Lord, I Want To Be A Christian
This Spiritual strikes to the very heart of an enslaved people, fervently longing for freedom. The melody is quite simple, and is embellished with a layer of pathos, and yearning that is impossible to resist, or ignore. Absolutely appropriate for performance in a concert hall, as well as a liturgical setting.
| Instrumentation: | A Cappella |
| Instrumentation: | |
| Language: | English |
| Duration: | 1-5 Minutes |
| Voicing: | SATB |
| Descriptive Tags: | Spirituals |
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| SATB | 4'15" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 5' | English | Merriam-Webster.com defines copypasta as “data (such as a block of text) that has been copied and spread widely online.” This piece, Copypasta, is a setting of three of my favorite text memes that originated on Tumblr. The first movement, Spiders Georg, illustrates the statistical concept of outliers using the example of an arachnid-eating recluse. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Merriam-Webster.com defines copypasta as “data (such as a block of text) that has been copied and spread widely online.” This piece, Copypasta, is a setting of three of my favorite text memes that originated on Tumblr. The first movement, Spiders Georg, illustrates the statistical concept of outliers using the example of an arachnid-eating recluse. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | This familiar Spiritual is intertwined with another less-known hymn-tune, from one of the earliest collections of Slave songs known- collected by William Francis Allen in 1867. This ardent abolitionist gathered many songs from the post- Slavery communities of Port Royal, South Carolina to create a remarkable published collection of African American music. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This familiar Spiritual is intertwined with another less-known hymn-tune, from one of the earliest collections of Slave songs known- collected by William Francis Allen in 1867. This ardent abolitionist gathered many songs from the post- Slavery communities of Port Royal, South Carolina to create a remarkable published collection of African American music. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7' | English | A poignant set of modern-day madrigals is crafted from three exquisite poems by Christina Rossetti that pay homage to the moon. SSAA version also available » | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A poignant set of modern-day madrigals is crafted from three exquisite poems by Christina Rossetti that pay homage to the moon. SSAA version also available » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'20" | English | Musick to Heare, a madrigal on Sonnet VIII of William Shakespeare, was composed in 2006. It is written for a cappella SATB chorus, and although it has infrequent divisi a due in each of the parts, the use of smaller vocal forces (8 or 16 performers), with lighter Renaissance-style singing is preferred. Difficulty level: Difficult. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Musick to Heare, a madrigal on Sonnet VIII of William Shakespeare, was composed in 2006. It is written for a cappella SATB chorus, and although it has infrequent divisi a due in each of the parts, the use of smaller vocal forces (8 or 16 performers), with lighter Renaissance-style singing is preferred. Difficulty level: Difficult. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB ⋅ SSATB | 2' | English | “Love is strong as death” This moving sentiment from the Song of Solomon is appropriate for many occasions, and the subtle counterpoint of this setting will delight singers and audience alike. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Love is strong as death” This moving sentiment from the Song of Solomon is appropriate for many occasions, and the subtle counterpoint of this setting will delight singers and audience alike. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | This is a straightforward setting for choir and organ/keyboard of an Appalachian carol found by John Jacob Niles (1892-1980). Niles was an American composer, singer, and collector of traditional ballads. He discovered this carol in Mayfield, Kentucky in 1933. Niles was an important influence on the American folk music revival of the 1950s and 1960s, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This is a straightforward setting for choir and organ/keyboard of an Appalachian carol found by John Jacob Niles (1892-1980). Niles was an American composer, singer, and collector of traditional ballads. He discovered this carol in Mayfield, Kentucky in 1933. Niles was an important influence on the American folk music revival of the 1950s and 1960s, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3'30" | English | Sonnet LV was commissioned by the San Francisco Choral Artists. It is dedicated to the singers of the group, and to their director, Magen Solomon. It is a sonnet addressing a lover, professing that they will live in the poem far longer than any monument or statue will exist on earth. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sonnet LV was commissioned by the San Francisco Choral Artists. It is dedicated to the singers of the group, and to their director, Magen Solomon. It is a sonnet addressing a lover, professing that they will live in the poem far longer than any monument or statue will exist on earth. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English ⋅ Latin | All vocal groups need short, portable items in their repertoire. A round is a melody which can unfold into harmony, the prime tool of choral directors who wish to develop in singers an ability to listen to others while holding an independent line. Rounds build cohesion among singers and provide opportunities for improving ensemble, sight-reading, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| All vocal groups need short, portable items in their repertoire. A round is a melody which can unfold into harmony, the prime tool of choral directors who wish to develop in singers an ability to listen to others while holding an independent line. Rounds build cohesion among singers and provide opportunities for improving ensemble, sight-reading, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||