wer attendance, but singers enjoy
getting together more regularly. Sacred Harp Singing
The Sacred Harp is a collection of shape-note tunes first published in 1844 by B.F. White. This book, and others like it, gave rise to an American tradition of a cappella singing. Although there are other shape-note books still in use today, this site is dedicated to the Sacred Harp tradition.
What goes on at a singing?
Sacred Harp singing is four-part, a cappella (no instruments) singing
of shape-note songs from a book called The Sacred Harp. Singers
gather, often at a church, to enjoy this music and the fellowship with
other singers. All-day singings begin around 9 or 10 in the morning and
last until 2 or 3 in the afternoon, with a break for lunch at the noon
hour. "Dinner on the grounds", as it is called, is customarily
provided by local singers and members of the host church. These all-day
singings are usually annual events and last for either one or two days. In
some cities, local monthly "practice" singings can be found.
These generally last for 2-3 hours and have lower attendance, but singers enjoy
getting together more regularly.
The singing begins with an opening song and often a prayer. Although there is a "chairperson" who starts the singing and calls breaks, there is no formal hierarchy. Songs are sung one right after the other, with a different person leading each song. Singers sit in a hollow square facing inward, emphasizing that this is a participatory event, not a performance. The leader, who stands in the middle of the square, chooses the tune and verses. From the front row, one of the tenors gives the key by singing the starting notes. Many singers will beat time as they sing. Some rock back and forth or tap their feet. The physical experience definitely involves more than just the vocal chords! When the song is over, the secretary calls the next leader, and the process repeats. Anyone may lead, and anyone may sit in the square to sing. New singers are often hesitant to sit in the square, but it is truly the best way to learn and join in the experience. Many who attend singings will choose to simply listen, often following along in a book. Singers, listeners, and supporters are all of equal importance in the Sacred Harp community.
The style of Sacred Harp singing is raw and unpolished. Singing is loud, joyful, and wonderfully expressive. This music is personal to those who sing it, and the raw emotion that is heard in their singing can be more moving than the most polished professional performance. I find it refreshing to sing in an atmosphere of such joy and acceptance. One of the greatest blessings is that this music really is for anyone and everyone.
Okay, so which line do I sing?
There is a lot of voice crossing in Sacred Harp music, so
the parts are written on individual staves. Below is part of a familiar
hymn, taken from The Sacred Harp, 1991 Edition (page 45). 
The top line is NOT the
melody! It is a high harmony part called "treble". This part is sung by
both men and women in octaves. Treble is for those who are true sopranos
or tenors. The second line
is alto, just as in standard four-part notation. It is usually sung by
women only. The third line
from the top is tenor, but it is also called "lead". This is the part that
carries the melody, and it is sung by both men and women in octaves.
Because this is the melody line, it is often the easiest part for newcomers
to sing. The fourth line is bass and is generally sung by men only.
One of the things that contributes to the unique sound of Sacred Harp is
what the singers refer to as "dispersed harmony". Having two of the four
parts sung by both men and women creates a rich 6-voice texture. Also, the
parts are written more freely than they would be in something akin to a Bach
chorale. In Sacred Harp, the lines interweave and overlap each
other. They are also much more melodic and interesting to sing than
"traditional" harmony parts. This style of writing, coupled with the lack
of traditional "balance" (melody dominating) creates a magnificent mass of
sound.
There are three types of songs found in The Sacred Harp. The hymn, or psalm, is a simple homophonic (all voices moving together) setting. Hymns are generally only a half to full page long. Sound clip of a Hymn Fuguing tunes are more complex. They begin with a homophonic section, and then break into staggered entrances, usually beginning with the basses. Length-wise they are only slightly longer than hymns, sometimes as long as two to two and a half pages. Sound clip of a Fuguing Tune Anthems are more complex yet. They are the longest works in the collection, spanning up to 6 pages. Anthems also often employ time changes, and some even have key changes. The texture varies from homophonic to polyphonic and some sections are repeated. Sound clip of an Anthem
To learn about the shapes, please visit my Shapes page.
Convention pictures and sound clips courtesy of Joshua Martin
Site maintained by Crystal Meadows
Last updated August 1, 2005