OkCDA College Submission

1.3686

Light Transforms the Darkness - Kyle Pederson

SATB Chorus and Piano, with opt. Trumpet and Snare Drum

Light Transforms the Darkness

Words by Shanelle Gabriel

from A Vision Unfolding

Music by Kyle Pederson

Special thanks to these choirs and directors for commissioning A Vision Unfolding:

Festival Singers of Florida, directed by Dr. Kevin Fenton; Tennessee Tech University, directed by Dr. Craig Zamer; VocalEssence, directed by Dr. Philip Brunelle and Dr. G. Phillip Shoultz, III; University of Dayton, directed by Dr. Steven Hankle; University of Mississippi, directed by Dr. Donald Trott; Northwest Missouri State University, directed by Dr. Adam Zrust; Florida State University, directed by Dr. Kevin Fenton

Copyingisillegal Reviewcopy only

Program Note

Light Transforms the Darkness is the fourth movement of Pederson’s five movement work, A Vision Unfolding, for SATB chorus, piano, and spoken word—with optional violin, trumpet, and snare drum. The work is centered broadly around themes of social justice, inviting the listener on an exploration of community, inclusivity, freedom, and justice.

Shanelle Gabriel’s text is a call to action: to live our light and love out into the world—a world that desperately needs light and love. This piece includes spoken word, allowing all choir members to give voice to the immediacy of the message.

Optional Spoken Word: In A Vision Unfolding, this piece is preceded by a spoken word prologue. If you’d like to incorporate the spoken word in your performance of this piece, you can find the text and piano underscore on the ECS website as a free download. (Alternatively, you are welcome to craft your own introduction to the piece with original poetry, speech excerpts, etc.)

Instrumentation: If possible, include the optional brushes/snare drum. It will help ground the piece rhythmically and double the “coolness factor.”

Text

Light transforms the darkness, so go, go and let your light out. Love is what we harness, so go, go and live your love out. We are all unified by the way our heart beats, what you feel, I feel.

Different palettes and hues and variety, the Creator’s tapestry. We need to see the light, don’t let the darkness hide our humanity.

This is a calling.

We were blinded by hate we were taught to believe. That’s not how it should be. If my brother or sister is chained there’s no way I can say I’m free. We are the change we need, so that equality can be reality.

spoken word:

Calling you to set your heart ablaze, raise the torch, pave the way. so all can say, “I am free!”

Calling for all to have the ability to dream, to see ourselves in every being. I want you to be free.

For all to find home wherever they may go. Step into action, words no longer hollow, We will fight for you to be free.

Called to stand for all races, abilities, religions, identities, no matter who you love, you are worthy. You deserve to be free.

I will fight for you to be free. This is our calling. We are invited into each other’s life, We are called to live love.

Called to be that light.

—Shanelle Gabriel

Optional parts for B-flat Trumpet and Snare Drum are available separately: Order No. 1.3686A.

Dedicated to all who have the vision and courage to build bridges of care and connection

LightTransformstheDarkness

CatalogNo.1.3686 from AVisionUnfolding

for SATB Chorus and Piano, with opt. Trumpet and Snare Drum

ShanelleGabrielShanelleGabriel andKylePederson

[heavyswingontheeighths]

S.D.w/brushesonsnare

S.D.

non legato, but not choppy Alto

legato, but not choppy

*keysignatureindicatesA-flatDorian **implodethe“T”of light throughoutthepiece

Copyright©2023GalaxyMusicCorporation,Inc., adivisionofECSPublishingGroup.www.ecspublishing.com Allrightsreserved.

