TWO SHORT PSALM SETTINGS (SATB) The two psalms, #130 and #95, are combined to afford an anthem that is suitable for use in concert or in church.  Each piece is written in such a manner as to be independent of the other when it may be appropriate to have a short anthem or a long choral response. While Psalm 130 is flowing and mysterious, Psalm 95 is angular and moving. If sung in different parts of a service of worship, the effect would be stunning. (See individual pieces for vocal ranges) #3

PSALM 95, "O come let us sing unto the Lord!" (SATB)
This piece was written for the First Presbyterian Church Choir in Bowling Green, Ohio. It is a contemporary piece that has melodic lines set in dissonant counterpoint. The music conjures up a feeling of great joy! It was well performed by the volunteer choir of the Presbyterian church. At first, there was some concern about the new experience of twentieth-century sound. The listening experience of dealing with modern music had a broadening effect upon the singers.  

The written ranges are: Soprano, F1-g2; Alto, g-c2; Tenor, E1-g2; Bass, a#-C#1. (1:15) #3

ALLELUIA! "Psalm 150"  (TTBB) by Louis Lewandowski is the mother of all great settings of this biblical text.  Wallace De Pue has arranged Lewandowski’s dynamic composition in such a manner that he believes the composer would be greatly pleased.  His arrangement has been performed all over America and has received public acclaim.  An artist chorus is needed to present this piece. 
The text is:

    Praise the Lord in his holiness!
    Praise the Lord in his firmament!
    Alleluia!

    Praise the Lord in the firmament of His power!
    Praise the Lord according to His greatness.
    Praise Him with psaltry and harp.
    Praise Him with sound of the trumpet.
    Praise Him with timbrel and dancing.

    O praise Him with instumental strings.
    O praise ye the Lord on cymbals loud and strong.
    Alleluia!

The written voice ranges are: Tenor 1, Db1-a flat2; Tenor 2, C1-f2; Baritone, d flat-Db1; Bass, Ab-Db1. (2:24) #4

THREE BIBLICAL PSALMS  (canons):
143, "Hear my prayer, O Lord!  Give ear to my supplications.  In Thy faithfulness, answer me.  And in Thy righteousness, Lord, hear my prayer,"  is for general use by any vocal combination of three parts.  The vocal range is: a-d2.  (1:50 to 2:22, with repeat.)

146, "Praise ye the Lord, O my soul! While I live will I praise the Lord. I will sing reverent praise unto my God.  Thanks be to the Lord, our God!"  is in three voices and for general use or for Thanksgiving.  The vocal range is: C1-e2.  (0:58)

149, "Sing unto the Lord a new song, and His praise in the congregation of saints!  Alleluia!"  is in three voices and is an excellent canon for All Saints Day. All three settings of these psalms are a cappella and written in consonant counterpoint. The vocal range is: C1-f2. (0:37) #1

Psalm 33 "REJOICE IN THE LORD" (SAB/organ) is an old-fashioned, climactic "barn burner," that is, it generates great enthusiasm for both the singers and listeners. The organ part is well within the performance limits of the typical church organist. When it is practical to join the male sections, perhaps for a particular service, this piece can give the impression of strength and joy that is needed. The text is:

    Rejoice in the Lord, ye righteous! 
    Praise the Lord with harp and sing unto Him a new song! 
    For the word of the Lord is right and all His wondrous works are done in truth.  

The vocal ranges are: Soprano, F1-a2; Alto, a-d2; Tenor/Bass, c-D1. (1:30) #3

*Psalm 100 "O BE JOYFUL" (SATB) is published by ABI/Alexander Broude, Inc.  The order number is AB 1012.  This piece is contemporary and possesses asymmetric meters with dissonant harmonies; however, it is easy to prepare and sing and has a very positive effect on audiences. The text is:

    O be joyful unto the Lord, all ye lands. 
    Serve the Lord with gladness; come before his presence with singing.  
    Know ye that the Lord, He is God: it is He that hath made us, and not we ourselves;
        we are His people, and the sheep of His pasture. 
   
    Enter into His gates with thanksgiving, and into His courts with praise: be thankful unto Him, and bless His name. 
    For the Lord is good; His mercy is everlasting; and His truth endureth to all generations.

