Little River: 3-Part Mixed Choral Octavo
Words and music by Lisa Longe
Item: 00-PO-0007442
Minimum order quantity: 20 copies
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Description
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About the Composer: Lisa Longe

Lisa Longe earned degrees in Music Education from the Crane School of Music at SUNY Potsdam (Bachelor's and Master's) and studied Christian Spirituality at Fordham University. For over two decades, she has taught music in Schenectady City Public Schools in Upstate New York, where she transitioned from general music instruction to full-time instrumental band direction.
Longe's deepest professional fulfillment comes from guiding young musicians through their earliest musical experiences and witnessing their growth from first attempts into confident ensemble members. She remains a passionate accompanist for school choirs and views singing students as a vital part of her musical life. She lives in Albany with her family, which includes two teenagers, two dogs, a bird, and a gecko.
Why we love this
Longe's setting respects the learning curve of mixed treble singers while offering genuine compositional voice. The way she moves voices in and out of unison creates textural interest without demanding rehearsal time on complex part-writing, and the piano part sits naturally under young hands, giving accompanists something beautiful to play rather than a mere harmonic prop.
What to expect
Flowing and contemplative, with moments of crystalline simplicity when voices move to unison. The piano accompaniment provides gentle support while the changing harmonic colors suggest movement and change, much like water finding its own path.
Who it's for
Middle school and high school choirs ready to explore genuine composition beyond simplified arrangements. This piece suits programs that need concert and festival repertoire for mixed treble voices without requiring extensive vocal maturity or complex part independence.
How to get the most out of it
- Balance the entrance and exit of each voice part carefully in rehearsal; mark cues so singers know exactly when their line returns from unison sections.
- Shape the dynamic arc to mirror the river imagery. Let dynamics swell and recede organically rather than hitting every marking at full volume.
- Work the piano accompanist into your rehearsal process early. A pianist who understands the piece's emotional intent will help singers find their phrasing naturally.
How to use it
Pair this with other nature-themed or metaphorical pieces to create a thematic concert segment, or program it as a centerpiece for a spring concert where its imagery of growth and pathfinding resonates. The piece works equally well in contest or festival settings where accessible yet artistic literature is valued.
Skills your students will build
- Singing with awareness of entering and exiting unison sections
- Blending SAB voices while maintaining individual line integrity
- Responding to expressive dynamic markings that serve text meaning
- Coordinate vocal phrasing with piano accompaniment