Calling Your Number

Several years ago, Sacred Harp singers on the Fasola Discussions listserve conducted a brief but intense discussion about announcing and repeating the song numbers at singing conventions. That sounds like something simple. Probably attracted no impassioned supporters or detractors, right? Wrong!

At Sacred Harp singings anyone who wishes is given an opportunity to call a number, stand in the “hollow square” and then lead it (or “teach the class a lesson” as it is called in singing school vernacular). Some people come to the square and announce their numbers clearly and distinctly. Others may speak in a way that is less audible. When this happens, someone in the class may ask for the number, and someone else may repeat the number loudly.

Knowing the page number of the song being sung is a necessary part of the democratic process of joining in sacred song. If you do not know the number of the song then you’re left out of singing it – at least to begin with (you may eventually find it). After a song is started, experienced singers will often know where to go. Beginners will still be left out. It is a given that numbers MUST be repeated in such circumstances. Herein in the rub. Who will repeat it, how often, and how loudly?

It has been suggested that there are some problems with repeating the number. Here are the stated problems (as discussed on the listserve), followed by my replies.

Assertion 1. Loud calling or re-calling of the number disturbs the spiritual moment of preparation to singing.

Answer 1. Even if this were true (though I don’t understand it to be), not knowing the number certainly disturbs the spiritual moment and even the singing moment. Therefore, perhaps we either have two competing “spiritual moments” that cancel each other, we have to decide the lesser of two evils (or, most probably, loudly calling the number does not actually disturb the spiritual moment of preparation; people easily annoyed might more likely be in the flesh rather than the spirit).[i] For comparison, might it be more or less spiritual for a minister to mutter his text so few could understand from where he is reading, or to state it and state it clearly so all who wish may read along? I think the answer is obvious.

Assertion 2. Loud calling or re-calling of the number negatively affects sound recordings that are being made.

Answer 2. Perhaps this can be true. Nevertheless, singings are for SINGING. Listening, recording, and such like are merely by-products of the singing.[ii] The recording of a singing should not trump the singing itself. Hopefully a happy medium can be achieved, but singing comes first. If there is no singing, there is nothing to listen to and nothing to record. If the singers do not know the song number, what will they be singing? How might the recording sound if some singers are singing from different numbers!

Assertion 3. Loud calling or re-calling of the number should be undertaken by the officers of the singing or someone approved/appointed to that task (front row tenors, for example).

Answer 3. There is not a universal tradition of how this should be done, but apparently this is held as appropriate in different areas. I do not think that many people would object to the convention taking the lead in this area. If this is the practice of a certain region or convention we should abide by it, and the convention officers should see that the service is actually being provided. Under this tradition, the convention officers should be notified if it is not, and they should make certain – to the best of their ability – that singers have the opportunity to know the page numbers of the songs being sung.[iii] (I say to the best of their ability because there are situations like folks not hearing because they or folks next to them are talking, people who have significant enough hearing loss that they will not understand the number regardless, etc.).

Assertion 4. Loud calling or re-calling of the number can be more hindrance than help if the person re-calling the numbers is getting the numbers wrong.

Answer 4. This is true when the numbers are called wrong. How can we call it more of a hindrance? Not knowing the number is not knowing the number, whether it is because it cannot be heard to begin with or because it is miscalled. The second situation is basically the same situation as the first – not knowing the number of the song. The solution to both of these problems is to call the number clearly and distinctly.

It is incumbent on leaders at Sacred Harp singings to learn to announce their numbers for all to hear (again to the best of their ability). Some folks are capable of being more distinct and articulate than others. For some perhaps the quiet muffled announcement is ignorance, misunderstanding, or just the thought that the front row WILL repeat their numbers. Some may have been taught this. If so, their teachers performed a disservice to the Sacred Harp community. Do not assume someone will or should repeat your song number. I was taught to announce the number loudly and clearly. I hope I accomplish that. To you leaders I say, “Do you just want only those seated right in front of you to sing?” Or, “Do you expect help from the entire singing class?” Announce your number to whomever you expect to sing with you! Stand up, announce your number clearly before you come forward, and again when you are in the square. Speak the numbers distinctly by saying each number separately – four, six, eight (468). Even turn around and say it once to the altos who are behind you Someone pointed out that 3-digit song numbers can be repeated four times in less than ten seconds. Everyone in the class is entitled to locate the number that is being sung before the singing of it starts.[iv] Proactive leaders announcing numbers distinctly will go a long way toward reducing the need of loud repeating of numbers.[v]

So, the three questions. Who will repeat the number? Whoever the convention designates, or, whoever, if no one is designated. How often? As needed. How loudly? Loud enough for the class to hear. (All within reason, as discussed above, and in the endnotes.)

Lastly, let us all be considerate of one another and seek to have the best singing each time we come together.

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[i] Oddly, some who made this argument are not Christians, and only have a singing moment rather than spiritually God-ward moment.

[ii] Additionally, recordings can be edited to remove extraneous material. Considering that is another reason to think carefully about inserting consideration of recording above the quality of the actual singing experience.

[iii] At the East Texas Sacred Harp Convention, we have alleviated the situation by the arranging committee projecting the song number on a screen. This works very well – as long as the leader calls the song so that the arranging committee can hear the number! The only drawback is that the altos have to turn around to see the screen, since it is on a wall behind them.

[iv] Perhaps the situation has also been exacerbated in recent times because of the rush to try to see how many leaders can be put up at a convention. Sometimes that is done to the frustration of the overall enjoyment of the entire class.
[v] Since writing most of these comments years ago, I am now a member of the hard-of-hearing class. Now more than ever I appreciate the clear enunciation of the song number. Also, I can appreciate that, due to no one’s fault, sometimes the hard of hearing among us will just have to find another way to know the number, such as looking at our neighbor’s book to see what page he or she is on.

Can Two Walk Together?

Can two walk together, except they be agreed?” (Amos 3:3). 

A Sacred Harp friend of mine hoped a new revision of The Sacred Harp book undertaken by the Sacred Harp Publishing Company would help bring unity between the Sacred Harp diaspora and the traditional Sacred Harp singers. I don’t doubt his sincerity, but I do doubt his sanity! I can’t imagine how he had come to that conclusion.

The new revision has not brought unity – though I don’t think it technically brought division. Rather it has exposed a deep but veiled division that already existed – a deep oozing wound over which we have been draping a towel while pretending it did not exist. The revision ripped off the towel for full disclosure.

