The singing is loud, soulful, and spirited; singers sit facing one another in a “hollow square” and move their arms up and down in unison to keep time. The harmonies, four and sometimes six parts, are sung with enthusiasm and foot-tapping gusto.
The lyrics may be unfamiliar to first-time singers; yet, the rustic beauty of the music envelops and engages everyone. Newcomers are warmly welcomed and given singing books, and, in the quiet between songs, one senses the deep bonds of affection and friendship among the regulars. Singers, who frequently travel great distances to sing, are linked by a love of this old and unique style of country hymn singing called Sacred Harp.
Tomorrow, the Plymouth Sacred Harp Singing Community will host a free All Day Singing from 10 AM to 3 PM at East Sandwich Friends Meetinghouse, Quaker and Spring Hill roads, off Route 6A, in East Sandwich. All are invited to learn more about this very distinctive part of our American musical heritage.
Sacred Harp singing takes its name from the title of the oblong hymnal of shape note music used by the singers. The “Sacred Harp,” which has been in continual print since it was first published in 1844, has proved the most popular of the shape note hymnals and is used at singings all over the country. Shape note music is so termed because of the four distinct shapes given to the four musical notations (fa, so, la, mi) used in the score. The term “Sacred Harp” describes the culture that has been preserved around this venerable shape note book.
Seating is arranged so that singers in each part (bass, tenor, treble, and alto) face each other in the hollow square. New singers can quickly pick up the vocal parts by following the lead of more experienced singers. A singer will “call” for a song to be sung by referring to its page number, and then stand in the center of the square to lead the singing. The song will first be practiced by singing just the notes (fa, so, la, mi), and then the song will be sung with the lyrics.
The process is very democratic; anyone can call and lead a song. New singers are encouraged to learn the art of leading, and more experienced singers are happy to pass on the arm movement techniques used to lead the tempo.
Emphasis is on the enjoyment of singing and one another, and not primarily on a perfect musical presentation. A singing is a participatory event, and all are encouraged to join in the singing, regardless of experience.
Shape note music offers a glimpse into the spirit and soul of 18th- and 19th-century life. Untimely and early death, or “traveling to Canaan,” was all too common an experience. There are numerous, and sometimes enthusiastic, references to the “fiery billows” that await evildoers. Yet, the lyrics also convey the strong bonds of community, both in this life and the next, and a simple, yet sustaining, faith that continues to offer hope, meaning and sustenance to singers today
The singings attract people of diverse spiritual journeys. Singers do not focus on theological issues; rather, in the customary silence between songs, each person allows the words form their own uniquely personal message. Individuals become associated with their favorite hymns and the close bonds formed are particularly evident when one of these songs is occasionally called in tribute to a fellow singer’s birthday, wedding or passing.
Shape note singing flourished among American colonists in the 18th century, finding a home in the Baptist, Methodist and Congregational singing traditions, including those throughout Cape Cod. “Singing teachers” traveled from town to town, holding “Singing Schools” and instructing communities how to sing. In their travels, they wrote much of the music they taught, giving their songs such titles as “Schenectady,” “Northfield,” or “Concord.”
Singing School music began to decline in New England and was viewed as too rustic and ribald for early Victorian church sensibilities, particularly in urban Protestant churches. The music moved westward and, eventually, to the South. In rural Southern country church communities, it has been lovingly preserved and sustained. Many of the terms and practices used today reflect this Southern country influence.
In the past 30 years, Sacred Harp singing has seen a tremendous revival throughout the country. There are regular monthly singings held in Plymouth, Providence, and throughout the Boston area, and a small, but growing, number of local singers are hoping that a monthly “Cape Cod singing” may soon be established.
Tomorrow’s All Day Sacred Harp Singing will begin with a Singing School, taught by Allison Schofield, who has extensive experience teaching throughout New England. Newcomers are particularly encouraged to attend this morning session.
All are invited to share “Dinner on the Grounds,” a covered dish luncheon served at noontime. Although the entire program is free, a collection will be taken to help with expenses. More information about Sacred Harp Singing can be found at the Sacred Harp website: http://www.fasola.org which lists all local and national singings and provides extensive information about this musical heritage. Information about tomorrow’s event can be seen at http://www.newplymouthsacredharp.org.
Chuck Micciche, a Harwich resident and a newcomer to Sacred Harp music, first heard “Singing” from friends visiting from Georgia, who sang it around a campfire this past summer, and he has been smitten ever since.
Weekly and Monthly New England Area Singings
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