xt7n2z12rw14 https://exploreuk.uky.edu/dipstest/xt7n2z12rw14/data/mets.xml Burlin, Natalie Curtis, 1875-1921 Hampton Institute 1918 1919 4 v. in 1, 26 cm. Call Number: M1670 .B93 scores (documents for music) M1670 .B93 English G. Schirmer Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection African Americans -- Music Hampton Series Negro Folk-songs, [c1918-19] text Hampton Series Negro Folk-songs, [c1918-19] 1918 1918 1919 2023 true xt7n2z12rw14 section xt7n2z12rw14 .34 kfifiifim

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Hampton series negro folk-son
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HAMPTON SERIES

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RECORDED BY

NATALIE (CURTISBURLIN

IN FOUR BOOKS

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FOREWORD

AMPTON NORMAL AND AGRICULTURAL INSTITUTE, the
pioneer industrial school for Negroes and Indians in America, was
founded in 1868 by General Samuel Chapman Armstrong, who first

conceived the idea that training in “labor for the sake of character” as well
as for economic necessity, should be the initial step in the development of
backward races. The school numbers about nine hundred students, drawn
from all over the United States, while thousands of graduates have spread
the Hampton spirit of service throughout the country and even far across
the seas; for a few West Indians, Filipinos, Chinese, Japanese and Africans
have also profited by Hampton’s training and have gone back to their people
to teach and lead them. Hampton believes in the good in every race; worthy
traits are studied and developed; the folk-lore of Negroes and Indians is
preserved and encouraged; and the singing of racial music is a part of the
life of the school.

These notations of Negro folk—songs are faithful efforts to place on paper
an exact record of the old traditional plantation songs as sung by Negroes.
The harmonies are the Negroes’ own. I have added nothing and I have
striven to omit nothing. Every note in every voice was written down as sung
by groups of Negroes, utterly untaught musically, who harmonized the old
melodies as they sang, simply because it was natural for them to do so. The
Negroes possess an intuitive gift for part-singing, which is an African in-
heritance. The music of most primitive or savage peoples usually consists
in rhythm and melody only. But the native of Africa has a rudimentary
harmonic sense, distinctly manifested in some of the African folk-songs that
I have studied and recorded.1 This instinct, transplanted to America and
influenced by European music, has flowered into the truly extraordinary
harmonic talent found in the singing of even the most ignorant Negroes of
our Southern States. It seemed to me an obvious artistic duty to set down
these intuitive harmonies and to note, in so far as possible, the emotional and
dynamic qualities of Negro singing, as well as the forceful, yet subtle rhythmic
peculiarities of the music.

No two groups of Negroes harmonize a song in the same way. These
records are therefore musical photographs of particular groups, not composite
pictures. The singing of plantation songs at Hampton is spontaneous and
natural. No one teaches Negro songs. In one group of boys that sang for
me, the tenor was learning to be a bricklayer and came to our meetings still
grimed with toil; another was studying to teach school in a rural district;
a third had learned the tinsmith’s trade, and a fourth was ploughing the fields.
These young men simply met and sang, each making up his own part and
combining with the others till all together they produced a harmony that
pleased them. In a general way, certain rudimentary harmonies for t1“e old

1 For a fuller exposition of the whole subject of Negro Song. see Foreword to Book II of this Series.

{3]

 

 

  

melodies have been more or less traditional at Hampton throughout the fifty
years of the life of the school; yet the voice-progressions and even the ver-
sions of the melodies are strikingly individual with different singers. All
around the grounds at Hampton the visitor comes across little groups of stu-
dents singing together under the trees, or humming harmonies to one anothers’
songs as they go to their work at the shops or in the fields. Music is literally
“in the air.” When I asked a newcomer from a remote district what part he
sang in the “Spirituals” chanted by the whole school in Chapel on Sunday even—
ings, he answered naively: “O, sometimes I sings sopranner, an’ sometimes I
sings bay-uss; all depen’s on de lay 0’ de song an’ on how I feels.” The
enormous chorus of nine hundred Negro voices singing by nature, not by train-
ing; by ear and heart, and not by note; in perfect pitch, Without accompani-
ment; each singer, no matter where he sits, taking any part he chooses in the
harmonies of the whole—this chorus of folk-singers is among the most wonder-
ful products of the United States!

