Testimony
(2019)

Charlton Singleton
(b. 1971)

Composed for
50 For The Future:
The Kronos Learning
Repertoire

Artist Statement

“Growing up in the church (my father is now a retired African Methodist Episcopal Church pastor) I was surrounded by Praise in many forms, but especially through music. Some of the things that I experienced frequently were special programs, aside from the regular Morning Worship on Sundays: Choir Anniversaries, Usher Anniversaries, and ‘Singings.’ It was normal to be in attendance of these programs from the early afternoon into the night. As a young musician growing up around many other musicians, I naturally observed and took in a lot. One of the things that I recognized later in my life, reflecting back on my childhood musical experiences, was the level of musicality from some of the ‘ordinary’ parishioners in church. I recalled that they almost always had incredible harmonies that weren’t necessarily the norm, as well as incredible timing with regards to rhythm. Those two traits made musical experiences at church pretty awesome.

“At a lot of the ‘Singings,’ where there would be choirs and other vocal ensembles from area churches, I would frequently see a Prayer Band. This is not an ordinary band. This band is usually three to four people who have their voices, their hands, and their feet to create music. The Prayer Band usually has the responsibility of getting the congregation prepared for worship. Today, it is simply known as the Praise and Worship Band or Ensemble, and they usually have a rhythm section backing them.

“Here is how the Prayer Band would operate: There is someone that usually ‘raises up’ (or starts singing) a song. It may be a song that is familiar to everyone or it may not be familiar at all. If it is unfamiliar, then it’s usually pretty easy for everyone to catch on quickly. At the beginning of these songs, there could be a prayer or chant where the rest of the members are humming or moaning. At the conclusion of the prayer or chant, the person leading it will start a faster song, which then leads to a lot of ‘praise and worship’ in the congregation. At the conclusion of their song, there will be another member of the Prayer Band that takes over, and the whole process is repeated.

“Testimony is written from the Prayer Band experience, and from specific rhythms in African American churches and communities—the ‘Gullah Clap’ (on beats two, two-and, and four) and the ‘Half Clap’ (on beat one only).”

Charlton Singleton