Issuu

LEONARD PRESENTS

HEAD’S HOUSE OF MUSIC CHORAL PANORAMA

Tom Shelton

Echoes of Creation

Reading Session

2026 Head’s House of Music Choral Panorama

Creation

CHORAL SELECTIONS

H E L T O N

Benedictus & Sanctus from Missa Brevis

Tom Shelton

Hinshaw Music

Benedictus & Sanctus (from Missa Brevis) Shelton SSAA, Solo with Piano & Djembe

Benedictus

Text and Translation

Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.

Hosanna in excelsis.

Hosanna in the highest.

Sanctus

Sanctus, Sanctus, Sanctus, Domin us Deus Sabaoth. Holy, Holy, Holy, Lord God of Hosts.

Pleni sunt coeli et terra gloria tua. Heaven and earth are full of thy glory.

Hosanna in excelsis.

Hosanna in the highest.

Teaching Patterns

BenedictusandSanctusPatterns

Sanctus,

DominusDeus

Sanctus,

DominusDeus

LiturgicalLatin

Commissioned for the 14th Anniversary of the Central Carolina Children's Chorus

Anne M. Saxon, Founding Artistic Director

Benedictus & Sanctus

SSAAChorus,SolowithPianoandDjembe*

* Separate djembe part is available as a free download at: www.fredbock.com/freedownloads.

DominusDeus

2nd time to

Plenisuntcoeliet

Sabaoth.

Sanctus,

Sabaoth.

Plenisuntcoeliet

Sabaoth.

Sanctus,

Hosanna!

E A R L S H A N G K U A N

la li ley

Tracy Wong

Hinshaw Music

la li ley

Tracy Wong SSAA, Soli, a cappella

About the Work / Program Notes

la li ley is a lively and joyful piece for 4-part treble choir. It is a nod to two Malay folksongs in different ways: the text / vocables is inspired by a portion of “Canggung” (la la li la ley), and the main theme is inspired by the opening motif of “Mak Inang.” This work features exciting vocal play merged with folkloric elements - quartal harmonies, dance-like rhythms, and shifting tonality - that are spun through a musically-contemporary lens.

—Tracy Wong

Pronunciation Guide

la li ley

[la li lej]

la lull la li ley [la ləl la li lej]

A spoken pronunciation is available at: www.fredbock.com/freedownloads/

Learning tracks by the composer are available at: www.tracywongmusic.com

Note: the text is a non-lexical vocable in some Malay folksongs, like “fa la la” would be for madrigals.

About the Composer

Dr. Tracy Wong is a Malaysian-Canadian choral conductor, music educator, composer, vocalist, and pianist. Dr. Wong is passionate about helping choral leaders and educators to provide unique experiences for their singers and students through collaborative commissions, customized workshops, festivals, and artist residencies. She does this through focusing on the balance of performance practice considerations, vocal and acoustic explorations, and choral artistry and heart.

Currently residing in Ontario, Canada, Dr. Wong is the Assistant Professor of Choral Studies at Western University, where she conducts Chorale and Les Choristes ensembles and teaches choral conducting. Dr. Wong holds a Doctor in Musical Arts and Master in Music Performance (Choral Conducting) degrees from the University of Toronto under the tutelage of Dr. Hilary Apfelstadt. She is also a two-time recipient of the Elmer Iseler National Graduate Fellowship in Choral Conducting, and nominee of the 2023 Leslie Bell Prize for Choral Conducting.

As an active clinician and educator, Dr. Wong continues to conduct workshops and concerts for choirs in North America and internationally. Her choral works are available on her website, Hinshaw Music, Cypress Choral Music (Canada), Graphite Publishing and Indianapolis Children’s Choir Publishing House (US), Oxford University Publishing (UK), and Young Choral Academy (Malaysia). They have been performed by choirs at international competitions and festivals.

info@tracywongmusic.com || www.tracywongmusic.com

FB / IG: @thewongnote

S H E L T O N

One Small Voice

Words and Music by Ryan

Brechmacher

Hinshaw Music

One Small Voice

by Ryan Brechmacher

I am only one small voice

In a world of boundless night

But when I sing out in the dark

All will see my sparkling light

‘Cause one small voice can lead to two Who sing in harmony

You can lean on me

All it takes is one small voice

We can change the world When we have the chance

To share our voice in poetry

In art, in music, with a dance Though change can seem impossible Just know you have a choice

Be the change you want to see

All it takes is one small voice

We are only children now But that doesn’t mean we have no say Children make a difference here We can help to show the way

You can make a difference too Learn to sing along with us

Let us lead the world in song

All it takes is one small voice

Program Notes

This anthem empowers young singers to use their voices to change the world. It was commissioned by the Princeton Girlchoir for their "Children Making a Difference" Concert. This octavo works beautifully with multiple choirs joining their voices together in unity, but is equally effective with individual choirs sharing their message of change.

