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00:46:32
00:53:21
00:46:32
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Transcription: [00:46:32]

{SPEAKER name="Mr. Richardson"}
-as we were singing years and years ago. Uh, you take the four part of the "Gospel", as Brother Waters was saying a few minutes ago, about bringing in the fifth man.
[00:46:47]

{SPEAKER name="Mr. Richardson"}
Well, you have the fifth man in the background, and when he get to, you know, like carrying out the songs low,
[00:47:00]

{SPEAKER name="Mr. Richardson"}
and then when they modulate the song, then the leader will sing the fifth voice.
[00:47:09]

{SPEAKER name="Mr. Richardson"}
And that fifth voice, it's taught a little bit higher than the tenor. So, that would bring the five point in this singing as "Jubilee", or whatever.
[00:47:26]

{SPEAKER name="Mr. Richardson"}
Maybe sometimes we might put the fifth voice into a harmony song, but it's so close that you can't hardly hear the fifth man in the background.
[00:47:40]

{SPEAKER name="Mr. Richardson"}
But the leader out is given this. But you know, it's very interesting about singing. Like Brother Hill was saying a few minutes ago; about what his mother was doing.
[00:47:54]

{SPEAKER name="Mr. Richardson"}
What my mother was doing. See, this was a lead role within my life. When I was just three or four years old,
[00:48:04]

{SPEAKER name="Mr. Richardson"}
I used to hear my mother sing hymn songs and all of this. And I said within my heart, "I want to sing like my mother."
[00:48:13]

{SPEAKER name="Mr. Richardson"}
You know, I believe God heard my answer when I asked him that. And so I feel today, that singing is still on a move,
[00:48:24]

{SPEAKER name="Mr. Richardson"}
and we are moving by the hip of our Lord and Savior Jesus Christ. Because I feel without God we can't do nothing. But with God, we can do all things.
[00:48:36]

{SPEAKER name="Mr. Richardson"}
But, I'd like to give you a little bit a "Jubilee". Now we haven't rehearsaled this number, but you can get some idea.
[00:48:47]

{SPEAKER name="Mr. Richardson"}
"Calling Jesus, My Rock".
[00:48:51]

{SPEAKER name="The Fairfield Four"}
[[Singing]]
Well, calling Jesus, my rock, my rock (My rock, my rock, my rock)
Mary's baby (My rock)
Bleeding lamb (My rock)
Well, he never will deny me!
He'll always walk beside me!
Calling Jesus
Oh! My rock
Yes, I'm satisfied!
[00:49:15]

{SPEAKER name="The Fairfield Four"}
[[Singing]]
[[Bass singer's voice like a standing bass being plucked in song]]
Oh, Jesus, oh, Lord (My rock, my rock)
[[Lead singer humming part]] (My rock, my rock)
[[All in harmony]]
Well, he never will deny me
He'll always walk beside me
Oh, Jesus, Satisfied. (Oh, my Lord)
Satisfied (Yes, I'm satisfied)
[00:49:36]

{SPEAKER name="The Fairfield Four"}
[[Singing]]
Oh, Jesus, oh, Lord (My rock, my rock)
[[Some singers humming a part, or using voice differently for their parts]](My rock, my rock)
[[Cross talk]]

{SPEAKER name="Mr. Richardson"}
That's the leader.
[00:49:46]

{SPEAKER name="The Fairfield Four"}
[[Singing]]
Well, he never will deny me
He'll always walk beside me
Calling Jesus. (Oh, my rock)
Satisfied. (Yes, I'm satisfied)
[00:50:00]

[[Clapping]]
[00:50:05]

{SPEAKER name="Mr. Hinson"}
There was a term that Elder Richardson used when he was describing a little bit about "Gospel" early in his statement.
[00:50:13]

{SPEAKER name="Mr. Hinson"}
He used the term, "modulation." What happens when you modulate a song? Something that became a real characteristic feature of "Quartet Gospel".
[00:50:22]

{SPEAKER name="Mr. Hinson"}
Mr. Freeman, could you explain what was meant by "modulation", or as some say, "elevation" in a song, and how that was important to Gospel music?
[00:50:33]

{SPEAKER name="Mr. Freeman"}
Well, if you would start like he started a song off, as on a just a level, we call, "on a level."
[00:50:46]

