Huria: 3-Part Mixed Choral Octavo

Simms wrote this piece with real middle school choirs in mind, and it shows in every measure. The rhythm is infectious and accessible without being condescending, the three-part voicing sits naturally for developing singers, and the cultural authenticity comes through whether you add African percussion instruments or rely on the recorded accompaniment. Your singers will leave rehearsal wanting to sing it again.

Buoyant and purposeful, with the forward momentum of a piece built on repetition and call-and-response. The three-part texture is transparent enough that each voice can be heard clearly, yet the harmonies create real depth. There's joy in this piece, paired with a sense of dignity that comes from singing words of freedom and resilience.

Middle school and early high school choirs looking for energetic multicultural repertoire that doesn't require extensive solo work or unusual ranges. This works well for programs building confidence in younger singers and for any choir wanting to explore African musical traditions authentically and accessibly.

• Layer the rhythm section gradually during rehearsals. Start with the recorded accompaniment alone, then have singers find their parts against it, then add live percussion if you're using it. This builds security before the final sound comes together.
• Pay attention to the natural phrasing of the freedom song's text. These words carry weight; encourage singers to shape phrases with intention rather than metering them mechanically.
• If you're adding live percussion, rehearse the percussion parts separately and then bring them in with full choir only after both are secure. Unfamiliar instruments can distract singers still learning their lines.

This sits naturally in a concert exploring world music or social justice themes, but it's equally at home as an opener to energize a program or a bridge between contrasting pieces. Consider pairing it with other African or African American spirituals to build a cohesive set, or use it to introduce students to authentic world percussion in a concert that doubles as a teaching moment.

• Singing three-part SAB voicing with independence from other parts
• Interpreting text with cultural awareness and intentional phrasing
• Responding to rhythmic drive and call-and-response structures
• Adapting to accompaniment (recorded or live percussion ensemble)