackright. Port Royal Islands. W. F. A.....
43
58 Early in the morning. Col. Higginson's regiment. Capt. J. S. Rogers. Variation, Lt.-Col.
Trowbridge....
44
1
59 Hail, Mary. Col. Higginson's regiment. Capt. J. S. Rogers. Second Version, Ma. H. G.
Spaulding...
45
46
61 I want to go home. Col. Higginson's regiment. Lt.-Col Trowbridge...
62 Good-bye, brother. Col. Higginson's regiment. Capt. Rogers......
46
47
60 No more rain fall for wet you. Col. Higginson's regiment. Capt. J. S. Rogers...
63 Fare ye well. Col. Higginson's regiment. Capt. Rogers. Chorus, Lt.-Col. Trowbridge. 47
64 Many thousand go. Col. Higginson's regim ent. Lt.-Col. Trowbridge..
65 Brother Moses gone. Col. Higginson's regiment. Lt.-Col. Trowbridge..
66 The Sin-sick Soul. Mr. Kane O'Donnel...
67 Some Valiant Soldier. Port Royal Islands. C. P. W.
68 Hallelu, Hallelu. Port Royal Islands. C. P. W.
69 Children do linger. Port Royal Islands. C. P. W..
70 Good-bye. Charleston, S. C. Mrs. Bowen...
71 Lord, make me more patient. Charleston. Mrs. Bowen..
72 The Day of Judgment. Charleston. Mrs. Bowen....
73 The Resurrection Morn. Charleston. Mrs. Bowen..
74 Nobody knows the trouble I've had. Charleston. W. F. A..
75 Who is on the Lord's side. Augusta, Georgia. W. F. A..
76 Hold out to the end. Augusta. W. F. A.....
77
Come go with me. Augusta. W. F. A...
78 Every hour in the day.
Augusta. W. F. A....
79 In the mansions above.
Augusta. W. F. A...
80 Shout on, children. Augusta. W. F. A.....
81 Jesus, won't you come by-and-by? Savannah, Georgia. Mr. A. L. Ware..
82 Heave away. Savannah. Mr. Kane O'Donnel..
48
49
49
50
50
51
52
52
53
54
55
56
57
57
58
59
60
60
61

CONTENTS.
xli
PA
PART II.
PAGE
Northern Seaboard Slave States, including Delaware, Maryland, Virginia, and North
Carolina...
83 Wake up, Jacob. Delaware. Miss Mary McKim.
84 On to Glory. Maryland. Dr. W. A. Hammond.
85 Just Now. Maryland. Dr. W. A. Hammond
86 Shock along, John. Maryland. Dr. W. A. Hammond.
87 Round the corn, Sally. Virginia. W. F. A..
88 Jordan's Mills. Virginia. W. F. A...
89 Sabbath has no end. Virginia. W. F. A..
.65-79
65
66
67
67
68
68
69
90 I don't feel weary. Virginia. W. F. A..
70
91 The Hypocrite and the Concubine. Virginia. W. F. A.
70
92
O shout away. Virginia. W. F. A.....
71
On, Mc. K. G..
93
O'er the Crossing. Virginia.
Capt. Rogers. Variation, Augusta, Georgia..
72
94
Rock o' my Soul. Virginia. W. F. A....
73
95 We will march thro' the valley. Virginia. W. F. A...
73
96 What a trying time. Virginia. W. F. A..
74
l. Higginson's
arleston. Mrs.
on, C. P. W...
C.P.W........
97 Almost Over. Virginia. W. F. A...
98 Don't be weary, traveller.
99 Let God's saints come in. Virginia. W. F. A..
100 The Golden Altar. North Carolina. Capt. G. S. Barton..
101 The Winter. North Carolina. Capt. G. S. Barton
102 The Heaven Bells. North Carolina. Capt. G. S. Barton...
PART III.
74
Virginia. W. F. A.
75
76
77
78
79
iation, Lt.-Col.
Sion, Ma. H. G.
Rogers....
1. Trowbridge.
Inland Slave States, including Tennessee, Arkansas, and the Mississippi River..
103 The Gold Band. Nashville, Tennessee. Mr. G. A. Allan
104 The Good Old Way. Nashville. Mr. G. H. Allan..
105 I'm going home. Nashville. Mr. G. H. Allan..
106 Sinner won't die no more.
Nashville. Mr. G. H, Allan...
107 Brother, guide me home. Memphis, Tennessee. W, F. A...
108 Little children, then won't you be glad? Helena, Arkansas. W. F. A..
109 Charleston Gals. Pine Bluff, Arkansas. Mr. E. J. Snow..
110 Run, nigger, run. Pine Bluff. Mr. E. J. Snow...
111 I'm gwine to Alabamy. Mississippi River. Dr. W. A. Hammond..
PART IV.
Gulf States, including Florida and Louisiana: Miscellaneous.
112 My Father, how long? Florida. Mr. G. H. Allan..
113 I'm in trouble. Florida. Lt.-Col. W. L. Apthorp..
114 O Daniel. Florida. Lt.-Col. W. L. Apthorp
115 O brother, don't get weary. Florida. Lt.-Col. W. L. Apthorp.
116 I want to join the band. Florida. Lt.-Col. W. L. Apthorp.
117 Jacob's Ladder. Florida. Lt.-Col. W. L. Apthorp
118 Pray on. Port Royal Islands. C. P. W....
119 Good news, Member. Port Royal Islands. C. P. W.....
.83-89
83
84
84
85.
86
87
88
89
89
.93-113
93
94
94
95
95
96
97
97

xlii
CONTENTS.
PAGE
120 I want to die like-a Lazarus die. Port Royal Islands. Mrs. T. E. Ruggles.
121 Away down in Sunbury. Georgia. Lt. Col. Trowbridge..
98
99
122 This is the trouble of the world. Port Royal Islands. C. P. W.
99
123 Lean on the Lord's side. Port Royal Islands. C. P. W..
100
124 These are all my Father's children. North Carolina. C. P. W..
125 The Old Ship of Zion. Maryland. Dr. Hammond. (Second version.) North Carolina.
Mrs. Horace James...
126 Come along, Moses. North Carolina. Mrs. Horace James.
127 The Social Band. North Carolina. Mrs. Horace James.
101
102
104
"
105
128 God got plenty o' room.
North Carolina. C. P. W..
106
129 You must be pure and holy. Auburn, New York. Mr. W. A. Baker.
130 Belle Layotte. Louisiana
107
109
131 Remon. Louisiana...
110
132 Aurore Bradaire. Louisiana
110
133 Caroline. Louisiana
134 Calinda. Louisiana.
135 Lolotte. Louisiana
136 Musieu Bainjo. Louisiana
EDITORS' NOTE
111
111
112
113
114

PAGE
******* 98
99
100
101
arolina.
102
104
105
106
107
109
..... 110
... 110
111
111
112
113
DIRECTIONS FOR SINGING.
114
IN addition to those already given in the Introduction, the following explana-
tions may be of assistance:
Where all the words are printed with the music, there will probably be little
difficulty in reading the songs; but where there are other words printed below
the music, it will often be a question to which part of the tune these words be-
long, and how the refrain and the chorus are to be brought in.
It will be noticed that the words of most of the songs arrange themselves into
stanzas of four lines each. Of these some are refrain, and some are verse proper.
The most common arrangement gives the second and fourth lines to the refrain,
and the first and third to the verse; and in this case the third line may be a
repetition of the first, or may have different words. Often, however, the refrain
occupies only one line, the verse occupying the other three; while in one or
two songs the verse is only one line, while the refrain is three lines in length.
The refrain is repeated with each stanza: the words of the verse are changed at
the pleasure of the leader, or fugleman, who sings either well-known words, or,
if he is gifted that way, invents verses as the song goes on.
In addition to the stanza, some of the songs have a chorus, which usually
consists of a fixed set of words, though in some of the songs the chorus is a good
deal varied. The refrain of the main stanza often appears in the chorus. The
stanza can always be distinguished from the chorus, in those songs which have
more than one stanza, by the figure "1" placed before the stanza which is print-
ed with the music; the verses below being numbered on "2," "3," "4," &c. In
a few cases the first verse below the music is numbered "3;" this occurs when
two verses have been printed above in the music, instead of the first verse being
repeated. When the chorus has a variety of words, the additional verses are
printed below without numbers.
In the following list the first fifty tunes in the collection are classified according

xliv
DIRECTIONS FOR SINGING.
to the peculiarity of their division into verse and refrain. It is hoped that this
will help to remove all obscurities with which the reader may be embarrassed.
No explanation is needed for Nos. 2, 12, 13, 18, 22-26, 34, 36, 38-43.
Single line and refrain, 27, 35.
CC
Stanza of 4 lines:
66 with chorus, 6, 29.
No refrain; chorus, 11.
4th line refrain; introduction, 7.
66
chorus, 8, 9, 10, 15, 37, 45.
1st and 2d lines verse, 3d and 4th refrain; chorus, 1, 4.
1st and 3d 66
49, 50.
66
2d and 4th refrain, 14, 17, 20, 28, 31, 32, 33, 47, 48,
1st and 3d lines verse, 2d and 4th refrain; double, 21.
66
66
66
66
66
1st line verse; chorus, 5.
66
chorus, 3, 30, 44.
66
66
introduction, 46.
(double); chorus, 19.
66
3d 6C
<<
16.
"
As regards the tempo, most of the tunes are in 2-4 time, and in most of these
J=100-(say) 100-120. The spirit of the music will determine the tempo within
these limits. The slower tunes are 1, 3, 9, 17, 21, etc. No. 2 is about J = 160-
180, and perhaps had better have been written in 3-8. So No. 13 would be
better in 2-4; as it is, the = 160-170. No. 24 should be read as if divided in
2-4, with 100. The tempo of the rowing tunes has been already indicated.
The pitch has generally been accommodated to voices of medium range.
la

ed that this
barrassed.
3.
, 47, 48,
t of these
po within
J=160-
would be
divided in
indicated.
nge.
Slave Songs of the United States.




I.
SOUTH-EASTERN SLAVE STATES:
INCLUDING SOUTH CAROLINA, GEORGIA, AND THE SEA
ISLANDS.


SLAVE SONGS OF THE UNITED STATES.
1.
#2
I.
ROLL, JORDAN, ROLL.
Var.
4
1. My brudder* sit-tin' on de tree of life, An' he yearde when Jor-dan
roll;
Roll, Jordan, Roll, Jor-dan, Roll, Jor - dan, roll!
O march de an - gel march, O march de an- gel march; 0 my
soul a rise in Heaven, Lord, For to yearde when Jor-dan roll.
2 Little chil'en, learn to fear de Lord,
And let your days be long;
Roll, Jordan, &c.
3 0, let no false nor spiteful word
Be found upon your tongue;
Roll, Jordan, &c.
* Parson Fuller, Deacon Henshaw, Brudder Mosey, Massa Linkum, &c.
[This spiritual probably extends from South Carolina to Florida, and is one
of the best known and noblest of the songs.]

2
2.
4
-
Je
-
JEHOVAH, HALLELUJAH.
hoviah, Hal-le- lu-jah, De Lord is per-wide,* Je-hoviah, Hal-le-
-0-
lu jah, De Lord is per-wide.
De fox-es have-a hole, an' de
birdies have-a nest, De Son of Man he dunnot where to lay de weary head.
* Will provide.
† Hanno.
I HEAR FROM HEAVEN TO-DAY.
4
Hur-ry
** on,
my weary soul, And I yearde from heaven
to -
- day, Hur-ry on,
my weary soul, And I yearde from heaven today.
1. My sin is for - given and my soul set free, And I
yearde from heaven to day,
·
My sin is for giv-en, and my
-
soul
set
free, And I year -de from heav - en to day.
·
Travel.
2 A baby born in Bethlehem,
And I yearde, &c.
3 De trumpet sound in de oder bright land. #
4 My name is called and I must go.
5 De bell is a-ringin' in de oder bright world.
† My brudder, Brudder Jacob, Sister Mary.
World.

4.
viah, Hal-le
2d time.
BLOW YOUR TRUMPET, GABRIEL.
4
ole, an' d
1. De
talles' tree
in
Paradise,
De Chris-tian call
de
eary head
tree of life; And I
hope dat trump might blow me home To de
new Je-ru-sa-lem.
Blow your trumpet, Gabriel, Blow louder, louder; And I
heaven to
hope dat trump might blow me home To de new
Je-ru-
- sa- - lem.
wen to-da
2 Paul and Silas, bound in jail,
Sing God's praise both night and day;
And I hope, &c.
[This hymn is sung in Virginia in nearly the same form. The following
minor variation is given by Mrs. Bowen, as heard by her in Charleston, some
twenty-five years ago:]
e, And
4
-en, and m
Paul and Si - las, bound in jail,
Christians pray both
-day.
World
night and day, And I
hope dat trump might blow me home To my
new Je-ru-sa-lem. So blow de trumpet, Gabriel, Blow de trumpet
'louder, And I hope dat trump might blow me home To my new Jeru-sa-lem.

4
5.
4
PRAISE, MEMBER.
Praise, member,* praise God, I praise my Lord un-
til I die;
Praise, member, praise God, †And reach de heaven -ly home. ‡ 1. O
Jor-dan's bank § is
good old bank, And I
a
hain't but one more
riv-er to cross; I want some valiant sol-dier To help me bear the cross.
2 O soldier's fight is a good old fight,
And I hain't, &c.
30 I look to de East, and I look to de West.
4 0 I wheel to de right, and I wheel to de left.
§ Stream, Fight.
*Believer.
† Religion so sweet.
Shore.
[The last verse is varied in several different ways; Col. Higginson gives,
"There's a hill on my leff, an' he catch on my right," and says, "I could get
no explanation of this last riddle, except, 'Dat mean, if you go on de leff, you
Miss Forten
go to 'struction, and if you go on de right, go to God, for sure.""
gives, "I hop on my right an' I catch on my leff," and supposes "that some
peculiar motion of the body formed the original accompaniment of the song,
but has now fallen into disuse." Lt. Col. Trowbridge heard this hymn sung
among the colored people of Brooklyn, N. Y., several years ago.]
6.
WRESTLE ON, JACOB.
bg
4
1. I hold my brudder* wid a tremblin' han', De Lord will
bless my soul. † Wrastl' on, Ja-cob, Jacob, day is a - breakin',
*My sister, Brudder Jacky, All de member.
† 1 would not let him go.

