For some 40 years, the National Sacred Harp Convention has met in Birmingham during the month of June to sing the old hymns from the shaped-note hymnal. I wrote about my initial encounter with sacred harp several years ago.
The COVID-19 pandemic has halted public gatherings and public singing is an especially dangerous activity with the coronavirus among us. Thankfully, some people have figured out a way to "come together" for some magnificent singing. Here is "Hallelujah" (Number 146 in the Sacred Harp Hymnal)
The National Sacred Harp Convention will be meeting for three days this week, June 14-16 in Fultondale, Alabama. (For details, go here)
Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate, and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia.*
Did you know that sacred harp music is finding renewed interest in conventions across the United States and even in other countries? There are sacred harp events across the British Isles, Australia, and Europe, even in Austria, Germany, and Poland.
In the three videos below, you will see first some authentic Sacred Harp singing at Cades Cove Primitive Baptist Church in a video produced by the Great Smoky Mountains Association. That one is followed by "World Unknown" at a Sacred Harp Convention in Ireland. The third video is of Sacred Harp singing in Poland.
You will notice that there are some very specific characteristics that are followed every time. There is the four-square seating arrangement in which the different vocal parts are seated in a square with the music director standing in the middle (sacred harp singers call that middle space the "holy of holies" where the best sound can be heard). You will also notice the "fa-sol-la" vocalizing done by the group before the words are sung. There is also the distinct up and down hand movements of the director which some of the singers will do as well. Most important, you will hear that distinctive sound. I will also add that, as good as these recordings are, they are no match for hearing the music live and in person. If you can, make it out to the National Sacred Harp Convention in Fultondale (near Birmingham), Alabama, or find a local sacred harp singing near you.
The National Sacred Harp Convention will be meeting this week, June 14-16 in Fultondale, Alabama. (For details, go here) Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate, and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia.*
Did you know that sacred harp music is finding renewed interest in conventions across the United States and even in other countries? There are sacred harp events across the British Isles, Australia, and Europe, even in Austria, Germany, and Poland.
Here is an old sacred harp melody, “I’m Going Home,” being sung at a Sacred Harp Convention in Ireland.
The National Sacred Harp Convention meets again in Birmingham this weekend, starting today. (details here). Today I am re-posting one of my past essays from my own experiences at the annual convention.
Sacred Harp and the Sound of Eternal Essence
In Martin Scorsese’s documentary, George Harrison:Living in the Material World, Ravi Shankar is heard to say that sound is God. Today I made a connection with that concept as I attended the opening sessions of the National Sacred Harp Convention. Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia. Back in 2011, I wrote an essay about my first experience with sacred harp singing.
When I described that initial encounter, I wrote, “I was captivated, stirred on the inside, tears threatening to well up – and no words had been sung yet. It was that bracing harmony of pure notes filling the sunlit space. The sound reminded me of the Bulgarian women’s folk singing that has attracted many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There was a similar directness and exuberance, a hearty primitive and uplifting – even startling – vocal effect.”
Not Your Ordinary Words
As I attended the Sacred Harp Convention this year, I was fascinated by the turn of phrase used in many of the lyrics and song titles. For example, Hymn 112 is titled, “The Last Words of Copernicus.” It speaks of the day when this life is over and the light from the heavenly orbs, the sun and moon, will no longer be needed.
In Hymn 450 (Elder) the lyrics include:
Life’s an ever varied flood,
Always rolling to its sea:
Slow or quick, or mild or rude,
Tending to eternity.
Hymn 504 (Woodstreet) is an account of Psalm 137 in which the psalmist mourns the Babylonian captivity saying, “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” Poems and songs have been written about “The waters of Babylon,” but this hymn phrases it:
When we our wearied limbs to rest
Sat down by proud Euphrates’ stream
We wept with doleful thoughts oppressed,
And Zion was our mournful theme.”
