African-American Folksong Notebook

Asolia Zharmenova

World Music

25 March 2019
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Table of Contents:

All God’s Chillun God Shoes…………………………………………………………………………3

Ev’ry Time I Feel de Spirit………………………………………………………………………….....4

Give Me Jesus…………………………………………………………………………………………..5

Go Down Moses………………………………………………………………………………………...6

Go Tell It On the Mountain……………………………………………………………………………7

His Name So Sweet…………………………………………………………………………………….8

Hold On…………………………………………………………………………………………………...9

I Want to Be Ready (Walk in Jerusalem)…………………………………………………………..10

Nobody Knows de Trouble I’ve Seen………………………………………………………………11

This Little Light of Mine………………………………………………………………………………12

Teaching Procedure…………………………………………………………………………………..13

Teaching Procedure…………………………………………………………………………………..13

Bibliography…………………………………………………………………………………………….15

Discography…………………………………………………………………………………………….16
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All God’s Chillun Got Shoes

Authenticity in transcribing African-American spirituals at the turn of the twentieth century relied
on depicting the Black English dialect. This depiction was derived from multiple sources which
included the social stereotype of the perceived dialect of the slavery period as well as
contemporary African-American speech. The aesthetic approach in the spiritual song genre
encompasses the back-story that is based on the origin and creation of this song. “All God’s
Chillun Got Shoes” carries the story about a certain Mary and her sons. In 1937, composer
William Grant Still recorded this African-American spiritual in notation and included the folk story
behind its creation.

2. Ah got a robe, you got a robe, 4. Ah got a harp, you got a harp,
All o’ God’s chillun got a robe. All o’ God’s chillun got a harp.
When Ah git to Heab’n gonna When Ah git to Heab’n gonna
Put on mah robe, Take up mah harp,
Gonna shout all ovah God’s Heab’n. Gonna play all ovah God’s Heab’n.
Heab’n, Heab’n, Ev’rybody talkin’ Heab’n, Heab’n, Ev’rybody talkin’
‘bout Heab’n ain’t goin’ dah. ‘bout Heab’n ain’t goin’ dah.
Heab’n, Heab’n, gonna walk all Heab’n, Heab’n, gonna walk all
Ovah God’s Heab’n. Ovah God’s Heab’n.

3. Ah got a crown, you got a crown 5. Ah got wings, you got wings,
All o’ God’s chillun got a crown. All o’ God’s chillun got wings.
When Ah git to Heab’n gonna When Ah git to Heab’n gonna
Put on mah crown, Put on mah wings,
Gonna shout all ovah God’s Heab’n. Gonna fly all ovah God’s Heab’n.
Heab’n, Heab’n, Ev’rybody talkin’ Heab’n, Heab’n, Ev’rybody talkin’
‘bout Heab’n ain’t goin’ dah. ‘bout Heab’n ain’t goin’ dah.
Heab’n, Heab’n, gonna walk all Heab’n, Heab’n, gonna fly all
Ovah God’s Heab’n. Ovah God’s Heab’n.
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Ev’ry Time I Feel de Spirit

“’Sometime we come out of the field . . . scorchin’ and burnin’ up with nothin’ to eat, and
we want to ask the good Lawd to have mercy. . .We take a pine torch. . .and goes down
in the hollow to pray. Some gits so joyous they starts to holler oud and we has to stop
up they mouth. I see [people] git so full of the Lawd and so happy they draps
unconscious.’” In his book, the author Gwendolin Sims Warren recounts the memory
Richard Caruthers, a former slave, once shared. The spiritual experience that is
described typically depicts the “communion” of the Holy Spirit, accompanied by song in
a communal setting. The musical style of this spiritual includes standard figures like
syncopation, accents, fast tempo. Impromptu in its nature, “Ev’ry Time I Feel de Spirit”
likewise encourages participants to exclaim pure emotion through movement, rhythmic
clapping and shouting.

2. Jerd’n River chilly an’ col’, 3. Ain’t but one train runs dis track,
Chill-a de body but not de soul. It runs to Heaven an’ runs right back.
All aroun’ me look so shine, Saint Peter waitin’ at de gate,
Ask my Lord if all was mine. Says, “Come on, sinner, don’t be late.”
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Give Me Jesus

“Give Me Jesus” was published and arranged by Edward H. Boatner. This song, with its
simple yet compassionate lyricism, remains a favorite among African-American
communities. Louvenia “Mom” Pointer founded the Great Day Chorale in New York City
which is a group of chorale singers who frequently perform African-American spirituals.
Among Pointer’s favorites, however, is “Give Me Jesus”. Its place in the spiritual
tradition is a “response to a commonplace tragedy”, Warren writes. It was “sung not in
sorrowful resignation but in confidence and in surrender to Jesus, who was their ‘All in
All’.”

2. I heard my mother say, 4. In the morning when I rise,

I heard my mother say, In the morning when I rise,
I hear my mother say, In the morning when I rise,
Give me Jesus. Give me Jesus.