One Small Voice

& & ? ?

b b b b b

491,2,3.

b b b b b

M S H E L T O N

This Little Light of Mine (Let it Shine!)

Traditional Spiritual

Arranged by Sonny Willis

Hinshaw Music

This Little Light of Mine (Let it Shine!) Arr. Sonny Willis SA, Piano, (Bass Guitar & Drum Set)

Arranger's Notes

This Little Light of Mine (Let it Shine!) is a lively gospel arrangement that will evoke joy among singers and audiences alike. The piano accompaniment is true to the gospel style and should be played within a swung 8th note rhythm. Singers should make the call and response sections conversational to build connection between the soprano and alto sections. Add hand claps and group movement (swaying) at the key change at ms.39 to build energy. Lastly, the optional drum set and bass guitar parts will enhance the gospel feel. I hope your singers shine on this piece!

About the Arranger

Sonny Willis (b.1977) is an American composer, arranger, and conductor. He is currently the Musical Director and Choral Director at Greensboro Day School, an independent school located in Greensboro, North Carolina. He also serves as the Associate Musical Director for Destination Broadway, a summer musical theatre intensive for students 8-18. Sonny was a conductor for the Young People’s Chorus of New York City (YPC) for 6 years, where he led choruses, arranged choral works, designed curriculum, and served as the Schools Program Coordinator.

During the summer months he enjoys assisting with YPC international tours, teaching, and spending time with his family.

Gospel feel ( q»ca.140)

* Separate bass guitar and drum set parts are found on pages 10-12.

I'mgonnaletitshine;

This Little Light of Mine

2 Get on Board, Little Children

SSA Voices and Piano

Arr. by Andre Thomas

Get on board, littlechil dren,

get

Get on board,

board,

board, littlechil dren. There’s

board,

com in’ round the curve. She’s

board, littlechil dren. Get on

board, littlechil dren. Get

board,

Commissioned by VocalEssence Singers of This Age, directed by G. Phillip Shoultz, III This SSA setting commissioned by Angelica Cantanti, directed by Elizabeth Egger

Sing Change

SSA and Piano

Text and Music by Kyle Pederson, working in collaboration with VocalEssence Singers of This Age

change.

We'llbecourageous,

lovewinstheday.

We'regonnasingchange,

B R A N D O N A. B O Y D

Until I Reach My Home

Traditional Negro Folk Tune

About the Arrangement

What makes the African-American spiritual so appealing to performers and audiences around the world? It’s the message and the meaning. Spirituals (or Negro folk songs, African-American spirituals, Jubilee Songs, Sorrow Songs, or Slave Songs) were created by those enslaved on plantations and farms out of the most dehumanizing conditions imaginable. As a coping strategy, slaves found that singing was one way to express their feelings as well as sending hidden messages to those planning to escape to the North. As African-American Sacred music scholar, J. Wendell Mapson, Jr., states, “spirituals are distinctly an American contribution, not born in Africa. Emerging out of the experience of a people in slavery, spirituals express the full range of human emotion: pain, fear, joy, sorrow, despair, hope, futility, and faith.”

Until I Reach My Home, a traditional Negro folk-tune first appears in “Religious Folk-Songs of the Negro: As Sung at Hampton Institute,” in a 1927 historic collection of spirituals edited by R. Nathaniel Dett. This arrangement attempts to expand harmonies and rhythms while preserving the traditional essence of the folk tune. Spirituals, as partner songs, often share similar themes, harmonies and phrasal structures as a common thread. For example, Until I Reach My Home and Ain’a That Good News? both express slaves’ longing for freedom and everlasting peace that only heaven could offer.

Improvisation, a key element in many concert gospel arrangements, enhances the expression through basic characteristics of the music’s foundational elements: rhythm, imagery, call and response, and repetition. The use of movement, which can include hand clapping (on beats 2 and 4) or rocking from side to side is suggested beginning at measure 43. Movement should end on the downbeat of measure 53 to help facilitate the ritardando before the fermata on beats three and four of measure 54.

Instrumentation

The piano accompaniment provides the harmonic foundation of the gospel music tradition supported by the bass instrument for harmonic reinforcement. The percussionist will help keep a consistent “drive” in the performance.