Through leaving unspoiled this fresh, intuitive song—impulse in the Negro,
and through cherishing the old music in its original purity and simplicity,
Hampton has glorified the song of the slave as it has dignified the manual
labor of the freedman, and is preserving in living form that spontaneous
musical utterance which is the Negro’s priceless contribution to the art of
America.

Negro dialect is used in these notations, for to sing these typical Negro
songs in words from which have been expunged the racial and picturesque
quality seems as colorless, inartistic and unnatural as to sing Scotch or Irish
ballads in anything but the vernacular, or German and French folk—songs in
other than their own quaint and simple verse.

In trying to sing Negro dialect, white people should bear in mind that it
is primarily a legato form of speech. The African languages of Bantu stock
(from which great linguistic family came, probably, most of our American
Negroes) are soft and musical in spite of the “clicks” in some of them; so that
the transplanted Negro instinctively modified harsher sounds in English,
sliding words together and leaving out whole syllables. “Th” being a difficult
sound for most people not born to it, becomes “D” to the black man, but the
vowels that follow should be pronounced as the white man pronounces them.
For instance, “the,” commonly spoken ”thuh,” is called by the Negro “duh”
or “d’,” not “dee.” This should especially be borne in mind by white singers.
For the sake of clarity I have adhered to the customary methods of dialect
spelling except in a few cases where this seemed inadequate. To give to the
verses the rhythm as sung, I have stressed the syllables accented by the music.

In. singing four-part harmonies for male voices, the Hampton singers
divide as follows: tenor (usually a very high voice); “lead” (or leader—who
carries the melody); baritone, and bass. The Negroes say that in form their
old songs usually consist in what they call “Chorus and Verses.” The “Cho-
rus,” a melodic refrain sung by all, opens the song; then follows a verse sung as
a solo, in free recitative; the chorus is repeated; then another verse; chorus
again ;——and so on until the chorus, sung for the last time, ends the song.

These songs, now traditional, were originally extemporaneous. They
sprang into life as the expression of an emotion, of an experience, of a hope.
The verses were made up as the occasion called for them—and a song was

[4]

 

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born.1 As the songs passed from singer to singer and from one locality to

: flit: another, they took.on variants in words and melody; even to-day, two singers
All rarelysmg a song in exactly the same way. . .

)f stu- Like 1115 African ancestors and in common With most Simple people who

ithers’ live close to nature, the Negro Sings at all t1mes—-at work, at play and at

, 11 prayer. Into the “Spirituals,” the prayer-songs of the days of slavery, was

:1? h: poured the aspiration of a race in bondage whose religion, primitive and in-

even- tense, was their whole hope, sustenance and comfort,.and the realm wherein

imes I the soul, at least, soared free. At'stolen meetings in woods or 1n valleys,

The at secret gatherings on the plantations, the Negroes found outlet for their

train- sorrows, their longings and their religious ecstasies. No.0neucan hear these

npani- songs unmoved. The childlike 51mp11c1ty of .thenverse 1n Couldn t hear

in the nobody pray”2 .and “133v ry time I feel de Spirit, but throws into sharper

)nder- relief the touching, porgnant poetry—a poetry born of hearts that sang be-
neath heavy burdens, and of a faith as radiant and certain as the sunrise.

\I The Negro “Spirituals” rank with the great folk-music of the world, and are

tligiig, among the loveliest of chanted prayers. . . . ‘ .

lanual Only after long famillarity w1th this music and innumerable hearings of .
the songs have I dared, With the additional aid of a phonograph, to set my

meous notations on paper. This work of record—a reverent and dedicated love—

art 0f labor—is pursued under the auspices of Hampton Institute. May it be-
come part of Hampton’s mission of friendship between the different races of

Negro the earth. For music is a common tongue which speaks directly to the heart

resque of all mankind.

