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One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#41: Friday, January 18, 2019

“Deep Peace, Healing Light” by Leonard Enns
Text inspired by Gaelic traditions
SSA, a cappella

Frequently, choral selections with crunchy harmony or pleasantly-dissonant chords require four voice parts minimum, usually more. By contrast, this lovely selection by composer Leonard Enns, “Deep Peace, Healing Light,” provides ample opportunity for suspensions, non-chord tones, and clusters, while only requiring three voice parts. This piece is ideal for concert or contest; it can also be used for funerals, retirements, graduations, or other community events where peace and/or reconciliation are the focus.

The work is primarily homophonic, with only a few exceptions. The shared vertical/rhythmic structure adds stability throughout and helps support less experienced singers who may be pursuing the piece.

Interestingly, there is a series of six measures on the second page which are scored twice. Labeled “A” and “B,” they differ in range and tessitura, but not in rhythm. The score markings indicate you should choose either A or B, based on the skill set of your group. “B” is good in its own right, but “A” really allows your ensemble a chance to shine, depending on the range of your S1s.

Another point to notice would be the ample opportunities for incorporating dynamics and tempo changes. Dynamics are given throughout and range from mp to f. Tempos ebb and flow as well, including ritards and caesuras. A strong ensemble will likely relish the chance to dig in and shape the emotion of the selection through these means.

Tonally, the piece centers around Eb major, with excursions to c minor, eb minor, and Gb major. In listening to the selection, I am struck by the way the tonality shifts in a such a smooth way. Using solfege might be tricky, if your ensemble is new to added accidentals. It could easily be used for the beginning and ending of the work though without concern. However, if you are interested in practicing the ensemble’s use of added flats (me and te, in this case), this is an excellent and brief foray into the skill.

The ending of the work is another unique point – it is aleatoric, with a series of notes in the score regarding how it is to be performed. After a solid Bb chord (V of Eb major), each voice part freely explores various pitches within the descending Eb major scale, incorporating “oohs” and the text “deep, deep peace.” Voices overlap to create a meaningful, tonal soundscape.

The source of this text is a curious one, without a clear answer. The octavo’s attribution suggests that the words are a “Gaelic Blessing.” John Rutter’s familiar choral selection “A Gaelic Blessing” uses the same text, albeit with an added Christian-themed closing line, and notes a similar attribution (“adapted from an old Gaelic rune”). Of interest though, is that the lines appear as part of a larger prayer within the 1895 novel The Dominion of Dreams: Under the Dark Star, by Celtic-Revivalist William Sharp, writing as Fiona Macleod. There is no doubt the text is inspired by other legitimate Gaelic blessings. However, whether the text is truly from Gaelic tradition, or simply written in that style by a 19th century author, remains in question.

Regardless of the text’s origins, the sentiment of the text is certainly worth considering:

Deep peace of the running wave to you.
Deep peace of the flowing air to you.
Deep peace of the quiet earth to you.
Deep peace of the shining stars to you.
Deep peace of the gentle night to you.
Moon and stars pour their healing light on you.

The text’s meaning, coupled with Enns’ beautiful setting, make this a quality choice for your women’s/treble ensemble.

Title:Deep Peace, Healing Light
Composer:Leonard Enns
Date of Composition:2012
Text Source:Gaelic Blessing* (see notes in description)
Subject(s), Genre:Peace, blessing, compassion.
Can also be suitable for funeral.
Language:English
Listed Voicing:SSA
Voicing Details:SSA
Ranges:S1: Eb4-F5/Ab5
S2: D4-D5/F5
A: Bb3-Bb4/C5
Accompaniment:A cappella
Duration:~2:30
Tempo:76, gently with rubato
Dedication:In Memory of Mary Anne Kowal
Publisher:Cypress Choral Music CP-1224
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
http://larrynickel.com/CypressAudio/Deep.html
http://cypresschoral.com/PDF/SampleCP1224.pdf
https://soundcloud.com/cypress-choral-music/deep-peace-healing-light

