[music]

TENNESSEE FIELD CALLS OR RESPONSES

[music]

If one looks at Number 1 under the Tennessee calls or responses, there is nothing to indicate especially that it was ever other than the whole as it is here written. But when he looks at Number 2 under Tennessee calls or responses he is struck with the remarkable fact that it changes right in the midst from the rhythm of the 9/8 measure to that of the 6/8 measure. Now if there be any one characteristic which is constant in Negro music it is that the rhythm remains the same throughout a given production. In a very, very few long Negro productions I have known an occasional change in the time, but _never_ in a musical production consisting of a few measures. The only reasonable explanation to be offered for the break in the time of Number 2, as a Negro production, is that it was originally a "call" and "response"; the "call" being in a 9/8 measure and the "response" being in a 6/8 measure. Here then we have "call" and "sponse." It would look as if the Negroes in Tennessee had combined the "calls" and "sponses" into one and had used them as a whole. When we accept this view all the differences, between the Alabama and Tennessee productions, before mentioned are accounted for. Then looking again at Number 1 under Tennessee calls or responses, one sees that it would conveniently divide right in the middle to make a "call"

and "sponse." Now look at Number 3 under Tennessee calls. It was usually cried off with the syllable _ah_ and would easily divide in the middle.

I remember this "call" very distinctly from my childhood because the men giving it placed the thumb upon the larynx and made it vibrate longitudinally while uttering the cry. The thumb thus used produced a peculiar screeching and rattling tone that hardly sounded human. But the words "I want a piece of hoecake, etc.," as recorded under the "call,"

were often rhymed off in song with it. Thus we trace the form of "call"

and "sponse" from the friendly musical greeting between laborers at a distance to the place of the formation of a crude Rhyme to go with it. I would have the reader notice that these words finally supplied were in "call" and "sponse" form. The idea is that one individual says: "I want a piece of hoecake, I want a piece o' bread," and another chimes in by way of response: "Well, I'se so tired and hongry dat I'se almos' dead."

"Ole Billie Bawlie" found as Number 4 was a little song which was used to deride men who had little ability musically to intonate "calls" and "sponses." The name "Bawlie" was applied to emphasize that the individual bawled instead of sounding pleasant notes. It is of interest to us because it is a mixture of Rhyme and Field "call" and completes the connecting links along the line of Evolution between the "call" and "sponse" and the Rhyme.

Wherever one thing is derived from another by process of Evolution, there is the well known biological law that there ought to be every grade of connecting link between the original and the last evolved product. The law holds good here in our Rhymes. If this last statement holds good then the law must be universal. May we be permitted to digress enough to show that the law is universal because, though it is a law whose biological phase has been long recognized, not much attention has been paid to it in other fields.

It holds good in the world of inanimate matter. There are three general cla.s.ses of chemical compounds: Acids, bases, and salts. But along with these three general cla.s.ses are found all kinds of connecting links: Acid salts, basic salts, hydroxy acids, etc.

It holds good in the animal and plant worlds. Looking at the ancestors of the horse in geological history we find that the first kind of horse to appear upon the earth was the ohippus. He had four toes on the hind foot and three on the front one. Through a long period of development, the present day one-toed horse descended from this many-toed primitive horse. There is certainty of the line of descent of the horse because all the connecting links have been discovered in fossil form, between the primitive horse and the present day horse.

Plants in like manner show all kinds of connecting links.

The law holds sway in the world of language; and that is the world with which we are concerned here. The state of Louisiana once belonged to the French; now it belongs to an English-speaking people. If one goes among the Creoles in Louisiana he will find a very few who speak almost Parisian French and very poor English. Then he will find a very large number who speak a pure English and a very poor French. Between these cla.s.ses he will find those speaking all grades of French and English.

These last mentioned are the connecting links, and the connecting links bespeak a line of evolution where those of French descent are gradually pa.s.sing over to a cla.s.s which will finally speak the English language exclusively.