Soloist(s)

The solos represent a “preacher” preaching to the people. The message has to be delivered with conviction and fervor, inspiring the listeners to want to hear the “good news.” The most important concept when improvising on solos is to fully understand the harmonic language and structure of the piece. Gospel improvisation is encouraged from measures 43 to the end, only if singers are comfortable with the style, otherwise choral parts, and instrumentation can stand alone.

Home – heaven

Journey – life on earth; slavery

Crown – a heavenly reward

Mountain – a spiritual experience

Kingdom – God’s Heaven

Hidden Messages

Text (and pronunciation considerations)

Lord, until I reach my (mah) home. Until I reach my (mah) home; I never (nevuh) expect my (mah) journey over, ‘til I reach my home.

I would not be a sinner (sinnuh) I’ll tell you the (duh) reason why; I’m afraid my (mah) Lord might call my name and I wouldn’t be ready to die.

I went up to the (duh) valley I didn’t go there (der) to stay; Then (den) my (mah) soul got happy, Then (den) I stayed all day.

“Ain’a That Good News?”

I got a crown up in a that (dat) kingdom ain-a that (dat) good news? I got a crown up in a that (dat) kingdom ain-a that (dat) good news? I’m a gonna lay down this (dis) world gonna shoulder up a my (mah) cross, gonna take it home, gonna take it home, gonna take it home to my (mah) Jesus, ain-a that (dat) good news?

* The initial consonant, “t” sounds are replaced with soft “d” sounds; never over pronounced or percussive. The word “to” is an exclusion to this rule.

Until I Reach My Home

TTBB*Chorus,SolowithPianoand Opt.StringBassandPercussionorFullOrchestra**

Gospel drive ( q»92)

* Also available for SATB (HMC2537) and SSA (HMC2644).

** Full score and parts available separately: full orchestra HMC2696AD, string bass and percussion HMC2696BD.

neverexpectmyjourneyover,

Choir: End finger snaps on beats 4 of measure 37.

UntilIreach,

The Old House

Text by

William Frederick Travers

O'Connor

Arranged by Mark Sirett

Here'swherethey

heather.

Here'swherethey

heather.

Here'swherethey

moorland,The

scatter'd,the

oldfolks

moorland,The

childrenare

scatter'd,the

oldfolkare

moorland,The

scatter'd,the

oldfolk

Meno mosso ( q»76)

shadow,'Tis

Meno mosso ( q»76)

Meno mosso ( q»72)

mosso ( q»72)

S H E L T O N

the Mountain Traditional Spiritual

Arranged by

Sonny Willis

Hinshaw Music

Arranger's Notes

This energetic arrangement of a familiar carol begins with a strong rhythmic drive rooted in a lively gospel groove. Encourage singers to feel the rests between notes so the rhythmic style remains crisp and intentional. Careful balance is important during the layered sections so that each voice part contributes clearly to the texture. In contrast to the rhythmic opening, shift to smooth legato phrasing and blended tone at measure 31 as the traditional carol melody is introduced.

Sonny Willis

About the Arranger

During the summer months he enjoys assisting with YPC international tours, teaching, and spending time with his family. An accompaniment track is available for sale from the publisher - HMC2819RD

Go Tell it on the Mountain

* Separate bass guitar and drum set parts are found on pages 14-16. An accompaniment track is available for

from the publisher - HMC2819RD - Piano - Electric bass - Drum Set

E S F A W O N D E M A G E G N E H U

A Tapestry of Music

Words and Music by Sherry

Blevins

About the Music:

In 2018, I was so excited to attend the premiere of my first published piece, If You Heard My Voice, in Greenville, North Carolina. I had driven about four hours from my home to hear the Durham Children’s Chorus sing it for the Piedmont Invitational Children’s Choir Festival. After the concert I was approached by Sandy Holland who was to be the host and organizer of the same event for the next year. Sandy asked if she could commission me to write a piece especially for the festival and shared that the mass choir comprised of top children’s choirs from across the state would be singing it.

I was elated, honored, and ecstatic! I never dreamed of having such a wonderful opportunity and I definitely didn’t dream of having it so early in my composing career. As I drove home with so many emotions and thoughts racing through my mind, I began to imagine the words and melody.…

“When I can’t find my voice, will you help me reveal the words I’m longing to say? Tear my threads of doubt; unravel them away.”

I recorded the first idea on my phone. Then more came….

