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Let All the World in Every Corner Sing: 3-Part Mixed or SAB Choral Octavo

$2.25 USD
$2.25 USD
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Let All the World in Every Corner Sing Cover Image
Let All the World in Every Corner Sing: 3-Part Mixed or SAB Choral Octavo

Let All the World in Every Corner Sing: 3-Part Mixed or SAB Choral Octavo

Music by Sally K. Albrecht

Item: 00-21165
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Description
This powerful concert work opens with a fanfare-like introduction, then builds with repetitive rhythms and strong harmonies. Features an "add-on" section beginning with one voice part followed by the others, each adding its own melody in turn. Solid part writing make it appealing for any age group. Ideal as a "music" number in any concert; effective as a concert opener or closer. Add the brass SoundPax or SoundTrax CD for added excitement.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Let All the World in Every Corner Sing: 3-Part Mixed or SAB 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: 038081200866
SKU: 00-21165

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over three decades through her work as both a prolific composer and a defining voice in music publishing. With more than 600 choral works and 75 songbooks and musicals to her name, she has earned the ASCAP Special Music Award annually since 1987 and conducted honor choirs at venues including Lincoln Center, Carnegie Hall, and The Kennedy Center. Her career at major educational publishers, particularly as Director of School Choral, Vocal, and Elementary Publications at Alfred Music, positioned her uniquely to understand what works in rehearsal rooms across the country.

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 taught at Oakland University, Jersey City State College, and Meredith College. She has served as Chair of the Board of Trustees for Omicron Delta Kappa and received the Distinguished Alumna Award from both the University of Miami Frost School of Music and Rollins College, where she serves on the Board of Trustees. She lives in North Carolina with her husband, composer and arranger Jay Althouse.

Why we love this

The architecture here is genuinely clever: a fanfare-style opening that immediately signals importance, followed by an additive section where each voice part enters with its own melodic material. This approach teaches singers to listen actively while maintaining their own line, and it creates a satisfying sense of building momentum without requiring complex rhythmic reading. Albrecht's part writing sits comfortably for emerging singers while remaining musically substantive enough to hold an audience's attention.

What to expect

A musical proclamation: bright, purposeful, and inclusive. The opening fanfare establishes gravity and forward motion, while the additive section that follows feels like voices joining in a unified celebration, each contributing something essential to the whole.

Who it's for

Directors seeking a concert piece that commands attention without demanding technical virtuosity, and programs that need a strong opener or closer with liturgical substance. Works equally well for middle school, high school, and community choirs.

How to get the most out of it

  • Prepare the fanfare opening with clarity and energy; this is your first impression. Even with just three parts, rhythmic precision here sets the tone for the entire piece.
  • In the additive section, have each voice part sing their entrance alone during rehearsal before layering them in. This builds confidence and helps singers understand where their melody sits within the texture.
  • Consider the brass SoundPax or SoundTrax accompaniment if your budget allows. The fanfare introduction especially benefits from instrumental support that reinforces the opening statement.
  • Shape the repetitive rhythms expressively rather than mechanically. The strength comes from committed ensemble singing, not driving the tempo harder.

How to use it

Program this as a concert opener to establish energy and liturgical weight, or as a powerful closer when you want to send audiences out with a sense of affirmation and strength. It works particularly well in Easter or Ascension services, or as part of a concert program exploring themes of praise and unity. The fanfare opening makes it effective even in mixed-genre programs where you want a distinct tonal shift.

Skills your students will build

  • Singing independent melodic lines within a four-part texture
  • Entering securely on cue while maintaining pitch center
  • Sustaining clear diction during repetitive rhythmic figures
  • Balancing individual voice part awareness with ensemble blend

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