Category: Classical Sacred Solo And Duets

Allowing for Different Tastes

6/20/2022

"How do you like your yams?"

When I was growing up, the only way I was ever served yams was candied. I really didn't like them. They looked great with all the toasted marshmallows on top, but they were too sweet for my little taste buds. Then one day I was invited for supper at the neighbor's house. They were having yams and at first I was worried because I had only had candied yams. But what a revelation! They served their yams roasted with just a little butter and salt and pepper. Wow! I loved them served that way.

I honestly did not know there were CHOICES in how yams were cooked. From that point on, I knew which method I would choose. (Can you tell that I am not a very adventurous cook or eater?) And then recently, my son-in-law served up one of his signature dishes --- "stuffed yam burritos." This consists of a roasted yam stuffed with a type of pico de gallo salsa with lots of vegetables. Who knew there was yet another choice for serving yams? Probably many others, too.

Although I am not a very adventurous cook or eater, I do understand that people have differing TASTE PREFERENCES. It is the same thing in MUSIC. People have very different preferences, in what they listen to on a daily basis to even what they prefer in Sacred Music.

In daily listening Music, I have a wide and varied palate. Because I have studied and performed many types of music, I have an appreciation for many styles. I guess I choose music to listen to according to my mood. But, then again, I have almost constant music playing in my head, so I mainly need to have something different like a podcast or talk radio on to cancel out the music.

In Sacred Music, though, I do have particular preferences. I lean to more classical styles in Sacred Music because I have found that they have brought me the most reverent and sacred experiences. Besides, I love the VARIETY. To my ears, a lot of contemporary popular sacred songs start sounding the same pretty quickly. Give me arrangements that sound like they have been influenced by Bach, Beethoven, or Brahms and I'll be happy.

"Come Sing to the Lord" - original Sacred Duet for Soprano and Mezzo

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He Is Risen

4/15/2022

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The glorious message at Easter time is that Christ, the Lord, died to save us all and that He has indeed risen from the grave, overcoming death and pain. His Atonement provides the way for us to return to live with Him someday, resurrected and forgiven of our sins and short-comings.

How wonderful to know that as we repent and forsake our sins, we can partake of these marvelous blessings!

Singing the wonderful, powerful songs and hymns of Easter provide such joy for singers like me. I enjoy singing the poignant messages as well as the triumphant anthems. Some of my favorites are found in Handel's Messiah. "Since By Man Came Death," "Surely He Has Bourne Our Griefs and Carried Our Sorrows," "I Know That My Redeemer Liveth," "Hallelujah," "Worthy Is the Lamb."

I have had the great opportunity of singing and recording with the Tabernacle Choir and Orchestra on Temple Square. But I have also felt the majesty and power of the Spirit testifying to the truthfulness of these messages while singing with other groups, both smaller and larger, professional and amateur groups. Even when the group is small, and not so accomplished, the Spirit can testify and bear witness. It is a glorious thing.

Here are some pieces I composed for Easter for my own choirs and soloists. We enjoyed singing them. Hope you will, too.

"An Easter Anthem Medley" featuring "He Is Risen" and "Christ the Lord Is Risen Today" for Mixed SATB Choir, antiphonal chorus, and Organ

"Come Unto Him" for Mixed SATB Choir with piano or for Woodwind Quintet

"Beautiful Savior" for SSA, SATB, or for Flute Quartet

"The Bread of Life" for TTBB and Piano

"Come Sing to the Lord" Duet for Soprano and Mezzo and Piano

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Special Musical Numbers

5/20/2021

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Many Ward meetings are now opening up to congregational singing and even musical numbers. No larger ensembles or choirs yet, but perhaps they will be coming soon. I have heard that the Primaries in some Wards have been given the go ahead to plan a Sacrament Meeting program with singing for the Fall. Now that is showing confidence in our future!

Mostly, the musical numbers in our Ward have not been sung. They have been organ, piano or instrumental solos or duets. Just having extra music to me is lovely. A couple of weeks ago, a man was actually allowed to sing for the special musical number. What a treat! Because of traffic on my website, I suspect that many Wards are now allowing vocal solos. Hopefully the singers who have downloaded some of my solos and duets are happily singing them in their meetings.