“When I’m enveloped in silence, will you break it? Find my shattered pieces on the ground. Gather up the shards, then scatter light all around me.”

The ideas came – one after the other – as the sound of the wheels provided an almost meditative background. One of the challenges I’ve faced throughout my life is doubt that steals my joy and keeps me from living in the moment. I knew that to write this piece and to make it worthy of such an ensemble, I would have to overcome that fear and let the music speak through me. The next part was not just the next part of a song; it’s my dream for a life fulfilled through music:

“Then my life will weave a tapestry of music; all my tattered threads now redeemed….”

Never had music come to me in this way with such clarity. I felt such strong determination to help those who would sing this to feel what I was feeling.

“I will let my voice break the silence. When I speak, I will not be afraid. Step by step I am moving on. I will not stand in my way!”

It was then that I could imagine this dream coming true. More than 250 singers would be singing these words. I knew the piano had to take flight and the choir had to be triumphant. They would be singing my song to me! And that’s when the final idea came to me. The descant, “Sing my song to me” would soar above the other melodies, leading to the end of the piece, “I will sing!” – a metaphor for a celebration of the human spirit. I sang it all into my phone and realized I was almost home.

The original SSA version of this piece premiered in Charlotte, North Carolina for the 2019 PICC Festival. Prior to the SSA version’s publication, I began researching composing competitions as a way to make additional income composing. When I came across the Claremont Chorale’s Composition Contest, I immediately thought that I should enter an SATB version of “A Tapestry of Music.” I did and consequently won that competition. The SATB version was premiered by the Claremont Chorale in March of 2019 in Claremont, California.

My hope is that this song helps you believe in yourself and shows you that no matter what you’ve been through that there is beauty in the brokenness; there is power in the determination of the spirit; and that you, too, can weave a tapestry of music with patterns more colorful than you dreamed.

This SAB version commissioned for The Jamestown Middle School Chorus of Jamestown, North Carolina, Nyi Nyi Myin, Director and The Still Middle School Chorus of Aurora, Illinois, Mary Whitney, Director Winner of the Claremont Chorale's 2018 Composition Contest (SATB version)

A Tapestry of Music

* Also available for: SSA (HMC2570) SATB (HMC2598) for Ruth

S(S)AB*Chorus,Opt.Solo,andPiano

Expressively, not in strict time Adagietto ( q»65-72)

roundme.

& & ? & ?

Andante (A little faster) ( q»80 - 90 )

cresc. poco a poco al fine

w sing! w sing! w sing! w sing!

cresc. poco a poco al fine

Andante (A little faster) ( q»80 - 90 )

cresc. poco a poco al fine f

N A. B O Y D

Sherry Blevins

Composer Notes:

Celebrate This Life was composed on a road trip home to North Carolina from the CORO Composer's Institute which was held in Iowa. I was so excited to have premiered two works of mine that were conducted by and performed by the most incredible musicians in a concert the night before, that it was hard not to feel celebrational! As I recalled the wonderful week I had experienced, I began singing the alto ostinato, "Come celebrate, come celebrate, come, come," etc. This syncopated rhythmic ostinato inspired more ideas which lead to the lower and upper parts creating more ostinati and partner songs. Since I have experience teaching many young singers, I knew it would be most fun to add some body percussion!

For the contrasting part of the song, I wanted the singers to be more lyrical and contemplative and I thought of encouraging a friend and what I would say to them. This section is made of partner songs including 3 messages:

"What if today was the best day of your life, but you missed it because you were busy worrying about tomorrow?"

"Open your eyes and look at the world. Arms are stretching wide to greet you; stop worrying about tomorrow."

"See your life filled with possibilities. Stop worrying about tomorrow."

In order to give the singers the chance to express themselves, there is an optional staging suggestion. Directors may ask their singers to brainstorm what they celebrate and then have them write these words on poster boards: "I celebrate..." These could be displayed by those students during the performance. Another option would be to have all students create these messages and then photograph them to display in succession on a screen. This would allow for more students to express themselves and could be timed to finish by the end of the lyrical section. As always, directors should make any and all changes that work best for their students. If your choir is small for example, you could even ask family members or teachers to show the singers' messages so that their voices aren't lost as they move about the stage.

My sincere hope is that this song is a great introduction to 3-part singing, that it is fun for your singers to perform the body percussion and to sing the faster sections, but mostly that they find a way to express their gratitude for the people and things in their lives that bring them joy!

