Renewed Sacred Harp Songbook: Bridging Traditional Chanting with Modern Singers’ Voices

Musicologist Angharad Davis of Australia leads the song she composed for the new edition of The Sacred Harp“Radiance,” in the center of the hollow square.

Lucy Grindon

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Lucy Grindon

Atlanta – More than 700 singers convened in Atlanta this month to celebrate the latest edition of the songbook at the heart of one of the country’s oldest Christian music traditions.

The Sacred Harpfirst published in 1844, contains hymns and anthems written with “shape notes,” designed to aid sight reading. Unlike in standard music notation, each note is a triangle, a circle, a square or a diamond. Each shape stands for a syllable, fa, sol, la or mi, and each syllable corresponds with different pitches.

“Radiance,” composed by Angharad Davis of Australia, is on page 488 of the new songbook.

Lucy Grindon

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Lucy Grindon

The convention was the largest Sacred Harp singing in living memory and culminated seven years of work to revise the book. Hundreds traveled long distances to sing the 113 new songs.

“It’s the only time in most of our lifetimes that we’re going to see a gathering like this,” said composer Angharad Davis of Sydney, Australia.

Leigh Cooper of San Francisco hands a brand new 2025 edition of The Sacred Harp to a singer at the book sales table just inside the convention entrance.

Lucy Grindon

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Lucy Grindon

Sacred Harp is centered in the American South, but singers came from 35 U.S. states, three Canadian provinces, Australia, the UK, Ireland and Germany. They sang in tenor, treble, alto and bass sections, without instruments. The so-called “Sacred Harp” is the human voice itself, said alto Lucy O’Leary.

All the songs express Christian faith, with mortality as a prominent theme. “Hallelujah” uses words from 1759: “And let this feeble body fail, / And let it faint or die; / My soul shall quit this mournful vale, / And soar to worlds on high.”

No denomination controls Sacred Harp. Baptists, Quakers, Catholics, Episcopalians, Mennonites, atheists and others sing together, and all are welcome.

For almost two centuries, each new generation has updated the book, which now includes songs by 49 living composers. (Before the latest revision, that number had dwindled to five.)

But the tradition’s vitality did not feel as secure when the last revision was made, in 1991.

Judy Hauff, who composed four songs in the book, discovered Sacred Harp in the mid-1980s. Back then, almost every singer had gray hair, she told the convention.

“I would stand there listening to the roar coming off of these senior citizens and thinking, ‘What would this have sounded like when they were in their 20s and 30s and 40s?'” Hauff said.

At the time, she’d thought she’d never find out.

“We never dreamed we would see the likes of this,” Hauff said through tears, gesturing to the crowd. It included hundreds of singers under 50 — with black, brown, blonde and even purple hair — alongside the old-timers.

Lauren Bock of Atlanta, who composed three songs in the new book and served on the nine-person revision committee, said the increase in young singers is partly attributable to the 2003 film Cold Mountainwhich featured Sacred Harp, and to YouTube.

As the pool of singers shifts younger, it also contains more people of color, LGBTQ+ people and non-religious people.

The book’s new composers reflect that. José Camacho-Cerna of Valdosta, Georgia, the book’s first Latino composer, is 27.

“I was in a punk band, I know it’s kinda crazy. That’s something that attracted me to [Sacred Harp]I just thought it was very metal. The 1800s metal,” he said.

Camacho-Cerna is also engaged to marry a man, and he’s among the first openly LGBTQ+ composers.

José Camacho-Cerna of Valdosta, Georgia leads the song he composed for the new edition of The Sacred Harp“Lowndes,” in the center of the hollow square.

Lucy Grindon

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He grew up in a Pentecostal church that did not accept LGBTQ+ people, and he was surprised to meet so many at his first singings at age 19. Eventually, he said, he started to feel that Sacred Harp people only cared about the music, not other singers’ sexual orientations. It gave him the courage to come out.

“Sacred Harp was a big push for me to say ‘Ok, let’s rip the band-aid off. I can be who I want to be — who I am, and stop hiding myself,” he said.

Composers led their own songs at the convention, standing in the middle of the square of singers and beating their arms up and down to keep time. Camacho-Cerna composed his song, “Lowndes,” after the death of his grandfather in Honduras. Hearing it “in all its glory” for the first time was “life-changing,” he said.

“Without trying to be weird, I could die happy,” he said. “Knowing that I have a legacy, you know?”

Deidra Montgomery of Providence, Rhode Island, the first Black composer added to the book, started work on their song, “Mechanicville,” in 2010.

“Leading my song in a giant class of singers, turning to bring in the different sections in the fugue and seeing all these people I’d encountered in various phases of my time as a singer was euphoric,” Montgomery said.

Micah Walter autographs his composition “Revere” for a fellow singer.

Lucy Grindon

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Lucy Grindon

During recesses, singers approached composers for autographs.

Diversifying the list of composers was not an explicit goal for the new book, said Bock. In fact, she and her fellow revision committee members analyzed songs without knowing their authorship. The new composers simply reflect the current community, she said.

“The people who submitted songs are the people who sing out in the world,” Bock said. “They’re pretty markedly different even from who sang in 1991.”

