Rosephanye Powell’s
The Word Was God
Bold. Brilliant. Built for Festival Stages.
For SSAA Choirs
Rosephanye Powell’s The Word Was God, arranged by William Powell for SSAA choirs, electrifies programs with captivating spirituality and rhythmic vitality.
SSAATTBB Original A Cappella Version
Conducted by Rollo Dilworth and performed by the 2014 Clark County School District High School Honor Choir at The Smith Center in Las Vegas, Nevada, November 2014.
For TTBB choirs
The Word Was God by Rosephanye Powell, arranged by William C. Powell, delivers with spiritual-style energy and unforgettable impact.
In the beginning was the Word,
And the Word was with God, and
The Word Was God.
The Word Was God – All Products
Catalog #:JG2196
Composer: Rosephanye Powell
Voicings: SATB divisi, SATB, SSAA, TTBB
Publisher: Gentry Publications, 1996
Style: Pop/Traditional
Use: Church, General
Difficulty: Medium
Scripture: The Gospel of John
What an impact this august work will have on both choir and listeners! Compositionally, this is an excellent piece using impressive techniques that are truly captivating. The rhythmic structure develops from the superb interplay between the voices, and the layering of sound upon sound creates a musical tapestry. Written in an almost spiritual style, but definitely not a spiritual, this will make a stunning choice for larger or festival choirs!
One Text
Rosephanye Powell’s The Word Was God sets the opening verses of John 1 to music with reverence and power.
The proclamation “In the beginning was the Word” moves from quiet awe to bold, radiant declaration. Layering voices upon voices, Powell builds a musical tapestry that gives weight to every word of Scripture. It’s a text that breaks all barriers, resonating in both church and school venues with equal depth.
Multiple Voicings
What began as a bestseller for SSAATTBB, a cappella voices has expanded into editions for nearly every ensemble.
The original SATB Divisi setting stands alongside an accompanied SATB version that preserves the a cappella feel, plus TTBB and SSAA voicings arranged by William C. Powell. From large festival choirs to treble and tenor-bass groups, more singers can now experience this august work — whether a cappella or with piano that completes the harmony without overshadowing the choir.
Universal Impact
Compositionally excellent, the piece captivates through superb interplay between voices and a rhythmic structure that drives the text forward.
Written in an almost spiritual style, yet not a spiritual, it delivers stunning impact for choir and listeners alike. Excellent for church, concert, and general worship, The Word Was God continues to be one of Powell’s most enduring releases — a work whose sound and spirit translate across seasons, settings, and ensembles.
Rosephanye Powell’s “The Word Was God” is a masterclass in text-driven writing.
“The way she stacks the ‘Word was with God’ entrances in close canon, then releases them into homophonic light on ‘and the Word was God’ — that’s pure Powell. The rhythmic motives drive forward without ever obscuring John 1, and the gospel-inflected harmonies feel spiritual in spirit while remaining concert-church literature.
My tenors left rehearsal humming the bass line.”
Every line is singable, teachable.
“What Rosephanye Powell does best is marry scholarship to soul. In The Word Was God, she builds a tapestry of layered ostinatos and call-and-response that feels ancient and immediate at once. The divisi blooms into 8 parts, yet every line is singable, teachable, and purposeful. It’s not a spiritual, but her signature use of blue notes, percussive syllables, and textural crescendos gives it that same undeniable fire.”
Explore more of Powell’s works
The Cry of Jeremiah
From Despair to Hallelujah in Four Movements
“The Cry of Jeremiah” by Rosephanye Powell is a four-movement work for SATB chorus, narrator, and orchestra commissioned by the American Guild of Organists in 2012. The text, taken from Jeremiah 20, traces the prophet’s emotional arc from the burning urgency of “Is Not His Word Like A Fire,” through raw despair in “O Lord, You Have Deceived Me” and “Cursed Be the Day,” to redemption and praise in “Hallelujah!” Musically, Powell weaves together Baroque counterpoint and chant with jazz harmonies, African-influenced percussion, spiritual-style vocal wails, and gospel exultation, creating a dramatic score that fuses classical tradition with Black musical heritage while moving from dissonance and lament to a triumphant, celebratory close.