10 free scores currently available:
4 Developing Voices/Beginner
4 High School/Intermediate
2 Lower Voices (TB/TBB/TTBB)
3 Upper Voices (SA/SSA/SSAA)
5 Mixed Voices (SATB/SAB)
In exchange for performing these newly-written and unrecorded works, all I ask is for a recording (either audio or video) of the performance.
You are free to photocopy the scores for your choirs or for festival performances. Should you need a personalized letter for verification, please use the contact form.
Click on each title to view and download, listen to a demo, and print the score today.
This piece was written to honor the retirement of Julie Moore, who taught at Colleyville Middle School (of which I'm an alumnus) for 29 years. Ms. Moore is a long-time family friend, and I was honored to write this piece to celebrate her career and the gifts she gave to thousands of students. "Thank You for the Music" features a unison refrain and all parts are optional, serving mostly to accomodate changing voices or add additional color. The original performance of the work was taught the day of the premiere, which means "Thank You for the Music" would serve as an accessible end-of-year piece for a choir of any level.
Stark and melancholy, "Boys Will Be Boys" was written amidst the revelations of the #MeToo movement, and explores the excuses we make for our young men and how they treat the women in their lives. Musically, the piece is relatively simple, with the piano providing ample harmonic and melodic support to the tenor and bass parts.
Written for Daniel Gutierrez at Reed Academy Middle School, "Do Not Stand at My Grave" is a challenging two-part arrangement that could be a satisfying work for an advanced secondary women's choir, or a welcome addition to a collegiate program. It explores the more joyful side of this often-set text, and the sense of acceptance that comes on the other side of grief.
Edmund Waller's "Go, Lovely Rose" is a standard text in the choral repertory. My setting of the poem focuses on its breathless exuberance, employing extensively polyphony, mixed-meter, and modalism in an attempt at creating a 21-st century madrigal. While it may present a challenge for some, its accessible melodic lines invite each voice to play a part in the courtship.
Written around pop and dance rhythms, "Ollie Ollie (Oxen Free)," written for treble chorus, addresses the many ways we build up walls to protect ourselves, and how ultimately there is power in vulnerability. It also allows the altos a substantial portion of the melody, which they are so rarely afforded.
"Prairie Spring," written for the Ridgeview HS Choir, celebrates youth, nature, and passion. The entire piece takes the form of a blooming flower--opening slowly and introspectively, until at its climax, each voice is singing an individual melodic line they have chosen for themselves. Unfortunately, during the premiere, a high quality recording wasn't obtained, which is why it is available for free--for now!
The poetry of Mary Carroll-Hackett has been called "alive with the language of the heart" (Robert Bausch). I fell in love with "The Dove That Calls" several years ago, when I wrote the song originally as a solo piece in a neo-folk style. Adding harmonies and individual lines, as well as an equally important piano part, allows the piece to function as a satisfyingly deep, yet accessible work.
With an optional violin part, "The Old Treehouse" is a wild trip through the imagination, celebrating nostalgia and childhood, and also serving as a reminder of the power of dreams to penetrate the everyday and inspire us to be our best selves. Designed with developing voices in mind, the ranges are accessible and provide individual lines for both tenors and basses, making it easy to learn.
Sara Teasdale's poetry is a favorite of choral composers, for good reason. It is evocative and emotionally complex, yet immediately accessible even in a musical setting. A secular choral art song suitable for winter performance, my setting of Teasdale's obscure gem has echoes of Ralph Vaughn-Williams, Jake Runestad, and Gwyneth Walker. While it will require a choir which can capably handle eight parts, I have tried, as always, to make each line accessible and engaging, no matter how thick the texture.
The first piece (and the last one written) for the song cycle ("Nine Haiku of Autumn"), "Nowaki Kana" is written for a high school choral ensemble that is interested in exploring aleatoric music. Musically, it is fairly simple, though the nontraditional structure might appear daunting initially.