It's a Highway to Heaven Cover Image

It's a Highway to Heaven: SATB Choral Octavo

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It's a Highway to Heaven Cover Image

It's a Highway to Heaven: SATB Choral Octavo

Words and music by Thomas A. Dorsey / arr. Robert Sterling

Item: 00-CHM05039

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Description
Thomas A. Dorsey has given us a rich musical tradition with an exceptional array of classic gospel songs. Here Robert Sterling has captured that true gospel sound and brings the song alive with rich choral excitement. It's true gospel music at its best!

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, It's a Highway to Heaven: SATB 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 Archive Edition: Belwin Sacred Choral Series
Publisher: Alfred Music
Page Count: 12
UPC: 654979095132
SKU: 00-CHM05039

More about this title

About the Composer: Thomas A. Dorsey

Thomas A. Dorsey (1899-1993) fundamentally shaped American gospel music. Born in Atlanta, he began as a blues pianist before a spiritual awakening redirected his gifts toward sacred music. He composed hundreds of gospel songs that became standards of the genre, blending jazz harmonies, blues sensibilities, and deep faith into works that moved congregations and concert halls alike. His influence on twentieth-century American music education and worship cannot be overstated; his songs remain central to choral repertoire across denominations and performance contexts.

Dorsey's genius lay in making sophisticated harmony accessible and emotionally direct. He understood how to write for singers of varying abilities while never compromising the integrity of the gospel tradition. His melodies stick in memory; his chord progressions honor both classical training and vernacular music. For choral directors, Dorsey's work offers a gateway into authentic gospel expression grounded in genuine musical substance.

Why we love this

Robert Sterling's arrangement captures the warmth and drive of Dorsey's original without overwhelming young or developing singers. The four-part writing sits comfortably for SATB choirs while preserving the rhythmic energy and harmonic richness that make this a true gospel piece, not a diluted approximation. Programming this teaches your singers what gospel actually sounds and feels like.

What to expect

Warmth, conviction, and forward motion. The piece radiates the spiritual certainty at its core while inviting singers to participate fully in that message rather than simply observing it. You'll hear the influence of blues and jazz in the harmonies, yet everything serves the clarity and directness of the gospel form.

Who it's for

This octavo works for treble or mixed choirs at intermediate level who are ready to engage with authentic gospel idiom. Directors seeking to expand beyond standard hymnal arrangements and students encountering the gospel tradition for the first time will find both musical substance and genuine accessibility here.

How to get the most out of it

  • Keep the pulse anchored in the rhythm section and soloists; gospel's power comes from communal groove, not metronomic precision. Let the accompanying parts breathe around the melody.
  • Shape the phrasing with the text's natural speech rhythm rather than forcing even articulation. Gospel melody follows emotional contour.
  • Encourage singers to feel the harmonic movement and to hear their own line in relation to the fuller chord; this builds ear training and ownership of the arrangement.

How to use it

Pair this with other Dorsey compositions or gospel standards to create a choral segment that honors the genre's depth. It also serves well in interfaith settings, community concerts, or celebratory occasions where joy and spiritual affirmation belong. The 12-page length makes it substantial enough to anchor a program section without dominating rehearsal time.

Skills your students will build

  • Gospel harmonic vocabulary and voicing awareness
  • Rhythmic independence and syncopation within ensemble texture
  • Phrasing shaped by text meaning rather than regular measures
  • Listening across parts to hear tertian harmony in context
  • Stylistic authenticity in sacred music from the African American tradition

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