One Day At A Time Sweet Jesus Sheet Music Free Download

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Famous spirituals include \"Swing low, sweet chariot,\" composed by a Wallis Willis, and \"Deep down in my heart.\" The term \"spiritual\" is derived from the King James Bible translation of Ephesians 5:19: \"Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.\" \r\n\r\n The form has its roots in the informal gatherings of African slaves in \"praise houses\" and outdoor meetings called \"brush arbor meetings,\" \"bush meetings,\" or \"camp meetings\" in the eighteenth century. At the meetings, participants would sing, chant, dance and sometimes enter ecstatic trances. \r\n\r\n Spirituals also stem from the \"ring shout,\" a shuffling circular dance to chanting and handclapping that was common among early plantation slaves. An example of a spiritual sung in this style is \"Jesus Leads Me All the Way,\" sung by Reverend Goodwin and the Zion Methodist Church congregation and recorded by Henrietta Yurchenco in 1970.

The publication of collections of spirituals in the 1860s started to arouse a broader interested in spirituals. In the 1870s, the creation of the Jubilee Singers, a chorus consisting of former slaves from Fisk University in Nashville, Tennessee, sparked an international interest in the musical form. The group's extensive touring schedule in the United States and Europe included concert performances of spirituals that were very well received by audiences. While some African Americans at the time associated the spiritual tradition with slavery and were not enthusiastic about continuing it, the Fisk University singers performances persuaded many that it should be continued. Ensembles around the country started to emulate the Jubilee singers, giving birth to a concert hall tradition of performing this music that has remained strong to this day.

The Hampton Singers of Hampton Institute (now Hampton University in Hampton, Virginia) was one of the first ensembles to rival the Jubilee Singers. Founded in 1873, the group earned an international following in the early and mid- twentieth century under the baton of its longtime conductor R. Nathaniel Dett. Dett was known not just for his visionary conducting abilities, but also for his impassioned arrangements of spirituals and original compositions based on spirituals. A cappella arrangements of spirituals for choruses by such noted composers as Moses Hogan, Roland Carter, Jester Hairston, Brazeal Dennard and Wendell Whalum have taken the musical form beyond its traditional folk song roots in the twentieth century.

The appearance of spirituals on the concert hall stage was further developed by the work of composers like Henry T. Burleigh, who created widely performed piano-voice arrangements of spirituals in the early twentieth century for solo classical singers. Follow the link to view sheet music for \"A Balm in Giliad,\" an example of a spiritual arranged by Burleigh. Marian Anderson's 1924 rendition of \"Go Down Moses,\" is taken from an arrangement to Burleigh (select the link to listen to this recording).

Many other composers followed in Burleigh's footsteps. In the 1920s and 1930s, prominent classically trained artists such as Marian Anderson, Roland Hayes and Paul Robeson spotlighted spirituals in their repertoires. The tradition has continued into more recent times with classical stars like Kathleen Battle and Jessye Norman frequently performing spirituals in their recitals. \r\n\r\n While spirituals continue to have a presence in the concert hall, the centrality of the form to African American Churches has waned in the twentieth century with the rise in popularity of Gospel music. The Gospel tradition has preserved the lyrics of many spirituals, but the musical forms have changed dramatically as harmonies are added and the tunes arranged to suit new performance styles. For an example of the Gospel Quartet style that arose in the 1940s, listen to this recording of the Golden Jubilee Quartet performing \"Oh, Jonah!\" In spite of these changes, forms of the traditional spiritual continue to survive in some of the conservative congregations of the South that are either more isolated from modern influences, or that simply choose to preserve the older songs. (For more on this, see the article African American Gospel.)

Famous spirituals include "Swing low, sweet chariot," composed by a Wallis Willis, and "Deep down in my heart." The term "spiritual" is derived from the King James Bible translation of Ephesians 5:19: "Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord." The form has its roots in the informal gatherings of African slaves in "praise houses" and outdoor meetings called "brush arbor meetings," "bush meetings," or "camp meetings" in the eighteenth century. At the meetings, participants would sing, chant, dance and sometimes enter ecstatic trances. Spirituals also stem from the "ring shout," a shuffling circular dance to chanting and handclapping that was common among early plantation slaves. An example of a spiritual sung in this style is "Jesus Leads Me All the Way," sung by Reverend Goodwin and the Zion Methodist Church congregation and recorded by Henrietta Yurchenco in 1970. 2351a5e196