Davis Tucker interview with Ezra Carroll Banks

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If you believe you are the copyright holder of any of the content published in this collection and do not want it publicly available, please contact the Kenan Research Center at the Atlanta History Center at 404-814-4040 or reference@atlantahistorycenter.com. In this recording, Ezra Carroll Banks sings six hymns from the Modern Hymnal, first with the shape-note method and then in the conventional, or traditional, method. He sings Amazing Grace, Faith of Our Fathers, Since Jesus Came Into My Heart, I Will Arise and Go to Jesus, Windham, and Just Over the Glory Land. Ezra Carroll Banks (1911-1999 ) was born to Britton Joseph Banks (1879-1961) and Margaret Frances Banks (1882-1926). As a child, he attended a Summer music camp taught by Dr. Cecil Bottoms. He married Janie Banks (1910-1976) and they had a son, Wesley Carroll Banks (1936-2017). He worked as a carpenter and later drove a school bus for the Fayette County School System. In addition, he and his father served as song leaders at New Hope Church in Fayetteville. CONVENTIONAL SINGING New Hope Baptist Church, Fayetteville, Georgia by David J. Tucker for Mr. John Burrison Folklore 302 Georgia State University March 9, 1970 TABLE OF CONTENTS I. First Sunday in September .......................... 3 I I . The Connnunity ..................................... 4 III. Mr. Ezra Carroll Banks 5 IV. Conventional Singing 17 V. Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 18 3 1. First Sunday in September For the past sixty years, and maybe longer than that, every first Sunday in September the New Hope Baptist Church in Fayette County, Georgia, has had its annual singing. It's pretty much an all-day affair. After the regular service, members of the congregation head for their cars and lug out baskets filled with food. Really more often than baskets, it's cardboard boxes, a gallon jug of tea and a cake plate with a shiny aluminum cover. By about one o'clock the food has been spread out behind the little white wooden frame church on makeshift tables of one-bysixes supported by saw horses. Arranged on the motley collection of tablecloths is fried chicken, ham, beef roasts, vegetables, pies, cakes and breads. Over on a separate table is a washtub filled with lemonade and big churU,s of ice. As soon as everyone has finished eating, the crowd gathers back in the auditorium of the church where the singing is about to begin. Furniture is rearranged so that the piano is now in the center up front. Chairs are placed on the floor on each side of the piano for the singers. Paperback hymnals---some old and dog-eared and some brand new, are passed out and the singing begins. Most of the singing is done by the choir, or class, up front with a number of persons taking turns leading. An assortment of stately old hymns and newly composed gospel songs are performed during the afternoon. This is what seems to be most generally called "conventional singing." 4 II The Conununity The area studied in this survey consists of both a geographically defined conununity and a somewhat less defined but seemingly strong sense of conununity felt by people living on New Hope Road between Georgia Highways 314 and 93. The defined community, Hopeful, is about twenty houses, all fairly recently built, a clubhouse used for family reunions, parties and showers, and one church, the Hopeful Primitive Baptist Church. The oldest houses in the conununity are small frame houses that probably date back to the forties and maybe the thirties. Several new brick houses are mixed in with the older houses. Most of the residents of the area are, however, long-time residents whose families have lived in the area for many years. So far, very few families from outside the conununity have come in and built homes. The Hopeful conununity is rather thickly settled compared to the rest of the land through which New Hope Road runs. Much of the land is tied up in an estate and has not been sold. Few new houses have been built. Approximately midway between highways 314 and 92 is the New Hope Baptist Church. About a mile down the road from the church is an abandoned oneroom schoolhouse. Very little farming is done in this area nowadays. Almost everyone has a garden and there are a couple of large corn fields, but farming is limited. It seems that cotton was the big crop in years past. Miss Annie Jones who lives gust across the road from the church, says she remembers when most of the fields were in cotton and cotton-pickers were brought down 5 from "somewheres up towards Atlanta." Most of the residents now work in Atlanta or, at least, closer in to the metropolitan area. III. Mr. Ezra Carroll Banks One of the persons in the Hopeful community who is most knowledgeable about conventional singing is Mr. Ezra C. Banks. One of Mr. Britton Joseph Banks' twelve children, eight of whom survived infancy and are still Iiving, Mr. Banks is one of the four song leaders New Hope Church has had in this century. The first song leader Mr. Banks can remember is his father. Mr. Banks, born in 1911, is a retired builder and carpenter and now drives a school bus for the Fayette County school system. In three conversations, Mr. Banks (or, as some people call him, Mr. Ez) explained conventional singing and talked about his o\~ musical