Autumn Moon Cover Image

Autumn Moon: SATB, <i>a cappella</i> Choral Octavo

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Autumn Moon Cover Image

Autumn Moon: SATB, a cappella Choral Octavo

Words and music by Jay Althouse

Item: 00-45433

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Description
This haunting contemporary work features a wistful text about the departure of summer and the coming of winter. Rich, a cappella harmonies and thoughtful dynamics heighten the mood of this stunning piece. Impressive.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Autumn Moon: SATB, 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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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081511733
SKU: 00-45433

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was honored with the Distinguished Alumni award. His comprehensive background in music publishing—eight years as a rights and licenses administrator—informed his deep understanding of what works in choral settings across diverse skill levels. He served on the Executive Board of the Music Publishers Association of America and remains active in music advocacy through his work with the Folk Art Society of America.

With over 800 choral compositions in print, Althouse has established himself as a prolific voice in American choral music, widely performed in English-speaking countries. A writer member of ASCAP and a regular recipient of the ASCAP Special Award, he has collaborated extensively with his wife Sally K. Albrecht on children's musicals and has compiled respected vocal collections and educational resources. 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 2009 Inauguration.

Why we love this

Althouse crafts a cappella writing that sounds deceptively simple but rewards careful musical attention. The piece balances accessibility with genuine sophistication in its harmonic language, giving singers meaningful material to perform and directors a work that translates well in both concert and contest settings without requiring extended rehearsal time to achieve polish.

What to expect

The music captures a reflective moment suspended between seasons, with harmonic color that suggests autumn's particular melancholy. Singers encounter lush vertical sonorities that create stillness rather than drama; the emotional weight comes from sustained exploration of mood rather than structural tension.

Who it's for

This work suits choirs with solid fundamentals in blend and intonation—intermediate high school ensembles, college choirs, and community groups performing at a similar level. The a cappella texture demands precision but the piece itself remains approachable without extreme range demands or rhythmic complexity.

How to get the most out of it

  • Shape the text delivery across phrases rather than within them; let the wistful language emerge through sustained line work and dynamic restraint rather than dramatic interpretation.
  • Attend closely to the dynamic markings, which are integral to the piece's emotional arc. Small shifts in volume become the primary expressive tool without instrumental support.
  • Balance the parts carefully in rehearsal, particularly where upper voices carry melody. The richness of four-part harmony depends on each section hearing both its own line and the surrounding voices.

How to use it

Program this in a fall or winter concert as a standalone piece or as part of a larger thematic set about seasonal change or the passage of time. Its contemplative nature pairs well before or after a more energetic selection, giving the program breathing room while maintaining musical substance.

Skills your students will build

  • Blending and tuning in sustained a cappella textures
  • Interpreting dynamic markings as primary expressive tools
  • Balancing individual voice parts within four-part harmony
  • Sustaining line quality over longer phrases without instrumental support

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