A Captain I Shall Be: TB Choral Octavo
A Captain I Shall Be: TB Choral Octavo
A Captain I Shall Be Sheet Music Preview

A Captain I Shall Be: TB Choral Octavo

Words and music by Glenda E. Franklin

Item: 00-PO-0001759
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$1.85

Minimum order quantity: 20 copies

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A Captain I Shall Be: TB Choral Octavo

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Description
This original sea chantey is expressly designed for two-part male ensembles. Contrary motion, canonic counterpoint, and comfortable ranges make it easy for your boys to sound like men. Bring out the nautical feel with an optional C-instrument (part available free at alfred.com/choralparts).

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
SKU: 00-PO-0001759

More about this title

Why we love this

Franklin writes with clear understanding of what makes boys' voices sound unified and confident. The canonic writing gives singers a genuine musical puzzle to solve together, and the contrary motion ensures both parts remain equally interesting rather than defaulting to a dominant melody with accompaniment.

What to expect

Salty and spirited. The sea chantey idiom brings maritime storytelling into the rehearsal room, and Franklin's contrapuntal writing creates genuine conversation between the two voice parts. It feels sturdy and rhythmically grounded, never thin or uncertain.

Who it's for

This piece serves singers in middle school and high school boys' ensembles, emerging male chamber choirs, and programs building confidence in treble and bass voices learning to blend. It works equally well for mixed choirs wanting a TB feature or for community men's choruses seeking approachable concert material with character.

How to get the most out of it

  • Balance the canonic entries carefully so the second voice enters cleanly without either part drowning out the other. A brief pause before the canon begins helps clarify the imitation.
  • Emphasize the rhythmic swing of the chantey style; this isn't a lyrical ballad. Lean into the pulse and let the nautical character drive the phrasing.
  • Use the optional C-instrument part to anchor the harmonic center and add textural variety. Even a single flute or oboe doubles the visual and sonic impact in performance.
  • Work the ranges systematically in sectionals first. Once each part feels secure in isolation, the contrary motion becomes a strength rather than a challenge during combined rehearsal.

How to use it

Pair this with other secular choral works for a concert celebrating folk traditions or work songs. Its moderate length (12 pages) and accessible difficulty make it an ideal opener or closer for a program; it settles an audience immediately with its narrative charm and gives singers a quick win before more demanding repertoire. Consider programming it as a centerpiece for a boys' chorus concert or showcasing it at a festival where its originality will stand out.

Skills your students will build

  • Reading and executing canonic counterpoint
  • Balancing independent melodic lines in contrary motion
  • Singing with rhythmic confidence in a chantey style
  • Blending two distinct voice parts into ensemble sound
  • Interpreting musical character and style from text and context

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