there is little or no instruction given, and the white singer in attempting to learn them will make poor work at their mastery; for how is he, poor fellow, to know that it is bad form not to break every law of musical phrasing and notation? What is there to show him that he must make his voice exceedingly nasal and undulating; that around every prominent note he must place a variety of small notes, called "trimmings," and he must sing tones not found in our scale; that he must on no account leave one note until he has the next one well under control? He might be tempted, in the ignorance of his twentieth-century education, to take breath whenever he came to the end of a line or verse! But this he should never do. By some mysterious power, to be learned only from the negro, he should carry over his breath from line to line and from verse to verse, even at the risk of bursting a blood-vessel. He must often drop from a high note to a very low one; he must be very careful to divide many of his monosyllabic words in two syllables, placing a forcible accent on the last one, so that "dead" will be "da—ade," "back" becomes "ba—ack," "chain" becomes "cha—ain."
![{ \time 4/4 \tempo 4 = 84 \key d \major \relative f' { \autoBeamOff fis8 a16\( a\) a8 a fis a a\<\fermata\( b16[\> a,]\!\) | \acciaccatura a8 a'4\fermata a8 a32([ fis16.]) e8 e d a'16^\markup { \smaller \italic accel. } a |
fis8 a a a16\( a\) fis8 a a\<\fermata\( b16[\> a,]\!\) | \acciaccatura a8 a'4\fermata a8 b32[( fis16.]) e8 e d8.[( fis16]) \bar "."
\partial 16 fis16^\markup { \smaller \caps Refrain. } | \acciaccatura fis8 a4 a8. fis16 \times 2/3 { a8[\( cis bes] } a16[ d,]\) r16 fis | b!8. b16 \afterGrace d4\fermata( { fis32[ e d cis b a]) } \afterGrace a8.\fermata( { cis32[ bes a d,]) } d16 r8 fis | a4 a8. fis16 \times 2/3 { a8[\( cis bes] } a16[ d,]\) r16 fis32 fis | \acciaccatura a,8 a'4^\markup { \smaller \italic accel. } a8 a16([ fis32.)] e8 e d4 \bar "||" }
\addlyrics { \set stanza = #"1. " Ma -- ry and Mar -- thy had a cha -- \markup { \italic ain } Walk Jeru -- s'lem jis like Job! An' a eb' -- ry link was a Je -- sus Na -- \markup { \italic ame! } Walk Jeru -- s'lem jis like Job! When I comes ter die __ _ I want ter be __ read -- y; When I comes ter die, __ _ Gwine ter walk Jeru -- s'lem jis like Job! }
\addlyrics { \set stanza = #"2. " I tell you bred -- derin, fur a fac' __ _ Walk Jeru -- s'lem jis like Job! If you ebber leabs de debbil you musn't turn back! _ Walk Jeru -- s'lem jis like Job! }
\addlyrics { \set stanza = #"2. " Some says Pe -- ter and some says Paul __ _ Walk Jeru -- s'lem jis like Job! But dey ain't but one God _ save us all __ _ Walk Jeru -- s'lem jis like Job! }
}](http://upload.wikimedia.org/score/2/6/269nltl4264lmi4hdyiq4t6kjohdtxo/269nltl4.png)
He must also intersperse his singing with peculiar humming sounds—" hum-m-m-m." He will have to learn that the negro never
