Alleluia Seven: 3-Part Mixed, a cappella Choral Octavo

Name: Alleluia Seven: 3-Part Mixed, a cappella Choral Octavo
Brand: Alfred Music
SKU: 00-18588
Price: 2.25 USD
Availability: InStock

Music by Jay Althouse

Item: 00-18588

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Much repetition and a catchy makes this 7/8 number deceptively easy to learn. Opens with eight measures in 7/8, then a smooth, homophonic andante section in 4/4, followed by a repeat of the opening 7/8 section. Great for competitions and festivals.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Alleluia Seven: 3-Part Mixed, a cappella Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Alfred Archive Edition: Alfred Choral Designs

Publisher: Alfred Music

Page Count: 8

UPC: 038081142272

SKU: 00-18588

More about this title

About the Composer: Jay Althouse

Jay Althouse studied Music Education and Music at Indiana University of Pennsylvania, where he later received the Distinguished Alumni award. Early in his career, he worked for eight years as a rights and licenses administrator at a major educational music publisher and served on the Executive Board of the Music Publishers Association of America.

As a composer, Althouse has created more than 800 choral works performed widely across English-speaking countries. He holds membership in ASCAP and has received the ASCAP Special Award multiple times for his compositions. Beyond composing, he has co-written children's musicals with Sally K. Albrecht, compiled vocal solo collections, and authored instructional resources including The Complete Choral Warm-up Book, Accent on Composers, and several reproducible classroom materials. His choral work "I Hear America Singing," co-written with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Barack Obama's inauguration in 2009. Althouse resides in Wake Forest, North Carolina, where he has served the North Carolina Master Chorale and currently sits on the National Advisory Board of the Folk Art Society of America.

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Why we love this

The 7/8 opening immediately signals something fresh without demanding complexity. Althouse's gift for memorable melodic contours combined with substantial repetition means students internalize the shape quickly, freeing them to focus on blend and intonation rather than learning notes. The transition to straightforward 4/4 homophony offers a moment of vocal rest and textural variety, then the return to 7/8 feels earned rather than jarring, making this a genuinely satisfying three-minute experience for singers and audiences alike.

What to expect

Joyful and propulsive, with an almost dance-like quality from the 7/8 pulse. The unexpected meter feels celebratory rather than difficult, and the shift to the calm, sustained andante provides welcome breathing space before returning to the rhythmic energy of the opening.

Who it's for

Choirs with developing readers who are ready to tackle asymmetrical meter in a low-stakes context. The three-part SAB voicing works well for mixed ensembles building confidence, and the catchy, repetitive structure suits both competitive festival singers and community groups seeking accessible sacred repertoire.

How to get the most out of it

Anchor the 7/8 sections with steady pulse work first. Have singers count "1-2-3-4-5-6-7" aloud while tapping, then add the melody once the meter sits comfortably in their bodies.
Shape the andante 4/4 section with gentle dynamic shaping rather than remaining static. This homophonic moment is where vowel unity and blend become immediately audible.
Use the repetition strategically in rehearsal. Once the opening pattern locks, shift focus to maintaining consistent energy across the repeat so it doesn't feel mechanical.

How to use it

Program this as a standalone accent piece on a mixed sacred concert or festival, or pair it with other Althouse works to create a curated section of accessible, contemporary sacred writing. The eight-page length and a cappella format make it ideal for settings where you need flexibility without instrumental support, and its competitive appeal makes it particularly effective on festival and adjudication programs.