training. "My father made the mistake of teaching me shaped notes," he said almost apologetically. '~Vhen I was just a little boy ten or eleven years old, and before I studied music, he taught me the shaped note method, and even though I learned to read music by letter, I'm getting back into reading music by shape. That reading music by letter gets away from you if you don't practice." (When Mr. Banks speaks of reading music "by letter" he is speaking of the more widely accep;ted mthod of reading round notes according to their position on the staff.) Although Mr. Banks did~ not learn to read shaped notes from a specific set of lessons, he said that most people who studied shaped note singing probably learned from a book such as the Sunlight Glees, published in 1904 by the Tennessee Music and Printing Company of Cleveland, Tennessee. 6 Sunlight Glees, "for use in Singing Schools, Literay Schools, Conventions and Musical Societies" and "containing and Excellent and Varied Collection of Sacred and Secular Songs," begins with a "Musical Catechism" made up of questions and answers which the student learns. Lesson VII of the catechism deals with scales and is the first lesson on shaped notes. Basically, "shaped notes" means that for each tone in a scale (do, re, mi, fa, sol, la, and ti) there is a differently shaped note. (See illustration No. 19 in Sunlight Glees.) That shape is always associated with that tone in the scale no matter what key a song is written in. Following the catechism are graded exercises and an assortment of hymns, motion songs and sentimental songs. As stated before, Mr. Banks did not learn shaped notes from this book, but it serves and example of the type of book that was used by many people. Learning shaped note singing from his father was not the only musical training that Mr. Banks had. During the summers when he was about twelve and thirteen years old, he went to music school. For eight weeks each summer, eight hours a day, five days a week, he studied music at sessions conducted by Dr. Cecile?) Bottoms. At these sessions he and his sister Lora learned to read round notes---"by letter." Another of Mr. Banks' musical abilities was his playing the Violin. (He did not call it a fiddle.) He learned to play the violin himself, working out the fingerings with no help from anyone else, he says. He used to play along with the pump organ at conventional singings. Sometimes, he said, two violinists would play along with the organist. Mr. Banks agreed to sing some examples of shaped note singing. It must be expalined, however, that the recording is somwehat contrived and 7 artificial. \Vhereas in Sacred Harp singing, the singers sang the names of the notes for the first verse of the song and then sang the words, conventional singing did not include singing the names of the notes. Shaped notes was only a method of learning to read music. Singing "do, re, mi" etc. was only done in lessons or practice sessions. There is worth to the recording, however, in that it shows how familiar with the musical system the readers of shaped hotes are. The method was mainly for vocal music and almost anyone who knew shaped notes could, without hearing a song played, sing the melody of a completely unfamiliar song. This is not unique to shaped note singing; a well-trained musician can do this with shaped or round notes. But, singing, as opposed to instrumental music, seems to have been the emphasis in conventional singing. Mr. Banks sang six hymns, singing the name of the tones the first time and the words of the song the next. This format was Mr. Banks' idea. Perhaps the fact that it is the same format used by Sacred Harp singers is just coincidental; perhaps it is an influence of the little bit of Sacred Harp singing that he has heard. The first hymn that Mr. Banks sang was "Amazing Grace" (No. 120 in the Modern Hymnal,see photocopy on page 10.) The only variation from the printed text was in the second part of the stanza. The hymnal reads, "I once was lost, but now am found ... " Mr. Banks sang,"I once was lost, but now I'm found .. " His variation seems to be more natural in structure and is a common deviation from the printed text. The second hymn was "another real old hymn, I Faith of our Fathers "' (No. 172 in the Modern Hymnal, see photocopy on page 11). Again there 8 was only one variation frrnn the printed text. Where the hymnal reads, "0 how our hearts beat high with joy," Mr. Banks sang, "0 how our hearts beats high with joy." This is only a granunatical error and one which he probably learned when he first learned the song. The third song that Mr. Banks sang was more of a gospel song than a hymn, "Since Jesus Came Into My Heart" (No. 267 in the Modern Hymnal, see photcopy on page 12). For the last three songs, Mr. Banks switched to a small paperback singing convention hymnal, Favorite Songs and Hymns, published in 1939 by the Stamps-Baxter Music and Printing Company. The first song from this book was "I Will Arise and Go to Jesus" (No. 227 in Favorite, see photocopy on page 13). This, according to Mr. Banks, is an old invitational hymn. This hymn is also included in the Modern Hymnal from which Mr. Banks had been singing. The tune in the conventional book is in a different key and there are a few changes in the melody. (See photocopy on page 14.) Mr. Banks noted this and said he sang