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Clap Your Hands: 2-Part/SSA Choral Octavo

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Clap Your Hands Cover Image

Clap Your Hands: 2-Part/SSA Choral Octavo

Music by Sally K. Albrecht

Item: 00-23562

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Description
Here's a captivating choral work written especially for 2-part and developing SSA choirs. Energetic vocal lines are punctuated by rhythmic handclaps and added layer upon layer to create a festive contemporary piece appropriate year round. Changing meters add excitement and contrasting dynamics enhance the energized character. A wonderful opener or closer for concert and festival use. Majestic SoundTrax CD.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Clap Your Hands: 2-Part/SSA 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: 16
UPC: 038081238852
SKU: 00-23562

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music education across four decades as a composer, conductor, and publisher. Her catalog of over 600 choral works and 75 musicals reflects her deep understanding of what singers need to grow and what audiences want to hear. She has led honor choirs at major venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, and has received the ASCAP Special Music Award annually since 1987.

Albrecht earned degrees from Rollins College (B.A. in Music and Theater, 1976), the University of Miami (M.A. in Drama, 1977; M.M. in Accompanying, 1979), and spent more than thirty years directing school choral and vocal publications for major educational publishers, including Alfred Music. She has taught in music departments at Oakland University (Michigan), Jersey City State College (New Jersey), and Meredith College (North Carolina). Her leadership extends beyond composition: she served as Chair of the Board of Trustees for the Omicron Delta Kappa National Leadership Honor Society and received their "Pillar of Leadership" award. In 2021, both the University of Miami Frost School of Music and Rollins College honored her with Distinguished Alumna Awards.

Why we love this

Albrecht writes for real choirs at real skill levels, and this piece proves why she's a standard-bearer in the genre. The handclap percussion and shifting meters energize without overcomplicating; students grasp the contemporary feel instantly while building genuine musicianship. It works equally well as a concert centerpiece or a festival-winning opener, which means you program it once and use it strategically all year.

What to expect

Infectious and alive. The interlocking vocal lines and rhythmic hand percussion create forward momentum, while changing meters and dynamic shifts keep listeners engaged. This is the sound of singers who are having fun without sacrificing musicality.

Who it's for

Two-part and developing SSA choirs ready for contemporary repertoire that respects their developing voices while asking them to think like ensemble musicians. This works for middle school, high school, or mixed ensembles seeking accessible material with real musical teeth.

How to get the most out of it

  • Lock in the rhythmic handclaps as an ensemble layer before adding the vocal lines. These aren't ornamental; they're the heartbeat of the piece.
  • Shape the dynamic contrasts deliberately. The shifting intensity between sections keeps the energy from feeling one-note.
  • Emphasize the meter changes as structural signposts, not obstacles. Clear conducting helps singers feel the shifting ground beneath them.

How to use it

Open a concert with this to set an energetic tone, or close a set with its celebratory character. The contemporary style and compact length make it an ideal festival piece or a bridge between more traditional repertoire and experimental work.

Skills your students will build

  • Reading changing meters (mixed 4/4 and 3/4 sections)
  • Blending layered vocal lines in ensemble texture
  • Maintaining rhythmic precision while adding unpitched percussion
  • Responding to dynamic contrasts and shaping phrase energy
  • Building confidence with contemporary choral sound

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