The restroom rhetoric coming from some of the Sacred Harp conventions demonstrates that the Sacred Harp world is divided into two camps that cannot continue to walk together. The Covid clamoring is another controversial topic that reveals we are not headed in the same direction.[i] These are some of the nicer topics, and time would fail me to write about the “Queer Convention” scheduled for New Orleans in February.

A fair number of singings at points beyond still require a negative Covid test (and/or proof of vaccination, etc.) in order for attendees to be “welcomed and affirmed” at their singing conventions.[ii] After five years these folks cannot get beyond COVID-19 fears and restrictions, or…

One wonders whether it could be a clandestine method assured at keeping the most conservative of singers at arm’s length – we welcome everyone (but we don’t want you here)![iii] Tell me it’s not hypocrisy while at the same time explaining to me that 600-700 singers – many from “off summers” where they require publicized Covid policies – piled into Atlanta, Georgia to sing at the United Sacred Harp Musical Association with nary a mention of Covid precautions!

The “restroom rhetoric” is carefully catered to a certain left-leaning worldview. In all the houses in which I have lived in my life, each has had only had one restroom for everyone.[iv] You just go in and lock the door. We didn’t have to dub it as “gender-neutral” – it was just “the bathroom.” I don’t have a problem with that, just with the mindset that must meddle in politics over practicalities in order to force others into agreement, at least tacitly if not in fact.

According to Google AI a “gender-neutral bathroom, also called an all-gender or unisex restroom, is a restroom that can be used by anyone, regardless of their gender identity or sex. These facilities provide a safe and inclusive space for transgender and non-binary individuals…”

Therefore, it seems that the emphasis on “gender-neutral” is a subtle suggestion that transgender and non-binary individuals are affirmed, while conservative Christians still holding to the biblical teaching and worldview of only two genders might not be as welcome.[v] At least their views are not welcome inside and must be left outside the door, effectively demonstrating the intolerance of tolerance!

Can two walk together, except they be agreed? Nay. The only way the two camps have been able to “walk together” thus far, is for the Christian camp to keep their heads down, their mouths shut, and their pens silent. Some of us are no longer willing to suffer it to be so. While men slept, the enemy came and sowed tares among the wheat (Matthew 13:25), but it is high time to awake out of our sleep and rise to the challenge of defending the Christian nature of the hymns and traditions of The Sacred Harp.[vi]

Perhaps Pastor Kent Brandenburg’s portrait of the larger societal picture can help point us in the right direction:

“The only way to combat the cultural reality in the United States, I believe, is by boldly asserting the biblical and historical belief and practice, and then not back down.”[vii]

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[i] There is also a third camp trying to straddle the fence; trying to hold hands with two sides that are walking in different directions. They will eventually have to make up their minds to go one way or the other.
[ii] “When you arrive at the registration desk outside the auditorium, we will check you in and confirm your proof of negative COVID-19 rapid test. We will have tests available for those who are not otherwise able to test the morning of each day of the sing. If you are waiting on a test result, we will ask that you remain outside the auditorium until it is complete.” (New England Convention, 2025). “COVID information ● We will have HEPA air purifiers running throughout the singing. ● Masks are welcome, but optional. We respect all who choose to mask! ● Please stay home if you’re not feeling well. If you feel ill after the singing, let us know so we can send an email to the group. (We’ll keep your name anonymous.)” (NC Shape Note Singing Convention, October 2025). “Day-of negative rapid test required; extra tests will be available. Vaccination required.” (Berkeley Weekly Singing, 2025). “We ask that attendees be vaccinated against COVID-19 and that each attendee provide a same day negative COVID test” (Vermont All-Day, March 2024).
[iii] There has also been the shift from the hospitable “Everyone is welcome” to appeal to various groups that they are specifically welcome: “Whether you are drawn to shape note singing for spiritual, secular, communal, artistic, historic, or other reasons—all are invited! All ages, levels of musical ability, faith traditions, and life experiences are welcome in the ‘hollow square.’” (NC Shape Note Singing Convention, October 2025) “The New England Sacred Harp Convention is a weekend of joining our voices in song to create sacred harmonies. We represent a breadth of identities related to age, religion, gender, sexual orientation, race, nationality, ethnicity, education, ability, class, and political affiliations. We also recognize that our tradition has historically given power to certain identities while marginalizing others.” (New England Convention, 2019).
[iv] With the possible exception of the earliest houses of my infancy that I do not remember, which may have only had “one long path.”
[v] “There are men’s and women’s restrooms on the ground floor, each with one accessible stall. Since these two are public restrooms, we regret that we will be unable to make them gender neutral, and encourage folks to use the bathroom that feels most comfortable to them. There are additional inaccessible restrooms on the third floor, which we will be able to designate as gender neutral.” (New England Convention, 2025) “There are gendered accessible restrooms on the main level. Single-stall, gender-neutral restrooms are located down a flight of stairs. Singing will take place on the main level.)” (NC Shape Note Singing Convention, October 2025). “Toilets are downstairs. There are accessible toilets, gendered toilets and gender neutral toilets available.” (Manchester All-Day, 2025).
[vi] Most of us “slept through” and/or had no knowledge of the scholarly paper “Reorienting Space: Queering Sacred Harp Singing” by Jonathon Smith, University of Illinois, presented at the Society for Ethnomusicology 64th Annual Meeting, 2019. According to Google AI, “Smith’s work explores how LGBTQ+ individuals engage with the traditional American shape-note singing practice of Sacred Harp, interpreting it as a way of ‘queering’ the space and its practices” and that “LGBTQ+ singers and communities reinterpret or reshape the meaning and social dynamics of Sacred Harp singing. This involves more than just their physical presence; it’s an act of reorienting the practice itself toward more inclusive, affirming, and personally meaningful ends.” The author and presenter is a Sacred Harp singer and well-known to members of the 2025 revision committee of the Sacred Harp Publishing Company. (These views are presented at greater length in Smith’s dissertation, “Imagined Space in Sacred Harp Singing.”) Also mark (Romans 16:17) The Hymn Society in the US and Canada as an “aider and abettor” of “queering” Christian music. Note, for example, their “Songs for the Holy Other: Hymns Affirming the LGBTQIA2S+ Community.” Shape note singers pitched in: “On Monday, January 13, 2025, the Baltimore Shape Note Singers met at Four Hour Day Lutherie for an evening that combined tradition with a focus on inclusion. The group sang ‘Love Astounding’, a poem by Jeanette M. Lindholm set to the tune ‘Holy Manna’ from The Sacred Harp. This performance was part of the Songs for the Holy Other: Hymns Affirming the LGBTQIA2S+ Community project, recorded in the traditional Sacred Harp style.”
[vii] https://kentbrandenburg.com/2025/08/18/can-anyone-take-a-biblical-conservative-cultural-position-in-the-united-states-today/

Mississippi Sacred Harp

Sacred Harp Sings, by W. B. Allison

“Old Sacred Harp Singings,” of common occurrence in the comparatively early days of this region, were almost abandoned for a considerable period but in more recent years have been revived with great fervor. So marked is their return to popularity in the rural districts that, during the early summer, a singing is held within the territory contiguous to Meridian on practically every Sunday and some residents of the city, devotees of the older sacred music, make a practice of attending them all.

