Secular Choral Concert Music

A well-loved Emily Dickinson poem is skillfully set in this a cappella setting for lower voices. Rich texture is achieved without extensive divisi, and intuitive part writing builds to a satisfying climax.

Capturing the importance of the Eloise Greenfield poem and the dramatic story of Harriet Tubman's life, this original work also includes the spirituals If I Got My Ticket and Go

This piece speaks of new beginnings and the hope that accompanies them. Perfect for any graduation or celebration of moving on, or as a tribute to a departing friend, the sensitive part-writing and

Here is a new song in a concert pop style that celebrates the spirit to "fight for the right to be me." The chorus proclaims "I will fly, I will soar, I'll be free." Led by an affirming solo with intuitive

This is a rhythmic, contemporary gospel-style anthem featuring the words of Maya Angelou, charging all of us to take responsibility for making our communities safe, supportive, and just. Reinforced by a

As we read the Harper text, we hear excitement for the journey ahead tempered by the knowledge of past and present injustices, all leading to the hope of music that will inspire people to build a lasting

This is the stand-alone third movement from the powerful suite You Are Enough, which hopes to open conversations about mental health. With a modern musical-theater quality, it expresses its

Given everything our communities, choir, and world have experienced recently, we could all use a bit of light! This music encourages us to tend to our hearts and to others, remembering that each of us has

First conceived as a solo art song by English composer Samuel Coleridge-Taylor, here the arranger has left the soaring melody intact as well as the piano accompaniment. Often called "Black Mahler," this

This piece creates opportunities for success for young tenors and basses at all stages of the changing voice. The poetry of Sara Teasdale provides a theme of beauty, longing, and the quest for love that is

A fiery text by Robert Bode, an optional descant piano, and a fierce musical setting are the ingredients for this memorable tour de force for your choir.

William Ernest Henley's powerful text is set in an equally strong setting for tenor-bass choirs. Beginning with the opening text that is chanted with random entrances over the dramatic piano part and

Alternating between quiet and fervent, this music struggles to give form to memories that exist no longer as sharp images but as blurry clouds. With a piano part that never quite settles as it reaches back

In Shakespeare's play The Tempest, Caliban is a character who is half human and half monster. In spite of his wild personality he nonetheless delivers the beautiful lines found in this text as if

From the Gounod opera "Faust." Here, young Valentin's heartfelt prayer abounds with conflicting emotions, offering singers an opportunity to consider the devotional yet enthusiastic text and operatic style

Commissioned by the University of Michigan Men's Glee Club, here is a passionate tour de force for tenor-bass choirs. Full of rubato and with a text that is powerful while at the same time sensitive, this

The poetry of Megan Levad and the music of Kristin Kuster fit together like a hand in a glove; like a single, coordinated voice from two thoughtful and creative women. Three movements under one

 This arrangement of the classic tenor solo is full of wonder and whimsy. The melody is shared among all vocal parts. A fantastic teaching piece, as flexible tempi and beautiful style are required

Robert Bode's text infuses this original song with a message of music advocacy and appreciation. The rhythmic piano accompaniment sets up a nice groove in the compound meter for the choral parts to stretch

A lyrical and lush choral setting of the early 19th century poem by Lord Byron. Themes are introduced in the music first in unison and then followed by simple harmonizations. The melodic vocal writing is

Deeply expressive, an old poem is treated with rich harmonies to become a moving closer for concerts or festivals. Written with an ear to the a cappella glee club tradition, the incorporation of Dvorak's

Beginning with a soft and rubato guitar introduction followed by rich harmonies by the tenors and basses, this song breaks into a boisterous and rhythmic cadence in 6/8. Solos are followed by the ensemble,

Here is a century's old text describing a scene relevant to its period and just as relevant today. The aggressive piano accompaniment combined with an adaptive percussion, which can be executed with the