“Go Tell it on the Mountain” is a traditional spiritual song originating from African American culture, specifically in the southeastern area of the United States. For African American slaves in early America, work songs and spirituals were a way of coping with the difficulties of slave life; “work songs dealt...with their daily life, spirituals were inspired by the message of Jesus Christ” (“History: Negro Spirituals”). Even after emancipation, many of these songs, especially the spirituals, persisted in African American churches and social gatherings. “Go Tell it on the Mountain”, like other spirituals, has religious roots, frequently referring to the birth of Christ in the lyrics. “Go Tell it on the Mountain” was sang many years before the lyrics and notes were notated, so different versions exist. (“History: Negro Spirituals”). This score consulted for this analysis was notated by Andre Van Ryckeghem. Additionally, an audio recording by the Gospel Choir of the Cascades was also used.
“Go Tell it on the Mountain” is a choral piece written for four voices (soprano, alto tenor and bass). It is written in 4/4 time and is considered quadruple meter but is rhythmically different from “La Primavera” because it is heavily syncopated throughout and features triplets and other complex rhythms. The melody, carried by the soprano voice, is a combination of conjunct and disjunct motion, with most leaps being of a 3rd or 4th. This version of “Go Tell it on the Mountain” is written in the key of G major and remains in G throughout. It only features two dynamics, forte and mezzo forte (loud and medium loud, respectively), whereas “La Primavera” used only forte and piano. These dynamics, combined with the syncopation, give it a very joyous and celebratory style. Clapping would also traditionally accompany the singing of African-American spirituals, and “Go Tell it on the Mountain” is no exception (Gospel Choir of the Cascades, 2:03).
“Go Tell it on the Mountain” is a choral piece written for four voices (soprano, alto tenor and bass). It is written in 4/4 time and is considered quadruple meter but is rhythmically different from “La Primavera” because it is heavily syncopated throughout and features triplets and other complex rhythms. The melody, carried by the soprano voice, is a combination of conjunct and disjunct motion, with most leaps being of a 3rd or 4th. This version of “Go Tell it on the Mountain” is written in the key of G major and remains in G throughout. It only features two dynamics, forte and mezzo forte (loud and medium loud, respectively), whereas “La Primavera” used only forte and piano. These dynamics, combined with the syncopation, give it a very joyous and celebratory style. Clapping would also traditionally accompany the singing of African-American spirituals, and “Go Tell it on the Mountain” is no exception (Gospel Choir of the Cascades, 2:03).