The name is derived from that of the song book or hymnal in general use, i.e., the “Sacred Harp,” a very old collection (a revision dated 1902 is generally accepted as few of the original books survive). “The Harp” and “Old Harmony” (Christian Harmony, published in 1873) are considered the only books appropriate for use at a real “Old Harp” singing.”

The old Liberty Church, three miles from Duffee, Newton County, has for a number of years held as an annual event, a Harp singing, on the second Sunday in June, and, as the traditions and conventions are carefully observed, their latest service may be considered as typical. Liberty Church is situated in an oak grove on top of a fairly high hill, allowing, on one side, an extensive view, but enclosed by woods on three sides, and, from it, a path descends steeply through the woods to a fine spring. The age of the church is uncertain but a former member states that he moved into the community and, with his wife, attended services there in 1871. The building is small, about twenty-five by forty feet, but, so great is the interest through the country round that a crowd of more than five hundred persons of all ages gathered to attend the service. The singing started at ten o’clock and continued without pause until twelve, when a recess was taken, and, for an hour, the invariable bountiful dinner was the center of attraction. At one o’clock the singers reassembled and continued with strong voices and unflogging zeal until nearly four o’clock.

There was not instrumental accompaniment. The singing is led by two, three or even four co-leaders who sound the key note and sing a chord in unison. The entire song is then run through in chorus, “by note,” after the method of the old country singing schools, now a thing of the past. That is, instead of using the words, each note is sung by syllable as—

 

Thereafter the number is sung through, words and music in the usual way but the complete formula is observed with each selection. The leaders are almost without exception most capable conductors who know their books by heart, after calling and singing through number after number from either book without so much as a glance at it. All parts are carried with the utmost accuracy and fervor, and it is indeed beautiful to see the rapt expression which comes upon the faces of many of the singers to whom music is truly a voice of and to the soul.

W. B. Allison was a researcher for the Works Progress Administration. On June 14, 1936, he attended and described a singing at Liberty Church in Duffee, Newton County, Mississippi. I believe the author W. B. Allison is probably this person – William Bartlett Allison.

The community of Duffee was first known as Liberty, as was the Baptist Church (i.e., Liberty Baptist Church). It was later called Rue, with a post office by that name existing from 1902 to 1906. In 1906, it was renamed Duffee for a railroad surveyor when a railroad was built through the community at that time. Duffee is about 20 miles northwest of Meridian, Mississippi.

A Place Called Mississippi: Collected Narratives, Marion Barnwell, editor. Jackson, MS: University Press of Mississippi, 1997, pp. 261-262.

Death and Sacred Harp

Researchers have written about “death and Sacred Harp.” They focus on the lyrics of the songs. Sometimes it can be more literal. Tuck Fulmer was a well-known and beloved singer who was born in Alabama, had lived in Nacogdoches County and Frio County, and taught singing schools. He said he loved Sacred Harp Singing so much he had just as soon “die singing.” He did. April 13, 1952.

Tyler Morning Telegraph, Monday, April 14, 1952, p. 1

Sacred Harp, a Fair Attraction

At the Central East Texas Fair held in Marshall, Harrison County, Texas, September 18-22, 1928, Sacred Harp singing was one of the attractions.

Timpson Weekly Times, Friday, September 14, 1928, p. 4

Singing in Tatum, 1981

Back in 1981, our Sacred Harp Convention met at the Cafeteria at Tatum High School. Ed Craig was the chairman and Alcie Craig was the secretary. Old singers from my grandparents’ generation were still around then.

The Marshall News Messenger, Sunday, August 2, 1981, p. 3A

Sacred Music

At modern singings most of our time is taken up in singing. The exceptions are breaks, prayers, and memorial lessons (and sometimes a brief welcome). In older times it was common include a lesson or lecture by a music teacher. Near the close of the North East Texas Sacred Harp Convention (August 30-September 1, 1940), Professor Bob Bartlett lectured on “Sacred Music,” followed by his leading The Crucifixion, The Resurrection, and Weeping Mary.

The convention that year was held at Pleasant Hope Church in Cass County, Texas, near Huffines, Robert Edmond Bartlett, President, and Herschel Grady McLeod, Secretary.

The Citizens Journal (Atlanta, Texas), Thursday, September 5, 1940, p. 5

Sacred Harp Singing in Timpson, Texas, 1928

A report of the East Texas Sacred Harp Singers meeting at Timpson, Shelby County, Texas in 1928. This was a distinct convention from the East Texas Sacred Harp Convention which was organized in 1855. East Texas Sacred Harp Singers was a 5th Sunday singing convention. R. J. Behannon (1877-1953) of Lufkin was the president at this time. The Convention met in Timpson July 28-29 at the Methodist Church building.

It appears that the largest group of attendees outside of Shelby County came from neighboring Nacogdoches County. Folks were also in attendance from Angelina County, Cherokee County, Harris County, Panola County, Polk County, Rusk County, as well as Louisiana and Arkansas (and perhaps a few other places I may have failed to recognize). This article and other newspaper articles indicate that the Timpson Chamber of Commerce was instrumental in inviting the convention and heading up the local organizing for it. Committees provided by the Chamber included a reception committee, transportation committee, and ice water committee.

My grandfather and great-grandfather (J. T. Vaughn and M. L. Vaughn) were in attendance.