the song as it was written in the book he was using. That is, when he uses the Modern Hymnal he sings it as it is \'lTitten there; when he uses the conventional hymnal he sings it as it is \'lTitten there. "I Will Arise and Go to Jesus" is written in a minor key and one tone of the scale is different: la, ti, do, re, mi, fa, see, la. The use of see is apparent in Mr. Banks singing of this hymn. The fifth song that Mr. Banks sang was at the suggestion of the collector and really should not be considered part of Mr. Banks 1 tradition. On the page facing "I Will Arise and Go to Jesus," in the Favorite hymnal, is "Windham." This is one of the songs collected by G. P. 8ackson at a convention of 9 Sacred Harp singers in Alabama in 1942, (Record 26 in the Georgia State University collection of records) Having listened to the album earlier in my research, I recognized the title and asked Mr. Banks if he knew the song. He said he had never heard the song but that he would try it. I think the inclusion of the song in this conventional hynmal shows some relation between Sacred Harp singing and conventional singing. The recording certainly shows Mr. Banks' ability to read music by shaped notes. (No. 230 in the Favorite hynmal, see photocopy on page13 .) Mr. Banks explained that he learned the songs in the conventional hynmals by sitting down "in the quiet of my own house" and singing the new songs. He did not need to hear the song played on, arforgan or piano before he could sing it. The last song that Mr. Banks sang was "Just Over in the Glory-Land" (No. 140 in the Favorite hynmal, see photocopy on page 15). He sang this "for a change of pace." while Several things were noticeable~ Mr. Banks was singing. The years he spent as song leader at the church still have an influence. While he sang he was also directing with his right hand. His right foot kept time. As for his voice and style of singing, there is the tightness and nasal quality that is associated with Southern mountain singing. There is also some sliding from note to note although musical training has eliminated much of this. As stated before, the recording is only an example of how shaped notes are read. The actual singing is done in groups and the words of the text are used instead of the names of the notes. ~.... , ,1"1 " ---" ---v ~ --r-o- 0"-- - ......... ~ _ _':O "."Q. Dl<}' by day His sweet voice soundeth, Saying, "Christian, fol-low Me." .From each i- dol that would keep us. Saying, "Christiao, love Me more." StillHe calls, in cares andpleasures, "Christiao, loveMemore than these." Give om hearts to Thy 0 - ~ence, Serve and love Thee best of an. A -1lIEN. k. ~ .......... _ .. _ _ LJ J . L I I , . , , .. , . , , I . ~.~ " I " 1. Je - sus calls us; o'er the tu - mult Of our life's wild, rest-less sea, 2. Je - sus calls us from the wor - ship Of the vain world's golden store, 3. In our joys and in our sor - rows, Days of toil and hours of ease, 4. Je - sus calls us: hy T.h.y mer - cies, Sav - ior, may we hear Thy call, .. ; , , * -,9- Arr. by E. O. Excell. _ 1 I ..~-' '* McInfQsh. C.M. W~at a Srien~. amazin~ <Brace. ~; ~ All be-cause we do not car - <y_ Ev- 'ry-thing to God in prayer! Je-sus knows our ev-'ry weak-ness, Take it to the Lord in prayer In His arms He'lltake and shield thee, Thou wilt find a sol-ace there. A -1lIEN ! John Newton. . 11 -- T . - .. .. .. I~. jj"'- , - o what pelice we oft en for - feit, o what need-less pain we bear, Can we find a friend so faith - ful Who will all our sor-rows share? Do thy friends de-spise, for-sake thee? Take i:~ to tile Lord in prayer; : .P-: P- .. P- .. .. -0- I.. -#- :1>".. -#- "11" -,9-: ~=! , 120 ---~-~~~ ) r ! .' .1. II I I . William H. Jude. I ~ J ,jesus d:alfs Us. W~at a Jrien~. I I I I lifts. Cect1 F. Alexander. Galilee. 8. 7. 8. 7. 119 118 Converse. 8$. 7$. D ! r 1:J l 1 r Dr I Ln-r ~ z;i ., z;i 01 ::=j ''', :;: =J r 0 :;j: =J ...... {} -:- =J r 1. A maz log grace! how sweet the sonnd, That saved a wretch like me! I 2. 'Twas grace that taught my heart to fear,.And grace my fears re-lieved; How 30 Thro'man-y dan-gers, toils and snares, I have at - read - y come; 'Tis !1. Whenwe've been there ten thousaod years, Bright sbio-iog as the sun, We've . I . J 3 ~ 115 C i(' t k1 I; e I" e I Charles C. Converse. .\ " ! t + ++' All our sios and griefs to bearl Is there troub-le an - y-where? Cum-bered with a load of care?-#- -0-. Joseph Scriven. , "" ~ "" ~ .... u -v L What a Friend we have in Je sus, 2. Have we tri - als and temp-ta - tions? 3. Are we weak and heav-y - la - den, -#- I-' o A..llIEN. ~vr ...... - once was lost, but now am fonnd, Was blind, but now I see. pre dollS did that grace ap - pear The hour I first be-lie.ed! grace hath bro't me safe thllS far, And grace will lead me home. no less days to sing God's praise Thao when we first be - guo. '"' jj. I; i -r .... "' .... : ,>,:=1 = + '" ~ :t::t=~ ]: 41 1$ What a priv - i-lege to car - ry Ev - 'ry-thing to God in prayer! Weshouldnev-er be dis-cour-aged, Take it to the Lord in prayer. Pre-cious Sav-ior, still our ref - uge,- Take it to the Lord in prayer. . .......... ...... I ,.,!'I,., I I ~' ~;:: ~-!~ i;<:;:~ "''C.-'- .. ,.,',"c- ,,',,-~ ";'':'," -_\,__ \~.. _ ,.,;..;'.'2\!,-,.,-,- ~ ~A ~ .. " t.. b",." ,,-.3:>1<-."'7-.. -:"""_~ ~ ~_... , _~,~;,.,:...Lr.... '::'::::'::?T"'::"?"77'-::~~, '=7"~'~~'-:':t\;~";<.C-~""";:::-'"'".'