— Sherry Blevins

With conviction ( q»80)

Hearus;we

(for rehearsal only unless needed for performance)

2 only)

* The release "ts" sound of "let's" should occur on beats 2 and 4 to create a percussive

*Let's,let's,

Comecelebrate;comecelebrate;come,come,

HandClaps

Stomps

2nd row joins

8 Singers should randomly walk out of the choir and toward the audience, then freeze in place while silently showing signs saying what they celebrate. If your choir is small, you could have volunteeers do this instead or in addition to your singers. You may also choose to project images on a large screen if you have the accessibility. This may continue throughout the lyrical section.

(example: I Celebrate the joy of music.)

Icelebrate________________________________

Lyrically ( q»110)

Armsarestretchingwideto

misseditbecauseyouwere

eyesandlookatthe

bestdayofyour

worryingaboutto

morrow.Stop

worryingaboutto

Driving ( q»110)

morrow.

worryingaboutto

morrow?

worryingaboutto

morrow.

(end pedal)

Stomps

comecelebratecomecelebratecome,come,

From the composer:

The original version of “Shelter Me” was commissioned by the Williamsville Central School District in 2019—with, I must say, a rather open invitation to compose whatever I dreamed! I like to write my own texts for many of my choral pieces, and as I considered a direction to take this one, I found myself thinking about all the “strangers” in this world who just need a little shelter, a little hospitality, a little welcome. How would I react, I wonder, if the stranger who speaks in this text showed up humbly on my doorstep, asking only for some help?

I hope that “Shelter Me” will prompt such questioning. What are we doing to shelter, feed, enrich and empower those who need it most? How can we be better to our fellow travelers?

—Stuart Chapman Hill

Performance notes:

Your ear will probably clue you in to the fact that this piece is informed by a pop-music sensibility, so feel free to “groove” with it—while, of course, pursuing a beautiful, compelling choral tone. I’ve included a bare-bones percussion part, for shaker and congas, and do think that the piece’s groove depends in part on having this percussive foundation—but I also welcome you to adapt as needed. You may wish to substitute different drums for the congas, you may wish to allow your expert drummer to improvise and embellish what’s written (go for it!), or you may wish to add another simple layer or two to the percussion.

Shelter Me

Stuart Chapman Hill

You see a stranger,

But look at my face, my hands, my feet.

I wouldn’t be knocking

If this were not something that I need.

I wouldn’t be asking,

But the road has left me sore.

It was the hunger, It was the hurt that drove me here.

The need to keep moving

Overcame all the things I feared. It wasn’t my plan to

Become the stranger at your door.

Shelter me—that is all I’m asking.

I just need a place where I am safe.

I just need a respite from my journey

And I will be on my way.

Worried and weary, I finally did what I had to do.

I’ve searched and I’ve wandered

And now I have found my way to you.

I just need a kind soul

To help me see this travel through.

Shelter me—that is all I’m asking.

I just need a place where I am safe. I just need a respite from my journey

And I will be on my way.

Ev’ry mountain mile, ev’ry gravel road, Ev’ry step I’ve taken from my former home

Is a walking hope, is a pilgrim prayer, For the peace I know I’m gonna find somewhere

If you hear my story, study my gaze,

See a fellow traveler in a stranger’s face; I just need some welcome and an open hand

While I fight to find my promised land, so

Shelter me—that is all I’m asking.

I just need a place where I am safe. I just need a respite from my journey

And I will be on my way.

Shelter Me

TTBB Voices, Piano, and Percussion

Words & Music by Stuart Chapman Hill

(Percussion continues simile to m. 49. Conga player is welcome to improvise, add ﬁlls, etc.)

place

mountainmile, ev ’ry grav el road, ev ’ry

Be Your River

Words and Music by Mark Butler

Throughtherestlesstimes

Down in the River to Pray

add soloists with each phrase

Obroth ers, let’sgodown,

add soloists with each phrase 15

Obroth ers, let’sgodown,

Lord,showmetheway.

fathers,let’sgodown,

Omoth ers, let’sgodown,

way,moth ers, let’sgodown,

down!Moth ers, let’sgodown,

Omoth ers, let’sgodown,

Omoth ers, let’sgodown.

ers, let’sgo

H E L T O N

Advent Gloria

Tom Shelton

Hinshaw Music

Advent Gloria Shelton

Composer Notes:

“Advent Gloria” incorporates the melodies and texts of several Advent/Christmas Hymns:

· The Composition begins with a chant-like solo - “Let All Mortal Flesh” Let All Mortal Flesh PICARDY; (French Melody; Text: From Liturgy of St. James, 4th Century; Trans. Gerard Moultrie, 1864)

· This is followed by a Choral “Gloria in Excelsis Deo”, sung by the choir. (Newly composed music)

· This is followed by the TTB Section singing the text from verse one of “Angels from the Realms of Glory” (James Montgomery, 1816) with new music by the composer.