05
Idie;
e. 1.0
t one more
Wrastl' on, Jacob, Oh he would not let him go.
2 I will not let you go, my Lord.
3 Fisherman Peter out at sea.
4 He cast † all night and he cast † all day.
5 He catch no fish, but he ‡ catch some soul.
6 Jacob hang from a tremblin' limb.
*Lord I.
† Fish.
I.
[This is also sung in Maryland and Virginia, in a slightly modified form. A
Virginia verse is, -
7.
I looked to the East at the breaking of the day,
The old ship of Zion went sailing away.]
THE LONESOME VALLEY.
r the cross.
Fight.
Var.
My brudder, *want to get re-li-gion? Go down in de lonesome valley, etc.
gginson give
"I could
on de leff
Miss Fort
es "that sor
1. Go down in de lonesome val-ley, Go down in de lonesome
t of the son
his hymn su
-1
e Lord will
breakin',
let him go.
valley, my Lord; Go down in de lonesome valley, To meet my Je-sus dere.
20 feed on milk and honey.
3 0.John he write de letter.
4 And Mary and Marta read 'em.
* Sister Katy, etc.
["De valley,' and de lonesome valley' were familiar words in their reli-
gious experience. To descend into that region implied the same process with
the anxious seat' of the camp-meeting. When a young girl was supposed to
enter it, she bound a handkerchief by a peculiar knot over her head, and made
it a point of honor not to change a single garment till the day of her baptism,
so that she was sure of being in physical readiness for the cleansing rite, what-
ever her spiritual mood might be. More than once, in noticing a damsel thus
mystically kerchiefed, I have asked some dusky attendant its meaning, and
have received the unfailing answer, framed with their usual indifference to the
genders of pronouns,- He in de lonesome valley, sa.'"-Col. Higginson.]

6
8.
I CAN'T STAY BEHIND.
4
Chor. I can't stay be-hind, my Lord, I can't stay be - hind!
1. Dere's room e-nough, Room e-nough, Room enough in de
Var.ee
heaven, my Lord;* Room enough, Room enough, I can't stay be-hind.
2 I been all around, I been all around,
Been all around de Heaven, my Lord.
3 I've searched every room-in de Heaven, my Lord. †
4 De angels singin' t-all round de trone.
5 My Fader call-and I must go.
6 Sto-back, § member; sto-back, member.
For you. † And Heaven all around. ‡ Crowned. § "Sto-back" means "Shout backwards."
t
[This "shout" is very widely spread, and variously sung. In Charleston it
is simpler in its movement, and the refrain is "I can't stay away." In Edge-
field it is expostulating: "Don't stay away, my mudder." Col. Higginson gives
the following version, as sung in his regiment:
"O, my mudder is gone! my mudder is gone!
My mudder is gone into heaven, my Lord!
I can't stay behind!
Dere 's room in dar, room in dar.
Room in dar, in de heaven, my Lord!
I can't stay behind.
Can't stay behind, my dear,
I can't stay behind!
"O, my fader is gone! &c.
"O, de angels are gone! &c.
"O, I 'se been on de road! I 'se been on de road!
I 'se been on de road into heaven, my Lord!
I can't stay behind!
O, room in dar, room in dar,
Room in dar, in de heaven, my Lord!
I can't stay behind!"

7
e-hind!
Lt. Col. Trowbridge is of opinion that it was brought from Florida, as he
first heard it in Dec., 1862, from a boat-load of Florida soldiers brought up by
Lt. Col. Billings. It was not heard by Mr. Ware at Coffin's Point until that
winter. It seems hardly likely, however, that it could have made its way to
Charleston and Edgefield since that time. The air became "immensely pop-
ular" in the regiment, and was soon adopted for military purposes, so that the
class leaders indignantly complained of "the drum corps using de Lord's
chune."]
9.
POOR ROSY.
gh in d
#2
4
1. Poor Ro- sy, poor
gal;* Poor Ro- sy," poor gal;
e-hind.
Ro - sy break my poor heart, Heav'n shall-a be my home.
out backwa
Charlesto
y." In E.
gginson g
I
can- not stay in hell one day, Heav'n shall-a be my home; I'll
sing and pray my soul a-way, Heav'n shall-a be my home.
2 Got hard trial in my way, (ter)
Heav'n shall-a be my home.
O when I talk, † I talk † wid God, (bis)
Heav'n shall-a be my home.
3 I dunno what de people want of me, (ter)
Heav'n shall-a be my home.
Poor Cæsar, poor boy.
† Walk.
Massa.
[This song ranks with "Roll, Jordan," in dignity and favor. The following
variation of the second part was heard at "The Oaks :"]
2
4
Before I stay in hell one day, Heaven shall-a be my home;
I sing and pray my soul a way, Heaven shall-a be my home.
·

8
10.
THE TROUBLE OF THE WORLD.
1. I want to be*
my
Fader's chil'-en, I
want to be
3
my Fader's chil'- en,
I
want to
be
my Fa- der chil'-en,
Roll, Jor- dan, roll.
say, fain't you done wid de
trouble ob de world, Ah!....
trou -ble ob de world, Ah!
Say ain't you done wid de trou-ble ob de world, Ah Roll, Jor - dan, roll.
2 I ask de Lord how long I hold 'em, (ter)
Hold 'em to de end.
3 My sins so heavy I can't get along, Ah! &c.
4 I cast my sins in de middle of de sea, Ah! &c.
O you ought to be.
† My sister, My mudder, etc.
[This is perhaps as good a rendering of this strange song as can be given.
The difficulty is in the time, which is rapid, hurried and irregular to a degree
which is very hard to imitate and impossible to represent in notes. The fol-
lowing is sung in Savannah, with the same refrain, "Trouble of the world:"]
4
I
wish I was in ju bi lee, Ha, ju bi lee; I
-
wish I wa
was in jubilee, Roll, Jordan, roll.

9
&c.
tc.
want to
Fa-der chil'-e
done wid
de world,
Jor-dan, ro
HTH
HHH
H+H
11. THERE'S A MEETING HERE TO-NIGHT.
4
·
1. I take my text in Mattew, and by de Re-ve la- tion, I
-
know you by your gar-ment, Dere's a meet-ing here to night. Dere's a
Oh !
meet-ing here to- night, (Brudder Tony,) Dere's a meet-ing here to -
Oh!
night, (Sister Rina,) Dere's a meeting here to-night, I hope to meet a - gain.
2 Brudder John was a writer, he write de laws of God;
Sister Mary say to brudder John, "Brudder John, don't write no more."
Dere's a meeting here to-night, Oh! (Brudder Sandy,) (bis)
Dere's a meeting here to-night,
I hope to meet again.
[Mrs. Bowen gives us the following beautiful variation, as sung in Charles-
ton:]
4
I
see brudder Mo - ses
yon - der,
And I think I ought to
gas can be 1.
egular to a 20
notes. T
le of the we"]
know him, For I know him by his gar-ment, He's a blessing here to -
-bi-lee;
roll.
LIU
0
-
night; He's a bless-ing here
tonight, He's a bless-ing here to -
night, And I think I ought to know him, He's a bless-ing here to - night.

10
12.
HOLD YOUR LIGHT.
What make ole Sa- tan da fol-low me so? Sa-tan hain't nottin' at
all for to do wid* me. (Run seeker.) Hold your light, (Sister Ma-ry,†)
Hold your light, (Seeker turn back,) Hold your light on Ca -naan shore.
† All de member, Turn seeker.
* Long o'.
13.
C
HAPPY MORNING.
Weep no more, Marta, Weep no more, Ma ry,* Je - sus rise from de
dead, Hap-pyt morn
·
ing.
Glorioust morn
-
ing, Glo-rious
morn
·
ing, My Sa-viour rise from de dead, Happy morn
ing.
Doubt no more, Thomas. † Glorious, Sunday. O what a happy Sunday.
14.
NO MAN CAN HINDER ME.
2
4
Walk in, kind Saviour, No man can hin- der me! Walk in, sweet

11
ain't nottin'
Jesus, No man can hin- der me !2. See what won - der Jesus done,
O
no
man can hin der me! See what won-der
Je sus done,
(Sister Ma
naan shore
பப
rise from
O
ing, Glo
7
ing.
ppy Sunday
பப
Walk in, s
O
no man can
hin-der me! O no man, no man, no man can
hin- der me! O
no
man, no
man, no man can
hin-der me!
3 Jesus make de dumb to speak.
4 Jesus make de cripple walk.
5 Jesus give de blind his sight.
6 Jesus do most anyting.
7 Rise, poor Lajarush, from de tomb.
8 Satan ride an iron-gray horse.
9 King Jesus ride a milk-white horse.
Variation.
You'd better pray, de world da gwine, No man can hinder me ! De
Lord have mercy on my soul, No man can hinder me!

12
15.
LORD, REMEMBER ME.
1. Oh Deat' he is a
little man, And he goes from do' to
do', He kill some souls and he wounded some, And he lef' some souls to pray.
&
Oh Lord, re-mem-ber me, Do, Lord, re-mem-ber
mem-ber met as de year roll round, Lord, re-member
16.
2
2 I want to die like-a Jesus die,
And he die wid a free good will,
I lay out in de grave and I stretchee out e arms,
Do, Lord, remember me.
Do.
t I pray (cry) to de Lord.
NOT WEARY YET.
me; Re-
me.
O me no
wea - ry
yet,
me no weary yet 1. I
have a wit-ness in my heart, O
me no weary yet. (Brudder Tony *)
2 Since I been in de field to † fight.
3 I have a heaven to maintain.
4 De bond of faith are on my soul.
5 Ole Satan toss a ball at me.
6 Him tink de ball would hit my soul.
7 De ball for hell and I for heaven.
* Sister Mary.
† Been-a

13
Des from do
Some souls to
HTT
17.
RELIGION SO SWEET.
•
4
1. O walk Jor- dan long road,. And re- li-gion so sweet; O re-
•
li-gion is good for a - ny-ting,
And re
li-gion so sweet.
m-ber me
mber me
arms,
ea-ry yet 1
17777
3 Religion make you happy.*
4 Religion gib me patience.†
5 0 member, get religion.
6 I long time been a-huntin'.
7 I seekin' for my fortune.
8 OI gwine to meet my Savior.
9 Gwine to tell him 'bout my trials.
10 Dey call me boastin' member.
11 Dey call me turnback + Christian.
12 Dey call me 'struction maker.
13 But I dont care what dey call me.
14 Lord, trial 'longs to a Christian.
15 O tell me 'bout religion.
16 I weep for Mary and Marta.
17 I seek my Lord and I find him
Brudder Tor
18.
b
2
Humble.
† Honor, Comfort.
Lyin', 'ceitful
HUNTING FOR THE LORD.
Hunt till you find him, Halle lu-jah, And a huntin' for de
Lord;
Till you find him, Halle - lu- jah, And a-huntin' for de Lord,

14
19.
GO IN THE WILDERNESS.
4
-
I wait up on de Lord, I
wait up - on
de Lord, I
wait up-on de Lord, my God, who take a-
-way de sin
of the world.
1. If you want to
find
Je
-
sus, go
in the wilderness,
Go
in de wilder-ness, go in de wilder-ness, Mournin' brudder,
go
in
de wilder - ness, I* wait
up on de Lord.
3 You want to be a Christian.
4 You want to get religion.
5 If you spec' to be converted.
60 weepin' Mary.
7 'Flicted sister.
8 Say, ain't you a member?
9 Half-done Christian.
10 Come, backslider.
11 Baptist member.
12 O seek, brudder Bristol.
13 Jesus a waitin' to meet you in de wilderness.
Го.
[The second part of this spiritual is the familiar Methodist hymn "Ain't I
glad I got out of the wilderness!" and may be the original. The first part is
very beautiful, and appears to be peculiar to the Sea Islands.]

15
de Lord,
of the wo
FEBR
HHH
20.
TELL MY JESUS "MORNING."
4
1. In
de mornin' when I
rise,
Tell my Jesus huddy, oh ;* I
wash my hands in de morn-in' glory, Tell my Jesus huddy, oh.
Variation to first line.
he wil-der s
Pray Tony, pray boy,
you got de or- der;
fournin' br
de Lord
21.
2 Mornin', Hester, mornin', gal,
Tell my Jesus, &c.
(To the Variation.)
2 Say, brudder Sammy, you got de order,
Tell my Jesus, &c.
3 You got de order, and I got de order.
Morning.
THE GRAVEYARD.
53
]
list hymn
The first is
I
4.
(Brudder Sammy) 1. Who gwine to lay dis bo-dy, Member, O, shout
glo-ry.* And-a who gwine to lay dis bo-dy, Oh ring Je-ru sa lem.
2. O
call all de member to de graveyard. Member, &c.
30 graveyard, ought to know me.
4 0 grass grow in de graveyard.
50 I reelt and I rock in de graveyard.
Sing glory, Graveyard.
↑ Shout, Wheel.

