His Eye Is On the Sparrow: SATBB, a cappella Choral Octavo
Music by Charles H. Gabriel, words by Civilla D. Martin / arr. Ben Bram
Item: 00-PO-0005665
$2.10
Minimum order quantity: 20 copies
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Description
Originally created for the L.A. Choral Lab, this moving arrangement features a soloist supported by colorful, full, well-written harmonies.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0005665
More about this title
About the Composer: Charles H. Gabriel
Charles H. Gabriel (1856-1932) was a prolific American composer and music publisher who shaped the sound of American gospel and sacred music at the turn of the twentieth century. His gift for melody and his understanding of congregational singing made his works staples in churches across denominations; "His Eye Is on the Sparrow" remains one of his most enduring compositions, combining accessibility with genuine emotional depth.
Gabriel's influence extended beyond the church through his work as a publisher and editor, positions that allowed him to champion new voices in American sacred music. His melodies have proven remarkably durable, continuing to inspire arrangements and recordings nearly a century after his death.
Why we love this
Ben Bram's arrangement respects the lyrical integrity of Gabriel's original while reimagining it for contemporary voices. The addition of a baritone part and the sophisticated harmonic textures create opportunities for choirs to balance soloistic vulnerability with ensemble fullness, making this ideal for programs that need both showcase moments and rich choral color.
What to expect
The piece radiates quiet confidence and consolation. Gabriel's melody is direct and singable, but Bram's harmonies deepen it with color and complexity, creating moments of brightness and shadow that reflect the lyrical reassurance of the text. There is tenderness in the accompaniment and strength in the fullness of the voicing.
Who it's for
This arrangement serves choirs with intermediate to advanced singers who can handle independent voice parts while maintaining blend and balance. It works equally well for groups seeking a spiritually grounded piece for worship or concert settings and for singers who want to feature a strong soloist within a supportive ensemble framework.
How to get the most out of it
- Allow the opening soloist space to breathe and shape the melody with natural phrasing; the supporting voices should maintain gentle restraint until the texture builds.
- Balance the lower voices carefully in the SATBB voicing. The baritone line often carries important harmonic content, so ensure it projects without overwhelming the soprano soloist.
- Shape dynamic changes gradually rather than with sudden shifts, letting the harmonic progression naturally guide the emotional arc of the piece.
- Blend vowels across the parts during sustained harmonies; a cappella singing exposes unmatched tone color, so vocal unity is essential.
How to use it
This works beautifully in a sacred or spirituals-focused concert section, where its earnest faith and strong melody can anchor a thematic program. It also serves as an excellent choice for ceremonies, memorial services, or any event calling for music that is both accessible and emotionally resonant.
Skills your students will build
- Blending and balancing independent voice parts in a cappella texture
- Sustaining harmonic awareness while supporting a solo line
- Shaping longer phrases with dynamic shape and breath control
- Singing SATBB voicing with proper part independence