The newest installment of the popular Portraits in Song series is an exceptional collection of some of the most popular spirituals set by many of the finest arrangers of our generation. The solos can be performed in worship or recital. A brief explanation is offered for each of the selections and for the genre as a whole---creating an exceptional resource for worship or recital planning. Titles Include: Carry Me Home (Shafferman) * Every Time I Feel the Spirit (Hayes) * Give Me Jesus (Shackley) * Go Tell It (Sterling) * Here's One (Fettke) * Joshua Fit the Battle of Jericho (Hayes) * Were You There (Shackley).

The newest installment of the popular Portraits in Song series is an exceptional collection of some of the most popular spirituals set by many of the finest arrangers of our generation. The solos can be performed in worship or recital. A brief explanation is offered for each of the selections and for the genre as a whole---creating an exceptional resource for worship or recital planning. Titles Include: Carry Me Home (Shafferman) * Every Time I Feel the Spirit (Hayes) * Give Me Jesus (Shackley) * Go Tell It (Sterling) * Here's One (Fettke) * Joshua Fit the Battle of Jericho (Hayes) * Were You There (Shackley).

Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.

Soul Praise is filled with powerful hymns and songs from the rich culture of the African-American church, accompanied by the many powerful stories and insights behind these songs and hymns. This book will help you explore the people, places, and events that have shaped the heart and soul of African-American worship music throughout the years. You will be reminded of the deep spiritual heritage reflected in such lasting favorites as: Precious Lord, Take My Hand, Thomas A. Dorsey There Is a Balm in Gilead, traditional Swing Low, Sweet Chariot traditional Stand By Me,Charles A. Tindley Deep River, H.T. Burleigh Sometimes I Feel Like a Motherless Child,James Weldon Johnson ...and many more

Authoritative study traces the African influences and lyric significance of such songs as Swing Low, Sweet Chariot and John Henry, and gives words and music for 230 songs. Bibliography. Index of Song Titles.

Beloved spirituals include such lasting favorites as All God's Children Got Shoes, Balm in Gilead, Deep River, Down by the Riverside, Ezekiel Saw the Wheel, Gimme That Ol'-Time Religion, He's Got the Whole World in His Hand, Roll, Jordan, Roll, Sometimes I Feel Like a Motherless Child, Steal Away to Jesus, Swing Low, Sweet Chariot, This Train, Wade in the Water, We Are Climbing Jacob's Ladder, Were You There When They Crucified My Lord? and many more. Excellent for sing-alongs, community programs, church functions, and other events.

Presents the story of the Jubilee Singers, a group of African Americans who toured singing slave spirituals to raise money for their struggling school.

Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/

Thirty musical arrangements by noted African-American tenor recall biblical events in such well-known tunes as Deep River, Dry Bones, Steal Away, and Were You There? Perceptively written introduction to each song includes background history. Rich collection will appeal to lovers of great spirituals and the rich legacy of African-American song.

This work catalogs commercially produced recordings of Negro spirituals composed for solo concert vocalists. More than 5,000 tracks are listed, with entries sourced from a variety of recording formats. The featured recordings enhance the study of concert spiritual performance in studio, concert, worship service or competition settings. Arranged alphabetically, entries variously identify the accompaniment--including chorus, piano, orchestra, guitar, flute, and violin--in concert spiritual recordings. The voice types of soloists are included, as is the level of dialect used by various performers. The composers, publishers and format information are also listed when available. While structured like a discography, this guide extends beyond solely providing historical context and encourages the use of the recordings themselves.