Just completed a new piece for Easter: Fanfare on “Christ is Arisen” for mixed choir, brass quartet, timpani, and organ. Hope you find it useful. It begins with a theme that my Associate Pastor said reminded him of Aslan, you know the great and powerful lion from the C. S. Lewis book The Lion, the Witch, and the Wardrobe… Read More »
Upon reading 1 Chronicles 23-25, many people do not realize that the establishment and organization of the worship and music of the tabernacle and temple was not done so at the whim of King David, but rather because it had been ordained and instituted by God. In his book The Lord’s Song: The Basis, Function and Significance of Choral… Read More »
I woke up this morning with Allen Pote’s “A Song of Promise” running through my brain (we rehearsed it for good 30 minutes at our choir rehearsal last night). It is an interesting and effective setting of a passage from the book of Isaiah. And then I realized that one of the unique things about a choir rehearsing… Read More »
This setting of “Of the Father’s Love Begotten” is the second motet in a set entitled Three Latin Christmas Motets and is dedicated to the American Kantorei of St. Louis, Missouri. It musically intertwines two manifestations of the God incarnate: that which occurred with the birth of Christ and that which happens when believers observe the Sacrament of… Read More »
This setting of “O Come, O Come Emmanuel” sets all seven verses of the hymn modulating into four keys while passing the melody from voice to voice before finally concluding with several sudden and surprising key changes that lead to what I call a “Picardy third on steroids” (i.e. a major chord built on the altered note of… Read More »