16
60 I walk and I toss wid Jesus.
7 My mudder reel and-a toss wid de fever.
8 I have a grandmudder in de graveyard.
90 where d'ye tink I find 'em?*
10 I find 'em, Lord, in de graveyard.
11 (Member,) I wheel, and I rock, and I gwine home.
12 (Brudder Sammy) O 'peat dat story over.
Variation to Verse 3.
22.
b
2
24
Graveyard, you ought to know me.
* i. e., religion; see Preface.
JOHN, JOHN, OF THE HOLY ORDER.
John, John, wid de holy order, Sittin' on de gol - den
or - der; John, John, wid de holy order, Sit-tin' on de gol - den
order; John, John, wid de ho- ly order, Sit-tin' on de gol - den
or - der, To view de pro-mised land. O Lord, I weep, I
어
​mourn, Why don't you move so slow? I'm a hunt-in' for some
guardian angel Gone
a-long before.
*John, John, de holy Baptist.
Ma-ry and Mar-ta,

17
home.
me.
DER.
on de gol-
'on de gol
'on de gold
I weep,
feed my lamb,* feed my lamb, feed my lamb;
Si-mon Peter,
feed my lamb, a - sit - tin' on de gol - den or - der.
Paul and Silas, bound in jail.
[These words were sung at Hilton Head to the second and third parts:
I went down sing polka, and I ax him for my Saviour;
I wonder de angel told me Jesus gone along before.
I mourn, I pray, although you move so slow;
I wonder, &c.
The regularity and elaborateness of this hymn lead one at first to suspect
its genuineness. The question seems, however, to be settled by two very inter-
esting and undoubted variations from North Carolina and Georgia. The follow-
ing words were sung at Augusta, but we have not been able to obtain the tune,
which is entirely unlike that given above. For the North Carolina variation,
see No. 100. Both, as will be seen, omit the second part, and a comparison
of the two shows that the enigmatical word "order" should undoubtedly be
"altar." The North Carolina tune has the first part quite different from the
Port Royal tune, the last very similiar to it.
Oh John, John, de holy member,
Sittin' on de golden ban'.
O worldy, worldy, let him be,
Let him be, let him be;
Worldy, worldy, let him be,
Sittin' on de golden ban'.]
23. I SAW THE BEAM IN MY SISTER'S EYE.
4
1. I saw de beam in my sister's* eye, Can't saw de beam in mine; You'd
mnt-in' for so
ry and Mar-ta
bet-ter
lef' your sister door, Go keep your own door clean.
2 And I had a mighty battle like-a Jacob and de angel,
Jacob, time of old;
I didn't 'tend to lef' 'em go
Till Jesus bless my soul.
Titty Peggy, Brudder Mosey, &c.

18
3 And blessed me, and blessèd my,
And blessed all my soul;
I didn't 'tend to lef' 'em go
Till Jesus bless my soul.
[This tune appears to be borrowed from " And are ye sure the news is true?"
-but it is so much changed, and the words are so characteristic, that it seemed
undoubtedly best to reta n it.]
24.
b b
HUNTING FOR A CITY.
am
huntin' for a city, to
stay a
while, I am
bb
huntin' for a city, to stay awhile, I am huntin' for a ci- ty,
stay a - while, O be
·
liever got a home at
las
25.
GWINE FOLLOW.
4
Tit-ty Ma-ry, you know I gwine fol-low, I gwine fol-low,
to
gwine
fol-low, Brudder William, you know I gwine to fol-low, For
to
do my Fa-der will. 'Tis well and good I'm a-comin' here tonight, I'm a-
comin' here tonight, I'm a
-
comin' here to-night, "Tis
well and good, I'm a-comin' here tonight, For to do my Fader will.
[The second part of this tune is evidently "Buffalo" (variously known also as
"Charleston" or "Baltimore") "Gals;" the first part, however, is excellent and
characteristic.]

19
J
sure the news ne?"
cteristic, that emed
26.
O
4
1.
LAY THIS BODY DOWN.
graveyard,
O graveyard,
I'm
tay a-
while am
tin' for a ci- to
me at las
gwine fol-low gwine
me to fol-low, to
-comin' here to, I'm
'here to-ni 'Tis
o my Fader
"(variously k also
however, is ent and
walk-in' troo de grave - yard;
Lay dis body down.
2*I know moonlight, I know starlight,
I'm walkin' troo de starlight;
Lay dis body down.
O moonlight (or moonrise); O my soul, O your soul.
[This is probably the song heard by W. H. Russell, of the London Times, as
described in chapter xviii. of "My Diary North and South." The writer was
on his way from Pocotaligo to Mr. Trescot's estate on Barnwell Island, and of
the midnight row thither he says:
"The oarsmen, as they bent to their task, beguiled the way by singing in
unison a real negro melody, which was unlike the works of the Ethiopian
Serenaders as anything in song could be unlike another. It was a barbario
sort of madrigal, in which one singer beginning was followed by the others in
unison, repeating the refrain in chorus, and full of quaint expression and me.
lancholy:-
"Oh your soul! oh my soul! I'm going to the churchyard
To lay this body down;
Oh my soul! oh your soul! we're going to the churchyard
To lay this nigger down.'
And then some appeal to the difficulty of passing the Jawdam' constituted
the whole of the song, which continued with unabated energy during the whole
of the little voyage. To me it was a strange scene. The stream, dark as
Lethe, flowing between the silent, houseless, rugged banks, lighted up near
the landing by the fire in the woods, which reddened the sky-the wild strain,
and the unearthly adjurations to the singers' souls, as though they were palpable,
put me in mind of the fancied voyage across the Styx."
We append with some hesitation the following as a variation; the words of
which we borrow from Col. Higginson. Lt. Col. Trowbridge says of it that it
was sung at funerals in the night time-one of the most solemn and character-
istic of the customs of the negroes. He attributes its origin to St. Simon's Island,
Georgia:]
b
I know moonlight, I know starlight; I lay dis bo dy down.
2 I walk in de moonlight, I walk in de starlight;
I lay dis body down.
3 I know de graveyard, I know de graveyard,
When I lay dis body down.

20
4 I walk in de graveyard, I walk troo de graveyard,
To lay, &c.
5 I lay in de grave an' stretch out my arms;
I lay, &c.
6 I go to de judgment in de evenin' of de day
When I lay, &c.
7 And my soul an' your soul will meet in de day
When we lay, &c.
["I'll lie in de grave and stretch out my arms.' Never, it seems to me, since
man first lived and suffered, was his infinite longing for peace uttered more
plaintively than in that line."-Col. Higginson.]
27.
#2
HEAVEN BELL A-RING.
1. My Lord, my Lord, what shall I do? And a heav'n bell a-ring and praise God.
4
Variation second.
Timmy, Timmy, or - phan boy.
or-
Robert, Robert, - phan child.
2 What shall I do for a hiding place? And a heav'n, &c.
3 I run to de sea, but de sea run dry.
4 I run to de gate, but de gate shut fast.
5 No hiding place for sinner dere.
6 Say you when you get to heaven say you 'member me.
7 Remember me, poor fallen soul.*
8 Say when you get to heaven say your work shall prove.
9 Your righteous Lord shall prove 'em well.
10 Your righteous Lord shall find you out.
11 He cast out none dat come by faith.
12 You look to de Lord wid a tender heart.
13 I wonder where poor Monday dere.
14 For I am gone and sent to hell.
15 We must harkee what de worldy say.
16 Say Christmas come but once a year.
17 Say Sunday come but once a week.
When I am gone, For Jesus' sake.

21
raveyard,
28.
JINE 'EM.
s;
#2
4
On Sunday mornin' I seek my Lord; Jine 'em, jine 'em oh!
Oh
day
de day
, it seems to mince
or peace utter more
a-ring and prais od.
jine 'em, be- lie - ver, jine 'em so; Jine 'em, jine 'em oh!
[For other words see "Heaven bell a-ring," No. 27. The following were sung
at Hilton Head, probably to the same tune:
Join, brethren, join us O,
Join us, join us 0.
We meet to-night to sing ana pray;
In Jesus' name we'll sing and pray.
A favorite rowing tune: apparently a variation of "Turn sinner," No. 48.]
29.
RAIN FALL AND WET BECCA LAWTON.
曲
​4
Rain fall and wet* Becca Lawton, † Oh.......
Rain fall and
rt, or-phan d.
heav'n, &c.
wet
Becca Lawton, Oh! Brudder cry
ho
-
ly!
member me.
shall prove.
1. Been § back ho ly, I must come slow-ly; Oh! Brudder cry ho - ly!
2 Do, Becca Lawton, come to me yonder.
3 Say, brudder Tony, what shall I do now?
4 Beat back holy, and rock salvation.
Sun come and dry. † All de member, &c. We all, Believer, &c. § Beat, Bent, Rack.
["Who," says Col. Higginson, "Becky Martin was, and why she should or
should not be wet, and whether the dryness was a reward or a penalty, none
could say. I got the impression that, in either case, the event was posthumous,
and that there was some tradition of grass not growing over the grave of a
sinner; but even this was vague, and all else vaguer."
Lt. Col. Trowbridge heard a story that "Peggy Norton was an old prophetess,
who said that it would not do to be baptized except when it rained; if the Lord

22
22
was pleased with those who had been in the wilderness,' he would send rain."
Mr. Tomlinson says that the song always ends with a laugh, and appears there-
fore to be regarded by the negroes as mere nonsense. He adds that when it is
used as a rowing tune, at the words "Rack back holy !" one rower reaches over
back and slaps the man behind him, who in turn does the same, and so on.]
30.
4
BOUND TO GO.
1.
I
build my house up - on de rock,
0 yes, Lord! No
wind, no storm can blow
'em down,
O yes, Lord!
March on, member, Bound to go;
Been to de fer - ry, Bound to go;
Left St. He-le- na, Bound to go; Brudder, fare you well.
2 I build my house on shiftin' sand,
De first wind come he blow him down.
3 I am not like de foolish man,
He build his house upon de sand.
4 One mornin' as I was a walkin' along,
I saw de berries a-hanging down.
5 I pick de berries and I suck de juice,
He sweeter dan de honey comb.
I tuk dem brudder, two by two,
I tuk dem sister, tree by tree.
Variation.
4
I build my house up - on
a rock, 0
yes, Lord!
No

23
ss, he would sen in."
augh, and appea ere
He adds that it is
31 one rower real over
he same, and so
wind
nor
storm shall blow dem down,
0
yes, Lord!
March on, member, Bound to go; March on, member, Bound to go;
yes, Lord No
March on, mem-ber, Bound to go;
Bid 'em fare
you well.
31.
MICHAEL ROW THE BOAT ASHORE.
0 yes, Lo
Fer-ry, Bound to;
D
•
1. Michael row de boat a
·
shore, Halle lujah!
2. Michael boat a
gospel boat, Hal lelujah!
-
r, fare you well
Own.
ong,
mice,
yes, Lord No
3 I wonder where my mudder deh (there).
4 See my mudder on de rock gwine home.
5 On de rock gwine home in Jesus' name.
6 Michael boat a music boat.
7 Gabriel blow de trumpet horn.
80 you mind your boastin' talk.
9 Boastin' talk will sink your soul.
10 Brudder, lend a helpin' hand.
11 Sister, help for trim dat boat.
12 Jordan stream is wide and deep.
13 Jesus stand on t' oder side.
14 I wonder if my maussa deh.
15 My fader gone to unknown land.
16 O de Lord he plant his garden deh.

24
32.
17 He raise de fruit for you to eat.
18 He dat eat shall neber die.
19 When de riber overflow.
20 O poor sinner, how you land?
21 Riber run and darkness comin'.
22 Sinner row to save your soul.
Words from Hilton Head.
Michael haul the boat ashore.
Then you'll hear the horn they blow.
Then you'll hear the trumpet sound.
Trumpet sound the world around.
Trumpet sound for rich and poor.
Trumpet sound the jubilee.
Trumpet sound for you and me.
SAIL, O BELIEVER.
#2
4
Sail, O
be
liever, sail,
Sail
0-
ver
yon - der;
Sail, O
my
brudder, sail,
Sail 0 - ver yon - der.
[Col. Higginson gives the following stanzas, of which the above seems to be a
part; but unfortunately he is unable to identify the music, which is well de-
scribed by the terms in which he speaks of the words-"very graceful and
lyrical, and with more variety of rhythm than usual:"
"Bow low, Mary, bow low, Martha,
For Jesus come and lock de door,
And carry de keys away.
Sail, sal, over yonder,
And view de promised land,
For Jesus come, &c.
Weep, O Mary, bow low, Martha,
For Jesus come, &c.
Sail, sail, my true believer;
Sail, sail, over yonder;
Mary, bow low, Martha, bow low,
For Jesus come and lock de door,
And carry de keys away."]

25.
33.
ROCK O' JUBILEE.
1. O rock o'
jubilee, poor fallen soul,* O
Lord, †de
rock o'
ju bi lee! 2. O rock o' ju - bi- lee, and I
rock 'em all
a - bout,
O Lord, de rock o'
jubilee!
ver yon-der
3 Stand back, Satan, let me come by.
40 come, titty Katy, let me go.
5 I have no time for stay at home.
6 My Fader door wide open now.
7 Mary, girl, you know my name.
8 Look dis way an' you look dat way.
9 De wind blow East, he blow from Jesus.
wwer yon-der
he above seems bea
music, which is 1 de
-"very grace and
34.
4
I
To mercy seat, To de corner o' de world.
Yes.
STARS BEGIN TO FALL.
tink I hear my brud - der *say, Call
11111
de
na - tion
great
and
small; I
look ee
·
on de
God's right

26
hand, When de stars be- gin to fall.
Oh what a mournin' (sis- ter),
Oh
what a
mourn - in'
(brudder), Oh
what
a
-
mourn in', When
de
stars
be
-
gin to
fall.
Titty Nelly, De member, &c.
KING EMANUEL.
35.
#2
47
1. O
my King E
-
manu - - el,
my
E-ma - nu - el
a-
-bove, Sing glory
to
my King E
-
ma
- nu-
el.
2. If
you
walk de gold- en
street, and you join de
gold - en
band, Sing glo
-
be
ry
to my King E - ma- nu el.
-
3 If you touch one string, den de whole heaven ring.
4 0 the great cherubim, O de cherubim above.
5 O believer, ain't you glad dat your soul is converted?
[This hymn-words and melody-bears all the marks of white origin. We
have not, however, been able to find it in any hymn-book, and therefore retain
it, as being a favorite at Port Royal.]

