As the Deer Pants *

Hal Leonard

HL08745423 

SSAA sacred song, piano accompaniment.  Psalm 42 is the inspiration for this breathtaking work. Strong vocal lines coupled with an arresting piano accompaniment provide multiple opportunities for musical expression.

Composer notes: 

In As the Dear Pants, I imagined the biblical character David experiencing a dry, lonely time in his life--perhaps as Saul, Absalom or one of his other enemies pursued him.  David is aware that his dryness is as much about his spiritual state as it is his physical location in one of the desert plains.  The state of his soul is compared to a deer in desperate need of a lake or pond from which to quench his thirst.  In David's case, that pond is the very presence of God.  In his desolation, David's tears have served as nourishment, allowing David the much-needed release of feelings of frustration and loneliness.  Everyone, he feels, has turned against him and taunts him, asking "Where is this God of yours who will rescue you?i.  (This is heard in the music as the accompaniment and voices take on a more agitated presentation.) But then, in a moment, David begins to remember.  Yes, he remembers a time in which he danced in worship as a youth, or as he and the people brought the Ark of the Covenant back to Jerusalem .  Oh, what rejoicing there was!  He led the procession.  So much so, that he danced out of his clothes, with no shame as King!  And, for that moment as he remembers, there is joy!  (Hopefully, one can hear musical ideas of an Israeli dance in the accompaniment beginning at ithese things I rememberOi)  But, all too soon, David is brought back to the reality of his present stateoone of loneliness, dryness, and thirst.  In the end, David realizes that this thirsty state is the best place for him to be for this is what will keep the warrior and king humble, drawing close to the very heart of God as he serves others.  And, after all, God has delivered him in the past; thus, He will do so again.

Ascribe to the Lord   *w/piano

(Wichita State University )

*w/orchestra

(VocalEssence, formerly Plymouth Music Series, MN)

SATB, anthem, piano accompaniment. 

Composer notes:

The A section is the exhortation to worship. The B section is the act of worship. And, the brief return to A is the closing exhortation to depart in worship. The piano accompaniment, centered around the pitch c , with chords interspersed, should be played with rhythmic energy and drive. It was premiered by the Plymouth Music Ensemble and Orchestra under the direction of Philip Brunnelle. So, it may help for the pianist to imagine an orchestra. Of course, the piano is unable to provide the powerful accompaniment that would be provided by an orchestra. However, the piano accompaniment in the B section should set up the sense of awe and stirring waters by means of the tension created in the quick repetition of middle c . In this section, the voices should build until they climax on in the unison singing of iThe voice of the Lord is POWERFUL!" Be sure to stress POWERFUL and MAJESTIC. This section is the climax of the piece. The release of tension (created in the B section) occurs at the return of the A section. The song then builds to a final climax with the repeat of WORSHIP HIM, each one more emphatic and louder than the preceding one. The final him should be as emphatic and dramatic as possible. Note to the director: Let the final iHIMi hang in the air (in silence) before relaxing your arms and the choir. *Note:  The Witchita State University tempo is a bit fast.  The VocalEssence demo is more accurate in tempo.  Psalm 29.

SATB, up-beat gospel song that is a joyful celebration just brimming with Caribbean-rhythmic vitality, with piano accompaniment--Hal Leonard

Note:  This demo version is a little slower with a synthesized accompaniment and with a less-Caribbean feel than the published version.

Gentry Publications

JG2352          

Ev'ry Time I Feel

The Spirit

The Sofia Chamber Choir, Bulgaria

Make Haste, O God

from Three Psalms of David

O God, You Are My God from Three Psalms of David

SORIDA

(Philander Smith College, AR)

SATB, acappella, w/percussion, based on African greeting; incl. optional texts for worship services, not included on demo. iSoridai is a term of greeting in the Shona language of Zimbabwe, Africa, similar to ishalomi in Hebrew or ijamboi in Swahili. This original work features percussion, layered vocal patterns, and a joyful solo with both secular and sacred texts. An exciting concert procession or opener! --Hal Leonard

From the composer:

SORIDA is an original work rather than an arrangement.  While serving at Philander Smith College in Little Rock, Arkansas, my husband, Dr. William C. Powell, director of the PSC Collegiate Choir, wanted an African song for the choir's CD project. However, at the time, the music department could not afford to pay royalties for a published work.  So I decided to research the possibility of arranging an African folksong.  During my research, I came upon the word "SORIDA" which is an African greeting of brotherhood and unity.  Additionally, I found an African children's song that plays on the syllables of the word "sorida".  So, utilizing the syllables as a foundation (so-ri-da, ri-da, ri-da), the song developed.  I composed my own lyrics, melody, and harmonies that might represent the meaning and far-reaching scope of SORIDA . After the choir used the song for its title track, I did not plan to have the song published.  However, Dr. Andre Thomas, conductor, (Florida State University) heard the song through a mutual friend and called to say that he wanted it published and wanted to use it immediately.  So, of course, I jumped at the opportunity to have Dr. Thomas expose my work (as did Hal Leonard)!

SATB (without divisi) One of the composer's most popular works, this anthem is full of rhythmic energy and drive.  One should take care not to sing too fast.  It is a musical word-painting of the creation.  The text is from John 1:1-3.  Previously available only for SSAATTBB a cappella, this edition is SATB (no divisi) and includes a piano part that completes the harmony but almost makes you think the choir was a cappella. Excellent for church and concert! --Fred Bock Music

See Composer notes above.

The Word Was God

(The Morehouse Glee Club)

Gentry Publications

JG2314

Gentry Publications

JG2393

New 2008!

SATB, acappella, w/percussion, based on African greeting.  iSoridai is a term of greeting in the Shona language of Zimbabwe, Africa, similar to ishalomi in Hebrew or ijamboi in Swahili. This original work features percussion, layered vocal patterns, and a joyful solo with both secular and sacred texts. An exciting concert procession or opener! --Hal Leonard

From the composer:

SORIDA is an original work rather than an arrangement.  While serving at Philander Smith College in Little Rock, Arkansas, my husband, Dr. William C. Powell, director of the PSC Collegiate Choir, wanted an African song for the choir's CD project. However, at the time, the music department could not afford to pay royalties for a published work.  So I decided to research the possibility of arranging an African folksong.  During my research, I came upon the word "SORIDA" which is an African greeting of brotherhood and unity.  Additionally, I found an African children's song that plays on the syllables of the word "sorida".  So, utilizing the syllables as a foundation (so-ri-da, ri-da, ri-da), the song developed.  I composed my own lyrics, melody, and harmonies that might represent the meaning and far-reaching scope of SORIDA . After the choir used the song for its title track, I did not plan to have the song published.  However, Dr. Andre Thomas, conductor, (Florida State University) heard the song through a mutual friend and called to say that he wanted it published and wanted to use it immediately.  So, of course, I jumped at the opportunity to have Dr. Thomas expose my work (as did Hal Leonard)!