I'm Bound for Glory!: 2-Part Choral Octavo
(Swing Low)
Words and music by Sally K. Albrecht and Jay Althouse
Item: 00-PO-0005807
$2.05
Minimum order quantity: 20 copies
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Description
A quote from "Swing Low, Sweet Chariot" opens this gospel original with soulful style before breaking into a full-blown spiritual celebration! The energized and syncopated chorus is a strong hook designed especially for developing voices. In the 3-part voicing, a handful of cued Baritone notes offer even more flexibility for changing male voices.
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Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0005807
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 clinician with a distinctive focus on movement and physical expression in choral performance. Since 1987, she has received annual ASCAP Special Music Awards and maintains over 600 published choral works alongside 75 full-length musicals and songbooks. She has led honor choirs at major venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, and spent more than 30 years directing choral, vocal, and elementary publications for major educational publishers, culminating in her role at Alfred Music.
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. A native of Cleveland, Ohio, she has been recognized with 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 Wake Forest, North Carolina, with her husband, composer and arranger Jay Althouse.
Why we love this
Albrecht and Althouse craft a piece that hooks developing singers immediately with a syncopated, unforgettable chorus while opening with authentic spiritual language from 'Swing Low, Sweet Chariot.' The 2-part voicing keeps everyone engaged without sacrificing harmonic interest, and the built-in flexibility with cued baritone notes means you can shift voices smoothly as your singers mature during the school year.
What to expect
The opening carries the spiritual dignity and reverence of traditional gospel, grounded in one of America's most beloved spirituals. Then the piece shifts into a full celebration, driven by syncopation and forward momentum that makes singers feel the joy they're singing about, energizing both performers and listeners alike.
Who it's for
This piece speaks to middle school and early high school choirs working with 2-part voicing who are ready for syncopated rhythms and authentic gospel style. It works equally well for community and church choirs seeking accessible but sophisticated sacred music that doesn't require extensive vocal range or technical maturity.
How to get the most out of it
- Emphasize the rhythmic precision of the syncopated chorus; the hook only lands when the ensemble locks the offbeats together with clean articulation.
- Layer the opening spiritual reference with reverence before unleashing the celebratory energy of the main section, allowing singers to feel the emotional shift as a natural arc.
- Use the recorded accompaniment to establish tempo and groove early in rehearsals, letting singers internalize the gospel feel through listening before analyzing parts.
- Stage subtle movement during the chorus to amplify its energized character; consult Albrecht's staging notes in the octavo for suggestions that suit your ensemble size.
How to use it
Program this as an uplifting moment in a concert celebrating American sacred music, or as the perfect closer for a spring concert that leaves the audience smiling. It also works well in festival settings where adjudicators value both musical substance and accessibility for developing ensembles.
Skills your students will build
- Singing syncopated rhythms with precision and confidence
- Blending voices in close harmony while maintaining individual line integrity
- Interpreting gospel style and spiritual authenticity through phrasing and tone
- Managing cued parts flexibly as voices transition between different registers and maturity levels
- Responding to choreographed movement while maintaining vocal focus and breath support