27
27
ata mourn is-ter),
36.
Oh
To
Wa
to fa
HHH
ma nu-
a-
0
- el.
42
3
SATAN'S CAMP A-FIRE.
Fier,
my Saviour, fi - er,
Satan's camp a-
fire;
Fi
·
belie
er,
-
ver, fi
-
er,
Satan's camp a-
fire.
37.
De
sun
GIVE UP THE WORLD.
give a light in de heaven all round, De
2 you
sun give
a light in Ide heaven all round,
De
in de g - en
-ma-nu el.
ven ring.
ve.
converted
s of white in. We
ok, and the re retain
sun
give a light in de heaven all round, Why
don't you give up de world?
My brud-der,
don't you
give
up
de world? My
brud - der,
don't
you

28
give
up
de
world? My
brud - der,
don't you
give up
de world? We must
leave de
world be
·
hind.
De moon give a light, De starry crown.
[The first movement of this air is often sung in the minor key.j
38.
JESUS ON THE WATER-SIDE.
4
Heaven bell a- ring, I know de road, Heaven bell a-ring, I know de road;
Heaven bella- ring, I
know de road, Je
·
sus sittin' on de
wa -
ter side.
Do
·
come a long, do
let
us
go,
3
Do
let
come a long, do
us
go,
Do
-
come a long, do

29
-
let
us
go,
Je sus
sittin' on de
wa - ter
side.
I,
don't
1
39.
I WISH I BEEN DERE.
behind
H
My
mud - der,
fol
you
-
low
Je
-
sus,
My
or key.
sis-ter, you follow Jesus, My brudder, you follow Je
sus, To
E.
fight until I die.
I wish I been dere, To climb Jacob's
yonder,
ing, I know dad;
ladder, I
wish I been dere,
To wear de star - ry crown.
yonder,
40.
BUILD A HOUSE IN PARADISE.
My
brud - der build a house in
Para
dise,..
ms sit-tin' de
fader build a house
1st
20
let us
0-na build a house. in
Paradise,
Paradise.
My
Build it wid - out
8
ham
- mer
or
a
nail,
come a lo lo
Build it wid - out
hammer or
a nail.

30
41.
I KNOW WHEN I'M GOING HOME.
4
Old
Satan told me to my face,
0
yes, Lord, De
God I seek I
nev-er find,
yes, Lord. True be-
·
liev er,
I
know when I
gwine home,
True
be-
20
liev er,
I
know when
gwine home,
True be-
B
liev-er, I know when I gwine home, I
been a
-
fraid to
die.
42.
I'M A-TROUBLE IN DE MIND.
4
I
am a-trou-ble in de mind, O I
am a-trouble in de
mind; I
ask my Lord what shall I
do,
I am a trouble in de

31
E.
s, Lord, D
mind.
I'm a
trouble in de mind, What you
Lord. True b
doubt for? I'm a - trou - ble in de mind.
Titty Rosy, Brudder Johnny, Come along dere.
True be
43.
True be
TRAVEL ON.
4
Sister Ro-sy, you get to heaven be - fore I
go, Sis-ter, you
to die.
look out for me, I'm
on de way.
Trabel
on,
tra-bel
rouble in
on,
you heaven-born *
soldier,
Tra- bel on,
tra-bel
on,
Go hear de
what my
Je - sus say.
trouble in de
Heaven-bound.

32
44.
ARCHANGEL OPEN THE DOOR.
I
ax
all
dem brud der* roun', Brudder,* why
-
can't
you pray
for
me?
I
ax
all
dem
brudder roun', Brudder, why can't you pray for me?
1. I'm
gwine to my heaven, I'm gwine home, Arch-an-gel
0-pen de door; I'm
gwine to my heaven, I'm gwine home; Arch-an - gel
o pen de door.
2 Brudder, tuk off your knapsack, I'm gwine home;
Archangel open de door.
* Sister.
45.
MY BODY ROCK 'LONG FEVER.
1. Wai', my brudder, * bet-ter true believe, † Better true be long time
get over cros-ses; Wai', my sister, bet-ter true be-lieve, An' 'e

33
DOR,
get up to heaven at last.
O my bo-dy rock 'long fev-er, O!
oun', Brudder, y
wid
a pain in 'e
head! I
I wish I been to de
ax
all em
king-dom, to
-
sit & long side
O'
my
Lord!
me?
I'm
-pen de d I'm
1 o pen de or.
me home;
VER.
2 By de help ob de Lord we rise up again,
O de Lord he comfort de sinner;
By de help ob de Lord we rise up again,
An' we'll get to heaven at last.
All de member.
Variation.
† Long time seeker 'gin to believe.
O my body's racked wid de
fe-ve-er, My head rack'd wid de
pain
I hab,
I wish I was
in de
king-do- om, A-
etter true be; time
true be-lieve a' 'e
set - tin'
on
de side
ob
de
Lord.
[This is one of the most striking of the Port Royal spirituals, and is
shown by a comparison with No. 93 to be one of the most widely spread
of all the African hymns. It is hard to explain every word of the intro.
duction, but "long time get over crosses" is of course the "long time waggin'
o' er de crossin'" of the Virginia hymn.]

34
46.
BELL DA RING.
I know member, know Lord,
know I yed - de
de
bell da ring. 1. Want to go to meet-ing, Bell da
ring,
Want to go to meet-ing, Bell da ring. 2. (Say) Road so storm-y,*
Bell da
ring, (Say) Road SO storm - y, Bell da ring.
3 I can't get to meetin'. t
4 De church mos' ober.
5
De heaven-bell a heaven-bell.
6 De heaven-bell I gwine home.
7
I shout for de heaven-bell.
8 Heaven 'nough for me one.
(Brudder) hain't you a member?
Boggy, Tedious.
t'ciety, Lecter, Praise-house.
[The following words were sung in Col. Higginson's regiment:
Do my brudder, O yes, yes, member,
De bell done ring.
You can't get to heaben
When de bell done ring.
If you want to get to heaven,
Fo' de bell, etc
You had better follow Jesus,
Fo' de bell, etc.
O yes, my Jesus, yes, I member,
De bell etc.
O come in, Christians,
Fo' de bell, etc.
For the gates are all shut,
When de bell, etc.
And you can't get to heaben
When de bell, etc.

35
WI yed
-ing, Bell
ring,
ay) Road so orm-y'
Col. Higginson suggests that this refrain may have originated in Virginia,
and gone South with our army, because "done' is a Virginia shibboleth, quite
distinct from the 'been' which replaces it in South Carolina. In the proper
South Carolina dialect, would have been substituted 'De bell been-a-ring.'"
We have, however, shown in the preface, that "done" is used on St. Helena;
and at any rate the very general use of this refrain there in the present tense,
"Bell da ring," would indicate that it was of local origin, while we have never
met with anything at all like it in any other part of the country. As given
above, it is one of the most characteristic "shouting" tunes.
In singing "Heaven-bell a heaven-bell," the v and n were so run together
that the words sounded like "hum-bell a hum-bell," with a strong emphasis and
dwelling upon the m.]
PRAY ALL DE MEMBER.
?
47.
Bell da ing
0#
1. Pray all de mem-ber,* O
Lord! Pray
all de mem-ber,
Yes,
my Lord! 2. Pray a little lon ger, O Lord!
Ise-house.
inson's regit:
mber,
Pray a little lon-ger, Yes, my Lord! 3. Je-ri-cho da wor-ry me,
0
Lord! Jericho da wor- ry me, Yes, my Lord!
4 Jericho, Jericho.
5
I been to Jerusalem.
6 Patrol aroun' me.
7 Tank God he no ketch me.
8 Went to de meetin'.
9 Met brudder Hacless [Hercules].
10 Wha' d'ye tink he tell me?
11
Tell me for to turn back.
12 Jump along Jericho.
*True believer.
[This also is a very characteristic shouting tune.]

36
48.
TURN, SINNER, TURN O!
1. Turn, sin - ner, turn to
2. Turn, O sin - ner, de worl' da
·
day, Turn, sin - ner, turn O!
gwine, Turn, sin - ner, turn O!
Turn, sin
-
turn
ner,
-
to day, Turn, sin
Turn, O sin - ner, de worl' da gwine, Turn, sin
1ST VAR.
3. Wait not for
4. To-morrow's sun
tomorrow's
will sure to
·
ner, turn 0!
ner, turn ()!
sun, Turn, sin - ner, turn O!
shine, Turn, sin - ner, turn O!
Wait not for
tomorrow's
To-morrow's sun will sure to
sun, Turn, sin - ner, turn O!
shine, Turn, sin - ner, turn 0!
2D VAR.
5. The sun may shine, but on your grave, Turn, sinner, turn O!
The
sun may shine, but on your grave, Turn, sin- ner, turn O!
3D VAR.
6. Hark! I hear dem sin - ner say, Turn, sin - ner, turn O!
7. If you get to heaven I'll get there too, Turn, sin - ner, turn O!

37
!
ΠΙΠ
sin-ner, tu!
sin-ner, tur!
Hark! I
If you get
1ST VAR.
hear dem sin - ner say,
to heaven I'll get there too,
Turn, sin - ner, turn O!
Turn, sin - ner, turn O!
in
-ner, turt
inner, turn
8.0
sin -
- ner, you make mistake,
9. While de lamp hold out to burn,
10. De wile' sin ner may return,
Turn, sin - ner, turn O!
Turn, sin - ner, turn O!
Turn, sin - ner, turn O!
n, sin-ner,
n, sin-ner, t 0!
0!
==
0
sin - ner, you make mis - take,
While de lamp hold out to burn,
De wile' sin - ner may return,
Turn, sin - ner, turn O!
Turn, sin - ner, turn O!
Turn, sin - ner, turn O!
n, sin-ner,
, sin-ner,
Fö
01
0!
sinner, turn
The
sin-ner, t 0!
sin-ner, O!
sin-ner, Ol
The following words are sung to the same tune:
1 Bro' Joe, you ought to know my name--Hallelujah.
2 My name is written in de book ob life.
3 If you look in de book you'll fin' 'em dar.
4 One mornin' I was a walkin' down.
5 I saw de berry a-hinging down.
6 (Lord) I pick de berry, an' I suck de juice.
7 Jes' as sweet as de honey in de comb.
8 I wonder where fader Jimmy gone.
9 My fader gone to de yonder worl'.
10 You dig de spring dat nebber dry.
11 De more I dig 'em, de water spring.
12 De water spring dat nebber dry.
[This is the most dramatic of all the shouts; the tune varies with the words,
commonly about as given above, and the general effect is very pathetic. The
words and tunes are constantly interchanged: thus, for instance, the 6th verse
might be sung to the second variation, and the 8th, 9th and 10th, to the third.]

38
49.
MY ARMY CROSS OVER.
1. My brudder, tik keer Sa- tan, My ar - my cross o-ber, My
brud - der, tik keer Sa- tan, My
-
ar my cross
o - ber.
2 Satan bery busy.
3 Wash 'e face in ashes.
4 Put on de leder apron.
5 Jordan riber rollin'.
6 Cross 'em, I tell ye, cross 'em.
7 Cross Jordan (danger) riber.
[The following version, probably from Sapelo Id., Georgia, was sung in
Col. Higginson's regiment:
1. My ar- my cross o - ber, My ar- my cross 0-
2
-ber, O
Pharaoh's ar -
my drownded, My ar -
my cross
o - ber. My
ar -
my,
my ar- my, my ar - my cross
o - ber.
2 We'll cross de riber Jordan.
3 We'll cross de danger water,
4 We'll cross de mighty Myo.
[On the word "Myo," Col. Higginson makes the following note: "I could get
no explanation of the 'mighty Myo,' except that one of the old men thought it
meant the river of death. Perhaps it is an African word. In the Cameroon
dialect, Mawa' signifies to die."" Lt. Col. Trowbridge feels very confident
that it is merely a corruption of "bayou."]

39
R.
my cross
er, My
my cross
'em.
50.
JOIN THE ANGEL BAND.
1. If you look up de road you see fa- der Mose - y,
ber.
Join de
er.
Georgia, s sung i
y cross ber, 0
cross
er. My
an - gel band, If you look up de road you
see
fa der Mose - y,
Join
de an - gel
band.
2 Do, fader Mosey, gader your army.
3 0 do mo' soul gader togeder.
4 0 do join 'em, join 'em for Jesus.
5 0 do join 'em, join 'em archangel.
The following variation of the first line, with the words that follow, was sung
in Charleston:
O join 'em
all, join for Jesus.
Cross
ber.
wing note I could get
the old thought it
ord. In Cameroon
e feels
confident
O join 'em all, join for Jesus, Join Jerusalem Band,
Sister Mary, stan' up for Jesus.
Sixteen souls set out for Heaven.
O brudder an' sister, come up for Heaven.
Daddy Peter set out for Jesus.
Ole Maum Nancy set out for Heaven.
["The South Carolina negroes never say Aunty and Uncle to old persons, but
Daddy and Maumer, and all the white people say Daddy and Maumer to old
black men and women "-A. M. B.
This is no doubt correct as regards South Carolina in general. I am
sure that I heard "Uncle" and "Aunty" at Port Royal, and I do not remember
hearing "Daddy" and "Maumer."-W. F. A.]

40
51.
I AN' SATAN HAD A RACE.
1. I
an' Satan had a
race, Halle- lu,
hal - le- lu,
I
an' Sa tan had a race, Halle - lu,
hallelu
2 Win de race agin de course.
3 Satan tell me to my face
4 He will break my kingdom down.
5 Jesus whisper in my heart
6 He will build 'em up again.
7 Satan mount de iron grey;
8 Ride half way to Pilot-Bar.
9 Jesus mount de milk-white horse.
10 Say you cheat my fader children,
11 Say you cheat 'em out of glory.
12 Trouble like a gloomy cloud
13 Gader dick an' tunder loud.

41
E.
52.
SHALL I DIE?
1. Believer,
0 shall I
die? O my ar- my, shall I die?
lu, halla,
AD
hal-le la
2. Jesus die, shall I die? Die on the cross, shall I
3 Die, die, die, shall I die?
Jesus da coming, shall I die?
4 Run for to meet him, shall I die?
Weep like a weeper, shall I die?
5 Mourn like a mourner, shall I die?
Cry like a crier, shall I die?
die ?
[This shout was a great favorite on the Capt. John Fripp plantation; its sim-
plicity, wildness and minor character suggest a native African origin. Some-
times the leading singer would simply repeat the words, mournfully: "Die, die,
die,"-sometimes he would interpolate such an inappropriate line as "Jump
along, jump along dere."]
53.
'WHEN WE DO MEET AGAIN.
When we do meet a -
- gain, When we do meet again, When we
do
meet
a - gain, "Twill be no
more
to
part.
Broth-
-er
Billy,
fare you well, Broth - er
Billy,
fare you well, We'll sing hal - le- lu - jah, when we do meet a-gain.