· This is followed by a repeat of the “Gloria” section.

· The “Gloria” ostinato continues with the bass section singing the text from verse 2 of “Come, Thou Long-Expected Jesus” (Charles Wesley, 1744), sung to the melody of “Let All Mortal Flesh”.

· The song ends with the “Rejoice” section of “O Come, O Come, Emmanuel”. (VENI EMMANUEL; Text: Latin prose, pre-9th Century; Music: Plainsong)

— Tom Shelton

Text:

Let all mortal flesh keep silence, And with fear and trembling stand; Ponder nothing earthly minded, For with blessing in his hand, Christ our God to Earth descendeth, Our full homage to demand.

Gloria in excelsis Deo Glory to God in the highest!

Angels from the realms of glory, Wing your flight o’er all the earth; You who sang creations story, Now proclaim Messiah’s birth.

Gloria in excelsis Deo Glory to God in the highest!

Born your people to deliver, Born a child, and yet a King, Born to reign in us forever, Born your gracious realm to bring.

Rejoice! Rejoice! Emmanuel shall come to Thee, O Israel!

Text LiturgyofSt.James(4thCentury), AncientLiturgicalLatin, tr. GERARDMOULTRIE(1864),JAMESMONTGOMERY(1816), CHARLESWESLEY, Latin Hymn (12thCentury) for the 2019-2020 Westminster Choir

SSATBChorus,TrebleSolo andOptionalHandbells

Music

FrenchCarol(17thCentury), FrenchMelody(15thCentury) Arranged by TOMSHELTON

Tom T. Shelton, Jr.

Girlchoir Organization.

is a native of Greensboro, N.C. and a graduate of the University of North Carolina at Greensboro, where he earned both a Bachelor of Music Education and Master of Music in Choral Conducting. He is Associate Professor and Chair of the Choral Studies, Music Education, and Sacred Music Department at Westminster Choir College. In addition, he is the director of Children's and Youth Choirs at Princeton United Methodist Church and conducts the Semi-Tones Ensemble with the Princeton Girlchoir Organization.

Professor Shelton has a passion for music education in all areas: church, school and community. He taught middle school choral music in Winston-Salem/Forsyth County for 18 years. During that time he was selected Teacher of the Year for both Atkins Middle School and Kernersville Middle School. In 1999 the North Carolina Music Educators Association presented him with the North Carolina Middle School Music Teacher of the Year award.

Professor Shelton is an active member of the American Choral Directors Association, having served as the National President (2017-2019). Other ACDA leadership positions have included Southern Division president (2011-2012), National R&S chair for Middle School/Junior High Choirs (20072009) and North Carolina president (2005-2007).

Professor Shelton has conducted and adjudicated choral festivals, as well as presented workshops in 21 states as well as Hong Kong; Minsk, Belarus; Jakarta, Indonesia; and Sri Lanka. He has conducted Choral Festivals in Carnegie Hall; Honor Choirs for the Central Division ACDA and Southern Division ACDA; as well as All State and Festival Choirs throughout the United States. Professor Shelton is the Series Director for the Music for Young Voices Series with GIA Publications and has over 60 compositions published by Choristers Guild, Colla Voce Music, G. Schirmer, Galaxy, GIA Publications, Growing in Grace Curriculum, Heritage Music Press, Hinshaw Music, Musicspoke.com, Santa Barbara Music Press, and Walton Music.

www.hinshawmusic.com

Y M O N D W I S E

Inspirational Music Collection with a Gospel flavor

You're The One

Words and Music by Raymond Wise

Hinshaw Music

Song Background

Looking at our world, we can identify community challenges and concerns. As I drove down the street one day, I approached a stop light and noticed someone standing at the corner with a sign. Immediately, I hoped the light would stay green to avoid an awkward moment and not have to respond, but the light turned red. At that moment, I had to decide what I would do. Should I turn away and ignore the person, or stare critically, wondering why they were on the street asking for help? That situation happens to many of us daily, and when it does, what do we do? What should we do? Do nothing, or help even in some small way?

