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Mary, Mary Had-A But One Child: SATB Choral Octavo

$1.75 USD
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Mary, Mary Had-A But One Child Cover Image
Mary, Mary Had-A But One Child: SATB Choral Octavo

Mary, Mary Had-A But One Child: SATB Choral Octavo

Words and music by Jay Althouse

Item: 00-27121
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Description
The opening piano introduction sets the spiritual stage for this solid gospel-style Christmas number. Lots of "hallelujahs" make it a joyful addition to your December concerts. There's an add-on section which develops independent singing. Not hard to put together, always important this time of year. Choreography featured on "Razzamatazz!" DVD (item 00-27430).

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Mary, Mary Had-A But One Child: SATB Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081263281
SKU: 00-27121

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored as a Distinguished Alumnus. His early career included eight years as a rights and licenses administrator for a major educational music publisher, during which he served on the Executive Board of the Music Publishers Association of America. He is a prolific composer with over 800 choral works in print, performed regularly across the English-speaking world.

As a writer member of ASCAP, Althouse has received the organization's Special Award multiple times for his contributions to standard music. Beyond composition, he has collaborated with his wife Sally K. Albrecht on children's musicals and vocal solo collections, authored The Complete Choral Warm-up Book and Accent on Composers, and contributed to music education through reproducible classroom resources. His choral work I Hear America Singing, co-written with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration.

Why we love this

The gospel style and repeated "hallelujahs" create an infectious energy that audiences genuinely enjoy, making this a crowd-pleaser for holiday concerts without sacrificing musical substance. Althouse's sectional writing is accessible enough for mixed ability choirs to learn quickly, yet the independent voice development keeps stronger singers engaged throughout.

What to expect

A warm, celebratory piece that radiates joy through its gospel roots and infectious repetition. The opening piano sets a spiritual foundation, while the layered hallelujahs create moments of exuberant, communal singing.

Who it's for

Choirs of intermediate ability looking for a gospel-influenced Christmas selection that balances accessibility with musical substance. This works equally well in church settings, school winter concerts, and community choral programs.

How to get the most out of it

  • Let the piano introduction breathe. This sets the spiritual tone before the choir enters, so resist the urge to rush into the vocals too soon.
  • The add-on section demands secure part independence. Run sectionals here to ensure each voice can sustain their line without leaning on adjacent voices.
  • Drill the rhythmic precision of the "hallelujah" passages as a group; locked rhythms make these moments sparkle and feel celebratory.
  • If using the choreography from the Razzamatazz DVD, integrate movement rehearsals early so singers can focus on vocal production rather than learning steps during full rehearsals.

How to use it

Pair this with a more serious sacred work to create dynamic contrast in your December concert, or use it as a finale to send audiences out smiling. Its 12-page length and moderate difficulty make it ideal for intermediate ensembles preparing a holiday program in a reasonable timeframe.

Skills your students will build

  • Gospel rhythmic feel and articulation
  • Independent voice sustaining in four-part texture
  • Rhythmic unison and ensemble lock in repeated phrases
  • Coordination of text delivery with choreography (if staging is used)

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