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Glory Bound!: SATB Choral Octavo

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Glory Bound! Cover Image
Glory Bound!: SATB Choral Octavo

Glory Bound!: SATB Choral Octavo

Music by Sally K. Albrecht and Jay Althouse

Item: 00-23580
$1.65
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Description
The choir serves as back-up singers for your best gospel soloist during the ballad-like opening, but the whole group shines when the inspired introduction explodes into an up-tempo chorus bound to be a crowd pleaser like none other. You'll really feel the spirit when "Climbin' Up the Mountain" makes a short appearance, and you'll shout out a cheer when the gospel treble trio is added for the final vibrant verse. Awesome SoundTrax and Pax are available. Staging is featured on "Follow Me to the Top!" DVD #23853, VHS #23855. SoundPax includes parts for a. sax., t. sax., tpt., tbn., rhy., tamb.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081239033
SKU: 00-23580

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht brings three decades of experience as a publisher, conductor, and clinician to everything she writes. Her catalog of over 600 choral works and 75 musicals has made her one of the most frequently performed contemporary sacred music composers in schools and churches across the country. She's conducted honor choirs at Lincoln Center, Carnegie Hall, and The Kennedy Center, and has earned the ASCAP Special Music Award annually since 1987.

Albrecht holds degrees from Rollins College (B.A. in Music and Theater), the University of Miami (M.A. in Drama and M.M. in Accompanying), and taught at Oakland University, Jersey City State College, and Meredith College before joining Alfred Music as Director of School Choral, Vocal, and Elementary Publications. She co-creates with her husband, composer and arranger Jay Althouse, and together they've shaped the sound of contemporary choral music for young singers. In 2021, she received the Distinguished Alumna Award from both her alma maters.

Why we love this

The structural arc here is beautifully engineered for engagement. Starting with a soloist spotlight and gospel trio harmony work before building to a jubilant full-group chorus means your singers experience multiple roles and textures within a single piece, keeping rehearsals dynamic and the final performance memorable.

What to expect

Intimate at first, a soloist pouring out heart while the choir holds space, then suddenly expansive. The shift into the up-tempo chorus is like a congregation finding its collective voice. There's joy here that feels earned, not imposed; the familiar gospel reference adds warmth and recognition.

Who it's for

Choirs with strong solo voices and a willingness to embrace gospel idiom and movement. The piece works especially well for spring concerts, sacred services during Lent or Ascension, and any program aiming for genuine spiritual uplift rather than polished formality.

How to get the most out of it

  • Balance the opening carefully so your gospel soloist sits clearly in front of the harmonic support without drowning in the choir's sound; this sets the emotional foundation for everything that follows.
  • When the tempo lifts into the up-tempo chorus, commit fully to the rhythmic precision and energy shift, half measures here feel flat.
  • The reference to 'Climbin' Up the Mountain' invites textural clarity; make sure listeners recognize the familiar melody threading through your arrangement.
  • Reserve rehearsal time specifically for the gospel treble trio section so those singers own the vocal lines and independence required for the final verse.

How to use it

Pair this with quieter a cappella work earlier in the concert to let the energy arc build across the set. It's an excellent closer for spring programs or a powerful centerpiece in a sacred music concert. The optional instrumentation (SoundPax parts available) lets you scale the accompaniment to match your resources without sacrificing impact.

Skills your students will build

  • Gospel stylistic singing (phrasing, swing rhythms, call-and-response technique)
  • Sectional independence (supporting a soloist while maintaining harmonic integrity)
  • Tempo and dynamic contrast (balancing the ballad opening with the energetic chorus)
  • Blend and balance in three-part treble writing
  • Movement integration with vocal demands
  • Familiarity with African American spiritual tradition

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