Singing Sacred Harp in Brooklyn

Those ambling near in Carroll Gardens on a recent Sunday afternoon may have noticed the sounds of a particularly lively chorus, wafting over the intersection of Clinton and Carroll streets. But what they likely heard is not the music of an ordinary vocal ensemble.

Instead of the delicate and precise gestures of conventional sacred choral music, what emanated from the church were massive and full throated voices, undergirded by a powerful, loping pulse; the unmistakable features of “shape note” singing.

Indeed, inside the vast stone church the members of The Joe Beasley Singing group, named for the group's late founder, sang joyously.

Beasley is a monthly meeting of dedicated shape note aficionados who gather to sight-read from The Sacred Harp music book. It is a spirited and, at times, even raucous event. But it is also one steeped in a tradition that, in spite of its domestic origins, is unfamiliar to much of contemporary America. (Many Americans may have briefly encountered Sacred Harp in the 2003 film, Cold Mountain.)

Named for its peculiar notation, shape note music replaces standard, elliptical note heads with triangles, squares and diamonds to aid singers in their reading of unfamiliar material. The music also goes by the name “Sacred Harp,” after the book mentioned above, which is a compendium of southern odes, hymns and anthems that has been in print continuously since 1844.    

But more important than any technical or historical data is the tradition’s non-hierarchical and welcoming ethos.   

“Perhaps the most important reason I love Sacred Harp is that it is participatory based rather than performance based,” says Brenda Pena, current steward and organizer of the group. “You and everybody else are singing only because you and they are wanting and loving to sing. You are not performing or preparing for a performance.”

First-time attendees, especially those with prior choral experience, will be surprised at the way standard musical boundaries are dissolved in Sacred Harp for the sake of egalitarianism. For instance, because everyone who attends sings, there is no division between active performers and passive audience members. Also gone is the distinction between dominant director and submissive choir; everyone is encouraged to stand up, call a number from the hymnbook and conduct the group multiple times during a meeting. Perhaps most beguiling is the way Sacred Harp’s strictly non-judgmental atmosphere even renders the usually sacrosanct notion of pitch correctness utterly irrelevant.  

“Nobody is going to turn and give you a dirty look because you hit a wrong note,” Pena assures. “I have been queried by people who are trying to have or start a singing about how to get rid of someone who can't sing. I tell them, ‘You don't. That is not part of the tradition. Tell the people who can sing to sing louder.’”

In fact, rather than detracting from the music’s overall impact, “wrong notes” breathe vitality and humanity into the chords, said Pena. The resulting timbre is rich and dynamic, anarchic and organic — at times vaguely reminiscent of the sound mass textures of Iannis Xenakis or Krzysztof Penderecki but with an approachable and beautiful southern sensibility.

With several regular events to choose from, New York City boasts a remarkably vibrant Sacred Harp scene. Unfortunately though, as opportunities to sing in Manhattan have multiplied, fewer singers have felt compelled to make the pilgrimage to Carroll Gardens, and attendance at the Joe Beasley Singing — Brooklyn’s only Sacred Harp gathering — has dwindled, said Pena. This is a problem for a musical form whose fun-factor is directly proportional to the number of people and overall decibel production. 

Rather than give up, though, the group is redoubling its recruitment efforts in hopes of boosting numbers both of seasoned singers as well as those brand new to Sacred Harp. Emails are going out to the area Sacred Harp network encouraging people to make the monthly trip, and a committee has been formed to strategize about the event's trajectory going forward.

Already this is showing some results. Fifteen to twenty people were present on a recent Sunday (people usually trickle in and out), compared to around ten in January.

Beginners from all backgrounds will have no problems finding music that resonates with them. As Pena puts it on the Joe Beasley Sing’s official website, “The repertoire is vast: from ancient melodies to traditional folk, gospel, and hymn tunes to the soaring masterworks of Western hymnology. Though most of the song texts are based on religious themes and psalms, traditional ‘fasola’ or ‘shape note’ singings have long served as catalysts for non-sectarian community building, whatever the backgrounds or beliefs of the participants.”

Gabriel Kruis, a local poet who's first Sacred Harp event was the January Joe Beasley sing, was an instant convert. 

"Even though I haven't done much singing for a number of years, it felt good to sing in such a welcoming environment," he said. "The lyrical content in the hymns is some of the best poetry I've encountered in a long time."   

And if interesting tradition, compelling soundscapes, good poetry, diverse subject matter and a friendly, empowering vibe isn’t enough, there’s always tea, treats and good conversation to enjoy during the break.

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The Joe Beasley Singing takes place at St. Paul’s Episcopal Church the second Sunday of every month from 2 p.m. – 5:30 p.m. All are welcome and encouraged to participate regardless of prior musical experience or ability.