Timpson Weekly Times, Friday, August 3, 1928, p. 6

A. N. Whitten and the United Association

I have previously posted a good bit about Archibald Newton Whitten, and compiled a booklet of some of his life history. But it has been a while. Recently, Jesse P. Karlsberg, Sacred Harp singer, composer & vice president of the Sacred Harp Publishing Company, found a connection of Whitten to the United Sacred Harp Musical Association – at least for 1921. That year the association met in the Auditorium-Armory in Atlanta, Georgia, September 9-11, 1921. Whitten is listed as an “Assistant” on the Executive Board of Council of the United Association. So 100 years ago (and a few days) A. N. Whitten was one of four Texans on this Council.[i]

 

 Minutes of the United Sacred Harp Musical Association, Atlanta, Georgia, September 9-11, 1921, page 2
(Picture furnished by Jesse P. Karlsberg)

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[i] Perusal of the minutes suggested Whitten was not in attendance of the Association in Atlanta. Jesse also said that Whitten’s name does not appear in the Executive Council members in 1925, the next oldest minute that he has.

Repeat - come sing with us!

Repeating a post from Monday. We invite you to sing with us this weekend.

The East Texas Sacred Harp Convention, 166th Anniversary Session, will be held, Lord willing, this coming weekend – Saturday August 7, 9:30 am—3:00 pm, and Sunday, August 8, 9:00 am—2:30 pm. We sing from The Sacred Harp, 2012 Cooper Edition. Loaner books will be available to borrow. The singing location is the Henderson Civic Center, 1500 Lake Forest Parkway, Henderson, Texas. This is at the corner of State Highway 64 and Lake Forest Parkway.

Officer David Rousseau leading Wondrous Love​.

Tentative Agenda, Saturday

• Arrive early, have coffee and snacks.
• 9:30 am – Opening by President, Then, Sing, Sing, Sing!
• 10:30 am – Break
• 10:45 – Welcome by Henderson Mayor J. W. Fullen
• 12 noon—1 pm – Dinner on the Ground
• 1 pm—3 pm – Sing, Sing, Sing.

Tentative Agenda, Sunday

• Arrive early, have coffee and snacks.
• 9:00 am – Opening by President, Then, Sing, Sing, Sing!
• 10:30 am—10:40 am – Break
• 11:30 am – Memorial Lesson
• 12 noon—1 pm – Dinner on the Ground
• 1 pm—2:30 pm – Sing, Sing, Sing.

Come back next year.

166 Years

The East Texas Sacred Harp Convention, 166th Anniversary Session, will be held, Lord willing, this coming weekend – Saturday August 7, 9:30 am—3:00 pm, and Sunday, August 8, 9:00 am—2:30 pm. We sing from The Sacred Harp, 2012 Cooper Edition. Loaner books will be available to borrow. The singing location is the Henderson Civic Center, 1500 Lake Forest Parkway, Henderson, Texas. This is at the corner of State Highway 64 and Lake Forest Parkway.

Officer David Rousseau leading Wondrous Love​.

Tentative Agenda, Saturday

• Arrive early, have coffee and snacks.
• 9:30 am – Opening by President, Then, Sing, Sing, Sing!
• 10:30 am – Break
• 10:45 – Welcome by Henderson Mayor J. W. Fullen
• 12 noon—1 pm – Dinner on the Ground
• 1 pm—3 pm – Sing, Sing, Sing.

Tentative Agenda, Sunday

• Arrive early, have coffee and snacks.
• 9:00 am – Opening by President, Then, Sing, Sing, Sing!
• 10:30 am—10:40 am – Break
• 11:30 am – Memorial Lesson
• 12 noon—1 pm – Dinner on the Ground
• 1 pm—2:30 pm – Sing, Sing, Sing.

Come back next year.

Rusk County Singing Convention

Our Rusk County Singing Convention will be held this weekend, Saturday April 24 and Sunday April 25. Starts at 10:00 a.m. Saturday. Sacred Harp and Christian Harmony. For more information, see here:
12th Annual Rusk County Convention

Detailed directions for getting to Pine Grove.

Directions from Mt. Enterprise, Texas and other points south

(Cefco Travel Center is at the Y of this intersection)

[For GPS, this begins at approximately 31.924451, -94.682775]

At the intersection of US 59 N and SH 315 E, turn east toward Carthage.

Travel 8-3/10 miles on SH 315, and turn left on FM 840 N

Travel 3 miles on FM 840 N, and turn right on FM 1798 E

Travel 4-9/10 miles on FM 1798 E, and turn left on FM 2867 W

Travel 3-1/10 miles on FM 2867 W, and turn left on County Road 364 S

Travel 6/10 of a mile on CR 364 S. Old Pine Grove church house and cemetery is on the left.

[For GPS, this ends at approximately 32.102037, -94.653320]

Directions from Henderson, Texas, at the intersection of U.S. Hwy 79/259 South and East Main St/FM 840 and other points north

(Stores on the corners of this intersection are Gateway Travel Plaza, CVS Pharmacy, Jucy's Tacos, and Chicken Express)

[For GPS, this begins approximately 32.151042, -94.785695]

Travel east on East Main/FM 840 for about 4/10 of a mile and stay to the right on FM 840.

Travel on FM 840 for about 3-8/10 miles and turn left on FM 2867.

Travel east on FM 2867 for 4-6/10 miles and turn right on County Road 364 South. 

The Old Pine Grove church house and cemetery is 6/10 of a mile down CR 364 (on the left). 

[For GPS, this ends at  approximately 32.102037, -94.653320]

Y’all come!

J. L. White Sacred Harp Book Singing

John Plunkett has pointed me to the following J. L. White Book Sacred Harp Singing whose audio is available online:

• Lookout Mountain, March 16, 2008

Thanks John, Bobby Watkins, and Nathan Rees.

164th Anniversary of the East Texas Convention

The 164th Anniversary meeting of the East Texas Sacred Harp Convention will occur next weekend (d.v.), August 10-11, at the Henderson Civic Center in Henderson, Texas. Singing starts at 9:30 both days. For more information see HERE.

The Convention was organized in 1855 as the East Texas Musical Convention, but is now usually called the East Texas Sacred Harp Convention because of its exclusive use of The Sacred Harp.

Restoration 268a, at 2012 East Texas Convention

Southwest Texas Sacred Harp Convention

The Spring Session of the Southwest Texas Sacred Harp Convention is coming up this weekend, at the Bethel Church at McMahan.

For more information: Texas Fasola.org

Y’all come!

Sacred Harp in the news (years ago)

Miscellaneous news of The Sacred Harp from Alabama in days gone by.

