Alleluia (from Motet No. 6) for SATB Choir Cover Image

Alleluia (from Motet No. 6) for SATB Choir: Choral Works (inc. Oratorios)

$3.25 USD
$3.25 USD
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Alleluia (from Motet No. 6) for SATB Choir Cover Image
Alleluia (from Motet No. 6) for SATB Choir: Choral Works (inc. Oratorios)

Alleluia (from Motet No. 6) for SATB Choir: Choral Works (inc. Oratorios)

By Johann Sebastian Bach / ed. Werner Neumann and Walter E. Buszin

Item: 98-EP6106A
$3.25
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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 1
ISBN10: 0-30-070857-2
ISBN13: 979-0-3007-0857-7
SKU: 98-EP6106A

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) stands as one of the most prolific and technically sophisticated composers in Western music history. His output spans nearly every genre available in his time: cantatas, passions, oratorios, concertos, sonatas, and fugues. Bach's harmonic language and counterpoint set the standard for centuries of music that followed, and his understanding of voice leading remains unmatched in music pedagogy.

Bach spent much of his career in Leipzig as Cantor of St. Thomas Church, where he composed sacred music for the church calendar and trained singers in his ensemble. His sacred works, particularly those for choir, reveal a composer equally concerned with theological expression and architectural musical form. These pieces continue to anchor choral repertoire in churches and concert halls worldwide.

Why we love this

This single-page Bach motet movement gives singers immediate access to one of the master's most elegant harmonic progressions and transparent four-part writing. The brevity and clarity make it ideal for choirs building facility with early Baroque counterpoint without the weight of larger sacred works. It's the kind of piece that sounds deceptively simple until singers discover the voice-leading logic underneath.

What to expect

Radiant and transparent, this Alleluia unfolds with the clarity of light through stained glass. The harmonic language breathes with both stillness and forward motion, creating a sense of affirmation that feels timeless rather than ceremonial.

Who it's for

This octavo suits intermediate to advanced SATB choirs comfortable with Renaissance and early Baroque idioms. It works equally well in cathedral and academic settings, and its single-page format makes it accessible for choirs adding Bach to their repertoire for the first time.

How to get the most out of it

  • Balance the texture by treating each voice as a melody rather than a support function. Bach's four-part writing interlocks; no voice should disappear into the background.
  • Shape the text "Alleluia" with a single breath and impulse per phrase to maintain the liturgical dignity of the moment.
  • Approach the harmonic rhythm with attention to where Bach places chord changes; these often align with melodic arrivals rather than strict metric beats.
  • Use the Edition Peters edition's editorial markings as a guide, but encourage singers to voice each chord in their section to understand the harmonic journey.

How to use it

Pair this with other Bach sacred works or motets to create a program segment exploring the composer's approach to text-painting and harmonic innovation. Its brevity and spiritual focus make it ideal as an opening number, a moment of reflection between larger works, or a closing benediction. It also sits naturally in a concert centered on sacred choral repertoire spanning multiple centuries.

Skills your students will build

  • Reading four-part Renaissance and early Baroque counterpoint
  • Understanding voice-leading principles and harmonic function in Bach's style
  • Balancing independent melodic lines in transparent texture
  • Sustaining tone and phrasing across longer note values
  • Interpreting editorial articulation and breathing marks from Peters edition

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