7 Irish

ngs in Norm—This collection of Negro Folk-Songs consists of four books, each containing four
songs for male quartet. As the books will appear separately in serial publication, the

:h a t i t descriptive notes accompanying each song arearranged m such a way as to make each. volume
independent of the other. Any slight repetition of facts With regard to Negro smgmg Will.

stOCk therefore, be understood.

erican

3 that NATALIE CURTIS-BURLIN.

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them_ the lifework of Fisk, which long ago sent out the “Jubilee Singers" With their offering of Negro conga. See also

1 ” "Afro-American F olksongs." by H. E. Krehbiel (G. Schirmer : New York).

‘ duh BSee Book II, this Series

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CONTENTS
Page
0 RIDE 0N, JESUS . . . . . . . 7
Go DOWN, MOSES . . . . . . . 17
COULDN’T HEAR NOBODY PRAY . . . . '. . 26
GOOD NEWS, 'CHARIOT'S COMIN’! . . . . . 36

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O RIDE ON, JESUS

“0 Ride on, Jesus,

Ride on, conquerin’ King!”

The recording of this song is dedicated to the memory of
GENERAL SAMUEL CHAPMAN ARMSTRONG,

Founder of Hampton Institute

HORTLY after the Civil War, when the South was flooded with the
pitiful and penniless freedmen, and when the increasing Westward
migration of white settlers had meant the clash of troops with the red

men and the bringing of Indian prisoners to Florida, it was General Armstrong
who took the first practical steps toward answering the question of what was
to be done with the two dark-skinned races, both of them ignorant and help-
less—ex-slaves, and Government “wards." With prophetic insight, Arm-
strong saw that Negroes and Indians must first of all be taught to stand on

Pas; their own feet, and to do this they must learn how to work, and how to support
themselves by work. To him the thing to be done was plain: so to train se-

17 lected youth of the two races that they could become leaders of their people.
26 To-day, when manual and industrial training as a part of general educa-
tion is no longer an experiment, it is difficult to realize that at the time General

36 Armstrong advocated it, the idea was without successful precedent in the

United States. Armstrong’s principles, the inter-training of “hand, head and
heart,” the teaching 0f ”respect for labor,” the correlation of study in the
classrooms with farming, home-making and trades—these were wholly new
theories of education, and they were greeted with skepticism and with wide
predictions of failure. That Armstrong succeeded in holding high the torch
of this illuminative idea in the early dark days of Opposition was due not alone
to the intense conviction that burned in his own soul; that idea was bound
to triumph because of its truth and expediency and because it was based on
the sound principle of what Armstrong called “sanctified common-sense.”
The real victory of Hampton is the fitting of men and women for life, mentally
and morally as well as industrially. And as the visitor to the school watches
the noontide daily drill of the students on the wide lawns that slope to the
water’s edge, as he listens to the band played by boys, black and copper-
colored, and sees the stars and stripes flutter in the breeze upborne by loyal
black hands, he is moved with a sense of reverence for the heroic genius of
Armstrong: for these stalwart ranks of dark-skinned, self-respecting Ameri-
can manhood and womanhood that march past with ringing step, and steady
eyes are those who have “come up out of deep darkness and wrong,” the
children of slaves and so-called savages, transformed in a generation.

