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The third Sacred Harp was the one by B. F. White and E. J. King (1844), the origin of today's Sacred Harp singing tradition. Lastly, according to W. J. Reynolds, writing in Hymns of Our Faith , there was yet a fourth Sacred Harp – The Sacred Harp published by J. M. D. Cates in Nashville, Tennessee in 1867.
They would collect at camp meetings and spend considerable time singing these hymns. The shape notes were an eight-note system used as an easy way to teach people melodies and harmonies for singing sacred music. After 1867, the Convention adopted a policy of using other song books. It gradually had less influence in the history of Sacred Harp.
Most notably, throughout, Ctrl features old recordings of Sacred Harp singing, an historical tradition of sacred choral music from the Southern United States related to Shape note singing. Sacred Harp is characterized by direct, expressive and sometimes brash voices in 4-part harmony.
White and Negro Spirituals, Their Lifespan and Kinship: Tracing 200 Years of Untrammeled Song Making and Singing Among Our Country Folk, with 116 Songs as Sung by Both Races. Augustin, 1943; The Story of the Sacred Harp, 1844-1944. Vanderbilt University Press, 1944; A Directory of Sacred Harp Singers and Singing Conventions. 1945
The Mulberry River Convention, also of Alabama, asked that any new songs be "composed by Sacred Harp singers only." White prepared a revised release of the "fifth edition" in 1910, and then scrapped the idea altogether by the next year. In 1911, he released The Sacred Harp, Fourth Edition with Supplement. This was the old 1870 edition with a ...
Harp singing is a way to learn musicality using shape notes that was developed in North America in the later half of the 17th century. Participants will be singing from both the 1991 revision "The ...
Shape notes are a system of music notation designed to facilitate choral singing. Shape notes of various kinds have been used for over two centuries in a variety of sacred choral music traditions practiced primarily in the Southern region of the United States. "Shape-note singers used tune books rather than hymnals. Hymnals were pocket-size ...
Shape-note or sacred harp singing developed in the early nineteenth century as a way for itinerant singing instructors to teach church songs in rural communities. They taught using song books that represented musical notation of tones by geometric shapes that associated a shape with a pitch.