The written ranges are: Soprano, C1-g2; Alto, a-c2; Tenor, E1-g2; Bass, G-C1. (1:40) #3-

Psalm 117 "YE WATCHERS AND YE HOLY ONES" (SSAATTB/organ or piano with optional congregation singing) is a piece adapted by Athelstan Riley (1906) from a tune, and harmonization of that tune, dating from 1623.  The arrangement by Wallace De Pue is intended for a choir that can afford the division of parts.  The congregation may be invited to participate in singing the final section of the piece.  The overall effect is dynamic and joyful.  The text by Isaac Watts is well known in religious circles.  The text is:

   Ye watchers and ye holy ones, bright seraphs, cherubim and thrones, raise the glad strain, Alleluia!
    Cry out, dominions, princedoms, powers, virtues, archangels, angels’ choirs, Alleluia! Alleluia!
    O higher than the cherubim, more glorious than the seraphim, loudly praise Him!  Alleluia!
    Most gracious, magnify the Lord!  Alleluia! 

    Respond, ye souls in endless rest, ye patriarchs and prophets blest.  Alleluia!
    O holy twelve, ye martyrs strong, all saints triumphant, raise the song!  Alleluia!
    From all that dwell below the skies, let the Creator’s praise arise!  Alleluia!
    The Redeemer’s name be sung through every land, in every tongue!  Alleluia!

  The written ranges are: Soprano, D1-a flat2; Alto, a flat-e flat2; Tenor, D1-g2; Bass, G-C1. (2:45) #4

The levels of difficulty are from 1 (easy) to 5 (difficult). Each piece bears a number. Underlining indicates the actual title of the piece under consideration.
A title bearing an asterisk indicates that a recording is available upon request.  Duration is expressed by minutes and seconds, i.e., 1:27.

HAVA NAGILA, "Let us dance and be happy!" (3 voices/piano/tambourine) is an old Jewish song that inspires a positive attitude in those who hear it.  For contrast on a choral program, it is highly recommended. The augmented second, a music  interval found in much Israeli music, is an element of color for every voice part in this arrangement.  "Hava Nagila" is to be sung in Hebrew.  A pronunciation guide is on the score.

Vocal ranges are: Voice 1, C#1-e2; Voice 2, a-c2; Voice 3 (T or B), f-D1. (2:45) #3 

ALL OF GOD’S CHILDREN (3-voice jubilee song)
The piano part is a rhythmic delight. Young people enjoy singing "All of God's Children," and audiences favor such pieces on choral programs. The text is:

    I got a robe!  You got a robe!  All of God's children got a robe!  
    When I get to heaven, gonna put on my robe and gonna walk all over God's heaven. 

    I got a crown!  You got a crown!  All of God's children got a crown!  
    When I get to heaven, gonna put on my crown and gonna walk all over God's heaven.
    Everybody talkin' 'bout heaven ain't goin' there.  

    I got a song!  You got a song!  All of God's children got a song!  
    When I get to heaven, gonna sing out my song and gonna walk all over God's heaven.

    Everybody talkin' 'bout heaven ain't goin' there.  Gonna fly all over God's heaven!

*OLD TIME RELIGION (SATB/alto or tenor soloist) is a rousing, "tent meeting" piece arranged in such a manner as to "stop the show."  It has been performed across the United States and has enjoyed wonderful audience reception.  The solo line is arranged for either alto or tenor by affording small notes for the tenor part.  In choirs where there may be an exceptional solo voice in either the alto or tenor section, this arrangement will bring a standing ovation for the choir. The text is:
    
    There is something about the sound of a tambourine that takes my worries away. 
    A fiddle you can strum and a big Bass drum are all I need to make me want to pray.
    Gimme that old time religion!
    Gimme that old time religion!
    Gimme that old time religion!  It’s good enough for me.
   
    It was good enough for the Hebrew children.
    It was good enough for the Hebrew children.
    It was good enough for the Hebrew children and it’s good enough for me.

    It was good enough for Peter, Paul and Moses.
    It was good enough for Peter, Paul and Moses.
    It was good enough for Peter, Paul and Moses and it’s good enough for me.

    Take your great cathedrals and your Sunday choir!
    Give me brimstone preaching with fire!
    Give me nothing but a tent where I can go repent for the multitude of sins I so desire.
    Gimme that old time religion!
    Gimme that old time religion!
    Gimme that old time religion; it’s good enough for me.
   