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#36: Friday, December 07, 2018

“Hail, Christmas Day” by Abbie Burt Betinis
Text by John Harris Burt
SSAA, a cappella

“Hail, Christmas Day!” from Abbie Betinis is an earworm in the best sense of the word. More than once I found myself, and my singers, bouncing down the hallway to the opening melody. The tune is hummable and catchy, and sticks with you quickly. It is a spry combination of mixed asymmetrical meters, and certain to keep your singers on their toes. If you are looking for an uptempo, cheerful addition to your holiday concert, you’ve found it!

Abbie Betinis composes a new Christmas carol every year, following in the long-standing tradition begun by her great-grandfather, Rev. Bates Burt. For more information on the family history of carols and Christmas cards, please visit: http://www.abbiebetinis.com/writings_burtcarols.html. This joyful carol features music by Abbie, with text by her grandfather John Harris Burt from 1953.

In Abbie’s musical setting, the mixed meters feature strongly, alternating between a measure of 7/8 and 9/8. The 9/8 is always divided up into 2+2+2+3, while the 7/8 comes up as 2+2+3 or 3+2+2, depending on its position in the phrase. We started the rehearsal process by dissecting each of these, learning how to count them and how to conduct them, and how to discern between the variants of 7/8. There were many rehearsal moments spent writing-in and chanting 1-2-3-1-2-1-2; 1-2-1-2-1-2-1-2-3, etc.

During the initial learning phrase of rehearsals, the constantly-changing meter signatures presented an obstacle for my singers but, after repetition, it became second nature. Encouraging singers to physicalize the meter through conducting helped as well, as it emphasized the asymmetrical aspect. My singers were always asked to conduct through the piece as they were rehearsing it.

The work is straightforward in form – four verses, each beginning in English and finishing in Latin. The first and second verses are in unison, with added octaves at the end of the second verse. While you may feel that singing in unison might not present enough of a challenge for your singers, or enough interest for your audience, I encourage you to set aside that notion here. The unison melody line is full of mixed and asymmetrical meters, phrasing over the barline, accents, and large jumps, all of which creates a lovely sense of urgency and energy.

Verse three begins with the melody in the Soprano 2 (or a solo), and harmonic Oohs/Aahs in the outer voices. There is some divisi in the outer voices, but not much; it reads like SSA with a bit of divisi. The meter can be a little tricky here for the voice parts with the longer harmony notes – it is more difficult to feel the pulse when you have half-notes, as opposed to quarter notes and eighth notes.

Having the melody line do the chant-counting while the harmony parts rehearsed was helpful, as was reminding singers to always keep the pulse physically connected in their body (tap, patsch, clap, step, snap, conduct, etc.). The second half of verse three engages all voice parts in the text, now with contrary motion and added harmonies. This is the first time that the dynamic forte has appeared thus far in the piece, and the build up to it is a great moment.

The fourth verse is a round in three parts. While the earlier unison verses solidify the metric and tonal patterns for the choir, this verse is all about part independence. I loved the first time rehearsing this verse, watching singers concentrate so strongly to keep the asymmetrical meters lined up together. After completing the fourth verse, there is a final coda to wrap-up the work.

The energy and drive in this piece is palpable. If you need a fast and buoyant selection to compliment the rest of your holiday program, look no further. Just know – you will find yourself humming it for weeks to come!