~',~~~~-;X'" '''''"f:''' _c'g"";-?-~~;-';:"'~:Z:::-cR-"'-r"--=~--:'-z'c'D-G1" -'p ..,_. ~. r 1-- ...... 'If'" 1. Faith of our fa - theISlliv - ing still In spite of dUn-~eon, fire, and sword: 2. Our fa-theIS, chained in pris-ons dark, Were still in heart and conscience free: 3. Faith of our fa - thers! we will love Both friend and foe in all our strife: J .,.. ,.. A-,.. .J'>- "".,6-. Frederick W. Faber. 1'\ L. r r .... 1I :,"-. A-MEN. --<0 (!) <Bob, Q)ur !?eIp. I ~p Our shel-ter from the storm - y blast, And our e - ter - nal home! Snf - fi-cient is Thine arm a-lone, And our de-fense is sure. From ev - er last-ing Thon art God, To end-less years the same. They fiy, for-got-ten, as a dream Dies at the opening day. Be Thou our guide while life shall last,And our e - ter ~ nal home. H.F.Hemy. , I J I , f _, , , , , St. Catherine. L. M. 6[. gaitq of Q)ur jatqer5. I , 172 , , 1 I I f 1 .. I" 1 Faith of our fa-theISt ho -ly faith! We willbe true to thee till deathl Faith of our fathersI ho -ly faith! We will be true to thee till deathl Faith of our fa-thers! ho-ly faith! We will be true to thee till death! A- MEN. ~: '. I ;f:: 13:: ~:(Z:. ;f:: -!'- .... 1'- :.. PJ -!'-.,6-' ~ .... , . ~ -' '-., , :c-. I I l-' I , I 1. Work, for the night is coming,Work thro' the morning hollIS; Work while the dewis 2. Work, for the night is coming,Work thro' the snn-ny noon; Fill brightest hollIS with 3. Work, for the night is coming, Under the snnset skies; While their bright tints are ~ -0- 174 Work, 50r 'f!?e rUS!?f is 6:omins. Annie L Coghill. Work Song_ 7$. 6$. D. Lowell Mason. ~7ff=fl~FTFPId~;?-i :::j-~fE"F*-" sparkling,Work'mid springing fiow'rs;Workwhen the day growsbrighter,Workin the Ia - hor, Rest comes sure and soon_ Give ev-'ry fiy-ing min-nte Something to glowing,Work, for daylight fiies. Work till thelast beam fad-eth, Fad-eth to 1 ~ ~).. _.'~ ~.~~ -~?- -9- ~ ~.~ I William Croft. I I , , Q) <BOCl, Q)ur !?dp. St. Anne. C. M. r r " f r - 1 - - ...".. ~' 'If'" V' ..,.. o how our hearts beat high with joy When-e'erwe hear that glo-rioos word! How sweet would be their children's fate, If they, like them, could die for thee! And preach thee, too, as love knowshow, Bykind-ly words and vir-tnOllS life: I .,.. ,.. A-,.. A.. .,.. .,6-. Isaac Watts. 173 ~ I" --~-.... ... ... .... _ _ 11_ "'CT. 1. 0 God, our help in a - ges past, Our hope for years to come, 2. Un- der the shad- ow of Thy throne Still may we dwell se - cure; 3. Be - fore the hills in or - der stood, Or earth re-ceived her fraroe, 4. Time, like an ev - er - roll- ing stream,Bears all its sons a - way; 5. 0 God, our help in a - ges past, Our hope for years to come; ~~_ I ~~. - I~~ I I I I W-f:; glow - ing sun; Work,for the night is com-ingl Whenman'8 work is done. keep in store: Work,for the night is com-ing,When manworks no more. shine no more;Work while the night is dark'ning,Whenman's work is o'er.. AMEN. I '-'--.,.1 ~.A.\_.I 1_ J 11'_fr-_~ I" II" I M1 ~'" '" I I r I I I , , 1 "t .) I , j I l ' f-' f-' I \.I I " Since .Jcsus ~ame :3nfo my ficarf. c:O~~~.~'O~~g:~~~~:;;. ~W~AD~a.. Chas. H. GabrieL I "--hI $ R. H. McDaniel. JIll I _ -a---.t- :t .......... ,..,.. .... ' .. Q' , 1. What a won-der-folchange in my lifehasbeenwroughtSiDce Je-sus came 2. I have ceased from mywand'ring and go iDg a-stray, Since Je-sus came 3.. I'm pos-sessed of a hop~ that is stead-fast and sure, Since Je-snscame 4. There'salight in the val-ley of death now for me, S"mceJe-snscame 5. I shall go there to dwell in that Cit - y, I know, Since Je-sns came "". ''',,. -/'- ~ 267 J '~ ! 1 266 Win ([qcmSor !1imr Elsie Duncan Yale. ,;;~:::~~~';;,~~'~o~~R~~~~'::;:"i~: J. Lincoln Hall .cI;'S~<d)-~~~-~<>:';~"~F:~~~-~-1,",,. 2 { Just to tell the Savior's ato .. ry, Just to wit-ness for His gIo - ry, There are man-y 1. Speak a word to iriend or neighbor, Joy-ous for the Mas-ter la - bor, Tell- ing of His 2 {Just a. word, the K'mg con-fess-jog, Just to point the path to bless-ing, Some have nev-err There is work that wait your doing, Eagerbaste,yourstrengthrenewing,Serv - ice for the 3 {Just to live aliie so low .. ly, Wit-ness for the King so ho -Iy, Let yonr light so Just a word,His voice o-bey .. ing, Just a word to help the stray-mg, Tell them of a ~ =:: =-=....:-= >-' N I " , l.l 1---1 \.I r WJe- suscamein-to my Ie -sus came in, came ..-1 J,.-.,"i' CHORUS: h J \:.f '>:I ly' & heart! . SiDce - Since -"-1-'1-it--I --- . '" ~ -..-; ti ti:t y"" Since Je-Sllscamein-to my heart, . Floods of joy o'er my my heart~ SinceJe-sus carne in, came in ~to my heart. ... in - to my heart! T ha~e light in my sool for which long I had sought, in - to my heart! And my sins which weremany are all washed a - way, in - to my heart! And no dark clouds of doubt now my patb-way ob -score, in - to my heart! Andthe gates of the Cit - y be - yond I can see, in - to my heart! And I'm hap-py, SO hap -py, as on-ward I go, ,.~ .~ J "" .I .~ .~ .I r heart, in co to .+\""'''' Y Since J e-sus came in-to my ~ I.> I I.> I.> I J1 It - . .... - .................... sool like the sea bi!-low~ roll, Since Je-sus came in-to my heart. '" .1l.Jf '" "" I ~ ~ I f1~ : J, _ 1 ~, -.- ....--' --'k- ,':.., ~I --~, b~~*--FJ ~ :b~-~~~---l( " tell the wondrous sto-ry,and His Jove di .. vine con-fess, and glad-Iy Light that ne'er can ..........-. a '" '" 1"'1 ~... ~ _ ... ... ..... 1 .