others similar to them were referred to as sanctified sects.
The differences in the music which developed in those black churches following the conventions of the mother churches and those of the sanctified sects were significant. The most striking of the differences were associated with the way in which the music was performed. The musical conventions of the so called invisible church of the slaves were incorporated into musical performance in the sanctified churches. The character istics of such musical performance included hand clapping, foot stomping, call and response, rhythmic complexity, persistent beat, melodic improvisation, heterophonic textures, percussive accompaniments, and ring shouts. The evolution of black gospel music within the context of the sanctified churches brought the introduction of long meter hymns (very slow tempo), shape note singing (lead note singing with instrumental accompaniment, and, eventually, the use of instrumental ensembles (piano, melodeon, guitar, saxophone, trombone, violin, drums, or tambourines, or any combination thereo
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