“They used the Sacred Harp…The audience were frequently lifted to the highest pitch of enthusiastic delight at the melodious swelling strains of soul searching emotioned music wafted out upon the soft balmy air of that lovely Sabbath day. The deepest and surest foundations are laid by such music for christian character and piety. A profound impression was made by this singing upon all who heard it.” From “Singing Convention at Georgiana,” Greenville Advocate, Greenville, Alabama, Thursday, May 24, 1877, page 2

“There may be note books better adapted to the theater or the ball but none is better for the church that the Sacred Harp. We oughn’t to try to keep up with the present times unless it can be made to appear that new times are better than old times.” Letter from “Hez. J. Skot” in The Guntersville Democrat, Guntersville, Alabama, Thursday, August 30, 1883, page 2

“So the Convention will stick to its old landmarks. A homely but forcible illustration in this discussion was used by Mr. Robinson, of Barbour. He said he ‘did not see the use of plowing corn with seven furrows when you could make just as good corn with four furrows;’ and the Convention does make really good sacred music with four notes.” From “The Macedonia Singing Convention,” Herald and Times, Union Springs, Alabama, Wednesday, July 2, 1885, page 3

“Clay County, Alabama, is now principally engaged in singing. According to the papers up that way, the business day and night at every X roads and from every school cabin the ‘Sacred Harp; is being recited in nasal strains and overwhelming vigor.” From “Brevities,” Russell Register, Seale, Alabama, Saturday, August 4, 1888, page 3

“After the ceremony we retired to the dining room where we enjoyed a good and wholesome dinner, after which we engaged in singing a lesson from the good old Sacred Harp.” Report on the marriage of Thomas F. Brooks and Mrs. M. J. Skipper, The Clarke County Democrat, Grove Hill, Alabama, Thursday, June 5, 1890, page 4

“The body adopted the constitution of the Southern Musical Convention, The body adopted ‘Enterprise District Musical Convention’ as the name of this convention.” From The Ozark Tribune, Ozark, Alabama, Tuesday, August 30, 1904, page 4

“We are thankful for such people as have not closed their doors to Sacred Harp music–the old blue-back Sacred Harp that come up from the pinny wood and the log cabin, but is fast making its way into the cities. Oh how sweet this music on the sacred spot where God’s people worship and commune together. May this be a starting point for better times, and when an old soldier lays down his arms his children will step in and take them up.” From a resolution on thanks at the Choctawhatchee Musical Convention, held on the second Sunday in May at Pine Level Church, The Times and News, Eufaula, Alabama, Thursday, May 24, 1906, page 2

“The committee on arrangements knew their business well and did it better.” From The Clayton Record, Clayton, Alabama, Friday, August 4, 1911, page 1

“The old songs of Zion that are contained in the Revised Sacred Harp is the kind of music that opens the very gates of Heaven, and fills the soul to overflowing with gladness.” by Old Blue (A. J. Galloway), from Southern Star, Newton, Alabama, Wednesday, April 5, 1916, page 2

To Revise and Amend The Sacred Harp

In the book of Ecclesiastes (ch. 12, v. 12), the wise king Solomon wrote, “of making many books there is no end; and much study is a weariness of the flesh.” Those of us who undertake to write about the history of Sacred Harp well-know that lesson. In recent newspaper searches, which issues were unavailable to me when I wrote Songs Before Unknown, I have gleaned some new information about the origin of the Sacred Harp revision by W. M. Cooper in southeast Alabama at the turn of the 20^th century. The new information clears up a few things, but leaves questions on other counts. Perhaps more newspaper accounts of the revision process will eventually turn up to clear these up.

From whence?

The idea of revising the Sacred Harp may have arisen in the Southeastern Musical Convention. The Southeastern Convention is one of the oldest (oldest existing) in southeast Alabama, organized in 1858. Unfortunately, the Southeastern Convention is not currently able to speak for itself (as far as I know). Nevertheless, I did find a reference to a vote for revision in a report of the Sweetwater Musical Convention, held August 30, 1902 in Butler County, Alabama. It is not clear whether they had accurate information, but the Sweetwater Convention passed a resolution against revising the Sacred Harp, particularly noting, “…the Southeastern Convention did, at its last session, appoint a committee of twelve to revise and amend the Sacred Harp so as to change the music therein from sacred to instrumental music…” (Minutes of the Sweetwater Musical Convention, The Greenville Advocate, Wednesday, November 12, 1902, p. 1) At this late date it is hard to know if that was the original intent of the Southeastern Convention, or a misunderstanding on the part of the Sweetwater Convention. We do know that the revision as undertaken and completed did change keys of many songs to those most likely actually used (and therefore corresponding to instruments), but retained the four staves and four shapes. It seems reliable, though, that there was at least some kind of move on the part of the Southeastern Convention to revise the book, whether or not it was under their standard that the revision was eventually made. Since the meetings of the Southeastern Convention that I have seen referenced were in the fall, later than the meeting of the Sweetwater Convention, the assumption would be that the Southeastern Convention appointed a committee on revision in the fall of 1901.

Perhaps three or more possibilities exist for this explaining this information:

• The Sweetwater Convention was mistaken concerning the intent and extent of revision to be considered by the Southeastern Convention.
• The revision committee eventually steered the revision in a different direction than the extent of revision intended by the Southeastern Convention.
• The revision prepared by W. M. Cooper and others was not under the auspices of the Southeastern Convention.

With the information I currently have, I tend toward the first as the most likely explanation.

The necessary rights

An article in the Elba Clipper (“Newsy Notes, Of South Alabama Happenings,” Thursday, July 10, 1902, page 6) tells us that “(a)t the urgent request of many friends, Mr. W. M. Cooper, the Sacred Harp Singer of Southeast Alabama, has consented to revise the Sacred Harp…” and further that “Mr. Cooper has secured the necessary rights for a revision and new compilation, and he will begin the work at once.” This latter note is interesting and important, suggesting Cooper may have been in contact with the White family to obtain “the necessary rights.” The article doesn’t add much more that we don’t know – mentions retaining church songs, adding alto, more poetry, changing keys, removing old songs & adding new ones, and retaining the “Four-Shape Notes.” It calls for a meeting at Newton, Alabama on July 17, 1902, and the creation of an “Inspection Committee” to inspect new songs to be inserted in the book.

