Brief History of Gospel Music

Gospel Music came into existence around the latter part of the nineteenth century, first becoming popular in the early 1920s. Unlike the Spiritual, whose origin was in the cotton fields and rural settings of the south, gospel songs came about in the urbanized cities of the north. Chicago is considered to be the birth place of Gospel Music; however, Philadelphia, Pennsylvania, and Memphis, Tennessee were also influential in its conception. The term gospel was given to these songs because many of the texts are connected with the teachings of Jesus and the Christian Church. Gospel songs not only address the Christian doctrine of salvation by grace and the death and resurrection of Christ, but more often, they address common Christian life experiences. Early gospel had little resemblance to the traditional white sacred music. Instead, Gospel Music was basically the sacred counterpart of the city blues except in the lyrics. Many of the early gospel songs were also simply arrangements and adaptations of spirituals.

Gospel Music in its beginning was popular only with a small percentage of blacks. The larger Baptists and Methodist churches did not readily accept this music at first, mainly because of its similarities to blues. Eventually Gospel Music gained popularity, primarily through the efforts of one man – Thomas A. Dorsey (1899-1993). Dorsey is commonly known as the father of the gospel style. In fact, during the 1930s through 1940s, songs in this style were sometimes called "Dorseys." There term "gospel song" was not commonly used until much later and Dorsey is credited with being the first person to use this term. Dorsey was originally a blues performer and composer who later began composing gospel songs while still performed occasionally in the blues and vaudeville circuits. He joined the Pilgrim Baptist Church of Chicago in 1921. This same year the National Baptist Convention met at Pilgrim. While attending the convention, Dorsey heard the late A. W. Nix sing, "I Do, Don't You," a song composed by E. O. Excell. This song was written in the hymn style of Dr. Charles A. Tindley (1865-1933), a composer who greatly influenced Dorsey. However, Tindley's music did not become popular in black churches until after World War I. Dorsey was so impressed by what he heard at the convention that he made the decision to write church music that would inspire others in a similar way. His earlier songs were common revival and tabernacle songs, with little of the emotional feeling that his later songs possessed. His first popular gospel song, "If You See My Savior, Tell Him That You Saw Me," was composed in 1926. In 1932, after the death of his first wife and child, Dorsey wrote "Precious Lord, Take My Hand." This song, along with "Peace In the Valley," (made popular by Elvis Presley) is among the most popular of his more than four hundred gospel songs.

Dorsey played a major role in making Gospel Music popular. He accomplished this by peddling his songs from church to church in Chicago as well as through the Midwest and South. In the beginning he was only allowed to perform his songs at the completion of worship service. Dorsey also formed several touring singing groups and in 1931, along with Theodore Frye, he organized the world's first gospel chorus at the Ebenezer Baptist Church in Chicago. Many of the musicians in these groups became prominent figures in the early development of Gospel Music. Among the musicians who were in these groups or in close association with Dorsey were Sallie Martin, Kenneth Morris, Roberta Martin, and Mahalia Jackson. Roberta Martin's contribution to the development of gospel was her distinctive piano style. Like Sallie Martin, she passed this tradition on through her students. During the mid 1930s a first came about when Dorsey promoted what he called a "battle of song," otherwise known as "cutting contests." This was a competition between the Martins – Roberta and Sallie. The unique thing about this first event is that it was the first time anyone had asked for an entrance fee for a sacred music concert.

Each decade brought along with it new milestones in the spread of gospel. In the late 1930s and 1940s, gospel was taken out of the church and into the secular world. In 1930, a gospel singer known as "Sister" Rosetta accomplished a first by singing in a show of Cab Calloway's at the Cotton Club. She later signed a recording contract with Decca Records and became the first gospel singer to record for a major commercial company. In the 1940s Gospel Music could be heard on the radio. One such broadcast was called the "Gospel Train." The fifties produced the first major all gospel concert in history when Joe Bostic produced the Negro Gospel and Religious Music Festival at Carnegie Hall. This concert featured Mahalia Jackson as soloist. During this decade gospel singers were also beginning to appear on television shows such as the Ed Sullivan Show. The fifties and sixties produced several professional groups who sung in places ranging from churches to concert halls. Among these groups were the Sallie Martin Singers, the Roberta Martin Singers, the Caravans, the Soul Stirrers, the Ward Singers, the Davis Sisters, the Gospel Harmonettes, the Dixie Humming Birds, the Staple Singers, the Pilgrim Travelers, and the Alex Braford Singers. Several blues and popular music artists sprang from these groups such as Dionne Warwick, Sam Cooke, Thelma Houston, Lou Rawls, and other. There were also those who began as gospel solo performers and later switched to popular music, such as Aretha Franklin. However, many gained notoriety while remaining faithful to the gospel genre. Among those are Mahalia Jackson, James Cleveland (a protégé of Roberta Martin), and Shirley Caesar to name a few.

By the 1960s, Gospel Music had gained the respect of all America. It was in this decade that Mahalia Jackson was invited to sing at an inauguration party for President John F. Kennedy. Jackson, because of her universal appeal and publicity, perhaps more than any other single person, helped in bringing Gospel Music to the attention of the world.