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1.3697

Sing Ye to the Lord - G. F. Handel / K. Potter

SATB Double Chorus and Piano

Sing Ye to the Lord

from Israel in Egypt by

George Frideric Handel

Edited by Kenney Potter

Copyingisillegal Reviewcopy only

SingYetotheLord

from Israel in Egypt,HWV54

for SATB Double Chorus and Piano CatalogNo.1.3697

Editioncopyright©2023byGalaxyMusicCorp., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved

GeorgeFridericHandel(1685–1759) ed. by KenneyPotter(ASCAP)

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1.3699

My Soul’s Been Anchored in the Lord (from Emancipation) - Adrian Dunn

Soprano Solo and SATB Chorus unaccompanied

My Soul’s Been Anchored in the Lord

from Emancipation

Adrian Dunn

Program Notes

My Soul’s Been Anchored in the Lord simply strives to communicate that there is something bigger than ourselves in the world. We are all inextricably connected through the family of human race. My Soul is a reminder that we are anchored in something bigger than our individuality. We are not alone in this journey of life.

The word “My” should be pronounced as “Mah” throughout the piece. The piece should always have a feeling of constant forward motion. The piece should be sung on the body and with full voice. Conviction and commitment to the text makes this piece come alive. Performing this piece with some physical movement will help energize any performance of this piece.

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Text

My soul’s been anchored in the Lord. My soul matters. My people matter.

Oh, my soul’s been anchored in the Lord.

—Spiritual

Live performance from Chicago’s Harris Theater for Music and Dance, acclaimed composer, conductor, and singer Adrian Dunn’s Emancipation fuses classical, gospel, hip hop and spirituals to explore the question: what does it mean to be Black and free in America in the 21st Century? Emancipation celebrates the journeys of Black lives in America through genres created by Black Americans.

Adrian Dunn (b. 1985)

For biographical information visit: www.ecspublishing.com

Tenor Bass

My Soul’s Been Anchored in the Lord

Emancipation

for Soprano Solo and SATB Chorus unaccompanied

Inthe unis.

Adrian Dunn (ASCAP) Catalog No. 1.3699

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Copyingisillegal Reviewcopy only

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Copyingisillegal Reviewcopy only

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1.3708

Solstice Song - Cheryl B. Engelhardt

SSATB Chorus unaccompanied

Solstice Song

Words and Music by

Cheryl B. Engelhardt

Program Notes

The solstice, occurring twice a year, marks Earth’s axial tilt toward or away from the Sun. Culturally significant, solstices inspire folklore, festivals, and rituals, symbolizing life’s cyclical nature.

The song starts in 4/4, transitioning from autumn to winter with a “business as usual” essence. Reaching rehearsal letter A, the narrative shifts to Solstice, honoring traditions. The move to 6/8 conveys story-telling urgency, rushing before darkness sets in.

The piece, with a madrigal-meets-carol feel, allows contemporary singing to peek through when inspired. Articulation is key, with over-exaggerated consonants giving narrators sass, a wink to the darkness. The return to 4/4 signifies grounded history supporting traditions, contrasting with swift storytelling, especially introducing the mischievous “trickster raven.”

The climax at bar 93 underscores love’s illuminating power amid darkness.

Duration: ca. 4:25

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It’s Natalis Sol Invictus

In case you didn’t know, The birth of the unconquered Sun, Into the light we go.

But first we honor Mother Earth

And souls healing in the dark, Solstice means “sun standing still,”

No rushing this part!

There’s poison in the mistletoe

And magic in the oak.

The candle wicks are lit again, The elements we invoke.

Text

The crone is lurking ‘round the bend, Holda has a light. Skadi and Frigg embrace the dark Halcyon rests at night.

Yuletide myth and legends told rituals of yore. Let us sit inside the night

To see the light of our core.

The trickster raven brings the fire

The holly brings the luck the cloves bring rebirth, wealth, and love.

The snowfall brings the hush.

—Cheryl B. Engelhardt

CHERYL B. ENGELHARDT is a GRAMMY nominated composer who writes both music and lyrics. Her choral pieces have recently been written about in PEOPLE, Forbes, and LGBTQ Nation. She is the Chair of Repertoire & Resources for the American Choral Directors Association (ACDA) East for Contemporary/Commercial Music, as well as a representative of The Recording Academy in their Advocacy program, an organization in which she is also and active voting member.