[7]

 

  

 

o RIDE ON, JESUS

Recorded from the singing of

Ira Godwin (”Lead") Agriculture
Joseph Barnes (Tenor) Tinsmith
William Cooper (Baritone) Schoolteacher
Timothy Carper (Bass) Bricklayer

The version here recorded of this old song was brought to Hampton from
St. Helena’s Island, South Carolina, where an offshoot of the “Hampton
Spirit” is practically demonstrated in the Penn Industrial School, situated
in the heart of a black rural population and conducted by two devoted Hamp-
ton workers, Miss Rossa B. Cooley, principal, and Miss Grace Bigelow House,
vice-principal. The Negroes on this Island are still primitive and their
songs are very old. This one has a triumphant stride, and the climax of the
verse “Ride on, conquerin’ King!” when fairly shouted by a great Negro
chorus, is as stirring as any “Hosanna in the highest." The whole song rings
with the joy of certain salvation. The sinner on the “mourners’ bench"
has “come through”: he has “bin baptize,” and to-morrow he will be in “Gali-
lee,” whither he is already bound in spirit, shouting messages as he goes, to tell
mother, father, sister, brother, preacher, deacon and all others, to meet him
there. Each verse ends with the refrain that closes so many of the old songs—
“Want t’ go t’ Hebb’n in de mo’nin’.”

In “Old Plantation Hymns”l Rev. W. E. Barton says that “conspicuous
among the religious songs of the colored people, as of the white people of the
Cumberland Mountains, is the large group of ‘Family Songs’ in which the
chief or only variation in the successive stanzas is thesubstitution of ‘father,’
‘mother,’ or other relative in order.” These songs, he tells us, are usually
sung at the opening of religious services, and one can well see how, through
their personal allusions, they would “warm” a “meet’n’.” In the dignity of
its melody this simple spiritual is a superb bit of music, while the last verse
contains the sudden gleam of imagery that so often proclaims the ingenuous
Negro folk-singer a true poet. »

That many peOple in the North have had the opportunity to know the
Negroes through their songs is due to the fact that, like Fisk University, which
gave to the world the original Jubilee Singers, Hampton, too, sends her stu-
dents during vacation far over the country to sing the old songs wherever
meetings are held in behalf of the school; for regular campaigns to raise money
for Negro education are organized and participated in by the faculty and the
students of Hampton.2 The recording of this song is taken from the sing-
ing of a self-organized quartet of Hampton boys, who had formed for Hamp-
ton meetings in the North during the summer of 1915. Each afternoon at
odd hours taken from their work in shop, field or class, they came to
Nomz—I printed the verses of this song with those of “God’s a-gwine to move all de troubles away" (see

Book II, this Series), in Poetry. December, 1917. accompanied by a little description.

1 "Old Plantation Hymns." William E. Barton. D. D. Lamson Wolfi’e 8: Co.. 1899.

3 See “Negro Folk songs," Book II. this Series.

[8]

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practice in a vacant room. The bricklayer was flecked with lime and mortar,
the overalls of the tinsmith were covered with machine oil, but the boys flung
themselves into their chairs and began to sing as unconcernedly as though
they were simply resting from labor. They hummed over the song to be
practiced, improvised their own harmonies, tried them out and fitted their
parts together while I sat with pencil and paper astounded at the untaught
facility and the unfaltering harmonic instinct of these natural singers, only
one of whom had even a rudimentary knowledge of musical notation. They
delighted in my task of trying to record their voices and they were always
willing to repeat a phrase, often with much jolly laughter. It was curiously

.from difficult, however, for tenor, baritone or bass to sing his part alone, because
npton each was conscious of his own voice only as a bit of the whole. A “part” was
uated not conceived as a separate thing, and whenever I tried to get one voice by
[amp- itself, the “Lead,” who carried the melody, was usually asked to make things
louse, easy by humming at the same time.

