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SPIRITUALS
n All Night, All Day (A Gospel Setting)—
arr. Greg Gilpin. Charged with gospel-style
excitement, this traditional spiritual comes alive
with energy and style. A powerful chorus, hand
claps, a stacked vocal section and a key change
build to a big ending that is sure to please your
singers and audience. Now available in SATB and
SSA voicings!
10685870 SATB. . . . . . . . . . . . . . . . . . . . E 2.10
n Courage, My Soul—Rollo Dilworth. The famous
text of Charles A. Tindley's hymn The Storm Is
Passing Over forms the lyric framework for this
modern concert gospel piece. This powerful
setting is marked by sturdy gospel harmonies,
a confident piano accompaniment, and strong
vocal articulation. "Thanks be to God, the
morning light appears, and the storm is passing
over, hallelujah!" Highly recommended!
10759836 SATB. . . . . . . . . . . . . . . . . . ME 2.25
4t Elijah Rock!—arr. Stacey V. Gibbs. This is a very
modern and vibrant arrangement of the timeless
spiritual which features a spectacular opening
and a rousing ending that will challenge your
singers and electrify the audience. There is some
limited divisi and extended ranges in all parts.
Close a concert with this and a standing ovation
is sure to greet your performance. Premiered at
the ACDA National Conference, 2017.
10775010 SSAA . . . . . . . . . . . . . . . . . MA 2.25
n Ezekiel Saw the Wheel—arr. Mary Lynn
Lightfoot. Complete with handclaps and snaps,
young and developing choirs are certain to
enjoy this playful and engaging arrangement
of the traditional spiritual. "Way in the middle,
in the middle of the air, Ezekiel saw the wheel!"
Featuring echoing voice parts, accessible ranges
and a lively setting, this concert arrangement is a
perfect selection for your next performance!
10708751 Two-Part. . . . . . . . . . . . . . . ME 2.25
n Harriet Tubman—Walter Robinson/arr.
Kathleen McGuire. This superb a cappella
arrangement is an inspiring tribute to the heroism
of Harriet Tubman. Vocal percussion effects,
well-written harmonies, train sounds, and call-
and-response singing work together to create
a wonderful choral tapestry perfect for a district
or festival choir women's feature. "Come on up,
puh, huh, huh, I got a lifeline, come on up to this
train o' mine..."
10737613 SSAA . . . . . . . . . . . . . . . . . . M 2.10
n I Sing Because I'm Happy—arr. Kenneth
Padden/adapt. Rollo Dilworth. Now available
for treble voices! Adapted from the gospel-style
interpretation of the hymn, "His Eye Is on the
Sparrow," originally performed and recorded
by the Georgia Mass Choir, this setting is an
inspirational choice for gospel, church and
concert choirs.
10928292 Two-Part or SA. . . . . . . . . . . M 2.15
4 I'm Gonna Sing When the Spirit Says Sing—
James DesJardins. I'm Gonna Sing When the
Spirit Says Sing combines musical elements of
traditional African music and Protestant church
music. Inspirational and great fun to sing, with
optional claps and hand moves, singers will ride
on the energy and excitement of the driving bass
line in the highly rhythmic piano accompaniment.
10872487 SA . . . . . . . . . . . . . . . . . . . . ME 2.25
n John Saw the Number—arr. Rollo Dilworth. Set
in a spirited gospel swing, this traditional African
American spiritual is paired with When the Saints
Go Marching In in an arrangement with a dynamic
modern feel. With both songs referencing the
chosen "number," souls ascending to heaven,
and the melodies fitting together as partners, this
setting is ideal for developing choral singers and
strengthening their part-singing independence.
10716110 Two-Part or SA. . . . . . . . . . ME 2.10
n Joshua—arr. Rollo A. Dilworth. Opening with a
slow, unaccompanied statement of the refrain,
this dramatic setting of the traditional spiritual
then unfolds in a tremendously exciting way.
Includes optional congas and electric bass.
10605866 SSAA divisi . . . . . . . . . . . . . . . 2.25
t My God Is a Rock—arr. Stacey V. Gibbs. Stacey
Gibbs' setting of My God Is a Rock is dynamic and
challenging while still upholding the authenticity
of the spiritual. Texturally captivating and unique
in its construction, it features two treble trios -
a chance to highlight some of your strongest
singers. Jo-Michael Scheibe Choral Series.
