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Sacred Harp - Origins of the music

Sacred Harp - Origins of the music: Encyclopedia II - Sacred Harp - Origins of the music

The music used in Sacred Harp singing is eclectic. Most of the songs can be assigned to one of four historical layers. The oldest layer comes from 18th century New England, and represents a rendition in shape notes of the work of outstanding early American composers such as William Billings and Daniel Read, who worked as singing masters. A second layer comes from about 1830, following the migration of the shape note tradition to the rural South. Many of the songs in this layer are believed to be originally se ...

Sacred Harp: Encyclopedia II - Sacred Harp - Origins of the music

Sacred Harp - Origins of the music

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

The oldest layer comes from 18th century New England, and represents a rendition in shape notes of the work of outstanding early American composers such as William Billings and Daniel Read, who worked as singing masters.

A second layer comes from about 1830, following the migration of the shape note tradition to the rural South. Many of the songs in this layer are believed to be originally secular folk tunes, harmonized in parts and given religious lyrics. As one would expect from the folk origin of such music, it often emphasizes the notes of the pentatonic scale. Such songs often employ stark, vivid harmonies based on open fifths.

The sound of this musical layer, as well as to some extent The Sacred Harp in general, can be observed by comparing versions of the well-known hymn "Amazing Grace", which is familiar to many Americans in a form such as the following: In The Sacred Harp (1991 edition), "Amazing Grace" is harmonized quite differently: Many listeners feel that while the Sacred Harp version is perhaps not as pretty as the one given above, it has more character. (As noted above, the title "New Britain" is the name of the tune, not the song as a whole.)

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

Lastly, there are the many songs that were added to the books during the twentieth century. These are the work of musically creative participants in the Sacred Harp tradition, who strove to create songs that would fit into the existing tradition by adopting the style of one of the earlier three periods. About a sixth of the Denson edition is taken up with such compositions, dating from as recently as 1990. The twentieth-century composers often have recycled their lyrics from earlier Sacred Harp songs (or from their sources, such as the work of the 18th-century hymnodist Isaac Watts). A number of these modern compositions have become favorites of the singing community, and it is anticipated that future, 21st-century editions of The Sacred Harp will also include new songs.

There are a few additional songs in The Sacred Harp, 1991 edition that cannot be assigned to any of these four layers: some very old songs of European origin, and a handful of songs by European classical composers (Ignaz Pleyel, Thomas Arne, and Henry Rowley Bishop). The book even includes a couple of hymns by Lowell Mason, long ago the implacable enemy of the tradition that The Sacred Harp has preserved to this day.