All Aboard! Cover Image

All Aboard!: Choral SoundPax

$30.00 USD
Sale price  $30.00 USD Regular price 
Skip to product information
All Aboard! Cover Image

All Aboard!: Choral SoundPax

Chattanooga Choo-Choo / On the Atchison, Topeka and the Santa Fe

Arr. Jay Althouse

Item: 00-27143

makemusic Cloud badge

Need it now?

Buy Digital Version
$30.00
Shipped

One moment…

Description
A medley of two train songs, "Chattanooga Choo-Choo" and "On the Atchison, Topeka and the Santa Fe," both with music by the legendary Harry Warren. It's a swinging arrangement that's appropriate for your small pop/jazz groups or your larger choral ensembles. Easy piano accompaniment and singable vocal harmonies.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, All Aboard!: Choral SoundPax comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Sample Pages

Sample Audio
0:00
0:00
Sample Video
Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 28
UPC: 038081294032
SKU: 00-27143
Instrumentation: SoundPax

More about this title

About the Arranger: Jay Althouse

Jay Althouse

Jay Althouse studied music education and music at Indiana University of Pennsylvania, where he later received the Distinguished Alumni award. He spent eight years working in rights and licensing for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America during that tenure.

Althouse has composed and arranged over 800 works for choirs at all levels, earning regular ASCAP Special Awards for his contributions to standard music literature. Beyond composition, he has compiled vocal solo collections, co-authored influential pedagogical texts including The Complete Choral Warm-up Book and Accent on Composers, and created reproducible classroom resources. His choral work I Hear America Singing, written with his wife Sally Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration. He currently serves on the National Advisory Board of the Folk Art Society of America.

Why we love this

Althouse captures the infectious energy of these Harry Warren classics without overcomplicating the voicing, making this medley accessible to ensembles at different skill levels. The arrangement respects the swing character of the originals while remaining straightforward enough that singers can focus on style and phrasing rather than wrestling with difficult passages.

What to expect

Golden age Americana with a modern swing sensibility. You get the nostalgia and charm of the Great American Songbook paired with genuine rhythmic snap, evoking travel, optimism, and the kind of music that makes people smile without feeling saccharine.

Who it's for

This arrangement works equally well for your small chamber choir or a full mixed ensemble, making it ideal when you need a single piece that scales with your group's size. Jazz-curious singers who may not yet have swing rhythm in their bones will find the harmonies singable and the rhythmic vocabulary clear.

How to get the most out of it

  • Let the rhythm section lock the groove first. The swing feel only lands when the piano and any instrumental parts (if included) establish a relaxed, conversational pulse rather than a mechanical beat.
  • Shape each phrase around the text rhythm rather than stretching syllables for fullness. These songs move and breathe like speech; when you honor that, the swing comes naturally.
  • Balance the transitions between 'Chattanooga Choo-Choo' and 'On the Atchison, Topeka and the Santa Fe' to feel like a unified set. A slight tempo breath between them can signal the shift without losing momentum.
  • Encourage singers to hear the instrumental parts if you're using them. Even without live instruments, knowing what the trumpet or saxophone line does will inform how vocalists sit rhythmically within the arrangement.

How to use it

Program this as an audience-warming opener at a concert mixing standards with contemporary work, or use it as the bridge piece between a classical first half and a jazz-inflected second half. It also works beautifully in a standalone pop or light music concert, especially when you have instrumental players who can add texture.

Skills your students will build

  • Swing rhythm interpretation and feel
  • Jazz-influenced phrasing and articulation
  • Balancing melody with jazz harmony
  • Flexible ensemble blend across two distinct song styles
  • Responsiveness to groove and rhythmic drive

You May Also Like