Didn't My Lord Deliver Daniel?: SSAB, a cappella Choral Octavo
Traditional Spiritual / arr. Jay Althouse
Item: 00-PO-0000369
$2.25
Minimum order quantity: 20 copies
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Description
An a cappella spiritual arrangement in the classic tradition. Opens with the basses singing a repetitive pattern followed by the other voices entering with the main melody. Solid, homophonic choral writing contrasts with the basses singing contrapuntally. Will showcase the entire range and depth of your choirs. You'll show off at festivals and adjudications.
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Additional Details
Series:
Alfred Archive Edition: Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0000369
More about this title
About the Arranger: 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 publishing and composition; he spent eight years managing rights and licenses for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America. As a composer, Althouse has created over 800 choral works performed widely across English-speaking countries. He is an ASCAP member and a regular recipient of their Special Award for contributions to standard music.
Beyond composition, Althouse has established himself as a versatile voice in music education. He has co-written children's musicals with his wife Sally K. Albrecht, compiled folk song collections, and authored or co-authored numerous educational resources including The Complete Choral Warm-up Book and Accent on Composers. His collaborative choral work I Hear America Singing was performed by the San Francisco Girls and Boys Choirs at President Barack Obama's 2009 Inauguration. Based in Wake Forest, North Carolina, Althouse serves on the National Advisory Board of the Folk Art Society of America.
Why we love this
Althouse crafts this spiritual with real textural sophistication. The opening bass ostinato establishes a strong rhythmic foundation that other voices build upon, and the contrast between homophonic sections and contrapuntal bass writing keeps the arrangement engaging for singers and listeners alike. Your ensemble will have genuine material to sink their teeth into at festival time.
What to expect
The arrangement opens with quiet, rhythmic insistence from the basses before the full melodic voice enters, building a sense of call and response rooted in the spiritual tradition. Once all voices join, the piece shifts between moments of unified, driving homophony and passages where the basses move independently underneath, creating textural depth and interest that showcase the full range and resonance of your choir.
Who it's for
Choirs with strong bass sections who are ready to manage both unison and contrapuntal textures. This arrangement rewards groups that have developed solid intonation and rhythmic independence, as the a cappella setting leaves nowhere to hide and the layered writing demands precision from every voice part.
How to get the most out of it
- Lock the bass pattern early in rehearsals. This ostinato anchors the entire piece, so invest rehearsal time establishing it as a secure, unwavering foundation before layering the other voice parts.
- Balance the bass line carefully once all voices enter. The basses must remain present and articulate underneath the melody without overshadowing the soprano and alto lines.
- Shape the homophonic sections with clear phrase arcs. Without instrumental support, your singers need to breathe strategically and sustain dynamic shape to maintain energy and forward motion.
- Highlight the shift into counterpoint. Mark these moments in rehearsal so singers understand when they are supporting the basses versus carrying the primary melodic line.
How to use it
This piece works beautifully as a centerpiece on a concert exploring American choral traditions, particularly when paired with other spirituals or folk-based arrangements. Its blend of accessibility and textural sophistication makes it equally at home at festival adjudications or as part of a community concert celebrating the spiritual repertoire.
Skills your students will build
- Singing secure bass ostinati while other voices layer above
- Balancing independent voice parts in a cappella texture
- Shifting from homophonic to contrapuntal awareness within a single piece
- Sustaining intonation and rhythmic precision without instrumental support
- Interpreting and performing the spiritual tradition with authenticity