Mary, Mary Had-A But One Child Cover Image

Mary, Mary Had-A But One Child: Choral SoundPax

$25.00 USD
$25.00 USD
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Mary, Mary Had-A But One Child Cover Image
Mary, Mary Had-A But One Child: Choral SoundPax

Mary, Mary Had-A But One Child: Choral SoundPax

Words and music by Jay Althouse

Item: 00-27126
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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.

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: Choral SoundPax 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: 24
UPC: 038081293868
SKU: 00-27126
Instrumentation: SoundPax

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. He spent eight years in music publishing as a rights and licenses administrator and served on the Executive Board of the Music Publishers Association of America. As a composer, he has created more than 800 choral works performed across the English-speaking world and is a writer member of ASCAP, a regular recipient of the ASCAP Special Award for compositions in standard music.

Beyond composition, Althouse has collaborated with his wife Sally K. Albrecht on several children's musicals and co-authored influential classroom resources including The Complete Choral Warm-up Book and Accent on Composers. He compiled and arranged respected vocal solo collections such as Folk Songs for Solo Singers and authored reproducible music classroom materials. Althouse served on the board of the North Carolina Master Chorale and currently serves on the National Advisory Board of the Folk Art Society of America.

Why we love this

Jay Althouse brings a gift for writing accessible, joyful gospel arrangements that choirs genuinely enjoy performing. The spiritual warmth of this piece, combined with its manageable vocal lines and the built-in opportunity for independent part singing, makes it a genuine crowd-pleaser that doesn't sacrifice musical substance for ease of preparation.

What to expect

Warmth and celebration from the opening piano gesture onward. The gospel idiom brings a sense of jubilation and spiritual authenticity that feels earned rather than manufactured, with the layered hallelujahs creating a rising tide of joy that audiences respond to immediately.

Who it's for

Directors looking for a Christmas number that genuinely lifts the spirit without requiring extensive rehearsal time. Your singers will connect with the gospel style and the joyful repetition of hallelujahs, making this a reliable choice for mixed-level choirs aiming for an authentic December concert moment.

How to get the most out of it

  • Let the piano introduction establish the gospel feel before the choir enters; it's your tuning fork for the entire arrangement's character and energy.
  • Shape the hallelujahs with conviction and unity; they're the emotional heartbeat of the piece, so drill them as a full ensemble before sectional work.
  • Use the add-on section to showcase individual singers or small groups; this builds confidence and adds textural contrast for your concert performance.
  • Lean on the recorded accompaniment during rehearsals to lock in the groove and confirm pitch; gospel style demands rhythmic security alongside harmonic accuracy.

How to use it

Place this in your second half to energize the audience after a quieter, more reflective piece. Its straightforward joy and solid structure make it work well in any December program context, whether you're programming back-to-back sacred works or mixing genres.

Skills your students will build

  • Gospel rhythmic phrasing and swing
  • Independent part singing within a fuller harmonic texture
  • Unified articulation and vowel shaping in repeated, punctuated text
  • Harmonic awareness through layered melodic material

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