Haba na Haba: SATB Choral Octavo

Lantz crafts a piece that feels genuinely multicultural rather than superficially exotic, grounding the work in a Swahili proverb that carries real meaning for ensembles and audiences alike. The stripped-down orchestration (bass plus African percussion) forces your choir to own the sound completely; there's nowhere to hide, but the result builds confidence and presence that fancy accompaniments never deliver. The text itself—"persevere, don't give up"—lands differently in 2025 than it might have a decade ago, making this both timely and timeless.

Haba na Haba pulses with African rhythmic energy while remaining firmly rooted in four-part choral writing that feels accessible rather than academic. There's an infectious optimism in the work, a sense of gentle insistence and forward motion that matches the Swahili wisdom at its heart.

This octavo works for intermediate to advanced high school choirs and collegiate ensembles with singers who can navigate rhythmic independence and maintain blend in a relatively exposed setting. Directors seeking a secular piece that carries genuine cultural weight and a message beyond the surface will find a vehicle that engages both singers and listeners.

• Establish the rhythmic pocket early in rehearsal by having the bass player or accompaniment recording lock in during your first full run-through; once the groove sits, your singers will relax into the feel and stop fighting the pulse.
• Balance the African percussion carefully during dress rehearsal and sound check. These instruments can easily overwhelm the choir if the mix isn't intentional; they should dance with the voices, not dominate them.
• Pay special attention to any text in Swahili or other non-English languages; clear diction here signals authenticity and respect for the cultural source. Record yourself speaking the phrases and have singers listen multiple times before rehearsing them musically.
• Shape the arrangement's climactic moments by subtly building dynamic intensity in the final sections rather than relying on the percussion or bass to do the work. The choir's commitment and blend matter most here.

Program this as a centerpiece for a concert exploring global music traditions, or pair it with other secular pieces that value rhythm and cultural authenticity over romantic expression. It works particularly well mid-program, where its energy and brevity provide a refreshing shift in tone and momentum.

• Maintaining rhythmic independence while singing in a groove-based harmonic context
• Singing with clarity and precision in unfamiliar languages and phonetic contexts
• Responding to and blending with non-traditional accompaniment (percussion and bass rather than full piano or organ)
• Building dynamic control and presence in an arrangement with minimal harmonic padding
• Understanding and interpreting music rooted in cultural traditions outside the Western European classical canon