Benjamin Harlan serves as Dean of the School of Church Music at Southwestern Baptist Theological Seminary in Fort Worth, Texas, where he shapes the next generation of church musicians. His compositions and arrangements appear across the catalogs of major publishers, and his work has earned him consistent ASCAP recognition since 1990. Harlan holds degrees from Baylor University (B.M. and M.M.) and a doctorate from SBTS, positioning him as both a scholar and practitioner of sacred music.
Beyond his academic leadership, Harlan brings decades of hands-on experience in church music ministry. His roles have included positions at New Orleans Baptist Theological Seminary and churches throughout Louisiana and Texas, giving him deep insight into what works in rehearsal and worship settings. He is an active member of the American Choral Directors Association and the Southern Baptist Church Music Conference.
Why we love this
Harlan's arrangement taps into the joy and rhythmic vitality of African music while remaining accessible for TTBB ensembles at festival and contest level. The piece moves beyond surface-level multiculturalism to create something that genuinely engages singers with both the text and the musical traditions behind it. Expect strong reactions from audiences who recognize the authenticity woven into every section.
What to expect
The piece radiates joy and spiritual depth. African melodic contours and rhythmic patterns create an energetic, propulsive landscape that feels fresh against the alleluia text, inviting singers and listeners alike into celebratory worship that honors a rich musical tradition.
Who it's for
TTBB choirs preparing for concert, festival, or contest programming who want repertoire that celebrates cultural diversity without sacrificing musical sophistication. Ensembles comfortable with rhythmic independence and willing to explore African musical language will find this arrangement especially rewarding.
How to get the most out of it
Shape the alleluia sections with clear dynamic contrast. The rhythmic energy needs space to breathe, so resist pushing constantly forward; let softer passages reset the listener's attention before building again.
Isolate the African melodic and rhythmic elements in sectional rehearsals. Make sure tenors and basses understand how their parts lock together rhythmically, not just harmonically.
Lean into the textural variety. This isn't a through-composed piece; treat distinct sections almost like separate vignettes, each with its own character and approach to blend.
How to use it
Place this as a centerpiece of a multicultural concert segment, or feature it as a festival piece that demonstrates your ensemble's range. Its accessibility and audience appeal make it equally strong as a Christmas or general sacred concert selection, and it pairs naturally with spirituals or other African diaspora repertoire.
Skills your students will build
Rhythmic independence between voice parts (syncopation and polyrhythm)
Singing in African melodic idiom and ornamentation
Clarity of diction in English text within rhythmically complex settings
Building ensemble awareness across non-traditional harmonic structures
Maintaining energetic focus through repeated alleluia sections
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