The music is specially adapted to the chorus-like singing which is produced by the clever and informal carrying of many parts by the singers. The song often requires a single leader, and a swelling chorus of voices take up the refrain. It is but natural that these songs should be suited to protracted services as good "shoutin' songs" or "runnin' speerichils." The same rhythm makes them pleasing to the toilers who are disposed to sing religious songs while they work and promotes a spirit of good fellowship as well as being conducive to general "good feelin'." The united singing of children is also beautiful. Throughout these characteristic songs of the negro, the narrative style, the inconsequential, disjointed statements, the simple thought and the fastidious rhymes are all expressive of the negro's mental operations. All of the negro's church music tends to take into it the qualities of his native expression--strains minor and sad in their general character. The religious "tone" is a part of the song, and both words and music conform to the minor key. The negroes delight in song that gives stress and swell to special words or phrases that for one reason or another have peculiar meanings to them. For the most part, all religious songs are "spirituals" and easily merge into satisfying melodies when occasion demands. With the idea gained from the music of the songs must be joined the church scenes and its personalities freely mingled with the music. The preaching, praying, singing and with it shouting and unity of negro worship--perfection of rhythmic sing-song, these with the throbbing instinct of the people make the negro music what it is. The negroes sing their regular denominational hymns with the same feeling, often, as they do the spirituals, and while mention must be made of their church hymns as such, they often reach in singing them a climax similar to their most fervent outbursts, and freely mingle them with the old songs. In addition to the tune in which the hymn is written the negro puts his own music into the singing, and his own interpretation into the words. This together with the "feeling-attitude" which is unconsciously his, and the satisfaction which he gets from his singing, places negro church music in a class of its own. A glance at the part which singing plays in the negro's church services will aid in the interpretation of his songs.