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Sing and Rejoice!: SSATB, <i>a cappella</i> Choral Octavo

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Sing and Rejoice! Cover Image
Sing and Rejoice!: SSATB, a cappella Choral Octavo

Sing and Rejoice!: SSATB, a cappella Choral Octavo

Words and music by Sally K. Albrecht

Item: 00-45714
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Sing and Rejoice!: SSATB, a cappella Choral Octavo

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Description
The bass section lays out a captivating minor key line, followed by the entrance of syncopated tenors. Altos add their percussive part, and the sopranos offer another layer in the exciting contrapuntal introduction of this dynamic concert and contest feature. In the middle, mixed and changing meters intensify the piece to its "voices resound" height just before the independent parts return. A joyful a cappella prize!

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081514536
SKU: 00-45714

More about this title

About the Composer: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over three decades as both a composer and an advocate for choral artistry. Her catalog of more than 600 published works and 75 larger ensemble pieces reflects her deep understanding of what works in rehearsal and on stage. A conductor herself, she has led honor choirs at prestigious venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, bringing firsthand knowledge of performance contexts to her writing.

Recognized annually by ASCAP for her contributions since 1987, Albrecht spent much of her career directing school choral and vocal publications for major educational music publishers, including Alfred Music. Her formal training spans music, drama, and accompanying (degrees from Rollins College, the University of Miami, and work in conducting clinics nationwide), which informs her sophisticated approach to text, voice leading, and musical drama. She and her husband, composer and arranger Jay Althouse, live in North Carolina.

Why we love this

Albrecht builds an intricate contrapuntal introduction that immediately announces this is not routine repertoire. The writing balances technical challenge (syncopated tenors, percussive altos, mixed meters) with genuine musical architecture, giving singers a piece that rewards careful preparation while remaining singable for most advanced high school or college choirs. The "voices resound" climax feels earned, not imposed.

What to expect

The opening unfolds with quiet intensity, each voice part entering to build a complex rhythmic conversation rather than a simple chord. The piece moves with kinetic energy through its meter shifts, building toward a soaring peak before the counterpoint returns, leaving performers and listeners with a sense of both exhilaration and compositional polish.

Who it's for

Advanced high school and college choirs looking for a concert and contest piece with genuine compositional sophistication. Directors seeking an a cappella work that challenges singers without requiring instrumental accompaniment or simplifying the harmonic or rhythmic language.

How to get the most out of it

  • Isolate the opening bass line and tenors separately before combining them; the syncopation sits differently on the ear when the lower voices lock first.
  • In the meter changes, have altos and sopranos rehearse their independent parts against a fixed pulse from the other two sections to build confidence before merging everything.
  • Shape the "voices resound" section by gradually increasing dynamic intensity through the mixed meters rather than jumping to full volume at once.
  • Without instrumental support, clear diction on the percussive alto part becomes your rhythmic anchor; spend time on consonant precision and release.

How to use it

Program this as a centerpiece in a concert devoted to contemporary choral writing or as a strong festival entry where it stands apart from conventional selections. Its twelve pages and a cappella format make it a natural pairing with other unaccompanied works, allowing you to build a compelling thematic set without worrying about accompaniment transitions.

Skills your students will build

  • Singing independent contrapuntal lines while tracking other voice parts
  • Reading and performing mixed meters (including metric modulation within a phrase)
  • Maintaining rhythmic precision through syncopated passages without instrumental support
  • Balancing percussive articulation with sustained vocal tone
  • Dynamic shaping across longer harmonic arcs rather than phrase-by-phrase

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