I don’t think I have seen references to the Euphrates or to Copernicus in other Christian hymnals. The lyrics to Hymn 450, in spite of the typically conservative orientation of sacred harp, are beautifully reminiscent of the Buddhist or Hindu concept of all of life returning to its source.
Experiencing the Sound
Yet in spite of the fascinating words in the text of those sacred harp hymns, it is the sound that is the most impressive thing. The singers are arranged in a square with sopranos, altos, tenors and basses each seated on the sides of the square. The one leading the song stands in the open space in the middle of that square. Sacred harp singers call this space “The holy of holies” because they say it is the absolute best spot to be in to get the full effect of the music. At this point, I can only imagine what the sound must be like in that holy of holies, because simply sitting in the congregation hearing the music is enough to lift me into a divine presence. The effect of that powerful sound brings me back to the words of Ravi Shankar, that sound is God.
I found a fuller quote from Ravi Shankar that elaborates upon the concept of sound and God:
“Our tradition teaches us that sound is God- Nada Brahma. That is, musical sound and the musical experience are steps to the realisation of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. We are taught that one of the fundamental goals a Hindu works towards in his lifetime is a knowledge of the true meaning of the universe - its unchanging, eternal essence….The highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended.”
Of the hymns I heard today, there were many glorious moments. One of those hymns whose lyrics and musical sound converged quite beautifully was Hymn 178 (tune: Africa)
Now shall my inward joys arise,
And burst into a Song;
Almighty Love inspires my Heart,
And Pleasure tunes my Tongue.
God on his thirsty Zion-Hill
Some Mercy-Drops has thrown,
And solemn Oaths have bound his Love
To shower Salvation down.
Why do we then indulge our Fears,
Suspicions and Complaints?
Is he a God, and shall his Grace
Grow weary of his saints?
The words are by the English hymnist Isaac Watts. The tune is by the American choral composer, William Billings. To hear sacred harp singers render this beautiful hymn, go here. [To hear 504 (Woodstreet) about mourning by the proud Euphrates, go here]
For our sacred harp finale, here is a recording of “The Last Words of Copernicus.” The recording was made my Alan Lomax, the ethnomusicologist who recorded and preserved so much of American folk music.
The National Sacred Harp Convention meets again in Birmingham this weekend, starting today. (details here). Today I am re-posting one of my past essays from my own experiences at the annual convention.
In Martin Scorsese’s documentary, George Harrison:Living in the Material World, Ravi Shankar is heard to say that sound is God. Today I made a connection with that concept as I attended the opening sessions of the National Sacred Harp Convention. Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate, and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia. Back in 2011, I wrote an essay about my first experience with sacred harp singing.
When I described that initial encounter, I wrote, “I was captivated, stirred on the inside, tears threatening to well up – and no words had been sung yet. It was that bracing harmony of pure notes filling the sunlit space. The sound reminded me of the Bulgarian women’s folk singing that has attracted many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There was a similar directness and exuberance, a hearty primitive and uplifting – even startling – vocal effect.”
Not Your Ordinary Words
As I attended the Sacred Harp Convention this year, I was fascinated by the turn of phrase used in many of the lyrics and song titles. For example, Hymn 112 is titled, “The Last Words of Copernicus.” It speaks of the day when this life is over and the light from the heavenly orbs, the sun and moon, will no longer be needed.
In Hymn 450 (Elder) the lyrics include:
Life’s an ever varied flood,
Always rolling to its sea:
Slow or quick, or mild or rude,
Tending to eternity.
Hymn 504 (Woodstreet) is an account of Psalm 137 in which the psalmist mourns the Babylonian captivity saying, “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” Poems and songs have been written about “The waters of Babylon,” but this hymn phrases it:
When we our wearied limbs to rest
Sat down by proud Euphrates’ stream
We wept with doleful thoughts oppressed,
And Zion was our mournful theme.”
I don’t think I have seen references to the Euphrates or to Copernicus in other Christian hymnals. The lyrics to Hymn 450, in spite of the typically conservative orientation of sacred harp, are beautifully reminiscent of the Buddhist or Hindu concept of all of life returning to its source.
