The publisher of each work is indicated in the Table of Contents. CF = Carl Fischer, and refers to its publication, The Hall Johnson Collection. HL = Hal Leonard and refers to the new digital publication of Hall Johnson Concert Spirituals. As the works in this book represent the best of Johnson’s concert arrangements, virtually all are included in the Repertoire List for the NATS Hall Johnson Spirituals and Song Competition. The annotations will address, to a greater or lesser extent, the following essential considerations, not necessarily in this order:
1. Type of Spiritual
2. Tempo
3. Formal Structure
4. Dynamics
5. Interpretation and Expression
6. Diction
7. Rhythm
8. Breathing and phrasing
9. Accompaniment
It is recommended that the singer read the annotation for a specific work before he begins to study it and thereby be helped to avoid errors of concept and execution and move speedily to a convincing and authentic performance.


ANNOTATIONS OF CONCERT SPIRITUALS

AIN’T GOT TIME TO DIE
A Spiritual of Praise
dedicated to
Robert McFerrin

Robert McFerrin was the first African American male to have a Metropolitan Opera contract and a dear friend of Hall Johnson’s. He was sponsored in recital by the Hall Johnson Choir and sang with the choir on its European Tour in 1951 under the auspices of the United States Department of State.. He made his Metropolitan Opera Debut as Rigoletto. His recording of Hall Johnson’s Concert Spirituals on the LP Deep River and other Classic Negro Spirituals remains a model for others who would sing them. It may be found in most music libraries and I am currently in negotiations with Concord Music to re-release it either on CD or for digital download.

Hall Johnson’s dedication to collecting, preserving and performing the Spiritual included educating singers, choirs, and audiences in the proper performance practice. He frequently included notes in his compositions and arrangements to ensure this. The following instructions appear at the beginning of this work.

“This little song is extremely syncopated, so a moderate tempo – with sharp accents – will give enough speed. The effect should be bustling, but not hurried. In the verses, “clip” the end of each phrase to secure a sharp, clean attack on the next words, “keep” and “ain.’” At the refrain, continue the same breath through the “hook;” (“die, Cause it takes”). Observe the rest after “takes” and make a new attack on “all.” Clip the final “s” of “Jesus” and get a long breath which will carry all the way through “cry out.” Sustain the second syllable of “honor” (nuh). Observe carefully all rests and accents. Neglect of these precautions will result in a loss of crispness which will destroy the intended effect.”

“Ain’t Got Time to Die” is an original Spiritual with words and music by Hall Johnson. It is not an arrangement of an anonymous traditional folk song. Any “arrangement” of this work by another composer is a debasement of Johnson’s original work and intentions. Because people are often unaware of this, a number of cover “arrangements” are purchased and performed that fall far short of the original inspiration. Never purchase an “arrangement” of this work for solo voice or for chorus.

Tempo: h = 84. A moderate 2: While our cultural concept of tempo may have changed a bit since Johnson wrote this piece in the 1940s, the marking of 84 to the half note accurately represents the tempo he conducted the work at when sung by his choir. In the Hall Johnson Collection, I was able to hear a radio performance on a glass transcription disc that was playable only one time before it broke. I felt vindicated as this was the tempo I had always used in solo performance and with my choirs. Recognizing that this is a concert spiritual and despite it being praise music, it is also for an audience as well as for God, serious artists often sing the piece at a slightly faster tempo which increases its excitement and the virtuosity of the piano accompaniment. This is noticeable with a tiny increase of the tempo to 86 for the half note. The classic performance by the great Robert McFerrin uses the slightly faster tempo and I personally heard Hall Johnson criticize him for “taking the piece too fast.” A tempo faster than 86 to the half not is not recommended as the piece becomes hurried and “hectic.” Equally important is the fact that tempos below 84 to the half note (as have been indicated in some of the knock-off choral arrangements) are oxymoronic as they express an opposite feeling to the meaning of the text.

Formal Structure: Structurally, the work is both more extended and more complex than the typical Spiritual. It is in three large sections which function as stanzas, but each section is tri-partite. It might be diagramed:

A1, B1, C1: A2, B2, C2: A3, B3, C3: Coda

Understanding the structure is essential to accurately memorizing the work as there are melodic changes within each of the sections that contribute to the growing excitement of the piece as it approaches its conclusion.