Title: Hail, Christmas Day!
Composer: Abbie Burt Betinis
Date of Composition: 2003 (rev 2010)
Author: Rev. John Harris Burt
Date of Text: 1953
Subject(s), Genre: Christmas, sacred, holiday, winter, joy
Language: English and Latin
Listed Voicing: SSAA
Voicing Details: SSAA (unison, 2-part, SSA, and SSAA)
Ranges: S1: D4-F#5
S2: D4-F5
A1: G3-F5
A2: G3-F5
Accompaniment: a cappella
Duration: ~2:00
Tempo: 144-160, Joyfully!
Premiering Ensemble: Pike Kor, Luther College, Sandra Peter, conductor
Series: The Burt Family Christmas Carols
Publisher: Abbie Betinis Music www.abbiebetinis.com   
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
http://www.abbiebetinis.com/works/hail_christmas_day.html

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#34: Friday, November 16, 2018
“Winter Lullaby” by PINKZEBRA
2-part, piano (optional strings)

Sometimes we are searching for repertoire for our 8-part divisi advanced ensemble, capable of polyphony and mixed meter and atonal harmonies. Sometimes we are looking for a song for our beginner ensemble, who is just at the start of their musical journey. “Winter Lullaby” is for the latter, and it does an amazing job of being exactly what my singers needed.

Beginners come in all shapes and sizes, and ages. Not all college (or high school or community) choirs are auditioned ensembles, for experienced singers only. My 100-level group is truly a beginner choir. We start from scratch with breathing, vocal mechanics, and introductory music literacy. No experience required or expected. They may be adults in age, but they are closer in initial level to a preparatory children’s choir than what we think of as a traditional college choir.

As an educator, I love the fact that I have a space for beginners to feel safe and confident in exploring their musicianship, in addition to having ensembles where experienced students can thrive. However, finding palatable rep for an older beginner group can be a definite challenge. While I’m speaking of a college choir here, you may also have this beginner group at a different level. They may be high school students or community/church adults – eager but unknown. No matter the age though, they are true beginners. To that end, repertoire selection is absolutely crucial to their success.

For my winter concert, it is key that I choose a piece that my beginners can work up to. Ideally, this is something that incorporates the literacy components they have learned in class, (and only those components), but doesn’t feel childish. “Winter Lullaby” fits this bill. It is also a general winter-themed selection good for all December/holiday/January concerts, without being attached to any actual holiday (secular, sacred, or otherwise).

Tonally, the piece is entirely diatonic – every single note is part of the major scale. I aurally introduced the solfege patterns in the selection first, making sure the students understood the sound of the intervals and the pitch relationships within the key. Then we did writing, listening, dictation, and reading exercises to solidify their understanding of that particular key. Once at that point, I gave students the actual sheet music and we worked through the piece section by section.

Rhythmically, the approach was very similar. “Winter Lullaby” is made up of quarter, eighth, and half notes, plus a few ties. Once I knew the students were proficient at all the rhythms (via pattern flash cards, rhythm composition cards, and dictation), we read through the whole piece on takadimi syllables.

Watching these students work through a new piece step-by-step is a humbling and rewarding moment. The look on their faces when they realize that yes, they can do this is without equal.

The song itself moves between unison and 2pt, and is primarily three similar stanzas/verses with a bridge in the middle. The first entrance begins in unison, then moves to 2pt and back to unison. The second entrance is melody + ooh descant, ending with the same 2pt&unison sequence. The bridge is next, and is a series of small descending 8thnote phrases, in harmonic thirds. The beginning of the third entrance starts with oohs, on a slightly altered melody line. Part I sings first, then Part II responds, then I/II again. The song ends with the same 2pt&unison patterns as the first and second sections.

If your ensemble is small, or tentative, or, just isn’t quite ready for 2pt yet, the harmony can transfer quite nicely to a flute or similar timbre instrument. Singers then have the strength in numbers that is afforded by singing all together, but the performance can still have the musical nuance of 2-part harmony. Both parts of the third entrance can be sung by everyone. Basic dynamics are present throughout, giving your singers a chance to add musical depth with only minimal new terminology/symbols.

Often, partner songs and other two-part or unison music can come off feeling childish or young, as they are often geared towards children’s or elementary choirs. While this song is a lullaby, meant to be sung to a baby or small child, the song itself does not feel juvenile. “This tender lullaby combines snapshots of winter scenes with the sentimentality of life’s fleeting moments.” (Composer’s website) And, from experience, I can say the song works well as an actual, functional lullaby too, having sung it after more than one rehearsal to my 6-month old son!