3. Dark midnight was my cry, 5. I heard the mourner say,

Dark midnight was my cry, I heard the mourner say,
Dark midnight was my cry, I heard the mourner say,
Give me Jesus. Give me Jesus.
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Go Down, Moses

A song that continues to resound in the halls of African-American church congregations

and one that shaped the history of the slavery period in the United States is “Go Down
Moses”. The parallelism of the enslavement of the Israelites under the Egyptian
pharaoh’s rule and the enslavement of the African population under white supremacy in
the southern United States is clear-cut. Just as Moses relieved the people of Israel from
Egypt, Harriet Tubman, likewise, smuggled many slaves into freedom through the
Underground Railroad to the northern United States and Canada. The repetition of the
phrase “let my people go” throughout the song holds strong, unmoving conviction and
adds to the emotional and physical fervor of those singing those words.

2.Thus saith the Lord, bold Moses said, 4. When Israel out of Egypt came,
Let my people go. Let my people go.
If not, I’ll smite your first-born dead, And left the proud oppressive land,
Let my people go. Let my people go.

3. No more shall they in bondage toil, 5. Oh, ‘twas a dark and dismal night,
Let my people go. Let my people go.
Let them come out with Egypt’s spoil; When Moses led the Israelites,
Let my people go. Let my people go.
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Go Tell It on the Mountain

Now considered a Christmas spiritual, “Go Tell It on the Mountain” was a mystery to
many arrangers. Because most spirituals exalt the Creator as all-powerful God, few
were sung about the little babe – Jesus. James Weldon Johnson along with his brother
J. Rosamund Johnson first published a collection of African-American spirituals in which
they noticed the absence of these Christmas spirituals. James Weldon Johnson later
proposed an explanation which stated that the Christmas was not a sacred holiday that
was established in the southern United States. Although there is no author for “Go Tell It
on the Mountain”, it was first arranged by John W. Work III, who attempted to appeal the
African-American spiritual genre to white audiences by eliminating dialect patterns,
common to its demographic. This stylistic choice, however, did not receive positive
feedback by the audience who sought authenticity in performance.

2. The shepherds feared and trembled 3. Down in a lonely manger

When lo’ above the earth The humble Christ was born,
Rang out the angel chorus And God sent us salvation
That hailed our Savior’s birth. That blessed Christmas morn.
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His Name So Sweet

This spiritual references several biblical incidents in which Jesus comforted, delivered
and healed those who were isolated from society. It also describes the symbolism of the
fountain which is the Holy Spirit within all believers. The song is an exhortation and a
challenge to church leaders and the congregation. Piety was not accepted within the
African-American churches, and preachers or elders who led congregations (upon
permission of their masters) were sometimes nicknamed “slidin’ elder”. This meant that
an individual’s faith lacked authenticity and devotion. Filled with humor, the setting of
this song takes place in a Methodist congregation in which the leader and the chorus
have a call and response motion in dialogue.

2. Class leader, do you love Jesus? 4. Brother, do you love Jesus?

Yes, yes, I do love mah Jesus. Yes, yes, I do love mah Jesus.
Class leader, do you love Jesus? Brother, do you love Jesus?
His name so sweet. His name so sweet.

3. Slidin’ leader, do you love Jesus? 5. Sister, do you love Jesus?

Yes, yes, I do love mah Jesus. Yes, yes, I do love mah Jesus.
Slidin’ leader, do you love Jesus? Sister, do you love Jesus?
His name so sweet. His name so sweet.
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Hold On

“Hold On” is a song of exhortation for the hope of a better day to come, despite the
prevailing hardship of slavery. Based on the biblical references in Luke 9 and 1
Corinthians 9, this spiritual is an encouragement to complete a faithful work which was
begun. The plow is an allegory of the gospel message; however, some interpretations
suggest that it is a code name for an object (like an oar) used in escape through the
Underground Railroad. Despite the difference in interpretation, this song was addressed
to the whole slave community. As the text suggests, “Nora” is a misspelling of “Noah”,
the biblical character who built the ark prior to the great flood. In this case, it is clear as
to why the earlier suggestion of the oar may also be applicable.

2. Nora said, “Ya lost yo’ track, 4. If dat plow stays in yo’ han’
Can’ plow straight an’ keep It’ll lan’ you straight into de
a-lookin’ back.”… promised lan’…

3. If you wanna get to Heaven, let me 5. Mary had a golden chain.

tel you how: Ev’ry link was my Jesus’ name.
Just keep yo’ han’ on de gospel
Plow… 6. Keep on climbin’ an’ don’t you tire.
Ev’ry rung goes high’r an’
high’r…
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I Want to Be Ready (Walk in Jerusalem)

There was an evident distinction between Christ-believing African-American slaves and

those who did not share that common faith. The call-and-response style of “I Want to Be
Ready” was one of pure enlightenment in the hope of a better future that was found in
the coming of the Redeemer. George Pleasant was a slave in Shelbyville, Tennessee
wrote a letter to his wife in which he is filled with hope that one day he would be
reunited with her and their daughter in Heaven. The song also has a varied, additional
verse that is sometimes not recorded in transcribed scoring.

