Cante una Cancion (Sing a Song): 2-Part Choral Octavo
Words and music by Jay Althouse
Item: 00-PO-0000588
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More about this title
About the Composer: Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored as a Distinguished Alumnus. His career spans both administration and composition: he spent eight years managing rights and licenses for a major educational publisher and served on the Executive Board of the Music Publishers Association of America. Today, with over 800 choral works in print, his music reaches choirs worldwide. He is a writer member of ASCAP and a regular recipient of the ASCAP Special Award.
Beyond composition, Althouse has shaped music education through collaborative projects and pedagogical resources. He co-wrote several children's musicals with his wife Sally K. Albrecht, curated influential vocal collections including Folk Songs for Solo Singers, and authored the widely used Complete Choral Warm-up Book and Accent on Composers. His community involvement includes service on the North Carolina Master Chorale board and the National Advisory Board of the Folk Art Society of America. One of his most recognizable achievements is co-writing I Hear America Singing, performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration.
Why we love this
Althouse writes with choir directors in mind. The singable lines never strain young or developing voices, while the bossa nova groove gives students something genuinely fun to sink into rather than another generic pop arrangement. The recorded accompaniment means you can rehearse independently or let the track carry a concert-ready performance immediately.
What to expect
Bright and approachable, with that unhurried Latin lilt that makes even simple songs feel sophisticated. The lyrics celebrate the joy of singing itself, making this feel less like a performance requirement and more like an invitation to have fun together.
Who it's for
General choirs performing in informal or concert settings will find immediate success with this piece. It works equally well for middle school, high school, or community groups seeking accessible material that doesn't compromise musicality.
How to get the most out of it
- Keep the groove relaxed and conversational; the bossa nova rhythm should feel natural, not mechanical. Let singers breathe where phrases naturally fall rather than forcing perfect togetherness.
- Work the two-part texture so that neither line dominates. In rehearsal, have singers trade parts to understand how the lines interact and support each other.
- Incorporate the movement and staging suggestions from the DVD. Even minimal choreography transforms this from a standing number into something your audience actually watches.
- The piano part drives the piece; make sure your accompanist locks the rhythmic pocket early so singers can relax into the feel.
How to use it
Spring and fall concerts benefit from this piece's upbeat energy, especially as a closer or early-program pick to shift the mood. It pairs well with other multicultural selections and works particularly effectively in programs built around themes of celebration or international music.
Skills your students will build
- Singing in two-part harmony with balanced blend
- Maintaining a steady groove and jazz-inflected rhythm
- Coordinate singing with choreography and stage movement
- Diction and pronunciation in English lyrics
- Following a recorded accompaniment track