May a Rainbow Run Beside You: SAB Choral Octavo

Burrows has written a parting song that actually works: the melody sits naturally in the voices, the three-part voicing avoids the awkwardness that plagues so much SAB literature, and the emotional core of Irish blessings gives singers something genuine to communicate. Enough directors request a closing piece for spring concerts that this one lands immediately on the program shelf.

Warm and unhurried, like a sincere benediction. The melody unfolds with grace rather than drama, inviting singers to lean into the blessing language and reminding audiences why this music exists at all: to acknowledge transitions with dignity and hope.

Directors programming graduation, concert closers, or any occasion calling for a moment of reflection and goodwill. The SAB voicing makes it accessible to mixed choirs without requiring a full SATB section or extensive vocal range, so you can include singers at varying skill levels.

• Let the text shape the phrasing rather than fighting against the bar lines; the blessing language has its own natural breath patterns that will guide singers toward expressive singing.
• Balance the voices so the melody doesn't overshadow the supporting lines; SAB works best when all three parts feel equally important to the overall warmth.
• Use the recorded accompaniment to establish the lyrical tempo in rehearsal, then gradually move toward independence so singers own the emotional arc by performance day.

Close a spring concert with this piece and watch the emotional shift in the room. Pair it with livelier contemporary work earlier in the program so the contrast makes the final blessing land harder, or use it as the finale to a set focused on text-driven repertoire.

• Singing sustained, lyrical lines without sacrificing clarity of diction
• Balancing three independent vocal lines in a mixed voicing
• Interpreting text as a guide for phrase shape and breath placement
• Approaching secular blessing texts with appropriate reverence and warmth