Experiencing the Sound
Yet in spite of the fascinating words in the text of those sacred harp hymns, it is the sound that is the most impressive thing. The singers are arranged in a square with sopranos, altos, tenors and basses each seated on the sides of the square. The one leading the song stands in the open space in the middle of that square. Sacred harp singers call this space “The holy of holies” because they say it is the absolute best spot to be in to get the full effect of the music. At this point, I can only imagine what the sound must be like in that holy of holies, because simply sitting in the congregation hearing the music is enough to lift me into a divine presence. The effect of that powerful sound brings me back to the words of Ravi Shankar, that sound is God.
I found a fuller quote from Ravi Shankar that elaborates upon the concept of sound and God:
“Our tradition teaches us that sound is God- Nada Brahma. That is, musical sound and the musical experience are steps to the realisation of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. We are taught that one of the fundamental goals a Hindu works towards in his lifetime is a knowledge of the true meaning of the universe - its unchanging, eternal essence….The highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended.”
Of the hymns I heard today, there were many glorious moments. One of those hymns whose lyrics and musical sound converged quite beautifully was Hymn 178 (tune: Africa)
Now shall my inward joys arise,
And burst into a Song;
Almighty Love inspires my Heart,
And Pleasure tunes my Tongue.
God on his thirsty Zion-Hill
Some Mercy-Drops has thrown,
And solemn Oaths have bound his Love
To shower Salvation down.
Why do we then indulge our Fears,
Suspicions and Complaints?
Is he a God, and shall his Grace
Grow weary of his saints?
The words are by the English hymnist Isaac Watts. The tune is by the American choral composer, William Billings. To hear sacred harp singers render this beautiful hymn, go here. [To hear 504 (Woodstreet) about mourning by the proud Euphrates, go here]
For our sacred harp finale, here is a recording of “The Last Words of Copernicus.” The recording was made my Alan Lomax, the ethnomusicologist who recorded and preserved so much of American folk music.
Note: What follows is another installment in anticipation of The Thirty-sixth Annual National Sacred Harp Convention which will convene this week in Birmingham, Alabama at the First Christian Church (at 4954 Valleydale Road) June 18, 19, and 20. This is a re-post of my essay that appeared in 2013.
In Martin Scorsese’s documentary, George Harrison:Living in the Material World, Ravi Shankar is heard to say that sound is God. Today I made a connection with that concept as I attended the opening sessions of the National Sacred Harp Convention. Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia. Back in 2011, I wrote an essay about my first experience with sacred harp singing.
When I described that initial encounter, I wrote, “I was captivated, stirred on the inside, tears threatening to well up – and no words had been sung yet. It was that bracing harmony of pure notes filling the sunlit space. The sound reminded me of the Bulgarian women’s folk singing that has attracted many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There was a similar directness and exuberance, a hearty primitive and uplifting – even startling – vocal effect.”
Not Your Ordinary Words
As I attended the Sacred Harp Convention this year, I was fascinated by the turn of phrase used in many of the lyrics and song titles. For example, Hymn 112 is titled, “The Last Words of Copernicus.” It speaks of the day when this life is over and the light from the heavenly orbs, the sun and moon, will no longer be needed.
In Hymn 450 (Elder) the lyrics include:
Life’s an ever varied flood,
Always rolling to its sea:
Slow or quick, or mild or rude,
Tending to eternity.
Hymn 504 (Woodstreet) is an account of Psalm 137 in which the psalmist mourns the Babylonian captivity saying, “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” Poems and songs have been written about “The waters of Babylon,” but this hymn phrases it:
When we our wearied limbs to rest
Sat down by proud Euphrates’ stream
We wept with doleful thoughts oppressed,
And Zion was our mournful theme.”
