Never Let Go of Your Dream: 3-Part Mixed Choral Octavo

Donnelly and Strid write with middle school choirs in mind, and it shows. The melody sits comfortably in the range of developing singers while the three-part writing stays transparent enough that students can hear their own part without drowning out the ensemble. The text delivers genuine encouragement without resorting to saccharine language, giving singers something meaningful to perform rather than sing along with.

Bright and optimistic without being artificial. The melody has shape and purpose, moving the text forward naturally while keeping the harmonic language accessible. Singing this piece should feel like a collective pep talk, energizing rather than exhausting.

Middle school choirs looking for repertoire that builds confidence and ensemble cohesion. The moderate difficulty level and uplifting message work well for groups with mixed experience levels, including some singers encountering three-part harmony for the first time.

• Emphasize the recurring lyrical hook (Keep your eye on the rainbow) by having singers connect emotionally to the message rather than rushing through the text. Slower, more deliberate phrasing lets younger singers own the meaning.
• Balance the three parts equally during sectional work. Middle schoolers often underestimate the importance of the middle voice; isolate the SAB parts and have students listen to how each line supports the whole.
• If using the recorded accompaniment, have singers practice without it first so they develop independence and understand the harmonic structure before relying on the track.

This works beautifully as a concert opener or closer, especially at spring programs when you want to send families out uplifted. It also pairs well alongside other secular selections in a middle school concert set or serves as an affirming piece during back-to-school season.

• Singing in three-part SAB voicing with rhythmic and melodic independence
• Sustaining legato phrasing while maintaining text clarity
• Listening to and balancing multiple vocal lines in an ensemble setting
• Connecting emotional content to vocal performance