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Keep Your Lamps Trimmed and Burning: SSA, <i>a cappella</i> Choral Octavo

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Keep Your Lamps Trimmed and Burning Cover Image
Keep Your Lamps Trimmed and Burning: SSA, a cappella Choral Octavo

Keep Your Lamps Trimmed and Burning: SSA, a cappella Choral Octavo

Traditional Spiritual / arr. Jay Althouse

Item: 00-28681
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Description
The strength of this steady, walking-tempo spiritual comes from the powerful dynamic contrasts and solid choral writing. Features brief descant-style female solos. The optional hand drum adds a rhythmic pulse.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081312255
SKU: 00-28681

More about this title

About the Arranger: Jay Althouse

Jay Althouse

Jay Althouse earned his B.S. in Music Education and M.Ed. in Music from Indiana University of Pennsylvania, where he was recognized with the Distinguished Alumni award. Early in his career, he spent eight years managing rights and licenses for a major educational music publisher and served on the Executive Board of the Music Publishers Association of America.

As a composer, Althouse has created more than 800 choral works performed widely across the English-speaking world. He holds ASCAP membership and is a regular recipient of the ASCAP Special Award for his compositions. Beyond his original scores, he has co-written children's musicals with Sally K. Albrecht, curated vocal solo collections including Folk Songs for Solo Singers, and authored several classroom resources such as Ready to Read Music and One-Page Composer Bios. Among his notable collaborations with Albrecht is I Hear America Singing, performed by the San Francisco Girls and Boys Choirs at President Barack Obama's inauguration in 2009. Althouse has served on the board of the North Carolina Master Chorale and currently sits on the National Advisory Board of the Folk Art Society of America.

Why we love this

The dynamic shape here is remarkable for a spiritual arrangement. Althouse builds intensity through strategic contrasts rather than constant crescendo, giving singers and audiences genuine breath and release. The descant-style solos add texture and engagement without requiring virtuosic solo singers, making it accessible for mixed-ability choirs.

What to expect

Walking steadily forward, grounded in tradition yet shaped with careful craft. There's a quiet confidence in the voicing, punctuated by moments where the full ensemble opens up, followed by intimate passages that feel almost like prayer. The spiritual breathes with intention rather than urgency.

Who it's for

This octavo serves SSA choirs of intermediate to advanced ability who want to tackle a spiritual with real musical substance. Directors seeking repertoire that balances accessibility with artistic depth, and that won't overwhelm singers without professional solo training, will find this particularly useful.

How to get the most out of it

  • Lean into the steady walking tempo as your foundation; it anchors the spiritual's meditative power. Resist the urge to rush, especially in the quieter sections.
  • Shape the dynamic contrasts deliberately. Each shift from soft to full should feel intentional, not accidental. This is where the spiritual's message lands.
  • Balance the descant solos against the ensemble carefully. The soloists should be heard clearly but never dominate; they're a decorative element, not the main story.
  • If using the optional hand drum, establish its pattern in rehearsal before adding full voices. A steady, uncluttered pulse complements the a cappella texture best.

How to use it

Pair this with other spirituals for a concert focused on African American sacred tradition, or use it as an anchor piece when programming sacred music across genres and eras. Its concert-ready nature and festival credentials make it equally suited to spring choral festivals or winter sacred programs.

Skills your students will build

  • Balancing dynamic contrast in a cappella singing without loss of pitch integrity
  • Singing descant lines while maintaining harmonic awareness of the ensemble beneath
  • Phrasing and storytelling in spiritual repertoire
  • Ensemble blend and blend shifts across different dynamic levels
  • Rhythmic cohesion without instrumental reinforcement

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