The Glory of Love: 3-Part Mixed Choral Octavo

Jay Althouse's arrangement captures the conversational warmth of the original while keeping the three-part voicing manageable for mixed ensembles. The swing tempo and conversational text make this piece a natural choice for choirs that want to add genuine pop material to their repertoire without sacrificing musicality. Staging opportunities built into the arrangement mean your singers move and engage rather than standing still.

The piece settles into a lazy, easygoing swing groove that feels conversational and warm. The philosophy of the text (give a little, take a little) gives singers something genuine to communicate rather than empty energy, and the arrangement supports that emotional directness with uncomplicated, singable lines.

This octavo works well for intermediate and advanced mixed choirs, youth ensembles, and community groups looking for accessible pop material that avoids oversimplification. Directors who program secular selections alongside traditional repertoire will find this piece both genuine and teachable. SAB voicing makes it inclusive for choirs with limited male voice depth.

• Emphasize the swing feel by laying back slightly on eighth notes; this isn't straight rhythm, so a relaxed pulse prevents the piece from feeling rushed or stiff.
• Shape phrases around the conversational exchanges in the text; treat each musical thought as dialogue rather than isolated vocal lines.
• Balance the three parts so that the melody line (typically in the soprano part) remains clear without dominating; SAB voicing requires intentional blend work.
• Use the recorded accompaniment to lock in the groove and swing style, which helps singers feel the contemporary idiom rather than defaulting to classical choral technique.

Position this in a pop or contemporary set alongside other secular selections, or program it as a palate cleanser between heavier choral works. Its staging possibilities make it ideal for concerts where you want interactive, visually engaging moments. The accessibility of the arrangement also suits it well for mid-season performances when singers need material that builds confidence without requiring months of rehearsal.

• Swing rhythmic feel and interpretation
• Part independence in three-part voicing
• Conversational phrasing and text communication
• Blend and balance in SAB arrangement
• Movement and staging integration