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| Slaves carried the memory of many African instruments across the Atlantic. The banjo, spoons, didley-bo and several types of drums all resemble African instruments. Made from a piece of wire nailed to the side of a house, the didley-bo is an early version of the guitar Plucking the wire and sliding a piece of glass or metal along its edge creates various tones and sounds which foreshadowed the "slide" method of guitar playing so prevalent in blues. Despite the array of instruments, the human body provided the majority of the basic rhythmic sounds. People slapped their legs, clapped their hands, shouted, and danced to the beat of the music. |
A picture of a cow bell taken in a praise house on St. Helena Island, South Carolina |
Aside from instruments, structural aspects of spirituals and other forms of African traditions greatly influenced American music. Characteristics incorporated into spirituals and consequently,different forms of American music, consist of call and response, poly-rhythms (multiple rhythms at once), syncopated rhythms (accentuation of the off beats of a song, i.e. beat 2 and 4 instead of beats 1 and 3), and improvisation. The most influential structural tradition, call and response requires an exchange between a leader and the audience or congregation. Involving the audience creates a feeling of community and oneness because they participate in the music's production. |
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Throughout spirituals, gospel, field hollers and blues,
the "call and response" model occurs. Whether it be between
a preacher and his congregation, a bluesman and his guitar, or a caller
and the rest of the field hands, this African tradition continues to thrive.
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An Example of Call and Response singing Leader: Whose side are you leaning on? Congregation: Leaning on the Lords side Leader: Whose side are you leaning on? Congregation: Leaning on the Lords side Leader: I Lean, I Lean, I Lean, I Lean Congregation: Leaning on the Lords side |
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