The most popular titles for vocalists this spring have been Duets: "Lead Kindly Light," "I Know that My Redeemer Lives," and "Come Sing to the Lord," "Did You Think to Pray," and "O, That I Were and Angel."

My pandemic project has been to create Easy Piano Duets of Hymns. The Primo part is easy enough for a beginner piano student and the Secondo part is for the teacher or a more advanced player. They are flexible enough that the melody parts in the Primo part could be played in octaves by a more advanced student.

The most popular Piano Hymn Duets this spring have been "Come Follow Me," "Hope of Israel," and "Did You Think to Pray."

Four new Piano Hymn Duets are coming soon.

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Studying the Words of Alma

8/3/2020

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If there is one Prophet/Writer in the Book of Mormon that I would especially like to meet, it would be Alma the Younger. Even in translation, his powerful spiritual insights are delivered in a particularly poetic style. (Perfect for inspiring songs!) Since we have been studying the words of Alma during July and August (2020), it has reminded me of the great privilege I had to create sacred songs from three of his passages.

"Counsel With the Lord in all Thy Doings" Alma 37:37 (solo)
"Counsel with the Lord in All Thy Doings" Alma 37:37 (SATB)

I really, really do not like giving talks in Church. I would much prefer singing my testimony. One Father's Day, years ago now, I just couldn't convince the Bishop to give the assigned talk to someone else. As I was researching to find ideas for the talk, I read the account by Alma where he was giving counsel to his son. Here was a father hoping that his words would inspire his son to be faithful, to sincerely pray always, and to dedicate his life to serving the Lord. What a beautiful message for Father's Day! So I wrote a song and had my daughter and her friends sing it. (I still had to give the talk, but I felt better about it.)

"O, That I Were an Angel" Alma 29:1-9 (solo)
"O, That I Were an Angel" Alma 29:1-9 (duet)

Back in the early 2000's, I sang in a community choral society choir. The conductor was very kind to indulge me every time I asked him questions about composing. He was very supportive of my efforts and even complimented me saying that I had quite a flair for "melodic drama." He especially liked this piece.

At the time, my youngest child had also started school, and that left my days wide open. I decided to start writing sacred solo songs for myself to sing, and while I was at it, I decided I should write some songs that my vocal students might like. One of these students was a young tenor who got a mission call while he was taking lessons from me. I decided to write this piece for him to sing for his Mission Farewell. He really did the song justice with his heroic tenor voice.

A few years later, a Baritone friend from the Tabernacle Choir asked if I would create a duet version for us to sing together. So, I did that, too.

"How Exquisite Was My Joy" Alma 36 (solo)

The entire chapter of Alma 36 is written in chiasmus. That is an ancient poetic writing style that uses inverted parallelism to emphasis the most important phrase at the center of the passage. A friend from the Tabernacle Choir, Barbara Cramer, invited me to try writing a solo for her to sing at the 50th Anniversary Jubilee of the Discovery of Chiasmus in the Book of Mormon. Her brother Jack Welch had made the discovery while he was on his mission years ago and would give the keynote address.

She gave me a few phrases from the scriptures to concentrate on in the chiastic form ABCDDCBA. But, I really couldn't wrap my head around trying to write music in a strict chiastic form. Did the melody and accompaniment have to stick to the form and the inverted parallelisms?

Anyway, I decided that the scriptural phrases would stay in the chiastic outline, but the music would not stay strictly in those patterns. After all, I had to build up to not only the climax in the center, but save a little something for the ending.

Creating these songs was spiritually moving and testimony-building for me. I realize how fervent Alma's testimony of Jesus Christ was and how he wants us all to believe and put our trust in the Lord. All I can say is Amen.

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Cantique de Noel by Adolphe Adam

8/24/2019

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Last week at BYU Education Week I attended a very informative and entertaining class called "More Than One Hit Wonders." The instructor, Dr. Jaren Hinckley, gave a lecture each day on four different composers who are remembered nowadays, sadly, only for their biggest hit. But, after hearing about their prolific output and the influence they were on other composers, it is true that we should remember them for more than just their most famous composition. One lecture was about the French composer Adolphe Adam (1803-1856). He explained that Adam wrote many, many works primarily for theater. Many people know his ballet "Giselle," that is still performed today. He also composed many operas and "vaudeville" productions. The "vaudeville" of his day would be equivalent to what we in America would call Musical Theater, meaning that unlike opera, lines were spoken not sung. Adam was also a very influential teacher to other famous composers such as Leo Delibes.

