• Book
    H. T. Burleigh (1866-1949) Biography. Simpson, Anne Key. "Hard Trials: The Life and Music of Harry T. Burleigh." Composers of North America, no. 8. Metuchen, New Jersey: Scarecrow Press, 1990.
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    " Balm in Gilead" by Harry Thacker Burleigh Article. The text of this spiritual was inspired by the biblical passage: "Is there no balm in Gilead; is there no physician there? Why then is not the health of the daughter of my people recovered?" (Jeremiah 8:22). Burleigh's setting alternates three nearly identical repetitions of the refrain with two verses. The refrain features a B-flat pedal tone in the piano accompaniment underlying a ...
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    "De Gospel Train ('Git on bo'd lit'l children')" by Harry Thacker Burleigh Article. Burleigh's setting is an upbeat, highly rhythmic work with several harmonic surprises. His TTBB arrangement is punctuated by inspired moments of train imagery, most notably in the "chu chuck-a, chu chuck-a" sound effects of the second verse and the tenors' falsetto "toot, toot." The tenors sing a perfect fourth, F-sharp–B, against a tonic B-flat-major chord.
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    " Deep River" by Harry Thacker Burleigh Article. The SSA version of Deep River was arranged by Nathaniel Clifford Page (1866-1956), a composer who frequently created choral arrangements of Burleigh's works for publisher G. Ricordi. The arrangement retains Burleigh's original melody and piano accompaniment. As the tune is shared by the lower two voices, it is embellished with occasional sixteenth notes, imitating an improvised style. Harmonies are simple diatonic triads with ...
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    " Dig My Grave," one of "Two Negro Spirituals" by Harry Thacker Burleigh Article. The text and melody of Dig My Grave were taken from Bahama Songs and Stories by Charles L. Edwards. The opening is appropriately somber, marked Grave, and set for four-part men's voices: "Dig my grave long and narrow! Make my coffin long and strong!" At the tempo change to Andante cantabile, the women sing in parallel sixths while the men sustain an open-fifth ...
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    " He Met Her in a Meadow" by Harry Thacker Burleigh Article. Burleigh's He Met Her in a Meadow was first published for solo male voice in 1921. G. Ricordi & Co., New York, published versions for mixed chorus, men's chorus, and women's chorus in 1922. Burleigh wrote the song's lyrics about a young farmer's late-evening flirtation. The musical setting is melodramatic and sentimental, foreshadowed in the tempo direction, Andante con molto sentimento. The ostensible ...
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    " Nobody Knows de Trouble I've Seen" by Harry Thacker Burleigh Article. The SSA version of the spiritual was arranged by Nathaniel Clifford Page (1866-1956) and published simultaneously with the version for solo voice. Burleigh alternates quietly intense refrains with declamatory forte verses. Page cleverly moves the melody between the top two voices and gives the alto a bit of contrapuntal interest at the beginning each verse. Burleigh's startling augmented harmony on the word "seen" ...
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    " Sometimes I Feel Like a Motherless Child" by Harry Thacker Burleigh Article. The alto carries the stately melody accompanied by a mournful, falling motive in the two soprano lines on the word "oh." The top-voiced harmonization is creative, and the melodic writing is vocally demanding. The work climaxes on a high, five-part divisi chord at the penultimate statement of the text, "A long way from home." The work ends pp in augmented note values on ...
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    " Southern Lullaby" by Harry Thacker Burleigh Article. The unaccompanied work opens with the chorus providing a homophonic, hummed accompaniment to the solo soprano melody, "De night am long an' de col' win' roar, Yo' Pappy he doan come hom no mo', sleep li'l' chile, go sleep." Burleigh uses seventh chords and a greater degree of chromaticism than that found in his spiritual settings, e.g., at "An' do he hear yo' ...
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    " Swing Low, Sweet Chariot" by Harry Thacker Burleigh Article. The SATB version of Burleigh's solo setting was arranged by Nathaniel Clifford Page (1866-1956). The piano accompaniment uses a repetitive, falling-chord figure throughout to create the "swing low" aural imagery. Page departs from the usual homophonic, chordal texture to introduce a brief imitation between the soprano and tenor on the second phrase of the spiritual. At the end of the opening refrain, Burleigh ...
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    " Weepin' Mary" by Harry Thacker Burleigh Article. Burleigh's setting is austere in its unvaried, quarter-note/half-note rhythm. His harmonic inventiveness is, therefore, all the more telling against such a simple backdrop. After setting the first phrase in diatonic triads in F minor, he repeats that phrase with subtle chromaticisms and one bold progression on "Call upon your Jesus, an' He'll draw near." On the word "Jesus," Burleigh moves from an F-minor ...