their The making of phonographic records was a source of great amusement
3f the and interest to us all, and here too, in order to get one part separately re-
Negro corded, the other three of the quartet would stand near the boy who was sing-
- rings ing into the horn and hum their parts along with him. It is perhaps this in-
ench” herent losing of self in a song that gives to primitive Negro part-singing such
‘Gali- amazing unity—emotional, as well as musical.
to tell For comparison, I have recorded a slightly different harmonic version as
t him sung by the quartet known at Hampton as the “Big Quartet”—~ a group of
ngs— four older men (Tynes, Crawley, Phillips and Wainwright), graduates of the

school, who have been “singing for Hampton” for many years. I give the two
.cuous versions as an interesting proof of the spontaneity of Negro song; for to the
of the Negro, singing is a kind of melodious musing aloud, so that unconsciously it is
h the a form of direct and individual expression. The Big Quartet was awarded a.
tther,’ gold medal when the men sang at the Educational Department of the Panama-
sually Pacific International Exposition in San Francisco. On hearing them, Percy
rough Grainger exclaimed: “To think that, having toured all Europe, I should
lity of find the most perfect four-part singing of the world among these American
verse Negroes l”
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O RIDE ON,1 JESUS

w the

which 0 Ride on, Jesus,
er stu- Ride on, Jesus,
erever Ride on, conquerin’ King!
money I want t’ g0 t’ Hebb’n in de m_o’r_z'in'.
nd the
: sing- Ef yo’ see ELY. Moth—er"
I-Iamp- 0 yes!
oon at Jes’ tell her fo’ me,
me to — —0 yes!

.. For t’ meet me t’-morrow in Galilee, :

way (see

Want t’ g0 t’ Hebb'n in de mo'n’in .

lThe O on the word “on" is pronounced very long in Negro dialect. thus. "3n" ("ohn").

[9]

 

  

 

1 Other verses follow identical with these first two except for the substitption of the words "Sister" 3nd
"Brother" for ”Mother" and “Father." T1118 song may also be sung 1n broad dialect: “Ma Mudder." “Fader,'

“Brudder.” etc.

0 Ride on, Jesus,
Ride on, Jesus,
Ride on, conquerin’ King!
I want t’ go t’ Hebb’n in de mo'n'in'.

 

Ef you see my Father',1

0 yes!
Jes' tell him fo’ E
0 yes!

For t’ meet me t’-morrow in Galilee’:
Want 15’ go t’ Hebb’n in de mo’n’in’.

0 Ride on, Jesus,
Ride on, Jesus,
Ride on, conquerin' King!
I want t’ go t’ Hebb’n in de M’in’.

Ef yo’ see John de Bapgi”,

0 yes!
Jes' tell hl__1"n fo’ £32:
0 yes!

Dat I’s been to de ribber and 1’s been baptize":
Want t’ go t’ Hebb’n in de mo’n’in’.

0 Ride on, Jesus,
Ride on, Jesus,
Ride on, conquerin’ King!
I want t’ go t’ Hebb’n in de M'in'.

Ef yo’ want t’ g0 t’ Heb_l_)’_11" ,

0 yes!
I’ll-a tell yo’ lg,
0 yes!
Jes’ keep yo’ han’s on de gospel PM:
Want t’ go t’ Hebb’n in de moln’in’.

 

0 Ride on, Jesus,
Ride on, Jesus,
Ride on, conquerin’ King!

I want t’ go t’ Hebb’n in de mo'n’in’.

[10]

 

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he a in the word “on” is pronounced very long in Negro dialect, “01m.”
The melody is carried in the voice of the “Lead” (or “Lea.der”),printed in the piano-part in page type.
'- Very deey Negro voices take the low octave; this part may also be sung above with the baritone.

.2 c Copyright, 1918, by G. Scln'rmer; Inc.
Printed in theU. S. A.

 

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Rather spirited, calling
SOLO jubilantly

1. Ef yo’ see my Moth-er, . ‘Jes’ tell her
2. Ef yo’ see my Fa- ther, Jes: tell him
3. Ef yo’ see my Sis-ter, Jes tell her
4. Ef yo’ see my Broth-er, Jes’ tell him

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Want t’ go t’ Heb-b’n in de mo 11- in .’

