Mixed Voices (SATB)

A Cappella and Accompanied

Thank you for sampling the following selections for SATB voices.


All People Praise God   Catalog No. 155
This rousing anthem incorporates the tune OLD HUNDREDTH with an original tune ST. JOSEPH and climaxes with an exultant new setting of the Doxology.
keyboard medium difficulty ♦ voice parts medium difficulty
Brethren, We Have Met to Worship   No. 046
A "fa-sol-la" style setting of the folk hymn tune HOLY MANNA features gender-derived treatment of text for both brethren and sisters.
a cappella ♦ medium easy
Come, Come, Ye Saints   No. 113a
Here is a setting of ALL IS WELL that provides a fine text for All Saints or general use. It closely follows the hymn setting with variations that create special interest for singers and listeners.
a cappella ♦ medium easy
Come, Descend, Creator Spirit   No. 152
Three familiar hymns of the Holy Spirit were placed in sequence for my father upon learning of his impending death. He chose two of the hymns and I the third.
a cappella ♦ medium
Follow All the Way   No. 196
This medley of the hymns All the Way My Savior Leads Me, Where He Leads Me I Will Follow, and Dear Lord and Father of Mankind centers on the theme of Christian discipleship. Choirs will find the hymn settings close to the original but with attractive variations and connecting passages. A shaped note edition is available as No. 196a.
a cappella ♦ moderately easy
God Be Merciful Unto Us (Psalm 67)   No. 181
Writing this music was influenced by groupings of twos and threes found in the speechlike flow of chant. Much of the piece is unison with dialogue between women's and men's voices. Harmony breaks out but recedes to a unison feel for a quiet ending.
a cappella ♦ medium difficult

Six Songs on Texts of Gellert by Ludwig van Beethoven
These Op. 48 solo songs work well in choral settings. The piano part is original Beethoven. The songs can be sung in German or with the English translation.

No. 1 Prayer   No. 188a
No. 2 Neighborly Love
No. 3 On Death   No. 188b
No. 4 God's Glory in Nature   No. 188c
No. 5 God's Might and Providence
No. 6 Song of Repentance
keyboard medium easy ♦ voice parts medium easy
In the Garden of the Lord   No. 161
This original music is set to a poem by Helen Keller. The middle section incorporates the lilting Appalachian hymn "The Lord Into His Garden Comes" and includes a soprano solo accompanied by the choir.
keyboard medium ♦ voice parts moderately easy
The Lord's Prayer   No. 148
This original music was written first as a solo in folk style. The newest version is for SSATBB and keyboard with optional guitar and bass.
keyboard medium ♦ voice parts medium
The Master's Touch (original version for SATB and keyboard)   No. 082
This original music was written for a text by the prominent nineteenth century Scottish hymn writer Horatius Bonar. I was especially drawn to the metaphors of the arts of music and sculpture he used. As a bridge I added the art of pottery employed by Adelaide Pollard in her poem "Have Your Own Way, Lord."
keyboard medium ♦ voice parts medium
The Master's Touch (SSATBB a cappella)   No. 082a
Please see the note immediately above. For a cappella choirs there is this quite different arrangement written thirteen years after the original version.
medium
My God, How Endless Is Your Love   No. 180
The lovely main theme of Beethoven's Symphony No. 2, Movement 2 is the primary melody for this setting of a hymn by Isaac Watts. The voice parts and keyboard transitions are adapted from the symphony.
keyboard medium difficult ♦ voice parts easy
O Come, Let Us Sing to the Lord   No. 173
Written by the composer as an introit for his college touring choir, this piece employs call and response technique between the men and women. After a middle section with a brief solo for each voice part, this setting of Psalm 95 builds to a dramatic peak before ending quietly on the words "We are the people of his pasture, and the sheep of his hand."
a cappella ♦ medium
O Love, How Deep   No. 176
DEO GRATIAS, a 15th-century English tune, has been set to a text attributed to Thomas à Kempis. This piece on Christ's ministry is particularly useful during Lent.
keyboard medium ♦ voice parts medium
Saints Bound for Heaven   No. 123a
This recent arrangement of the American folk hymn is the SATB version of the men's arrangement that has been quite popular for years. It is very lively using textures ranging from unison to contrapuntal. The "we'll rejoice" ending is truly a climactic statement of confident faith.
a cappella ♦ medium
Steal Away to Jesus   No. 012
The SSATBB passages add a lush texture, while "the trumpet sounds" is brassy and dramatic. The original added stanza, "My Lord calls me when storms have ended. His still small voice whispers in-a my soul " adds a tranquility.
a cappella ♦ difficult
Still, Still With Thee   No. 210
This morning hymn by Harriet Beecher Stowe is set to a melody drawn from one of Felix Mendelssohn's Songs Without Words. In this arrangement stanzas one and four use the standard hymn setting. Stanza two is for TTBB, and the third stanza is for soprano solo with a quiet SATBB accompaniment.
a cappella ♦ medium difficult
Three Classic Hymns   No. 109a,b,c
This trilogy lies at the core of the arranger's efforts to shine light on time-honored hymns. They exhibit the hallmarks of his style and are among the personal favorites of his works. Directors and singers will find them well worth their efforts.

