Lovely Chance: SATB Choral Octavo

Narverud takes Sara Teasdale's language seriously, matching its vividness with music that shifts between energetic and reflective without ever losing coherence. The mixed-meter refrain is genuinely rhythmic and fun to sing rather than merely complicated, and the optional hand drum adds texture without demanding extra rehearsal time. This is the kind of piece that generates genuine excitement in a choir while holding up to multiple listens in a concert program.

The opening has momentum and sparkle, driven by echoes that build energy around Teasdale's words. When the dancelike refrain arrives with its unexpected meters, the piece suddenly feels kinetic and alive, then pivots gracefully into a quieter, more introspective section before the bright energy returns with new weight and maturity.

SATB choirs of solid intermediate ability and above who want contemporary repertoire with real substance and musicality. This piece works equally well for concert programming and festival competition, and it's engaging enough to hold an audience without asking singers to sacrifice musicianship for novelty.

• Lock the mixed-meter refrain as a section before putting it with the ensemble. Clap the pattern together until the rhythm feels natural, then add text and melody.
• The echoed verse benefits from clear articulation and controlled dynamics. Each echo should feel like a conversation, not a repetition.
• If using the optional hand drum, give the percussionist the part early and let them find their entry points during section rehearsals rather than waiting for full ensemble.
• The transition into the B section requires a slight tempo adjustment. Mark it clearly and conduct it with intention so singers know this is a deliberate shift in mood.

Pair this with a more traditional or sacred work to create a program that shows choral range and contemporary relevance. Its literary text and concert appeal make it an excellent anchor for a concert devoted to American poetry or modern choral writing. It also performs well as an opener or as the final selection before an intermission, since its rhythmic vitality leaves audiences energized.

• Reading and maintaining mixed meters (shifting between triple and quadruple subdivisions)
• Controlling rhythm in echoed passages with precision and clarity
• Blending part independence with ensemble cohesion across a longer sectional form
• Interpreting poetic text through dynamic and timbral choices
• Coordinating with optional percussion while maintaining vocal focus