Gorgeous Blue Eyes
Gorgeous Blue Eyes comes from a larger set entitled the Four Wedding Songs which was dedicated as a wedding gift to Stephen and Stacey Squier on the eve of their wedding on July 29th, 2010. The four movements of the work were inspired by the tradition to give a bride “something old, something new, something borrowed, and something blue” with each movement in the piece representing these.
Finding the text for the final “something blue” movement was the most challenging seeing as the color blue is not typically associated with marriage or love. When I ran across this poem by South African poet, Tinka Boukes, I knew I had found the text for my final movement.
The piece opens with short, warm phrases as it layers the various harmonies and textures introduced before the first true climax. As the climax begins to relax, the music falls into the polyphonic textures of the second section. The musical ideas of this final movement attempt to capture everything from the nerves, to the excitement, to the rush and the emotion of those last few moments before the bride takes her first steps down the aisle. Just as the bride’s mind may be consumed by a million different feelings and emotions, the music of the ‘dancing’ section unfolds; any distinguishable melody is passed from voice part to voice part and the ear never quite decides who at that moment is taking charge. The tension builds with each step until the bride finally sees the eyes of her future husband at the end of the aisle. With her gaze fixed, the music broadens and resolves into the piece’s final cadence, finally reaching its end as the bride arrives at the altar and can think of nothing but those eyes.
Text:
I crave to embrace you
To feel you, your voice
A gentle breeze in my ear
A smile lights up my face
As I look at you
Into those gorgeous blue eyes
Full of life
Full of love
No thoughts make me happier
Than dancing in the sand with you
As shades of purple sunset fades away
Connected to all that is you
Elegant and graceful Time forgotten
The shadow of a smile remains
The sun trying to take another peek
Gazing through the windows of my soul
As I take another look
Deep into those gorgeous blue eyes
| Voicing: | SATB, SSAATTBB |
| Instrumentation: | A Cappella |
| Duration: | 1-5 Minutes |
| Language: | English |
| Sacred or Secular: | Secular |
$2.00
This title is available in print or for immediate download. For both options, there is a minimum required quantity of 8 copies for choral titles. Please support self-publishing composers by ordering the quantity according to the number of singers in the ensemble that will perform the work.
Print orders are printed on demand and shipped by our printing partner, and can be expected to be processed within a few days of the order. Please do not hesitate to contact [email protected] to follow up.
Explore More Music…
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English ⋅ Latin | The modern Chapel is a meeting-place for diverse musical expression, a place where choral polyphony has long had a home. The term “a cappella” (“in the style of the chapel”) evokes the sound of a Renaissance chorus unaided by any church organ. This original collection of 14 sacred and biblical rounds (a “poor man’s polyphony”) […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The modern Chapel is a meeting-place for diverse musical expression, a place where choral polyphony has long had a home. The term “a cappella” (“in the style of the chapel”) evokes the sound of a Renaissance chorus unaided by any church organ. This original collection of 14 sacred and biblical rounds (a “poor man’s polyphony”) […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2' 50" | English | This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 6'45" | These simple folksong arrangements were made for two community choirs based in Selly Oak, Birmingham, but they would be equally suitable for school choirs or other groups. Included are well known songs from England, Wales, Scotland and Ireland, which are woven into a continuous piece lasting about six and a half minutes. The medley starts […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| These simple folksong arrangements were made for two community choirs based in Selly Oak, Birmingham, but they would be equally suitable for school choirs or other groups. Included are well known songs from England, Wales, Scotland and Ireland, which are woven into a continuous piece lasting about six and a half minutes. The medley starts […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'30" | English ⋅ Latin | This setting of Ralph Vaughan Williams’ stately, mixed-meter hymn tune uses shimmering tone clusters to depict the textual themes of light and fire in the first two verses. The third verse emphasizes themes of humility and service in an earthy a cappella setting, after which a building organ interlude leads into a towering and majestic […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of Ralph Vaughan Williams’ stately, mixed-meter hymn tune uses shimmering tone clusters to depict the textual themes of light and fire in the first two verses. The third verse emphasizes themes of humility and service in an earthy a cappella setting, after which a building organ interlude leads into a towering and majestic […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 12" | English ⋅ Latin | The words of this carol/motet are well-known from Britten’s teenage tour-de-force, but that double-chorus setting is out of the reach of most church choirs. The powerful text, alternating English and Latin in the style of medieval carols, warrants an additional, simpler setting. The work is suitable for concert performance, as well as for liturgical use […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The words of this carol/motet are well-known from Britten’s teenage tour-de-force, but that double-chorus setting is out of the reach of most church choirs. The powerful text, alternating English and Latin in the style of medieval carols, warrants an additional, simpler setting. The work is suitable for concert performance, as well as for liturgical use […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 4'50" | English | Setting a romantic, old-style text by David Umeda, this piece for girls’ choirs is written so that groups of differing abilities may take part. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Setting a romantic, old-style text by David Umeda, this piece for girls’ choirs is written so that groups of differing abilities may take part. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | 1′30-2′ each | English ⋅ Latin | Are you a square? Can you easily retrieve a gas bill from 1979? Do you pine for the return of spats? Do you chew each mouthful forty times while letting the bottle “breathe”? And when you watch TV, do you recoil from all murders except those committed on the village green? If so, these rounds […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Are you a square? Can you easily retrieve a gas bill from 1979? Do you pine for the return of spats? Do you chew each mouthful forty times while letting the bottle “breathe”? And when you watch TV, do you recoil from all murders except those committed on the village green? If so, these rounds […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | “Shout For Joy” was composed for the undergraduate commencement exercises of Saint Mary’s University of Minnesota in May, 2003, and is dedicated to the graduating class of that year. The text, from Psalm 33, is suitable for a range of liturgical occasions, and the work is also effective as a concert piece. The energetic opening […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Shout For Joy” was composed for the undergraduate commencement exercises of Saint Mary’s University of Minnesota in May, 2003, and is dedicated to the graduating class of that year. The text, from Psalm 33, is suitable for a range of liturgical occasions, and the work is also effective as a concert piece. The energetic opening […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||