However, Adolphe Adam is most remembered for his "Cantique de Noel." I did not know the story of how he came to write this song. In a nutshell, this is the gist of the story. In 1847, in southern France, there was a church that had an organ needing refurbishing. The organ was to be ready for debut on Christmas Eve. So the priests asked a soprano in town to ask her friend, a renowned musician, to ask Adophe Adam, his friend, to write a new piece for the midnight mass. Adam was known as the "go to" composer who could take commissions and fulfill them in a timely manner. If you needed an opera in a few months, you'd call Adolphe Adam. A ballet in three weeks? No problem. Call Adolphe Adam.

And so, they did just that. They asked Adolphe Adam to create a beautiful Christmas cantique or song for their special celebration. It was so well received, that soon it was being sung not just as a solo, but by many other groups in nearby towns in France. Within a few years, it was being translated and sung in other countries and even made its way across the pond. In America, we sing it as "O Holy Night."

What was so entertaining in Dr. Hinckley's class was how he showed clips of how singers over the years have "made it their own." (Singers tend to do that, whether it is a good idea or not.) He explained how many singers have taken great liberties with the music, especially the ending. He showed renditions by singers known in quite differing genres - opera, pop, rock, hip hop, and even country. He played a montage of singers holding the high note fermata in progressively higher and higher keys until he got to the show down between operatic powerhouse Luciano Pavarotti and pop diva Mariah Carey singing an unbelievably high note.

As funny as that was to see so many simply outrageous performances, it was sad, too. Unfortunately, this cantique has become so ubiquitous that many performers make it ridiculous. Dr. Hinckley hoped that by sharing his story, Adolphe Adam and his music might be remembered and get the respect they deserve. I enjoyed how in closing the lecture, Dr. Hinckley played "Cantique de Noel" performed by a church choir who indeed performed it with respect and deep spiritual conviction. Those are the performances I enjoy the most!

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O, That I Were and Angel

1/16/2019

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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. 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 newly available for digital download.

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Break Forth Into Joy and Sing

1/5/2019

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The new year always makes me think ahead to the prospect of the future. Oh how I want to know that the future looks bright! It takes faith and trust in the Lord and His promises.

Twenty years ago now, my youngest child started school and I suddenly realized that I had a lot of time on my hands. I was used to squeezing in creative projects between caring for a large family and supporting them in their myriad of activities. It was amazing to me that after nearly 20 years of making myself available to them 24/7, I suddenly had a few hours each day that were basically free of any distractions.

So, I jumped at the long neglected ambition of writing music. I had done little writing projects here and there over the years, but I told myself that with fewer distractions I might actually put my long neglected college degree to use. What I decided to do was write some sacred pieces for the classical singer. Okay, more specifically, I wanted some original pieces that I would want to sing.

The first completely original of these sacred songs was "Break Forth Into Joy." The text was taken from Isaiah 52:8-10, and quoted again in the Book of Mormon in Mosiah 12:22-24 and 3 Nephi 16:18-20. These scriptures speak of how the Lord will gather his people together in the last days and bring again Zion. Now that is something surely to look forward to with joy! It is definitely worth singing about.

This piece was composed for soprano with piano accompaniment, but I have always wondered what it would sound like if it had full orchestra with a fanfare of trumpets and sweeping strings. Maybe someday I will get around to doing an orchestration. But for now, enjoy "Break Forth Into Joy!"

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If the Way Be Full of Trial, Weary Not

3/19/2018

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John R. Sweney

Last week, I received an email from an old singing buddy who requested that I create an arrangement for him. The hymn he has been singing out of the 1910 LDS Hymnal is "Weary Not." I knew that hymn from when we sang it in the Mormon Tabernacle Choir for the "85th Birthday Celebration Concert for Thomas S. Monson." I had never heard it before that concert. But, I came to find out, that it was written by a composer I am well acquainted with -- John R. Sweney.

When I looked up the hymn to see it in its original form, I thought that name sounded familiar. I knew that composer's name from arranging "There Is Sunshine in My Soul Today." In fact, just yesterday, I sang an arrangement of another of his hymns, "The Lord Is My Light." His melodies are soaring and full of power and conviction. They lend themselves beautifully to the solo voice.

