This Month's Featured Posts

Choral

Home

SATB palindromic setting from John 14 with piano | 4 min | Listen

The text for “Home” directly quotes some of Jesus’ last words given to his disciples. One morning, as I was reading Chapter 14 of John’s Gospel, I was struck by the beautiful symmetry of Jesus’ message, and decided to set it to music in a way that would highlight its form, after that of a poetic palindrome (a framework proceeding and receding symmetrically from a mid-point). Marvelous, hopeful, intimate words of reassurance and union surround a simple, stark central teaching: “If you love me, keep my commandments.” The piece begins and ends with the concluding verse of David’s Psalm 23.

“… and I will dwell in the house of the Lord…”

Don’t be troubled,
Don’t be afraid,
Have faith in God,
Have faith in me.

I am making a home for you.
I, myself, will bring you there to be with me.

I am the way (home), I am the truth, I am your life.
~~~
If you love me, you will keep my commandments.
~~~
I am the way (home), I am the truth, I am your life.

I will ask the Father to send a Helper, to be in you, to show you truth.
We will come to you, and make our home in you forever.

You are not an orphan,
You are not alone,
You have my peace,
I am your home.

“… and I will dwell in the house of the Lord, forever…”

The ultimate message is that, through the agency of the Father, the Son, and the Holy Spirit, God’s desire is that his home be in us, as we are at home in him… union on earth and in heaven!

Choral

Counting Song

SA/SSA with flute and piano | 3 min | Listen

As an inveterate counter of stairs, hours, and virtually any sort of object, I’m transported by the idea of the impossibility of quantifying the seemingly infinite elements of God’s creation. No matter how advanced a young person’s conceptions of arithmetic or mathematics, the ultimate largeness of the Creator calls us all to wonder!

How many leaves cling to the trees?
How many trees stand on the hill?
How many hills roll on and on?
Counting them all, I’m counting still…

How many raindrops fall from the clouds?
How many clouds fill up the sky, where
How many stars shine on and on?
Counting them all, I’d count so high…

Chorus (repeats)
But our God is bigger than the highest number,
He has counted ev’ry cloud and tree;
He knows ev’rything, for He has made it.
He cares for ev’rything, including me…

How many feathers cover the wings of
How many birds that fly and bring
How many songs to our Heavenly King?
Maker of all, His praise we sing!

Inspired by my association with Seattle Children’s Chorus, this SA arrangement was first performed during a Thanksgiving Day Service at Bellevue Presbyterian by their youth choir, Bel Canto, with a flute part beautifully interpreted by Maya Lewis.

Choral

Angels!

Unison with piano | 3 min | Listen

What a privilege to introduce the traditional carols of Christmas to young children! And the chorus of Angels We Have Heard On High provides a delightful opportunity to introduce the thrill of singing perfect melismatic unison lines together in their head voices– in Latin, no less!

I begin and end with original material, providing a vivid biblical image for young imaginations:

The angels sang, the heavens rang,
the sky was filled with music,
sweet music, sweet music…

Gloria in excelsis deo!

Angels we have heard on high,
sweetly singing o’er the plains;
And the mountains in reply
echoing their joyous strains.

Gloria in excelsis deo!

The angels sang, the heavens rang,
the sky was filled with music,
sweet music, sweet music…

So here’s a little fundamental Latin, soaring melismas, a minimum of words to memorize, an English lesson (i.e. “strain”), poetic imagery (singing mountains! a filled up sky!) well-supported by a straight forward, expressive piano accompaniment. My favorite moment is hearing them sing, “Sweet mioooo-zik!”

Choral

A Small Suite

with piano | 6 min | Listen

Little Talk
Spiders
Snail’s Pace
Butterfly Wings

Since my first introduction to the prize-winning poetry of Aileen Fisher as a young mother, I have been a very vocal fan of her whimsical word crafting for children. While searching for fresh material to provide winsome lyrics for the younger kids of Seattle Children’s Chorus, I stumbled upon these four poems in “Always Wondering,” a collection of “Some Favorite Poems.” I quickly and joyfully got to work creating A Small Suite. Kris Mason, Artistic Director, conducted the premiere, and soon after, Alliance Music Publications, Inc. became its publisher, bringing the music and the poetry that I loved into many lives. Each piece stands alone, but they are designed as an integral seamless whole, musically and thematically.

“Little Talk”
Don’t you think it’s probable
that beetles, bugs, and bees
talk about a lot of things–
you know, such [things] as these:

The kind of weather where they live
in jungles tall with grass,
and earthquakes in their villages
whenever people pass.

Of course, we’ll never know if bugs
talk very much at all–
because our ears are far too big
for talk that is so small.
———-
“Spiders”
Spiders are so sort-of-thin,
whatever do they keep it in–
the yards of thread they need to spin?
———-
“Snail’s Pace”
Maybe it’s so
that snails are slow:
they trudge along and tarry.

But isn’t it true
you’d slow up, too,
if you had a house to carry?
———-
“Butterfly Wings”
How would it be
on a day in June
to open your eyes
in a dark cocoon,

And soften one end
and crawl outside,
and find you had wings
to open wide,

And find you could fly
to a bush or tree
or float on the air
like a boat at sea…

How would it BE?

by Aileen Fisher

Choral

Eden of Love

SATB with tanpura drone | 3 min | Listen

The mother lode of early American hymnody may be found in the Sacred Harp tradition, where I first encountered this transcendent song. The last few decades have brought a revival of interest in and performance of its “shaped note music,” born of 19th-century “Singing Schools” where communities would learn to read music via a strict pedagogy, using shaped noteheads. Performance practice requires the singers to assemble their chairs in rows in four vocal sections, all facing the center, where a conductor may (or may not) lead. The tenor line generally has the melody, and all the parts are rendered with vigor, beginning with a run-through solely in solfege!

Although some urban choral groups earnestly attempt imitation of this style, I often find their raucous simulation in an out-of-context performance setting a bit of a caricature (as can happen with any unfamiliar style).

This arrangement of The Eden of Love (anon.) was developed for four professional soloists in a house concert setting, and their style walks somewhere between bel canto and folk singing. The piece works well for any combination or quantity of voices, as tutti parts may sing the solo lines, or alternate with soloists.

The use of the drone (North Indian tanpura, in this case) provides a scrim, suggesting the parallel ethereal world of heaven. I know of no other hymn text that attempts to paint heaven with such vivid sublimity. What a joy to sing, “I’ll bathe in the ocean of pleasure unbounded” in a sacred song!

How sweet to reflect on those joys that await me
In yon blissful region, the haven of rest,
Where glorified spirits with welcome shall greet me
And lead me to mansions prepared for the blest;

Encircled in light, and with glory enshrouded,
My happiness perfect, my mind’s sky unclouded,
I’ll bathe in the ocean of pleasure unbounded
And range with delight thru’ the Eden of Love.

While angelic legions with harps tuned celestial
Harmoniously join in the concert of praise,
The saints, as they flock from the regions terrestrial,
In loud hallelujahs their voices will raise;

Then songs of the Lamb shall re-echo through heaven,
My soul will respond to Emmanuel be given.
All glory, all honor, all might and dominion,
Who brought us thru’ grace to the Eden of Love.