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We Can Build a Bridge (of Peace and Harmony): 2-Part Choral Octavo

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We Can Build a Bridge (of Peace and Harmony) Cover Image
We Can Build a Bridge (of Peace and Harmony): 2-Part Choral Octavo

We Can Build a Bridge (of Peace and Harmony): 2-Part Choral Octavo

Music by Jay Althouse and Irv Rothenberg

Item: 00-17694
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Description
Outstanding ballad of peace and brotherhood: if we all work together we can build a bridge of peace and harmony. A quick-learn piece for general use, graduation.

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Additional Details
Series: Alfred Archive Edition: Alfred Choral Designs
Publisher: Alfred Music
Page Count: 12
UPC: 038081157344
SKU: 00-17694

More about this title

About the Composer: Jay Althouse

Jay Althouse

Jay Althouse holds degrees in Music Education and Music from Indiana University of Pennsylvania, where he was honored with the Distinguished Alumni award. His work in educational music publishing shaped his understanding of what choirs at all levels need to sing; he spent eight years managing rights and licenses for a major publisher and served on the Executive Board of the Music Publishers Association of America. Today he has over 800 choral compositions in print, performed widely across English-speaking countries.

Althouse's output spans children's musicals co-written with his wife Sally K. Albrecht, vocal solo collections including Folk Songs for Solo Singers, and foundational classroom resources like Ready to Read Music and Accent on Composers. His choral work I Hear America Singing, also co-written with Albrecht, was performed by the San Francisco Girls and Boys Choirs at President Obama's 2009 Inauguration. He is a writer member of ASCAP and a regular recipient of the ASCAP Special Award. Based in North Carolina, he has contributed to the Folk Art Society of America and continues to shape choral music education through both composition and advocacy.

Why we love this

Althouse and Rothenberg have crafted a ballad that speaks directly to meaningful occasions: its message of unity feels earned rather than imposed, and the two-part voicing keeps the focus on the text and emotional core rather than harmonic complexity. The quick-learn quality means you can prepare this even with limited rehearsal time, making it ideal for spring concerts and graduations when your calendar is packed.

What to expect

A gentle, hopeful reflection that settles into the listener's heart. The piece carries the warmth of voices singing in unison or light two-part harmony, with orchestration that supports without overwhelming. It feels like standing together, building something real.

Who it's for

This piece suits mixed or treble choirs of any age from middle school through adult ensembles. The two-part voicing and accessible melodic writing make it reachable for singers with limited experience while still offering the emotional substance that meaningful occasions deserve.

How to get the most out of it

  • Build the dynamic arc gradually across the piece; resist the urge to start forte. This ballad gains power through restraint and growth, so begin with a warm, conversational tone and let the harmony expand beneath the melody.
  • Use the recorded accompaniment during sectional rehearsals to help singers internalize the harmonic foundation, then pull it away in final rehearsals so the choir develops independence and presence.
  • Shape the text with natural speech rhythm rather than metronomic precision. Graduation audiences respond to sincerity over polish, so encourage singers to breathe between phrases and let the words land clearly.

How to use it

This ballad works beautifully as a program opener or closing number at graduation ceremonies, spring concerts celebrating community, or Earth Day observances. Its message of brotherhood and collective effort also pairs well with other pieces focused on unity or environmental stewardship, creating a thematic arc across your concert.

Skills your students will build

  • Singing sustained legato lines with controlled breath support
  • Balancing melody and harmony in two-part writing
  • Interpreting text with emotional authenticity and dynamic shape
  • Maintaining ensemble blend in ballad-style choral writing

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