The Tradition of the Sacred Harp

Shafts of sunlight shown in through large open windows casting shadows across the heart-pine floor. A gentle summer breeze passed mercifully down the aisles caressing the perspiring brows of the singers swaying in unison. All around the room and out into the street below poured the thunderous sound of voices blending in jubilant praise.
   This is the mental picture one sees when imagining the "singings" of the Sacred Harp. By all accounts the experience was deeply moving and left an indelible mark on the soul. Those who've taken part say that to sing the Sacred Harp is to join in something profoundly spiritual and healing. Looking into the sincerity of their eyes there can be no doubt. The Sacred Harp has changed people and communities and has until very recently been one of the best kept secrets of the south.
   I am of the unfortunate multitude who have, until recently, never observed the singing of the Sacred Harp. Being of a more urban upbringing, although my hometown of Montgomery, AL is far from metropolitan, I had indeed never heard of it at all. It was only after moving to rural Clay County, AL and seeing signs on church marquees and posts on the community bulletin board at the local Piggly Wiggly that the idea of it first took root in my mind. "Singing" or "to sing" is a term used in common conversation, but in the rural south "a Singing" takes on a sanctimonious meaning all it's own.
   The Sacred Harp is a collection of hymns and spiritual songs translated into a unique form of musical notation called "shaped notes" each representing one note in the eight tone scale of the piece.

From the sacred Harp website: 
"Technically, our style of singing is “shape note singing” because the musical notation uses note heads in 4 distinct shapes to aid in sight-reading, but it is often called “Sacred Harp” singing because the books that most singers use today are called “The Sacred Harp,” with the most prominent of these being the 1991 Denson edition. The term “sacred harp” refers to the human voice — that is, the musical instrument you were given at birth.
In 1844, The Sacred Harp was just one of more than 100 oblong hymn books published in the U.S. It has been continuously updated ever since. Along with other hymn books from the era, a handful of which are also still published and used, its repertoire of over 500 4-part a cappella hymns, odes, and anthems is part of the foundation of our vibrant oral tradition. There are dozens of living composers still actively writing new tunes within the traditional styles and shape note format. Other shape note books still in use today include Christian Harmony (using a 7-shape notation), New Harp of Columbia, plus several others, including some entirely new collections such as Northern Harmony."
                                                                                                                                   (www.fasola.org)

"The tradition was born from colonial “singing schools” whose purpose was to teach beginners to sing and our methods continue to reflect this goal."  -The Sacred Harp Musical Heritage Association

  Colonists, missionaries, and visitors to rural areas of the newly established United States found it completely impractical to bring with them pianos and other large musical instruments necessary for orchestration. The other great challenge was in the inexperience of the inhabitants of these areas to reading any form of musical notation. With such limited resources and overwhelming obstacles many would have simply given up hope of spreading the love of music to what was then the American frontier, but out of this seemingly hopeless circumstance the practice of writing in "shaped notes" emerged and with it the joy and fulfillment of creating music.
   Like so many communities across the nation Clay County, AL was a popular spot for Sacred Harp and shaped note singings. Of the most notable events of the year was one such singing at the Clay County Courthouse on the square in Ashland. Members of the community from every denomination would gather together to join their voices in a celebration that inspires awe and wonder generations later.
   At our April meeting of the Clay County Historical Society two Sacred Harp leaders, Edna Wallace Phillips and Jack Nelson joined us and recounted their experiences growing up singing the Sacred Harp and how the tradition, woven into the fabric of this community, became a point of grace through even the most difficult times. Along with first-hand accounts of singings throughout the county dating back to the 1950s Edna shared with us a historical record of names of both individuals and families in attendance at Sacred Harp singings dating back to the late 19th century. Many of the names listed brought to mind old friends and community leaders from years past as well as surnames of some of Clay Counties oldest and most influential families.
    Jack Nelson shared with us news of the growing interest in Sacred Harp singings both here in the US and as far abroad as Germany and the UK. Sacred Harp singing has been featured recently in film (Cold Mountain) and covered in numerous magazines. The resurgence of this tradition is perhaps a cultural response to the ever quickening pace of modern life and the erosion of the kind of community-wide traditions that have fallen out of favor with the rise of the internet. Deep within each of us is the desire to feel as if we belong to something larger than ourselves, a group, a family that understand us and accept us for who we are. For decades, the Sacred Harp singings have been that for countless people here in Clay County. To share in that traditions brings a kind of kinship, whether your ties to Clay County date back to it's founding or whether your a newcomer just passing through.
   At the end of the meeting I had my chance. Edna and Jack led us together as we sang the shaped notes from the Sacred Harp in a simple version of Amazing Grace. Although uncertain in our pitch we were at one in our spirits. Though long-time friends, I don't know that we've ever been closer as a group as we were that night. There is something magical in song, and a special trust shared between those willing to sing out despite their fears and uncertainties. While singing the Sacred Harp we were reminded that despite all of our differences we are one community, one people and one voice.