It is a fortunate circumstance that the Weekly Enterprise newspaper in Enterprise, Alabama published a report of this meeting – “Revision of the Sacred Harp--Meeting of Committee,” Thursday, July 31, 1902, page 1. It was front-page news! “The committee on revision of the Sacred Harp” met at the Baptist Church at Newton, certainly implying there was an elected committee existing. They permanently organized by electing officers, etc. W. M. Cooper was chairman and S. C. D. Brown secretary. In this report there is discussion of “placing the sharps and flats in such as position that they will accord with an instrument.” Might this be what the Sweetwater Convention heard and feared? The article also mentions that a committee of the Clayhatchie Musical Convention “was received, and later on added to the Revising Committee.” As good Sacred Harp singers they also included singing in their meeting! The committee of twelve that we see listed in the 1902 book was appointed at this meeting. One name included in this newspaper article, Armsted Armstong, is replaced in the 1902 book with the name T. W. Loftin (at least in the earliest book I have seen). No accounting of this at this time. They agreed to meet again in Newton September 22, 1902, but I have found no notice of this meeting.

Committee listed in the Weekly Enterprise newspaper:

W. M. Cooper, Chairman; B. P. Poyner; W. R. McCoy; D. F. Stevens; J. M. C. Shaw; W. L. McGee; W. A. Robinett; W. I. Thompson; J. F. Helms; J. C. Ross; Armsted Armstong; S. C. D. Brown, Secretary.

Committee listed in The Sacred Harp, 1902:

W. M. Cooper, Chairman; B. P. Poyner; W. R. McCoy; T. W. Loftin; D. F. Stevens; J. M. C. Shaw; W. L. McGee; W. A. Robinett; W. I. Thompson; J. F. Helms; J. C. Ross; S. C. D. Brown, Secretary.

The late unpleasantness

Two newspaper sources I have found mention Cooper obtaining the rights to revise The Sacred Harp. It seems at some point a misunderstanding may have arose. In the fall of 1908 T. J. Allen writes to The Troy Messenger newspaper about “some unpleasantness between J. L. White and Prof. W. M. Cooper…” (“Card from Mr. Allen,” Troy, Alabama, Wednesday, September 23, 1908, page 6). It is hard to tell from only this letter just what happened, but one might guess it had to do with The Sacred Harp songbook – perhaps a difference on what was meant by the permission given to Cooper? Whatever it was, it appears to have gone to court in Pike County, and White had to pay court costs. Here are some excerpts from Allen’s letter:

“…this unpleasantness was settled by outside friends voluntarily paying the costs, with a distinct agreement that no more be said at the matter.”

“…since the agreement in Pike and he [Monroe Revill] was one to help pay the costs in the Law Court, where there was a charge against Mr. White.”

“…everything has been fairly settled in Alabama…the matter is settled so far as we know.”

This letter or card from Allen is in response to a blurb appearing in The Troy Messenger, September 16, 1908, page 1 “endorsing the character of Prof. J. L. White…” Unfortunately, there is nothing in this short piece to indicate why he was endorsing the character of Professor White – other than saying “about whom there was some friction among a number of singers in this county.” The upshot of Allen’s letter is that Revill was bringing something back up that had been settled. It would be interesting to discover what happened, though we would also be bringing something back up that had been settled! (Certainly long since, by these deceased singers.)

We probably still suffer from some idea that the southeast Alabama singers were isolated and unknown to the Atlanta singers, but I think this is probably a result of them being unknown to later writers of Sacred Harp history. For example, a report of the 1906 Chanehatchie Sacred Harp Musical Convention (sp.? Perhaps Chanahatchie or Channahatchee? Eufaula Times and News, Thursday, November 8, 1906, page 3) mentions the presence of Prof. E. T. Pound and Prof. J. L. White. Further, White taught at least one singing school (probably more) in southeast Alabama at a place called Rodgers School House, probably in Pike County (The Troy Messenger, Wednesday, July 28, 1909, page 5).[i]

It will not be long

Newspaper articles suggest some of the timeline for the Cooper’s revision of The Sacred Harp. Perhaps it begins with an act of the Southeastern Musical Convention in 1901. By July of 1902 Cooper had consented to revise the Sacred Harp and had secured the necessary rights. At least two committee meetings are referenced in newspapers. On July 17th the permanent organization on revision was set in place with officers W. M. Cooper, chairman; W. A. Robinett(e), vice-chairman; and S. C. D. Brown, secretary. New compositions were solicited. Another meeting, of which we presently know nothing else, was set for September 22, 1902. By December, the work must have been substantially finished and ready for typesetting – since the preface of this revision was dated December 12, 1902. Quoting an undated Dothan Home Journal source, the Elba Clipper on December 18, 1902 says “But so far as can be seen everything has been arranged, and Mr. W. M. Cooper will go North and superintend the printing of the revised edition of the Sacred Harp” (“The New Sacred Harp,” Thursday, December 18, 1902, page 5). It is not known just how long or how many times Cooper was “gone North” (or what his superintendence entailed) but we know that “North” was Cincinnati, Ohio.[ii] On Tuesday the 3rd of February the Dothan Home Journal reported that “Mr. W. M. Cooper returned Sunday night from Cincinnati. He has been there some weeks superintending the printing of the revised edition of the Sacred Harp (“The Sacred Harp,” Tuesday, February 3, 1903, p. 4).

Though the newspapers reference the book being “printed” in Cincinnati, this apparently means the creation of the plates for printing (of which some of you know much more than I). The book itself was printed and bound by Bigham & Smith in Nashville, Tennessee (“The Revised Sacred Harp,” Elba Clipper, Thursday, April 9, 1903, page 2; “The Revised Sacred Harp,” Montgomery Advertiser, May 8, 1903, page 5). Advertising in the Roanoke Leader, October 12, 1904, on page 1 Cooper emphasized revised rudiments that were convenient for teachers, pieces not generally used replaced with new songs “some of which are very fine,” alto or counter added to every piece in the book, and superior paper and binding. (I can testify to this compared to the very brittle cheap paper on the Byrd/White reprint of the 1870 book that I own.)  Books were $1.25 with special prices to teachers & dealers, and he says the first edition of several thousand copies sold out in six months. 

