Originally, spirituals were used as a form of communication between slaves of different or the same plantations. They were inspired by the stories of the Bible; one example they used often was Moses and how he split the Red Sea allowing the Israelites to escape while drowning their pursuers. At heart, spirituals were sacred songs in which slaves called out to God together to escape bondage. The medium of spirituals originally were mainly voices as the slaves learned the melodic and rhythmic components where harmonies and variations were added later. Though as far as instrumentation, clapping of the hands, stomping of the feet, or hitting something to resemble a drum were the main components of the medium as slaves were not given an instrument nor given the opportunity to play one. Though after the abolishment of slaves and when spirituals changed, the medium started to include other instruments as they became more formal. The most notable instrument that was added was the piano, though many spirituals are still sung a capella as they were sung originally.
In terms of what makes a spiritual, there are three categories: Call and Response, Slow and Melodic, and Fast and Rhythmic. Call and response is when a soloist or leader starts a line, and then a choral response answers it; these are generally sung to a fast and rhythmic tempo. Call and response spirituals such as Go Down, Moses reflect the attitude of several praise and worship songs today where they have the intention to inspire those who listen and sing along. Slow and Melodic spirituals contained prolonged and sustained phrasing at slower tempos where dynamics slowly developed over the song. In some cases it would be soft and mournful, reflecting the hardships of the day, though then it would start to crescendo and shift to a louder, and usually brighter feeling giving hope. Then it would slowly decrescendo down back to a soft dynamic of piano. One example of this spiritual is Deep River Last, Fast and Rhythmic were generally spirituals that told stories in a faster, syncopated rhythm. Though fast, these spirituals did not lose their harmonic qualities. This is seen in Witness where occasionally all eight parts would be in unison, then break off on their own creating beautiful chords that are generally heard in Slow and Melodic, but not as prolonged.
The meter of spirituals were generally sung in time of 2/2 or 4/4 during slavery and were generally created on the spot and improvised. As slaves couldn’t write nor read, spirituals weren’t composed by paper but by simple rhythmic melodies copied from various hymns that they have heard. It wasn’t until after slavery was abolished that spirituals started to develop as a more formal musical style where there was more emphasis on harmonies and complex rhythms. Their lyrical content deterred itself from the daily hardships of their struggles in the field and started emphasizing the key points of the message in Biblical stories. Originally, spirituals had the intention of bringing slaves closer together where they could communicate and share their hardships together, and they became songs of praise and worship for several communities as well as a formal style of music where various choirs perform spiritual works.
What is Ska
Ska, depending who you ask, can be explained in many different ways. One person might say it’s rock with horns and trumpets, while another can say that it’s jazz, but happier sounding. Essentially, that is their own interpretation of what ska is based on what they’ve heard; both are correct. Ska originates in Jamaica due to musical influences by the U.S. meshing with the native style. The medium of ska is can be a wide array of instruments, but a general ska band contains a trumpet, horn, guitars, and drums. The original version of ska in the 1960’s contained more acoustic guitars as it stuck to the original style of music, though when ska was introduced into England and it became infused with punk the medium started to shift to electric guitars for two tone ska. Also, for two tone ska the timbre of horns and trumpets were shifted as background ambience rather than playing a lead role. When it progressed to the U.S. the rhythmic components of ska became more complex and horns had more daring and energetic lines.
Ska itself was primarily designed as dance music. It contains a fast upbeat music that focused on the offbeat with infectious melodies. Ska itself contains the randomness of Jazz and the soul of r&b. Its lyrics are primarily secular and contains few, short harmonic phrases due to its fast rhythmic tempo. It was performed everywhere, eventually becoming the national music of Jamaica.
Musical Links
So what are the similarities between Ska and Spirituals?
One similarity expressed between the two is the use of improvisation. In the spiritual, I’m Gonna Sing ‘til the Spirit Moves in my Heart by Moses Hogan the start of the song begins with a solo given to a tenor. There is a written line for the solo in which the line is consistent throughout the song by the soloist. However, since the song is sung in a capella and the soloist starts off the piece, he can choose and improvise the notes on the spot if he chooses to. In the case of Ska, Streets of Gold by the Skatalites is the perfect example of improvisation in Ska. In the song, a guitar plays the background strumming the same line constantly, and a horn takes the main melody in which it is quite repetitive in its melody, however throughout the song variations in the melody are heard when it ascends up the scale and descends down the scale, though the main melody can still be distinguished as the rhythm of the notes is the same.
Another common link between the two is that each can have a fast tempo and rhythmic pace. Hey DJ by Suburban Legends is more of modern version of Ska in which it contains electric guitars and the horns are used in the background but contribute to the melody of the song. The tempo is generally fast and the lyrics are consistently syncopated in quick phrasings. The lyrics and tempo complement each other nicely as they each work together to call the listener to dance. In terms of fast rhythm and tempo Wade in de Water by Allen Koepke starts at a fairly fast tempo and the rhythm of the basses, and altos of the first phrase stay in a consistent syncopated rhythm of eight notes, however the rhythm later changes with the addition of half and quarter notes. Though it is to note that during some instances, all four parts sing the same rhythm and then break off. Overall, Ska and Spirituals share a link of having songs with fast upbeat tempos with consistent rhythm.
A third link between spirituals and ska is, at times, they share the emphasis on the offbeat rather than the upbeat. In general, Ska music has an emphasis on the offbeat as that is the difference between what Shuffle and Ska is; if the medium is not included. Though an emphasis on the offbeat is seen in Wade in de Water. After the canon round in the song, the performers start to snap, though not immediately on the 1st and 3rd beats, but rather on the 2nd and 4th beats. Whereas during the canon, stomping was done on the 1st and 2nd beats. What we see here is a similarity in variation of the beats that contained the punch of the beat. This is very common in Ska songs where the offbeat is generally punched as compared to the upbeat.
Lastly, Ska and Spirituals contain the fact that their music was created on the basis and influences of other musical styles and forms. Spirituals, such as He Never Failed Me Yet by Robert Ray were based on biblical stories in which melodies were taken from hymns, or created on the spot. He Never Failed Me Yet contains allusions to the story of Moses and how he led the Israelites to safety and the portrays the message that God didn’t fail him, and he hasn’t failed me yet. In the case of Ska, its roots are based on Jazz, r&b, and blues. Later during two tone ska, its lyrics became reflective of England’s political and social status based on the artist. One example of this is Madness by One Step Beyond.
Conclusion
Overall, Spirituals and Ska can be quite similar despite that fact that they originated in different
countries, portrayed different messages, spirituals being sacred and ska being secular, different mediums, and as well as different variations of style and form. Spirituals were designed for worship and coping with hardships of slave life whilst Ska was made for dancing and getting down. Both each on the opposite spectrum, what makes them the most similar is their improvisation. Original spirituals thrived on improvisation as they were made up on the spot since slaves couldn’t read nor write, while ska followed elements of jazz where trumpet players could play with the scales. Completely different, but similar in this aspect.
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