My Musical Musings Blog | betsyleebaileymusic.com - The Music of Betsy Lee Bailey

Forgotten Songs

5/28/2025

There was a surprising moment in Sunday School class the other day. The teacher had asked for class members to tell about experiences where people have influenced their lives in a positive way. The comments went round and round mostly about how people gave selfless service in times of need. But then, one man started talking about how music is a special kind of service, and how some people have influenced others for good through music and may not even realize the good they have done. He gave a beautiful tribute to his wife who had recently passed away, and all of the wonderful ways she used music to bless the lives of others.

As I sat there enjoying that beautiful tribute to his wife (who was my friend), he suddenly started talking about me. He mentioned how composers create songs that may bless people's lives, and yet the composers themselves may never know how much good they have done. Then, out of the blue, he asked me how many songs I had written. That took me by surprise. I had no words.

My daughter, who was sitting right beside me, piped up, "Oh, she's written hundreds of songs." And he went on, "See, I know Betsy writes music for Children's Theater shows that have blessed many children's lives. And I know she writes music for choirs and soloists, and who knows what else. She probably has no idea how many people her work has blessed over the years." Then fortunately the comments turned to other topics.

But, it is true that composers really have no idea who uses their music in the broader context. Sometimes I run across a YouTube video that someone posted who used one of my songs. Occasionally someone will contact me asking a question about one of my pieces. Once in a while, someone will comment about how their choir loved one of my chorals. Those are rare phenomena indeed.

My writing career has been long enough now that even I don't remember all of the songs I have written or arranged, let alone worry about who has performed them. I was curious about how many songs I'd written or arranged and started counting once, but it became overwhelming. So I just gave up. So many pieces were written for some long forgotten quick projects that I never even thought to engrave them and post them to the website. I haven't even saved legible copies. They are just among the forgotten songs now.

Even some pieces that I did take the time to engrave, publish, and record I haven't really remembered. Take for instance "To Feel His Presence There." I ran across it the other day and listened to the recording. I can't even remember now what prompted me to write it. I must have been in what I call my "Mendelssohn" melancholy. Maybe the choir I was singing with at the time was doing a Mendelssohn piece. I really don't recall now.

Another forgotten song...

There Is Sunshine in My Soul Today

5/22/2025

In the Wasatch Master Chorale, we are preparing for our last concert of the season. It is also our Bon Voyage send off for those of us who are going on a tour to New York City. (I did not plan to go because I had planned to drive my daughter's family across country that same week --- but now I don't have to do that. Oh well...) Anyway, one of the sets we are singing contains several Appalachian hymn arrangements. They are very fun to sing --- songs like "The Storm Is Passing Over," "The Unclouded Day," and "No Time."

There is something delicious about singing early American Folk Hymns. The melodies and harmonies may be a bit raw and unpolished, but they contain pure emotion, joy and worship. Several years ago now, I decided to write a set of hymn arrangements for solo voice. Some early American Hymns seemed like just the right choice to go into that collection. And though some of the hymns may not be exactly early American, they still fit that genre.

"There Is Sunshine in My Soul Today" was at the top of the list. It was actually the first sacred solo I wrote just for myself. My youngest son had gone off to Kindergarten, and that gave me time to devote myself to purely selfish projects. This hymn had become a favorite because of a dear friend who grew up in a deaf family. She told me that she always thought of her mother's desire to have the Lord hear the righteous *song in her heart that she cannot sing.

There Is Sunshine in My Soul Today - arr. by Betsy Lee Bailey
Text: Eliza E. Hewitt, 1851-1920, Music: John R. Sweney, 1837-1899

There is sunshine in my soul today more glorious and bright
Than glows in any earthly sky for Jesus is my light.
There is sunshine, blessed sunshine
When the peaceful, happy moments roll.
When Jesus shows his smiling face
There is sunshine in the soul.