42
54.
THE WHITE MARBLE STONE.
1. Sister Dol - ly* light the lamp, and the lamp light the road, And I
wish
I been there for to
yed - de
Jordan roll.
20 the city light the lamp, the white man he will sold,
And I wish I been there, etc.
3 0 the white marble stone, and the white marble stone.
*Believer, Patty, etc.
[This song was described to us as "too pretty." The following minor varia-
tion might be called "too much prettier."
55.
my sister light de lamp, and de lamp light de road; I
wish
Ι
been dere for to hear de Jor dan roll.
-
I CAN'T STAND THE FIRE.
I can't stan' de fire, (dear sister) I can't stan' de fire, (0 Lord) I
can't stan' de fire, While Jordan da roll so swif'. (Tiddy 'Rinah.)
[Probably only a fragment of a longer piece. The following variation was
sung at Coffin's Point:
Can't stand the fire, Can't stand the fire, Can't, etc. (O Lord, I) Can't stand the fire.

43
56.
MEET, O LORD!
t the road di
1. Meet, O Lord, on de milk-white horse, An' de nineteen wile*in his han';
Jordan 11.
will sold,
ble stone.
Drop on, drop on de crown on my head, An' roll -y in my Jesus'
arm.
In dat mornin' all day, In dat mornin' all day,
Owing mi varia
In dat
ight de ro; I
dan ro
Fire, (0 I
mornin' all day, When Je - sus de Chris' been born.
2 Moon went into de poplar tree,
An' star went into blood;
In dat mornin', etc.
* i. e. the anointing vial.
[This was taught me by a boy from Hilton Head Island, whom the rebel Gen.
Drayton left holding his horse "when gun shoot at Bay Pint." The General
never returned to reclaim his horse, which afterwards came into the possession
of a friend of mine, and was famed for swiftness. I had several fine rides upon
"milk-white" Drayton.-W. F. A.]
57.
WAIT, MR. MACKRIGHT.
Wai', Mister Mackright, an' 'e yed-de what Sa - tan
(Tiddy ah.)
ng varis a was
say: Satan
an't stane fire.
full me full of music, an' tell me not to pray.
Mister Mackright cry ho- ly; O Lord, cry ho- ly.
垂
​
44
58.
Variation.
EARLY IN THE MORNING.
4
2
4
I
meet
1.
An' I ax
little Ro- sa
her, how you
do
00
early in de mornin',
dar-ter?
my
Je
·
Je -
ru -
ru - sa - lem,
salem,
ear
·
ly in
ear
-
ly in
de
de mornin';
morn
in'.
ま
​Walk 'em eas-y round de heaben, Walk 'em easy
round de heaben,
Walk 'em easy round de heaben, Till all living may join dat band.*
2 I meet my mudder early in de mornin',
An' I ax her, how you do my mudder?
Walk 'em easy, etc.
3 I meet brudder Robert early in de mornin';
I ax brudder Robert, how you do, my sonny?
4 I meet titta-Wisa† early in de mornin';
I ax titta-Wisa, how you do, my darter?
*O shout glory till 'em join dat ban'. † i. e. sister Louisa.
["This shout is accompanied by the peculiar shuffling dance, except in the
chorus, where they walk around in slow time, keeping step to their song."-
J. S. R.]

45
de mon',
dar er?
rnin'
rn-in'
59.
HAIL, MARY.
I want some valiant soldier here,
I
want some valiant
soldier here, I want some valiant
soldier here, To
help me bear de cross. O hail, Mary, hail! O hail, Mary,
und de ben,
ay join d band.*
hail! O hail, Mary, hail!
To help me bear de cross.
["I fancied," says Col. Higginson, "that the original reading might have been
'soul,' instead of soldier,'-with some other syllable inserted, to fill out the
metre, and that the Hail, Mary,' might denote a Roman Catholic origin, as I
had several men from St. Augustine who held in a dim way to that faith."
In Mr. Spaulding's article in the Continental Monthly, a tune nearly identical
with this is given with words almost the same as those of "No more peck of
corn," No. 64, the whole as an introduction to the second part of "Trouble of
the World," No. 10-a curious illustration of the way in which the colored peo-
ple make different combinations of their own tunes at different times :]
4
my?
1. Done wid dri - ber's dri - bin',
Done wid driber's
ce, exe in the
to thei ng
か
​dri - bin', Done wid driber's dri - bin', Roll, Jordan, roll.
2 Done wid massa's hollerin',
3 Done wid missus' scoldin'.

46
60.
2
NO MORE RAIN FALL FOR WET YOU.
1. No more rain fall for wet you, Hal - le- lu,
-
lu,
hal-le-
No more rain fall for wet you, Hal- le- lu - jah.
2 No more sun shine for burn you.
3 No more parting in de kingdom.
4 No more backbiting in de kingdom.
5 Every day shall be Sunday.
61.
In chanting style.
I WANT TO GO HOME.
Ө
1. Dere's no rain to wet you. Olyes, I want to go | home,||Want to go home.||
2 Dere's no sun to burn you,-O yes, etc.
3 Dere's no hard trials.
4 Dere's no whips a-crackin'.
5 Dere's no stormy weather.
6 Dere's no tribulation.
7 No more slavery in de kingdom.
8 No evil-doers in de kingdom.
9 All is gladness in de kingdom.
[Verse 7 was added after the Emancipation Proclamation.-J. S. R.]

TYOU.
47
62.0XT GOOD-BYE, BROTHER.
C
- lu, ha le-
1. Good-bye, brother, good-bye, brother, If I
don't see you more;
Now God bless you, now God bless you, If I
don't see you more.
-luah
2 We part in de body but we meet in de spirit,
We'll meet in de heaben in de blessed kingdom.
+
3 So good-bye, brother, good-bye, sister;
Now God bless you, now God bless you.
* Glorious.
["Sung at the breaking up of a midnight meeting after the death of a soldier.
These midnight wails are very solemn to me, and exhibit the sadness of the
present mingled with the joyful hope of the future. I have known the negroes
to get together in groups of six or eight around a small fire, and sing and pray
alternately from nine o'clock till three the next morning, after the death of one
of their number."-J. S. R.]
ant to go me.
63.
FARE YE WELL.
4
to.
0 fare you well, my brudder,
fare you well by de
2
grace of God, For I'se gwin - en home; I'se
gwin - en
T.S.R.1
home, my Lord, I'se gwinen home. Mas - sa Jesus gib me

48
little
broom, For to sweep my heart clean;
2
Sweep 'em clean by de grace of God, An' glory in my soul.
64.
MANY THOUSAND GO.
C
1. No
more peck o' corn for me,
No more, no more;
2
No more peck o' corn
for me,
Man-y
tousand go.
2 No more driver's lash for me.
3 No more pint o' salt for me.
4 No more hundred lash for me.
5 No more mistress' call for me.
[A song "to which the Rebellion had actually given rise. This was composed
by nobody knows whom-though it was the most recent doubtless of all these
'spirituals.'-and had been sung in secret to avoid detection. It is certainly
plaintive enough. The peck of corn and pint of salt were slavery's rations."-
T. W. H. Lt. Col. Trowbridge learned that it was first sung when Beauregard
took the slaves of the islands to build the fortifications at Hilton Head and
Bay Point.]

49
65.
BROTHER MOSES GONE.
heart clea
Brud-der Mo - ses gone to de promised land,
y in my oul
Hal
le
·
lu, hal le lu
·
·
jah.
+
垂
​66.
THE SIN-SICK SOUL.
more, no ore;
2
4
Brudder George is
a - gwine to glo
·
ry,
Take
7
tousand o.
car'
de sin - sick soul,
Brudder George is
a - gwine to
b
glory,
Take car'
de sin sick soul.
Brudder
This was mposed
oubtless 11 these
ion. It ertainly
slavery's ons."-
g when uregard
at Hilto ead and
Stephen's gwine to glory, Take car' de sin - sick soul.

67.
SOME VALIANT SOLDIER.
-4
Oh Lord, I want some vali ant
sol - dier,
Ι
want some va - li ant soldier, I want some valiant
-
soldier, To help me bear de cross.
For I weep, I weep, I
can't hold out; If any mercy, Lord, O pit-y poor me.
[The words are in part the same as those of " Hail Mary," No. 59.]
68.
HALLELU, HALLELU.
62
4
1. Oh one day as an oder, Hal - le lu, hal le-
lu! 2. When de ship is out a sail - in', Hal - le lu- jah!
3 Member walk and never tire.
4 Member walk Jordan long road.
5 Member walk tribulation.
6 You go home to Wappoo.
7 Member seek new repentance.
8 I go to seek my fortune.
9 I go to seek my dying Saviour.
10 You want to die like Jesus.
[For other words, see "Children do linger," No. 69.]

51
soldier I
AM - HA
ant some liant
69.
CHILDREN DO LINGER.
1. O member, will you lin - ger? See de chil-'en do
weep, eep, I
pit-y me.
"No. 59
lu,
le.
- le jab!
linger here. 2. I go to glo-ry wid you, Member, join.
30 Jesus is our Captain.
4 He lead us on to glory.
5 We'll meet at Zion gateway.*
6 We'll talk dis story over.
7 We'll enter into glory.
8 When we done wid dis world trials.
9 We done wid all our crosses.
10 O brudder, will you meet us?
11 When de ship is out a-sailin'.
12 0 Jesus got de hellum.
13 Fader, gader in
your chil'en.
14 0 gader dem for Zion.
15 'Twas a beauteous Sunday mornin'.
16 When he rose from de dead.
17 He will bring you milk and honey.
*Heaven portal.

52
70.
GOOD-BYE.
Good-bye, my brudder, good-bye, Hal- le - lu- jah! Good-bye, sister
Sally, good-bye, Hallelujah! Go - ing home, Hal - le-
lujah! Je sus
call me,
Hallelujah! Linger
110
longer, Halle- lu- jah! Tar - ry no longer, Hal - le- lu - jah!
["This is sung at the breaking up of a meeting, with a general shaking of
hands, and the name of him or her pronounced, whose hand is shaken; of
course there is seeming confusion."-Mrs. C. J. B.]
71.
LORD, MAKE ME MORE PATIENT.
6
8
Lord, make me more patient,* Lord, make me more pa
tient,
Lord, make me more patient, Un- til
we meet a - gain;
Patient, pa
-
tient, patient, Un- til
we meet a
1
gain.
2
66
Any adjective expressive of the virtues is inserted here: holy, loving,
peaceful, etc."-Mrs. C. J. B.

53
!Good-by sister
72.
THE DAY OF JUDGMENT.
ng home [al-le-
1. And de moon will turn to blood, And de moon will turn to
h! Lin er no
blood, And de moon will turn to blood In dat day-0- yoy,* my
Hal-le-jah!
a gener shaking of
handi haken; of
soul! And de moon will turn to blood in dat day.
ENT.
more patient,
eet again;
eet a ain.
NV
here ly, loving,
2 And you'll see de stars a-fallin'.
3 And de world will be on fire.
4 And you'll hear de saints a-singin :
5 And de Lord will say to de sheep.
6 For to go to Him right hand;
7 But de goats must go to de left.
*"A sort of prolonged wail."-Mrs. C. J. B.

54
73.
1. 0
THE RESURRECTION MORN.
hallelu! O
run, Mary, run, Hal - le- lu,
run, Mary, run, Halle - lu -
jah!
2. It
was
early in de
mornin', Hal - le- lu,
hal-le-
- lu! It was early
in de
mornin', Halle - lu- jah!
3 That she went to de sepulchre,
4 And de Lord he wasn't da.
5 But she see a man a-comin',
6 And she thought it was de gardener.
7 But he say, "O touch me not,
8"For I am not yet ascended.
9 "But tell to my disciples
10"Dat de Lord he is arisen."
11 So run, Mary, run, etc.

55
-lu!
Π
2. It
hal-
Π
- lu!
74. NOBODY KNOWS THE TROUBLE I'VE HAD.
Nobody knows de trouble I've had,* No - body knows but
Jesus,
Nobody knows de trouble I've had, (Sing)
Glory halle - lu!
1. One morning I was a-walking down,
0
yes, Lord!
saw some ber-ries a - hanging down,
Variation on St. Helena Id.
0
yes, Lord! 0
yes, Lord! I saw some berries hanging down.
2 I pick de berry and I suck de juice, O yes, Lord!
Just as sweet as the honey in de comb, O yes, Lord!
3 Sometimes I'm up, sometimes I'm down,
Sometimes I'm almost on de groun'.
4 What make ole Satan hate me so?
Because he got me once and he let me go.
* I see.
[This song was a favorite in the colored schools of Charleston in 1865; it has
since that time spread to the Sea Islands, where it is now sung with the varia-
tion noted above. An independent transcription of this melody, sent from Florida
by Lt. Col. Apthorp, differed only in the ictus of certain measures, as has also
been noted above. The third verse was furnished by Lt. Col. Apthorp. Once
when there had been a good deal of ill feeling excited, and trouble was appre-
hended, owing to the uncertain action of Government in regard to the confis-
cated lands on the Sea Islands, Gen. Howard was called upon to address the
colored people earnestly and even severely. Sympathizing with them, however,
he could not speak to his own satisfaction; and to relieve their minds of the
ever-present sense of injustice, and prepare them to listen, he asked them to
sing. Immediately an old woman on the outskirts of the meeting began
Nobody knows the trouble I've had," and the whole audience joined in. The
General was so affected by the plaintive words and melody, that he found him-
self melting into tears and quite unable to maintain his official sternness.]
66

56
75.
WHO IS ON THE LORD'S SIDE.
Let
me
tell you what is
nat' rally de fac'
Who is on de Lord's side, None o' God's chil- 'n
は
​nebber look back, Who is on
de Lord's side.
1. Way in
de
wal- ley, Who is on de Lord's side,
Way in
de
wal
-
ley, Who is on de Lord's side.
2 Weepin' Mary.
3 Mournin' Marta.
4 Risen Jesus.

