The following article is part one of a series on the origins and development of Sacred Harp singing.

Religious tradition is at the core of the foundation of the United States. Indeed, freedom to practice the religious rights of their choosing led many of the first inhabitants of North America to settle in a region hostile to a way of life long established in Western Europe. Settlers that gained a foothold along the Atlantic Coast of North America brought with them their religious faith, which helped to sustain them throughout the dawning years of their colonization effort. And even though many of those religious traditions have evolved over time, they still remain with us today. One of those traditions is the musical element within the Christian worship service. And as part of that tradition, the unique style of Sacred Harp singing remains today although it is relegated mostly to the rural South.

Historians have maintained Sacred Harp singing originated in the rural parishes of England in the early 18^th century. This style of singing involved unique traits that were carried forward as the style evolved and became more popular. Near the halfway point in the 18^th century the forms of singing from the rural English churches made its way to the North American colonies. In support of the style that would come to be known as Sacred Harp, a tune book titled “Urania,” was published in 1764 by James Lyon. This first publication led to the development of a North American singing tradition which, in turn, led to the continued development of what would ultimately become Sacred Harp. In 1770, William Billings’ publication of “The New England Psalm Singer,” along with additional compositions by Billings, set the tone for future development of the Sacred Harp style. His work led to singing schools that taught pupils the correct way to sing the sacred hymns.

So what is it that makes Sacred Harp unique? In a nutshell, it is the shape notes that were derived as a means of simplifying the teaching methods. And what exactly are shape notes? Literally, they are shapes added to the heads of musical notes as a means of assisting singers find the proper pitch within major and minor scales. They first appeared in “The Easy Instructor” written by William Smith and William Little in 1801. Afterwards myriad shape note “tunebooks” appeared sparking a wide ranging movement among spiritual singers. Finally in 1844, with the publication of Benjamin Franklin White and Elisha J. King’s “The Sacred Harp,” the shape note style truly became what we recognize today as Sacred Harp. This musical style was based on a three or four part system that became more and more distinctly American. It featured melodic lines in the tenor part, a very strong rhythm and what are known as open harmonies. And according to Steven Sabol of the Washington D.C. area Sacred Harp singers, songs in “The Sacred Harp,” are titled based on the name of the tune rather than the beginning of the song’s text. This, in itself, emphasizes the music over the words of the song.

Singing schools featuring the Sacred Harp style grew in number during the first half of the 19^th century. The format continued to grow among singers of spiritual songs especially in the rural South. And as a result, the singing schools continued to flourish as the all-day singing events became more popular. This popularity continued to be maintained in the most rural parts of the American South up until rather recently. Some of the most vivid personal memories that I have are of my grandparents and me attending all-day events when I was a child. These events from the 1970s were the direct off shoot of the Sacred Harp singings that dotted the landscape of the South during the 19^th and early 20^th centuries.

Next week we will examine the contributions to Sacred Harp from the state of Alabama and the fate of the style as it is now.