Verse 5
very legato) >

SOLO

    

31.
§
(b

   

     
 

\/
meet me t morrowin Gal- i - lee: Want t’go t’ Heb—bnm de mo’n- in. O, Ef yo’
very legato> >

Want t’go t’ Heb —b’n in de mon- in.’
very legato?

    
 
   
   

\
E Want t’ go t’ Heb—b’n in de mo’n—in.’
_in, ; I4. lfia.
|
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1 w
I
E' it May also be sung in broad dialect:“Mud- Her If sung by chorus, instead of quartet,
: v der, Fader, Brudder.” the solo voice does not sing: “0 yes! ”
Fine

I

/g i H‘ May 3150 be harmonized ““153 # Hater May also be harmonized thus:

I

 

 

 

1H

jasosz

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

k
14
CHORUS
as before 7
ff SOLO _ C§ORUS SOLO '1
r V , {.FH_._, ,fiq ' Cr;
{‘3va y 57114117}; i u If? :11 15:1]1 1?! II i‘lfi
see John de Bap- -tis,’ 0 yes! Jes’ tell him fo’ me 0 yes' Dat T’s
CHORUS CHORUS 0.0 ‘
>_ . .

0 I 15 1 l L L L i\ —. r . . l> . ‘fil
W-HPSSSSSSSH§JW
if 'r' V ' 1,; WW "r1 12'5”? ’9" 5’9 =;'=“=‘”.‘ =“'%

- ’

been to de rib-bet an I’s been bap-tize’:—- Want t’ g0 t’ Heb bn 1n de mon-infO

Verse 6
SOLO CHORUS SOLO CHORUS SOLO

--'_--Jxl—- -—‘--l——-—_ If ’I
J l u '11] — —'— M 11 r 'l

Ian U U IA IA DJ M IA U I
v U U l 1/ 'H E V V I l l U I Z 1 I1 I

u r r v v ' - , r] I I 1;,
Efyo’ want t’ go t’ Heb-bn, 0 yes! I’-11 a

     

 

 

 

 

num-

 

tell’ yo how; 3 yes! Jrs’

CHORUS D. 0. A
>

 

I

% n a ’5‘! in ‘ "
. . L I: .I I 1 n §*m N N J1 ‘
"W [I I] I] [I II I l/ [I v at I e" 51 5" 5—1 :1 ‘

keep yo’ han’s on de gOS-pel plow. Want t’ go t’ Heb-b’n in de mo’n-in.’ O,

 

 

Sometimes, after the last chorus, at the very end of the song, the final notes ma

be suddenly harmonized thus:

7"“- portamento
>-

        
    
    
 

 

   

Want t’ go t’ Heb-b’n in de mo’n - in.’
m;- p0rtamem‘0

 
 
  

7 ,\-/.
Want t’ go t’Heb-bn in de mon - 1n.’
rit.

portamento
>-

    
    
      
        

Want tigo t’ Heb-b’n in de'
m't.

  
 

 

Want t’ go t’ Heb-b’n in de mO’n - in.’

 

'2805.

  

Han—s: -:-»- -'~’;"'-"' ‘:—"f""“' ‘ v '

15

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

:0L0 The refrain is sung as follows by the Hampton “Big Quartet” (Messrs.Tynes,
i Crawley, Avery and Wainwright):
“
g <
)at T’s 0 l " - %—P°—1
LU! 1 ii - i — i F P i 1- + i b 1 1
DC V V ‘3 H i 1‘ i i j i i i ’ ‘ i
BUS . . _
E w Ride on, .16 - sus, ride on,
[141130, ’ "' "-—- m 1 _ l _ " —<
M " n==
I‘lI--'—-_ '
\I' H d V Y I T I 1 I I I I T l T I l 1
u \ , - v I T h—J 1
O__ ride on,_._ Je - sus, ride on, Je - sus, ride on,
3 SOLO
<
— _/ \ — —
5' es, '> i x 11 1 x r: ‘1'. I E q 1 PF:
01H. I H - l - l I i I l J
In I I II I l l I L L I I U l 1
RUS Dc. ' | V p ‘ H l T ' J _ l I I J _l
Ride on, Je - sus, ride on,
E;
-1n.’0, ‘ - _ _ __-<
! 2:!) E i! -r i - i i L
notes may“ Ride on, Je - sus, ride on,

‘4 f.