Her commissioned pieces often end up being the “glue that makes an entire program flow.” Writing her own lyrics, meeting choirs in person, weeks of research, and the ability to write powerful social justice text or laugh-out-loud lyrics is Cheryl’s process that allows for a uniqueness and freedom found in her compositions. www.ecspublishing.com

SolsticeSong

Words and Music by CherylB.Engelhardt

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Copyingisillegal Reviewcopy only

*TenorsandBasses:Aleatoricdroneonchangingvowels,singer’schoice.Staggeredbreathing.

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Copyingisillegal Reviewcopy only

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Yule +S2 mp tidemythandritual.

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9225

After the Last - Don Macdonald

SATB Chorus unaccompanied

After the Last

Poetry and Music by Don Macdonald

SATB Chorus unaccompanied

ERICK LICHTE

TEXT

Here at the last, My love. Soon to that vast Unknown.

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So close to the summit

But slowing. Whispers urge your going.

Give up the fight, My love.

The night can be friend Not foe.

Some battles are won by leaving Or letting go.

Roots will come greet us, Weaving a blanket Midst rock and loam. And forests will feed us, Serving a banquet Of seed and cone.

Never alone.

And when it’s my last My love I will hold fast

To love

And dreams of embrace, A gathering place

Where roots will come greet us, Weaving a blanket Midst rock and loam. And forests will feed us, Serving a banquet Of seed and cone.

Never alone, never. Never, never, alone. After the last, My love.

—Don Macdonald

Soprano Alto

Tenor Bass

blanketmidstrockandloam.

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Erick Lichte Choral Series

Erick Lichte is the Artistic Director of Vancouver Canada’s Chor Leoni Men’s Choir. He was also a founding member, singer, and Artistic Director of the male vocal ensemble Cantus. The publications in this series feature TTBB pieces as well as works with multiple voicing options. They reflect a wide range of styles and a diverse array of composers.

Don Macdonald (b. 1966)

For biographical information visit: www.ecspublishing.com

9249

This Path - Hans Bridger Heruth

SATB Chorus (divisi) unaccompanied

This Path

SATB Chorus (divisi) unaccompanied

Music by Hans Bridger Heruth

Words by Robert Bode

Commissioned by Dr. R. Paul Crabb for the 2022–2023 University Singers of the University of Missouri, Columbia

PROGRAM NOTES

This Path was commissioned by Dr. R. Paul Crabb for his final concert with the University Singers of the University of Missouri before his retirement. In discussing potential poetry for this commission, Dr. Crabb and I both agreed that the poetry of Dr. Robert Bode would be perfect for this occasion. Dr. Bode sent me several poems for consideration, and this one spoke to me immediately and it resonated with me deeply.

Dr. Bode’s poignant and evocative poem speaks of our future; while our future is uncertain, we are reminded that every moment we live, every breath we take, and every song we sing carries us on the beautiful path we take in finding our home, and in finding the lives we’re meant to lead.

In thinking about my own path, and how it led to the life I have now, I can’t help but remember Dr. Crabb and my time singing and playing for him in college. So much of who I am as a man and as a musician is the culmination of everything that he has done to teach me and to support me over the years, and I know so many people—myself included—found a home in University Singers with Dr. Crabb.

This piece is an homage, and a deeply heartfelt thank you, to the brilliant man and musician who has dedicated his life to enriching the lives of those around him with his stellar musicianship, and his heart of gold.

—Hans Bridger Heruth

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This Path

Who can see the road ahead, This road that brought us here? Who can know the turn of the path, The one that leads us home?

Is it the prophet, the priest, The leader with her armies?

The hermit in his lonely cave?

The sparrow joins the wind in flight, It does not hope for more; The tide dances with the moon And bends to the pull of the now.