Now let us turn our attention again directly to the discussion of the evolution of Negro Folk Rhymes. One can judge whether or not he has discovered the correct line of descent of the Rhymes by seeing whether or not he has all the connecting links requisite to the line of evolution. I think it must be agreed that I have given every type of connecting link between common Field "calls" and "sponses," and incipient crude Negro Rhymes. They set the mold for the other general Negro Rhymes not hitherto discussed.

If the reader will be kind enough to apply the test of connecting links to the Play and other Rhymes already discussed, he will find that the reactions will indicate that we have traced their correct lines of origin and descent.

The spirit of "call" and "sponse" hovers ghost-like over the very thought of many Negro Rhymes. In "Jaybird," the first two lines of each stanza are a call in thought, while the last two lines are a "sponse" in thought to it. The same is true of "He Is My Horse," "Stand Back, Black Man," "Bob-White's Song," "Promises of Freedom," "The Town and the Country Bird," and many others.

Then "call" and "sponse" looms up in the midst in thought between stanza and stanza in many Rhymes. Good examples are found in "The Great Owl's Song," "Sheep and Goat," "The Snail's Reply," "Let's Marry--Courtship,"

"Shoo! Shoo!" "When I Go to Marry," and many others.

"Call" and "sponse" even runs, at least in one case, between whole Rhymes. "I Wouldn't Marry a Black Girl" as a "call" has for its "sponse": "I Wouldn't Marry a Yellow or a White Negro Girl." The Rhyme "I'd Rather Be a Negro Than a Poor White Man" is a "sponse" to an imaginary "call" that the Negro is inferior by nature.

After some consideration, as compiler of the Negro Rhymes, I thought I ought to say something of their rhyming system, but before doing this I want to consider for a little the general structure of a stanza in Negro Rhymes.

Of course there is no law, but the number of lines in a stanza of English poetry is commonly a multiple of two. The large majority of Negro Rhymes follows this same rule, but, even in case of these, the lines are so unsymmetrical that they make but the faintest approach to the commonly accepted standards. Then there are Rhymes with stanzas of three lines and there are those with five, six, and seven lines. This is because the imaginary music measure is the unit of measurement instead of feet, and the stanzas are all right so long as they run in consonance with the laws governing music measures and rhythm. In a tune like "Old Hundred" commonly used in churches as a Doxology, there are four divisions in the music corresponding with the four lines of the stanza.

Each division is called, in music, a Phrase. Two of these Phrases make a Phrase Group and two Phrase Groups make a Period. Now when one moves musically through a Phrase Group his sense of rhythm is partially satisfied and when he has moved through a Period the sense of Rhythm is entirely satisfied.

When one reads the three line stanzas of Negro Folk Rhymes he pa.s.ses through a music Period and thus the stanza satisfies in its rhythm.

Example:

"Bridle up er rat, Saddle up er cat, An' han' me down my big straw hat."

Here the first two lines are a Phrase each and const.i.tute together a Phrase Group. The third line is made up of two Phrases, or a Phrase Group in itself. Thus this third line along with the first two makes a Music Period and the whole satisfies our rhythmic sense though the lines are apparently odd. In all Negro Rhymes, however odd in number and however ragged may seem the lines, the music Phrases and Periods are there in such symmetry as to satisfy our sense of rhythm.

I now turn attention to the rhyming of the lines in Negro verse. The ordinary systems of rhyming as set forth by our best authors will take in most Negro Rhymes. Most of them are Adjacent and Interwoven Rhymes.

