SURVIVAL OF AFRICAN MUSIC IN AMERICA. 665 



there is little or no instruction given, and the white singer in at- 

 tempting to learn them will make poor work at their mastery; for 

 how is he, poor fellow, to know that it is bad form not to break 

 every law of musical phrasing and notation? What is there to 

 show him that he must make his voice exceedingly nasal and undu- 

 lating; that around every prominent note he must place a variety 

 of small notes, called " trimmings," and he must sing tones not 

 found in our scale ; that he must on no account leave one note until 

 he has the next one well under control? He might be tempted, 

 in the ignorance of his twentieth-century education, to take breath 

 whenever he came to the end of a line or verse! But this he should 

 never do. By some mysterious power, to be learned only from the 

 negro, he should carry over his breath from line to line and from 

 verse to verse, even at the risk of bursting a blood-vessel. He must 

 often drop from a high note to a very low one; he must be very 

 careful to divide many of his monosyllabic words in two syllables, 

 placing a forcible accent on the last one, so that " dead " will 

 be " da ade" " back " becomes " ba ack" " chain " becomes 

 " cha ain" 



accel. 



1. Ma-ry and Marthy had a cha - ain Walk Jerus'lem jis like Job ! An' a 



2. I tell you bredderin, fur a fac' Walk Jerus'lem jis like Job! If you 



3. Some says Pe-ter and some says Paul Walk Jerus'lem jis like Job! But dey 



eb'-ry link was a Je-sus Na-ame/ Walk Jeru-s'lem jis like Job! 



ebber leabs de debbil you musu't turn back! Walk Jeru-s'lem jis like Job! 



ain't but one God saves us all Walk Jeru-s'lem jis like Job! 



KEFRAIX. 



When Icomester die ... I wantter be read - y;When 



accel. 



I comes ter die, ..... Gwineter -walk Jeru-s'lem jis like Job! 



He must also intersperse his singing with peculiar humming 

 sounds " hum-m-m-m." He will have to learn that the negro never 



