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“THE AFRO-AMERICAN SYMPHONY IS NOT A TONE PICTURE OF THE “NEW NEGRO.” IT PORTRAYS THAT CLASS OF AMERICAN NEGROES WHO STILL CLING TO THE OLD STANDARDS AND TRADITIONS; THOSE SONS OF THE SOIL WHO DIFFER, BUT LITTLE, IF AT ALL, FROM THEIR FORBEARS OF ANTEBELLUM DAYS. THESE ARE AN HUMBLE PEOPLE. THEIR WANTS ARE FEW AND ARE GENERALLY CHILDLIKE. THEIRS ARE LIVES OF UTTER SIMPLICITY. THEREFORE NO COMPLEX OR ELABORATE SCHEME OF HARMONIZATION WOULD PROVE BEFITTING IN A MUSICAL PICTURE OF THEM. ‘TIS ONLY THE SIMPLER HARMONIES, SUCH AS THOSE EMPLOYED, THAT CAN ACCURATELY PORTRAY THEM. FROM THE HEARTS OF THESE PEOPLE SPRANG BLUES, PLAINTIVE SONGS REMINISCENT OF AFRICAN TRIBAL CHANTS. I DO NOT HESITATE TO ASSERT THAT BLUES ARE MORE PURELY NEGROID IN CHARACTER THAN VERY MANY SPIRITUALS. AND I HAVE EMPLOYED AS THE BASIC THEME OF THE SYMPHONY A MELODY IN THE BLUES STYLE. THIS THEME APPEARS IN EACH MOVEMENT.”

WILLIAM GRANT STILL