Mary, Mary Had-A But One Child: SATB Choral Octavo
Words and music by Jay Althouse
Item: 00-PO-0000309
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More about this title
About the Composer: Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored with the Distinguished Alumni award. His eight-year tenure as a rights and licenses administrator at a major educational music publisher included service on the Executive Board of the Music Publishers Association of America. He maintains membership in ASCAP and is a frequent recipient of the organization's Special Award.
Althouse has composed more than 800 choral works performed across the English-speaking world. Beyond original compositions, he has co-created children's musicals with Sally K. Albrecht, compiled influential vocal solo collections including Folk Songs for Solo Singers, and co-authored The Complete Choral Warm-up Book and Accent on Composers. He has also produced educational resources for music classrooms and served on the board of the North Carolina Master Chorale. Currently, he sits on the National Advisory Board of the Folk Art Society of America.
Why we love this
Althouse writes gospel-style spirituals with genuine accessibility; your choir can learn this quickly without sacrificing musicality or joy. The "hallelujahs" create an infectious energy that audiences recognize as authentic celebration, and the independent singing section rewards singers who have worked through the basics while keeping less experienced voices secure. This is the kind of piece that feels special in performance because it genuinely lifts a room.
What to expect
Warmth and celebration collide in this bright spiritual. The piano foundation gives the choir solid ground for a joyful, rhythmic energy that feels both contemporary and rooted in tradition. Those stacked "hallelujahs" create an irresistible sense of affirmation and togetherness.
Who it's for
Directors programming holiday concerts need accessible yet authentic gospel repertoire that works for mixed choirs. This octavo suits ensembles with some singing experience but no particular specialization in the spiritual or gospel tradition. It engages audiences familiar with Christmas classics while offering something stylistically different.
How to get the most out of it
- Keep the piano introduction spacious and warm; let it establish the gospel idiom before the choir enters, setting expectations for the style to follow.
- Shape the "hallelujah" sections with dynamic contrast rather than singing them all at the same volume; start softer and let them build across repetitions to maintain energy and interest.
- Encourage soloists or a small group to lead the independent singing section so that the full choir can listen and respond, creating call-and-response dialogue rather than homophonic texture.
- Use the recorded accompaniment during rehearsal to lock the rhythmic feel, which matters enormously in gospel idiom; the groove is as important as the notes.
How to use it
Slot this as a high-energy moment in your December concert, ideally after a more reflective sacred piece to create programming contrast. Its straightforward learning curve and crowd-pleasing character make it valuable as a full-choir showpiece when you need a reliable crowd-pleaser without extensive rehearsal time. The movement and staging options (featured on the "Razzamatazz!" DVD) open possibilities for visually engaging performance in smaller venue settings.
Skills your students will build
- Gospel rhythm and swing feel
- Independent voice leading in the add-on section
- Clarity and unity in repeated "hallelujah" passages
- Stylistic interpretation within a specific genre