Professional Documents
Culture Documents
Composer: Unknown
Instrumentation/Voicing: Unison
Publisher: AFS 349 B1
Analysis:
Description: Spiritual
Background Information:
This is an example of an African-American spiritual. It comes from the time in the United States when
there was slavery in the South. Similar to other songs of this nature, there is much double meaning in the
words that makes reference to freedom and could inform the listener about whether it was safe to proceed
on the Underground Railroad or not. A huge part of our history in the United States, this simple melody
serves as an example of a song that works from both a historical context and in the way it is constructed
which can teach new concepts such as syncopation.
Elements of Music:
Rhythm: The rhythmic elements of this piece also lend to the general feel of previous tension
being resolved as well. The measures that discuss the rain are hurried and seem a bit
more anxious, being sung with syncopated rhythms and eighth and sixteenth notes.
However, there is a stark difference when looking at the first and last measure. Instead
of quick and hurried, this is where the song has its only quarter notes and resolution.
Melody: The phrase structure of this song begins with the first system almost asking the
second system a question, rising in motion and ending on re. This is supported in the
second system where the bottom line goes down in a descending line even below do
before finally landing on do.
Timbre: This song is in unison, reflecting the communal nature common to spirituals.
Texture: Monophonic, as this was a song sung together by a group of people hopeful for
escape from the bondages of slavery.
Expression: Most of the expression of this particular song lies in the rhythmic contrast
listed above referring to the hurried rhythms carrying the anxious feelings of the
rain, yet the answer of the rain not happening anymore being placed on the
strong beats with quarter notes.
Skill Outcome: The students will be able to sing a piece that contains rhythmic complexity through its
examples of syncopation
Strategies:
• The students will clap the rhythm of the words and pat the beat on their laps. Using the strategies that
we have discussed in class on how to do a present, we will notate the song using previous knowledge
and discover a new note; the dotted eighth note
• Teach the song by using call and response
Assessment
• Have students partner up and practice clapping the words together; walk around classroom and observe
if this is being done correctly
Knowledge Outcome: Students will be able to identify the devices in the song that convey the hopeful
tone compared to other songs which are minor
Strategies:
• Teach another spiritual which is written in a minor key
• Discuss what makes this song sound sad, and the other sound happy
• Notate songs on board
Assessment:
• Have students construct melodies using notes discussed from both songs and show difference between
happy and sad tones; i.e. major and minor
Affirmative Outcome: Students will have a basic knowledge of where spirituals come from and why
they were sung
Strategies:
• Ask students if they have heard of the term “spiritual before”
• Explain what the Underground railroad is and the codes that are in the song that carry meaning
• Activity: have students come up with their own words in a song that could mean something else
Assessment:
• Discussion in class
Music Selection:
This piece is a piece that is worth doing quite simply for the amount of history and depth that is found
within it. Although it may only be 8 measures long, there is a lot that can be delved into when looking
into the spiritual genre. It is important to learn about our history, and it certainly a good thing that this can
be learned about through a music classroom as well as other classrooms as well