In the Evening: SSAA Choral Octavo
Words and music by Jay Althouse
Item: 00-PO-0003569
$1.90
Minimum order quantity: 20 copies
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Description
A unison pitch becomes a cluster chord and then blossoms into full contemporary choral harmony. Ample text painting, passing dissonance, and sensitive tempo and dynamic changes make this an excellent choice for accomplished choirs.
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Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
8
SKU:
00-PO-0003569
More about this title
About the Composer: Jay Althouse
Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored with the Distinguished Alumni award. His professional experience spans eight years in rights administration for an educational music publisher, during which he served on the Executive Board of the Music Publishers Association of America.
As a composer, Althouse has created more than 800 choral works for ensembles at every level, earning regular recognition through ASCAP's Special Award. Beyond composition, he has co-written children's musicals with Sally K. Albrecht, compiled widely used vocal solo collections, and authored several classroom resources on music literacy and composer study. He served on the board of the North Carolina Master Chorale and currently advises the Folk Art Society of America.
Why we love this
The arc of this piece creates genuine musical drama without relying on complexity for its own sake. Althouse's use of text painting and carefully placed dissonance rewards singers who listen closely to each other, making it both accessible and artistically satisfying for intermediate-advanced choirs.
What to expect
The piece unfolds gradually, beginning with quietness and singularity before swelling into rich contemporary harmony. The journey feels intimate yet assured, with moments of gentle tension that resolve into fuller, more resonant chords.
Who it's for
This piece suits choirs with solid intonation skills and the ability to blend multiple voices into unified timbres. It works for groups preparing for contests, concerts, or simply seeking contemporary repertoire that challenges musicianship without requiring vast vocal ranges or time commitment.
How to get the most out of it
- Attend to the transition from unison into the cluster chord. Mark exactly where each voice enters and rehearse without text first so singers hear their individual line in relation to the whole sonority.
- Shape dynamic changes as integral to the text rather than as abstract musical gestures. Each rise and fall should feel motivated by what the words ask of the singers.
- Balance passing dissonances carefully. These moments are most effective when listeners hear them as genuine harmonic color, not as tuning mistakes. Isolate these passages and tune them as intentional sonorities.
How to use it
Place this as a center work on a concert where you want to showcase your choir's maturity and blend. Its eight-page length and a cappella format make it ideal for mixed-program flexibility, whether you're building a thematic set or simply want a piece that stands apart from traditional four-part harmony.
Skills your students will build
- Sustaining unison pitch with focused ensemble sound
- Blending into cluster chords and contemporary sonorities
- Reading and performing passing dissonance with tuning awareness
- Text painting through dynamic shape and vowel sensitivity
- Voice independence within dense harmonic textures