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Tindley and his contemporaries copyrighted and published their music in collections such as Gospel Pearls and New Songs of Paradise. They also promoted their works in concerts and events. Some churches allowed, for
first time, use of instruments such as piano, drums and tambourine. Gospel performing forces during this period consisted either of male quartets or female gospel choirs.
In early 20th century, many southern African Americans migrated north, carrying their music with them. Chicago became center of gospel music in 1930’s with arrival of Thomas A. Dorsey, “Father of Gospel Music.” Dorsey, who had a very successful career writing and performing with blues diva Ma Rainey, introduced blues elements to sacred music he wrote. He went from church door to church door, gradually convincing ministers that this “devil’s music” was suitable for their services. With help of vocalists such as Sallie Martin and Mahalia Jackson, he recorded his songs and generated an international audience for his music. He composed over 400 songs in his career, including his most famous song, “Precious Lord, Take My Hand.”
Many of Dorsey’s contemporaries maintained secular and sacred professional lives. For example, Blues great Blind Lemon Jefferson was also known as Deacon L. J. Bates. Singing preachers recorded gospel “race records,” and they visited urban congregations around America.
By 1950’s, gospel music had undergone more changes. Electric organ or guitars, brass and string instruments, and a variety of percussion instruments accompanied choirs that now included male singers. Male quartets performed with instrumental accompaniment and added one or two members to their groups to allow four-part harmony under lead. Keyboardists were expected to improvisation and to use a much greater range of chordal options to enhance songs. Prominent performers included Clara Ward, Swan Silvertones, Five Blind Boys of Mississippi, and Wings over Jordan. The Soul Stirrers, led by suave singing style of Sam Cooke, brought in an entirely new audience—teenaged girls--to world of gospel music.
Gospel performers recorded steadily to meet growing demand for their music over radio. Unfortunately, as was case for African Americans in popular music, they were rarely fairly compensated.
Gospel grew in prominence in other cities, especially Philadelphia, Detroit, St. Louis, Memphis, Birmingham, and New York. Performers took their music into locations outside usual church venues. Mahalia Jackson sang at Carnegie Hall (1950), on Ed Sullivan Show, and at Newport Jazz Festival in 1958—Clara Ward and Ward Singers had performed there year before; Caravans and Dixie Hummingbirds appeared at Apollo.
By 1960’s, gospel was performed in nightclubs, and gospel plays had come to Broadway. Singers like James Cleveland, Shirley Caesar, Aretha Franklin, Mighty Clouds of Joy, and Staples Singers reached prominence.
However, there was also a shift towards popular music of time that made gospel purists uncomfortable. Edwin Hawkins closed out decade with his release of “Oh Happy Day,” which combined elements of gospel with those of Rhythm and Blues. Along with others in this new generation, such as Andrea Crouch and Richard Smallwood, he brought a new generation of listeners to gospel music.
Contemporary gospel has made further shifts over years. The dominant gospel groups are made up of large choirs with soloists using amplified sound equipment designed for popular music venues. On college campuses across country, students have created their own gospel groups. Churches that had resisted gospel music for decades finally have acquiesced and started gospel choirs. Choirs, such as Kirk Franklin’s, have integrated Hip Hop into their sound.
The popularity of gospel music is showing no signs of waning in foreseeable future. The Music
Early gospel hymns used call-and-response of spiritual, as well as syncopation and improvisation. The songs tended to be in 2/4 or 4/4 meter and use diatonic harmony.
By 1930’s, performers were far less restrained in their use of harmony, and vocalists and instrumentalists used more improvisation. The lead singer took a much more active role, singing whole verses while other members of ensemble repeated words or phrases behind leader in harmony.
Bass singers, a staple in 1920’s, were replaced by instrumental bass line by 1950’s. Mixed choirs consisted of soprano, alto and tenor or baritone.
From 1970’s onward, soloists began song in middle range of their voices and progressed to farther ends of their ranges for dramatic effect. With advent of rap gospel, lead singer either speaks text with choral and instrumental accompaniment or alternates between sung and spoken text.
So, What Is Gospel Truth?
Spirituals often told stories about biblical characters and events. These folk songs were born in rural regions of American South, and their anonymous creators were inspired by hardships of slavery. These songs were usually created at moment using call-and-response between a leader and group. They were accompanied only by slaves’ clapping hands or stamping feet. The steady, usually duple, rhythm was driving force in song, so words were often modified to fit beat. Additionally, spirituals had to be passed orally from person to person.
In contrast, gospel music rose primarily from cities of North. The songs were accompanied first by keyboard instruments, then by percussion and later electric and electronic instruments. The words tend to focus on spreading “Good News” of salvation. Gospel songs provided solace to those who faced low-paying jobs, poor housing, inadequate education, and ill-treatment. Both singer and instrumentalist were expected to improvise within song.
Gospel music composers, even in infancy of genre, published and recorded their songs. However, like spirituals, most groups learned new gospel songs by rote. The progenitors of spiritual had no means of marketing or selling their music; in case of gospel music, Tindley, Dorsey and their successors made a concerted—and highly successful—effort to spread their musical message through commercial means. Spirituals flourished in vacuum of plantation, where influence of other music styles was limited. Gospel music has regularly adapted elements of secular popular music: Blues, Jazz, R&B, and most recently, Rap.
Despite these considerable differences, however, most significant similarity persists. Both spirituals and gospel music address need of a people to express their faith in a dynamic, musical way. Simply put, “gospel truth” is that whether one wanted to “Steal Away to Jesus” or to ask, “Precious Lord, Take My Hand,” a tormented soul found relief in a risen Savior.
Randye Jones is a native of Greensboro, North Carolina. She received her Bachelor of Arts degree in Music Education from Bennett College in Greensboro, NC, and the Master of Music degree in Vocal Performance from Florida State University, Tallahassee. She currently serves as a library manager at the George Washington University, Washington, D.C. She created and maintains the much cited Web site, Afrocentric Voices in Classical Music.
