Goin' Up to Glory: SATB, a cappella Choral Octavo

Name: Goin' Up to Glory: SATB, a cappella Choral Octavo
Brand: Alfred Music
SKU: 00-21797
Price: 1.65 USD
Availability: InStock

Music by Sally K. Albrecht and Jay Althouse

Item: 00-21797

$1.65

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In the unmistakable style of the great gospel quartets comes this unforgettable contemporary original spiritual by Sally Albrecht and Jay Althouse. Features thrilling rhythmic syncopations, full a cappella chords, and the traditional strains of In That Great Gettin' Up Mornin' as a bonus. By the time the sopranos add their energized descant on the last verse, your entire audience will be singin' "Glory Hallelu!" And it's equally inspiring in the SSAB arrangement for choirs with more women than men.

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Series: Alfred Choral Designs

Publisher: Alfred Music

Page Count: 12

UPC: 038081211909

SKU: 00-21797

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for decades as a composer, conductor, and educational leader. Since 1987, she has received the ASCAP Special Music Award annually and maintains over 600 published choral works in print alongside 75 larger songbooks and musicals. Her conducting experience spans prestigious venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, where she has led honor choirs and festival events nationwide. For more than thirty years, she directed school choral and vocal publications at major educational music publishers, culminating in her tenure as Director of School Choral, Vocal, and Elementary Publications for Alfred Music.

Albrecht holds degrees from Rollins College (B.A. in Music and Theater, 1976), the University of Miami (M.A. in Drama, 1977), and the University of Miami Frost School of Music (M.M. in Accompanying, 1979). She has taught in the music departments at Oakland University, Jersey City State College, and Meredith College. In 2021, she received the Distinguished Alumna Award from both the University of Miami Frost School of Music and Rollins College, where she serves on the Board of Trustees. She has also chaired the Board of Trustees for the Omicron Delta Kappa National Leadership Honor Society and received their Pillar of Leadership award.

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Why we love this

This piece captures authentic gospel quartet style without requiring solo voices or a rhythm section, making it accessible for most high school and collegiate choirs. The syncopated rhythms and full voicing keep all parts engaged throughout, while the built-in audience participation moment (singing "Glory Hallelu!") creates the kind of concert experience that stays with listeners long after the final note.

What to expect

From the opening syncopated chords, this piece pulses with the energy of a historic gospel quartet, then surprises with a soaring sopranos descant that opens the piece up in its final moments. The full-voiced a cappella texture creates warmth and intimacy while the driving rhythms keep everything moving forward, making it feel both reverent and celebratory at once.

Who it's for

Directors seeking an exciting, fully a cappella sacred work that delivers immediate audience impact without instrumental support. High school and collegiate choirs with solid rhythmic precision and the ability to blend a four-part texture will find this especially rewarding.

How to get the most out of it

Lock the rhythmic syncopations across all four voices during rehearsal by isolating measures with shifted accents; use a metronome or recording to establish the groove before adding expressive freedom.
Balance the sopranos' final descant carefully in the last verse; it should cut through without overwhelming the other parts, so brief sectional work on dynamic control pays off quickly.
Incorporate gentle choral movement that mirrors the gospel quartet tradition; even small shoulder rolls or sway with the syncopated figures can unlock the style and energize both singers and audience.
Front-load rehearsal time on the "In That Great Gettin' Up Mornin'" integration so the traditional spiritual reference lands with clarity and reverence rather than feeling tacked on.

How to use it

Place this near the end of a concert to capitalize on its celebratory momentum and natural audience engagement. It works beautifully in a sacred or spirituals-focused set, or as a standalone showcase for a maturing choir's rhythmic confidence and blend.