While researching, I found it interesting to see where you could purchase The Revised Sacred Harp. For examples and where mentioned, see below (the price is given where that is included):

Agents

• J. F. Patterson, Elba, Alabama, The Elba Clipper, May 28, 1903, page 5
• Jeff D. Compton, Troy, Alabama, The Troy Messenger, June 22, 1904, page 2; $1.00
• J. D. C. Durham, Fyffe, Alabama, The Fort Payne Journal, September 27, 1905, page 1; $1 each, $10 dozen
• J. D. Compton, Troy, Alabama, The Troy Messenger, May 13, 1908, page 8 (has the latest revision and offers to exchange the new for the old, apparently pro-rated! “will allow what’s right for them”)
• J. F. Barton, Andalusia, Alabama, The Andalusia Star, July 1, 1909, page 4; $ 1 each, $9 dozen
• John W. Miller, Athens, Texas, Corsicana Daily Sun, September 7, 1909, page 2
• C. M. Wiggins, Andalusia, Alabama, The Andalusia Star, June 20, 1912, page 4
• C. A. Pippin, Newton, Alabama, Southern Star, May 3, 1916, page 4; $1 each; $9 per dozen  

Businesses

• Young’s Drug Store, Dothan, Alabama, Dothan Home Journal, May 26, 1903, page 5
• Tucker & Harp’s Drug Store, Elba, Alabama, The Elba Clipper, September 26, 1905, page 7
• Knox’s Book Store, Troy, Alabama, The Troy Messenger, September 5, 1906, page 6
• Adam’s Book Store, Greenville, Alabama, The Living Truth, October 19, 1906, page 5
• City Drug Store, Enterprise, Alabama, The People’s Ledger, March 5, 1908, page 1
• Fort Payne Journal office, Fort Payne, Alabama, The Fort Payne Journal, September 6, 1911, page 1
• Luverne Journal (newspaper) office, Luverne, Alabama, The Luverne Journal, February 20, 1913, page 5
• Dixie Central Company, Troy, Alabama, The Troy Messenger, 14 May 14, 1913, page 2; $1  

It was most appropriately sold at Tucker & Harp’s in Elba, and could, of course, be ordered from W. M. Cooper in Dothan as well.

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[i] A J. L. White book singing was held at Enon Church near Brundidge in Pike County in June 1920 (The Clayton Record, Clayton, Alabama, Friday, August 06, 1920, page 1).

[ii] The Ozark Tribune in February 1903 says Cooper “has returned from Cincinnatti (sic), where he has been for several months” (Tuesday, February 10, 1903, page 5). From this, it seems he could have stayed there from mid-December to early February.

Sacred Harp Conventions in old Alabama

While researching Sacred Harp singing in Alabama – particularly the work of W. M. Cooper in revising the Sacred Harp early in the 20th century – I have encountered numerous mentions of Sacred Harp conventions. A compiled list of of almost 60 conventions mentioned appears below, and at least one source in which each is given.  Conventions in the list are (or at least believed to be) those which solely used The Sacred Harp or one of its revisions. It is nevertheless possible that some allowed some other books at times. Some of these convention still exist and are well-known, while others are gone and forgotten. Any dates of origin below are those in the source document and are only as accurate as the person making the claim. This listing intends to preserve their names online for those who have no access to these newspapers. In some cases it is possible that some conventions are duplicates – for example, a convention may have changed its name. “Musical Convention” was the early common denominator, but as other books encroached on The Sacred Harp a convention might add “Sacred Harp” to its name to identify its textbook or to assert they adopted the exclusive use of it.

Alabama Sacred Harp Conventions.

