Video
Historical Narrative
Composed and copyrighted in 1990, Betty Jackson King’s arrangement of Go Tell It On the Mountains was dedicated to LaNetta Desrosiers and the First Methodist Church Choir of Cape May Court House, New Jersey. During her years living in Wildwood, New Jersey, King established herself as an influential teacher, composer, and lecturer while integrating the Wildwood Public School teaching staff and contributing significantly to the state’s musical life. It was during this time that she built relationships with local choirs and church musicians, including LaNetta Desrosiers, a respected choir director and music educator whose leadership at the First Methodist Church was marked by excellence, energy, and devotion to sacred music.
In the Zoom Interview with Gloria Langford (available on YouTube and the website bettyjacksonking.com), Langford recalls that Betty Jackson King “was not tied down to any particular denomination.” King played and directed music at many churches of various faith traditions, a reflection of her belief that sacred music transcended denominational boundaries. In Chicago, she served as Director of Music at Quinn Chapel A.M.E. Church before her sister’s passing, later moving to the Congregational Church of Park Manor, where she continued to shape choral worship. This openness to diverse faith communities likely contributed to her collaboration with the Methodist Church in New Jersey and her friendship with LaNetta Desrosiers. While there is no record indicating that Desrosiers or her choir were members of NANM, Inc., King’s dedication to them reflects her personal and professional respect for musicians who shared her spiritual and musical ideals.
Through this dedication, King acknowledged both the religious and musical kinship she found in New Jersey. Go Tell It On the Mountains became a celebration of shared purpose—a joyful bridge between King’s own ecumenical vision of worship and the devoted ministry of the First Methodist Church Choir. It stands as a testament to her ability to unite diverse musical communities through her enduring message of faith and artistic excellence.
Musical Description
Written for S.A.T.B. choir with piano (for rehearsal only), Go Tell It On the Mountains is marked “Spirited”, immediately establishing its bright and festive tone. The piece is set in the key of F major, a key that radiates warmth and energy, perfectly matching the text’s message of joy and proclamation. The opening begins with a steady rhythmic pulse in the bass and piano, laying a firm foundation for the entrance of the upper voices, which echo the phrase “Go tell it on the mountains” in smooth, overlapping entries. King captures both the vitality of the traditional spiritual and the elegance of concert performance, blending rhythmic drive with refined choral balance.
At measure 7, the arrangement opens into a full four-part texture with the text “Over the hills and everywhere,” giving the choir a chance to project both unity and exuberance. The phrasing is buoyant, with carefully notated syncopations that propel the melody forward while maintaining precision. King’s harmonies are rich yet clear, featuring her signature use of suspensions and inner-voice movement that add color without overpowering the melody. The result is a sound that is joyful but dignified—a hallmark of King’s spiritual style.
For conductors, Go Tell It On the Mountains offers both accessibility and sophistication. The moderate length and straightforward structure make it suitable for a variety of ensembles, while its rhythmic vitality and expressive phrasing allow advanced choirs to showcase nuance and musicality. The absence of accompaniment in performance encourages choirs to rely on strong internal rhythm and diction. With its combination of musical clarity and jubilant expression, King’s arrangement captures the essence of the Christmas message—joyful proclamation, confident faith, and the unifying power of song.