You may bur-y me in the East, You may bur-y me in the West; But I'll hear the trump-et sound In that morn-ing. In that morn-ing, my Lord, How I long to go, For to hear the trump-et sound, In that morn-ing. Another instance is seen in the second section of 'Come Tremble-ing Down,' the first part of which is in C major, turning into A minor with a striking disregard of harmonic convention, and proceeding as follows: [Illustration: Music score] Come trem-ble-ing down, go shout-ing home, Safe in the sweet arms of Je-sus, Come Je-sus, 'Twas just a-bout the break of day, King Je-sus stole my heart a-way, 'Twas just a-bout the break of day, King Je-sus stole my heart a-way. Such examples contain nothing that is imitative. Their disregard for the natural progressions of diatonic melody leave no doubt that the negro possessed, to begin with, a wholly independent sense of tonality, which sense he has in some measure retained or compromised. As an instance of the minor seventh in the major scale take 'A Great Camp Meetin'.' We quote only the last three measures of the first section in order to establish the key: [Illustration: Music score] Don't you get a-weary, Dere's a great camp-meet-in' in de prom-ised land, Gwine to mourn an' neb-ber tire,——— mourn an' neb-ber tire, mourn an' neb-ber tire;— Dere's a great camp-meet-in' in de prom-ised land. And, as a last example of tunes that have little in common with any other kind of folk-song, a melody worthy of the sophistication of an ultra-modern composer, let us add 'O'er the Crossing': [Illustration: Music score] Bendin' knees a achin', Body rack'd wid pain, I wish I was a child of God, I'd git home bime by. Keep prain', I do believe We're a long time waggin' o' de crossin'. Keep prayin', I do believe We'll git home to heaven bime by. There are many, many more.[68] Melodic imagination of a high order would be required to produce consciously such melodies as these. There is in them little that is trivial, nothing that is frivolous. Even the 'rhythmic snap' never sounds cheap in true negro music, as distinct from worthless imitations and so-called popular music--'coon songs' and the like. Note the following as a noble example of its use: [Illustration: Music score]