I Have a Dream: SATB Choral Octavo
Music by Mary Donnelly / arr. George L. O. Strid
Item: 00-PO-0004556
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More about this title
About the Composer: Mary Donnelly

Mary Donnelly grew up in Reno, Nevada, and studied English and French at the University of Nevada, Reno. While still an undergraduate, she founded two children's choruses, discovering a passion for music education that led her back to school for formal training. She earned a Master's Degree in Education from Lesley College in Cambridge, Massachusetts, with a focus on integrating the arts across the curriculum.
Donnelly spent thirty years teaching general music and choir in elementary and middle schools throughout the Washoe County School District in Reno. In 1985, she began collaborating with arranger George L. O. Strid on a musical for Reading Week, launching a partnership that has produced over two hundred songs and twenty-five full musicals. She holds memberships in ACDA, NEA, and ASCAP, and remains active in the choral music community.
Why we love this
Donnelly and Strid have crafted a ballad that captures genuine inspiration without sentimentality. The text and melody work together to build momentum, making this ideal for mixed choirs that need a piece with emotional substance but manageable ranges and clear, singable lines.
What to expect
The piece radiates quiet confidence and forward motion. Harmonies support an uplifting, earnest message without resorting to bombast, creating space for individual singers to connect with the text while contributing to a cohesive ensemble sound.
Who it's for
This octavo works well for mixed choirs at the high school, community college, and adult community level. It suits singers who have solid four-part reading skills and are ready to tackle music with expressive depth and positive messaging.
How to get the most out of it
- Shape the melody line to follow the arc of the text; the message of determination gains power when singers commit to the phrasing across longer musical phrases rather than breaking it into disconnected segments.
- Balance the SATB voices to let the soprano and alto lines support each other in the upper register without drowning out the harmonic foundation from tenor and bass.
- Use the recorded accompaniment to establish tempo and groove, then encourage singers to listen across parts so the ensemble locks into a unified rhythmic feel.
How to use it
Program this as a standalone feature on a concert celebrating aspiration and social-emotional themes, or pair it with other secular ballads for a second-half set that contrasts with more rhythmic or humorous material. Its eight pages and singable ranges make it accessible for spring concerts or special assemblies.
Skills your students will build
- Sustaining legit lines across phrase boundaries in SATB texture
- Balancing four-part harmony with soprano-alto interdependence
- Interpreting text-driven expression in secular contemporary choral music
- Ensemble cohesion when singing with recorded accompaniment