CITATION — REFERENCE ENTRY
origins-shape-note · smith1965-introduction-bluegrass
- Citation
- smith1965-introduction-bluegrass
- Claim ID
- origins-shape-note
- Assertion
- Smith traces bluegrass part singing to shape-note polyphony, filtered through earlier stages of hillbilly music and also influenced by African American gospel performers. Bill Monroe learned shape-note polyphony at local singing-school gatherings, and in the 1930s sang a high tenor over his brother Charlie's lead; the early Blue Grass Boys' vocal sound was defined by high harmony singing with Monroe on tenor above Lester Flatt.
- Quote
Part singing derives from shape-note polyphony filtered through earlier stages of hillbilly music, and has also been influenced by Negro gospel performers. ... he learned shape-note polyphony at local singing-school gatherings. ... the high, tense vocal quality he achieved singing tenor over his brother's lead. ... The salient feature of the vocal sound of the early band was the high harmony singing, with Monroe on the tenor above Flatt.
- Quote language
- en
- Locator
- page: 250-252
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