Shall We Gather by the River (SAT)

An arrangement of the classic hymn, this relatively difficult piece features varying time signatures and a bouncy, celebratory feel. Performers should feel free to add folk percussion and a bass line if desired.

Do Not Stand at my Grave and Weep

(Unison + Keyboard) OR (TB + Keyboard)

This piece is accessible for inexperienced singers, while still containing plenty of musical beauty and interest. The vocal ranges are quite narrow, setting up young and changing voices for success. The poetry (written by Mary Elizabeth Frye) handles mature subject matter with grace and simplicity, and the music is divided into sections that indicate clear transitions between haunting tension and lush emotional release. The musical challenges presented are isolated and specific. For instance, the two vocal parts sing in unison when executing the triplets (m. 21-22) and sing in parallel thirds within an intuitive augmented sixth tonality when tasked with outlining diminished harmonies (m. 9).

Brownie Bites

(SSA, a cappella) OR (Unison + Keyboard)

This piece give performers an opportunity to exhibit showmanship and explore the playful side of music. It is a silly character piece that capitalizes on young singers’ imaginative nature, inviting them to adopt the persona of a crazed monster as they sing. Fermatas, tempo changes, and dynamic changes weave together to create a sense of interaction and suspense between singers and audience members. Specific examples include the timing of the chorus (m. 38), coy retreats (m. 29-30), and slamming pauses (m. 60 in unison, m. 59 in SSA). Additionally, this piece serves as an ideal gateway into chromaticism by cushioning chromatic vocal lines with catchy melodies (m. 17) and parallel motion (m. 33-37).

I Come Alive (TTB)

This piece was written for and inspired by young people. When I first moved to Austin in January 2017, I worked with students at Consuela Mendez MS to implement relationship-based tutoring in math intervention classes. The students, like me, were coping with scary new political circumstances in times that felt particularly dark and dreary. Their apparent curiosity and vibrance inspired me to write “I Come Alive”. In a Celtic vocal style, I invite them to come alive and shine their light on the world—not retreat and give up.

Bring Into Me That Light

(SATB + Keyboard) OR (Unison + Keyboard)

This Piece forced me to think deeply about identity, culture, and musical styles. I feel a connection with Quaker ideology and gospel music, both of which have helped me relate better to my Christian upbringing. Those who perform this piece will find plenty of opportunity to swing with the music and improvise over what is written (m. 56, 84).

Melted Brain (SATB)

This homophonic, a cappella piece features gorgeous, southern-sounding chord progressions that allow for plenty of feeling and expression. The subject of the poem is a family who is killed by an atomic bomb. The song in general (and especially the ending) is intended to leave the listener somewhat disturbed and confused.