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Glorious Peace: SSAA, <I>a cappella</I> Choral Octavo

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Glorious Peace Cover Image
Glorious Peace: SSAA, a cappella Choral Octavo

Glorious Peace: SSAA, a cappella Choral Octavo

Words by John Parker, music by Patti Drennan

Item: 00-48293
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Description
A syncopated opening riff in the lower voices lays the groundwork for this quintessential a cappella spiritual. When the other voices join, we begin a journey of texture, harmonic development, and form, indicative of the great spiritual tradition. Strong choral writing as the glorious piece unfolds.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Glorious Peace: SSAA, 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: 16
UPC: 038081551166
SKU: 00-48293

More about this title

About the Composer: Patti Drennan

Patti Drennan

Patti Drennan studied music education at Oklahoma State University and completed a master's degree at the University of Oklahoma. She spent 28 years directing choral ensembles in Norman Public Schools, earning Teacher of the Year honors at West Mid-High School and building four consistently superior-rated choirs at Norman High School before retiring in 2004 to focus on composition and clinician work.

With over 425 published choral octavos and two million copies in circulation, Drennan has established herself as a prolific voice in American choral music. She has clinicked in 19 states and Canada, served as a guest director at church composer weekends, adjudicated regional contests, and led music reading sessions for major publishers. A composition of hers was performed at Carnegie Hall as part of the "Sing for the Cure" initiative. She continues composing, arranging, and collaborating musically with her daughter, a musical theater performer in New York City.

Why we love this

The syncopated foundation in the lower voices creates immediate rhythmic interest before the full ensemble enters, drawing listeners into the piece rather than stating its themes upfront. Drennan's harmonic language honors the spiritual tradition while developing organically through each section, giving singers tangible musical architecture to grasp and audiences genuine emotional arc.

What to expect

The piece opens with quiet rhythmic intrigue, then unfolds like a spiritual unfolding its layers of meaning. Rich harmonies and textural contrast create a sense of building peace, with the glorious a cappella sound reinforcing the emotional heart of the text.

Who it's for

SSAA ensembles seeking repertoire that honors the spiritual tradition while offering fresh compositional perspective. Directors working with upper-voice choirs will find strong material for concert or festival programming, and singers will appreciate writing that combines accessibility with genuine musical substance.

How to get the most out of it

  • Lock the lower voices into that opening syncopated riff before adding the upper voices; the rhythmic integrity of those lines determines how cleanly the harmonies will sit when everyone enters.
  • Shape phrases through the harmonic development rather than by bar line; let the voice leading itself guide your breathing and phrasing choices.
  • Balance the texture so the lower voices remain audible even as upper voices bloom; this piece depends on hearing that foundational rhythmic gesture throughout.
  • Attend to diction in the a cappella context; without instrumental support, clear vowel unity across sections becomes essential for blend.

How to use it

Program this as a centerpiece for a sacred or thematic concert exploring peace and brotherhood; its length and sophistication pair well with shorter spirituals or contemporary sacred works. It also serves as an excellent festival selection, offering judges clear evidence of harmonic refinement and ensemble blend.

Skills your students will build

  • Maintaining rhythmic independence in syncopated lower-voice parts
  • Blending SSAA voicings without instrumental support
  • Following harmonic development and voice leading through text
  • Balancing texture to keep foundational voices audible
  • Interpreting the spiritual tradition through contemporary harmonic language

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