~~Fii . ~L ~ --c: ~ dim, w.e~:-~(:J1$~~~: ~~2~---\r~ -wait - ing in their doubt and blindness,Win them for HimI } joy di .. vine,Hisloveandkindness, (Omit.........) Wmthem forHimI Dev" erheard the call so ten-der, WmtbemforHimJ} Mas .. teryou candai-Jy ren-der, (Omit ) W"mthem forHimI sbinetbatthosearoundmayknowHim,Wm tbem for HimJ } Sav-iorblest,howmuch weowe Him, (Omit...) Wmthem forHimI '-~~-tt:~i " . ~' .. CHORUS. . I 1 ~~ .~ ~~~~I ~skf=M~~~fffi { Serve Him, la .. bor for 'His gJo~ry, and your wit-ness He will bJess, Serve Him, Serve Him, pointing those around you to the (Omit) .. L d d~~L~~ ~~ l$5~b~L L ffifH-=~-f f--~~:B -----'---'--'---=---'--------~y-:2 f-' tN ;~ I '" .., D.S; - .:=@:E:: ~-r-- :::::: '" y- ~, ,.., know a know.) ;: B-fl "'" Daniel Read. 1786 "* --- IJ" * * I know (1 know,)1 know (l know,) * I' .. ~ Windham The bro&d ana:::narrowwa.y.-h-1s:tt. '1 ~ 12,. U ,., -' 1'1 ..&- ~ ~--r-l X I have an ... oth-er build-mg; I kn:ow(l know,) I 1":" :t:.:t: :f:: -p- _ +- -- ___ -~----;--";t jew - eli rare, Ngt made with- hands. Cap- tain trod, Not made with hands. munp-lrt b1gw, Not made with hands. AI .. mor gown, Not made with hands. .J;. >- Not Made' With tlands .An.' Old Melody An:. ~__~ ,"l!! r.~ No. 229 r.~ No. 230 L Watts 'r. -+= - IV IV ll - T., I .- It But .wia-dom shaVi'"S a oar- row path,With here and there a mv'" el~l. Na - iure mustcQunther gQ1d. but dross, If ahe would gain this hesT'nly hnd. Ie but cs-teemed 301- most a Baint~ And makes his own de- strncwtion. mtte. .fL -fI'- ",,".J' _ ......=I!=---.:F---.-fL ~.J' '" IW 't 1'" '6-j\d '" '" I a~i I'" rEi #:JEi~ "li. - 1. Brosd is the road that ie:l.ds to death,And thousands walk to- geth - ex there, 2. uDe" nJ thy" self and take thy cross," Is the Re-deemwer's great command; 3. The fear fu1 soul that tries and faints,And walks the way of God DO more, ~_ __ t ~ r-r-r-"", D.C: Chorus Atr. by H. F. Morrl19 I , n .~ are pass - ing a ... way; the great judg-ment. . . .. day. '*' .)':'-.P . i--c T~~ Passing Away a - way, We To ---- :15:------ --_.---' Iwm Arise and Go to Jesus - Au. by 11. "F. M.rrl. ,~ Chormo We &Ie pass -. ing r-~~~ Ie ... sus read ... y stands to eave you,Fcll 'of pit ... I, love and 'pow'r. True be ... lief and true Ie'" pent ... ance, Ev - 'ry ~ce that brings JGU nigh. All the fit - ness He Ie - quir .. eth Ie to feel yeur need ef Him. If JOu tar ... ry till you're .bet .. ter, You. will nev ... -er come at all. I !Ii the arms -'of my dear S3.T ... ior, 0 there are ten tb.QUBandcbarms. '- ,.! Ro.227 ll_Andm.ust I b~' to ju~g-mentbro't And an-Iwer in that day, t .2_l YFoesr, eevv ... 'ry vam and 1 - .dle.tho't And ev - 'ry word I 8ay1 w 'ry se - cret of my heart Shall short ... 11 be made known, Sl AHnodw cIare -rfenl- tcheeivne, omuyghtjuIst dteo.- 8beert WFoitrh wahllat trheat- ligI - hiaOvllel fdeoanre,. t Who inch a strict ac - count must give For my bo - hal' - i.r here. 5 ........ ~ ~. ~ ~-::-~ 1-:- ~~_~ -6-. r--=t::::.=, -ed~~'v~ -" _ Co' ..... -- ~. '\. ~r~"~~"--I 1. Come,' ye sin' ~ nets, poor and need, y,Weak:md wCilnnded,sick arid sore; 2. Now, ye need - y, come a.nd welcome; God'l!Ifree boun~ty gle ... Ii ... fyj 3. Let not conscience make you lin ... ger, Nor of fit ... ness fondly dream; 4. Come, ye wea ... ry, heav ... y lad - en, Bruised and mangled by the all; 11~8f=t-=Em~ '-. ,Choo-:' I will a'" rise and go_ to e -. sus, 8 will em-Brace me in His arms; tt , t :; , i f ii>~ i.: I Ii~ It ,Iiit~I, Arr. 1- .. ~ ....- .. .. --Fa- ther and home, J), O.fO'1' CJ7un-us. '-' ...... ;,. ... ~ Back to my Fa - ther and home. and go ~~~I-"::--" ... -------- f' home, Back to my and home, ~. - .... '.--. ---... 1"'\, 11_ a m rise J roiII aris~ ant> <Bo to Jesus. .... Arise. 8.7.8.7.1. 7. I I will CHORUS. G:l1c proM>ai .son. l~ Back to my Fa- ther and 1. Come, ye sin - ners, poor and need-i, Weak and wonnd-ed, sick and sore; 2. Come, ye thirst-y, come. and welcome, God's free bonn-ty glo - ri - fy; 3. Come, ye wea-ry, heav-y - la den, Lost and 11l - ined by the fall; 4. Let not consciencemakeyonlin - ger, :Nor of fit - ness fond-Iy dream; ~ f) ,f) J. Hart. CRo.-1 will a-rise and go to Je - sus, He willem-lJraceme in His arms; 457 * .... ;{ r~' and go; and go; and go; and go; ~.-:"I? ;, , I -, .. Geo. C. Stebbins. , 1 -<r>- r ;{ -I I will a - rise I will a - rise I will a - rise Yet I'll a - rise " I ... 1 , , r * 1 , f I ;, ~----d--~ r f .... ,",",,",-,--,..~"..,...;,.. - , \. - ....-.,,;- G:l1c proN>aI .son. CopyrIght. 1914. By cbS!!. Y. Alexander. Intetnationlll Copyrlxht Secured. Tabernacle Publishing Co. ownor. I I r , , "" , I I .' r f ~ f" ~' ~ I f ~ -F'0;{ Driv - en by hun - ger and filled with fear, When there is shel-ter and food to spare? Vi - sians of home where I used to be,Now all its treasures I've thrown a- way, 456 T. O. Chisholm. , I;; f ~t~';{f ;{f'~f ;{r-;{-r if;{ 1. Out in the wildernesswlldanddrear, Sadly I've wandered for many a year, 2. Whyshon!dI perish in dark de-spair, Here where there's no one to help or care, 3. Sweet are the mem'ries that come to me, Fac-es afloved ones a - gain I see, 4. 