Let The Trumpet Sound (arr. John Leavitt): 2-Part Choral Octavo
Let The Trumpet Sound (arr. John Leavitt) Sheet Music Preview

Let The Trumpet Sound (arr. John Leavitt): 2-Part Choral Octavo

By NATALIE SLEETH / Arranged by John Leavitt

Item: 35-DS00474360
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Additional Details
Publisher: Hal Leonard
Page Count: 16
SKU: 35-DS00474360

More about this title

About the Composer: NATALIE SLEETH

Natalie Sleeth was a prolific American composer and arranger whose sacred choral music became central to worship services across denominations. Her gift for accessible yet musically substantive writing made her a favorite among church musicians and school choirs seeking repertoire that didn't compromise artistic integrity for ease of performance.

Sleeth's output spanned hymn settings, seasonal works, and concert pieces characterized by clear harmonic language and singable melodic lines. Her arrangements and original compositions continue to appear regularly in festival catalogs and Sunday services, evidence of writing that resonates with both amateur and accomplished musicians.

Why we love this

John Leavitt's arrangement captures the processional energy and jubilant character of the original while scaling it perfectly for developing two-part choirs. The writing sits comfortably in accessible ranges, yet the harmonic support and accompanimental texture keep the piece musically engaging for listeners and singers alike.

What to expect

The opening unfolds with quiet reverence before the text ignites into confident proclamation. Leavitt's arrangement builds momentum without losing clarity, creating the sense of a community finding its voice together in celebration and affirmation.

Who it's for

Two-part choirs of mixed or treble voices seeking substantial Easter or spring programming. This works equally well in school settings and church contexts where singers range from confident to still developing their sight-reading skills.

How to get the most out of it

  • Shape the opening phrase with gentle but deliberate motion; resist the urge to rush the text declaration. Let the words breathe before building momentum into the fuller sections.
  • Balance the two parts so neither overwhelms. In passages where they move in parallel, unified tone matters more than perfect blend; give singers permission to sing with full voice.
  • If using the accompaniment, establish a secure pulse in rehearsal first. Many directors find running through unaccompanied sections strengthens rhythmic independence before adding the keyboard part.

How to use it

Position this as the anchor for a spring or Easter service where you want more than a single choral moment. Pair it with a brief instrumental prelude or follow it with congregational participation to extend the impact. The piece also serves well as the closer in a concert format where you want to leave the audience with energy and hope.

Skills your students will build

  • Singing sustained phrases across phrase boundaries without loss of support
  • Maintaining independent lines while listening to partner voices
  • Text expression and diction at a faster tempo
  • Harmonic awareness through parallel and independent motion
  • Building dynamic shape over longer structural sections

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