I don’t think I have seen references to the Euphrates or to Copernicus in other Christian hymnals. The lyrics to Hymn 450, in spite of the typically conservative orientation of sacred harp, are beautifully reminiscent of the Buddhist or Hindu concept of all of life returning to its source.
Experiencing the Sound
Yet in spite of the fascinating words in the text of those sacred harp hymns, it is the sound that is the most impressive thing. The singers are arranged in a square with sopranos, altos, tenors and basses each seated on the sides of the square. The one leading the song stands in the open space in the middle of that square. Sacred harp singers call this space “The holy of holies” because they say it is the absolute best spot to be in to get the full effect of the music. At this point, I can only imagine what the sound must be like in that holy of holies, because simply sitting in the congregation hearing the music is enough to lift me into a divine presence. The effect of that powerful sound brings me back to the words of Ravi Shankar, that sound is God.
I found a fuller quote from Ravi Shankar that elaborates upon the concept of sound and God:
“Our tradition teaches us that sound is God- Nada Brahma. That is, musical sound and the musical experience are steps to the realisation of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. We are taught that one of the fundamental goals a Hindu works towards in his lifetime is a knowledge of the true meaning of the universe - its unchanging, eternal essence….The highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended.”
Of the hymns I heard today, there were many glorious moments. One of those hymns whose lyrics and musical sound converged quite beautifully was Hymn 178 (tune: Africa)
Now shall my inward joys arise,
And burst into a Song;
Almighty Love inspires my Heart,
And Pleasure tunes my Tongue.
God on his thirsty Zion-Hill
Some Mercy-Drops has thrown,
And solemn Oaths have bound his Love
To shower Salvation down.
Why do we then indulge our Fears,
Suspicions and Complaints?
Is he a God, and shall his Grace
Grow weary of his saints?
The words are by the English hymnist Isaac Watts. The tune is by the American choral composer, William Billings. To hear sacred harp singers render this beautiful hymn, go here. [To hear 504 (Woodstreet) about mourning by the proud Euphrates, go here]
For our sacred harp finale, here is a recording of “The Last Words of Copernicus.” The recording was made my Alan Lomax, the ethnomusicologist who recorded and preserved so much of American folk music.
Note: The Thirty-sixth Annual National Sacred Harp Convention will convene in Birmingham, Alabama at the First Christian Church (at 4954 Valleydale Road) June 18, 19, and 20. In anticipation of that event, I am reposting this account of my first encounter with Sacred Harp in 2011
I have heard of Sacred Harp, or “fasola” singing for most of my life. I knew something about the shaped-note tradition of musical training used in days gone by, and I once saw a documentary on Sacred Harp on PBS. I had never experienced sacred harp in person until today. The 32nd annual National Sacred Harp Singing Convention opened in Birmingham today, convening at the First Christian Church. It is a three-day event with all day singing and “dinner on the grounds.”
Growing up in Tallapoosa County, I had been to a few Gospel Singings where Stamps-Baxter and Southern Gospel quartets reigned. But those were nothing to compare to what I heard today. The sound that filled that space was full-throttled and soul-awakening. As the opening session began, a man stood up in front of the crowd and announced the page number for the opening song. A “fa-sol-la” interval was intoned. The entire gathering then burst forth with “fasolas” sounding out the music of the hymn.
I was captivated, stirred on the inside, tears threatening to well up – and no words had been sung yet. It was that bracing harmony of pure notes filling the sunlit space. The sound reminded me of the Bulgarian women’s folk singing that has attracted many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There was a similar directness and exuberance, a hearty primitive and uplifting – even startling – vocal effect. Yet these were regular folks, local people from Alabama and others traveling from points near and far who were producing that fantastic harmony. The visceral effect was also similar to being in the presence of bagpipes as they are played. It grabs your attention and stirs you on the inside.