2. O John, O John, what do you say? 4. If you get there before I do,
Walk in Jerusalem just like John. Walk in Jerusalem just like John.
That I’ll be there at the coming day, Tell all my friends I’m-a comin’ too,
Walk in Jerusalem just like John. (Tell my mother…) (Tell my father…)
Walk in Jerusalem just like John.
3. When Peter was preaching at
Pentecost, (Some came crippled, some came lame,
Walk in Jerusalem just like John. Walk in Jerusalem just like John.
He was endowed with the Holy Ghost, Some came walkin’ in Jesus’ name,
Walk in Jerusalem just like John. Walk in Jerusalem just like John.)
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Nobody Knows de Trouble I’ve Seen

The contrast in tempo parallels the emotional setting of “Nobody Knows de Trouble I’ve
Seen”. This song was among a collection of plantation songs which was given to
collectors by a woman whose father had often sung this song after a brutal beating by
his slave owner. The chorus is written in a slow melody with long phrasing to
demonstrate the brokenness and desolation of individuals suffering from injustice. In
contrast, filled with hope and expectation, the verse is an anticipation of Christ’s coming
for deliverance. In the Sea Islands of South Carolina, General Oliver O. Howard stood
before a freed people upon the resolution of the Civil War. Despite the fear of the future
and its uncertainty, the group of freed African-Americans united in voice as they sang
this song.

2. No more moaning, 4. There’ll be shouting,

No more moaning, There’ll be shouting,
No more moaning over me! There’ll be shouting over me!

3. There’ll be singing, 5. There’ll be praying,

There’ll be singing, There’ll be praying,
There’ll be singing over me! There’ll be praying over me!
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This Little Light of Mine

Often considered a “testifying song”, “This Little Light of Mine” is filled with biblical
references, exhortation and historical significance. In the 1960s, Fannie Lou Hamer
from Mississippi led the civil rights movement for the Mississippi Freedom Democratic
Party. Though the attempt to earn a seat in the state delegation failed, the memory of
Hamer’s numerous performances of this song in her campaigns remained and inspired
other civil rights activists in their fight for equality. This song is also appealing to
children, filled with dynamic variety, movement and a recognizable melodic structure.

2. All in my heart, … 4. Ev’rywhere I go, …

3. All in my house, … 5. Out in the dark, …

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Teaching procedure: This Little Light of Mine

In teaching a younger group of students, I would choose “This Little Light of

Mine”. The song’s simple, repetitive motif can be easily recognized. It is also likely that

this is a familiar song for most children, and learning additional movements, dynamics

and harmonies would not be a toll on a younger group. For each verse, I would teach

motions that would be easy to remember and fun to switch around for each verse. For

the word ‘light’, I would make a separate motion. In which, the pointer finger would be

shown. Through this, students (especially in Christian educational settings) can realize

the importance of our light and the reference to our Heavenly Father who is both within

us as well as above this earth and that nothing can extinguish this light.

Teaching procedure: His Name So Sweet

Due to its humorous mood, yet serious nature, I would probably use this song in

a lecture setting with a group of adult learners. First, I would talk about the historical

significance and setting of this spiritual, its place in Christian African-American

congregations, and the diversity within the faith. I would also mention that these

congregations were led by men whose masters gave them permission to read from the

Word and share its interpretation with the congregation. It is interesting, however, that

despite the accessibility of the Bible, the African-American population still accounted

and checked that their leaders adhered to the principles of the Scriptures. I would also

expand on the dialect transcription that is necessary to convey the true essence of the

culture and setting. Finally, we would sing the song and pay attention to the

syncopation, repetition and variation.

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Bibliography:
Warren, Gwendolin Sims. Ev’ry Time I Feel The Spirit: 101 Best Loved Psalms, Gospel
Hymns, and Spiritual Songs of the African-American Church. First Edition
1997. Henry Holt and Company, Inc. New York, New York.
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Discography:

All God’s Chillun Got Shoes:

- https://www.youtube.com/watch?v=b2pjdAFLsWw

Ev’ry Time I Feel de Spirit

- https://itunes.apple.com/us/album/every-time-i-feel-the-spirit/716295796

Give Me Jesus
- https://itunes.apple.com/us/album/jessye-norman-spirituals/4336109

Go Down Moses
- https://itunes.apple.com/us/album/louis-and-the-good-book/408818

Go Tell It on the Mountain

- https://itunes.apple.com/us/music-video/go-tell-it-on-the-mountain-feat-lillie-knauls-
live/720010443

His Name So Sweet

- https://itunes.apple.com/us/album/great-moments-at-carnegie-hall/1092783108

Hold On
- https://itunes.apple.com/us/album/in-the-greystone-tradition-volume-3/472885366

I Want to Be Ready (Walk In Jerusalem)

- https://itunes.apple.com/us/album/steal-away-spirituals-and-gospel-songs/691433527

Nobody Knows de Trouble I’ve Seen

- https://itunes.apple.com/us/album/20th-century-masters-millennium-collection-best-
dixie/68800

This Little Light of Mine

- https://itunes.apple.com/us/album/gospel-dream/72822526