57
e
76.
HOLD OUT TO THE END.
All dem Mount Zion member, dey have many ups and downs; But
cross come or no come,
for to hold out to the end.
d's c.'n
Hold out to the end,
hold out to the end,
It
Lord side.
Lord side,
Lord side.
is my 'ter-mi- na - tion
for to hold out to the end.
77.
COME GO WITH ME.
&
1. Ole Satan
is
a
bus-y ole man, He roll stones in
my
way; Mass' Jesus
is my bo- som friend, He roll 'em out o' my

58
way.
come-e
go wid me,
0
come-e
go wid me,
0
come-e
go wid me,
in
A walkin'
de heaven I roam.
2 I did not come here myself, my Lord,
It was my Lord who brought me here;
And I really do believe I'm a child of God,
A-walkin' in de heaven I roam.
O come-e go wid me, etc.
78.
EVERY HOUR IN THE DAY.
One cold freezing morning I lay dis bod-y down; I will
pick up my cross an' follow my Lord All roun' my Fader's throne.
1. Every hour in de day cry holy, Cry ho-ly, my Lord! Every
hour in de day cry holy, Oh show me de crime I've done.
2 Every hour in de night cry Jesus, etc.

Π
79.
IN THE MANSIONS ABOVE.
gow me,
heaven roam.
d,
Good Lord, in de maushans above, Good Lord, in de
manshans above, My Lord, I hope to meet my Jesus In de
down will
maushans above. 1. If you get to heaven before I do, Lord, tell my
Jesus
I'm a comin' too, To de man-shans a-bove.
y Fader hrone.
my Lo Every
ime I'vne.
2 My Lord, I've had many crosses an' trials here below;
My Lord, I hope to meet you
In de manshans above.
3 Fight on, my brudder, for de manshans above,
For I hope to meet my Jesus dere
In de manshans above.

60
80.
2
SHOUT ON, CHILDREN.
4
1. Shout on, chil'en, you never die; Glory hallelu!
81.
You in de Lord, an' de Lord in you; Glory hallelu!
2 Shout an' pray both night an' day;
How can you die, you in de Lord?
3 Come on, chil'en, let's go home;
O I'm so glad you're in de Lord.
JESUS, WON'T YOU COME BY-AND-BYE!
52
4
You ride dat horse, you call him Mac-a - do- ni,
Jesus, won't you come bumby? You ride him in de mornin' and you
ride him in de evenin', Jesus, won't you come bumby? De
1st. | 2d.
Lord knows de world's gwine to end up, Jesus, won't you come bumby?

61
hal-le
hal-le-
HH
82.
HEAVE AWAY.
Heave away, heave a-way! I'd rather court a yellow gal than
work for Henry Clay. Heave a ·
way,
heave a
BYE!
way!.... Yellow gal, I
want to go, I'd
-do-
333
mornin' a you
rather court a yellow gal than work for Henry Clay.
by?
le
1st,
Heave a
0
way!
Yellow gal, I want to go!
bum by
This is one of the Savannah firemen's songs of which Mr. Kane O'Donnel
gave a graphic account in a letter to the Philadelphia Press. "Each company."
he says, "has its own set of tunes, its own leader, and doubtless in the growth
of time, necessity and invention, its own composer."]




II.
NORTHERN SEABOARD SLAVE STATES:
INCLUDING DELAWARE, MARYLAND, VIRGINIA, AND NORTH
CAROLINA.


SLAVE SONGS OF THE UNITED STATES.
II.
WAKE UP, JACOB.
83.
1. Wake up, Jacob, day is a - breaking, I'm on my way;
0,
1st.
wake up, Jacob, day is a - breaking, I'm on my
2d.
way. O!
way.
I want to go to heaven when I die, Do love de Lord! I
1st. D.C. 2d.
want to go to heaven when I die, Do love de Lord! O! Lord.
2 Got some friends on de oder shore,
Do love de Lord!
I want to see 'em more an' more,
Do love de Lord!
Wake up, Jacob, &c.

66
84.
ON TO GLORY.
1. {
come my
To
brethren and sisters too, We're gwine to
iour let us sing, And make our
Christ our Sav
join the heavenly crew;
loud ho- san - nas ring.
}
0
hallelu, O hal- le.
- lu,
0
O hal le- lu
-
jah to the Lord.
(Repeat.)
This
ng as
e yea
2 Oh, there's Bill Thomas, I know him well,
He's got to work to keep from hell;
He's got to pray by night and day,
If he wants to go by the narrow way.
3 There's Chloe Williams, she makes me mad,
For you see I know she's going on bad;
She told me a lie this arternoon,
And the devil will get her very soon.
[We should be tempted, from the character of this tune, to doubt its genu-
ineness as a pure negro song. We are informed, however, that it was sung
twenty-five years ago in negro camp-meetings, and not in those of the whites.
The words, at any rate, are worth preserving, as illustrating the kind of influ-
ence brought to bear upon the wavering.]
86
[Ad

67
85.
JUST NOW.
ine to
ke ou
1. Sanc to fy
me,
-
sanc to fy
·
me,
Sanc-to-
fy
me,
sancto fy
me, Sancto
fy
me, just
-le
now;
Just now; just now;
Sancto - fy
me just now.
Repeat
2 Good religion, good religion, etc.
3 Come to Jesus, come to Jesus, etc.
[This, which is now, in a somewhat different form, a Methodist hymn, was
sung as given above, by the colored people of Ann Arundel Co.,. Md., twenty-
five years ago.-W. A. H.]
gen
S SU
white
f inf
86.
SHOCK ALONG, JOHN.
Shock along, John, shock along.
Shock along, John, shock along.
[A corn-song, of which only the burden is remembered.]

68
87.
ROUND THE CORN, SALLY.
1. Five can't ketch me
and ten
can't hold me,
Ho,......
round the corn, Sally!
Round the corn, round the corn,
round the corn, Sal - ly! Ho, ho, ho, round the corn, Sal-ly!
2 Here's your iggle-quarter and here's your count-aquils.
3 I can bank, 'ginny bank, 'ginny bank the weaver.
["Iggle" is of course "eagle;" for the rest of the enigmatical words and ex-
pressions in this corn-song, we must leave readers to guess at the interpretation.]
88.
+3
4
JORDAN'S MILLS.
1. Jer dan's mills a grinding, Jer dan's
-
a-
hay;
Jer dan's mills a - grinding,
Jer dan's
a - hay.
2 Built without nail or hammer.
3 Runs without wind or water.
2
Sin
Tuo

69
89.
SABBATH HAS NO END.
1. Gwine to walk a bout Zion, I
·
really do believe;
rn,
Walk a- bout
Zi - on, I really do believe;
Walk a bout
Zi - on, I
really do believe;
Sabbath has no end.
I d
did view one an - gel
T
ex-
ion.]
In one angel stand;
Let's mark him right down with the
fore-half,
With the har - pess in his hand.
2 Gwine to follow King Jesus, I really do believe.
3 I love God certain.
4 My sister's got religion.
5 Set down in the kingdom.
6 Religion is a fortune.
[This chorus was written down as exactly as possible from the lips of the
singer, and illustrates the odd transformations which words undergo in their
mouths. It is a verse of a familiar hymn: "fore-half" is "forehead;" "harpess"
isharp."]

70
90.
I DON'T FEEL WEARY.
I don't feel weary and noways tired, 0 glo-ry hal-le-
lu - jah.
1. Jest let me in the kingdom While the
world is all on fire.
0 glory hallelujah.
2 Gwine to live with God forever, While, etc.
3 And keep the ark a-moving, While, etc.
91. THE HYPOCRITE AND THE CONCUBINE.
1. Hypo-crite and the concubine, Liv - in' among the swine, They
run to God with the lips and tongue, And leave all the heart behind.
Aunty, did you hear when Jesus rose? Did you hear when Jesus rose ?
Aunty, did you hear when Jesus rose? He rose and he 'scend on high.

71
al-le-
le the
92.
O SHOUT AWAY.
O shout, () shout, O shout a way, And don't you mind, And
·
jah.
glo
·
ry, glo ry, glo ry in
my soul!
1. And
when 'twas night I thought 'twas day, I
thought I'd pray my
They
soul a -
way, And glory, glory, glory in my soul!
ind.
rose?
igh.
2 O Satan told me not to pray,
He want my soul at judgment day.
3 And every where I went to pray,
There some thing was in my way.

72
93.
O'ER THE CROSSING.
1. Bendin' knees a -
ach - in',
Body
racked wid pain,
I
wish I was a
child of God, I'd git home bime
by.
Keep prayin,' I do
believe We're a long time waggin' o' de
crossin'; Keep prayin', I do believe We'll git home to heaven bime-bye.
2 O yonder's my ole mudder, Been a waggin' at de hill so long;
It's about time she cross over, Git home bime-by.
Keep prayin', I do believe, etc.
3 O hear dat lumberin' thunder A-roll from do' to do',
A-callin' de people home to God; Dey'll git home bime-by.
Little chil'n, I do believe, etc.
4 0 see dat forked lightnin' A-jump from cloud to cloud,
A-pickin' up God's chil'n; Dey'll git home bime-by.
Pray mourner, I do believe, etc.
[This "infinitely quaint description of the length of the heavenly road," as
Col. Higginson styles it, is one of the most peculiar and wide-spread of the
spirituals. It was sung as given above in Caroline Co., Virginia, and probably
spread southward from this State, variously modified in different localities.
"My body rock 'long fever," (No. 45,) would hardly be recognised as the same,
either by words or tune, and yet it is almost certainly the same, as is shown by
the following, sung in Augusta, Georgia, which has some of the words of the
present song, adapted to a tune which is unmistakably identical with No. 45.]
C
O yonder's my ole mother, Been a-waggin' at de hill so long; I
really do believe she's a child of God, She'll git home to heav'n bime-bye.
[We regret we have not the air of the Nashville variation, "My Lord called
Daniel."]

73
by.
94.
ROCK O' MY SOUL.
1, Rock o' my soul in de bosom of Abraham, Rock o' my soul in de
bo - som of
Abraham, Rock o' my
soul
in de
o' de
bosom of
Abraham, Lord, Rock o' my soul.
(King Jesus.)
2 He toted the young lambs in his bosom, (ter)
And leave the old sheep alone.
me-bye
95. WE WILL MARCH THROUGH THE VALLEY.
C
1. We will march thro' the valley in peace,
We will
oad,"
march thro' the val
ley in peace;
If
Jesus himself
be our
of t
Tobal
calitie
e sam
own
: of tl
lead
er,
. 45.
e-by
call
We will march thro' the valley in peace.
2 We will march, etc.
Behold I give myself away, and
We will march, etc.
3 We will march, etc.
This track I'll see and I'll pursue;
We will march, etc.
4 We will march, etc.
When I'm dead and buried in the cold silent tomb,
I don't want you to grieve for me.

74
96.
WHAT A TRYING TIME.
1. 0 A-dam, where are you? A dam, where are you? A-
-
- dam, where are you? O
what a
trying time!
2 Lord, I am in the garden.
8 Adam, you ate that apple,
4 Lord, Eve she gave it to me.
5 Adam, it was forbidden.
6 Lord said, walk out de garden.
[A most compendious account of the fall.]
97.
ALMOST OVER.
1. Some seek de Lord and they don't seek him right, Pray all day and sleep all
night; And I'll thank God, almost o
ver, almost o
-
ver, almost
0 - ver, (My Lord) And I'll thank God, almost
2 Sister, if your heart is warm,
Snow and ice will do you no harm.
3 I done been down, and I done been tried,
I been through the water, and I been baptized.
0 - ver.
4 0 sister, you must mind how you step on the cross,
Your foot might slip, and your soul get lost.
5 And when you get to heaven, you'll be able for to tell
How you shunned the gates of hell.
6 Wrestle with Satan and wrestle with sin,
Stepped over hell and come back agin.
[A baptismal song, as the chattering "almost o-ver" so forcibly suggests.]

75
A-
ne!
ep all
Imost
er.
98.
DON'T BE WEARY, TRAVELLER.
Don't be
wear - y,
traveller,
Come along home to
Jesus;
Don't be
wear - y,
travel- ler,
Come a-
- long home to Jesus.
1 My head got wet with the
midnight dew, Come a-long home to Je- sus; Angels bear me
witness
too,
-
Come a long home to
Jesus.
2 Where to go I did not know
Ever since he freed my soul,
3 I look at de worl' and de worl' look new,
I look at de worl' and de worl' look new.

76
99.
LET GOD'S SAINTS COME IN.
Come down, angel, and trouble the water, Come down, angel, and
trouble the water, Come down, angel, and trouble the water, And
let God's saints come in.
(God say you must.)1 Ca
- naan land is the
land for me,
And let God's saints come in.
Canaan land is the
land
for
me,
And let God's saints come in.
2 There was a wicked man,
He kept them children in Egypt land.
3 God did say to Moses one day,
Say, Moses go to Egypt land,
4 And tell him to let my people go.
And Pharaoh would not let 'em go.
5 God did go to Moses' house,
And God did tell him who he was,
6 God and Moses walked and talked,
And God did show him who he was.
T
order
shoul

77
ngel, an
100.
THE GOLDEN ALTAR.
John saw-r-0, John saw-r-0... John
saw de ho-ly number
ater, Ar
settin' on de gold - en
al- tar!
1. It's a
ST
d is t
lit-tle while longer yere below, yere below, yere be-low, It's a
little while longer yere below, Be-fore de Lamb of God!
2 And home to Jesus we will go, we will go, etc.;
We are de people of de Lord.
John sawr-0, etc.
3 Dere's a golden slipper in de heavens for you, etc.,
Before de Lamb of God.
4 I wish I'd been dere when prayer begun, etc.
5 To see my Jesus about my sins, etc.
6 Then home to glory we will go, etc.
[This is interesting as an undoubted variation of "John, John of the holy
order." No. 22. A comparison of the words shows that the word "number"
should be "member."]

