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Goin' 60

The King Shall Come When Morning Dawns

Commissioned to honor Ken and Diane Ketel for their many years of music ministry at First United Methodist Church in Rapid City, South Dakota. Scored for mixed choir and organ, this Advent anthem sets a Greek hymn text translated in 1907 by John Brownlie. The overall musical form is ABABA (and a short coda), with the "A" section essentially being a newly-composed Common Meter (86.86) hymn tune. Gentle multi-meter is applied throughout and serves to underscore the natural scansion of the text. This anthem was the 2018 winner of the Sewanee Church Music Conference Choral Composition Prize. Duration 3:20

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Lady Bird: First Lady of the Land : Piano/Vocal Rehearsal Score

Opera in 1 Act. ‘LADY BIRD: First Lady of the Land’, is a one-act opera based upon events in the life of Lady Bird Johnson, first lady and the wife of Lyndon Baines Johnson. Due to the passing of the civil rights bill, President Johnson was at risk of not being elected to continue his presidency. His wife Lady Bird courageously campaigned for him across the Southern states on a special train tour, at times putting her own life in danger. Duration: 60 minutes.

Sojourn 3

Commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major as the fantasy-like treatment of thefolk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Sojourn 3 : A Clarinet Solo

The B-flat clarinet version was commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major asthe fantasy-like treatment of the folk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.