Because of the increased popularity of Gospel Music, the 1970s produced what later came to be known as contemporary gospel. This decade introduced such gospel greats as Andraé Crouch, Edwin and Walter Hawkins, Dannibelle Hall, Billy Preston, Sarah Jordan Powell, and Jessie Dixon, to name a few. The nineties placed Gospel Music at an all time high. Through the means of the media and the recording industry, the popularity of gospel has more than escalated both nationally and internationally. The soulful gospel style has been a major influence in the sound of today's pop, jazz, and R & B mediums.

Time will only tell of the new heights in which gospel will reach with the coming of each new decade. And with the developments of the future, Gospel Music will continue to maintain its roots and live on. Whether it's contemporary gospel, or blues gospel, or 50s/60s gospel, or even jazz gospel, there will always be an underlying element that will enable the listener to sit back and say, "Hmm, that's it, that's gospel."
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Sincerely,

Dr. Jefferson

Fireside Chat with the Gospel Pianist



The Gospel Pianist

The pianist plays a vital role in producing the black gospel sound. He or she can either enhance or cripple a service or performance. I wrote my books to provide a reference for both the intermediate and advanced pianists. I have met many keyboard players who were advanced in other idioms such as classical, pop, and jazz, but who had a desire to play the black gospel style. There are also many advanced and intermediate gospel pianists who have a desire to improve their playing and learn more contemporary styles.

Black gospel is not a written idiom in the sense that the written manuscripts are basically guides that give the format of the song (very few gospel songs are written the way they should actually be play). So, for those who were not directly exposed to black gospel music, my books will provide you with a written source of information. For instance, Gospel Music Performance Practice andTechnique Volume 1, can serve as an aid to musicians other than keyboard players.

I feel very fortunate to have come from a church background where the use of a rhythm section was the exception rather than the rule. As a result, the pianists were forced to provide the rhythmic as well as the chordal foundation for the choir and congregation. One of my mentors, Alma Androzzo, (the composer of one of Martin Luther King Jr's favorite songs, "If I Can Help Somebody") influenced me by introducing me to a more classical style of gospel playing. She would fill her hymns and songs with numerous runs and scale passages which always reminded me of musicians from the black holiness churches.  Thus I developed a gospel style which incorporated a strong bass foundation, a rhythmic feel, and the classical technique to draw upon when necessary. This background enables me to easily adapt to the contemporary and constantly developing gospel styles.

Today, churches and gospel choirs use full rhythm sections as the norm. Keyboardists often shuffle between the acoustic piano and various electronic keyboards. Many also have an abundance of musicians to select from. Although the added instrumentation helps to lighten the load of the keyboard play, the piano still stands as the prominent instrument in producing the gospel sound. You also have those occasions where additional musicians are unavailable. During these times the pianists must be able to provide a solid musical foundation for the choir and congregation to stand upon.

Sections of Gospel Music Performance Practice and Technique Volume 1 are perhaps very basic to the advance musician, but these sections provide a foundation in the black gospel style. I have noticed that advanced musicians sometimes have difficulty seeing the basics (or the obvious). I purposely have sections that merely explain the obvious. They are also basic enough to be comprehended by young musicians who have a desire to play for their church choirs or church music department. Other sections have the more advanced musician in mind.

In the past, piano teacher did not have a written guide to teach black gospel. It was instead taught by rote or "by ear." Gospel Music PerformancePractice and Technique Volume 1, provide teachers with a tool which will make their verbal instruction even clearer by offering a visual aspect. Most of the examples are written in the key of C (major or minor) to allow for easy transposition to other keys. Many examples demonstrate root, first, and second inversion. Memorize these chord progressions and practice them in every key.

CDs are also available which will allow you to hear the written examples in a lengthened form. Sections of these CDS will enable you to play along. This is a common method of learning in the black churches. The soloists or the congregation will often begin a song acappella and it will be up to the pianist or organist to catch on and add the necessary fills and embellishments. The CDS are designed to enhance this learning process.

I don't claim that my books cover every aspect of black gospel piano playing, but they will give you a strong foundation to build on. It is up to you, the musician, to build on that foundation.

Finally, I believe that experience is one of the best teachers. The term soul (black) gospel is just that "Soul" gospel. In order for this music to be played correctly it must come from the heart. You can hear the difference in a pianist who plays gospel merely by the book and one who plays by experience. One thing I stress to my students is that it is good to play by the book, and it is also good to be able to play "be ear," but it is best to be able to do both. Once you have learned the basics, gain experience by playing for a small gospel group, or play for a choir or even better, find a church where gospel music is sung and play there. Above all listen, listen until you develop your own unique soul gospel style.

Check us out at: www.jeffersonpresents.com

Sincerely,

Dr. Jefferson

Mrs. Henrietta K'antplayalick

Learn How-To-Play Gospel Music

The DEFINITIVE COLLECTION!

Henrietta K'antplayalick came to Pensacola Publications to fulfill her lifelong dream of playing Gospel Music, but she couldn't play the piano. She found the Jefferson How to Play Gospel Books and because of her great success she helps promote the books nationwide.