78
101.
THE WINTER.
O de vinter, O de vinter, O de vinter 'll soon be ober,*chilen, De
vinter, O de vinter, O do vinter 'll soon be ober, chilen, De
vinter, O de vinter, O de vinter 'll soon be ober, chilen,
Yes, my
FINE.
Lord! 1. "Tis Paul and Silas bound in chains, chains, And
1st time.
2d time.
D. C.
one did weep,† and de o-der one did pray,
o-der one did pray!
2 You bend your knees ‡ on holy ground, ground,
And ask de Lord, Lord, for to turn you around.
For de vinter, etc.
3 I turn my eyes towards the sky, sky,
And ask de Lord, Lord, for wings to fly.
4 For you see me gwine 'long so, so,
I has my tri-trials yer below.
Am a-comin',
+ Sing. I bend my knees, etc.
1

79
chilen,
102.
THE HEAVEN BELLS.
1. 0 mother I believe.... O mother I believe....
hilen,
0
mother I believe
That Christ was cru-ci-
chile
hains,
did p
fied!
0
don't you hear the
bells
Heaven
a -
ringing o.
ver
me? a ring ing
0-
ver
me? a-
-ringing over me? O don't you hear the Heaven bells a -
ringing over me? It sounds like the judgment day!

Phob



III.
INLAND SLAVE STATES:
INCLUDING TENNESSEE, ARKANSAS, AND THE MISSISSIPPI
RIVER.


SLAVE SONGS OF THE UNITED STATES.
103.
H
III.
THE GOLD BAND.
1. Gwine to march a
-
way in de gold band, In de army,
bye-and-
bye; Gwine to march
a
-
way
in
de gold band, In
de
ar - my, bye-and-bye.
Sinner, what you gwine to
do dat
day? Sinner, what you gwine to do dat day?
When de
fire's a
rolling behind you, In de ar - my, bye-and-bye.
2 Sister Mary gwine to hand down the robe,
In the army, bye-and-bye;
Gwine to hand down the robe and the gold band,
In the army, bye-and-bye.

84
104.
THE GOOD OLD WAY.
C
As I went down in de valley to pray,
Studying about dat
good old way, When you shall wear de starry
crown, Good Lord,
show me de way.
O mourner,*let's go down, let's go down,let's go down,
0
mourner, let's go down, Down in de valley to pray.
* Sister, etc.
105.
I'M GOING HOME.
1. I sought my Lord in de wilderness, in de wilderness, in de
2
wilderness; I sought my Lord in de wilderness, For
I'm a-go-ing home. For I'm going home, For I'm going
2
>>
home; I'm just getting read - y, For I'm going home.
2 I found free grace in the wilderness,
3 My father preaches in the wilderness.

85
106.
SINNER WON'T DIE NO MORE.
out dat
0 de Lamb done been down here an' died,
De
Food Lore
Lamb done been down here an' died, O de Lamb done been down
sgo dow
ay.
2
here an' died,
Sin-
- ner won't die
no mo'.
1. I
N
in de
8, For
HOU OZ103 T
won-der what bright an - gels, an - gels, an
going
home,
wonder what bright angels, De robes all ready
20 see dem ships come a-sailing, sailing, sailing,
O sce dem ships come a-sailing,
De robes all ready now.
gels, I
now.

86
107.
BROTHER, GUIDE ME HOME.
an -
Brudder, guide me home an' I
am
glad,
Bright
gels bid-dy me to come; Brudder, guide me home an'
I
am glad,
to
Bright angels bid - dy me
come.
2
1. What a happy time, chil'n, What a happy time, chil'n, What a
hap-py time, chil - 'n, Bright angels biddy me to come.
2 Let's go to God, chil'n, (ter)
Bright angels biddy me to come.
[I heard this in a praise-house at the "Contraband Camp" on President's
Island near Memphis, in September, 1864. I will not vouch for the absolute ac-
curacy of my memory.-W. F. A.]
10

87
108. LITTLE CHILDREN, THEN WON'T YOU BE GLAD?
Bright
1. Little
children, then won't you be glad,
Little
ome an
children, then won't you be glad, That you have been to heav'n, an' you're
come.
gwine to
go
·
a gain, For to
try
on the long white
What a
robe,
children, For to
try
on the long white robe.
come.
esident
Solute ac
2 King Jesus, he was so strong (ter), my Lord,
That he jarred down the walls of hell.
3 Don't you hear what de chariot say? (bis)
De fore wheels run by de grace ob God,
An' de hind wheels dey run by faith.
4 Don't you 'member what you promise de Lord? (bis)
You promise de Lord that you would feed his sheep,
An' gather his lambs so well.
[Often sung in the colored schools at Helena, Arkansas.]

88
109.
CHARLESTON GALS.
4
1. As
I walked down the new-cut road,
I met the tap and
then the toad; The toad commenced to whistle and sing, And the
possum cut the pigeon-wing.
A-long como an old man
riding by: Old man, if you don't mind, your horse will die ;
·
If he dies I'll tan his skin, And if he lives I'll ride him a gin.
Hi
ho, for Charleston gals! Charleston gals are the gals for me.
2 As I went a-walking down the street,
Up steps Charleston gals to take a walk with me.
I kep' a walking and they kep' a talking,
I danced with a gal with a hole in her stocking.
80

89
110.
RUN, NIGGER, RUN!
tap and
0 some tell me
that a
-
nig ger won't steal, But
And the
I've seen a nigger in my corn-field; O run, nigger, run, for the
old man
patrol will catch you, 0 run, nigger, run, for 'tis al- most day.
die;
a- gin.
for me.
111.
I'M GWINE TO ALABAMY.
1. I'm gwine to Ala-ba-my,
Oh........
For to
see
my mammy,
Ah..
2 She went from Ole Virginny,-Oh,
And I'm her pickaninny,-Ah.
3 She lives on the Tombigbee,-Oh,
I wish I had her wid me,-Ah.
4 Now I'm a good big nigger,-Oh,
I reckon I won't git bigger,-Ah.
5 But I'd like to see my mammy,-Oh,
Who lives in Alabamy,--Ah.
[A very good specimen, so far as notes can give one, of the strange barbaric
songs that one hears upon the Western steamboats.]


SLAVE SONGS OF THE UNITED STATES.
112.
IV.
MY FATHER, HOW LONG?
*
My father, how long, My father, how long, My father, how
long, Poor sinner suf- fer here? 1. And it won't be long, And it
won't be
long, And it won't be long, Poor sinner suffer here.
2 We'll soon be free, (ter)
De Lord will call us home.
3 We'll walk de miry road
Where pleasure never dies.
4 We'll walk de golden streets
Of de New Jerusalem.
5 My brudders do sing
De praises of de Lord.
6 We'll fight for liberty
When de Lord will call us home.
* Mother, etc.
[For singing this "the negroes had been put in jail at Georgetown, S. C., at
the outbreak of the Rebellion. We'll soon be free' was too dangerous an
assertion, and though the chant was an old one, it was no doubt sung with re
doubled emphasis during the new events. 'De Lord will call us home,' was
evidently thought to be a symbolical verse; for, as a little drummer boy ex-
plained it to me, showing all his white teeth as he sat in the moonlight by the
door of my tent,'Dey tink de Lord mean for say de Yankees.'"-T. W. H.]

94
113. I'M IN TROUBLE.
I'm in trouble, Lord, I'm in
1st.
FINE. |
trouble,
I'm in trouble, Lord,
2d.
trouble about my grave,
trouble about my grave. Sometimes I
weep, sometimes I mourn, I'm in trouble a-
-bout my grave; Sometimes I
D.C.
can't do neither one, I'm in trouble a-
bout my grave.
114.
O DANIEL.
You call yourself church-member, You hold your head so high, You
praise God with your glitt'ring tongue, But you leave all
your heart be-
hind. 0 my Lord de - li- vered
Dan iel, 0
Daniel, O
Daniel, O
my Lord de - li - vered
Daniel, O
why not deliver me too?
P

95
115.
O BROTHERS, DON'T GET WEARY.
Lord,
0
brothers, don't get wea - ry, O brothers, don't get
mes I
mes I
weary, O brothers, don't get weary, We're waiting for tho
ave.
D.C
Lord. We'll land on Canaan's shore, We'll land on Canaan's
shore, When we land on Canaan's shore, We'll meet forever more.
You
116.
be-
I WANT TO JOIN THE BAND.
What is that up yonder I see? Two little
an -
gels
com
·
in'
a'
ter me; I want to jine
the
band,
I
red
want to jine the band, (Sing togeth-er) I want to jine the band.

96
117.
JACOB'S LADDER.
I want to climb up Jacob's lad - der, Jacob's
ladder, O Jacob's lad der, I want to climb up Jacob's
·
lad
der, But
I can't climb it till
I make my
a
b
il
46-
11
peace with the Lord. O
0
praise ye the Lord, I'll praise Him till I
praise the Lord, O praise
ye
the
die, I'll praise Him till I
die, And sing Je ru sa- lem,
Lord.
C

97
118.
Pray on, pray on;
PRAY ON.
Pray on dem light us over; Pray
cob's
on, Pray on, De u - nion break of day. My sister, you come to
Jacob's
see
baptize, In
de
u -
nion break of day; My
'loved
ze my
im till I
the
sister, you come to see baptize, In de un - ion break of day.
[As an interpretation of "dem light us over," I suggest "de night is over;"
and "union" should probably have a capital U. "De night is over; de Union
not uncommon, and is
break of day (da comin')". The interchange of land n
illustrated again in this song in the word "Union," which was pronounced
This song and Nos. 38, 41, 42, 43,
"yuliul" by the person who sang it to me.
119, 122, and 123, came on to the plantation after I left.-C. P. W.]
lem,
119.
GOOD NEWS, MEMBER.
Good news, member, good news, member, Don't you mind what Satan say;
Good news, member, good news, And I hearde from heav'n to day.
0

98
1. My brud- der have a seat and
I 80 glad,
Good news, member, good news; My brudder have a seat and
I
So glad, And I hearde from heav'n to - day.
2 Mr. Hawley have a home in Paradise.
3 Archangel bring baptizing down.
120. I WANT TO DIE LIKE-A LAZARUS DIE.
4
Titty 'Rit - ta
I
want
Die like-a Lazarus
to
}
die
like a Lazarus
die,
die; I want to die like-a Lazarus
die, like a Lazarus
die, like - a Lazarus
die.
2

99
ad,
and
121.
AWAY DOWN IN SUNBURY.
de wall,}
0
take dat new bran coat And hang it on
Dat darkee take dat same ole coat And wear 'em to de
massa
0 don't you hear my true lub sing? O don't you hear 'em
sigh? A way down in Sun - bur-y I'm bound to live and die.
122. THIS IS THE TROUBLE OF THE WORLD.
I
ax Fa der Georgy for re- li - gion,
Fader
Georgy wouldn't give me
religion;
You
us
give me religion for to
run to my elder; O

100
dis is de trouble of de world.
Dis is
de trouble of de
world, 0,* Dis is de trouble of de world.
(what you doubt) for ?)
(take it
(Titty
easy)
'Me- lia)
* (What you doubt for?) etc.
123.
LEAN ON THE LORD'S SIDE.
1. Wai', poor Daniel, He lean on
de Lord's side; (Say)
Daniel rock de li on joy,*
Lord's side. 2. (Say) De gold - en chain † to
3 De silver spade to dig his grave;
He lean, etc.
Lean on
de
ease him down.
(N
No
die
sel
ma
OV
an
i. e. Daniel (as if Samson) racked the lion's jaw.
† Band.
A Port Royal variation of "Who is on the Lord's side" (No. 75.)

101
124. THESE ARE ALL MY FATHER'S CHILDREN.
4
de
Dese all my fader's
children, Dese all my fader's children,
for ?)
59
sy)
lia)
Dese all my
fa der's children, Out - shine de sun.
Say)
My fader's done wid de trouble o' de world, wid de
0
trouble O' de world, wid de trouble
0'
de world, My
fader's done wid de trouble o'
de world, Outshine de sun.
[This is interesting as being probably the original of "Trouble of the world"
(No. 10,) and peculiarly so from the following custom, which is described by a
North Carolina negro as existing in South Carolina. When a pater-familias
dies, his family assemble in the room where the coffin is, and, ranging them-
selves round the body in the order of age and relationship, sing this hymn,
marching round and round. They also take the youngest and pass him first
over and then under the coffin. Then two men take the coffin on their shoulders
and carry it on the run to the grave.]

102
125.
THE OLD SHIP OF ZION.
[We have received two versions of the "Old Ship of Zion," quite different
from each other and from those given by Col. Higginson. The first was sung
twenty-five years ago by the colored people of Ann Arundel Co., Maryland.
The words may be found in "The Chorus" (Philadelphia: A. S. Jenks, 1860,)
p. 170. (Compare, also, p. 167.)
1. What ship is that you're en- listed up-on? O glo-ry hal-le-
ま
​- lu - jah! "Tis the old ship of Zion, hal le-
- lu jah! 'Tis the old ship of Zi- on, hal- le lu jah!
-
2 And who is the Captain of the ship that you're on?-O glory, etc.
My Saviour is the Captain, hallelujah!
[The other is from North Carolina :]
4
1. Don't you see that ship a sail in',
a - sail
in', a .

103
erent
sung
land.
360,)
-
sail in', Don't you see
that ship
a - sail
-
in', Gwine
-le-
abl
Over to the Promised Land?
I asked my Lord, shall I
ever
be the one, shall I ever
be the one, shall I
ever
be the one, To go
sail - in', sailin',
CH
-
sail in', sail - in', Gwine o -
ver to
the Promised Land?
2 She sails like she is heavy loaded.
3 King Jesus is the Captain.
4 The Holy Ghost is the Pilot.

