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Sign Me Up : with Roll, Jordan, Roll The Andre J. Thomas Choral Series

Sign Me Up with Roll, Jordan, Roll : The Andre J. Thomas Choral Series

Let the Church Roll On

Want to pep up a worship service, or rouse the audience with a super encore? This is the piece to do it. There's some fun levity in this good ol' spiritual, especially the part about the choir singer. You'll have to see the song to know what that's about. Best of all, this arrangement has all of Stacey's stylin' but it's easy, almost all 4-part SATB (only a little soprano divis at the end). For church and school, high school ages and up, easy to medium.

Roll, Jordan, Roll

Stacey Gibbs knows how to arrange a spiritual to yield the maximum audience response. Selected for the Paul Smith Series, the harmonies and rhythmic tosses in this setting are brilliant. The ending builds to a thrilling finish.Great for college, concert, and some outstanding church choirs.

Sign Me Up

Gonna Ride Up in De Chariot

Great Day : A Collection of Solo Spiritual Arrangements for Solo High Voice & Piano

Nine contemporary arrangements for voice and piano. Fix Me, Jesus, I Want Jesus to Walk with Me, My God Is So High, Go Down, Moses, Ride Up in the Chariot, Plenty Good Room, Great Day, Balm in Gilead, Get on Board.

Great Day : A Collection of Solo Spiritual Arrangements for Solo Low Voice & Piano

Nine contemporary arrangements for voice and piano. Fix Me, Jesus, I Want Jesus to Walk with Me, My God Is So High, Go Down, Moses, Ride Up in the Chariot, Plenty Good Room, Great Day, Balm in Gilead, Get on Board.

Hold On!

Stacey Gibbs wants to “bring life” to the spiritual for use in the concert hall. This arrangement confirms why his arrangements are so popular: the rhythms and harmonies are fun to sing and he builds things up to arousing finish. This arrangement for women's voices reminds us to “keep your hand on the plow as you climb higher and higher...just hold on.”

Christus Natus Est

African-American poet Countee Cullen is the text source Rosephanye has chosen to set to music and one understands why when the words are read. The title is used as a litany response, Christ is born today to other words that lift up the downtrodden in stark words without apology. Christ must and will come to his own is how it ends. Rosephanye's music captures a flavor that respects the difficulties of her ethnic heritage. It is a wonderful and powerful statement in so many ways.African-American poet Countee Cullen is the text source Rosephanye has chosen to set to music and one understands why when the words are read. The title is used as a litany response, Christ is born today to other words that lift up the downtrodden in stark words without apology. Christ must and will come to his own is how it ends. Rosephanye's music captures a flavor that respects the difficulties of her ethnic heritage. It is a wonderful and powerful statement in so many ways.African-American poet Countee Cullen is the text source Rosephanye has chosen to set to music and one understands why when the words are read. The title is used as a litany response, Christ is born todayto other words that lift up the downtrodden in stark words without apology. Christ must and will come to his own is how it ends. Rosephanye's music captures a flavor that respects the difficulties of her ethnic heritage. It is a wonderful and powerful statement in so many ways.

Swing Down, Chariot

Heres another outstanding Spiritual arrangement from Stacey Gibbs. Stacey always delivers just what you want to hear plus some delightful surprises that exceed expectations. This one rocks through in 4-parts (with an occasional split) withpersonality and drive. The final section ramps up and offers the exuberant finish that only Stacey can provide. A good school piece for high school, college and community choirs, it will also work well in church. Medium difficulty.

Eternal Hope

Premiered at the ACDA National Convention in 2017 and written for the Bruce Rogers Series, this piece is a first in many ways. Stacey Gibbs, the reigning king of Spiritual arrangements and Richard Burchard, the modern day motet master, have teamed up and produced this remarkable piece that delivers both of their styles, and without compromises. Opening in Latin with Burchard's setting of Romans 18:21, one expects a beautiful and serious anthem. But the next statement comes from Gibbs in a setting of How Long? that turns the corner. Soon thereafter the choir divides in two and both styles are sung together. It is a stunning achievement that works to a glorious conclusion. Greatfor festivals and concerts with advanced high school, college and community choirs. Medium in difficulty.