• Aiken Musical Convention, The Ozark Banner-Advertiser, Ozark, Alabama, Thursday, September 28, 1893 - Page 3
• Ashville Sacred Harp Singing Convention, Southern Aegis, Ashville, Alabama, Wednesday, March 24, 1915 - Page 3
• Bear Creek Sacred Harp Singing Convention, Franklin County Times, Russellville, Alabama, Thursday, August 28, 1919 - Page 3 (org. circa 1898)
• B. F. White Sacred Harp Musical Association, The Ashland Progress, Ashland, Alabama, Friday, August 06, 1920 - Page 1 (also B. F. White Sacred Harp State Singing Convention; used J. L. White’s song book)
• Boiling Spring Musical Convention, People’s Party Advocate, Ashland, Alabama, Friday, September 08, 1893 - Page 3 (also Boiling Springs)
• Butler County Singing Convention, The Greenville Advocate, Greenville, Alabama, Wednesday, April 26, 1911 - Page 4
• Central Choctawhachie Musical Convention, The Times and News, Eufaula, Alabama, Thursday, November 07, 1895 - Page 2; The Abbeville Times, Abbeville, Alabama, Thursday, May 16, 1907 - Page 4
• Central Sacred Harp Singing Convention, The Florala News, Florala, Alabama, Thursday, September 13, 1917 - Page 1
• Chambers County Sacred Harp Singing Convention, The Alexander City Outlook, Alexander City, Alabama, Wednesday, August 07, 1918 - Page 1
• Chanehatchie Sacred Harp Musical Convention, The Times and News, Eufaula, Alabama, Thursday, November 08, 1906 - Page 3 (also Chaneehatchee, Chaneyhatchee, Chanyhatchie) possibly organized circa 1880
• Choctawhatchee Musical Convention, The Times and News, Eufaula, Alabama, Thursday, May 24, 1906 - Page 2
• Clayhatchie Musical Convention, The People’s Ledger, Enterprise, Alabama, Thursday, July 31, 1902 - Page 1
• Clear Creek Musical Convention, The Guntersville Democrat, Guntersville, Alabama, Thursday, August 16, 1900 - Page 3
• Cleburne County Sacred Harp Singing Convention, The Cleburne News, Heflin, Alabama, Thursday, August 05, 1920 - Page 3
• Coffee County Musical Convention, The Elba Clipper, Elba, Alabama, Friday, June 29, 1906 - Page 3 (used both books, “old” and “revised” Sacred Harp; The Elba Clipper, Thursday, June 22, 1905 - Page 1)
• Columbia Musical Convention, Dothan Home Journal, Dothan, Alabama, Tuesday, January 27, 1903 - Page 5
• Cotaco Singing Convention, The Tribune-Gazette, Cullman, Alabama, Saturday, July 27, 1901 - Page 1
• County Line Singing Convention, The Troy Messenger, Troy, Alabama, Wednesday, August 28, 1907 - Page 8
• Covington County Sacred Harp Singing Convention, The Andalusia Star, Andalusia, Alabama, Tuesday, August 28, 1917 - Page 4
• East Alabama Musical Convention, South Western Baptist, Tuskegee, Alabama, Thursday, October 28, 1858 - Page 1; South Western Baptist, October 24, 1861 - Page 2 (name varies and may have originally been an extension of the Southern Musical Convention of Georgia)
• Elmore County Sacred Harp Singing Convention, The Weekly Herald, Wetumpka, Alabama, Thursday, June 25, 1914 - Page 3
• Enterprise District Musical Convention, The Ozark Tribune, Ozark, Alabama, Tuesday, August 30, 1904 - Page 4 (org. 1904)
• Escambia Musical Convention (at Mortimer, Alabama), The Pine Belt News, Brewton, Alabama, Thursday, July 22, 1915 - Page 1 (org. circa 1907)
• Etowah Sacred Harp Singing Convention, The Gadsden Times-News, Gadsden, Alabama, Friday, July 30, 1909 - Page 4 (also Etowah County)
• Fayette and Lamar County Sacred Harp Musical Convention, The Marion County News, Hamilton, Alabama, Thursday, July 26, 1923 - Page 1
• Hillabee Singing Convention, The Andalusia Star, Andalusia, Alabama, Tuesday, August 28, 1917 - Page 4 (org. circa 1873)
• Houston County Musical Convention, Dothan Eagle, Dothan, Alabama, Friday, August 08, 1913 - Page 1
• Jay Bird Sacred Harp Singing Convention, The Guntersville Democrat, Guntersville, Alabama, Thursday, June 30, 1910 - Page 3
• Jefferson County Sacred Harp Singing Convention, The Gadsden Daily Times-News, Gadsden, Alabama, Saturday, August 03, 1907 - Page 2
• Macedonia Singing Convention (Bullock County), Union Springs Herald, Union Springs, Alabama, Wednesday, July 22, 1885 - Page 3
• Marshall County Sacred Harp Singing Convention, The Guntersville Advertiser, Guntersville, Alabama, Tuesday, August 14, 1917 - Page 3
• Middle Creek Musical Convention, Southern Star, Newton, Alabama, Wednesday, September 13, 1922 - Page 3
• Mt. Pisgah Singing Society, The LaFayette Sun, LaFayette, Alabama, Wednesday, July 26, 1911 - Page 1
• Newton Musical Convention, Southern Star, Newton, Alabama, Wednesday, October 04, 1916 - Page 2
• Pigeon Creek Musical Convention, The Greenville Advocate, Greenville, Alabama, Wednesday, July 22, 1908 - Page 4
• Pike County Sacred Harp Singing Convention, The Troy Messenger, Troy, Alabama, Wednesday, November 10, 1909 - Page 5
• Pilgrim’s Home Musical Convention, Dothan Eagle, Dothan, Alabama, Friday, October 31, 1913 - Page 6
• Randolph County Sacred Harp Singing Convention, The Roanoke Leader, Roanoke, Alabama, Wednesday, June 06, 1917 - Page 1
• Redan Union Sacred Harp Singing Society, The Cullman Tribune, Cullman, Alabama, Thursday, June 03, 1915 - Page 6
• Rock Creek Mountain Home Sacred Harp Singing Convention, The Tribune-Gazette, Cullman, Alabama, Saturday, August 10, 1901 - Page 1
• Sand Mountain Sacred Harp Singing Convention, The Gadsden Daily Times-News, Gadsden, Alabama, Saturday, August 03, 1912 - Page 1
• Shiloh Singing Convention, The Monroe Journal, Claiborne, Alabama, Thursday, April 13, 1893 - Page 3
• Skirum Creek Sacred Harp Singing Convention, The Boaz Leader, Boaz, Alabama, Thursday, July 27, 1916 - Page 2
• Southeastern Sacred Harp Musical Convention, The Ozark Banner-Advertiser, Ozark, Alabama, Thursday, September 28, 1893 - Page 3; The Troy Messenger, Troy, Alabama, Wednesday, September 18, 1907 - Page 5 (also Southeast Alabama, South Eastern, Southeastern Alabama)
• Southern Harmony Musical Convention, Abbeville Herald, Abbeville, Alabama, Thursday, June 28, 1923 - Page 1 [i]
• State Musical Convention, The Lamar Democrat, Vernon, Alabama, Wednesday, July 06, 1910 - Page 5
• St. Clair County Sacred Harp Semi-Annual Singing Convention, Southern Aegis, Ashville, Alabama, Wednesday, July 05, 1916 - Page 3
• Sweetwater Musical Convention, Crenshaw County News, Luverne, Alabama, Thursday, April 21, 1921 - Page 5 (also Alabama Sweetwater, Sweet Water) org. circa 1862
• Talladega County Sacred Harp Singing Convention, The Ashland Progress, Ashland, Alabama, Friday, August 20, 1915 - Page 1
• Union Singing Convention of DeKalb County, The Fort Payne Journal, Fort Payne, Alabama, Wednesday, August 05, 1903 - Page 1 (The Fort Payne Journal, Wednesday, May 03, 1905 - Page 1)
• Union Singing Convention of the 4th District, The Greenville Advocate, Greenville, Alabama, Wednesday, June 18, 1890 - Page 3
• Valley Grove Sacred Harp Singing Convention, The Cullman Tribune, Cullman, Alabama, Thursday, August 25, 1910 - Page 7
• Walker County Sacred Harp Singing Convention, Mountain Eagle, Jasper, Alabama, Wednesday, July 18, 1917 - Page 1
• Warrior River Sacred Harp Singing Convention, The Southern Democrat, Oneonta, Alabama, Thursday, July 30, 1914 - Page 1 (organized 1874, The Southern Democrat, Thursday, March 14, 1907 - Page 4)
• West Cullman Singing Convention, The Tribune-Gazette, Cullman, Alabama, Saturday, July 27, 1901 - Page 1

Honorable mention

• Chilton County Singing Convention Number 3, The Union-Banner, Clanton, Alabama, Thursday, May 11, 1911 - Page 1 (Sacred Harp and Christian Harmony)
• The Macedonia 4th of July singing was organized by John S. Terry and others in 1872; Union Springs Herald, Union Springs, Alabama Wednesday, July 09, 1913 - Page 1

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[i] Southern Harmony Musical Convention, despite its name, was a Sacred Harp convention (see also Abbeville Herald, Abbeville, Alabama, Thursday, July 01, 1920 - Page 8).