104
126.
COME ALONG, MOSES.
Come along, Mo-ses,* don't get lost, don't get lost, don't get lost,
Come along, Mo- ses, don't get lost, We are
the people of
God.
1. We have, a just God to plead-a our cause, to
plead-a our cause, to plead-a our cause, We have a just God to
plead-a our cause, We are the peo-ple of God.
2 He sits in the Heaven and he answers prayer.
3 Stretch out your rod and come across.
*Judy, Aaron. † Children.
[This air has in parts a suspicious resemblance to the Sunday-school hymn
"Tis religion that can give," which has become very wide-spread in the South
since the war. Mrs. James, however, heard it from an old woman in North
Carolina, early in 1862, which would seem to vouch for its genuineness.]

105
ost,
of
to
127.
THE SOCIAL BAND.
Bright angels on the wa - ter, Hovering by the light; Poor
sinner stand in the dark ness, And can - not see the light.
I want Aunty Mary* for to go
with me,
I
to
hymn
South
North
want Aunty Ma - ry for to
go
with me, I
want Aunty Mary for to go with me, To join the social band.
*Brother David.

106
128.
GOD GOT PLENTY O' ROOM.
God got
plenty o' room, got plenty o' room, 'Way in de
kingdom, God got plenty o' room my Je-sus say, 'Way in de
kingdom.
1. Brethren, I have come a- gain, 'Way in de
kingdom, To help you all to pray and sing, 'Way in de kingdom.
2 So many-a weeks and days have passed
Since we met together last.
3 Old Satan tremble when he sees
The weakest saints upon their knees.
4 Prayer makes the darkest cloud withdraw,
Prayer climbed the ladder Jacob saw.
5 Daniel's wisdom may I know,
Stephen's faith and spirit sure.
6 John's divine communion feel,
Joseph's meek and Joshua's zeal.
7 There is a school on earth begun
Supported by the Holy One.
8 We soon shall lay our school-books by,
And shout salvation as I fly.
[The above is given exactly as it was sung, some of the measures in 2. some
in, and some in time. The irregularity probably arises from omission of
rests, but it seemed a hopeless undertaking to attempt to restore the correct
time, and it was thought best to give it in this shape as at any rate a charac-
teristic specimen of negro singing. The song was obtained of a North Carolina
negro, who said it came from Virginia.]

107
e
129. YOU MUST BE PURE AND HOLY.
1. When I was
wicked an' - a prone to sin, My
e
SPX
Lord, brether-en, ah my Lord! I thought that I couldn't be
some
on of
rrect
arac-
olina
0
born a gin, My Lord, breth - er - en, ah
my Lord!
CHORUS.
You must be pure and ho- ly, You must be pure an' a
ho-ly, You must be pure and ho- ly To see God feed his lambs.
2 I'll run all round the cross and cry,
My Lord, bretheren, ah my Lord,
Or give me Jesus, or I die,
My Lord, bretheren, ah my Lord.
You must be pure and holy, etc.

108
3 The Devil am a liar and conjurer too,
My Lord, etc.
conjure you,
If you don't look out he'll cut you in two,
cut you through,
My Lord, etc.
4 0 run up, sonny, and get your crown,
My Lord, etc.
And by your Father sit you down,
My Lord, etc.
5 I was pretty young when I begun,
My Lord, etc.
But, now my work is almost done,
My Lord, etc.
6 The Devil's mad and I am glad,
My Lord, etc.
He lost this soul, he thought he had,
My Lord, etc.
7 Go 'way, Satan, I don't mind you,
My Lord, etc.
You wonder, too, that you can't go through,
My Lord, etc.
*
8 A lilly white stone came rolling down,
My Lord, etc.
It rolled like thunder through the town,
My Lord, etc.
*Qu. little. ?
[This is a favorite and apparently genuine song which "flourishes" in a colored
church at Auburn, N. Y. having been introduced there from the South. "It
is sung on all occasions, and without any regard to order in the verses; you
may not be able to see any connection between any of them. The chorus is always
sung once or twice before the verses are used at all. You will see that occasionally
there is inserted an extra syllable (ah) and always in the 2nd and 4th lines of
the verses; why this is done I am unable to discover, but it appears to assist
them wonderfully in singing. The first note in the chorus is sung very loud,
and is prolonged to an indefinite time, at the pleasure of the leader. You will
notice that the air is in the minor mode, but the chorus, with the exception of
the last line, in the major."-W. A. B.]

109
130.
CHORUS.
BELLE LAYOTTE.
3
Mo dé - jà rou - lé tout la côte Pan - cor ouar par - eil
FINE.
SOLO.
belle Layotte. (bis) 1. Mo
3
rou -
lé
tout
la
côte,
g g g g
Mo roulé tout la col - o - nie;
Mo pan- cor
ouar
3
griffonne la
Qua mo gout comme la belle La yotte.
plored
"It
; you
Tways
onally
mes of
assist
loud,
u will
ion of
2 Jean Babet, mon ami,
Si vous couri par en haut,
Vous mandé belle Layotte
Cadeau la li té promi mouin.
3 Domestique la maison
Yé tout faché avec mouin,
Paraporte chanson la
Mo composé pou la belle Layotte.
D. C.

110
131.
SOLO.
2
4
Mo par - lé
RÉMON.
Rémon, R6 mon, Li parlé Simon, Si-
mon, Li parlé Ti - tine, Ti - tine, Li tom - bé dans chagrin.
CHORUS.
O femme Rom-u- lus, oh! Belle femme Romulus, oh! O
femme Rom-u- lus, oh!
Belle femme qui ça vou - lé mo fai.
132.
AURORE BRADAIRE.
CHORUS.
Au-rore Bradaire, belle ti fille, Au- rore Bradaire, belle ti fille, Au-
- rore Bradaire,
FINE.
belle ti fille, C'est li Ino ou - lé, c'est
SOLO.
li
ma pren.
Li pas mandé robe mous-se - line,
Li
pas mandé dé ba bro - dé,
Li pas man - dé
Soul-
D. C.
lier prinelle, C'est li
mo oulé, c'est li ma pren.

111
i.
כ
n.
u-
st
1-
C.
133.
CAROLINE.
Aine, dé, trois, Car - o - line, ça ga yé comme ça ma chère,
Aine, dé, trois, Car- o - line, ça ça yé comme ça ma chère. Pa-
- pa di non, man - man di non, C'est li mo oulé, c'est li ma pren; Ya
pas l'arzan pou ache-té ca-banne, C'est li mo ou-lé, c'est li ma pren.
134.
SOLO.
CALINDA.
1. Mi chié Pré- val li
don - nin
gran bal, Li
fait
CHORUS.
naig payé pou sau - té
in pé. Dan - sé ca - lin- da, bou-
- doum, boudoum, Dan - sé
ca
-
lin da, bou - doum, boudoum.
·
2 Michié Préval li té capitaine bal,
So cocher Louis té maite cérémonie.
3 Dans lequirie la yavé gran gala,
Mo cré choual layé té bien étonné.
4 Yavé des négresse belle passé maitresse,
Yé volé bébelle dans l'ormoire mamzelle.

112
135.
LOLOTTE.
Pauve piti Lolotte a mouin, Pauve pi- ti Lolotte
a mouin,
Pauve pi-ti Lolotte a mouin, Li gaignin doulair.
Ca-la-
T
8p
lou por té madrasse, li por- té ji pon gar - ni, Ca-la-
ne
W
id
tic
sta
m
m
et
lou por - té madrasse, li porté ji pon gar - ni.
-
CO
Pauve pi-ti Lolotte a mouin, Pauve pi-ti Lolotte a mouin,
pr
a
of
or
his
aff
ve
tio
sid
he
en
Pauve
pi- ti Lo - lotte a mouin, Li
gai - gnin
la
las
the
801
doulair, doulair, doulair, Li gaignin doulair dans cœur à li.
W
int
or

113
ouin,
-la-
136.
#2
MUSIEU BAINJO.
4
Voyez ce mulet là, Musieu Bainjo, Comme il est in
SO-
lent.
FINE.
1
10
2
1
Chapeau
sur
côté,
Musieu
Bain - jo.
La
canne à
Botte qui fait
la main, Musieu
crin, crin, Musieu
Bain - jo,
Bain - jo,
D. C.
-la-
ouin,
nin
[The seven foregoing songs were obtained from a lady who heard them sung,
before the war, on the "Good Hope" plantation, St. Charles Parish, Louisiana.
The language, evidently a rade corruption of French, is that spoken by the negroes
in that part of the State; and it is said that it is more difficult for persons who
speak French to interpret this dialect, than for those who speak English to un-
derstand the most corrupt of the ordinary negro-talk. The pronunciation of this
negro-French is indicated, as accurately as possible, in the versions given here,
which furnish, also, many interesting examples of the peculiar phrases and
idioms employed by this people. The frequent omission of prepositions, ar-
ticles, and auxiliary verbs, as well as of single letters, and the contractions con-
stantly occurring, are among the most noticeable peculiarities. Some of the
most difficult words are: mo for me, mon, je; li for lui, le, la, il, elle; mouin for
moi; yé for ils, leur; aine, dé, for un, deux; té for élé, était; ya. yavé for il y a,
etc.; ouar for voir and its inflections; oulé for vouloir, etc.; pancor for pas en-
core; michié for monsieur; inpé for un peu. The words are, of course, to be
pronounced as if they were pure French.
Four of these songs, Nos. 130, 131, 132 and 133. were sung to a simple dance,
a sort of minuet, called the Coonjai; the name and the dance are probably both
of African origin. When the Coonjai is danced, the music is furnished by an
orchestra of singers, the leader of whom-a man selected both for the quality of
his voice and for his skill in improvising--sustains the solo part, while the others
afford him an opportunity, as they shout in chorus, for inventing some neat
verse to compliment some lovely danseuse, or celebrate the deeds of some planta-
tion hero. The dancers themselves never sing, as in the case of the religious
"shout" of the Port Royal negroes; and the usual musical accompaniment, be-
sides that of the singers, is that furnished by a skilful performer on the barrel-
head-drum, the jaw-bone and key, or some other rude instrument.
No. 134. The "calinda" was a sort of contra-dance, which has now passed
entirely out of use. Bescherelle describes the two lines as "avançant et recu-
lant en cadence, et faisant des contorsions fort singulières et des gestes fort
lascifs."
The first movement of No. 135, "Lolotte," has furnished M. Gottschalk with
the theme of his "Ballade Créole," "La Savane," op. 3 de la Louisiane.
In 136, we have the attempt of some enterprising negro to write a French
song; he is certainly to be congratulated on his success.
It will be noticed that all these songs are "seculars"; and that while the
words of most of them are of very little account, the music is as peculiar, as
interesting, and, in the case of two or thrée of them, as difficult to write down,
or to sing correctly, as any that have preceded them.]

114
EDITORS' NOTE.
"I
groes
it wa
to my
and
thing
THE original arrangement of the foregoing collection has not been adhered
to. Why the secular songs do not appear by themselves has been already ex-
plained. That the division into parts is not strictly geographical was caused
by the tardy arrival of most of the songs contained in Part IV. Should a second
edition ever be justified by the favor with which the present is received, these
irregularities will be corrected.
It was proposed to print music without words, and words without music, each
by themselves. But the first can hardly be said to have been obtained, unless
"Shock along, John," No. 86, is an instance. The words without music which
in one or two cases were kindly, and we fear laboriously, communicated to us,
presented no fresh or striking peculiarities, and we therefore decided against
their admission.
As was remarked in the Introduction, we are fully aware of the incomplete-
ness of this collection, though we may fairly enough assume it to be la crême de
la crême. Col. Higginson writes:
"I wish you would look up one 'spiritual,' of which I only remember the
chorus-It doth appear--as being often sung in camp. Also, Ring dat charm-
ing bell,' which they used to sing to please Mrs. Saxton, who liked it."
6
Gen. James H. Wilson, who, in the earlier part of the war, was at Port Royal,
and, during explorations and night surveys of the coast between there and Ossa-
baw Sound, had frequent opportunities of hearing every grade of "spirituals,"
writes, of Col. Higginson's collection in the Atlantic Monthly:
"He has omitted two which I heard more generally sung than any others. I
refer to the one beginning:
and the other:
"They took ole Master Lord,
And fed him on pepper and gall,'
My brudder Johnny's new-born baby,
Hi oh, de new-born!'
"The airs to which these were sung are very peculiar, while the burthen of
the songs is pretty clearly indicated by the lines given above. The first seems
to allude to the persecutions of Christ, while the latter simply refers to the birth
and early death of a new-born baby, and is varied by making a new verse for all
the brothers and sisters that the singer happens to be able to call to mind.
an in
the
what
an in
twen
and
TH
spain
editi
this
fully
the
We
may
the
to M

115
adhered
ready ex-
s caused
a second
ed, these
sic, each
d, unless
ic which
ed to us,
against
omplete-
rême de
ber the
it charm
"I also recollect the refrain of a boat-song which a crew of ten stalwart ne-
groes used to sing for me in our excursions, but I am inclined to the belief that
it was by no means a 'spiritual,' as I could never get any of them to explain it
to my satisfaction. The only words I could make out clearly were:
"Jah de window, jah!
Oh jah de window,' etc.
and the meaning of which I took to be ''jar the window.' If they had any such
thing among them, this was probably a fragment of a simple ballad, describing
an incident in a negro courtship. I got this impression at the time, partly from
the peculiar tone of the song, and partly from their hesitancy to explain it. But
whatever may have been its real character, it was quite musical, and had such
an inspiring effect upon my boatmen that I have known them to row eighteen or
twenty miles, exerting their utmost strength, keeping perfect time to its notes,
and never pausing for breath."
These, certainly, are songs to be desired and regretted. But we do not de-
spair of recovering them and others perhaps equally characteristic for a second
edition; and we herewith solicit the kind offices of collectors into whose hands
this volume may have fallen, in extending and perfecting our researches. For
fully a third of the songs recorded by Col. Higginson we have failed to obtain
the music, and they may very well serve as a guide for future investigators.
We shall also gratefully acknowledge any errors of fact or of typography that
may be brought to our attention, and in general any thing that would enhance
the value or the interest of this collection. Communications may be addressed
to Mr. W. P. Garrison, Office of The Nation newspaper, New York City.
NOVEMBER, 1867.
t Royal,
and Ossa-
rituals,"
hers. I
rthen of
st seems
The birth
e for all
d.




9


Music
1867
Al
6339