If Ye Would Hear
This is a tuneful, contemporary setting of a multi-verse carol for choir a cappella using an original melody. It starts with a statement by the alto section and gradually adds parts and harmonic variations. The unusual time signature of 5/4 provides a lilt and propels the piece forward. All parts sing the melody along the way. A few climactic measures split into more than 4 parts; otherwise the writing is SATB throughout. The final verse can be performed by treble/female solo or semi-chorus.
The words were written by poet and essayist Dora Greenwell who was born on December 6, 1821 near Durham, England. She devoted much of her life to helping the local poor and visiting convicts in Durham prison. She was an advocate of better education for women and their right to vote. She was a friend of Christina Rossetti, another great poet of this time; they both shared an interest in theology. Two of her poems serve as texts for the Methodist hymn book although she herself was an Anglican (her brother, William Greenwell was canon at Durham Cathedral). She died on March 29, 1882 near Bristol, England.
| Descriptive Tags: | American, Angels, Carol, Christian |
| Difficulty: | Easy, Medium |
| Duration: | 5-10 Minutes |
| Instrumentation: | A Cappella |
| Language: | English |
| Voicing: | SATB |
$2.50
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 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| SATB | 3'15" | English | “Border” is an artistic response to the immigration/refugee crisis around the globe (especially in the United States). The opening passage is: “Border, sanctuary, asylum, bridges not walls.” The text draws from (and paraphrases) several sources: contemporary media, Emma Lazarus’ “The New Colossus,” the Bible’s Matthew 25:31-40, currency, and others. The changing meters of “Border” fill […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Border” is an artistic response to the immigration/refugee crisis around the globe (especially in the United States). The opening passage is: “Border, sanctuary, asylum, bridges not walls.” The text draws from (and paraphrases) several sources: contemporary media, Emma Lazarus’ “The New Colossus,” the Bible’s Matthew 25:31-40, currency, and others. The changing meters of “Border” fill […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ Unison | 2'50" | Christmas Time in the Eyes of a Child is a light-hearted secular Christmas song for mixed choir (SATB) This version is for mixed choir (SATB), and also incorporates an optional part for children’s choir (in unison) if available. The piece would suit a community choir, or maybe a school choir. There is also an S(A) version for children’s choir, and […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Christmas Time in the Eyes of a Child is a light-hearted secular Christmas song for mixed choir (SATB) This version is for mixed choir (SATB), and also incorporates an optional part for children’s choir (in unison) if available. The piece would suit a community choir, or maybe a school choir. There is also an S(A) version for children’s choir, and […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7'30" | English | This short cantata on spring evokes expressive texts by John Milton, anonymous, and E.E. Cummings. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This short cantata on spring evokes expressive texts by John Milton, anonymous, and E.E. Cummings. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7'30" | English | Three short poems by Sara Teasdale – 1) Grey Eyes, 2) Did You Never, 3) Nightfall – from her collection Flame and Shadow, are the basis of this set of choral songs, all bearing on a relationship, including tender, poignant, and playful emotions. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Three short poems by Sara Teasdale – 1) Grey Eyes, 2) Did You Never, 3) Nightfall – from her collection Flame and Shadow, are the basis of this set of choral songs, all bearing on a relationship, including tender, poignant, and playful emotions. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | 2016 Idaho All-State, 2018 Arkansas All-State selection “If I Can Sing, I Still Am Free” was the winner of the San Diego choir SACRA/PROFANA’s 2014 composition competition. It’s an ideal piece for festivals and large ensembles, with a text that champions inner strength in the face of adversity. It has quickly become one of Campbell’s […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2016 Idaho All-State, 2018 Arkansas All-State selection “If I Can Sing, I Still Am Free” was the winner of the San Diego choir SACRA/PROFANA’s 2014 composition competition. It’s an ideal piece for festivals and large ensembles, with a text that champions inner strength in the face of adversity. It has quickly become one of Campbell’s […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATBB | 3' | English | “Without listening, there is no song…” The text by Matt Boresi emphasizes the importance of listening in music and in life, a timely message for our world. A flowing piano part, lush harmonies and a soaring melody will make this a satisfying and meaningful addition to your library. “Listen” was written to celebrate the 70th […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Without listening, there is no song…” The text by Matt Boresi emphasizes the importance of listening in music and in life, a timely message for our world. A flowing piano part, lush harmonies and a soaring melody will make this a satisfying and meaningful addition to your library. “Listen” was written to celebrate the 70th […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA ⋅ SAA ⋅ SSA ⋅ SSAA | 5' | English ⋅ Hebrew | In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3'30" | English | SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2' 45" | English | This is an a cappella setting of William Blake’s poem ‘The Tyger’ for mixed choir (SATB) with some divisions. It may be performed on its own, or preferably as a companion piece to ‘Little Lamb, who made thee?’, also obtainable through Swirly Music. It is suggested that ‘Little Lamb’ be performed first, as there is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This is an a cappella setting of William Blake’s poem ‘The Tyger’ for mixed choir (SATB) with some divisions. It may be performed on its own, or preferably as a companion piece to ‘Little Lamb, who made thee?’, also obtainable through Swirly Music. It is suggested that ‘Little Lamb’ be performed first, as there is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5'40" | Latin | Commissioned by Richard Geiger for the Academy for the Study of St. Ambrose of Milan “Veni, Redemptor (Come, Redeemer)” is a new composition based on a hymn written in the 4th Century by St. Ambrose of Milan. The hymn was originally titled, “Intende qui regis Israel,” and the words invite Christ’s presence into this world […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Commissioned by Richard Geiger for the Academy for the Study of St. Ambrose of Milan “Veni, Redemptor (Come, Redeemer)” is a new composition based on a hymn written in the 4th Century by St. Ambrose of Milan. The hymn was originally titled, “Intende qui regis Israel,” and the words invite Christ’s presence into this world […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||