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Sacred Harp and Related Shape-Note Music Resources – an extensive site of resources concerning Sacred Harp, other Shape-Note music, Gallery music, etc. Singing with Sol-fa Syllables Archived 25 September 2004 at the Wayback Machine – article about singing schools and shape notes; The Shape of Music – book on teaching small children ...
Law used the shaped notes without a musical staff. The Smith and Little shapes ultimately prevailed. Shape notes became very popular, and during the first part of the nineteenth century, a whole series of shape note tunebooks appeared, many of which were widely distributed. As the population spread west and south, the tradition of shape note ...
These oldest songs also include a few from a remote ancestor of Sacred Harp singing, the tradition of religious choral music that flourished in rural England in the mid 18th century, for example "Milford" by Joseph Stephenson (D 273). Songs by the New England composers of ca. 1770–1810, sometimes referred to as the "First New England School".
An 1847 publication of Southern Harmony, showing the title "New Britain" ("Amazing Grace") and shape note music. Play ⓘ. The roots of Southern Harmony singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services.
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 .
[2] [3] It follows the folk tradition of Sacred Harp singing, a type of shape-note singing, kept alive by amateur singers in the rural American South. Cast [ edit ]
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, all of them rooted in the Southern United States .
It was a seven-shape note tune book of 192 pages (a little over 200 songs). Fewer than 20% of its songs were found in the Sacred Harp, and less than 5% of the songs were written in a minor key. Many of the old songs appeared with altered harmony. According to Gavin James Campbell (see reference below), this book was not a success: