A lyrical violin solo excerpted from the composer's violin concerto.

This piece may be performed as part of a collection of four Whitman settings under the master title This Is Thy Hour. A majestic opening heralds the hour that unfolds to a rhythmic ostinato that acts as the underpinning for the text of This Is Thy Hour. A plaintive middle section contrasts with legato vocal lines for the text “thee fully forth emerging.” The work concludes revisiting the opening material and ends with triumphant homophonic chords before ending with a restatement of the softer middle section expressing the wonder of that which the poet loves best. Duration: 4:30

This lyrical setting of a poem by Sara Teasdale was commissioned as a gift for a consortium of seven high school choirs in Illinois. It begins with a reflective and contemplative tone that shifts dramatically to celebrate the power of singing—alone and collectively—to provide a sanctuary from life’s tribulations. Largely in four parts with brief occurrences of divisi. Duration: 4:45

Based on text by Robert Louis Stevenson the piece has a rousing melody set in compound duple meter. The music depicts the imagery of streamlets gushing and the many sounds of rejoicing nature that accompany spring. A brief section in simple meter portrays a scene of pastoral tranquility. The piece finishes with the intial melody accompanied by a soaring descant. Duration: 3:15

Five Mystical Songs

This arrangement of one of the most beloved spirituals begins with some Jazz-style scat singing in all the voices before the altos and sopranos begin the first refrain. The style shifts to driving straight eighth notes to bring the arrangement to an exciting conclusion. Duration 4:17 This arrangement of one of the most beloved spirituals begins with some Jazz-style scat singing in all the voices before the altos and sopranos begin the first refrain. The style shifts to driving straight eighth notes to bring the arrangement to an exciting conclusion. Duration 4:17

A syncopated setting with a sweet sprightly piano accompaniment this piece is a fine teaching tool for unison singing vowel formation and handling skips and leaps. There are a very few places where two parts are written but they are easy. Useful and charming for any treble group at Christmas time. Duration: 2:25 A syncopated setting with a sweet sprightly piano accompaniment this piece is a fine teaching tool for unison singing vowel formation and handling skips and leaps. There are a very few places where two parts are written but they are easy. Useful and charming for any treble group at Christmas time. Duration: 2:25

This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing call and response singing and a relentless rhythmic drive make this a great option for a concert closer. -Ken Berg Duration: 3:00This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing call and response singing and a relentless rhythmic drive make this a great option for a concert closer. -Ken Berg Duration: 3:00

The origin of the melody My Country ’Tis of Thee is not known but assumed to generate from Europe. The melody is also used for the national anthem of the United Kingdom God Save the Queen. The text for My Country ’Tis of Thee was written by Samuel Francis Smith and was given its first public performance on July 4th 1831 at an Independence Day celebration in Boston. It was published a year later under the title America. The SSATB arrangement (1.3560) was performed at the Capitol for the Inauguration of Donald Trump 45th President of the United States on 20 January 2017. This SSA version was performed 12 May 2014 at the reopening of the Washington Monument following the earthquakedamage. Required to be an unaccompanied arrangement it follows a theme and variations structure where the melody is passed throughout the choir. Due to the nature of the event this arrangement is deliberately “ceremonial” in feel. Duration: 2:15 The origin of the melody My Country ’Tis of Thee is not known but assumed to generate from Europe. The melody is also used for the national anthem of the United Kingdom God Save the Queen. The text for My Country ’Tis of Thee was written by Samuel Francis Smith and was given its first public performance on July 4th 1831 at an Independence Day celebration in Boston. It was published a year later under the title America. The SSATB arrangement (1.3560) was performed at the Capitol for the Inauguration of Donald Trump 45th President of the United States on 20 January 2017. This SSA version was performed 12 May 2014 at the reopening of the Washington Monument following the earthquakedamage. Required to be an unaccompanied arrangement it follows a theme and variations structure where the melody is passed throughout the choir. Due to the nature of the event this arrangement is deliberately “ceremonial” in feel. Duration: 2:15

