Religious Folk-Songs of the Southern Negroes

by Howard Washington Odum

Types of Negro Spirituals.

An exact classification of negro songs, either as to subject-matter or as to form, is scarcely possible. There is little unity of thought in their content; their metres conform to no consistent standards. A single favorite stanza, regardless of its meaning, is constantly being sung in a dozen different songs. It is a distinct folk-song; and it matters little to which one it belongs; it serves its purpose in any one of them. So in the form of the verse, a single tune is adapted to lines that differ widely in length; likewise a single line is not infrequently made to fit into any tune that is desired. Again, no final version of any song can be given. The lines are rarely sung in exactly the same form. There are ordinarily as many versions of a line as there are combinations of the words without spoiling the effect of the rhyme or emphatic word. The stanzas have no order of sequence, but are sung as they occur in the mind of the singer; a song does not have a standard number of stanzas, but the length depends upon the time in which it is wanted to sing that particular song. In the songs that follow the most common versions are given. In giving the dialect no attempt is made at consistency; for the negro of the present generation has no consistency of speech. He uses “the” and “de”, “them” and “dem”, “gwine” and “goin’”, “and” and “an’”, together with many other varied forms, which will be noted in a later chapter; nor does it matter that each of the forms is used in the same line or stanza. In the old songs that are here quoted for comparisons, the exact form of speech in which they have been published is used. In the miscellaneous songs gathered here and there, what may be called the average dialect is used. The songs that form the basis of this work are those that are found among the present-day negroes of the South; in many cases the corresponding song of earlier days is given in order that a better study of the folk-songs may be made and the many points of resemblance noted. In all instances the basis of the chapter is the present-day song, and these should not be confused with those that have already been published. The words of the chorus and refrain are italicized. Further particulars will be pointed out in connection with the several songs.

Perhaps no better beginning can be made towards general classification of the religious songs of the negroes than by introducing some that combine several characteristics, but still have a general theme predominating. Sin is an important factor in the religious life of the negro and his songs refer to it in many forms. The three general tones which pervade the theme are: A note of victory over sin and the conception of it as being in the past or belonging to some other person; the conception of sin as being present and the singer as being in its grasp; and thirdly, the “sinner-man” himself and warnings given him. The very popular song, “All my Sins Done Taken Away” is typical of the first class mentioned above. There is no reason why the stanzas given below should come in the order presented, except that they are heard in this arrangement as much as in any other. The stanzas consist of two rhymed lines with the refrain. These, however, are usually extended to four, the first two and refrain being sung slowly and in a more or less plaintive tone, while the repetition of the same lines with the rhymed line and refrain are rapid and joyous. The common version follows.

I’m goin’ to heaven an’ I don’t want ter stop,
Yes, I’m goin’ to heaven an’ I don’t want ter stop,
All o’ my sins done taken away, taken away;
I’m goin’ to heaven an’ I don’t want ter stop,
An’ I don’t want ter be no stumblin’ block,
All my sins done taken away, taken away.

Instead of repeating the chorus line at the end of the first two lines that are sung, the negroes often vary the song by repeating the last half of the line, as in the following stanza:

Well “M” for Mary, an’ “P” for Paul,
Well “M” for Mary, an’ “P” for Paul,
An’ “P” for Paul;
Well “M” for Mary an’ “P” for Paul.
“C” for Chris’ who died for us all,
All o’ my sins done taken away, taken away.

The chorus is again varied from “all my sins” to “all o’ my sins” or “all of my sins,” “done taken away,” or “bin taken away,” while the entire line is sometimes changed in a single stanza. Sometimes it is sung as given above; at other times the line goes: “All my sins done taken away, bin’ taken away,” or omitting either “done” or “bin” it is sung equally well as “All my sins taken away, taken away,” while in the grand chorus at the climax of song the chorus goes:

Yes all o’ my sins bin taken away,
Yes all my sins done taken away,
Yes all o’ my sins done taken away,
Yes all my sins done taken away,
Glory, glory to His name-e,
All my sins done taken away, taken away.

This last chorus may be repeated whenever the singers do not think of words to fit in with the songs, although this is rarely necessary. The following stanzas are sung in the same manner as those just given.

If I had er died when I wus young,
I never would a had dis rist to run,
All o’ my sins done taken away, taken away.
Well you oughter bin dere to see de sight,
The peoples come runnin’ both cullud an’ white.
My feet got wet in de midnight dew,
An’ de mornin’ star was a witness, too.
If you doan b’leave I bin redeem,
Jes follow me down to Jordan stream.
When a sinner see me it make him laugh,
Thank God-a-mighty, I’m free at las’.
Mary wept an’ Martha mourned,
Mary wept all ’round the throne.
Mary wept an’ Martha mourned,
All because deir brother done daid an’ gone.
Mary wept an’ Martha cried,
All ’cause dey brother done gone an’ died.
I’m goin’ to ride on de mornin’ train,
All don’t see me goin’ ter hear me sing.
I’m gwine to heaven on eagle’s wing,
All don’t see me goin’ ter hear me sing.
My mother’s sick an’ my father’s daid,
Got nowhere to lay my weary head.
I went down in de valley to pray,
My soul got happy an’ I stayed all day.