Get on Board This Train: 2-Part Choral Octavo

Besig has a gift for combining traditional spirituals in ways that feel fresh without losing their roots. The layering of "Get On Board, Little Children" with "This Train" gives singers a genuine sense of discovery as melodies interact, and the spoken rhythmic section adds theatrical energy that engages performers and audiences alike. This is the kind of piece that reminds students why they love singing in the first place.

The piece captures the propulsive energy and hope of the traditional "Gospel train" imagery, with melodies that feel both familiar and exciting. There is joy in the rhythmic momentum, dignity in the spiritual texts, and a theatrical spark from the movement and spoken elements that make this feel like a celebration rather than a concert piece.

This octavo works beautifully for middle school and high school choirs seeking accessible 2-part repertoire with spiritual substance. It also serves church choirs and community ensembles looking for music that combines singability with meaningful programming impact.

• Commit fully to the speech choir section's rhythm and unison. The "Clickety clack" needs crisp articulation and precise ensemble timing to create the sound of wheels on track.
• Let the traditional melodies breathe naturally. These spirituals carry weight and spiritual depth, so resist the urge to rush even when the energy builds.
• Explore the choreography and movement possibilities early in rehearsal. The piece's special features include staging suggestions that can transform it from a concert piece into a fully realized performance event.
• Use the SoundTrax recording as a reference for stylistic interpretation and accompaniment texture, then encourage singers to trust their own ensemble sound.

Program this as a concert highlight or festival piece where you want to showcase ensemble versatility and energy. Its accessible 2-part writing and strong emotional arc make it ideal for spring concerts, family performance nights, or any program that needs a piece connecting traditional African American sacred music to contemporary student singers. The movement and staging options also make it a natural choice for educational performances or school assemblies.

• Singing spirituals with authentic style and historical awareness
• Coordinating spoken text with sung melody in a partner song structure
• Blending two traditional melodies and understanding how they interact harmonically
• Movement and staging integration with vocal performance
• Ensemble rhythmic precision in the speech choir section