My college-age singers are 100% emotionally invested in this selection, and I know they are looking forward to singing it for friends and family. Not only do they like it, they are succeeding at it. “Winter Lullaby” is exactly what these students needed this term, for this concert, and I cannot wait to watch them shine in their first performance.

Title: Winter Lullaby
Composer: PINKZEBRA
Date of Composition: 2016
Subject(s), Genre: Winter
Language: English
Listed Voicing: 2-part
Voicing Details: 2-part and unison
Ranges: I: Bb3-Eb5
II: Ab3-C5
Accompaniment: Piano
Duration: ~3:30
Tempo: MM=84, Sweetly and tenderly, stretching phrases expressively
Publisher: www.pinkzebramusic.com
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://pinkzebramusic.com/secular-winter-choir-songs/

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs

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#33: Friday, November 2, 2018

“And Miriam Sang (Shiru L’Adonai)”
by Zebulon M. Highben
Exodus 15:21
SSAA, percussion

I was introduced to Zebulon M. Highben’s “And Miriam Sang” at the 2013 Women’s Chorus Reading Session at the ACDA National Conference in Dallas. You know the drill during rep sessions – you often make quick “yes/no/maybe” decisions based on what you see and hear. Then you furiously scribble notes in the margins of the booklet or on the front covers of pieces to remember for later. My notes for this selection include: “Yes!” “Great Energy” “Layered Ostinato” “(limited) Hebrew” “Two contrasting styles” “Rhythms” “Start of Year” and “Good Ranges.”

Fast forward to 2016 and I was looking for one more selection for my small upper-level ensemble. It was the first concert of the year and there were 15 singers in the group that semester – some returning, some new. I knew I needed to keep the repertoire at a level of divisi and difficulty that was achievable, especially at the start of the year when I didn’t know all the students’ skills yet. Lots of potential in the singers that year, but I knew I couldn’t split them up into too many parts too soon.

Enter Highben’s “And Miriam Sang.” I saw it in my ever-present stack of “music I like and want to program someday,” and decided it was the perfect time. I played bits of the recording at our first class, and my singers were hooked. Similar to my notes from the ACDA reading session, they liked the energy, the drive, the contrasting styles, and the chance to sing in Hebrew.

For an ensemble who is comfortable in 2-part, but wants to branch out to 3-part, this can be a great option as your “challenge piece.” The layered-ostinato style is exceptionally supportive of developing part independence. Conversely, if your group is already solidly reading 3- or 4-part, this can be a “quick learn” – one that allows you to jump to musicality right from the start.

Because of the motivic nature of the composition, this is an excellent opportunity to utilize singer-led sectionals to teach the piece. There are plenty of challenges to singer-led sectionals, depending on the size, skill level, age, educational/community setting, and physical rehearsal space of your ensemble. But, since the motive is only four measures long, this piece is an excellent way to support sectional and section leadership. The motivic nature also helps with text learning too, as each voice part only has a few brief phrases to learn in Hebrew.

The composer’s website shares the following information about the text and background of the piece:

In Exodus 15, Miriam and the women of Israel sing and dance following Israel’s deliverance from Egypt through the Red Sea; this piece is inspired by what such a celebration might have sounded like. Melodies are original, but incorporate the augmented second interval (lowered second, raised third scale degrees) and melodic formulas common to Hasidic and some Middle-Eastern music.

http://www.zebulonhighben.com/miriam/

A note about the voicing:
It is labeled SSAA, but reads more like SSA or SSA w/ Alto divisi. In the first half of the piece, that are three ideas present: S1, S2, and unison Alto. In the second half, there are still three (different) musical ideas present, but the altos divide into homophonic harmony. So, in voicing your ensemble, this presents a conundrum. You could go SSAA as marked the whole way through, which might end up alto-heavy at the top, but somewhat even later on. Or, you could approach it as SSA, which would be balanced in the beginning, but might come out with a weaker alto line later. Or, you could do SSA at the beginning and then re-voice to SSAA at the section break. Your choice will depend on the number and confidence of your singers, and the end-goal sound-pyramid you are wanting to create.