0 that I nev - erhadgone a-stray! Life was all radiant with hope one day, " I' r" I'9 t ~ ;0 . J:T--,I M J ~#r J. ~ ~ X;{ Xi;{ ;{r Backward with sorrow my steps to trace, Seek-ing my heav-en-IyFa-ther's face, Deep-Iy re-pent-ing the wrong rye done, Wor-thy no more to be called a son, Others have gone who had wandered,too, They were forgiven, were clothed a-new, Something is saying "Godloves YOll still, Tho' YOll have treated His love so ill," 1 1 I 1 1 ~ - 0 0 &-- 0 0 f ;{ f ;{ I X r ;( F' X i ,~ f~:g:: Will-ing to take bllt a serv-ant's place,-I will a-rise and go,- Hop -ing my Fa- ther His child may own,-I will a-rise and go,- Why sh011ld Ilin-ger, with home in view? I will arise and go,- I must notwaitforthenightgrowschill, I will a-rise and go,- , 1 1 : 0 0 l': ~h -~~ )(~ .- -. . :ci ."" :;; "'. ,"" " - ~ I T"~' ~ ~ .~i-$ h..- Je-sus read-ystandsto saveyon,FoIIof pit - y, loveandpow'r. TIne be -lief and lrlle re-pen-lance,Ev-'ry grace that brings yonmgb. If YOlltar-ry tillyon're bet-ter, Yon willnev - er come at all. All the fit - nessHe re - qnir-eth Is to feel yOlll need of Him. J~#-~ .. .I.}.1 . ~ 11 - I , [11 tile arms of mil dear Sav-fur, Oh, there are ten thousand cMI'1Il$, A . f-' -MEN. ~ -"5'-A h, " , ','- ',' " .x,. '. -"'-. ,., ., .> f--' (l' .-~ .. !lepe.tchon:s soilly ,Rit. .Bit. -+' -el- --r Naught of earth twI:loved can stand, What- 60 ... QV ... er years may bring. Th.t eo rap. id - Iy d cay, Ii to God Yo'C have been true, J~* .l'.. "':;[ -.c ~ . :::J:""lI ....,>:. Hola to God'. ""..hang-illg baed! 1_1' ", ~I1 " ..... ::;;;t: - =+ ~-::L. HQld to GQd's ml.~heng~ing baIldJ -.. Still mQra closa--Iy to Him clillgl They will nev - er paS5 a - wayI Your cu- rap-med soul will view! I ..1"... ~" l r=:- F, J:Z. *, 1 ~ ~~-ill . " - - - I I ....... - --- -. Build. your hQ,eee au tbmgs e ter naIl ,,_,~I' I. Chorml .;.c;c.-:.e;,L-.::;oc~ ..... ... "" 4- 1. Time is filled with. swift tran~sitiou, 2. ~in Him who will notlean you, 3. Co1''' et not thi5world'svainricb.~eeJ 4. When your jour-ney is l:om-plet-ed! I ,,~!l I 'Just.Over In tile alary-Land ~ ~ 1 ... -.-' , _. r ~ ~ . J:d to God'e unchenglng hendl Hold 10 aoo'euncheng!ng handl to His hand, to His hena, No. 141 "old to uod's UnGhanging "and CopyrIght,lllOS. by F. 1. Eilmld, J. W. Gaines and N. W. AllphIn BUandOemtereat owned by I.E,. Thom:ea and 7 .B.Cobb 1e=le1l11son Usedbypermll>lon J'.LBltlmd ... 11 "" I llI. .. ,.. .- - with the might-y hosl I'llstand,Just 0 - Vet in The ilIo:- ry.IaOd. yes, wilh ItJ II t.I l~tiU I' .. l~~' 1t.J - '4 ------.......--.~ Build your hopes on things e .. ter .. naI, If by eartb-Iy friends for-sak .. en, Seek tQ gain-the beav7nly treastlIes, Fair BRa. brigb:t the home in glo .. ryI 1~f't#F.-ttlh " ,- the . the the the .. in the Emmett So.D. ean' . o-ver in 0- vel in o ... Vel' in o-vet in 0" ver -.,--_-.,-.__~.-~ -_.,--.~-----.---------.--c--- ~ in the glo. ry -land, There ". -r r I O1Oms tI Just Over In the Glory-Land COPTriBht. 1906, by Dean!l.D.d Acutr Used by perm1lsion I , ",---. ~ I'll join the hap-py an' gel band, JOBt ,.es. join --- . 0 ~ Tel iIi. the~o .. ry-Iand. Just 0 .. .. vel in the gIo-ry-land. o .. ver, 0 .. vel "1- - _~.-..-.... oat ;;j;l .. 4 .~ gIo -IJ-land; And I long to be by my Sav .. ior's side, Jus&: gIo .. ry 'Oland; There to sing God's praise,and His glo .. ry share, Just gIG .. ry .. land; And with kin .. dred saved,there for" BV'" er be, Just .g10 ry -land; Glad ho- san nae to Christ, the Lord and King, JOBt ~ ... _. J.J ..... 1. I've a bomepre~paredwherethesaints a .. bide, Just 2. I am on mywa~ to thosemnn~sionsfair, Just 3. What a joy ... fu1 tho t, that my'Lord I'D see, Just 4. With the blood-w.ehed throng I will shont and sing, JOBt .~ ~._ .1 . .1 liP I I I II P I , I " .,James W.' Aeu1f . No. 140 II'; t 'i ---- 10 ry-land; Jns! 0 - .et () ,;, Vll, 0" ver :) .', \~-,-!;~--c----:------- ,. "'- FIne ,., +-,,(.~ .... You: may hear from It was built for By some strong deHas been loat wit!3 Of this lin. t. ,,--;:.L1.== 7- .-:- ____1lfI--1II--._ .~~~r=-=- /'l ~ ~-;:=t4-~': -.! :OJ---..~ . -..: '" Al- most an .. 1 time; 'Tis a rey - aI serv-ica, Free for Jm for yon and me; Tberewill be no wait-ing On tbia Or lome base de - sire; Take a - way obstrne-tioU!-God is Tell yon what to do; Pray'r and faith and prom-ise Mend tha Anehored in the son!; Starm. and tri - al ca:;-not Dis-cci:i.- ~.o-.-..;r---.. heaT-en sen.. ice, In - sian Je .. 11UI, glo - ry, 1. Cen-traI's neT-er "bus_ y," AI-ways on the linej 2. There will be no charg-es, Tel- e--phone is free; 3. Fail to get yourans-werl Sa-tan's anmd:yourwire 4. If JOur line m"ground-ed," And con-nec-tion true 5. C..a..r.......n.a..l com .- bi .. na- tiOJl! C.,a...n.- not get con-trol -= Refrain ~..; Ct JJ - .11~------ I II 10m; Built by Je .. sus onhi~h,therewe nev" er shaD die, bl; Hap - py puis. to the King tbru e - tor ni ty sing, o er; All our eer" row 1rill e::ldJ and our TOic .. es will blend, ",:,..., 1.. ~.~~ ~, I I "'1. , h.me 'If the ow.n by lUld trl - &Is are ~ L . D" _e .. lJ 7:T 1. I have heard of a land on the far a-w2.Y strand, 'Tis a beau-ti ... ful .2. In that beau-tifn1 home where we'll De"- er-more roam,We shall be in that 3. When our work hera i3 done and our .l.i.f..e.-.cr.o.w..n..i.s. won,-A..-nd-,o&u-r..t.r.o.ubles.a..n..d. $ ~ . ".o~ ZO l'i1lere-Welll'lever UrowolaNo.21 -The Royill Telephone- ('rom,.f4thQrandmother.-J.C.M.) ............ ,.I'.)(.r... CoPyrlght.l91P~b1F .H.~ I'.K.t.eb.aa ,,0.:11. Cop)'rlgh;l930. byJ... C.Moo,. 1"'0."'",,- F~~b-~4- !' ~==::t:c 1I ..p 'II.., i4' 1'> -., t" I I"" ;;: _ ..... ,; - ..... ; .:..