Goin To The Holy City: Choral Instrumental Pak
Arranged by Joseph Martin
Item: 35-PK00252264
$65.00
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Description
Beginning with the languid strains of a stunning low voice solo, and incorporating the traditional spiritual, "City Called Heaven," this compelling anthem is a mixture of styles. The stately opening surrenders to a jazzy theme that is contagious in its "vibe" using the words almost as a rhythm instrument. The solo returns with choral backup, and the anthem ends with soulful exclamations celebrating the hope of heaven.
Now available in three voicing options! Duration: ca. 3:14.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00252264
More about this title
About the Arranger: Joseph Martin
Joseph Martin is a prolific choral composer and arranger whose catalog spans sacred, secular, and seasonal repertoire across multiple voicing options. His arrangements are known for honoring traditional sources while making them accessible to ensembles of varying skill levels, and his gift for blending musical styles has made his work a staple in school and church choirs across the country.
Why we love this
Martin captures something essential here: the spiritual's emotional depth never gets buried under the jazz inflection, and the solo-plus-ensemble structure gives your singers a clear dramatic arc to inhabit. The three voicing options mean you can program this regardless of your choir's makeup, which makes it genuinely flexible for mixed, women's, or men's ensembles.
What to expect
The piece opens with introspection and longing, almost meditative in its restraint. Then something shifts: the energy lifts, the pulse becomes playful and infectious, and suddenly you're celebrating rather than yearning. That emotional journey from contemplation to joy gives the anthem its memorable character and makes it feel like something worth rehearsing.
Who it's for
Choirs seeking a contemporary take on traditional spirituals that doesn't require advanced harmonic reading or complex rhythmic vocabulary. This works especially well for groups with a strong soloist and an ensemble comfortable with stylistic flexibility between hymnic and jazz-influenced sections.
How to get the most out of it
- Balance the opening solo generously against the ensemble. This is the moment that sets the emotional foundation, so let it breathe and land clearly before the texture thickens.
- Approach the jazzy section with rhythmic precision rather than swing looseness. The words functioning as rhythm instruments means diction and articulation drive the groove, not a laid-back feel.
- Shape the return to the solo with a sense of arrival. The contrast between the energized ensemble section and this quieter moment will feel earned and resonate more powerfully.
- The final exclamations need genuine conviction. Treat them as celebrations rooted in the spiritual's theology, not just rhythmic punctuation at the end.
How to use it
Save this for a concert where you can pair it with other spirituals or contemporary sacred works to create a thematic set. Its 3-minute-plus length and tonal journey also make it a strong closer for a first half or a graceful transition between contrasting program sections.
Skills your students will build
- Stylistic flexibility between hymnic solemnity and jazz-influenced ensemble writing
- Solo support and choral backup coordination
- Using text and diction as rhythmic elements in syncopated passages
- Maintaining emotional continuity across contrasting musical sections