Paul J. Kim is the real deal. An authentic witness of the gospel and missionary discipleship. His ministry is not only fun, but it is relevant, faithful, and powerful. He makes a difference in young people's lives... and I don't just say this as a peer, but as a Dad who's grateful for his impact on my own teens!
However, when I listen to and even try to deconstruct black gospel music, my brain just falls apart. Now there's no end to videos on youtube with people playing licks for others to learn, or even versions of songs, but none of them contain any theory, or the best, very basic. It's far too common for me to hear someone in a video say "play an F major here" when what they are actually doing is playing is a well voiced F13(#11). The important part isn't that he's playing an F major... it's that he's giving it that gospel color with the 13(#11)
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Too often the parts are explained purely as slash chord (play a Bb in your left and a Ab chord in your right), or even just every note is spelled out. This is the same when I go looking for tabs of heavily gospel songs. There's a type of shorthand my wife and I refer to as "gospel tab" which is great if you want to learn exactly how a person voiced every chord, but is hard to read for a quick run of the song.
The Gospel Music experience cannot be told in a short story, or even in a melody of songs, for it is far too rich, far too harmonious and deliberately stimulating. It is a living experience, always changing, always giving, and always becoming the foundation that gave moral, physical and spiritual support to a great and powerful people.
Gospel Music is a romance of going to a favorite spot, a favorite tree, and a hallowed spot, just to talk with God. So from the very beginning the African American has believed that God would hear an earnest and sincere prayer or song. This very spirit meant that God could bless whom He would as well as curse anyone according to His Will. From these songs we have been able to tell God exactly what we want, even in a Strange Land.
In the U.S. and across the world, there are standout worship songs sung every weekend of the year by millions of believers. We have assembled an alphabetical list of 100 worship songs that we have gathered through surveys to provide you with the ultimate worship song setlist. Use this post as your go-to list for worship songs. Also, feel free to comment and suggest more so we can grow the list!
In a Church culture in which personal engagement with the Bible is sometimes patchy, worship songs and hymns become a primary source of theology for some. For others it is the most dynamic tool in terms of connecting with God. We pick up memorable bits of scripture (often a bit mangled to fit the verse structure), and larger principles about God through the lyrics of our Sunday anthems. So the accuracy of their theology really matters.
Imagine for a moment (if this doesn't already apply to you) that standing up is an issue for you. Perhaps you're elderly; perhaps you're wheelchair-bound. You're already fairly alienated by the service leader's repeated requests to stand up, but now the worship songs themselves are asking the same impossible thing.
Many of us struggle with songs such as this. What exactly are we supposed to do? Do we take the lyrics literally and move our bodies in the way described, like some sort of action song for adults? Or do we see the whole thing as a metaphor? Whichever we choose, there may be a sense of discomfort.
In the early nineteenth century, African Americans were involved in the "Second Awakening". They met in camp meetings and sang without any hymnbook. Spontaneous songs were composed on the spot. They were called "spiritual songs and the term "sperichil" (spiritual) appeared for the first time in the book "Slave Songs of The United States" (by Allen, Ware, Garrison, 1867).
As negro spirituals are Christian songs, most of them concern what the Bible says and how to live with the Spirit of God. For example, the "dark days of bondage" were enlightened by the hope and faith that God will not leave slaves alone.
By the way, African Americans used to sing outside of churches. During slavery and afterwards, slaves and workers who were working at fields or elsewhere outdoors, were allowed to sing "work songs". This was the case, when they had to coordinate their efforts for hauling a fallen tree or any heavy load. Even prisoners used to sing "chain gang" songs when they worked on the road or on some construction project.
But some "drivers" also allowed slaves to sing "quiet" songs, if they were not apparently against slaveholders. Such songs could be sung either by only one soloist or by several slaves. They were used for expressing personal feeling and for cheering one another. So, even at work, slaves could sing "secret messages". This was the case of negro spirituals, which were sung at church, in meetings, at work and at home.
The meaning of these songs was most often covert. Therefore, only Christian slaves understood them, and even when ordinary words were used, they reflected personal relationship between the slave singer and God.
In his book "The Religious Instruction of the Negroes in the United States" (1842), the White minister Charles Colock Jones recommended highly some hymns of Dr Watts ("When I Can read My Title Clear", etc.). He wrote: "One great advantage in teaching them (slaves) good psalms and hymns, is that they are thereby induced to lay aside the extravagant and nonsensical chants, and catches and hallelujah songs of their own composing".
However, in the early 1800s, Black ministers took seriously the admonition of Dr Isaac Watts: "Ministers are to cultivate gifts of preaching and prayer through study and diligence; they ought also to cultivate the capacity of composing spiritual songs and exercise it along with the other parts of the worship, preaching and prayer". So, homiletic spirituals were created by preachers and taught to the congregation by them or by deacons.
During the post-Civil War period and later, some congregation conducted services without hymnbooks. A deacon (or precentor) set the pitch and reminded the words in half-singing half-chanting stentorian tones. The people called their songs "long-meter hymns (because the tempo was very low) or "Dr Watts", even if they have not been written by this gentleman.
The beats of Dr Watt's songs were slow, while there are other types of spirituals. These beats are usually classed in three groups:
- the "call and response chant",
- the slow, sustained, long-phrase melody,
- and the syncopated, segmented melody,
- "Call and response"
As traditional negro spirituals continued to be sung, new Gospel songs were created. The lyrics of these new songs dealt with praising the Lord, with personal improvement and with brotherly community life. Many of them were inspired by social problems: segregation, lack of love, drugs, etc.
During this period, some Gospel songs were more secular. They were included in shows like "Tambourine to Glory" (by Langston Hughes). In the 1970s, mainly Edwin Hawkins ("Oh Happy Day") created the "pop-gospel". This type of singing needs several instruments to accompany the singers who are often assembled in choirs.
The new Gospel songs created after 1985 are of two types. The first type concerns songs, which are for either worship services or special events in churches. The second type includes songs, which are for concerts. They are more or less secular even when they speak of Christian life.
Joining: New and returning members submit a 1- 2 minute YouTube Video of themselves singing a gospel song, hymn, or contemporary worship song of their choice at the beginning of each semester via this survey link.
The minor in gospel keyboard performance styles will offer students across the college the opportunity to pursue a course of study that is focused in gospel keyboard (piano, Hammond organ, keyboard) history and practice. Studies will include the history, theory, and practice of gospel in an aim to lift its academic visibility while preparing students to perform effectively and globally in this inspiring field.
While the gospel genre isn't as mainstream as pop or country, you can still find many safe, reputable sources for free music in this category. Try one of the following sites to find available downloads.
Whether you're collecting traditional worship songs for a service or event or you're looking for new inspirational tracks for your playlist, try some free downloads to add variety to your music library. Your collection will grow quickly, and it's always fun to discover inspiring songs, artists and styles. 0852c4b9a8
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