As I read the biography of John R. Sweney, I learned that he was rather famous as a conductor of congregational singing as well as a Professor of Music at a Pennsylvania college where he directed both bands and choirs. No wonder he had such a command of pairing melody to hymn texts. I can well believe what was said about him. "Sweney knows how to make a congregation sing!"

My friend who requested this arrangement wanted to be sure that I included some ascending modulations to heighten the momentum of the piece. He is a tenor and has the range to sing these modulations. A singer, with good command of the high register will be able to sing them. But, I still may do some modifications with a simpler transposition for a medium voice.

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In Praise of Honest People

10/13/2017

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I read an article the other day about the devaluation of music in our society today. The author made the case that with so many avenues to hear, enjoy, obtain, and otherwise consume music for free, it is little wonder why regular people have no "wonder" or appreciation for serious music. They may hear bits and pieces of classical or jazz music in movie scores, video games and cartoons. But they don't really listen to or appreciate the influences or herculean efforts the composers use to write this music or the incredible musicianship and effort required on the part of each member of the orchestra to play it.

Serious musicians who have studied to perfect their artistry over many years can barely make a living doing music. The digital age has changed all of the rules. Consumers assume if they can hear the music over a device, it must be free.

People generally admit that they have favorite music that forms a soundtrack for their lives, but they do not place any value to it. They just assume that it will always be there.

Many school districts have cut music programs along with many other fine art programs from their curriculum. What that does is further the devaluing of music. Fewer people now grow up with any idea of how music is created, or gain an understanding of the effort it takes to learn to play an instrument, sing well, or write a song.

Composers who write music for choirs or instrumentalists or singers basically give their creations away. If they publish, the publisher typically takes more than 50% of the royalties. Then, the consumer might buy the fewest number of copies allowed, because they can easily run off more copies on a copy machine charging their school or church with that cost. They have absolutely no regard for copyright laws.

That is why it is so wonderful when occasionally some choir director will order a true amount of legal copies of a piece of music for her choir. Or a couple of singers will order three copies of a Duet because they realize both singers need a copy plus one for the accompanist. I praise those few honest people. Thank you for being who you are and placing a real value on music and the people who create it!

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On a Sacred, Still and Silent Night

10/2/2017

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One grey, dreary December day I was sitting at the stoplight, waiting. Into my mind ran a little melody. To pass the time, I started developing that little melody, experimenting with what it would sound like in major. "No, maybe I like it better in minor." Soon it became a being unto itself and then the words came. I couldn't wait to get home to write it down.
Three hours later, "On a Sacred Still and Silent Night" was finished -- complete and beautifully poignant. Three days later it was sung by our college kids just home for the Christmas break.

The experience of writing this song is one I will treasure forever. It was a surely a Gift of Song directly from Heaven.

Writing sacred music, particularly Christmas music, has been a wonderful opportunity for me throughout my life. Sometimes I set out deliberately to write a sacred choral piece, but more often, as in the story above, the music came almost as if by accident. But I know that inspiration comes to those who seek it and are ready to listen. Many times, I have had deadlines to write something, and had desperately prayed for inspiration to get what I needed to do done. Other times, I was just willing to allow inspiration to come and then made time to work with it.

As a composer, you've got to be ready to jump when the inspiration comes. It doesn't always come at convenient moments. Once, I was up in through the night caring for the sick members of my family. I had moved them all into the family room so that I could pass the bucket and clean up the messes easier. I remember looking out the patio doors onto the sparkling snow and the brilliant night sky full of stars. What a poetic, beautiful sight and in such contrast to the awful reality I was going through. But it made me think of the new star that shone on the first Christmas night. I actually found comfort and peace in serving my family as I contemplated the Savior of the world who was born into mortality to serve all of mankind.

And then came the music -- with the words. I practiced and practiced in my mind what I was hearing so that when I could get a chance in the morning, I could write it all down.

Those are experiences never to be forgotten! I am so happy to be able to share my testimony of the Savior, and his life and mission, though sacred Christmas Music.

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Allowing for Different Tastes

He Is Risen

Special Musical Numbers

Studying the Words of Alma

Cantique de Noel by Adolphe Adam

O, That I Were and Angel

Break Forth Into Joy and Sing

If the Way Be Full of Trial, Weary Not

In Praise of Honest People

On a Sacred, Still and Silent Night

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