{SPEAKER name="Mr. Freeman"}
The modulation came in, and all the tune get a little more feeling and a little more spirit into it.
[00:50:52]

{SPEAKER name="Mr. Freeman"}
When he elevated up, then it made everybody, all the other three men in the background, had to move up also.
[00:51:02]

{SPEAKER name="Mr. Freeman"}
So, this a song we just put together, and we call it a modulation. It just gives you a little more punch. You know, it puts in a little more punch into the song.
[00:51:11]

{SPEAKER name="Mr. Freeman"}
It enables us to get into it a little bit more, you know. And it also enables your audience to react.
[00:51:18]

{SPEAKER name="Mr. Freeman"}
If you notice when you first started off, everybody sittin' still, everybody lookin' and listenin'.
[00:51:23]

{SPEAKER name="Mr. Freeman"}
And then we kinda get it up; we get it in gear. It looks like your throwin' some old coals on the fire. And this is where we call it modulation.
[00:51:32]

{SPEAKER name="Mr. Freeman"}
We get into it a little more. Give you a chance to show your stuff.
[00:51:37]

{SPEAKER name="Mr. Hinson"}
So, you start the song off at one level, then unlike the move we heard earlier, where we moved from "Harmony" into "Jubilee" in the one song--
[[Cross talk]]
{SPEAKER name="Mr. Freeman"}
Right.
[00:51:46]

{SPEAKER name="Mr. Hinson"}
--it was a change of tempo, really--
[[Cross talk]]
{SPEAKER name="Mr. Freeman"}
Right.
[00:51:48]

{SPEAKER name="Mr. Hinson"}
--that was the most marked distinction. Here, it's not a change in tempo at all, necessarily.
[[Cross talk]]
{SPEAKER name="Mr. Freeman"}
No.
[00:51:53]

{SPEAKER name="Mr. Hinson"}
What it is is a change in tone, really.
[[Cross talk]]
{SPEAKER name="Mr. Freeman"}
Uh ha. Tone.
[00:51:57]

{SPEAKER name="Mr. Hinson"}
You're raising your voice.
[[Cross talk]]
{SPEAKER name="Mr. Freeman"}
Right.
[00:51:59]

{SPEAKER name="Mr. Hinson"}
The baritone might move up to tenor, bass moves up to baritone, and at that point in the song when leader decides to give that song an extra push,
[00:52:08]

{SPEAKER name="Mr. Hinson"}
to pull that much more energy out, and at the same time to gain that greater degree of freedom of expression.
[00:52:16]

{SPEAKER name="Mr. Freeman"}
True.
[00:52:17]

{SPEAKER name="Mr. Hinson"}
You hit that elevation. And once you've got it to the elevation, as a lot of elevation, you're ready to put your song in drive.
[00:52:24]

{SPEAKER name="Mr. Freeman"}
Right.
[[Cross talk]]
{SPEAKER name="Unknown Speakers"}
Right.
[00:52:25]

{SPEAKER name="Mr. Hinson"}
Could a-- We're running out of time. I want a little time for questions. Maybe we could close, since we talking about "Gospel", to illustrate a piece where that--
[00:52:37]

{SPEAKER name="Mr. Hinson"}
In fact, Mr. Freeman, if you could point out where the elevation occurs in the piece, so we can listen to a piece as it moves into that,
[00:52:46]

{SPEAKER name="Mr. Hinson"}
and see how "Gospel" with the elevation is different from what we were hearing as "Jubilee".
[00:52:50]

{SPEAKER name="Mr. Freeman"}
Right. Reverend, would you start, "Be As You Are", and I'll try to explain elevation part of it. We might need to stand on this one.
[00:52:59]

{SILENCE}
[[Movement across stage to mikes]]
[00:53:09]

{SPEAKER name="Unknown Speaker 1"}
The only thing I can do sittin' down is eatin'.
[00:53:14]

{SPEAKER name="Unknown Speaker 2"}
He sits down a lot, too.

[[Laughing]]
[00:53:16

{SPEAKER name="Mr. Hinson"}
I said you better not ask this man about eating, now.
[00:53:19]

{SPEAKER name="Unknown Speaker 3"}
I tryin' to say he eating a lot.
[00:53:22]