Like the Beat of a Drum: 2-Part Choral Octavo
Words and music by Jay Althouse
Item: 00-PO-0000777
Minimum order quantity: 20 copies
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More about this title
About the Composer: Jay Althouse

Jay Althouse studied Music Education and Music at Indiana University of Pennsylvania, where he later received the Distinguished Alumni award. His career in music publishing gave him eight years of experience administering rights and licenses, including a term on the Executive Board of the Music Publishers Association of America.
Althouse has composed more than 800 choral works performed regularly across the English-speaking world. His output spans repertoire for all choir levels, and he holds ASCAP membership with multiple Special Awards recognizing his contributions to standard choral literature. Beyond composition, he has co-written children's musicals with Sally K. Albrecht, compiled vocal solo collections, authored instructional books for music classrooms, and served on boards including the North Carolina Master Chorale and the Folk Art Society of America's National Advisory Board.
Why we love this
Althouse captures that rare balance between accessibility and substance. The pulsing rhythms create immediate engagement, while the message about conviction and authenticity resonates genuinely without preaching. The optional drum circle parts transform this from standard choral writing into something contemporary and kinetic that your singers will want to perform again and again.
What to expect
Propulsive and grounded. The beat is relentless but not aggressive, creating momentum that feels inevitable rather than forced. There's an undercurrent of conviction in the harmonies, a sense that something important is being said plainly and without doubt.
Who it's for
This arrangement works for middle school through high school choirs seeking contemporary secular repertoire with real substance. Directors building programs around themes of identity and integrity will find this piece both musically interesting and thematically resonant.
How to get the most out of it
- Anchor the drum circle parts from the start of rehearsals. These aren't afterthoughts but structural elements that drive the pulse; assigning them early gives percussionists and singers time to lock in together.
- Shape the lyrical content around those pulsing rhythms rather than against them. The tension between the steady beat and the vocal line is where the piece finds its power.
- Consider the recorded accompaniment as a rehearsal tool first. Use it to internalize the harmonic language, then gradually move to a cappella or live accompaniment to build independence and ownership.
How to use it
This pairs naturally with other contemporary pieces exploring social or personal themes, or it can anchor a concert around rhythm and percussion. The drum circle parts make it especially engaging for audiences when programmed with other participatory or physically engaging works.
Skills your students will build
- Maintaining rhythmic independence while singing melodic lines
- Blending in 2-part harmony against a steady pulse
- Interpreting contemporary text with conviction and clarity
- Coordinating with optional percussion parts and accompaniment
- Building stamina through repeated rhythmic patterns