The piece opens with percussion setting the tone for the steady, chant-like style. Soprano 2s enter first, with a four-measure phrase that includes articulations, dynamics, and a slide, and which spans a sixth in range. This phrase is sung a total of seven times in a row, with the dynamics modifying slightly in terraces throughout. After two full repetitions of S2, the Alto line enters with their own four-measure pattern, sung five times total. Once the Altos have established their motive, the Soprano 1s enter on their four-measure pattern, sung a total of 3 times.

The bands of tonal sonority that are created as the layers interweave and the dynamics grow are fantastic. Drum 1 and Drum 2 enter with Alto and Soprano1 respectively, so this continues to add to the building energy.

At the section break, the style shifts from 4/4, Chant-like, mm=60 to 2/4, Exuberantly, mm=100. All the percussion begin together in the new tempo, driving the feeling with accents and syncopation. (Just like the voice lines, the percussion parts are also comprised primarily of ostinato motives, so they could definitely be played by members of the ensemble.)

Here, the four-measure layers build from the bottom, with divisi Alto in homophonic harmony, then Sop2, then Sop1. Each addition adds more excitement and dynamics.

For the final page of the work, all voice parts come together in homophonic fashion for the first time: same rhythms, same text, different pitches. It seems a small change, but the effect is strong and striking. The song then closes with a slightly slower homophonic phrase, emphatically restating a key phrase of text.

From start to finish, my singers thoroughly enjoyed working on this piece. They could feel successful early and often, individually and as an ensemble. And they were proud of being able to learn this piece primarily in student-led sectionals. It gave them a sense of leadership, responsibility, and camaraderie that continued the entire term.

Title: And Miriam Sang
Composer: Zebulon M. Highben
http://www.zebulonhighben.com
Date of Composition: 2011
Text Source: Exodus 15:21
Subject(s),
Genre:		Celebration, Women’s History, Judaism
Language: Hebrew
Listed Voicing: SSAA
Voicing Details: Labeled SSAA, but reads like SSA with Alto divisi.
Ranges: S1: E4-G#5
S2: D4-E5
A1: B3-C5
A2: A3-C5
Accompaniment: Percussion (Tambourine, Drum I, Drum II)
Duration: ~3:00
Tempo: “Chant-like” MM=60, then “Exuberantly” MM=100
Dedication: Dr. Sandra Snow and the Michigan State University Women’s Chamber Ensemble
Series: CME In High Voice
(Doreen Rao’s Choral Music Experience)
Publisher: Boosey & Hawkes
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
http://www.zebulonhighben.com/miriam/

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 29: Friday, October 5, 2018

“The Lake Isle of Innisfree” by Eleanor Daley
Text by W. B. Yeats
SSA, piano

This piece was part of the repertoire for one of the very first festival choirs I conducted. I didn’t select the music for that event – it was already chosen for me by the organizers. Some of the pieces I had heard or conducted before, but this one was new to me. I am forever grateful to that festival choir and those organizers for introducing me to “The Lake Isle of Innisfree” by Eleanor Daley.

Daley’s setting has segments in unison, SA, and SSA. For the non-unison sections, nearly everything is homophonic. There are only one or two measures where the voices sing different rhythms or have separate entrances. For the places where there are two or three harmony parts, the phrases tend to start in unison and then split off, which can be helpful for those new to harmony. The piano often directly supports the vocal lines too.

From a literacy perspective, what kind of ensemble might benefit from programming this selection? 

