I Sing Out: TTBB Choral Octavo

Hayes crafts the kind of contemporary choral writing that feels both accessible and substantial, balancing a memorable textual hook with genuine musical sophistication. The opening solo creates immediate intimacy before the ensemble enters, which gives singers and audiences an anchor point. This is the sort of piece that sounds like it belongs in a concert program next to more classical fare, yet it connects to singers' and listeners' lives in a direct, unironic way.

The music opens with introspection, almost confessional, before gradually building a collective voice. The textured polyphony creates richness without density, and the arc toward that final refrain feels genuinely earned rather than tacked on. There is warmth and affirmation in the musical language without sentimentality.

TTBB choirs seeking contemporary repertoire with depth and accessibility. This piece works for high school through community and church ensembles with moderate vocal ranges and basic four-part harmony experience.

• Shape the opening solo with genuine vulnerability before the choir enters; this moment sets the emotional tone for everything that follows.
• Attend to the textural shifts carefully. The polyphonic writing in the middle section requires clean entrances and clear voice independence, so invest rehearsal time in those transitions.
• Balance the final choral refrain so the message lands with conviction without oversinging. The power comes from unified intent, not volume.
• If using the recorded accompaniment, rehearse with it early so singers internalize the harmonic framework and can respond naturally to the accompanist's phrasing.

Program this in a concert section that values contemporary secular choral voices, or pair it with other Hayes compositions to showcase his range. It sits naturally between classical and pops repertoire and works well as a closing piece that leaves the audience with an uplifting but not saccharine message.

• Balancing solo and ensemble roles within a single piece
• Reading and executing polyphonic textures in four-part men's voicing
• Phrasing and shaping a contemporary text with musical intention
• Responding to dynamic and textural shifts across sectional form