Bill Tatnall, Frederica, Georgia, June 1935

GEORGIA MUSIC

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MANY efforts have been made to please the public with a collection of Sacred Music; and none but those who make the effort, know how difficult it is to accomplish this task. The Compiler of this work has spared no labour or pains in trying to accomplish this desirable object, having taught music for the last twenty years, and being necessarily thrown among churches of various denominations, and all the time observing their wants in that of a variety of church music, has in this work endeavoured to supply that deficiency which heretofore existed, by placing all the church music within his reach, in one book. That such a complilation is needed, no person of piety, observation, and taste, will deny. While the churches may be supplied from this work, others have not been forgotten or neglected; a great variety will be found suited to singing-schools, private societies, and family circles; in fact, the Sacred Harp is designed for all classes who sing, or desire to sing. The Compiler has not aimed at greatness or self-aggrandizement, but has desired, in his humble position, to benefit the public in general: and therefore has set out this work in a plain, easy, and familiar style; and having passed the meridian of life, and entirely withdrawn from the business of teaching, is disposed to leave this work as a specimen of his taste, and recommend it to a generous public, praying God that it may answer in full the purposes intended.

Sacred Harp singing is one of the oldest and purest musical traditions in America.  Yet, it has nothing to do with the musical instrument called the harp. These performers use only their voices to sing both religious and non-religious traditional songs.

Sacred Harp singing has existed in America since the eighteenth century.  It started when singing teachers traveled around the country to improve the quality of church music.

The term “Sacred Harp ” refers to a book published in the eighteen forties. It contains more than five hundred songs that are important to the history of Sacred Harp singing. The book is still being published today.

Sacred Harp singers get together at day-long events called “sings”. Groups of men, women and children come together to celebrate in song. The people arrange their chairs in a square and face one another. Then they divide into four groups based on their singing voice. Each group makes up one side of the square. Every person takes a turn choosing a song and leading the group.

But for a few twists of fate, Atlanta could easily have grown to be the recording center that Nashville is today. Pickin' on Peachtree traces Atlanta's emergence in the 1920s as a major force in country recording and radio broadcasting, a position of dominance it enjoyed for some forty years. From the Old Time Fiddlers' Conventions and barn dances through the rise of station WSB and other key radio outlets, Wayne W. Daniel thoroughly documents the consolidation of country music as big business in Atlanta. He also profiles a vast array of performers, radio personalities, and recording moguls who transformed the Peachtree city into the nerve center of early country music.