Why We Sing Sheet Music Preview

Why We Sing: TTBB Choral Octavo

By Greg Gilpin

Item: 35-DS00446439

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Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS00446439

More about this title

About the Composer: Greg Gilpin

Greg Gilpin

Greg Gilpin brings decades of conducting and composing experience to his work, having shaped choral programs across North America and beyond. His performances have graced prestigious venues including Carnegie Hall, Lincoln Center, the Sydney Opera House, and Royal Festival Hall, establishing him as a sought-after voice in contemporary choral music. As Director of Educational Choral Publications for Shawnee Press, Gilpin understands the needs of high school and collegiate choirs from both the composer's and conductor's perspectives.

Beyond the concert stage, Gilpin's creative reach extends into film scoring and innovative arrangements; his work earned Best Score recognition at an international film festival, and his collaborations with professional singers have yielded world premieres that blend classical tradition with fresh interpretive approaches. An ASCAP award winner and active member of ACDA and NAfME, Gilpin continues to mentor the next generation of musicians while maintaining an active schedule as both composer and conductor.

Why we love this

Gilpin writes with a keen understanding of what makes TTBB choirs sing well together. The flexible voicing options (TB through TTBB) mean you can program this with your actual ensemble rather than forcing your singers into a predetermined arrangement. The text itself invites authentic engagement, which typically translates to performances that feel purposeful rather than perfunctory.

What to expect

The piece carries a conversational warmth, inviting listeners into a reflection on the human reasons we make music together. Rather than sentiment that feels imposed, Gilpin creates space for genuine emotion to emerge from the singers themselves.

Who it's for

TTBB choirs looking for accessible yet meaningful secular repertoire that doesn't rely on novelty or oversimplification. The flexible voicing makes it suitable for both high school programs building toward more sophisticated textures and collegiate ensembles seeking thoughtfully crafted concert material.

How to get the most out of it

  • Explore the range of voicing possibilities in rehearsal before locking into one configuration. Different combinations will highlight different colors in the piece.
  • Pay attention to how the composer distributes the melody across voices. Gilpin often shifts it strategically, so identify which sections need to project and which can recede.
  • Let the text inform your phrasing. The title suggests meaning worth mining, so spend time unpacking what the text is actually saying before settling on dynamics and tempos.

How to use it

Consider pairing this with other works by Gilpin to showcase his compositional voice, or place it as an anchor piece in a thematic concert exploring why ensembles matter. The piece works equally well as a concert closer (if the text supports a reflective arc) or as part of a larger secular suite.

Skills your students will build

  • Flexible voice part reading across multiple configurations (TB, TTB, TBB, TTBB)
  • Blending and balance adjustments when voicing changes within rehearsal
  • Text interpretation and its effect on phrasing and dynamic shaping
  • Attention to melodic placement and how composers distribute primary material

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