  • If your group sings mostly unison or melody+harmony music, this could be your challenge piece, pushing singers to three harmony parts for small accessible bits at a time.
  • If you have a group that is already good at SSA homophony, this could be a quick read – an “easy” add to the program, as it were. Though, there are so many other concepts you can reinforce using this piece, I hesitate to call is “easy.”
  • For a group just learning solfege, this piece can help actively connect literacy skill/drill to real music. The unison sections (m6-24 & m52-64) are all diatonic, all solfege-able, and use only basic rhythms. So, they could certainly be learned successfully by a group with introductory-level skills.
  • For an ensemble with more advanced literacy skills, this is a piece with minimal difficulty. There are only two altered pitches used – si and di – so the whole piece can likely be sight-read or learned individually outside of rehearsal.

In addition to reinforcing multiple components of literacy, Daley’s setting also provides ample opportunity to work on other musical concepts. Breathing/phrasing, vowel shape, consonant alliteration/diction, and word stress are just a few of these ideas. The unison sections in particular have long flowing phrases in comfortable ranges – a gorgeous way to develop an ensemble’s tone or work on unifying vowels.

Yeats’ poetry is from a different century, and yet still feels relatable to singers of all ages. His words craft the image of an idyllic paradise – a quiet, peaceful escape from the noise of the world. You can’t help but be drawn into the calmness and the tranquility of his imagery.

For overscheduled high school students who are caught up in the constant bustle of life, for community choir members struggling to navigate a balance between work and home, or for audience members pulled in a hundred different directions, this selection can be a chance to breathe and relax. It is a lush, beautiful elegant reminder to just “be.”

Title:The Lake Isle of Innisfree
Composer: Eleanor Daley
Date of Composition: 2002
Author: W.B. Yeats
Date of Text: 1888
Subject(s), Genre: Nature, solitude, peace, beauty, sanctuary
Language: English
Listed Voicing: “Upper Voices”
Voicing Details: Unison, SA, SSA
Ranges:S1: Bb3-Gb5
S2: Bb3-Eb5
A: Bb3-Db5
Accompaniment: Piano
Duration: ~4:00
Tempo: MM=56; Tranquilly
Dedication: For St. Mary’s Children’s Choir, Ontario Canada, on the occasion of its 20th anniversary, June 2001. Eileen Baldwin, conductor
Publisher: Oxford University Press
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://global.oup.com/academic/product/the-lake-isle-of-innisfree-9780193426528?cc=us&lang=en&

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 28: Friday, September 28, 2018

“Where Can I Turn For Peace?” by Joleen G. Meredith, arr. Dwight Bigler
Text by Emma Lou Thayne
SSAA div, a cappella

Virginia Tech is just down the road from where I teach at Hollins. Dwight Bigler is an associate professor of music at Tech, and their Director of Choral Activities. In addition to his conducting responsibilities, he compositions are published with Walton Music, Hinshaw Music, Oxford University Press, Alliance Music, and EC Schirmer. For a more detailed bio, see www.dwightbigler.com.

Given our proximity, Dwight and I run into each other frequently at adjudications, conferences, and meetings. In 2015, an ensemble I was accompanying was working on his SATB div version of “The First Noel.” I loved his take on the familiar carol and asked him what he had in terms of rep for women’s chorus. This arrangement of Meredith & Thayne’s hymn came up, and I immediately jumped at it. It is primarily strophic, with three verses. [As you are reading further, be sure to listen to the elegant performance by BYU Women’s Chorus of this arrangement.]

The original hymn was penned in 1971 by Joleen G. Meredith (music) and Emma Lou Thayne (text). The two women, members of the Church of Jesus Christ of Latter-Day Saints, were tasked with creating a hymn for the LDS Young Women’s Conference that year. Working over the telephone, Thayne would create a line of text, and then Meredith would rough out a musical setting. Together, they wrote the hymn, phrase by phrase.

