Traditional black gospel

What most African Americans would identify today as "gospel" began in the early 20th century. The gospel music that Thomas A. Dorsey, Sallie Martin, Willie Mae Ford Smith and other pioneers popularized had its roots in the blues as well as in the more freewheeling forms of religious devotion of "Sanctified" or "Holiness" churches—sometimes called "holy rollers" by other denominations — who encouraged individual church members to "testify", speaking or singing spontaneously about their faith and experience of the Holy Ghost and "Getting Happy", sometimes while dancing in celebration.[2] In the 1920s Sanctified artists, such as Arizona Dranes, many of whom were also traveling preachers, started making records in a style that melded traditional religious themes with barrelhouse, blues and boogie-woogie techniques and brought jazz instruments, such as drums and horns, into the church.

Thomas Dorsey stretched the boundaries in his day to create great gospel music, choirs, and quartets. Talented vocalists have been singing these songs far beyond Dorsey's expectations.

Dorsey, who had once composed for and played piano behind blues giants Tampa Red, Ma Rainey and Bessie Smith, worked hard to develop this new music, organizing an annual convention for gospel artists, touring with Martin to sell sheet music and gradually overcoming the resistance of more conservative churches to what many of them considered sinful, worldly music. Combining the sixteen bar structure and blues modes and rhythms with religious lyrics, Dorsey's compositions opened up possibilities for innovative singers such as Sister Rosetta Tharpe to apply their very individual talents to his songs, while inspiring church members to "shout" — either to call out catch phrases or to add musical lines of their own in response to the singers.

This looser style affected other Black religious musical styles as well. The most popular groups in the 1930s were male quartets or small groups such as The Golden Gate Quartet, who sang, usually unaccompanied, in jubilee style, mixing careful harmonies, melodious singing, playful syncopation and sophisticated arrangements to produce a fresh, experimental style far removed from the more somber hymn-singing. These groups also absorbed popular sounds from pop groups such as The Mills Brothers and produced songs that mixed conventional religious themes, humor and social and political commentary. They began to show more and more influence from gospel as they incorporated the new music into their repertoire.

In the 1930s gospel music of the civil rights movement was referred to as the Black gospel period because this was the most prosperous era for gospel music. The message of many of the civil rights activists was supported by the message gospel music was putting forth.

The new gospel music composed by Dorsey and others proved very important among quartets, who began turning in a new direction. Groups such as the Dixie Hummingbirds, Pilgrim Travelers, Soul Stirrers, Swan Silvertones, Sensational Nightingales and Five Blind Boys of Mississippi introduced even more stylistic freedom to the close harmonies of jubilee style, adding ad libs and using repeated short phrases in the background to maintain a rhythmic base for the innovations of the lead singers. Melodically, gospel songs from this era were more diatonic and conjunct. As "the spirit leads the vocalist" the melodies would become more chromatic and disjunct, evoking pure spiritual emotion that was congruent with the accompanying body or musicians.[3]

Individual singers also stood out more as jubilee turned to "hard gospel" and as soloists began to shout more and more, often in falsettos anchored by a prominent bass. Quartet singers combined both individual virtuoso performances and innovative harmonic and rhythmic invention—what Ira Tucker Sr. and Paul Owens of the Hummingbirds called "trickeration"—that amplified both the emotional and musical intensity of their songs.

By the 1940s, gospel music had expanded to members of all denominations prompting Black gospel artists to begin tours and becoming full-time musicians. In this venture Sister Rosetta Tharpe became a pioneer, initially selling millions of records with her ability to drive audiences into hysteria by sliding and bending her pitch as well as accompanying herself on steel guitar.[4] In contrast, Mahalia Jackson used her dusky contralto voice to develop her gospel ballads as well as favouring a more joyful approach to singing the gospel. W. Herbert Brewster wrote "Move on Up a Little Higher" Jackson's first hit.

At the same time that quartet groups were reaching their zenith in the 1940s and 1950s, a number of women singers were achieving stardom. Some, such as Mahalia Jackson and Bessie Griffin, were primarily soloists, while others, such as Clara Ward, Albertina Walker, The Caravans, The Davis Sisters and Dorothy Love Coates, sang in small groups. While some groups, such as The Ward Singers, employed the sort of theatrics and daring group dynamics that male quartet groups used, for the most part women gospel singers relied instead on overpowering technique and dramatic personal witness to establish themselves.

Roberta Martin in Chicago stood apart from other women gospel singers in many respects. She led groups that featured both men and women singers, employed an understated style that did not stress individual virtuosity, and sponsored a number of individual artists, such as James Cleveland, who went on to change the face of gospel in the decades that followed.

Gospel started to break way from the traditional church setting, choirs, and just singing hymns. There were more solo artists that emerged during these decades, and during this period marked the end of the heyday of traditional gospel, making way for contemporary gospel.