And So We Sing: 2-Part Choral Octavo

Hayes crafts a piece that works equally well as a concert opener, closer, or standalone feature, giving you real programming flexibility across your season. The 2-part voicing keeps the arrangement accessible without sacrificing the dramatic sweep and harmonic richness that make this feel like a major work, and the virtuosic piano part ensures your accompanist stays engaged throughout.

The piece radiates celebration and confidence, with Hayes's gift for memorable melody and harmonic color creating a sense of occasion. The virtuosic piano writing lifts the whole ensemble into something grander than the 2-part texture alone might suggest, giving singers the feeling they're part of something genuinely important.

This octavo suits choirs at the intermediate to advanced level who want a contemporary work with substance and theatrical impact. It works for high school and college choirs, community ensembles, and festival settings where you need something both musically sophisticated and immediately engaging.

• Shape the dynamic arc carefully so the piece builds toward its climax rather than peaking early; the piano part will help guide this trajectory if you follow its phrasing closely.
• Balance treble and lower voices to ensure both parts project equally in performance spaces of any size, adjusting your seating if needed.
• Take time in rehearsal to understand how the dramatic form unfolds section by section so singers grasp the piece's architecture rather than treating it as a collection of moments.
• If a recorded accompaniment is available, use it strategically in early rehearsals to establish tempo and style, then gradually shift to working with your pianist.

Use this as a concert anchor rather than filler: it commands enough musical weight and dramatic presence to serve as your opening or closing statement. You might also program it in a set celebrating contemporary composers or as a featured work at a festival where you want to showcase your ensemble's musicality and range.

• Interpreting dramatic form and structural phrasing in contemporary composition
• Balancing two distinct choral lines with equal clarity and projection
• Responding to piano accompaniment that matches or exceeds the complexity of the vocal writing
• Building vocal maturity through sustained phrases and expressive control