I saw two friends at the gathering. Tim Cook is a member of the Sacred Harp Convention. He grew up in Michigan and told me that when he and his wife moved to Alabama in 1995, he looked for a singing group because of his life-long interest in singing. He found Sacred Harp and has been involved ever since. I asked Tim why the singers used “fa-sol-la” in their music but not the entire do-re-mi-fa-sol-la-ti-do that I associated with the names of the notes. He explained that the older English music used a six-note interval, therefore those notes were represented by fa-so-la which was then repeated for the upper notes as well. The seven-note musical scale was a concept developed later by the Italians who added the other names for the notes.
My other friend, Tommie Willis, said he grew up Primitive Baptist and heard Sacred Harp all his life. “My mother was a leader in Sacred Harp singing,” he told me, “but none of it rubbed off on me.” He was there to listen to that sound that had been familiar in his childhood.
Sacred Harp came to this country by way of the early English settlers. It was first established in New England before the American Revolution, but gradually died out in that part of the country. For years it was kept alive in the hills of Appalachia, particularly among the Primitive Baptists. Nowadays it continues to be preserved by Sacred Harp gatherings and conventions.
To read an account of the National Sacred Harp Singing Convention in The Birmingham News, go to http://blog.al.com/spotnews/2011/06/national_sacred_harp_singing_c.html . If you view their photo gallery, you'll see a picture of my friend Tim Cook leading a hymn. Below you will find a video of some Sacred Harp singers. It will give you a flavor of the music, but there is nothing like experiencing it live and in person.
“Travel is fatal to prejudice, bigotry, and
narrow-mindedness, and many of our people need it sorely on these accounts.
Broad, wholesome, charitable views of men and things cannot be acquired by
vegetating in one little corner of the earth all one's lifetime.”
~ Mark Twain
from Innocents
Abroad
This
is a story of how I began to let go of some prejudices that I had been carrying
around for a while. Having traveled and lived in other parts of the world, I
can say that Mark Twain was right about travel being fatal to prejudice.
Sometimes a journey to the other side of the world can open one’s eyes; at
other times, all it takes is a trip across town.
First
Came the Music
For
most of my life I did not think very highly of Primitive Baptists. I was raised Southern Baptist in a household
that valued education. I didn’t know any
Primitive Baptists when I was growing up; I just heard stories about those “Hard Shell
Baptists,” or “foot-washing Baptists.” They were typically not interested in
higher education. I remember my father, a seminary educated pastor, jokingly
saying that the Primitive Baptists had no seminaries because “they believe that
if the Lord wants an educated pastor, He’ll call one.”
My
attitude did a complete 180 a few years ago when I attended my first National
Sacred Harp Convention. I was absolutely blown away by the experience. As the
ones who kept Sacred Harp music alive down through the years, I saw that the
Primitive Baptists had something very important to bring to the table. I wrote about it on my blog in 2011 and again in 2013. There is a growing interest in
preserving the music, with Sacred Harp organizations being formed in places
like Chicago, New York, Ireland, and Poland. The music really does a number on
me. One year, I took an Episcopal priest friend to the Sacred Harp Convention with
me who later described it as “a wondersome and transformative experience.”
This
is how I described my first encounter with Sacred Harp singing:
I was captivated,
stirred on the inside, tears threatening to well up – and no words had been
sung yet. It was that bracing harmony of pure notes filling the sunlit space.
The sound reminded me of the Bulgarian women’s folk singing that has attracted
many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There
was a similar directness and exuberance, a hearty primitive and uplifting –
even startling – vocal effect. Yet these were regular folks, local people from
Alabama and others traveling from points near and far who were producing that
fantastic harmony. The visceral effect was also similar to being in the
presence of bagpipes as they are played. It grabs your attention and stirs you
on the inside.
In
that first blog post, I went on to explain that:
Sacred Harp came to this
country by way of the early English settlers. It was first established in New
England before the American Revolution, but gradually died out in that part of
the country. For years it was kept alive in the hills of Appalachia,
particularly among the Primitive Baptists. Nowadays it continues to be
preserved by Sacred Harp gatherings and conventions.