The past flows away Like rain in a stream— It shifts from form to form; The future marches bravely on, And leads us toward a distant door.

The song we sing is built on this breath, And this one. And this.

We sing our future now.

This path, this song, will lead us home. We sing our future now.

—Robert Bode, Mount Sterling, June 2020

Hans Bridger Heruth (b. 1997) For biographical information visit: www.ecspublishing.com

Commissioned by Dr. R. Paul Crabb for the 2022–2023 University Singers of University Of Missouri, Columbia CatalogNo.9249

ThisPath

RobertBode for SATB Chorus (divisi) unaccompanied

Text:“ThisPath”©Copyright2023byRobertBode.Usedbypermission.Allrightsreserved.

Copyright©2024byE.C.SchirmerMusic,Inc., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved

HansBridgerHeruth

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Wesingour

Adagio e molto legato (q =60)

Adagio e molto legato (q =60) unis.  unis.  unis.

path,thissong,will

leadushome,this

path,thissong,will

path,thissong,will

leadushome,this

path,thissong,will

path,thissong,will

leadushome,this

path,thissong,will

unis.

path,thissong,will

leadushome,this

path,thissong,will

leadushome.

path,thissong,will

leadushome.

path,thissong,will

path,thissong,will

leadushome.

path,thissong,will

path,thissong,will

leadushome.

path,thissong,will

TwoSoloVoices

here?

turnofthe

turnofthe

path,

turnofthe

path,

onethat

leadsus

onethat

leadsus

onethat

leadsus

leadsus

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Hope - Ysaÿe M. Barnwell

SAATTB Chorus (divisi) unaccompanied

YSAŸE M. BARNWELL

SAATB Chorus unaccompanied

YSAŸE M. BARNWELL COLLECTION

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walkon,walkon.

peaceintheworld,

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world to-day, then

workon,workon. We’vegotto

workon,workon,workon.

walkon,walkon.Ifwewant

workon,workon. We’vegotto

peaceintheworld,

workon,workon.

moveon,moveon,moveon.

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moveon,moveon.Ifwewant

moveon,moveon. We’vegotto

moveon,we’vegotto

Marchon,

moveon,moveon,moveon.

Ifwewant

moveon. Ifwewant

moveon,moveon. We’vegotto

marchon,marchon. We’vegotto

moveon.We’vegotto

marchon.

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Marchon,

peaceintheworld,

world to-day, then

we’vegotto

ev-er-yday we’vegotto

marchon,marchon. We’vegotto

marchon,marchon. We’vegotto

march on.We’vegotto

march on,we’vegotto

marchon.

marchon,marchon,marchon.

Marchon,

Ifwe want

marchon,marchon.Ifwewant

hopetosur-vive inthis

marchon,marchon. We’vegotto

marchon,marchon.

marchon.We’vegotto

marchon.

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Marchon,

peaceintheworld,

world to-day, then

ev-er-yday we’vegotto

marchon,marchon. We’vegotto

marchon,marchon. We’vegotto

march on.We’vegotto

march on,we’vegotto

marchon.

marchon,marchon,marchon.

Teachon,

Ifwe

marchon. Ifwewant

hopetosur-vive inthis

marchon,marchon. We’vegotto

teachon,teachon. We’vegotto

marchon.We’vegotto

teach

teachon.

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Teachon,

peaceintheworld,

world to-day, then

we’vegotto

ev-er-yday we’vegotto

teachon,teachon. We’vegotto

teachon,teachon, We’vegotto

teach on.We’vegotto

teach on,we’vegotto

teachon.

teachon,teachon,teachon.

Teachon,

Ifwe want

teachon,teachon.Ifwewant

hopetosur-vive inthis

teachon,teachon. We’vegotto

teachon,teachon.

teach

teachon.

