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The Gospel Train: SA Choral Book

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The Gospel Train Cover Image

The Gospel Train: SA Choral Book

A Gospel Medley and Classic Spiritual

Arr. Alexander L'Estrange

Item: 12-0571523668

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Description
Gospel music is a vibrant fusion of African folk music and European hymns. Rooted in the spiritual (the creation of African-Americans in the 19th century), the joy of gospel music has had a profound influence on 20th century 'pop' music. The Gospel Train is a medley of three best-loved gospel songs that would be perfect as a concert opener or encore. The laid-back swing of 'Go Down, Moses' is contrasted by 'Oh Happy Day!' (used in the Whoopi Goldberg film Sister Act) and concludes with the unstoppable finale 'Ain't No Mountain High Enough'. The spiritual 'Standing in the Need of Prayer' is a simple meditative melody with a pleasing, repetitive chord sequence.

If you are looking for straightforward and rewarding repertoire for your beginner choir, then you need look no further than Choral Basics the perfect series for singers of all ages.

The simple 3-part choral arrangements for soprano, alto and a combined part for men's voices make the series perfect for choirs with a dearth of males or whose male singers have unstable or changing voices. The rich array of repertoire is bound to be a hit with younger singers and the technical abilities of choirs at this level have been taken into consideration. Straightforward and idiomatic piano accompaniments have been included and are designed to support the vocal lines, without putting pressure on staff with less developed keyboard skills.

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Additional Details
Series: Faber Edition: Choral Basics
Publisher: Faber Music
ISBN10: 0-571-52366-8
ISBN13: 978-0-571-52366-5
UPC: 9780571523665
SKU: 12-0571523668
Instrumentation: with Piano

More about this title

About the Arranger: Alexander L'Estrange

Alexander L'Estrange is a British arranger and composer with a gift for making accessible choral music that doesn't sacrifice musicality. His work across the Choral Basics series demonstrates deep understanding of what young singers need: clear vocal lines, supportive accompaniments, and repertoire that excites rather than exhausts them.

Why we love this

L'Estrange threads together three iconic gospel songs with genuine respect for their character while keeping the vocal writing clean and achievable. The contrast between the meditative opening and the energetic finale gives your singers real interpretive material to sink their teeth into, making this feel like a substantial concert moment even at the beginner level.

What to expect

The music radiates warmth and accessibility. You move from introspection in the opening spiritual through jubilant celebration, with the piano accompaniment framing each moment without overwhelming the singers. This is music that feels rewarding to sing, not just to hear.

Who it's for

Beginning and developing choirs with treble and lower voice parts who want repertoire that sounds joyful and full without demanding advanced technique. This works equally well for youth choirs, community singers, and school ensembles looking for music that connects to their students' world.

How to get the most out of it

  • Shape the rhythm section in 'Go Down, Moses' with a relaxed, walking pulse rather than metronomic precision; let the swing feel naturally conversational.
  • Bring out the celebratory warmth in 'Oh Happy Day!' by encouraging your sopranos and altos to sing with genuine brightness without pushing for volume.
  • Use the final section's momentum to propel singers through 'Ain't No Mountain High Enough'; this is where their confidence should be most audible.

How to use it

Open a concert with energy and cultural substance, or use as an encore that leaves audiences smiling. This medley pairs well with more formal classical choral work, offering contrast in style and mood that keeps programming interesting for both singers and listeners.

Skills your students will build

  • Singing in two-part harmony with supported voice independence
  • Interpreting rhythmic swing and jazz-influenced phrasing in choral context
  • Sustaining melodic line through repetitive harmonic structures
  • Following piano accompaniment that supports rather than doubles vocal parts

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