I
became aware on that day of a particular treasure that had been preserved
through the years by the Primitive Baptists. They were no longer some unknown
oddity removed from my experience. They were conveyers of a sacred tradition
that until that day I had not been privy to. Standing within that undeniable experience,
I had to sift through and re-think years of uninformed prejudice.
Then
Came the Book
There
was this other thing I grew up hearing about those “Hard Shell” Primitive
Baptists: they didn’t believe in missionary work because their Calvinist
theology led them to believe that God has already decided who goes to Heaven
and who goes to Hell. In the Old South, some Baptist Churches called themselves
“Missionary Baptist” as one way to distinguish themselves from their Calvinist
Primitive Baptist cousins. A few years ago, friend who is an expert in Appalachian
culture and history, and who also happens to me a Unitarian Universalist
minister, told me about a fascinating book, In
the Hands of a Happy God, by Howard Dorcan. The subtitle of the book is The “No-Hellers” of Central Appalachia,
and it chronicles the development of a universalist strand of Primitive
Baptists. I was intrigued by the notion
because I like the idea of Universalist theology – which is something that the
Southern Baptists of my childhood were quite leery of. I was especially
intrigued that a group of Primitive Baptists managed to arrive at such a positive
outlook that most Christian denominations cannot bring themselves to believe to
this day.
The
title of Dorcan’s book intentionally contrasts the Primitive Baptist Universalists
with that famous Calvinist New England Congregationalist preacher, Jonathan
Edwards, who is best known for his sermon, “Sinners in the Hands of an Angry
God.” In the Hands of a Happy God is part history, part sociology, and
in a way a detective story. Dorcan writes about his work in tracing the
development of the Primitive Baptist Universalist churches. He mentions that
the churches were so similar in organization, and they simply call themselves
Primitive Baptists, that he at first was not aware of their theological
distinctions until further discussions with their elders. Moreover, in the Primitive Baptist tradition, there is very little "written record" of theological beliefs. The PBUs see God as a
happy God because he figured out a way to redeem all of humanity. They may be
the only Calvinists in the world who can say, “Yes, God has already decided who
is going to heaven – and it’s EVERYBODY!”
Dorcan’s
book let me see that even among these stern Calvinists who have no formal
schools of theology and no centralized institutional structure, there can be a
dynamic debate and exploration of ideas. Furthermore, they can shatter their
own stereotypes to arrive at a happy and optimistic world view. It was just one
more reason for me to gain a new appreciation for Primitive Baptists and to let
go of some of my preconceived notions.
And
Then There Is the Food
One
of the traditions of Sacred Harp singing is that everyone shares a big potluck
dinner, or “covered dish” dinner as they used to say down South. You may have
heard the expression, “All Day Singing and Dinner on the Ground.” This has its
roots in the Sacred Harp tradition. Periodically, a church would designate a day
set aside for singing – no preaching or formal worship service – just singing. At
these gatherings people would bring their prepared dishes from home and there
was always a time of fellowship when everyone would sit and eat together. The
National Sacred Harp Convention continues that tradition with a pot luck meal
served in the middle of each day of their annual gathering. They always invite
all visitors to join them in the meal. One of the best ways to see beyond
differences and into the shared humanity of another is to share a meal
together. Joy and commonality can always be found around food.
If
you want to get to know a group of people, spend some time singing with them;
spend some time eating with them. It will not make you agree with everything
they say, but it will help you to see that agreement in every detail is not
really the point. Sharing life in all of its joys and sorrows, accepting people
of other traditions, listening to other points of view – all of these things
can contribute to a fuller life and a greater understanding of your neighbor.
Next time you get a chance to travel, especially if it means singing with
someone else or eating with someone else, make the journey, even if it is only across
town.