Often, when we see challenges, it is easy to point the finger of blame at others. However, the old saying goes, when you point one finger at others, three fingers point back at you. That experience prompted me to compose this song to challenge myself and others to make a difference. What in the world is bothering me that I expect others to fix, but is it up to me to change? I ask you, what bothers you so much, and it seems that no one else cares? Perhaps it is up to you to do something about it. Perhaps it bothers you because you are called to make a difference. As you sing this song, the challenge is to not only see the problems in our world but to do something about them. This song challenges us to use our passion, influence, resources, and energy to make a difference. Stop waiting for someone else to make a difference. Perhaps you have been chosen. “You’re the One.”

About the Composer

Raymond Wise, Ph. D., currently serves on the faculty of Indiana University in Bloomington, Indiana where he serves as Professor of Practice in the African American and African Diaspora Studies department and instructs courses in African American music. He serves as the Associate Director of the African American Arts Institute, an IU division devoted to African American music and dance perpetuation and performance. Dr. Wise conducts the African American Choral Ensemble recently featured in the EMMY Award-winning PBS Documentary Film “Amen: Music of the Black Church.” (http://www.indiana.edu/~aaai/aace.shtml). Wise

anticipates the release of his new book “What Happened To Gospel Music” on Cascade Press.

Dr. Wise is an ordained minister and has served as a church musician for more than 40 years. He has appeared on radio and television, recorded 25 albums, performed with opera singers, orchestras, dance companies, and professional recording groups. He has toured extensively throughout the United States, Canada, Europe, Africa, and Asia as a singer, pianist, composer, lecturer, choreographer, and conductor. Wise has penned more than 670 compositions. His works have been published by Hinshaw Music, GIA Publications, Hal Leonard, MusicSpoke, Abingdon Press, Raise Publishing, and the United Methodist Publishing House. His Anthology of 21 Spirituals for the 21st Century has received national and international acclaim. More than 200 of his compositions are available through the Raymond Wise Choral music series. “See Me” was premiered by the African American Choral Ensemble of Indiana University and is featured on their CD project entitled “Inspire Me.”

Wise is the founder and President of Raise Productions’ Center for the Gospel Arts, a gospel music production and publishing company in Columbus, Ohio, established to provide educational training and resources for gospel artists and the community. Wise has served as the artistic director of the various Raise performing ensembles since 1986 (www.raiseonline.com). His knowledge of the gospel and classical music genre has enabled him to serve as a consultant and clinician in academic and gospel music settings. In addition, Wise is known for helping choirs perform gospel music authentically.

You're the One

SATBChoruswithPianoand OptionalElectricBassGuitar,SynthesizerandDrumSet*

Copyright©2024byHindonPublications InternationalCopyrightSecured.SoleSellingAgents HinshawMusic/AdminsteredworldwidebyFredBockPublishingGroup AllRightsReserved.MadeinU.S.A. www.hinshawmusic.com * Full Score and rhythm parts available separately (HMC2738AD).

ference.

We're the the one. ones.

Yes, Yes, I’m we’re the the one. ones.

I’m We're the the one. ones.

I’m We’re the the

I’m We're the the one. ones.

who’s who’re called called to to make make the the

I’m We're the the one. ones.

With With the the world world

dif dif fer fer ence. ence.With With the the world world

dif dif fer fer ence. ence.

in in such such des despair, pair,some some one one needs needs

I we have have been been cho cho sen. sen. I’m we’re the the one, ones,

I we have have been been cho cho sen. sen.

fer fer ence. ence.

I’m

We're the the one. ones.

I’m

We're the the one. ones.

I’m

We're the the one. ones.

Soallacrosstheland,

I’m

We're the the one. ones.

I’m

We're the the one. ones.

I’m

We're the the one. ones.

Crosstheland.

Lendyourhand.

tomakethedif

You’retheone.

We’retheones.

You’retheone.

You’re I'm the the one. one.

You’re I’m the the

You’re I'm the the one. one.

You’re I’m the the one. one.



You’re I’m the the one. one.

You’re I'm the the one. one.

You’re

I’m the the one. one.

You’re I’m the the one. one.

We’re the the one. ones.

You’re I’m the the one. one.

We’retheones.

You’retheone.

You’retheone.tomakethe

Commissioned by the Singing City Choir of Philadelphia by a grant from the John K. and Elizabeth Knorr Foundation Dr. Rollo Dilworth, Artistic and Music Director

Voices of the Earth

SATB Voices and Piano

Archibald Lampman (1861-1899)

Brandon Williams

& & V ? &

b b b b b

b b b b b b b b b b

w w Í song, w Í song, w Í song, w Í song,

& & V ? ? ?