Pensacola Publications carries the leading and most comprehensive books on How to Play Gospel Music. The author taught Gospel Music in college and public school for many years and since that time, thousands of others have been able to learn Gospel Music through his books.

Jefferson's first book was published by Pensacola Publications over 20 years ago under the titles, Precious Lord! How to Play Soul Gospel and Precious Lord! How to Play Black Gospel. Today, they are more popular than ever and Dr. Jefferson’s books remain the “definitive collection” on How to Play Gospel Music. One user was quoted as saying, "You haven't even begun your Gospel Music library until you own the Jefferson, How to Play Gospel Music books." 

“It’s really flattering when I see more and more young teachers using the terms and terminology that I coined so many years ago in my first book. It let’s me know that there’s a new generation of musicians that will carry on the rich legacy of Gospel Music.”

Dr. Jefferson’s books are carried by major distributors and book stores all across the country and abroad. His books are available to order at Amazon.com, Barnes and Noble, Borders Books Inc, etc and they are also used by several colleges and universities.

"Gospel Music is a vital part of American History. It is our desire and goal that these books will aid in elevating the spread of gospel music education throughout the world. We believe it will be done," says Pensacola Helene, Author and President of Pensacola Publications.


Dr. Jefferson gives free workshops and clinics on How to Play Gospel Music as well as other subjects. Contact his agent to schedule a clinic in your area.

For more info please check us out at: www.jeffersonpresents.com

Introduction Words from the Author

Taking into consideration that I learned to play gospel music at the same time I began my formal piano training. I decided it would be a good idea to write a book with the same idea in mind, which is, to teach the fundamentals of playing the paino while focusing the student's attention on playing gospel and the blues. In view of the fact that blues and gospel are so closely related, especially in the early development of gospel. I decided to touch upon both genres.

Many people want to play the piano. As a matter of fact, I jokingly say to my colleagues that, "Everybody fantasizes about being a piano player." I don't know anyone who can walk by a piano and resist the temptation to touch those 88's and hear that wonderful sound that only the piano can make, especially if it's in tune. It is my desire to help you fulfill this fantasy. I would also like to remove the fear that says, "I'm just too old to learn how to play the piano." You can do it and at the same time learn the basics of gospel and blues. Let's face reality though - not everyone is going to become a concert pianist or even make a living at playing the paino but then again, it is not everyone's desire to be a concert pianist. The resons for learning to play the paino vary from person to person. Some people only want to be able to play a song they have always loved listening to. Others only want to play a song well enough to impress that certain person in their life and some people just want a quick fix, "I want to play the piano and I want to do it now!" Believe me, I know where you're coming from. A lot of people feel guilty for having these motives and say, "I really should concentrate on my scales and all of the other technical exercises, because that's the way it's supposed to be done." And the guilt sets in. I've known people who have postponed taking piano lessons because they said they didn't have the time or disciplne to take their piano "seriously." Now years have gone by and they regret not taking piano lessons earlier. But who says you have to follow a set pattern of rules in order to play the piano? Who said it's a sin to play songs for fun or songs that you enjoy playing? NO ONE!! Why should you feel guilty for wanting to be able to play only one particular song and that's it? I'm here to tell you to, "drop the guilt and bury the excuses." Whatever your personal reasons are, it's OK.

Am I saying settle for second best? No, I'm saying be for real. When the "moonwalk" first came out I had a fantasy of doing this dance. But because I was grown and everythang I was too embarrassed to ask anyone to show me how to do it. So I signed up for a dance class, not with the intention of becoming a great dancer - or changing professions and trying out for A Chorus Line: I signed up just to learn how to moon-walk. The teacher showed us all of the basics and stretches and all of that stuff, then she finally said, towards the end of the course, "Today we are going to learn how to do some of those dances that all of you have been dreaming about." When she said the moon-walk, I said, "Yeah!" (to myself, of course). I believe if she would have presented this at the beginning of the course she would have lost half of her class, (You, see, I wasn't the only in-the-closet-moon-walker-lover). It was all worth it! I learned how to do a lot of dances besides the moon-walk and other dance techniques that would help me advance further if that was my desire. But let's face it, I'll never be Michael Jackson, or Hammer, or the great Fred Astaire, but I do believe if I wanted it badly enough and worked very  hard, it would be mine for the taking. Therefore, my books were written with ths philosphy in mind; "Although there is no limit to what you can attain, your own personal desire and ambition are all you need to begin, whether it's just to play a simple song or to become a great concert pianist."

It is my desire that (with the help of one of my books) you can learn the basics or the advance techniques of playing the piano. However, you can build on the basics and go further. How accomplished you become as a pianist depends on how much time and effort you choose to devote to your talent. My books are also for those who already play the piano or direct a choir or who simply have the desire to sharpen up their music reading skills. Please feel free to jump into whichever book you desire to start with. I hope my books will assist you in learning a few songs or styles that you've always desired to play. If it is your desire to play more than just a few songs, continue to pursue it - IT"S POSSIBLE! Now, try one of my books, and let's get down to business!!!

Sincerely,
Dr. Jefferson
Check us out at:www.jeffersonpresents.com