There is music in my soul today, a carol to my King,
And *Jesus listening can hear the songs I cannot sing.
There is sunshine, blessed sunshine
When the peaceful, happy moments roll.
When Jesus shows his smiling face
There is sunshine in the soul.

There is springtime in my soul today, for when the Lord is near
The dove of peace sings in my heart, the flowers of grace appear.
Oh, there's sunshine, blessed sunshine
When the peaceful, happy moments roll.
When Jesus shows his smiling face
There is sunshine in the soul.

There is gladness in my soul today, and hope and praise and love,
For blessings which he gives me now, for joys laid up above.
Oh, there's sunshine, blessed sunshine
When the peaceful, happy moments roll.
When Jesus shows his smiling face
There is sunshine in the soul.
There is sunshine in my soul today,
Sunshine in my soul today.

In this recording, my sister Bonnie Lee is singing and I am playing the piano. This and other solos are available for Medium High Voice in The Praiseworthy Singer Vol. 14 and 15

Draw Near Unto Me

4/5/2025

"Draw near unto me and I will draw near unto you" begins D&C 88:63. My ears immediately perk up when a scripture is quoted in General Conference that I have set to music. President Henry B. Eyring quoted the rest of the verse as well. "Seek me diligently and ye shall find me; ask, and ye shall receive; knock, and it shall be opened unto you."

This verse provided a powerful point of inspiration to set it to music. I must have been in a very Mendelssohn mode, though. I may have been singing or studying some of his works. I don't remember now, but it seems pretty obvious.

For those of us who have classical vocal training, we need the challenge of singing music that exercises our musical ranges. In the mid 2000's, I was looking for opportunities to sing music that harkened to the great masters but took their texts from the Book of Mormon or modern prophets. So I began writing some of my own. During that time, I wrote some Choral, and Solo and Duet works that had texts from prophets such as Isaiah, Nephi, Mosiah, Alma, Joseph Smith, and quotes from the Savior as recorded in the Book of Mormon and the Doctrine and Covenants.

Break Forth into Joy
By Small and Simple Things
Come Sing to the Lord
Counsel with the Lord in All Thy Doings
How Exquisite was My Joy
Keystone of Our Faith
My Promised Land
O That I Were an Angel
Dedication

Draw Near Unto Me was a piece that started life as a Soprano solo. Then it became a Choral piece with a part for a soprano or tenor soloist. Then it morphed into a duet for Soprano and Baritone. I had always planned on recording it, but life got in the way. I actually haven't thought about it in years.

But when President Eyring quoted that verse in Conference, the words and music came flooding back into my mind.

He told how the promise made by the Savior in that verse was the prelude to many revelations. That reminded me of when I was trying to write this piece. I felt that it needed a companion scriptural quote to fill it out. So I searched through many references to prayer in the Doctrine and Covenants. When I came across D&C 98:1-2, I knew that was what I should use. I felt like I was taking dictation and it was hard to write fast enough to keep up with inspiration.

Enjoy "Draw Near Unto Me" Duet for Soprano and Baritone

Tensions and Resolutions

1/20/2025

Felix Mendelssohn, composer

"Was that song you sang by Mendelssohn?" the organist asked me yesterday after the meeting. I know he was just kidding, but it felt good to be complimented that way and have my work compared to such a great composer. My daughter Cami and I sang a duet in Church that I had written back when we lived in Maryland.

At that time I was singing with the Harford Choral Society. The conductor, Arlen Clarke, was also a composer and took an interest in helping me in my solo and choral writing. When he looked over my first draft of "Come Sing to the Lord," he said, "Here's an idea for you that could make this piece a lot more fun." Then he told me about his, at that time, current fascination with "unresolved ninths."

Most people will understand how when two notes are only a half or whole step apart, they rub together and provide tension. But usually, they resolve to a more stable interval such as a third. A pretty common example of this is at a cadence when the 4th of the major scale is rubbed up next to the 5th scale degree and it wants to resolve to the 3rd. That would be the F and G rubbing together in a G7 chord with a strong pull to resolve to the tonic chord C major.
Well, just know that there are other examples of "rubs" that provide tension. including 7ths, 9ths, and other juicy intervals and chords.

