God Who Touches Earth with Beauty
This anthem is a setting of an early 20th Century hymn text. It utilizes metaphors in nature to describe a life of good character and is suitable for worship. It is free of gender specific language, and therefore speaks to all people of good will. The music is somewhat reminiscent of early 20th Century church music in that it has a comely melody and an organ accompaniment that is somewhat orchestral in concept. It has been sung many times and choirs seem to enjoy it. It is also available for an accompaniment of strings, clarinet and organ. Contact the composer for parts and score. They will be sent as PDFs at no charge.
— Dale Ramsey
| Voicing: | SATB |
| Season or Event: | General |
| Descriptive Tags: | Earth Week |
| Difficulty: | Intermediate |
| Instrumentation: | Organ |
| Sacred or Secular: | Sacred |
| Language: | English |
| Duration: | 1-5 Minutes |
$1.95
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.
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| SATB | 1'40" | Latin | Sanford Dole’s Ave Maria is a harmonized setting of the Gregorian chant antiphon. The soprano part is a metrical version of the Gregorian chant melody. The other parts create a harmonic world that is uniquely Dole’s; what his choirs refer to as the “Dolian mode.” | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sanford Dole’s Ave Maria is a harmonized setting of the Gregorian chant antiphon. The soprano part is a metrical version of the Gregorian chant melody. The other parts create a harmonic world that is uniquely Dole’s; what his choirs refer to as the “Dolian mode.” | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2' 10" | Latin | This communion motet, setting the famous 14th century words attributed to Innocent VI, took the prize in the Composition Competition of The Wessex Festival in August 2016. It has since been sung in venues including Ripon Cathedral, UK. Set largely homophonically for SATB choir without divisions, its well-structured melody is complemented by the texture created […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This communion motet, setting the famous 14th century words attributed to Innocent VI, took the prize in the Composition Competition of The Wessex Festival in August 2016. It has since been sung in venues including Ripon Cathedral, UK. Set largely homophonically for SATB choir without divisions, its well-structured melody is complemented by the texture created […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAATB | 3'28" | English | (Choral SATB with S,A divisi) Written for a choral composition competition in 2024 (I didn’t win), this piece uses the text of Psalm 13 to demonstrate David’s dispair and doubt turning into faith and joy. Text in English is from the 1928 US Books of Common Prayer vv. 1-3, 5-6. ISMN 979-0-9025253-5-0 ISWC T3250054634 If […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| (Choral SATB with S,A divisi) Written for a choral composition competition in 2024 (I didn’t win), this piece uses the text of Psalm 13 to demonstrate David’s dispair and doubt turning into faith and joy. Text in English is from the 1928 US Books of Common Prayer vv. 1-3, 5-6. ISMN 979-0-9025253-5-0 ISWC T3250054634 If […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | English | This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | A tender new Christmas lullaby is combined with a solo trumpet, which begins to play “Lo, How a Rose ‘ere Blooming.” Text by Edward Caswall (1814-1878) Mary Breden led her Consort Singers of Loyola Marymount University in the premiere at their 2018 Christmas program. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A tender new Christmas lullaby is combined with a solo trumpet, which begins to play “Lo, How a Rose ‘ere Blooming.” Text by Edward Caswall (1814-1878) Mary Breden led her Consort Singers of Loyola Marymount University in the premiere at their 2018 Christmas program. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5'50" | English | Near the turn of the 20th century, Colin Sterne penned a tender Christmas text, which has been transformed into a Christmas lullaby. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Near the turn of the 20th century, Colin Sterne penned a tender Christmas text, which has been transformed into a Christmas lullaby. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' 20" | English | Forget the traditional setting of “We thee kings of Orient are”! This is a much more reflective version, for choir and orchestra, given its first performance by the Nidarosdomens Guttekor in the splendid setting of Trondheim Cathedral in December 2017. They also performed the piece on their pre-Christmas tour, using just organ for accompaniment. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Forget the traditional setting of “We thee kings of Orient are”! This is a much more reflective version, for choir and orchestra, given its first performance by the Nidarosdomens Guttekor in the splendid setting of Trondheim Cathedral in December 2017. They also performed the piece on their pre-Christmas tour, using just organ for accompaniment. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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