There are five systems of rhyming commonly used in the white man's poetry but the Negro Rhyme has nine systems. Here again we find a parallelism, as in case of music scales, etc. Five in each system are the same. The ordinary commonly accepted systems are:

a Where the adjacent lines rhyme by twos. We a call it "Adjacent rhymes" or a "Couplet."

a b Where the alternating lines rhyme we a call it "Alternate" or "Interwoven Rhyme."

b

a Where lines 1 and 4, and 2 and 3 rhyme b respectively with each other. This is called b "Close Rhyme."

a

a Where in a stanza of four lines, lines 2 and b 4 only rhyme. This is sometimes also called c "Alternate Rhyme."

b

a a Where in a stanza of four lines 1, 2 and 4 b rhyme. This is called "Interrupted Rhyme."

a

I now beg to offer a system of cla.s.sification in rhyming which will include all Negro Rhymes. I shall insert the ordinary names in parenthesis along with the new names wherever the system coincides with the ordinary system for white men's Rhymes. The only reason for not using the old names exclusively in these places is that nomenclature should be kept consistent in any proposed cla.s.sification, so far as that is possible.

In cla.s.sifying the rhyming of the lines or verses I have borrowed terms from the gem world, partly because the Negro hails from Africa, a land of gems; and partly because the verses bear whatever beauty there might have been in his crude crystalized thoughts in the dark days of his enslavement.

I present herewith the outline and follow it with explanations:

_Cla.s.s_ _Systems_

I Rhythmic Solitaire (a) Rhythmic measured lines

II Rhymed Doublet (a) Regular (Adjacent Rhyme) (b) Divided (Includes Close Rhyme) (c) Supplemented

III Rhyming Doublet (a) Regular (Includes Alternate Rhyme) (b) Inverted (Close Rhyme)

IV Rhymed Cl.u.s.ter (a) Regular (b) Divided (Interrupted Rhyme) (c) Supplemented

_I a._ Rhythmic Solitaire, Rhythmic measured lines. In many Rhymes there is a rhythmic line dropped in here and there that doesn't rhyme with any other line. They are rhythmic like the other lines and serve equally to fill out the music Phrases and Periods. These are the Rhythmic Solitaires and because of their solitaire nature it follows that there is only one system. Examples are found in the first line of each stanza of "Likes and Dislikes"; in the second line of each stanza of "Old Aunt Kate;" in lines five and six of each stanza of "I'll Wear Me a Cotton Dress," in lines three and four of the "Sweet Pinks Kissing Song," etc.

The Rhythmic Solitaires do not seem to have been largely used by Negroes for whole compositions. Only one whole Rhyme in our collection is written with Rhythmic Solitaires. That Rhyme is: "Song to the Runaway Slave." This Rhyme is made up of blank verse as measured by the white man's standard.

_II a._ The Regular Rhymed Doublet. This is the same as our common Adjacent Rhyme. There are large numbers of Negro Rhymes which belong to this system. The "Jaybird" is a good example.

_II b._ The Divided Rhymed Doublet. It includes Close Rhyme and there are many of this system. In ordinary Close Rhyme one set of rhyming lines (two in number) is separated by two intervening lines, but this "Rhyming Couplet" in Negro Rhymes may be separated by three lines as in "Bought Me a Wife," where the divided doublet consists of lines 3 and 7.

Then the Divided Rhymed Doublet may be separated by only one line, as in "Good-by, Wife," where the Doublet is found in lines 5 and 7.

_II c._ The Supplemented Rhymed Doublet. It is ill.u.s.trated by "Juba"

found in our collection. The words "Juba! Juba!" found following the second line of each stanza, are the supplement. I shall take up the explanation of Supplemented Rhyme later, since the explanation goes with all Supplemented Rhyme and not with the Doublet only. I consider the Supplement one of the things peculiarly characteristic of Negro Rhyme.

The following stanza ill.u.s.trates such a Supplemented Doublet:

"Juba jump! Juba sing!

Juba cut dat Pidgeon's Wing! Juba! Juba!"

Representing such a rhyming by letters we have

(a (a-x

_III._ The Rhyming Doublet. It is generally made up of two consecutive lines not rhyming with each other but so constructed that one of the lines will rhyme with one line of another Doublet similarly constructed and found in the same stanza.