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At times, we can feel empty struggling with anxiety and fear, but these lyrics by Shantel Sellers inspire us to know that now is the time for hope! Although it can make us feel vulnerable, hope is also courage. With a contemporary rhythmic energy and accessible harmonies, the piece builds in intensity with drums, bass guitar, piano, and strings. It even includes a section where choir members can contribute to the lyrics.

Hope On!

SATB Octavo

Series

A contemporary choral work blending elements of pop and traditional choral music, this piece provides an opportunity to prominently feature several soloists. Themes of love and visibility for individuals who find themselves marginalized emerge in both the solos and the choral writing. There is the option to include 15 additional measures and a more relaxed tempo, offering soloists creative freedom in their performance.

Shadows

Copyright Year

Part hip hopera, part choral, this work challenges the audience to listen to the families of the victims of gun violence. This is an impassioned plea to take a stand against not only gun violence, but to take a stand for under-represented communities who experience a disproportionate level of violence resulting from a variety of factors playing out in contemporary society. Extracted from the larger work "The Unarmed Child" this stand-alone third movement is for tenor soloist with a mixture of sung and rapped lines and dramatic choir reinforcement.

Requiem

Crafted as a tribute to the impact of cherished individuals on their communities, this introspective work is both a celebration of life and a consoling message, opening with gentle, heartfelt passages that gradually intensify into a cry for unity. Optional repetitions within the structure create space for personalized testimonials, sung or spoken, from members of the choir.

Bright Light

This third movement from Where We Find Ourselves features inspirational lyrics about hard work in an anthem about what we are leaving for our children. Beginning with a soprano solo, the warm tones of this choral work evoke each generation's care and concern for their children.

Would You Know Me by My Work?

Inspired by three influential women, all with the same first name - Jane Goodall, Jane Bolin, and Jane Tomlinson - this selection is the embodiment of dedication, perseverance, and determination. Each woman has her own struggles but continues to fight her way toward a better future, which is reflected in the music's unrelenting energy including rhythmic clapping. The lyrics, "Pain is not unusual in the journey to find ourselves" speaks to having the courage to move forward even when it seems like there is no light at the end of the tunnel. Always fight, live, love, and dream!

Be Like Jane

SSAA Octavo

This beautifully simple song can open or close your concert. With three verses (peace, love, joy), this is uplifting, comforting, and community-building. A great choice for a participatory experience. Engage the audience to sing along with your choral ensemble by taking a minute to teach them this expressive melody!

The Life I've Been Given

Titled with a Somali word used in Kenyan refugee camps, this piece touches upon a refugee's dream of resettlement as well as experiences of despair and struggle. A repetitive four-note motif and interplay between choir and cello represent the relentless passage of time and the ongoing adversities of a refugee's journey. A powerful and socially responsive concert work for experienced choirs.

Buufis

This piece in a moderate but thoughtful tempo features lyrics about transgender people's feelings about their experiences with coming out. With repeated rhythmic phrases, this selection emphasizes the strong feelings of its lyricists.

How Did You Feel?

Bird on a Wire was inspired by our mockingbird neighbors whose nest was emptied of its babies one sad, spring night. The parents continued guarding their nest for another week or so, perching high on a telephone wire overhead, and I thought, "That is exactly how all our lives were suspended when we lost Cameron." He did not die by violence, other than the violence disease does on a little boy's body; but seeing what my sweet sister-and-brother-in-law went through changed the way I see things: Sandy Hook, Syria, and the poisoning of children in Flint. Words cannot describe the unimaginable loss of losing a child; still I hope these words help people understand that the world cannot bear to lose even one more... not to disease, not to neglect, and certainly not to violence. - Chantal Sellers, lyricist

Bird on a Wire

With lyrics by poet Euan Tait that compel us to find a way back to loving ourselves and loving each other, this inspirational selection can be featured in any season. Each section builds upon the previous, reaching a warm fullness that lets us know that we are held by love. "Yet it is ourselves, at the beginning of a healing. Still I love. Still I am loved."

