Steal Away (Steal Away To Jesus): SATB Choral Octavo

Leavitt's treatment honors the spiritual depth of this spiritual while writing SATB parts that sit naturally in the voices. The a cappella texture keeps focus on the text and melody, and the six-page length makes it manageable for concert programming without requiring extended rehearsal time.

This arrangement wraps you in the quiet dignity of the spiritual tradition. There's a conversational quality to the parts, as if different voices are speaking in turn, and the overall effect feels intimate rather than grand.

High school and college choirs seeking a straightforward, effective arrangement of a spiritual that fits concert and sacred contexts. Directors looking for accessible a cappella repertoire that doesn't require accompaniment or complex technical demands will find this particularly useful.

• Pay attention to the shape of the melody in each phrase. This spiritual thrives when singers treat the line as a continuous story rather than isolated measures.
• Balance vocal blend across all four parts. The harmonic movement will resonate more fully if no single voice dominates.
• Let the text inform your phrasing and breathing. The lyrics carry the emotional weight; group your phrases around the words rather than arbitrary bar lines.
• Experiment with a slight ritardando at cadential moments. This gives the arrangement breathing room and emphasizes the spiritual's reflective character.

Pair this with other spirituals or sacred music for a thematic set, or use it as a moment of reflection within a broader concert. At six pages, it works as a standalone selection or as part of a longer program of American choral music.

• A cappella blend and balance in four-part writing
• Text-driven phrasing in spiritual arrangements
• Awareness of harmonic function in traditional sacred music
• Sustained singing with clean attacks and releases