    It was good enough for David to beat Goliath.
    It was good enough for David to beat Goliath.
    It was good enough for David to beat Goliath and it’s good enough for me.

    Now let’s all get together.
    Now let’s all get together.
    Now let’s all get together and have a jubilee.

    Now let’s sing, everybody!
    Clap your hands, everybody!
    Now let’s stand, everybody, and sing along with me:
    Gimme that old time religion!
    Gimme that old time religion!
    Gimme that old time religion!  It’s good enough for all.

The written ranges are: Tenor solo, F1-a2; (Alto solo, F1-eb2);  Soprano (divided), C1-a2; Alto (divided), b flat-d flat2; Tenor, F1-f2; Bass, Bb-C1. (3:09) #4

*ONE FOR THE LITTLE BITTY BABY (SATB, divided voices) Xmas jubilee song. This piece is done with a chorus and selected singers for the small, core group. As an example, the chorus may sing, "Children, go where I send thee!  How shall I send thee? I’m agonna sent you four by four," and the core singers reply, "four by four" as a quartet. The overall effect is striking and much appreciated by the audience. The music is simple but the coordination and ensemble effects are not too simple.  

The written ranges are: Soprano, C1-e2; Alto, a-c2; Tenor, E1-e2; Bass, G-C1. (2:53) #3

*HOLD MY HAND is available through Lawson-Gould music publishers (now Warner Brothers); its order number is 51396. This piece is a Negro spiritual that is practically unknown. Wallace De Pue arranged it in traditional harmony, but with an unusual twist; it may be sung as written and then a second time with a doubling of the tempo! The effect is smashing! The text is:

   Hold my hand.  Don’t let it go! 
    You can talk about me, just as much as you please. 
    I’m gonna talk about you on my bended knees.
    When I get to heaven, gonna be at ease. 
    Me and my Jesus, gonna be at ease.
    I’m gonna chatter with the Father and argue with the Son.
    I’m gonna tell Him ‘bout the world I just come from.

RED CLOUD’S PRAYER (SATB/recorder or flute-large drum-rattles) is based on a poem attributed to the famous Native American chief, Red Cloud.  The musical setting maintains the essence of the American Indian music culture.  The composer’s intention is to honor the great  tribes who set standards for integrity, courage, fairness, compassion and selflessness that underlines the character of America.  The text is:

   O Great Spirit, whole voice I hear in the wind, and whose breath gives life to all the world,
    O hear me!  I am small and weak.  I need your strength and wisdom. 
    Let me walk in beauty.  Let my eyes behold the red and purple sunset. 
    Make my hands respect the things you have made.  Make my ears sharp to hear your voice. 
   
    Make me wise, so that I can understand the lessons you have taught my people. 
    Let me learn the lessons you have hidden in every leaf and rock! 
    I need strength, not to be greater than my brother, but to fight my greatest enemy, myself! 
    Make me always ready to come to you with clean hands and straight eyes;
        so when life fades, as the fading sunset, my spirit will come to you without shame. 

 The written ranges are: Soprano, Eb1-g2; Alto, a flat-d flat2; Tenor, D1-g2; Bass Gb-Db1. (3:45) #3

    I remember the mountains I knew in the Fatherland.
    Scented pine trees were towering everywhere.
    They are still on my mind.
    There were snowcaps on lofty peaks, glist'ning on sunny days.
    In the wind was my Father's voice, calling me, in the clear mountain air.
    Yodelee. Yodelaeeyee who?  Yodeloh. Yodelee. Yodelaeeyee who? Yodel who?  Do you?  Many who?  
    Do you yodelaeeyeeoh?
    Years have gone bye me now.
    Still, in my mind I see all the friends I had, back in those good old days, harmonizing with me.

A COUNTRY-DANCE (SATB/Violin or two wind instruments such as flute and clarinet) is of English origin and is found in Musick’s Handmaiden, Part 1, 1678.  The violin part may be played by practically anyone who is able to play the instrument, inasmuch as it is composed mostly of open strings and major scales.  Instead of a violin, two wind instruments that possess the appropriate ranges could play the instrumental line.  "A Country-Dance" is designed to please an audience and to interest those who sing it.  The text is:

   Fiddler, play some country music.
    Try to keep it country style.
    Tune up the violin.
    Now let the songs begin.
    Make the people smile.
   
