At the Foot of Yonder Mountain: 2-Part Choral Octavo
Folk Song / arr. Earlene Rentz
Level: Moderate
Item: 00-PO-0005144
$2.25
Minimum order quantity: 20 copies
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Description
This setting of the well-known folk song is beautiful and expressive. It is carefully crafted with a flowing accompaniment that supports the voices and urges the musical movement on to its final climax. Perfect for concert, contest or festival.
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Additional Details
Series:
Alfred Archive Edition: Belwin Festival Series
Publisher:
Alfred Music
Page Count:
8
SKU:
00-PO-0005144
More about this title
About the Arranger: Earlene Rentz
Earlene Rentz is a choral composer and arranger based in North Carolina with deep roots in music education. She spent seven years teaching choral music across elementary, junior high, and high school levels in public schools, then moved into higher education where she taught choral music pedagogy for twelve years. Her experience conducting All-State Choirs in Georgia, Florida, Kentucky, and Alabama has shaped her understanding of what singers need at every level.
With over 700 published choral works across 17 publishers, Rentz has built a catalog that serves real classrooms and concert stages. Her arrangements balance accessibility with musicality, creating pieces that challenge developing singers without overwhelming them.
Why we love this
Rentz takes a folk melody singers already know and gives it genuine musical architecture. The flowing accompaniment does more than support the voices; it creates forward momentum that carries the piece toward its climax, which is exactly what contest and festival audiences respond to. At Grade 3, the writing respects the skill level while refusing to be generic.
What to expect
There's a quality of forward movement here that lifts the familiar melody. The accompaniment drives gently but insistently, creating a sense of yearning that builds through the piece. At its climax, the song feels earned rather than merely loud.
Who it's for
This octavo works for middle school and early high school choirs ready to move beyond unison but still developing independence in part-singing. Directors programming contest or festival seasons will find a piece with enough musical substance to engage adjudicators while remaining accessible to singers still building technique.
How to get the most out of it
- Shape the phrases through the accompaniment's motion. The flowing piano part isn't just background; it maps the musical journey. Follow it as your guide rather than fighting against it.
- Balance your blend carefully in the two-part texture. With only two voice lines, every note has visibility. Blend doesn't mean uniformity; it means intentional balance between parts.
- Build toward the climax gradually. Resist the urge to arrive at full volume too early. Use dynamics in the middle sections to create space for the final push.
How to use it
Use this as your centerpiece for a contest entry or festival performance where you want to program something recognizable but distinctly arranged. It also works as a bridge piece in a concert program, moving your audience from lighter fare toward more sophisticated repertoire without jarring transitions.
Skills your students will build
- Singing sustained two-part texture with independence
- Following accompaniment-driven phrasing and dynamic shape
- Building climax through controlled crescendo over multiple phrases
- Blending two vocal lines with balance and clarity