- II~ "rIB a bml when we nev" er grew old. Nov Of grow old, 'Til a land where we neT - er shan die. WIththe Incd oneswhg'ng-oneOD be .. fore, > 1Ihere we'll .,J.. ~'" t7 ~ -~.... -9- fone and alI-When you get in trou-bIe,GiTe this roy - al line a eall. rey al lina- Tel- e-phone 18 glo - ry, Al-W3.P 3.IlS"ITen just in time on the throD.e-Andyon'll get the answer Thru the roy-:u tel- e -phone. brok .. en wire, Till JOTrt soll! is burn.ing,With the Pen-t~- cos- tal :fire. nect the line, Held in constant.,.k..eeping By th!ll Fa.ther'. hand di .. Tiaa ..... '" I c:a.n feel tlle cur-mlt l.> . . Ja sus Th:m this roy .. &I . tel - a .. phoBe. ""~I " ~.. ..-~ D.s~W. Blaytalkt. a;orns Tel e-pbone to 1:1'1. 0 wbat joy lii-lin.1 Nev-ergrow /.; . __ -IJi::i.. """-y. nev- er ~ow old, .h.....a...la..n.d.where we'll nev- er grow ol-d; .' , f-' '0' .,' D.s., .~-' ~~:'-' -'-:c:-:e:-::+e~ mlT-ing en the line; Built by Godthe Fa--therForHislinedandolma -i:f-.:;Q grow old. :m a land wherewe'nnev-ef er~w ...!..Id. ..... .....:..-... .ld, Bel':. ex .here we'D .,.).. - --~':-:~"""7-""'"'""-':'~::-:-":'~:I",-,,", " ' _.~~-=----'~_", ~- '''.' .""~-------,---~-_._~, 17 IV. Conventional Singing "Now this conventional singing---this isn't Sacred Harp singing. I don't know anything much about that," Mr. Banks said. "If you want to know anything much about Sacred Harp singing around here, you almost waited a few years too late." "I've heard 'ern sing it up here at the little church at the end of this road (Hopeful Primitive Baptist Church) and a long time ago at a Primitive Baptist Church down below Fayetteville at Rama," he'said. "Old Mr. Renfroe could have told you a good bit about Sacred Harp. I think he used to sing it." (Mr. John Renfroe was the song leader at New Hope for the years between Mr. Banks' father and Mr. Banks himself.) r The term "conventional singing'; it seem), comes from the fact that there were and still are singing conventions. That is, singers have meetings, sometimes two days long, at churches in the area. These are singing conventions. Mr. Banks explained that t11ere is usually a group, or class, that is the nucleus of the singing convention. For New Hope Church, this has been the West Side Class in College Park. These people meet onee a week to learn the songs in any new conventional hymnals. Then during the summer these people travel around on the weekends to different churches and conduct the afternoon singings. Then, perhaps once a year, there is one big singing convention. Mr. Banks did not mention such an annual convention inthe Fayetteville area, but such conventions are still held in northeast Georgia. Besides the singing class, Mr. Banks told of another way in which the conventional songs were learned and practiced. "About once every two 18 weeks or so, people would meet in somebody' s living room and have a community sing," he said. "This was back when people didn't have anywhere else to go." The paperback hymnals which are compiled for the singing conventions are an interesting mixture of ol~ hymns, simple four=part gospel songs,"and newer gospel songs that seem to have been influenced somewhat by the fugueing songs of the Sacred Harp tradition. To some people the songs in these books might seem almost sacriligious. But, write~s seem to have been using symbols and metaphors that people would understand or remember. One example is "The Royal Telephone" (No. 21 in the Favorite hymnal, see photocopy on page 16). V. Conclusion The singing convention tradition is not a flourishing one and Mr. Ez Banks is well aware of this. Each year fewer and fewer people attend the afternoon singing at New Hope. Of the church's congregation, very few remain after lunch. Almost no young people come to the singing. In 1969 there was nobQdy to play the piano except a member of the congregation who had never played for conventional singing before. There is no new crop of conventional singers. "Some preachers don't like conventional singing and it's the fault of these song leaders. They get up here and just sing so fast that the people in the congregation can't" understand the words. You've got to be able to understand the words. With the singers singing so fast you lose the poetry," he said. "But, if you get up here and read poem after poem, people will get bored and go home. You need harmony too." 19 In all honesty, the introduction to this paper probably describes the first Sunday in September at New Hope Church as it was twenty years ago. The membership of the church has changed. TIle people are more aquainted with other parts of the country and other styles of singing. They aren't folk. Conventional singing as described here by Mr. Banks will probably never again be a part of the activity of New Hope Church. In the fall of 1969 after a disappointing turn-out for the lunch and the afternoon singing, the church voted to organize its own program of music in the afternoon using talent within the church membership and the regular church hymnal. The singing class that once was the heart of the singing will not be the central performers of the program. When the matter of changing the format of the singing came up in the business session ~f the church, the first person to speak in favor of changing from the old method was Mr. Ezra Banks. Although conventional singing is very much a part of Mr. Banks' experiences, his advocating change is consistent with his views. He was not willing to learn only shaped notes that his father taught him; he went to