This strong tune and text speaks to the respect with which any nation treats the men and women who serve in their military. Beginning softly the effect is like a parade that starts in the distance and gradually progresses ever closer to the listener. Following a brief introduction the first verse is in unison. Each successive verse expands not only the part writing but the sound and effect. The strength of the harmonic structure the depth of the textual importance and a relentless rhythmic drive make this piece a strong addition to any program. Duration: 2:43This strong tune and text speaks to the respect with which any nation treats the men and women who serve in their military. Beginning softly the effect is like a parade that starts in the distance and gradually progresses ever closer to the listener. Following a brief introduction the first verse is in unison. Each successive verse expands not only the part writing but the sound and effect. The strength of the harmonic structure the depth of the textual importance and a relentless rhythmic drive make this piece a strong addition to any program. Duration: 2:43

Orchestra Score

Piano/Choral Score-Commissioned by the Jacksonville Children's Chorus. A lively swing adaptation of the well-known and loved 19th-century song Jingle Bells. This arrangement makes use of finger snapping choice harmonies and a lively instrument accompaniment either for piano or orchestra. Duration 2:10 Commissioned by the Jacksonville Children's Chorus. A lively swing adaptation of the well-known and loved 19th-century song Jingle Bells. This arrangement makes use of finger snapping choice harmonies and a lively instrument accompaniment either for piano or orchestra. Duration 2:10

Choral Score-Wealth Enough for Me from 'For a Breath of Ecstasy' by Micheal John Trotta with words by Sara Teasdale. This work is for SATB choir with Oboe and String Quartet or Piano.

How would you finish the sentence “Today I will_______.”? That was the question Dr. Joe Miller and Anne Sears of Westminster Choir College asked of singers and audience members at the Westminster Choir’s 2017 Tour concerts whose program focused on the opportunities and challenges each day presents to us. This piece is a web of several of those responses gathered in four parts: the first about our immediate surroundings the second describing our need for beauty and hope the third a potpourri of actions linked with values and the final a broad statement about our notes “in the great choir of humankind.” Duration: 3:45

Spring Carol

The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga Latvia in 2012. In USA it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad but rather ethereal. It is more about longing than sadness. To create a more ethereal mood the soloists may be staggered throughout the audience if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn nitrided steel sheets glued together at the rim leaving the inside hollow and creating a distinct “UFO” shape. The top (“Ding”) side has a center “note” hammered into it and seven “tone fields” hammered around the center. -Raimonds Tiguls Duration: 4:10 Part of the Lee Nelson Choral Series. The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga Latvia in 2012. In USA it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad but rather ethereal. It is more about longing than sadness. To create a more ethereal mood the soloists may be staggered throughout the audience if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn nitrided steel sheets glued together at the rim leaving the ins

Simon Kerwin's brass band arrangement of the traditional Christmas carol. Easier in difficilty to Darrol Barry's arrangement.

A lyrical violin solo excerpted from the composer's violin concerto.

This piece may be performed as part of a collection of four Whitman settings under the master title This Is Thy Hour. A majestic opening heralds the hour that unfolds to a rhythmic ostinato that acts as the underpinning for the text of This Is Thy Hour. A plaintive middle section contrasts with legato vocal lines for the text “thee fully forth emerging.” The work concludes revisiting the opening material and ends with triumphant homophonic chords before ending with a restatement of the softer middle section expressing the wonder of that which the poet loves best. Duration: 4:30

This lyrical setting of a poem by Sara Teasdale was commissioned as a gift for a consortium of seven high school choirs in Illinois. It begins with a reflective and contemplative tone that shifts dramatically to celebrate the power of singing—alone and collectively—to provide a sanctuary from life’s tribulations. Largely in four parts with brief occurrences of divisi. Duration: 4:45