    
 
  
 
  
 

   
 

 
 

con - quer-in’ King! Heb —b’n

f) mf

   
 
 
   
   
 

con-quer-in’ King! I want t’ go t’ Heb-b’n in de mo’n-in.’

f.

con - quer-in’ King!

f

con-quer-in’ King! want t’ go t’ Heb-b’n in de mo’n — in.

“28052

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__ .~ ......—,—-—..~ .9..m-n~..».;. .m‘nv «Hr. ma‘W-qu—aWQ-a—‘Wn ‘ _ , —».. 7.73““ _ ‘QIQW‘JW 7V . . _ W I

 

.‘v

 16
The verses are sung as follows by Tynes, who usually sings Tenor instead of
“lead? but whose fluent melodic talent makes his versions worthy of record.

Verses 1 — 4 .
SOLO SOLO
. . CHORUS m
11’

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘ 0:) V I

tell her fo’ me 0 yes! For to meet me to-mor-row in ,

0 CHORUS CHORUS DC

W ' ‘ ‘ ‘ ‘ ' ’ ‘ ’l‘ "

- I n L h L n . h n I If R u I} Tl

‘\‘_y' u [1‘ fi—kllh‘§.¥"lfi‘7“7llir.l}fl=‘fl
Gal - i - lee:_._ Want t’ go t’ Heb-b’n in de mo’n - in.’ O, ‘
1

Verse 5

SOLO SOLO l
m CHORUS 0A ,

 
 
 
 

 

     

 
  

 

1 l
U 'l l
U

 

 

 

 

 

 

 

 

 

 

 

 

 

 

J I/ l\
W A I r Y I 1 [1
J V ' ' ' r .,
Ef yo’ see John Bap - tis,’ 0 yes! Jes’._ _ ‘
2g0RUS SOLO
isk U y M L 1 Ii 1 z [A 14, x 11 5: 5V :2 fit '5] i:j
U _ ' V r I V V r V V V ‘
tell him fo’ me 0 yes! Dat I’s been to de rib-her an’
CHORUS CHORUS.DC.1
, “G I — A f
_ 7’ l A . . . . 1 — . 11 (iéfl ,
W ' “ " " k h ‘ “ “ ‘ 1'le h l} .9411
,_;~/ I} 171 9t; i .5- a P5- fi :11} Q :3 _Hr i I :1 :11 u v J I
g) V r V ' 47 ' 47 if d;/ v
been bap—tize’:__ Want t’ go t’ Heb-b’n in de mo’n - in’. O, 3
v
Verse 6 ‘
SOLO SOLO i
CHORUS m ~

 

 

 

 

 

 

 

 

 

~——c v _..—-.

 

 

 

 

 

 

 

 

 

 

 

s g
4—2-
:‘Ifib

_"'II
I II

‘35!)

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‘:27'
%
LL

 

 

 

 

 

 

W V ‘ V V V
tell yo how, 0 yes' ’Jes’ keep yo’ han’s on de
0 I _ CHORUS CHORUS 0.0. '
W I k A 1 L A l -— ‘ '
W 1 1 LA id] i Aim}. 4* .3. El .81 1% ARI ARI i i ‘J 4' i
T V V \_/ ' 4’ ' 4-7 ' 4’ ' ' d- 7 '
gos - pel plow: __ Want t’ go t’ Heb — b’n in de mo’n - in’.