O Love That Will Not Let Me Go

Lead, Kindly Light

Jesus, Lover of My Soul

all three a cappella ♦ medium difficult
Three Hymns for Choirs (available together or separately)   No. 185a,b,c
These were written the year my college choir doubled as the Mennonite Hour Singers and were included on the album Hymns for a Crowded World. They are lightly arranged to retain their hymn-like quality.

My Shepherd Will Supply My Need is an American folk hymn. The arrangement includes a stanza for baritone and tenor duet.

Be Thou My Vision is simply arranged, alternating unison and 2-part passages with those using the standard harmonization. Contrast of dynamics and tempo are key components.

For God So Loved Us (Gott ist die Liebe) has been cherished by Mennonites for generations. This setting includes singing in both German and English.

all three a cappella ♦ easy
Two Hymns on Christian Love (available together or separately)   No. 186a,b

In Christ There Is No East or West
Alexander Reinagle's text of 1836 feels modern. Stanzas 1 and 4 are the standard hymn harmonization; stanza 2 is for three-part women and stanza 3 four-part men. There is a brief introduction and coda.

O Brother Man has a beautiful text by John Greenleaf Whittier. There are alternate words for those sensitive to male nouns and pronouns. The tune INTERCESSOR by C.H.H. Parry is an English classic.

both a cappella ♦ easy
Were You There?   No. 175
This classic spiritual has been given a uniquely poignant setting. It ends with the soulful answer added by the arranger: "Oh yes, we were there."
a cappella ♦ medium difficult
With Songs and Honors Sounding Loud   No. 187
Unison, standard harmonization, melody in different voices, imitative entrances, and other counterpoint are techniques used in this appealing but little-known hymn. The text by Isaac Watts is about the changing seasons.
a cappella ♦ medium difficult

Christmas Selections


Ave Maria by Patrick Ressler (3- and 4-part women's voices)   No. 183
I am honored to have Patrick Ressler's excellent contemporary setting of this classic text available on cameratapress.com. It was written for the women of St. Joseph Valley Camerata, a professional choir based in Elkhart County, Indiana.
keyboard difficult ♦ voice parts difficult
Christmas Greetings from Latin Lands   No. 046
Carols from Spain, Italy, and France make up this medley. Each carol ends with "Merry Christmas" in that country's language. There is a solo for mezzo-soprano.
keyboard medium difficult ♦ voice parts medium difficult
Star of the East   No. 030
I found this melody in a John Jacob Niles collection of Appalachian folk songs set to the text "Brightest and Best" by Reginald Heber. The arrangement emerges from a vocal accompaniment pattern that persists throughout and fades as if into the mists of time.
keyboard medium ♦ voice parts medium