    Fiddler, keep the party dancing longer than a little while.
    All those who don’t know how seem to be dancing now!
    Good fiddling does beguile.
    Fiddledy-diddledy, come what may!

    Fiddledy-diddle, continue to play.
    Can it be wrong, having such fun the whole day long?
    Play the whole day; but you should know, we cannot pay.

The written ranges are: Soprano, D1-g2; Alto, b-d2; Tenor, D1-e2; Bass, G-b. (1:15) #2+
 

AMERICA (SATB/piano or 3 trumpets in Bb/2 horns in F/trombone/tuba) by Samuel A. Ward, music, and Katherine Lee Bates, poem, has been arranged by Wallace De Pue to stir the spirit of Americans as they listen.  This arrangement may be performed by SATB voices with piano accompaniment if practicality is an issue.   Any choir can sing this work because it has such reasonable vocal ranges.  The choral music is published with only the piano as an accompaniment; however, if brass instruments are used, a separate score for the conductor’s is available upon request.  The text is:

    O beautiful for spacious skies, for amber waves of grain,
    for purple mountain majesties above the fruited plain.
    America, America, God shed His grace on thee and crown thy good with brotherhood from sea to shining sea. 

    O beautiful for pilgrim feet whose stern impassioned stress a thoroughfare for  freedom beat across the wilderness.
    America, America, God mend thine every flaw. 
    Confirm thy soul in self-control, thy liberty in law.

    O beautiful for heroes proved in liberating strife  who more than self their country loved, and mercy more than life. 
    May God thy gold refine, till all success be nobleness and every gain divine.

    O beautiful for patriot dream that sees beyond the years.
    Thine alabaster cities gleam undimmed by human tears.
    America, America, God shed His grace on thee and crown thy good with brotherhood from sea to shining sea.

The written ranges are: Soprano, D1-f2; Alto, b-c2; Tenor, d-F1; Bass, G-C1 (3:45) #3

BLEST BE THE TIE THAT BINDS  (SATB/organ or piano and congregation) was commissioned by the Emanuel Lutheran Church in Lansing, Michigan for the retirement of the minister, Daniel Buske.  This hymn by John Fawcett (1782) and composer, Hans G. Nageli (1773-1836), was originally arranged by Lowell Mason (1845).  In 2002, it was given an arrangement by Wallace De Pue that would afford a practical and musical challenge for voices that are found in volunteer choirs of small churches.

The written ranges are: Soprano, C1-d2; Alto, g-Bb1; Tenor, D1-f2; Bass, A-b flat. #2

*CORONATION (SATB/organ, brass quintet) is excellent for Easter or for general use. This piece was commissioned by a Methodist church in Columbus, Ohio, and given its premiere by Dr. Lawrence Christopherson.   His volunteer choir and instrumentalists did an excellent performance because the music was suitable to their forces. The text is:

   All hail the power of Jesus’ name; let angels prostrate fall.  Bring forth the royal diadim and crown Him Lord of all.
    Ye chosen seed of Isreal’s race, ye ransomed from the fall, hail Him who saves you by His grace, and crown Him Lord of all.
    Tell every kindred, every tribe on this terrestrial ball.  To Him, all majesty ascribe, and crown Him Lord of all.
    O that with yonder sacred throng we at His feet may fall.  We’ll join the everlasting throng and crown Him Lord of all.

The written ranges are: Soprano solo, A1-a2; Soprano, C1-f2; Alto, C1-e flat2; Tenor, C1-f2; Bass, F-C1. (5:45) #3

EARTH HAS NO SORROW THAT HEAVEN CANNOT HEAL  (SATB) is a beautiful homophonic setting of a poem by an unknown Victorian poet.  This is appropriate for either concert or church use.

   Come, ye disconsolate, where'er ye languish. 
    Come, at God's altar, fervently kneel.  
    Here bring your wounded hearts.  Tell your anguish.  Earth has no sorrow, heaven cannot heal.
    Joy of the desolate, light of the straying; hope, when all others die fadeless and pure;
        now speaks the Comforter in God's name saying: "Earth has no sorrow, heaven cannot cure.
    Go, ask the infidel what book he brings us; what charm for aching hearts he can reveal, sweet as that heavenly promise hope                 sings us: Earth has no sorrow, heaven cannot heal. 

