Greg- I seem to be the only mudcat with a copy. I will help with scans, but all would be a lot of work.
----------------------------------
Richie- all arrangements of the spirituals are "suspect." An 'authority' such as George Pullen Johnson is 'suspect' for applying that epithet to the work of others, including Mr. Ballanta, with his background in the music of western Africa, and his work in the field on Saint Helena Island.

Spirituals, especially in the islands off the South Carolina and Georgia shores, were handed down by word of mouth or from "ear to ear." As a result there are variations in notes and emphasis among the regions.

There is no way that written notation can reproduce the swing, or the harmonies, of the spirituals as they were sung in the small churches or under the sky. I am not enough of a musician to get into discussions of flatted sevenths, etc. nor do I think such discussion belongs here. Anyone interested in the relation of African to slave to school-mission-taught music will find much in Krehbiel and later authorities.

As frozen in sheet music, the spirituals became 'standardized'.
Much of the early notation, e. g., songs of the Fisk Jubilee Singers, were arranged by musicians trained in the Western traditions; the arrangements reflect that training. Moreover, verses were revised and taught and sometimes added to better suit their tastes and beliefs.