And So We Sing: SATB Choral Octavo
Words and music by Mark Hayes
Item: 00-PO-0006907
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More about this title
About the Composer: Mark Hayes

Mark Hayes has composed, arranged, and conducted over 1,750 published works spanning sacred and secular genres, concert music, and musical theatre. A summa cum laude graduate in Piano Performance from Baylor University, he has guest conducted at Lincoln Center, the National Cathedral, and Carnegie Hall, and premiered major works including his Requiem at Lincoln Center in 2013 and at St. Ignatius Basilica in Rome as part of a Vatican-sponsored festival in 2014.
Beyond his choral output, Hayes is deeply invested in piano composition, with more than 100 piano books in print across classical, gospel, jazz, and Broadway styles. He has orchestrated musical theatre productions and served as composer and musical director for Civil War Voices, which earned six awards at the Midtown International Theatre Festival. Based in Kansas City, Missouri, Hayes continues to blend his gifts as performer, orchestrator, and composer in service of creating music for concert halls, churches, and educational institutions worldwide.
Why we love this
And So We Sing arrives with the polish and dramatic sophistication you expect from Hayes, yet its construction makes it genuinely rewarding to teach and perform. The piece functions equally well as a concert opener that commands immediate attention or a closer that sends audiences out on a high, and its flexible festival and graduation credentials mean it works across multiple programming scenarios without feeling generic. The virtuosic piano part elevates the entire texture, giving singers something substantial to lock into while keeping rehearsals engaging for pianists.
What to expect
The piece pulses with celebratory energy and grandeur. Hayes builds layers of harmonic color that feel both contemporary and warmly accessible, creating moments of luminous beauty alongside driving rhythmic passages that keep performers and listeners engaged.
Who it's for
This octavo suits intermediate to advanced choral programs with singers comfortable navigating full four-part harmony and a pianist capable of handling contemporary accompaniment writing. Directors seeking a statement piece for festivals, graduation ceremonies, or concert programming will find this delivers both musical substance and audience impact.
How to get the most out of it
- Balance the choir's full harmonies against the piano so neither overshadows the other; Hayes writes accompaniment to enhance, not compete. Map phrase shapes with singers before diving into dynamic details.
- The dramatic arc demands attention to section transitions. Mark where energy peaks and valleys occur, then rehearse those moments in isolation so singers understand the larger emotional trajectory.
- If recorded accompaniment is available for your performance, use it in rehearsal only after the choir locks its voicing and phrasing independently. This prevents over-reliance on the recording.
- Invest time in the piano part itself. A soloist or experienced accompanist will unlock details in the writing that elevate the entire performance.
How to use it
Open your concert with this if you want to establish authority and musical ambition from measure one. Alternatively, close your program here to send audiences home on a powerful, uplifting note. It also works beautifully as a combined choir feature or festival showcase piece, where its dramatic shape and accessible accessibility make it a strong memory-maker.
Skills your students will build
- Reading and sustaining full SATB voicing through dramatic dynamic shifts
- Responding to and balancing against a sophisticated piano accompaniment
- Shaping extended harmonic phrases that build emotional momentum
- Executing fast-moving text and rhythmic precision in concert contexts