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Locus Iste: SATB <i>a cappella</i> Choral Octavo

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Locus Iste Cover Image
Locus Iste: SATB a cappella Choral Octavo

Locus Iste: SATB a cappella Choral Octavo

By Sally K. Albrecht and Jay Althouse

Item: 00-48356
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Description
This regal a cappella Latin setting begins on a unison pitch that quickly blossoms into resplendent four-part harmony. Sensible voice leading and conservative intervals encourage good intonation even when we briefly shift to the relative minor key. Short in length but packed with worthwhile teaching moments, including occasional optional divisi in both voicings.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 8
UPC: 038081551791
SKU: 00-48356

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht brings three decades of experience in choral music publishing, having shaped educational choral literature as Director of School Choral, Vocal, and Elementary Publications at Alfred Music and other major publishers. A conductor, clinician, and composer with an ASCAP Special Music Award every year since 1987, she has led honor choirs at prestigious venues including Lincoln Center, Carnegie Hall, and The Kennedy Center. Her catalog exceeds 600 published choral works alongside 75 larger songbooks and musicals.

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 has taught at Oakland University in Michigan, Jersey City State College in New Jersey, and Meredith College in North Carolina. She is particularly known for integrating movement into choral performance. A Cleveland native now based in North Carolina with her husband, composer and arranger Jay Althouse, Albrecht serves as a Board member at Rollins College and in 2021 received the Distinguished Alumna Award from both Rollins and the University of Miami Frost School of Music.

Why we love this

Albrecht and Althouse craft this piece with remarkable economy: eight pages yields genuine musical substance without demanding excessive rehearsal time. The unison opening into full harmony provides immediate pedagogical payoff, while the conservative voice leading means your ensemble can focus on blend and intonation rather than navigating awkward intervals. It's a piece that respects both director and singers.

What to expect

The piece unfolds with architectural dignity, moving from the stillness of unison into luminous four-part voicing. There is a sense of expansion and light, especially as the harmony fully blooms; the shift to relative minor introduces a moment of introspection before returning to the piece's fundamental radiance.

Who it's for

This octavo suits intermediate to advanced choral programs seeking a Latin sacred work that teaches solid harmonic and intonation skills without requiring extensive arranging or rehearsal time. It works equally well for concert performance and festival competition, making it a smart choice for directors managing multiple performance contexts.

How to get the most out of it

  • Begin the unison passage with deliberate attention to vowel unification; this sets the foundation for the harmonic blossoming that follows.
  • Prepare singers for the relative minor shift by marking it during rehearsal and modeling the tonal color change you want to hear.
  • Approach the optional divisi sections as an interpretive choice rather than an obligation; decide based on your ensemble's strengths and available voices.
  • Shape the regal character through dynamic control and careful articulation rather than volume alone; these voices will carry weight through precision.

How to use it

Pair this with other sacred works to build a thoughtful concert segment on Latin texts, or position it as a stunning standalone opener for a program where you want to establish tone and focus immediately. Its brief length also makes it an excellent festival choice when time slots are limited but impact is not negotiable.

Skills your students will build

  • Unison to four-part voice leading
  • A cappella intonation and blend
  • Modulation to relative minor
  • Optional divisi and voice doubling
  • Latin text pronunciation and resonance

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