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Teachon,

peaceintheworld,

world to-day, then

we’vegotto

ev-er-yday we’vegotto

teachon,teachon. We’vegotto

teachon,teachon. We’vegotto

teach on.We’vegotto

teach on,we’vegotto

teachon.

teachon,teachon,teachon.

Singon,

Ifwe want

teachon. Ifwewant

hopetosur-vive inthis

teachon,teachon. We’vegotto

teach on.We’vegotto

singon.

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peaceintheworld,

world to-day, then

Singon,

we’vegotto

ev-er-yday we’vegotto

singon,singon. We’vegotto

singon,singon. We’vegotto

sing on.We’vegotto

sing on,we’vegotto

singon.

singon,singon,singon.

Singon,

Ifwe want

singon,singon.Ifwewant

hopetosur-vive inthis

singon,singon. We’vegotto

sing on.We’vegotto

singon.

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Singon,

peaceintheworld,

peaceintheworld,

we’vegotto

world to-day, then

ev-er-yday we’vegotto

singon,singon. We’vegotto

singon,singon. We’vegotto

sing on.We’vegotto

sing on,we’vegotto

singon.

œ œ œ œ œ singon,singon.Singon, œ œ œ œ Œ singon,singon.

Singon,

œ

œ œ singon. Singon,

œ œ œ œ œ singon.Singon,sing

œ œ œ œ ‰ œ Singon,singon, to

œ œ œ œ œ œ œ singon,singon. We’vegotto

œ . œ ‰ œ œ œ sing on.We’vegotto œ œ œ œ œ œ singon,singon.Singon,

œ œ œ œ œ œ œ singon,singon. We’vegotto œ . œ ‰ œ œœ sing on,we’vegotto

singon.

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singon. Singon,

on.Singon, singon.

Singon,

singon. Singon,

singon,singon, to

singon,singon. We’vegotto

œ sing on.We’vegotto

Singon,singon.Singon,

singon,singon. Then

œ œ œ singon,singon. We’vegotto

singon.

singon. Singon!

sing on,we’vegotto

˙ U œ œ . u Singon! Singon! Singon! w U

singon,singon. We’vegotto œ . œ ‰ œ œœ sing on.We’vegotto œ œ

singon. Singon!

ev-er-ydaywe’vegotto

singon!

˙ . U singon!

singon!

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Dr. Ysaÿe M. Barnwell is a commissioned composer, arranger, author, and actress. Born in New York City in 1946, she began her 15-year violin instruction at age two and a half. She went on to earn degrees in speech pathology (BS, MSEd), craniotomy-facial studies (Ph.D.) and public health (MSPH). In addition, she was awarded honorary doctoral degrees from theological seminaries in Chicago, Illinois and Alexandria, Virginia.

Dr. Barnwell taught at Howard University College of Dentistry for over a decade, later moving on to overseeing public health projects. In 1979, she joined the Grammy winning African American female a cappella ensemble Sweet Honey in the Rock, and in the ensuing thirty-four years, appeared as a vocalist and instrumentalist on over thirty recordings with Sweet Honey and other artists.

For several decades, she also served as teacher and choral clinician in African American cultural performance. She led “Building a Vocal Community: Singing in the African American Tradition” workshop in the United States, Canada, Great Britain, and Australia. Conducted in the oral tradition, it utilized an African world view and explored African American history, values, cultural, and vocal traditions to build communities of song among both singers and non-singers. Her pedagogy is highly respected among musicians, educators, health workers, activists, organizers, and members of both corporate and nonprofit sectors.

In addition, Dr. Barnwell has published two books for children: No Mirrors in My Nana’s House and We Are One, and made appearances on the television program A Man Called Hawk and in the film Beloved. Composing music for dance, choral, film and video, she has received commissions from countless organizations including Sesame Street, Alvin Ailey American Dance Theater, and the King’s Singers to name just a few.

E. C. Schirmer Music Company is proud to be the publishing home for Dr. Barnwell’s choral music. Please visit ecspublishing.com for a complete listing of her works.

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