28052

 

 ”'“~T-"‘;fi€~.’f“ .. , . . ..W—W_ ,.. - a...“
‘ ‘*' - vamsnmvnu -v-M' Havawwu W-nmm--—Nsowmn ‘ » _ - .. » » . "F”,

1-5-73; 1», flag—751..., Thy.— f w— :a — ”fr—~—

.rd. , , GO DOWN, MOSES

E ‘ “Go down, Moses,
. Tell old Pharaoh

"’“ Let my people go

Vin

'7,
a

The recording of this song is dedicated to the memory of

4

BOOKER T: WASHINGTON

RUS 17.0.
E FOUNDER OF TUSKEGEE INSTITUTE, ALABAMA, WHERE COLORED STUDENTS
0 1 ARE TAUGHT BY THE MORE ADVANCED OF THEIR OWN RACE AND WHERE LOVE
’ 1 OF THE LAND AND PRIDE IN ITS DEVELOPMENT LINK THE NEGRO WITH THE
PROGRESS OF THE SOUTH.
to l
. l
E I ANY years ago a colored lad, ragged and worn, arrived at Hampton,
,5» "‘ having struggled thither on foot five hundred miles, sleeping in the
Open, begging rides from passing wagons and earning his food by
' labor on the way. He had no money nor could he meet all the qualifica-
% , tions for admission to the institute, but so earnest was his plea for an education
‘ and so convincing his eagerness to work, that the teacher, leaving the room,
r an’ ‘3 bade the waiting boy dust and put it in order. Immaculate cleanliness awaited
s the master when he returned. Into the simple task the boy had thrown
ORUS RC. 1 his whole determination. His character had been tested, and Booker Wash-
Y . .
E ? Ington was admitted.
L His life became an embodiment of Armstrong’s ringing motto: “Dare
0 to do the impossible!” Who, indeed, could have foreseen that a dilapidated

, ’ little Church, which some thirty years ago barely housed thirty Negro students,
l could become through the consecrated efiort and executive ability of one
0L0 j colored man the great Tuskegee Institute, comprising today over a hundred
3 ' fine buildings covering many acres of ground, where a thousand and more
$ pupils are annually taught.
, Among the trustees of Tuskegee are some of the most important white
11 ' a men in the United States. Throughout the world Booker Washington be-
came known as one of the greatest exponents Of industrial education; high
tributes here and abroad were awarded him and honorary degrees were con-
E, ferred upon him by Harvard and Dartmouth Colleges.
The sixteen thousand colored men and women who have been directly
, benefited by Tuskegee, and also the many members of the National Negro
:HORUS 0.0. ‘ Business League founded by Washington—these bear vital testimony to the
' . - practical, constructive and adaptive genius of the author of “Up from Slavery.”
@ Teacher in the highest sense, orator and patriot, Booker Washington was
1 _ mi V a prophet among his own people and one of the great leaders of mankind.
[ 17 l

l
l
i;
I

on de ‘

 

  

\ may; _ 1‘, " '- "gym.“ . . ,_ . .. .
' - - - ~.‘ -- .:\, a .1. .3. . ." . . _ ‘I-F—e. d-‘mv M“w'Wr*‘*szWWw—flvw-- , . " _' "" " " ' ‘f - ' ~ ‘ r“ > ' _.. , .'-‘.~,..v'.-:-.""-,—-‘:-.::-.-,—.

GO DOWN, MOSES

First Version

Recorded from the singing of

Ira Godwin (“Lead") Agriculture
Joseph Barnes (Tenor) Tinsmith
William Cooper (Baritone) Schoolteacher
Timothy Carper (Bass) Bricklayer

Second Version

From the singing of the “Big Quartet"
Messrs. Tynes, Crawley, Avery and Wainwright

HIS song is full of that quality of elemental drama that underlies prim—
itive music born of profound emotion. It is one of the best known
of the Spirituals and deserves to rank with the great songs of the world.

The melody may be very oldl: it sounds as though it might have sprung
from the heart of ancient Africa; and so indelibly does it carve its outline
on the memory that it could well outlive generations of men and be carried
from land to land. Like that Negroid influence that had