10746396 SATB. . . . . . . . . . . . . . . . . . . .A 2.75
4 Nine Hundred Miles—arr. Rollo Dilworth.
Work songs, railroad songs and songs of travel
are important components of the American folk
song tradition. This attention to historical style
is on full display in this carefully constructed
treble concert work. Labored sections of layered
harmonies and "huh" chants mimic the train
starting to roll down the tracks, while the familiar
melody is stylistically preserved.
10909720 SSA. . . . . . . . . . . . . . . . . . . ME 2.25
n No Ways Tired—arr. Rollo Dilworth. This
traditional spiritual encourages us all to persevere
even in times of challenge and adversity. Set in a
gospel style with call and response and repeated
refrains, this work builds to a climactic chorus
bringing a spirit of empowerment and joyful
celebration to your concert. A dynamic selection
for treble choirs!
10716141 SSAA . . . . . . . . . . . . . . . . . ME 2.10
n Noah—arr. Rollo Dilworth. Based on the two
African-American spirituals Who Built the Ark?
and Hoist the Window, Noah, this dynamic
arrangement gives a creative retelling of the
story of Noah. Unison voices moving to call and
response, vocal and body percussion ostinati, a
gospel piano accompaniment and a persistent
conga beat shape this festival selection for treble
choirs. Highly recommended!
10733466 SSAA . . . . . . . . . . . . . . . . . ME 2.25
n Shut de Do—Randy Stonehill/arr. Greg Gilpin.
This familiar song sounds and feels as if it has
always been a part of the folk song or spiritual
genre. In this a cappella setting, optional
percussion can be utilized to enliven the texture.
Equally appropriate in concert or worship
settings, this wonderful arrangement offers solo
opportunities and creative new melodic material
before the final refrain. A perennial favorite.
10689668 Three-Part Mixed . . . . . . . . ME 2.15
n The Spirit Says Sing! (I'm Gonna Sing - with
- Every Time I Feel the Spirit)—arr. Ruth
Elaine Schram. Developing choirs will love this
fun medley of two traditional spirituals. Rhythmic
and upbeat, the supportive accompaniment
punctuates the rhythms while adding color and
texture. The optional Descant provides an added
opportunity for either a soloist or small group
and seamlessly ties the two tunes together. A
valuable Learning Resource Page is included as
an added bonus.
10906203 Three-Part Mixed . . . . . . . . ME 2.25
n Still I Rise—Rosephanye Powell. "Though I have
been wounded; aching heart, full of pain, still I
rise, yes, still I rise..." With its spiritual-like style,
this original choral arrangement with solo speaks
poignantly of the struggles of African-American
women. Commissioned by the ensemble Vox
Femina, it is still attracting a lot of attention.
10873681 SATB. . . . . . . . . . . . . . . . . . . M 3.25
n There Is a Balm in Gilead—arr. Lee R. Kessel-
man. From the opening solo and duet passage
to the a cappella three-part refrain, this setting of
the beloved African-American spiritual uses many
musical textures along with some nontraditional
harmonic ideas. Sure to touch the heart, inspire,
give hope, and challenge, this arrangement is
perfect for both concerts and festivals.
10872489 SSA. . . . . . . . . . . . . . . . . . . ME 1.95
n Walk in Jerusalem—arr. Rollo Dilworth. Com-
bining the traditional spiritual I Want To Be Ready,
a powerful piano accompaniment, and a gospel
setting, this arrangement allows the singers
to really dig in and sing with the full power of
their voices. Fun and energetic choral parts will
make this a favorite of your singers and your
audience! New voicing for men's choirs! Highly
recommended!
10734817 TTBB. . . . . . . . . . . . . . . . . . . M 2.25
n We Shall Overcome—arr. J. David Moore. A
19th-century spiritual re-consecrated by Pete
Seeger and The Weavers as the best known
anthem for the American Civil Rights movement
of the 1960s. Arranged to be sung on the march,
this version begins with one voice, slowly adds
voices and strength, and concludes with the
audience or congregation joining in. Available in
a variety of a cappella voicings to fit any choir.
10805587 SSAA . . . . . . . . . . . . . . . . . ME 2.50
t Yonder Come Day—arr. Paul John Rudoi. This a
cappella setting of Yonder Come Day was created
for the 2015 Conference of the National Collegiate
Choral Association. Composer Paul John Rudoi's
music stems from a deeply rooted passion for
connecting innate human values and universal
experiences. Paul John Rudoi's music stems from
a deeply rooted passion for connecting innate
human values and universal experiences.
10618575 SATB . . . . . . . . . . . . . . . . . . . . 2.60
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