Thayne is quoted as saying the text of the work came to her in a turbulent time, when she and her family were struggling with health issues and overwhelming obstacles. Meredith mentioned that they both saw this hymn as a solace and succor for mental illness, having faced challenges personally and within their own families. The beauty and the strength with which these two women met life’s tests is evident in their poignant song. For more background and history on the creation of the original hymn, click here for the LDS Radio History of Hymns broadcast.

My choir performed it at our campus holiday event that year, in the thematic “Peace” section of the program. They loved it so much that it also made a subsequent concert appearance in the spring of that same year. The text is poignant, and relevant to many of the emotional journeys my students found themselves facing in their young lives. Dwight’s setting is wonderful, with sweeping lines, beautiful dissonances, and enormous emotive potential.

At that time, my advanced ensemble had 14 students. I liked to think of it as a “small but mighty” ensemble. A handful of the first-year singers that semester were also in my sight-singing class as potential music majors/minors, so I was determined to choose music through which I could reinforce their literacy-in-progress from the very beginning. Pedagogically, this setting of “Where Can I Turn For Peace?” was a perfect choice. It begins in F# major, and all pitches exist within the diatonic framework. That meant every single note could be learned on solfege, which was excellent for my teaching goals that concert cycle.

After two verses, his arrangement modulates to G major, which gave me the added chance to emphasize the functionality and transferability of movable-do, and to teach them how to handle modulations in solfege/analysis. Rhythms are primarily quarter and half notes, which meant students could focus their literacy efforts on the pitches without feeling overwhelmed. There was enough divisi in certain areas to create lush dissonance and resolution, but not so much that my singers were spread too thin. Additionally, many phrases include step-wise motion, which was another key to success with in-progress solfege skills.

Outside of the pedagogical literacy connections and the relatable text, Dwight’s setting was also perfect for my group in another way too: it gave the group numerous opportunities to grow together musically. Solfege and takadimi are excellent tools for teaching pitches and rhythms, and we utilized both in learning the piece. As an ensemble though, it was the dynamics and phrasing that really allowed the piece to take shape.

There are numerous breaths marked in the music, all at purposeful places. Working to feel those breaths together, along with any related tempo changes, was a quality exercise in group communication. I remember a particular rehearsal moment, in which we switched off the room lights and only had ambient early-evening light from the shaded windows. I asked the students to sing through the song in that near-darkness, focusing on what they could hear, not what they could see. Pushing forward with energy, pulling back with reverence, savoring a harmony, or honoring the silence of a breath – so many of these small moments came alive at that point.

Whether you are looking for an addition to a peace-themed school concert, a song to showcase your church choir’s women/treble singers, or a chance to grow together as an ensemble, Dwight Bigler’s arrangement provides many beautiful opportunities for these amazing moments to occur.

Title: Where Can I Turn For Peace?
Source:LDS Hymn – music by Joleen G. Meredith;
text by Emma Lou Thayne
Arranger:Dwight Bigler
http://www.dwightbigler.com/
Date of Publication: 2008
Subject(s), Genre: Peace, comfort, hope, solace. Sacred hymn.
Language: English
Listed Voicing: SSAA
Voicing Details: SSAA, with some divisi; max 6 pitches at a time
Ranges:S1:D#4-G5/B5
S2:D#4-D5
A1:G#3-A4
A2:F#3-F#4
Accompaniment: A cappella
Duration: ~3:40
Tempo: Reverently (~70)
Publisher: Hinshaw Music, Inc.
Audio, perusal score, and purchasing:
http://media.hinshawmusic.com/details.php?details=HMC2177&pdf=1&image=0
History:
http://broadcast.lds.org/ldsradio/pdf/history-of-hymns/history-of-hymns-ep-18.pdf
https://www.lds.org/music/library/hymns/where-can-i-turn-for-peace?lang=eng&_r=1
https://www.lds.org/music/text/hymns/where-can-i-turn-for-peace?lang=eng&_r=1
https://www.ldsdaily.com/personal-lds-blog/inspiring-true-story-behind-lds-hymn-can-turn-peace/

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

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