"And suddenly appeared with the angel a multitude of heavenly host praising God..." The text of this gospel original is inspired by the famous passage from the Gospel of Luke in which the angels appear,
Freshly arranged, this a cappella setting of the well-known spiritual presents a rhythmic harmonization in an upbeat texture that will appeal to better choirs. The integrity of the spiritual is upheld,
This driving arrangement mashes up two iconic melodies: Give Me Oil in My Lamp and Swing Low. Written for SAB choir, this work is accessible while still being meaningful and fun to sing,
This setting of the familiar spiritual Soon I Will Be Done is a complete rethinking of the presentation of this traditional work. While other settings exist, none treat the source material with
This work song portrays the conditions in which African Americans found themselves living and working during the post-Civil War reconstruction. This incredibly dynamic work for tenor-bass choir is written
This is an incredibly dynamic newly-composed spiritual with a rhythmic drive that is true to the spiritual and gospel style. This would make a fantastic concert closer for any performance.
This setting builds from melancholy reflection to an outpouring of joy, with tempo changes, solo fragments, a little divisi, and some rhythmic diversity along the way. Some extended vocal lines, with quite
This classic and timeless arrangement is smooth, flowing, and richly harmonized, offering a chance for an outstanding mezzo-soprano soloist to shine.
"What will I do with the portion given to me? I will sing." This fantastic work, written in a gospel style with an ecumenical text that challenges each of us to make the most of the lives we've been given,
A thoughtful and simply constructed arrangement of this well-known spiritual that highlights the historical integrity of the song. A sense of urgency is apparent through the build-up of textures and
This third movement from Averitt's collection of American shape note folk songs and hymns is Let Me Go. Presented in an a cappella setting that retains the style and traditional open harmonic
Roland Carter's arrangement is the absolute standard for this classic anthem of the civil rights movement, which has also become known as the unofficial Black American National Anthem. James Weldon
"Over my head I hear music in the air, there must be a God somewhere." The traditional spiritual is a mix of hopeful lyrics about the future, despite our current afflictions. This setting brings an exciting
From two very important composers of our time, the lyrics in this monumental work challenge ideas of racism and discrimination, while the music combines jazz and traditional choral techniques. No
This setting of the classic American folk hymn begins with a piano introduction leading to a solo voice singing the first verse in a traditional way. Then as the choir enters, more modern, rhythmic ideas
The fourth and final movement from Averitt's collection of American shape note folk songs and hymns. This setting is presented with a festival style four hand piano accompaniment that establishes a fast and
An extended introduction hints at the excitement to come with melodic fragments and original material that erupt into a rhythmic and driving setting of this well-loved Spiritual. Fun to sing, with
This fantastic stylized arrangement of This Little Light of Mine will appeal to many levels of treble choruses. Singable and skillfully arranged, this setting is fun, exciting, and captures the
This arrangement of Travelin' Shoes is a driving and unique interpretation. Excellent vocal construction makes for vocal lines that are fun to sing and highly achievable. This will be a dramatic
Trouble the Water combines three well-loved spirituals - Wade in the Water; I Wanna Die Easy and Didn't My Lord Deliver Daniel? - to create an incredibly effective and dynamic
This setting of We Shall Overcome, a key anthem of the civil rights movement is both dynamic and well crafted. Great attention has been paid to the construction of the vocals, which throughout the work act
Were You There? is a meditation for baritone and chorus written for American baritone Charles Wesley Evans. The piano accompaniment is a transcription of an improvisation by Patrick Dupre Quigley.
The second movement from Averitt's collection of four American shape note folk songs and hymns. This upbeat rendition of the American folk hymn features a dynamic four hand piano accompaniment that sets a