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Exsultate Deo: Choral SoundPax

$25.00 USD
$25.00 USD
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Exsultate Deo Cover Image
Exsultate Deo: Choral SoundPax

Exsultate Deo: Choral SoundPax

Music by Sally K. Albrecht

Item: 00-22978
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Description
Includes parts for 2 French horns, 2 trumpets, 2 trombone, timpani, percussion, and synthesizer.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Exsultate Deo: Choral SoundPax 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
UPC: 038081221618
SKU: 00-22978
Instrumentation: SoundPax

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has spent decades shaping choral music in American schools. As Director of School Choral, Vocal, and Elementary Publications for Alfred Music and other major publishers, she developed over 600 choral works and 75 larger musicals that remain staples in repertoire lists. Her consistent recognition from ASCAP since 1987, along with conducting appearances at Lincoln Center, Carnegie Hall, and The Kennedy Center, reflects her standing in the field.

Beyond publication, Albrecht has taught at Oakland University, Jersey City State College, and Meredith College, and earned degrees from Rollins College (B.A. in Music and Theater), the University of Miami (M.A. in Drama and M.M. in Accompanying), and distinguished honors from both institutions as an alumna. She has led honor choirs nationwide and is known for integrating movement into choral performance. She and composer Jay Althouse reside in North Carolina, where she serves on multiple boards and continues to shape the direction of accessible, performance-ready choral literature.

Why we love this

Albrecht's gift for writing singable yet vibrant sacred music shines here, and the SoundPax format means your choir gets a full brass and percussion section sound without needing to hire additional musicians. The instrumental parts are pre-recorded and flexible, letting you focus entirely on building vocal tone and clarity while the accompaniment handles rhythmic precision and harmonic fullness.

What to expect

The work radiates energy and joy. Brass punctuation and rolling timpani create momentum that lifts the choir's singing and gives sacred text room to resonate. The synthesizer blends warmth with the brighter brass, creating an orchestral palette that feels both modern and reverential.

Who it's for

Directors working with intermediate to advanced choirs who want the fullness of a brass-supported sacred work without the complexity of recruiting and rehearsing live instrumentalists. This is ideal for choirs building confidence in the concert setting and needing a statement piece that sounds accomplished and well-supported.

How to get the most out of it

  • Balance the choir's tone against the recorded brass parts by rehearsing with the accompaniment early; your singers will adjust their blend once they hear the weight of the instrumentation they're singing alongside.
  • Mark dynamic changes in the score where the brass swells or pulls back, so singers understand the architecture of support underneath their line rather than singing at one volume throughout.
  • Check your sound system's placement before performance; brass and timpani need clear projection to sit properly in the acoustic without muddying the choir's text clarity.

How to use it

Reserve this for a primary moment in a sacred or choral concert where you want visual and sonic impact. Its brightness and full accompaniment make it excellent for opening a program or as a climactic final piece before a gentler closer. Consider pairing it with unaccompanied motets to highlight the richness of the recorded arrangement.

Skills your students will build

  • Singing with recorded accompaniment and matching recorded ensemble tempo and dynamics
  • Articulating text clarity while balancing against brass texture
  • Blending treble and lower voice parts in a fuller harmonic context
  • Responding to orchestral support rather than relying solely on the director's cuing

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