Mary, Mary: SAB Choral Octavo

This upbeat gospel-rock original from Donnelly and Strid gives directors a contemporary piece that genuinely excites singers while remaining accessible to SAB choirs. The multiple voicing options mean you're not locked into one configuration; you can adapt parts to match your ensemble's strengths and growth throughout the year. The rhythmic energy and infectious melody make this a crowd-pleaser without sacrificing musical substance.

A joyful, propulsive piece that swings with modern energy. The gospel-rock idiom brings warmth and groove to the sacred text, creating a performance that feels both reverent and celebratory, inviting the audience into the singers' enthusiasm rather than asking them to observe from a distance.

Any choir seeking a high-energy contemporary piece that works for mixed ensembles without requiring four separate voice parts. This is ideal for developing singers who benefit from accessible yet engaging repertoire, as well as established choirs wanting a crowd-pleasing concert moment. The gospel-rock style appeals to singers of many ages and musical backgrounds.

• Nail the rhythmic foundation by locking the kick and bass line to the recorded accompaniment; gospel-rock grooves live or die on their pocket, and precision here will elevate the entire performance.
• Balance the upper voices carefully so lyrics remain intelligible over the arrangement's fuller texture; SAB writing at this level often layers parts densely, so mark dynamic choices in rehearsal.
• Encourage singers to lean into the style's rhythmic feel by swinging eighth notes slightly and engaging their bodies with the groove; gospel-rock demands physical commitment, not just pitch accuracy.
• Record a rehearsal run-through early in your preparation to assess where individual sections need clarity work, then target those moments in focused sectional rehearsals.

Program this as an uplifting second-half opener when you need to shift the energy and mood of a concert after quieter or more introspective pieces. Its contemporary style also makes it an excellent bridge piece between traditional hymnal arrangements and fully modern compositions, useful for concerts that span multiple eras or styles. Consider pairing it with other Donnelly and Strid works to showcase their accessible approach to mixed-voice writing.

• Gospel and contemporary sacred style conventions, including rhythmic swing and expressive phrasing
• Layered part independence in mixed-voice writing
• Rhythmic precision and ensemble lock in groove-based music
• Text clarity and vowel consistency when singing faster passages in the higher voices