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There Is Another Sky: SAB Choral Octavo

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There Is Another Sky: SAB Choral Octavo

There Is Another Sky: SAB Choral Octavo

Words by Emily Dickinson, music by Ruth Morris Gray

Item: 00-52285

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Description
Singers will love the independent vocal lines in this bright setting of Emily Dickinson's hopeful poem. A lovely melody is introduced in unison and later assembles in canon. Radiant refrains are driven by a rhythmic piano hook that adds to the uplifting nature of the words. A winning selection for developing SAB choirs as well as 2-part treble groups looking for a meaningful musical experience.

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Additional Details
Series: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081615196
SKU: 00-52285

More about this title

About the Composer: Ruth Morris Gray

Ruth Morris Gray

Ruth Morris Gray has directed choirs at Rosemead High School in California since 2004, where she also teaches piano. She holds a Bachelor of Music in Piano Performance and Composition from Biola University and a Master of Arts in Music Composition from UC Santa Barbara, credentials that ground her work in both classical training and contemporary pedagogy.

With more than 100 published choral compositions to her name, Gray brings a composer's ear for singability and emotional resonance to every piece. Her work across concert and festival settings reflects her deep understanding of what developing choirs need: music that challenges without overwhelming, that sounds more sophisticated than it is difficult to learn.

Why we love this

Gray's setting captures something genuine in Dickinson's poem without overshadowing the text. The unison melody is immediately memorable, and the canon passages emerge naturally rather than feeling grafted on. That rhythmic piano hook gives rehearsal direction a built-in anchor while keeping the choral writing free to breathe.

What to expect

There is genuine brightness here without saccharine quality. Dickinson's words about escape and renewal meet music that feels open and forward-moving, anchored by that driving piano rhythm that propels the piece without ever feeling mechanical. The independent vocal lines give each section real presence.

Who it's for

This piece works beautifully for SAB choirs finding their footing with three-part writing, and equally well for 2-part treble groups ready to explore richer harmonic language. Directors seeking repertoire that pairs literary substance with genuine musical interest will find this a dependable choice for both concert and festival contexts.

How to get the most out of it

  • Introduce the unison melody slowly enough that singers can feel its shape before parts divide. This pays off when the canon begins, as singers will trust the melodic line even as it overlaps with itself.
  • Let the piano rhythmic hook be heard clearly in early rehearsals. Once voices are secure, the accompaniment becomes an energy source rather than a distraction.
  • Shape the refrains with dynamic intention. The text's hopefulness needs genuine buoyancy in the music, not just tempo.
  • Check intonation carefully in the canon sections, where independent lines demand precision from each voice part.

How to use it

Program this in a spring concert alongside other works exploring hope or transformation, or feature it as a contest selection where the literary text adds dimension beyond musicianship. The 12-page length and accessible difficulty make it an ideal anchor piece for a program heavy on challenging repertoire.

Skills your students will build

  • Reading three-part SAB voicing with independence between voice parts
  • Singing in canon with attention to rhythmic alignment and intonation
  • Sustaining vocal line while accompanying piano carries rhythmic momentum
  • Interpreting poetic text with musical shape and phrasing

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