Well, Maestro Clarke noticed the places in my song that I put tension in between the singer's notes, but I always resolved them. He encouraged me to leave some of these partial cadences unresolved. He said that doing that would heighten the interest especially at the climax on the word "VICTORY." The resolution would come later during the piano interlude and/or modulation to the new key. So, with trepidation, I tried it.

When we sang yesterday, I wondered what kind of reactions I might get, especially from knowledgeable musicians in the congregation. Most people complimented us on the usual things like, "That music was so lovely!" "Your voices blended together in a way that only family can!" or "I loved how your voices wove above and below each other in such a fun way!"

But having my music be compared to Mendelssohn ... that was a highlight! Now I just have to figure out a time when Cami and I can record it before she moves to Albany...

The Prophet Alma's Desires

7/9/2024

We are studying Alma 23-29 in our Come Follow Me lessons this week. This made me think of setting the Prophet Alma's words to music. This is from a previous blog post:

If I ever need a text to use for composing a sacred song, I usually look through Alma's writings in the Book of Mormon. He has so many beautiful and powerful sermons and uses such poetic language -- surviving even when translated into English. One of my favorite texts comes from Alma 29:29.

The prophet Alma is recounting how he wishes he had the voice of an angel to cry repentance to all people. He would shout repentance with a powerful voice so loud that it would shake the whole earth. That way, people would surely get the message and indeed repent. But no, that cannot be. Each person has agency to choose to repent and follow Christ, or not. Still, he thinks that being an instrument in bringing even one soul unto God is the greatest blessing ever.

I was privileged to write the solo version of this text for a vocal student of mine who was leaving soon to fill his mission in Thailand. He had a powerful, heroic tenor voice that really suited the music. He sang it beautifully for his farewell.

The format of the song is a rondo -- the refrain repeats after each contrasting section. Each adventure away from the refrain is unique and carries its own special message and music. Each return to the refrain connects the parts together and unifies the whole.

Not long after I wrote this solo piece, a baritone friend of mine wanted me to adapt it as a duet for us to sing together -- Soprano and Baritone. I did and we premiered it at a Stake Conference meeting. I am just sorry that we never recorded it.

The solo "O That I Were an Angel" is in a collection of Sacred Songs and Hymn Arrangements "The Praiseworthy Singer" Volume 14.

"O That I Were and Angel" Sacred Duet for Soprano and Baritone is available for digital download.

'Tis the Season...wait...Pre-Season?

10/14/2023

Already the stores are setting out Christmas items...decorations, gift ideas, clothes, candy. Playing non-stop Christmas music in the store will be next. All weeks before Halloween or even Thanksgiving.

This is not such a new phenomenon for musicians, though. We tend to write, arrange, and start practicing Christmas music in July!

Since I am not currently directing a choir, I decided to do a different project in this Christmas "pre-season." I've been working on adding more offerings on my YouTube Channel. A few years ago, I recorded seven of The Mark Hayes Vocal Collection: 10 Christmas Songs. He is a prolific master arranger, composer, clinician, choral conductor, and pianist. The score folio came with a CD of the master himself playing the piano accompaniments. There is nothing quite like singing with the composer himself indicating the exact interpretations.

When I first sang through these pieces with the CD accompaniment, I marveled how "in sync" I felt. It was as though he knew how to anticipate the length of time I needed to extend the phrases and even the time I needed to take a breath. It made me feel like he was following me.

For vocal students and performers, these pieces are excellent repertoire. Perhaps these recordings will help the student learn them easier. For my other followers, I created visuals to help tell the stories of these beautiful Christmas songs.

(Click on the images and it will take you to YouTube to play the videos.)

Too Dramatic for Worship Service?

5/17/2023

When is a song -- solo, small ensemble, or choral piece -- deemed too dramatic or long for Sacrament Meeting?

