Down in My Soul! Cover Image

Down in My Soul!: 3-Part Mixed Choral Octavo

$2.30 USD
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Down in My Soul! Cover Image
Down in My Soul!: 3-Part Mixed Choral Octavo

Down in My Soul!: 3-Part Mixed Choral Octavo

Words and music by Victor C. Johnson

Item: 00-51573
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Description
The joyful lyrics of Victor's exciting gospel original extol the wonders of music all around. Satisfying sonorities and vocal ranges that lie right in the sweet spot for developing singers make this an excellent selection for school groups. A sturdy piano part alternates between reinforcing voice parts and stylistic riffs. Cued middle notes in the 2-Part/SSA voicing offer optional triadic harmony.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Down in My Soul!: 3-Part Mixed Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081590738
SKU: 00-51573

More about this title

About the Composer: Victor C. Johnson

Victor C. Johnson

Victor C. Johnson brings three decades of choral leadership and composition to every project he creates. Based in Dallas, he has published over 500 choral works, vocal solos, and keyboard pieces while serving as School Choral Editor for Sing!, the educational arm of Choristers Guild. His teaching experience spans from 2000 to 2018 at Ft. Worth Academy of Fine Arts, where he directed multiple ensembles and founded the Singing Girls of Texas and Children's Choir of Texas.

Johnson's ongoing work includes conducting the Dallas Symphony Children's Chorus Mixed Ensemble (grades 9-12), the resident youth choir for the Dallas Symphony Orchestra. He holds memberships in the American Choral Directors Association, American Guild of Organists, Texas Music Educators Association, ASCAP, and several other professional organizations.

Why we love this

Johnson writes with a clear eye toward what works in the rehearsal room: vocal ranges that sit comfortably for developing singers, harmonic textures that reward both sections and soloists, and lyrics that genuinely excite young singers. The gospel style here feels authentic without requiring specialized vocal techniques, making it equally effective at concerts and festivals.

What to expect

Bright and energized, with lyrics that celebrate music itself and a groove that invites movement. The harmonic language feels modern and warm without losing its connection to the gospel tradition, creating a performance that feels both joyful and genuinely felt.

Who it's for

School choirs with developing singers who need accessible yet musically substantial repertoire. The SAB voicing and comfortable vocal ranges make this ideal for middle school, early high school, or community choirs working toward their first gospel piece.

How to get the most out of it

  • Balance the piano part carefully in rehearsals. Let it anchor the harmonies early, then gradually pull back to let the voices stand independently as they gain confidence.
  • Emphasize the rhythmic drive of the gospel idiom through crisp articulation on consonants; this style thrives on rhythmic clarity rather than legato singing.
  • Take advantage of the optional cued middle notes in SAB voicing to create moments of fuller harmony when your second part singers are ready to expand their ranges.
  • Bring out the stylistic riffs in the piano part as a character voice in the arrangement, not just accompaniment; this helps singers lock into the groove.

How to use it

Program this as a standalone concert moment that lifts the energy of a set, or pair it with other gospel or spirituals to create a thematic program block. Its accessibility and uplifting character also make it a strong choice for spring concerts or festival appearances where you want the audience to leave smiling.

Skills your students will build

  • Gospel vocal style and rhythmic interpretation
  • Reading SAB voicing with optional three-part harmony
  • Balancing independence and blend across three voice parts
  • Syncopation and rhythmic precision in gospel idiom
  • Confidence in contemporary choral literature

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