Then and Now Cover Image

Then and Now: SATB <i>a cappella</i> Choral Octavo

$2.25 USD
$2.25 USD
Skip to product information
Then and Now Cover Image
Then and Now: SATB a cappella Choral Octavo

Then and Now: SATB a cappella Choral Octavo

Words by John McCrae, music by Paul A. Aitken

Item: 00-43197
makemusic Cloud badge

Need it now?

Buy Digital Version
$2.25
Shipped

One moment…

Related Items

Then and Now: SATB a cappella Choral Octavo

$2.25
View
Description
Perhaps best known for his setting of In Flanders Fields, Paul's graceful melody unites with McCrae's beautiful poetry in this exquisite reflection of time gone by. A top-notch concert and contest choice.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Then and Now: SATB a cappella 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: Lawson-Gould
Publisher: Alfred Music
Page Count: 8
UPC: 038081487397
SKU: 00-43197

More about this title

About the Composer: Paul A. Aitken

Paul A. Aitken

Paul A. Aitken grew up in Canada and holds degrees from the University of Western Ontario, Southern Illinois University at Carbondale, and the University of Oklahoma. He won the inaugural ACDA Brock Student Composition Competition for his piece "Flanders Fields" and has since built a catalog of more than 40 compositions spanning two decades. His work has been commissioned by prestigious organizations including the American Guild of Organists, the State of Idaho, and the Boise Philharmonic Master Chorale, and he made his Carnegie Hall debut in 2010 conducting his major choral work with 200 singers and the New England Symphonic Ensemble.

Aitken currently serves as Director of Music & Worship Arts and Composer-in-Residence at the Cathedral of the Rockies in Boise, Idaho, where he oversees more than twenty ensembles. He is a lifetime member of ACDA and has held leadership positions at the state, divisional, and national levels, including serving as National Chair of Music in Worship. He is frequently engaged as a conductor, composer, and clinician, and maintains a professional website at www.PaulAitkenMusic.com.

Why we love this

Aitken's setting of "In Flanders Fields" established him as a composer with a gift for marrying poetic substance with vocal clarity. This octavo carries that same refinement: the melody is unforgettable without being obvious, and the text painting deepens without obscuring the poetry. For any director building a concert of depth and musical integrity, this piece rewards preparation and moves audiences.

What to expect

The music unfolds with quiet grace, honoring reflection and memory without sentimentality. There is an intimacy to a cappella writing that Aitken uses to draw listeners inward, creating a moment of stillness and contemplation. The interplay of voices feels almost conversational, as if the choir is speaking directly to something we've all lost.

Who it's for

This piece suits any SATB choir with solid fundamentals and comfort singing a cappella. Directors preparing for concert or festival settings will find it both musically sophisticated and accessible to singers who bring care to their craft. The text and musical language appeal to mature high school programs, collegiate ensembles, and community choirs.

How to get the most out of it

  • Balance the text throughout by resisting the impulse to oversing at moments of emotional weight; let Aitken's counterpoint carry the meaning.
  • Shape phrases around McCrae's line breaks rather than harmonic cadences to honor the poetry's natural pacing.
  • Ensure intonation is rock solid in the middle sections where voices sustain or move slowly; a cappella writing exposes any drift.
  • Consider the dynamic arch of the entire piece before rehearsing individual sections; this allows singers to understand their role in the larger arc.

How to use it

Program this as a centerpiece in a concert themed around remembrance, time, or the power of words set to music. It pairs beautifully with other sophisticated secular choral works and works equally well as a standalone feature. The piece's length and emotional weight make it suitable for festival or contest performance, where it will stand out among lighter offerings.

Skills your students will build

  • Singing sustained, pure vowels without vibrato in a cappella ensemble singing
  • Balancing independent melodic lines while maintaining harmonic awareness
  • Shaping phrased vocabulary text with poetic intention
  • Intonation stability in slow-moving harmonic passages
  • Interpreting dynamic and textual nuance that serves the poetry rather than the notes

You May Also Like