A la Lata Cover Image

A la Lata: SSAA Choral Octavo

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A la Lata Cover Image

A la Lata: SSAA Choral Octavo

Traditional Colombian Chant, music by Ruth Morris Gray

Item: 00-52268

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Description
"A la lata" (meaning "to the tin can") is a traditional Colombian chant widely recognized across Latin America as a children's game. Ruth Morris Gray's zesty setting of the brief Spanish text boasts four sturdy voice parts supported by a big piano accompaniment. At the peak of the arrangement, the lowest voices sing a forte feature with upper voices on previously introduced counterlines. Resounding minor key harmonies are a pleasure to perform and create an impressive wall of sound.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081607634
SKU: 00-52268

More about this title

About the Arranger: Ruth Morris Gray

Ruth Morris Gray

Ruth Morris Gray has directed choirs at Rosemead High School in California since 2004, where she also teaches piano. She holds a Bachelor of Music in Piano Performance and Composition from Biola University and a Master of Arts in Music Composition from UC Santa Barbara, completing her California Single Subject Music Credential at Cal State Northridge.

With over 100 published choral compositions to her name, Gray has established herself as a prolific voice in contemporary choral literature. Beyond her work as a composer, arranger, and director, she remains active as a performer and educator committed to expanding the repertoire available to choirs at all levels.

Why we love this

Gray's arrangement transforms a familiar folk game into a showcase moment for your ensemble. The architecture of this piece builds intelligently toward a striking moment where the lower voices claim the spotlight with a forte line while upper voices weave countermelody above, creating the kind of textural depth that sounds effortlessly bigger than the page suggests.

What to expect

Zesty and grounded. The minor key gives the chant a minor-key warmth that feels rooted and real, while the arrangement's energy and rhythmic drive keep it light and playful. When all four voices lock together, you get that satisfying wall of sound that reminds singers why ensemble singing matters.

Who it's for

SSAA choirs seeking spirited repertoire that highlights ensemble unity and voice independence at the same time. This piece works equally well for high school concert choirs, adult community ensembles, and festival-bound groups looking for something brief, memorable, and culturally grounded.

How to get the most out of it

  • Balance the contrapuntal moment at the peak of the piece by having lower voices anchor the melody with confidence while treble voices sit underneath the dynamic with clarity rather than volume.
  • Shape the minor key harmonies with awareness of their color; these aren't melancholic but rather earthy and sturdy, so lean into the resonance without dragging the tempo.
  • Use the piano accompaniment to build energy across the arc of the piece; the "big" part of the arrangement lives in the keyboard, so ensure it's heard as an equal partner with the voices.

How to use it

Program this alongside other world music selections to build a thematic set, or use it as a palate cleanser between heavier concert works. At under five minutes, it's ideal for festival competitions where you need a complete arc and strong impression in minimal time.

Skills your students will build

  • Reading and balancing four independent voice parts in a minor key
  • Ensemble blend and intonation across a full SSAA texture
  • Clarity and independence when singing countermelody against a primary melody line
  • Sustaining energy and pitch in a folk idiom with rhythmic precision

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