Single diatonic melody with optional harmony (divisi in last 6 measures only). Perfect for children or the choir with limited rehearsal time. This piece would be a fine addition to any evening service.

Composer: Gwyneth Walker

Extracted from"Bethesda Evensong," this is a lyrical setting of the traditioinal text along with an excerpt from the"Prayer of St. Francis." Starts out in unison expanding to two parts half-way through, and becomes three-part at the very end. Moderate difficulty.

Composer: Gwyneth Walker

A challenging work for skilled women's chorus featuring ethereal harmonies and soaring melodies. The soloists' lines are stunning. Duration: 6:00

Composer: Robert Kyr

From Dusk to Dawn tells the story of the Liberian women protesting the civil war which engulfed their country until 2003. The musical language for this choral setting is rhythmic, energetic and powerful. The voices sing, "Gather, gather," in repeated 8th notes, as the calls for protest gain in strength. Tremolo chords in the accompaniment bring increased energy. The final section is emphatic, with accented chords in the voices and piano to express "Mighty women!"

Composer: Gwyneth Walker

A very poignant song. Phrases such as "Hush little baby, don't you cry, you know your mama was born to die," or "Oh my brothers, I must leave you here behind," view the approach of death in terms of those left behind.

The accompaniment of repeated 8th-note chords is marked as if trembling or sobbing. Although the harmonic language is tonal and consonant almost entirely throughout the song, a few dissonances appear near the end, reflecting the pain of parting. Duration: 4:30

Composer: Gwyneth Walker

This new arrangement focuses on several, specific aspects of the lyrics, and of the "journey." Envisioning that one is walking to that land, the piano introduction, in a swing rhythm, is marked At a strolling tempo. When the chorus enters, there is a bounce to their step, with the staccato dots coming each time on the word with- Come and go with me to that land... This is a jaunty expedition. One sees one's parents waiting in that land. Loving friends are there as well. A bit of scat singing and finger snapping adds to the energy. A slower middle section, in blues style, affirms that They'll be no slavery in that land. Shackles are thrown to the ground, and freedom breaks forth. This leads to a quick and energetic return to the gospel song, with a final refrain of They'll be singing in that land, voices ringing in that land!<

Composer: Gwyneth Walker

Steal Away interprets the traditional spiritual, Steal Away to Jesus, as a song of alternating sorrow and strength. The refrains are presented quietly and mournfully: "Steal away to Jesus. I ain't got long to stay here." In contrast, the verses are sung with conviction: "My Lord calls me, calls me by the thunder." Similarly, the accompaniment varies from florid arpeggiations (for the refrains) to rhythmic chordal entrances (for the verses).

Of special interest is the use of scale patterns. In the opening refrain, and on every occurrence of the words "steal away," the scales descend, marked as falling tears, or stealing away. At the conclusion of the song, the scales rise, as the soul ascending to heaven. "My Lord calls me, calls me home." Duration: 3:40

Composer: Gwyneth Walker

A very popular setting of the most popular folk hymn.

Composer: Gwyneth Walker

Text adapted from E. E. Cummings "I thank you god for most this amazing." This piece was the 1999 Raymond W. Brock Commission from the ACDA, and has become wildly popular since its premiere at the 1999 national convention.

Composer: Gwyneth Walker

A familiar American folk song is "A Man of Constant Sorrow." Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. "All through this world, I'm bound to ramble...perhaps I'll take the very next train." Then, later, "perhaps I'll die upon this train." Some comfort is taken with the lines "I know we'll meet on God's Golden Shore." But the life on this earth is one of constant sorrow. Duration: 2:30

Composer: Gwyneth Walker

From Sing Evermore!

Composer: Gwyneth Walker

Composer: Kirke Mechem

This new arrangement for women's chorus and piano focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the crucifixion. The piano accompaniment, which plays a featured role in this music, varies with the mood of the lyrics-from simple chordal support at the beginning, to harsh rhythms ("nailed him to the cross"), to rapid "sunburst" patterns ("the sun refused to shine"), to sorrowful descending lines ("laid him in the tomb"). The choral expression is articulated in similar manner to the accompaniment. Duration: 4:30

Composer: Gwyneth Walker