And So We Sing: TTBB Choral Octavo

Hayes brings the craft of an accomplished pianist and conductor directly into the voicing and accompaniment; the virtuosic piano part isn't decoration but a full collaborative voice that elevates the choral writing. The flexible voicing options (TTBB, TTB, TBB, TB) mean you can program this with your actual singers, whether you're working with a single quartet or a full ensemble, without compromise to the musical impact.

The piece radiates celebration and forward motion, with Hayes's trademark harmonic clarity allowing each voice line to remain distinct even as they build into rich sonorities. The piano writing crackles with energy and gives the whole ensemble a sense of occasion, making singers feel supported and amplified rather than exposed.

Men's choirs and mixed ensembles working at an intermediate to advanced level will find this piece immediately accessible yet musically substantial. Directors seeking a bold opener, emotional closer, or festival showcase will appreciate Hayes's gift for combining singable lines with genuine dramatic weight.

• Balance the lower voice parts against the piano's density; lower voices tend to get swallowed in the richer sections, so encourage them to sing with confidence without forcing tone.
• Work the dramatic arc carefully in rehearsal by mapping the form's turning points and having singers mark where energy builds or pulls back; this prevents the piece from feeling like one long push.
• Coordinate closely with your pianist on tempo flexibility during transitions; Hayes often uses the piano to shape phrase endings, and slight give-and-take here sounds intentional rather than loose.
• Lock the final cadence with a clear conductor gesture at least a week before performance; the TTBB voicing can blur at the end if parts aren't unified on rhythm and vowel.

This works equally well anchoring the opening of a concert (the energy grabs attention immediately) or closing one with a grand gesture of affirmation. It pairs naturally with other contemporary choral music and provides an excellent festival or combined-choir feature when you want something that sounds substantial without requiring a large vocal ensemble.

• Balancing individual voice lines within thick harmonic textures
• Responding to dynamic shapes that change frequently across phrases
• Sustaining focus and ensemble unity across a dramatic formal arc
• Coordinating with a complex accompaniment that supports but never doubles every voice