I noticed a thread going around about this question. They were talking about having a professional singer sing "O Divine Redeemer" by Charles Gounod for Stake Conference. There was an opinion that it was too long and too dramatic for use in that service even though it was expressly requested by the Stake President.

Years ago, I sang that piece at least once a year for some worship service or another. Always by request. I think nowadays that the "public" is used to very simple Christian "pop" songs that don't take too much preparation or ability to perform. On the other hand, "O Divine Redeemer" takes a lot of skill and musicianship not to mention a voice with an expanded range to be able to sing it well. If done well, it is beautiful and powerful. If done poorly, it is very painful to listen to.

Yes, that piece is dramatic and yes it is over 3:00 minutes long. Yet, if it is sung well, it is a masterful sermon and testimony served with gorgeous music! Too bad that we have fewer and fewer trained singers and accompanists who could pull off a good performance of such a magnificent piece.

As far as it being too dramatic for Conference goes, it doesn't seem any more dramatic than singing "Master the Tempest is Raging," "I Stand All Amazed," or "I Know that My Redeemer Lives."

As far as it being too long? It isn't longer than singing "A Poor Wayfaring Man of Grief" -- all 7 verses, or even shortened to only 4 verses.

I for one, would rather hear a beautiful rendition of "O Divine Redeemer" than any number of the Christian "pop" songs we hear so often, usually done poorly.

Another dramatic hymn we sing regularly is "The Lord Is My Light." This has been a favorite hymn of mine since the day I heard my uncle John Thompson give a testimony about it, then sing it. He was visiting our ward one Sunday while I was in high school. He had the most marvelous heroic tenor voice. This arrangement is a salute to my wonderful uncle John who always said that some of the most powerful sermons are taught through sacred songs and hymns.

Come, Sing to the Lord

4/9/2023

On this Easter day of joy and gladness, here is a vocal duet singing praises for the Savior's Atonement and victory over death and the grave. May we give thanks for His gift of salvation!

"Come Sing to the Lord" is a vocal duet for Soprano and Mezzo-Soprano (or Alto) with lyrics taken from Psalm 98 "Come sing to the Lord a new song" and Alma 5:19 "I say unto you, can you look up, having the image of God engraven upon your countenances?

Come sing to the Lord, come sing to the Lord.
O sing unto the Lord a new song.
Come sing to the Lord, come sing to the Lord!
For He hath done marvelous things. (Repeat)

With His right hand and his holy arm
He hath gotten the victory, the victory!
The Lord hath made known His salvation.
With His right hand and his holy arm
He hath gotten the victory, the victory!

Come sing to the Lord, come sing to the Lord.
O sing unto the Lord a new song.
Come sing to the Lord, come sing to the Lord!
For He hath done marvelous things.

Have ye received of His mercy?
Have ye received of His redeeming love?
Oh, have ye engraven His image in your countenance
And also you heart?

With His right hand and his holy arm
He hath gotten the victory, the victory!
The Lord hath made known His salvation.
With His right hand and his holy arm
He hath gotten the victory, the victory!

Come sing to the Lord, come sing to the Lord.
O sing unto the Lord a new song.
Come sing to the Lord, come sing to the Lord!
For He hath done marvelous things.

Text taken from Psalm 98 and Alma 5:19

Tried and True Planning Strategies

3/20/2023

What do you say about a special program that was well-prepared and the actor/singers gave good performances, but the concert was still lacking? As an audience member, I wanted to give appropriate applause to show the performers that I appreciated their efforts. However, I could not bring myself to give the show a standing ovation.

There seemed to be two major problems. The first was that the individual songs went on too long! Each one was over 4, maybe over 5 minutes. The second problem was that all of the songs used many of the same musical ideas. Those few rippling flute lines and other motives were nice in the first song, but quickly got old by the later songs. And those same accompaniment figures and chord progressions were very reminiscent of the love themes from 1990's soap operas and movies. They just seemed out of place for a sacred program performed in a chapel even when the subject matter included love stories from the scriptures.

