Slow Dancing in the Snow Cover Image

Slow Dancing in the Snow: 3-Part Mixed Choral Octavo

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Slow Dancing in the Snow Cover Image
Slow Dancing in the Snow: 3-Part Mixed Choral Octavo

Slow Dancing in the Snow: 3-Part Mixed Choral Octavo

Music by Jay Althouse

Item: 00-5799
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Description
It's back to the 50's with this slow rock ballad that's perfect for your winter concerts. It's not a Christmas piece, so it's suitable for any secular winter-time concert. Jay Althouse cleverly mixes memories of summer ("The soft summer breeze. the sway of the trees") with images of winter for an absolutely unforgetable musical treat. "So let it snow till Valentine's Day..." and we'll for Slow Dancing in the Snow.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Slow Dancing in the Snow: 3-Part Mixed Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Alfred Archive Edition: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 8
UPC: 038081016641
SKU: 00-5799

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was later honored as a Distinguished Alumnus. His eight years managing rights and licenses for a major educational publisher gave him deep insight into what teachers and students actually need. Now one of the most prolific composers in choral music, with over 800 published works, his compositions are performed regularly across English-speaking countries.

Beyond composing, Althouse has shaped music education through multiple channels: co-writing the widely-used Complete Choral Warm-up Book and Accent on Composers with his wife Sally K. Albrecht, compiling respected vocal solo collections, and creating classroom resources like Ready to Read Music and Sixty Music Quizzes. His collaborative composition I Hear America Singing was performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration. As a member of ASCAP and regular recipient of their Special Award, he remains active in music advocacy and currently serves on the National Advisory Board of the Folk Art Society of America.

Why we love this

Althouse captures something genuinely fresh here: a winter song that isn't locked into holiday repertoire. The nostalgic 50s slow rock setting feels timeless without being corny, and the lyrical conceit of mixing summer memories with winter snow creates emotional texture that audiences connect with immediately. For a director balancing winter concert programming, this fills an actual hole between Christmas music and spring selections.

What to expect

Like a slow dance at a winter formal, with the kind of nostalgic warmth that makes you remember something you didn't actually live through. The interplay between summer memories and falling snow creates a bittersweet mood that's accessible without being manipulative, grounded in a rock sensibility that feels era-appropriate but never dated.

Who it's for

Any director programming a winter concert outside the Christmas season. This works beautifully for secular school concerts, community choirs, or any ensemble looking for a mid-level piece with genuine audience appeal and period charm.

How to get the most out of it

  • Lean into the recorded accompaniment to establish the groove. These ballads live or die on their pocket; the rhythm section foundation lets your singers sit back and focus on tone.
  • Shape the text painting around those summer/winter contrasts. The imagery shifts are your biggest dramatic tool, so highlight the temperature changes in your phrasing and dynamics.
  • Consider adding the optional movement or staging suggestions included with the octavo. A SAB voicing with choreography can energize an ensemble while keeping the ballad's intimate feel intact.

How to use it

Program this early in a winter concert to set a sophisticated, non-holiday tone for the evening, or use it as a bridge piece between more energetic numbers. The recorded accompaniment makes it feasible even for groups stretched thin on rehearsal time, and the 8-page length means it fits naturally into most concert structures without stealing disproportionate preparation time.

Skills your students will build

  • Singing over a rock groove without rushing
  • Dynamic contrast between verse and chorus sections
  • Blending three-part voicing while maintaining individual line clarity
  • Interpreting text imagery through musical phrasing
  • Working with recorded accompaniments to develop rhythmic independence

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