Over 50 Classic Favorites for Voice and Piano Including a Performance CD. By Hall Johnson; Toy Harper. Edited by Julius Willams. Arranged by Hall Johnson. Text: Dwight Strickland; Eugene Thamon Simpson Ed. D.; Hall Johnson; John L. Motley; Langston Hughes; Oscar O. Cozad. For Piano, Voice. Piano/Vocal Score. 208 pages. Published by Carl Fischer

Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, tenor voice

SKU: CF.CM9743IN

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Set of Score and Parts. 44+32+2 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743IN. Published by Carl Fischer Music (CF.CM9743IN).

ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

Choral SATB Choir, Bass Guitar, Percussion, Piano

SKU: CF.CM9743

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. 20 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743. Published by Carl Fischer Music (CF.CM9743).

ISBN 9781491161562. UPC: 680160920211. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

(When the Spirit Says Sing). Arranged by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Sacred; Spiritual. Choral Octavo. 12 pages. Alfred Music #00-48427. Published by Alfred Music

Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2

SKU: CF.CM9742

Composed by Traditional African American Spiritual. Arranged by Kevin Phillip Johnson. 16 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9742. Published by Carl Fischer Music (CF.CM9742).

ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

By Spiritual. Arranged by Adolphus Hailstork. For string trio (violin, viola, cello). Traditional. Score and parts. Standard notation. 24 pages. Duration 9 minutes. Published by Theodore Presser Company

By African-American Spiritual. Arranged by Joseph Jennings. For SATB choir (divisi) (A Cappella). Main Key: E Flat Major. Spiritual, Concert and Sacred. Medium Advanced Adult. Octavo. 24 pages. Duration 6 minutes. Published by Hinshaw Music Inc.

Arranged by Greg Gilpin. Choir Sacred. 2-Part Choir. Choral Octavo. Choral Designs. Sacred; Spiritual. 8 pages. Published by Alfred Music

Arranged by Andrew H. Dabczynski. Orchestra. Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Sacred; Spiritual; Traditional. Grade 1.5. 160 pages. Published by Belwin Music

By African American Spiritual. Arranged by Anne Heider. For Voices: SSAATTBB. Piano reduction. Christmas Sacred. 11 pages. Published by GIA Publications.
Level: medium.

Arranged by Greg Gilpin. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Sacred; Spiritual. Choral Octavo. 12 pages. Alfred Music #00-43372. Published by Alfred Music (AP.43372).

SATB Divisi and Piano, with Opt. Drum Set and Bass Choral (SATB DIVISI)

SKU: HL.1197758

The Jason Max Ferdinand Choral Series. Arranged by John Stoddart. Gentry Publications. Spiritual. Octavo. 20 pages. Gentry Publications #JG2663. Published by Gentry Publications (HL.1197758).

UPC: 196288134886. 6.75x10.5x0.045 inches.

Here's a choral fantasy on the traditional African American spiritual, “Soon I Will Be Done.” The grave Wagnerian opening sets the stage for the fiery main theme of the piece–a triplet feeling motif in the lower piano that continues under each chorus statement of the melody. The choir re-enters in the role of the “orchestra” in the second chorus with a haunting legato counter melody that leads up to the first verse. Each verse should have a Gospel/Stride feel with the choir, particularly the upper voices, switching to a more Gospel sound and rhythmic feel. The A sections should be performed with aggression and angst to contrast the calm legato middle section. That middle section is our musical prayer of hope that, like the sentiment of this Spiritual, will continue to live in our hearts despite the sometimes difficult realities of life.

Arranged by Andy Beck. Choir Sacred. For with Opt. Shaker and Conga (SATB choir). Choral Octavo. Choral Designs. Sacred; Spiritual. 12 pages. Published by Alfred Music

The Music of Rollo Dilworth (Henry Leck Creating Artistry) Series. Arranged by Rollo Dilworth. Festival Choral. Festival, Spiritual, Concert. Octavo. Published by Hal Leonard

By Traditional Spiritual. Arranged by Timothy Paul Banks. (SSAATTBB). This edition: WW1404. Walton Choral. 24 pages. Published by Walton Music.

(Traditional Spiritual). Arranged by Russell L. Robinson. For SATB choir. Octavo. 4 pages. Duration 2 minutes, 50 seconds. Published by Carl Fischer

By African-American Spiritual. Arranged by John Barnard. For Voices: SATB. Piano reduction. Royal School of Church Music Sacred. Level: easy. 3 pages. Published by GIA Publications.

Choral Solo Voices, SSA chorus, piano

SKU: CF.CM9749

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Duration 3 minutes, 25 seconds. Carl Fischer Music #CM9749. Published by Carl Fischer Music (CF.CM9749).

ISBN 9781491162378. UPC: 680160921126. Key: E minor. English. Spiritual.

Choral (ShowTrax CD)

SKU: HL.287160

Arranged by Kirby Shaw. Choral. Concert, Festival, Spiritual. CD. Duration 140 seconds. Published by Hal Leonard (HL.287160).

UPC: 888680902216. 5.0x5.0x0.148 inches.

A new treatment of this traditional African American spiritual is hot and will be a blast for your women to sing. There is room to feature a couple of your best soloists.

Fanfare Band - Grade 2

SKU: BT.CMP-0316-99-020

Composed by Timothy Johnson. Praise and Adoration Series. Hymns & Chorals. Set (Score & Parts). Composed 1999. Curnow Music #CMP 0316-99-020. Published by Curnow Music (BT.CMP-0316-99-020).

Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band.

Fanfare Band - Grade 2

SKU: BT.CMP-0316-99-120

Composed by Timothy Johnson. Praise and Adoration Series. Hymns & Chorals. Score Only. Composed 1999. Curnow Music #CMP 0316-99-120. Published by Curnow Music (BT.CMP-0316-99-120).

Based on the African-American spiritual “Ev’ry Time I Feel the Spirit”, Feel the Spirit captures the essence of the traditional spiritual. These songs were created by African-Americans oppressed by slavery. A deeply religious people, the slaves would use singing as an expression of both their enthusiastic joy and profound sadness. Feel the Spirit enables you to play a great gospel song with your band.