On the second day of singing, Bock’s daughter Lucey Karlsberg, 8, led “Hallelujah” with other children.

Jesse Karlsberg leads a Sacred Harp tune at the grave of Benjamin Franklin White, who compiled the original 1844 edition of The Sacred Harpat Atlanta’s historic Oakland Cemetery.

Lucy Grindon

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Lucy Grindon

Later, Karlsberg sang with others at the grave of Benjamin Franklin White, who compiled the original songbook. When the next revision comes out, Karlsberg will likely be in her 40s. Asked if she wants to contribute a song, she had no doubt. “I will do it!” she shouted.

How do the revisions to *The Sacred Harp* songbook aim to balance preserving the tradition with increasing accessibility for modern singers?

Renewed Sacred Harp Songbook: Bridging Conventional Chanting with Modern Singers’ Voices

the Evolution of The Sacred Harp

The Sacred Harp, a traditional American hymnal, has experienced a remarkable resurgence in popularity over the last few decades. Originally compiled in 1844,this collection of shape-note singing tunes isn’t about polished performance; its about participatory,powerful,and often raw vocal expression. The recent revisions to The Sacred Harp songbook aren’t about changing the core aesthetic, but about ensuring its accessibility and relevance for a new generation of singers.This article explores the updates, the motivations behind them, and how they’re impacting the shape-note singing community. We’ll delve into the nuances of Sacred Harp singing, shape-note music, and the ongoing efforts to preserve this unique American tradition.

understanding Shape-Note Singing: A Primer

Before diving into the revisions, it’s crucial to understand what makes Sacred Harp singing unique. Unlike standard musical notation, shape-notes utilize different shapes to represent the solfège syllables (fa, sol, la, mi). This visual aid was originally intended to make music literacy more accessible, particularly in rural areas.

Here’s a breakdown of the shapes:

* Fa: Triangle

* Sol: Circle

* La: Square

* Mi: Diamond

This system allows singers to learn tunes quickly, even without formal musical training. The singing style itself is characterized by:

* Four-part harmony: Soprano, Alto, tenor, and Bass.

* A cappella performance: No instrumental accompaniment.

* Emphasis on volume and energy: Singers project their voices powerfully.

* Singing “across” the harmony: Tenors often sing above the melody, creating a distinctive sound.

These elements contribute to the immersive and communal experience that defines a Sacred Harp sing.

The Need for Revision: Addressing Accessibility and Portrayal

The most recent revisions to The Sacred Harp (the 1991 edition being the most widely used prior) weren’t undertaken lightly. the core repertoire remains largely intact, but several key changes were made to address concerns about accessibility and representation.These revisions were driven by a desire to broaden participation and ensure the long-term health of the tradition.

Key Updates in the Renewed Songbook

* Expanded Composer and Origin Facts: Previous editions frequently enough lacked detailed information about the composers and origins of the songs. The new revisions include more thorough research, acknowledging the contributions of African American composers and the influence of African American musical traditions on Sacred Harp hymns.

* Inclusive Language: While the original texts are preserved, the songbook now includes notes acknowledging perhaps problematic language and offering ancient context. This isn’t about censorship, but about fostering a more thoughtful and inclusive singing environment.

* Improved Indexing and Cross-Referencing: Navigating the songbook is now easier with a more comprehensive index and improved cross-referencing of tunes. This is particularly helpful for singers learning the repertoire.

* Updated Historical Essays: The introductory essays have been revised to reflect current scholarship on the history of The Sacred Harp and shape-note singing.

* Enhanced Pronunciation Guides: Clearer pronunciation guides for archaic words and phrases help singers accurately interpret the texts.

The Impact of Increased Diversity in The Sacred Harp

The conscious effort to acknowledge and celebrate the contributions of African American composers has been particularly importent. Historically,the origins of many tunes were obscured or misattributed. Research has revealed that a substantial portion of the repertoire has roots in African American spirituals and folk hymns.

This increased awareness has led to:

* More nuanced understanding of the music’s history: Singers are now more aware of the complex cultural exchange that shaped The Sacred Harp.

* Greater inclusivity within the singing community: Efforts to actively recruit and welcome singers from diverse backgrounds are gaining momentum.

* A richer and more vibrant singing experience: the acknowledgement of diverse influences adds depth and meaning to the music.

Learning Resources for New Singers

Interested in joining a Sacred Harp sing? Here are some resources to get you started:

1. Sacred Harp Musical Academy: Offers workshops and online resources for beginners.(https://sacredharpmusic.org/)
2. Local Singing Groups: Search online for “Sacred Harp singing” in your area to find local groups.
3. Online Tutorials: YouTube offers numerous tutorials on shape-note reading and singing technique. search for “Sacred Harp tutorial” or “shape-note singing.”
4. The 1991 edition: While the revised edition is forthcoming, the 1991 edition remains widely available and is a great starting point.

Benefits of Participating in Sacred Harp Singing

Beyond the musical experience, participating in Sacred Harp singing offers a range of benefits:

* Community: It’s a highly communal activity, fostering a sense of belonging and connection.

* Stress relief: singing is a proven stress reliever, and the energetic nature of Sacred Harp singing can be particularly invigorating.

* Musical Literacy: Learning to read shape-notes can enhance your overall musical