music school to learn more. Mr. Banks was not satisfied with letting the church building remain as it always had been; he was overseer of the remodeling of the building. Mr. Banks could not see letting the afternoon singing just dwindle away; he favored changing it to suit the present membership. Mr. Banks still enjoys conventional singing. Just to watch him sing is to Imow this. But the same thing that Mr. Banks said about Sacred Harp singing also seems applicable to conventional singing on tilis local church level: "You almost waited a few years too late." BOOKS COLLECTED Sunlight Glees, The Tennessee Music and Printing Co., 1904. Favorite Songs and Hymns, Stamps-Baxter Music and Printing Co., 1939. Christian Songs and Choice Hymns, Stamps Quartet Music Company, Inc., 1957. Gospel Light, Stamps-Baxter Music and Printing Co., 1955. Go1de]1 Dreams, Stamps Quartet Music Company, Inc., 1955. Heavenly Highway Hymns, Stamps-Baxter Music and Printing Co., 1956. Golden Bells, The J, M. Henson Music Co., 1948. Special Songs and Anthems, The J. M. Henson Music Co .. ~ r ' ~LEASE;' ny letting us collect your traditions--stories, songs, music, sayings, riddles, or beliefs Qf earlier days--you have made a valuable contribution to preserving and understanding Southern history, and especially the history and way of life of your community. Because you have given unselfishly of your time to do this, the Georgia Folklore Archives, l1hose representatives are dedicated to preserving these traditions, wants to protect your rights to this lnaterial by guaranteeing that it will not be used for unscrupulous commercial profits. ny signing this sheet, you are giving us permission to use this mater~ ial for edUCational purposes so that people who are interested can understand how life was in the old-timey days. Your material will probably not be printed or issued on a record, but if it is, and you don't want your name to be used, say so--we respect your right to privacy. Thank you for the time you have an important part of American life. that you want to send along to us so given to help us record a heritage that is If you remember any more old-timey things that it will always be preserved, l1l:'ite to: ~igned t:: Georgia Folklore Archives c/o Prof. John Burrison Georgia state University 33 Gilmer Street South East Atlanta, Georgia 30303 Address Route 2, New Hope Road, Fayetteville, Georgia 30214 Fayette County For Ga. Fl. Archives: lliviJ ff,\uJttlA 1'1itness Signed F CP:LEASEBy letting us collect your traditions--stories, songs, music, sayings, riddles, or beliefs of earlier days--you have made a valuable contribution to preserving and understanding Southern history, and especially the history and way of life of your community. Because you have given unselfishly of your time to do this, the Georgia Folklore Archives, whose representatives are dedicated to preserving these traditions, wants to protect your rights to this lnaterial by guaranteeing that it will not be used for unscrupulous commercial profits. ny signing this sheet, you are giving us permission to use this material for educational purposes so that people who are interested can understand how life was in the old-timey days. Your material will probably not be printed or issued on a record, but if it is, and you don't lqant your name to be used, say so--we respect your right to privacy. Thank you for the time you have given to help us record a heritage that is an important part of American life. If you remenwer any more old-timey things that you want to send along to us so that it will always be preserved, l~ite to: Georgia Folklore Archives c/o Prof. John Burrison Oeorgia State University 33 Oilmer street south East Atlanta, Georgia 30303 Address c!. Route 2, New Hope Road, Fayetteville, Georgia -:::'+~::.....-'~is:i::.~~==::::::"'_--_"':'-'_'--':"'_---':'~:"---':"";~14 Fayette County For Oa. Flo Archives: IHtness A PDF transcript exists for this recording. Please contact an archivist for access. Professor John Burrison founded the Atlanta Folklore Archive Project in 1967 at Georgia State University. He trained undergraduates and graduate students enrolled in his folklore curriculum to conduct oral history interviews. Students interviewed men, women, and children of various demographics in Georgia and across the southeast on crafts, storytelling, music, religion, rural life, and traditions. As archivists, we acknowledge our role as stewards of information, which places us inaposition to choose how individuals and organizations are represented and described in our archives. We are not neutral, andbias isreflected in our descriptions, whichmay not convey the racist or offensive aspects of collection materialsaccurately.Archivists make mistakes and might use poor judgment.We often re-use language used by the former owners and creators, which provides context but also includes bias and prejudices of the time it was created.Additionally,our work to use reparative languagewhereLibrary of Congress subject termsareinaccurate and obsolete isongoing. Kenan Research Center welcomes feedback and questions regarding our archival descriptions. If you encounter harmful, offensive, or insensitive terminology or description please let us know by emailingreference@atlantahistorycenter.com. Your comments are essential to our work to create inclusive and thoughtful description.