Still the Same Love

From the large choral work, "The Unarmed Child." There's really no way to appropriately recognize your lost child's birthday, Jeremy said as he and Jennifer talked about what life has been like for their family since the mass shooting at Sandy Hook Elementary School took the lives of twenty children and six educators in 2012. Following the February 2018 mass shooting at Stoneman Douglas High School, I resolved to be part of the solution myself, in whatever way that would mean. It was not possible to continue to live with a feeling of helplessness. The composition "The Unarmed Child" is born out of that frustration and ensuing resolve. My engagement was further inspired by the action which one couple has taken in establishing the Avielle Foundation, a memorial to the daughter whom Jeremy and Jennifer lost at Sandy Hook Elementary. Jeremy and Jennifer gave me their permission to honor Avielle and their family by dedicating this movement from my larger work "The Unarmed Child." 
 
"You have to imagine it. When you allow yourself to imagine such tragedies, you'll be motivated to take action." - Jeremy Richman"

To Avielle, on Her Fifth, Sixth Birthday

SATB Octavo divisi

This composition was written to bring attention to one of the most significant and challenging issues in our world today, the global refugee crisis. Nine year old Lamiya Safarova lost her home and her village, and she began writing poems to express her feelings. The stirring text and repeated rhythmic elements persist throughout this work, along with body percussion that represents the journey of the refugee, forced away from their home, most often by foot.

My Name Is Lamiya: Don't Call Me Refugee

SATB Octavo 2020 edition

Extracted from the larger work, this stand-alone movement honors those we have lost in mass shootings. Lux Aeterna means "eternal light", but cast within the larger scope of the Requiem, it shines a light on the names of cities affected by mass shootings in the aleatoric section. Finally, it resolves into an expression of peace and light highlighted by a soprano solo.

Lux Aeterna

Voice Subcategory

Henry Wadsworth Longfellow's "Daybreak" swept me off my feet when I first discovered it. What a joyful poem! With my choral adaptation, my wish is to capture the energy of the wind as it comes "up out of the sea" and bursts with joy. Contrasting middle sections create a continuous journey as the wind blows through the town, breathing fresh life into the coming day. I hope Daybreak will put smiles on the faces of your choir and audience alike.

Daybreak

SSAATTBB Octavo

Robert Frost’s poem conjures up feelings of comfort and longing. It is this peaceful imagery that I strove to create in my choral adaptation of Frost's poem.

The Pasture

SAATB Octavo

The second movement from Where We Find Ourselves, this piece is about the manipulation of hair and the conformity or nonconformity of following hair "rules." This selection is built on repetitive rhythms with some vocally percussive consonants that mimic the pushing and pulling of hair.

Hair

"Behind the clouds, the sun still shining"… Beautiful imagery!

The Rainy Day

Written in honor of those who rushed into the burning towers on 9/11 to save others, Lux Aeterna begins with a luminescent chord cluster, dividing the upper voices into eight parts, with random plosive sounds emanating from within the nebula. As the intensity grows, voices start to fall off, one by one, settling into a shimmering pool of sound, once again growing with a single high pitch evolving from the cluster of sound, leading to a full chorus entering with "Lux aerterna, luceat eis". Originally written in 2010 as part of Requiem Dies Magna and revised in 2023.

SSAATB Octavo  divisi

This text is set in a landscape of conﬂict and beauty. Where the conﬂict lies – within the narrator’s being or as part of a landscape scarred by an actual current war, is left ambiguous, for, as Thomas Merton understood, all wars have their origin in individual human hearts.  However, another keynote of this text is tenderness, towards the beauty of the damaged landscape, but also towards human lives damaged by our conﬂicts.  The narrator meets a wounded young soldier, becoming his reluctant healer, welcoming him as stranger, just as we pilgrims are on a journey to bring ourselves back from exile into a home in our own selves.

So It Was I

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