Our directors used to tell us during Tabernacle Choir rehearsals that planning a Music and the Spoken Word program, whether you believed it or not, was SHOW BUSINESS. All of the elements had to fit in the proscribed time period and follow accepted norms. However, there always needed to be elements of surprise to keep the audience engaged.

People really have short attention spans. They need to have VARIETY as well as FAMILIARITY. They like what they know and they only stay engaged for the amount of time they expect. Even the best prepared and executed performances can suffer if they stray from certain expectations. Who knows when the audience will decide to lose interest?

So, how does a director or composer put together a pleasing show? According to sources I respect, they should always remember the 2-3 minute attention span limit. Plan VARIETY into the program --- periods of new material followed by familiar material, vary TEMPO, MOOD, ACCOMPANIMENT and MELODIC IDEAS while not straying too far from what is known and expected. This is a tried and true programming strategy.

Some songs CAN go on for more than 3 minutes and still provide enough VARIETY to stay interesting. RONDO, for example, is a song form where one section comes back between other melodic adventures.

"O That I Were an Angel" is a Sacred song in RONDO form. The text is from Alma 29:1-9 and are the words that Alma the Younger spoke as he shared his desire to cry repentance to every people. The repeating Rondo section contains the following text and is used to tie the other sections to the whole:

O, that I were an angel that I might have the wish of mine heart,
O, that I were an angel that I might have the wish of mine heart.
That I might go forth to preach with the trump of God,
With a voice to shake the whole earth!
With a voice to cry repentance to every people, every people!
O, that I were an angel that I might have the wish of mine heart.

Rounding the Bases to Home Plate

2/27/2023

During my music classes in college, we were taught that a good composition opens in Tonic and ends in Tonic be it either in a Major or Minor tonality. Sure, after that opening, the chord progression takes off on adventures but always comes back to Tonic. In fact, we were taught that these chordal adventures were like rounding the bases in a Baseball game. And in order to emphasize that we are coming into Home Plate, the Dominant 7th chord is employed right before the last chord.

We were told that rounding those bases and coming into a strong finish at Home Plate gives the audience great satisfaction. These Western notions of TONALITY and what makes up a pleasing composition, especially a SONG, over many centuries, have been very well entrenched.

And then we were told that all of these ideas could be thrown out for EFFECT if we wanted to make the audience feel uneasy, uncomfortable, or upset, or many other emotions.

Experimental Music is just what it says it is. Composers in this arena turn many of the entrenched procedures upside down, inside out, and any which way. Norms are thrown out the window. And much of the music is meant to be improvised by the performer on the spot. I listened to one such composer perform and then explain some of his sacred compositions. He said that this was how heard and felt the texts and how they came to him in musical form. Some were quite beautiful, but I would have appreciated the music better if it had had more predictable structures and singable melodies, and some repetitions that reinforce the message.

Call me old school, but I like to have STRUCTURE that I can count on. I think there is plenty of room for improvisation and experimentation, but I like the idea of eventually coming HOME.

Sometimes composers of experimental music, especially those who set scriptural TEXTS believe that the texts should remain unaltered and never be repeated such as in Baroque or Classical music. They say that melismas or repeating of phrases for poetic reasons just slow down the action and disrupt the flow of thought.

On this point, I have to disagree. I think that repetition for poetic reasons is very good. Some repetition helps with PATTERN and RHYME schemes as well as providing additional EMPHASIS for important points. (And besides these, for a singer, the melismas are such fun to sing!)

Give me a tune that gets into my mind and won't go away any day! I love melodies and chord progressions that take me around the bases and let me slide into Home Plate! So satisfying!

Here is an original setting of the scriptural text found in Isaiah 52:8-10, Mosiah 12:22-24 and 3 Nephi 16:18-20 complete with structure, repetitions, poetic alterations of text, and even a few melismas. "Break Forth Into Joy."

The Music of Betsy Lee Bailey copyright 2020