Great, Gettin' Up Day! Cover Image

Great, Gettin' Up Day!: SSAB Choral Octavo

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Great, Gettin' Up Day! Cover Image
Great, Gettin' Up Day!: SSAB Choral Octavo

Great, Gettin' Up Day!: SSAB Choral Octavo

Great Day * In That Great Gettin' Up Mornin' * My Lord, What a Mornin'

Traditional Spirituals / arr. Sally K. Albrecht

Item: 00-47683
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Description
Here's a rousing mini-medley of three favorite spirituals in less than three minutes! A grand choral fanfare gives way to a jubilant tour through "Great Day," "In That Great Gettin' Up Mornin'," and "My Lord, What a Mornin'"---including some mingling of themes at the end. Strong part-writing makes individual lines straightforward, and a full range of dynamics creates excitement.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081543765
SKU: 00-47683

More about this title

About the Arranger: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over three decades, first as Director of School Choral, Vocal, and Elementary Publications at Alfred Music, then as a prolific composer and arranger with more than 600 published works in circulation. She is a perennial recipient of the ASCAP Special Music Award since 1987 and has guest-conducted honor choirs at major venues including Lincoln Center, Carnegie Hall, and The Kennedy Center.

Albrecht holds degrees from Rollins College (B.A. in Music and Theater, 1976), the University of Miami (M.A. in Drama, 1977; M.M. in Accompanying, 1979), and has taught 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 lives in North Carolina with her husband, composer and arranger Jay Althouse.

Why we love this

Albrecht threads three spirituals into a single energetic statement without sacrificing the integrity of any one melody. The arrangement respects what makes each spiritual essential while the interweaving of themes at the end gives singers a tangible payoff for their preparation. For directors seeking a concert opener with genuine momentum, this delivers.

What to expect

Radiant and buoyant from the opening fanfare onward. The piece carries the spiritual tradition forward with contemporary energy, moving listeners through three beloved melodies in quick succession while maintaining the reverent character those texts deserve.

Who it's for

Developing to intermediate choirs looking for a short, high-impact sacred piece with clear part-writing that doesn't demand extensive rehearsal. Directors programming concerts or festivals will appreciate the three-minute format and the arrangement's ability to showcase choral precision and joy simultaneously.

How to get the most out of it

  • Bring out the choral fanfare at the top with full ensemble commitment and clear articulation; let that opening establish the piece's celebratory tone before moving into the first spiritual.
  • Balance soprano and alto lines carefully during melody exchanges, especially where themes overlap near the end, so each voice part remains audible without one overwhelming the other.
  • Use the dynamic range to build momentum through the piece; the contrast between softer passages and jubilant peaks will energize both singers and listeners.

How to use it

This works beautifully as a concert opener, particularly when paired with longer, more introspective choral works that follow. Its brevity and festive character make it equally effective at festival competitions or as a warmup for a spirituals-focused program.

Skills your students will build

  • Part independence across three voice parts with overlapping melodic lines
  • Dynamic control and contrast building (piano to forte within a short timeframe)
  • Quick learning and secure execution of multiple spiritual melodies
  • Ensemble blend while maintaining textural clarity across theme interweaving

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