Three New Madrigals: SSA, a cappella Choral Octavo
Music by Jay Althouse
Item: 00-PO-0002185
$2.95
Minimum order quantity: 20 copies
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Description
This trio of fresh, new, madrigals from Jay Althouse is a valuable addition to the choral repertoire of 3-part and SSA choirs. And at $1.75, it's quite a value. The first is in a traditional madrigal style, with a "fa la la" section and features and echo chorus. The second is lush and lovely, homophonic in nature, with a thought-provoking text. The third is up-tempo and includes an optional hand drum: it could be used as a processional or at a madrigal dinner. Use any or all of the three for concerts, contests, and adjudications.
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Additional Details
Series:
Alfred Archive Edition: Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
16
SKU:
00-PO-0002185
More about this title
About the Composer: Jay Althouse
Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was honored as a Distinguished Alumni. His career spans eight years in rights and licensing administration at a major educational publisher, where he also served on the Executive Board of the Music Publishers Association of America. As a composer, he has over 800 choral works in print across all difficulty levels, performed regularly in English-speaking countries and recognized as an ASCAP writer member and frequent recipient of the ASCAP Special Award.
Beyond composition, Althouse has collaborated with his wife Sally K. Albrecht on children's musicals and co-authored influential resources including The Complete Choral Warm-up Book and Accent on Composers. He compiled and arranged the respected vocal solo collection Folk Songs for Solo Singers and authored classroom reproducibles focused on music literacy and composer study. His choral work "I Hear America Singing," co-written with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration. He currently serves on the National Advisory Board of the Folk Art Society of America and has contributed articles to Folk Art Messenger.
Why we love this
Althouse delivers three distinct madrigals that work equally well as a full set or individual selections, letting you program strategically based on your concert needs. The variety across the three pieces (traditional with echo effects, homophonic with reflective text, energetic with optional percussion) gives you flexible options for different moods and pacing without requiring three separate purchases.
What to expect
These madrigals span from the playful and ornamental (complete with "fa la la" sections and echo effects) to the contemplative and rich, then land on rhythmic energy and movement. You'll find yourself shifting between Renaissance-inspired playfulness and modern homophonic songwriting that still honors the madrigal's roots.
Who it's for
Three-part and SSA choirs building their secular repertoire, from middle school treble groups through community choirs. Directors seeking a cappella options for concerts, contests, adjudications, or special events like madrigal dinners will find these pieces accessible and musically substantive at any level.
How to get the most out of it
- Balance the echo chorus effect in the first madrigal by seating the two groups slightly apart or using subtle dynamic contrast between them; this creates spatial interest without needing elaborate staging.
- In the second piece, shape the homophonic sections with careful attention to vowel consistency across the SSA voices; the lush quality depends on unified tone production.
- For the third madrigal, consider whether you want the hand drum part to drive a processional or enliven a madrigal dinner context; the tempo and character shift based on that choice.
- Prepare your singers for the stylistic range: one piece asks for madrigal articulation and lightness, another for sustained legato singing, and the third for rhythmic precision.
How to use it
Program all three as a madrigal suite for a complete concert segment, or select individual pieces to anchor different concert moods. The up-tempo third piece works beautifully as a recessional or between-section transition, while the first and second pair well as a contrasting set in the middle of a longer concert.
Skills your students will build
- Madrigal style and ornamentation (fa la la sections, echo effects)
- Balancing homophonic texture with clear voice independence
- Performing a cappella with secure intonation across three voices
- Stylistic flexibility across secular choral forms
- Rhythmic precision in up-tempo ensemble singing