Sing of the Spring Cover Image

Sing of the Spring: 2-Part Choral Octavo

$2.25 USD
$2.25 USD
Skip to product information
Sing of the Spring Cover Image
Sing of the Spring: 2-Part Choral Octavo

Sing of the Spring: 2-Part Choral Octavo

A Partner Song with Thomas Morley's Madrigal "Now Is the Month of Maying"

Arr. with new words and music by Sally K. Albrecht and Jay Althouse

Item: 00-31158
makemusic Cloud badge

Need it now?

Buy Digital Version
$2.25
Shipped

One moment…

Related Items

Sing of the Spring: SoundTrax Digital Audio Download

$24.95
View

Sing of the Spring: 2-Part Choral Octavo

$2.25
View

Sing of the Spring: Choral Octavo SoundTrax CD

$24.95
View
Description
Here's the perfect introduction to both madrigals and partner song singing. A wonderful addition to any spring concert or festival. Light, fun, and great for teaching dynamic contrast.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Sing of the Spring: 2-Part Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

Open in the Player

Jump straight in and assign it today.

Start Your Free Trial

Open this title and explore the full library in minutes.
Sample Pages

Sample Audio
0:00
0:00
Sample Video
No sample videos found.
Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081339306
SKU: 00-31158

More about this title

About the Arranger: Sally K. Albrecht

Sally K. Albrecht

Sally K. Albrecht has shaped American choral music for over four decades as a composer, conductor, and clinician with a particular gift for integrating movement into choral performance. Her catalog spans more than 600 published choral works alongside 75 larger-scale musicals and songbooks; since 1987, she has been a consistent recipient of the ASCAP Special Music Award. She has conducted honor choirs at prestigious venues including Lincoln Center, Carnegie Hall, and The Kennedy Center, and spent more than 30 years developing choral, vocal, and elementary publications at major educational music houses, culminating in her tenure at Alfred Music.

Educated at Rollins College (B.A. in Music and Theater, 1976) and the University of Miami Frost School of Music (M.A. in Drama, 1977; M.M. in Accompanying, 1979), Albrecht has taught in the music departments at Oakland University, Jersey City State College, and Meredith College. A Cleveland native, she has received the Distinguished Alumna Award from both the University of Miami and Rollins College, where she serves on the Board of Trustees. She also served as Chair of the Board of Trustees for the Omicron Delta Kappa National Leadership Honor Society and received their Pillar of Leadership award. She resides in Wake Forest, North Carolina, with her husband, composer and arranger Jay Althouse.

Why we love this

This piece introduces madrigal textures and partner song singing in a genuinely musical way, not as a mere exercise. The dynamic contrast throughout gives students concrete opportunities to shape phrases together, and the lightness of the material keeps energy high during spring rehearsals when focus can wane.

What to expect

Bright and buoyant, with the charm of a traditional madrigal recast for young voices. The interplay between the two lines creates a conversational quality, inviting singers to listen and respond to each other while remaining approachable and fun to perform.

Who it's for

Middle school and early high school choirs ready to move beyond unison singing into two-part harmony without the complexity of dense polyphony. This octavo works equally well for general music classes exploring secular vocal literature and for choirs building confidence in part singing.

How to get the most out of it

  • Balance the two melodic lines so neither dominates; partner songs succeed when both voices feel equally important and singable.
  • Rehearse the independent lines separately before combining them; students need security in their own part before managing the textural interaction.
  • Shape dynamics as deliberate decisions rather than automatic swells; mark where you want contrast and have students listen across both parts for overall line architecture.
  • If using the recorded accompaniment, have singers mark entrances clearly and lock in the tempo during early rehearsals before refining expression.

How to use it

Pair this with other spring repertoire to build a concert arc that moves from lighter works to more substantial pieces, or use it as an opener to set an upbeat tone. The madrigal flavor also makes it suitable for a folk or world music themed concert, and its accessibility means it can be learned quickly without displacing time needed for weightier works.

Skills your students will build

  • Singing independent melodic lines within a two-part texture
  • Responding to dynamic markings and shaping phrases with intentionality
  • Listening to and balancing with another voice part
  • Understanding partner song and madrigal forms
  • Sustaining musical line and blend while maintaining individual part accuracy

You May Also Like