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La Musica: 2-Part Choral Octavo

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La Musica: 2-Part Choral Octavo

(The Music)

Music by Jay Althouse

Item: 00-21825

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Description
With all the scintillating energy of Cuba in the 1960's, La Música is a hot, hot, hot number from contemporary composer Jay Althouse. Built upon a hypnotic rhythmic pulse, smooth Latin harmonies, and a haunting melody, this cross-cultural number combines English text with a few Spanish phrases to remind us that music is "a world we share." If you liked Jay's ¡Cantar! and Oye la Música, you don't want to miss this exciting sequel. Perform with the authentic sounding SoundTrax or create your own Latin combo with the optional SoundPax. Featured on "On with the Show!" video, #21799.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, La Musica: 2-Part Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Archive Edition: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081212166
SKU: 00-21825

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was honored with the Distinguished Alumni award. His career spans both the publishing industry, where he spent eight years managing rights and licenses and served on the Executive Board of the Music Publishers Association of America, and composition, where he has established himself as a prolific voice in choral music with over 800 works in print across all choir levels.

Althouse's output extends well beyond composition. He has co-written children's musicals with his wife Sally K. Albrecht, curated and arranged widely used vocal solo collections, and authored several classroom resources including Ready to Read Music, Sixty Music Quizzes, and One-Page Composer Bios. As a writer member of ASCAP, he is a regular recipient of the ASCAP Special Award. His collaborative choral work I Hear America Singing was performed by the San Francisco Girls and Boys Choirs at President Barack Obama's 2009 inauguration. Althouse resides in North Carolina, where he has remained active in music advocacy through service on the boards of the North Carolina Master Chorale and the Folk Art Society of America.

Why we love this

The infectious energy here comes not from forcing Spanish phrases into an English pop tune, but from Althouse's understanding of how Latin rhythm actually functions as the composition's skeleton. Directors familiar with his earlier Latin-influenced pieces will recognize that signature clarity, but La Música stands out for how successfully it works with limited voicing. The cross-cultural text genuinely connects to something meaningful rather than serving as novelty.

What to expect

Stepping into a warm Havana night where music spills into the streets. There's an irresistible forward momentum driven by a steady Latin heartbeat, while the melody drifts above with an understated elegance. The combination of English and Spanish creates a sense of two worlds in conversation, and the overall effect is simultaneously accessible and sophisticated.

Who it's for

Choirs with young singers and treble voices who are ready for rhythmic independence and Latin style but don't yet have advanced harmonic reading skills. This works equally well for mixed ensembles and is especially valuable for programs seeking authentic multicultural repertoire that genuinely engages singers rather than tokenizing a culture.

How to get the most out of it

  • Establish the hypnotic rhythmic pulse in rehearsal before layering melody. Have singers feel the underlying Latin percussion pattern internally, even when they're singing sustains. This foundation makes the piece swing rather than plod.
  • Balance the English text and Spanish phrases deliberately. The Spanish functions as call-and-response punctuation; keep it crisp and rhythmically precise so it lands as an intentional musical moment, not an interruption.
  • The recorded accompaniment captures authentic instrumentation. If you use it, let singers hear it in sectionals so they understand what instruments support their voice parts. If you create your own Latin combo using SoundPax, ensure your rhythm section locks the pulse before full rehearsal.
  • Shape the melody line with sensitivity to its haunting quality. Resist the urge to oversell the energy; let the rhythmic drive carry the excitement while you shape the line for phrase coherence and lyrical intent.

How to use it

Perfect as an energetic centerpiece in a set exploring global music traditions or multicultural themes. It also serves as an excellent closer for a concert, providing the kind of celebratory send-off that leaves audiences smiling. Consider pairing it with other Althouse Latin pieces if programming a showcase of his work.

Skills your students will build

  • Singing against a strong rhythmic pulse in Latin style
  • Code-switching between English and Spanish text with equal comfort
  • Listening for and balancing independent melodic lines in 2-part writing
  • Understanding harmonic function in contemporary pop and Latin idioms
  • Working with recorded accompaniments and recognizing instrumentation

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