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African Alleluia: SSA Choral Octavo

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African Alleluia Cover Image
African Alleluia: SSA Choral Octavo

African Alleluia: SSA Choral Octavo

By Jay Althouse

Item: 00-27116
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Description
Bongo and hand drum accompaniment highlight this African-styled work filled with rhythmic intensity. The simple "alleluia" text allows the melodic and rhythmic lines to take center stage. An add-on section makes it an exciting piece, building to a powerful finish.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 16
UPC: 038081263236
SKU: 00-27116
Instrumentation: Opt. Percussion

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored as a Distinguished Alumnus. Early in his career, he spent eight years managing rights and licenses for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America. His compositional output spans more than 800 choral works performed regularly across English-speaking countries, and he maintains membership in ASCAP with multiple Special Awards recognizing his contributions to standard choral repertoire.

Beyond composition, Althouse has shaped music education through numerous collaborative projects and instructional publications. He co-wrote several children's musicals with his wife Sally K. Albrecht, compiled celebrated vocal solo collections including Folk Songs for Solo Singers, and co-authored influential classroom resources such as The Complete Choral Warm-up Book, Accent on Composers, Ready to Read Music, Sixty Music Quizzes, and One-Page Composer Bios. His choral work I Hear America Singing, created with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Barack Obama's 2009 Inauguration. Based in North Carolina, Althouse has contributed to the Folk Art Society of America as a National Advisory Board member and regular contributor to Folk Art Messenger.

Why we love this

Althouse crafts the rhythmic drive and accessibility that make this piece instantly engaging for singers and audiences alike. The stripped-down text lets percussion and syncopated vocal lines become the real story, making rehearsals rhythmically exciting rather than text-dense. Building from energetic grooves to a powerful climax gives your singers a genuine dramatic arc to perform.

What to expect

Infectious and celebratory, this piece pulses with African rhythmic energy while remaining grounded in the spiritual simplicity of "alleluia." The hand drum and bongo colors create an earthy, communal warmth that invites singers to feel the groove in their bodies, not just their voices.

Who it's for

Treble choirs at the middle school level and above will find this work accessible yet rhythmically satisfying. It works equally well for festival performance or concert programming, and requires only optional percussion if instrumental parts are unavailable.

How to get the most out of it

  • Establish the hand drum and bongo patterns in rehearsal before layering vocal lines; let percussionists anchor the feel so singers can lock into the groove confidently.
  • Shape the add-on section with clear dynamic intention. The build to the finish works only if each phrase layer adds genuine volume and energy rather than simply repeating at the same level.
  • Maintain rhythmic precision on the "alleluia" syllables. African-styled rhythms demand crisp articulation so the syncopation reads clearly rather than sounding muddled.
  • Use the recorded accompaniment to establish tempo and percussion texture, especially if live percussion parts are not available for your first rehearsals.

How to use it

Position this alongside other world music selections to build a program celebrating musical diversity, or pair it with sacred works to explore how "alleluia" appears across traditions. Its rhythmic intensity and joyful character make it an excellent closer or program highlighter.

Skills your students will build

  • Rhythmic independence within syncopated vocal lines
  • Ensemble singing against steady percussion patterns
  • Dynamic phrasing and climactic build across multi-section structures
  • Cultural awareness of African musical styles and instrumentation

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