In the Candleglow Cover Image

In the Candleglow: 3-Part Mixed / SAB Choral Octavo

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In the Candleglow Cover Image
In the Candleglow: 3-Part Mixed / SAB Choral Octavo

In the Candleglow: 3-Part Mixed / SAB Choral Octavo

(Shalom)

Words and music by Sally K. Albrecht and Jay Althouse

Item: 00-46947
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Description
Something special for Hanukkah, a wish for peace throughout the year is the centerpiece. The melody is sung in unison before appearing in echo format, making this gentle choral ballad ideal for those who are new to singing in parts. An optional small group near the end adds a third layer, if desired.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081535968
SKU: 00-46947

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over four decades as a composer, conductor, and educator. A recipient of the ASCAP Special Music Award annually since 1987, she has published more than 600 choral works and created 75 larger-scale musicals and songbooks. Her conducting has led honor choirs at major venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, and she spent three decades directing school choral and vocal publications for Alfred Music and other major educational publishers.

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. She served as Chair of the Board of Trustees for Omicron Delta Kappa National Leadership Honor Society and received their Pillar of Leadership award. In 2021, both the University of Miami Frost School of Music and Rollins College recognized her with their Distinguished Alumna Award. She collaborates regularly with her husband, composer and arranger Jay Althouse, and is based in North Carolina.

Why we love this

This piece bridges the gap between unison singing and part work with thoughtful design: the melody begins united, then fragments into echo textures that feel conversational rather than demanding. The optional small group layer near the end gives directors flexibility to involve soloists or advanced singers without requiring everyone to master three independent parts from the start. It's a genuine Hanukkah gift for choirs building toward harmonic literacy.

What to expect

Gentle and reflective, with an intimate quality that suits candlelit settings. The unison opening feels like a prayer offered together, while the echo passages create a sense of meditation or quiet conversation about peace, moving between moments of unity and subtle harmonic texture.

Who it's for

Choirs new to three-part singing, including mixed groups in middle school through early high school where part independence is still developing. This works especially well for programs building SAB confidence or for directors seeking accessible Hanukkah repertoire that doesn't simplify the spiritual content.

How to get the most out of it

  • Shape the unison melody with warm, sustained phrasing to establish the tune before the echo passages begin; singers need that secure foundation before they split into parts.
  • In the echo sections, clarify which voices lead and which respond by slightly balancing toward the new voice entering; this creates clarity without muddying the texture.
  • If using the optional small group layer, rehearse those singers separately first so the fuller moment lands as enhancement rather than chaos in the ensemble.

How to use it

Center this in a winter concert celebrating Jewish heritage, or pair it with other seasonal pieces in a multi-faith holiday program. Its accessible difficulty and short duration (12 pages) make it ideal for inclusion alongside more substantial works or as a piece that builds ensemble confidence within a longer set.

Skills your students will build

  • Transitioning from unison to part-singing through echo and call-response textures
  • Maintaining a melodic line while listening to independent parts in other voices
  • Sustaining legato phrasing and breath control in choral ballad style
  • Blending voices in SAB voicing without sacrificing individual part clarity

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