The Prayer Cover Image

The Prayer: TTBB Choral Octavo

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The Prayer Cover Image

The Prayer: TTBB Choral Octavo

Words and music by Carole Bayer Sager and David Foster / arr. Mark Hayes

Item: 00-41792

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Description
Originally recorded separately by both Celine Dion and Andrea Bocelli, the English and Italian versions were later combined to create this well-known duet. A beautiful, yet supportive, Mark Hayes' accompaniment makes this new arrangement soar. This title is available in Music Prodigy.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, The Prayer: TTBB 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 Pop Choral Series
Publisher: Alfred Music
Page Count: 12
UPC: 038081468723
SKU: 00-41792

More about this title

About the Composer: Carole Bayer Sager

Carole Bayer Sager has written or co-written some of the most enduring pop songs of the last five decades, from "A Groovy Kind of Love" to "That's What Friends Are For." Her gift for melody and emotional clarity has made her work adaptable across genres, moving seamlessly from pop radio to film soundtracks to choral arrangements. She was inducted into the Songwriters Hall of Fame in 2002 and continues to influence how contemporary songs transition into concert music.

David Foster, a legendary producer and composer, crafted the musical foundation for "The Prayer" with the kind of sophistication that allows it to work equally well in a concert hall or on a pop recording. His orchestral sensibilities and harmonic depth give this song a timeless quality that transcends its origins as a duet.

Why we love this

Mark Hayes understands exactly how to honor a beloved song without overcomplicated arranging. The TTBB setting here sits beautifully for men's voices, and his accompaniment supports the melody throughout rather than competing with it, which means your singers can focus on the emotional core of the text. Audiences know this piece, which gives you the gift of connection from measure one.

What to expect

Reverent yet warm. The harmonic language is contemporary enough to feel accessible, but Hayes' arrangement has enough melodic and harmonic architecture to reward careful listening. There's a spiritual quality without being preachy, and the text resonates with anyone who has sung or heard this piece before.

Who it's for

Men's choirs and mixed ensembles that want repertoire with broad appeal and genuine emotional substance. The TTBB voicing works for high school through adult levels, making it versatile for concert programming, competitions, or community performances.

How to get the most out of it

  • Balance the tenor line carefully in the opening; it carries the first statement of the melody and needs to come through without the basses pushing underneath.
  • Shape the phrase endings with attention to breath placement. The text is prayer-like, so allow slight space before major cadences rather than rushing through them.
  • Use the recorded accompaniment to secure intonation during sectional rehearsals, especially in the key modulations. Check it alongside your own harmonic sense to avoid becoming dependent on it alone.
  • Bring out the inner voices during the second verse. Baritones and second tenors have supporting material that adds richness when it's voiced with intention rather than buried.

How to use it

This sits naturally in a concert's second half, especially alongside other accessible sacred or inspirational choral music. It's also excellent as a closing number if your program needs a moment of reflection or unity. The twelve-page score gives you enough substance for a satisfying performance without requiring weeks of intensive rehearsal.

Skills your students will build

  • Balancing melody and harmony in block voicing
  • Sustaining longer, supported phrases with proper breath management
  • Interpreting text with emotional specificity in a sacred context
  • Singing within multiple harmonic layers without losing focus on the primary melodic line

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