& & V ? & ?

b b b b b

b b b b b b b b b b 75 w earth, w earth, w earth, w earth,

79 w w earth, w earth, w earth, w earth,

w w free, w free, w free, w free,

& & V ? & ?

b b b b b

I C H A R D W A T E R S

Exsultate

Richard Waters

Hinshaw Music

Text

Exsultate justi in Domino: rectos decet collaudatio.

Cantate ei canticum novum, bene psallite ei in vociferatione.

Translation

Rejoice in the Lord, O ye just: Praise is fitting for the upright. Sing to him a new song, Sing skillfully with a strong voice.

(Psalm 33:1, 3)

Pronunciation Guide

Exsultate justi in Domino egg-sool-tah-teh yoo-stee een daw-mee-naw

rectos decet collaudatio rehk-taws deh-chet kaw-lah(oo)-dah-tsee-aw

Cantate ei canticum novum kahn-tah-teh eh-ee kahn-tee-koom naw-voom

bene psallite ei in vociferatione beh-neh sah-lee-teh eh-ee een vaw-chee-feh-rah-tsee-aw-neh

About the Composer:

Richard Waters (b. 1973) is Director of Choral Activities, Voice Area Coordinator, and Professor of Music at Eastern Kentucky University, where he directs the university’s choral ensembles, teaches courses in conducting and choral literature, and oversees the graduate choral conducting program. Choirs under his direction have toured nationally and internationally, and have been invited to perform at several state and regional music conferences. His compositions have been featured at numerous conferences, festivals, and honor choirs. He holds

degrees in music education and choral conducting from James Madison University (BM), the Hartt School of Music (MM), and the University of North Carolina at Greensboro (DMA). For more information, visit: www.richardwaters.net.

Commissioned by Choirs of America 2025 Harmonic Convergence Carnegie Hall, Stern Auditorium/Perelman Stage

Dr. André Thomas, Principal Conductor | Dr. Brandon A. Boyd, Composer-in-Residence

This Train

SATB Voices and Piano (other accompaniment options below)*

Spoken: All aboard. This train is bound for Glory (spoken to ﬁll the room).

Traditional Spiritual Arr. by Brandon A. Boyd

friends,comealong.

*Combo accompaniment, conductor's score with bass and drum parts (JG2820AD) available separately. Full orchestration accompaniment, conductor's score and parts (JG2820BD) available separately.

Noth ing

1st

Comealong,

friends,comealong,

Repeat measures 61-64 as desired. SATB should sing together at least twice, then each section sings separately in this order: Sopranos, Altos, Tenors, and Basses. After all sections have sung, bring everyone back together without the rhythm section. Bring the rhythm section back in as desired. These are just a suggestions—feel free to adjust based on what feels natural for you and the style.

F R A N K

T I C H E L I

2026 Head's Shelton Echoes Booklet

LEONARD PRESENTS

HEAD’S HOUSE OF MUSIC CHORAL PANORAMA

Tom Shelton

Echoes of Creation

Reading Session

2026 Head’s House of Music Choral Panorama

Creation

CHORAL SELECTIONS

Benedictus & Sanctus from Missa Brevis

Text and Translation

Teaching Patterns

Benedictus & Sanctus

la li ley

About the Work / Program Notes

One Small Voice

Words and Music by Ryan

One Small Voice

Program Notes

One Small Voice

This Little Light of Mine (Let it Shine!)

Traditional Spiritual

Arranger's Notes

About the Arranger

I'mgonnaletitshine;

This Little Light of Mine

2

Get on Board, Little Children

Sing Change

Until I Reach My Home

Traditional Negro Folk Tune

About the Arrangement

Instrumentation

Hidden Messages

Until I Reach My Home

The Old House

Text by

William Frederick Travers

O'Connor

Arranged by Mark Sirett

the Mountain Traditional Spiritual

Arranger's Notes

About the Arranger

Go Tell it on the Mountain

A Tapestry of Music

Blevins

About the Music:

A Tapestry of Music

Composer Notes:

Stomps

Shelter Me

Stuart Chapman Hill

Shelter Me

TTBB Voices, Piano, and Percussion

Be Your River

Down in the River to Pray

Advent Gloria

Composer Notes:

Inspirational Music Collection with a Gospel flavor

You're The One

Song Background

About the Composer

You're the One

Soallacrosstheland,



Voices of the Earth

& & V ? &

& & V ? ? ?

& & V ? & ?

& & V ? & ?

& & V ? & ?

Exsultate

About the Composer:

This Train

F R A N K

Earth Song