_____________________
Photos:
Upper:Salem Primitive Baptist Church in Adel, Georgia
In Martin Scorsese’s documentary, George Harrison:Living in the Material World, Ravi Shankar is heard to say that sound is God. Today I made a connection with that concept as I attended the opening sessions of the National Sacred Harp Convention. Sacred Harp is an old acapella style of singing that came to this country by way of the English settlers. It was taught to people by using shaped notes to designate and a "fa-sol-la" method for vocalizing each note. It was kept alive in this country primarily by the Primitive Baptists in Appalachia. Back in 2011, I wrote an essay about my first experience with sacred harp singing.
When I described that initial encounter, I wrote, “I was captivated, stirred on the inside, tears threatening to well up – and no words had been sung yet. It was that bracing harmony of pure notes filling the sunlit space. The sound reminded me of the Bulgarian women’s folk singing that has attracted many listeners since the 1990 recording, Le Mystere Des Voix Bulgares. There was a similar directness and exuberance, a hearty primitive and uplifting – even startling – vocal effect.”
Not Your Ordinary Words
As I attended the Sacred Harp Convention this year, I was fascinated by the turn of phrase used in many of the lyrics and song titles. For example, Hymn 112 is titled, “The Last Words of Copernicus.” It speaks of the day when this life is over and the light from the heavenly orbs, the sun and moon, will no longer be needed.
In Hymn 450 (Elder) the lyrics include:
Life’s an ever varied flood,
Always rolling to its sea:
Slow or quick, or mild or rude,
Tending to eternity.
Hymn 504 (Woodstreet) is an account of Psalm 137 in which the psalmist mourns the Babylonian captivity saying, “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” Poems and songs have been written about “The waters of Babylon,” but this hymn phrases it:
When we our wearied limbs to rest
Sat down by proud Euphrates’ stream
We wept with doleful thoughts oppressed,
And Zion was our mournful theme.”
I don’t think I have seen references to the Euphrates or to Copernicus in other Christian hymnals. The lyrics to Hymn 450, in spite of the typically conservative orientation of sacred harp, are beautifully reminiscent of the Buddhist or Hindu concept of all of life returning to its source.
Experiencing the Sound
Yet in spite of the fascinating words in the text of those sacred harp hymns, it is the sound that is the most impressive thing. The singers are arranged in a square with sopranos, altos, tenors and basses each seated on the sides of the square. The one leading the song stands in the open space in the middle of that square. Sacred harp singers call this space “The holy of holies” because they say it is the absolute best spot to be in to get the full effect of the music. At this point, I can only imagine what the sound must be like in that holy of holies because simply sitting in the congregation hearing the music is enough to lift me into a divine presence. The effect of that powerful sound brings me back to the words of Ravi Shankar, that sound is God.
I found a fuller quote from Ravi Shankar that elaborates upon the concept of sound and God:
“Our tradition teaches us that sound is God- Nada Brahma. That is, musical sound and the musical experience are steps to the realisation of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. We are taught that one of the fundamental goals a Hindu works towards in his lifetime is a knowledge of the true meaning of the universe - its unchanging, eternal essence….The highest aim of our music is to reveal the essence of the universe it reflects, and the ragas are among the means by which this essence can be apprehended.”
Of the hymns I heard today, there were many glorious moments. One of those hymns whose lyrics and musical sound converged quite beautifully was Hymn 178 (tune: Africa)
Now shall my inward joys arise,
And burst into a Song;
Almighty Love inspires my Heart,
And Pleasure tunes my Tongue.
God on his thirsty Zion-Hill
Some Mercy-Drops has thrown,
And solemn Oaths have bound his Love
To shower Salvation down.
Why do we then indulge our Fears,
Suspicions and Complaints?
Is he a God, and shall his Grace
Grow weary of his saints?
The words are by the English hymnist Isaac Watts. The tune is by the American choral composer, William Billings. To hear sacred harp singers render this beautiful hymn, go here. [To hear 504 (Woodstreet) about mourning by the proud Euphrates, go here]
For our sacred harp finale, here is a recording of “The Last Words of Copernicus.” The recording was made my Alan Lomax, the ethnomusicologist who recorded and preserved so much of American folk music.
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