ODE TO JOY "Joyful, Joyful We Adore Thee" (SATB, Soprano obbligato,optional organ or piano and congregation singing), by Ludwig van Beethoven, has been arranged in such a manner as to "bring the house down" through its power and excitement.  The piece will require a good strong soprano for the descant.   The congregation has the opportunity to join with the choir for the climax of the piece.

The written ranges are: Soprano, G1-g2; Alto, C1-e2; Tenor, F1-f2; Bass, A-D1 (3:02) #3

Psalm 117 "YE WATCHERS AND YE HOLY ONES" (SSAATTB/organ or piano with optional congregation singing) is a piece adapted by Athelstan Riley (1906) from a tune, and harmonization of that tune, dating from 1623.  The arrangement by Wallace De Pue is intended for a choir that can afford the division of parts.  The congregation may be invited to participate in singing the final section of the piece.  The overall effect is dynamic and joyful.  The text by Isaac Watts is well known in religious circles.  The text is:

   Ye watchers and ye holy ones, bright seraphs, cherubim and thrones, raise the glad strain, Alleluia!
    Cry out, dominions, princedoms, powers, virtues, archangels, angels’ choirs, Alleluia! Alleluia!
    O higher than the cherubim, more glorious than the seraphim, loudly praise Him!  Alleluia!
    Most gracious, magnify the Lord!  Alleluia! 

    Respond, ye souls in endless rest, ye patriarchs and prophets blest.  Alleluia!
    O holy twelve, ye martyrs strong, all saints triumphant, raise the song!  Alleluia!
    From all that dwell below the skies, let the Creator’s praise arise!  Alleluia!
    The Redeemer’s name be sung through every land, in every tongue!  Alleluia!

*ALMIGHTY GOD, UNTO WHOM ALL HEARTS ARE OPEN (SATB/piano) is a peaceful composition that is polyphonic in texture. This work would be good to perform either in church or in concert. The piece is reminiscent of Renaissance music, however, with richer harmonies.  The tempo is open to free interpretation. The text is:

       Almighty God, unto whom all hearts are open, all desires known;
            almighty God, from whom no secrets are hid,
            cleanse the thoughts of our hearts by the inspiration of the Holy Spirit,
            that we may perfectly love Thee and worthily magnify Thy holy name through Jesus Christ, our Lord.  
        Amen.

JUST AS I AM (SATB, soprano or instrumental obbligato, organ or piano and optional congregation singing) was also commissioned by the Emanuel Lutheran Church in Lansing, Michigan.  Wallace De Pue arranged this hymn by Charlotte Elliott (1836) and composer, Wm. B. Bradbury (1849), to provide something to enable both the congregation and choir to honor their retiring minister.

The written ranges are: Soprano, D1-f#2; Alto, a-d2; Tenor, F#1-f#2; Bass, A-D1. #3-

LOVE DIVINE (SATB, soprano soloist, vocal or instrumental obbligato, organ or piano and optional congregation singing) was commissioned by Anne Doerfler and the St. Petri Lutheran Church in Toledo, Ohio.  The hymn is by Charles Wesley.  The hymn tune, by Hugh Prichard, is often placed in counterpoint with familiar Christmas carol melodies that are played by the organ or piano; therefore, the piece may be done during the Christmas season.

The written ranges are: Soprano soloist, D1-e2; Soprano, D1-f2; Alto, a-d2; Tenor, C1-f2; and Bass, A-C1. #3

CANONS FOUR (CHRISTMAS)  is a set of four canons that appear in order if all are to be performed.  Each canon may be performed independently of the others, depending on what is needed for proper programming:

    1.  AN OLD-FASHIONED CHRISTMAS (two voices, violin, optional cider jug & washboard) is a canon between two voices that may be accompanied by a fiddler who can play "Turkey in the Straw"; however, nearly any treble instrument may be used. It is a secular piece to fit between sacred pieces for the sake of variety.  The text is:
 
   We'll have an old-fashioned country kind of Christmas.  
    We'll get some visitin' from lots of folks who've missed us. 
    We'll tell the Hatfields and McCoys to bring each other's children toys,
        then we'll play guitars and fiddles like a bunch of good old boys.
    We'll have some turkey and dumplins for our vittles. 
    There'll be a lot of good stuff cookin' in our kittles. 
    We'll dress the Christmas tree up right, and join in singin' "Silent Night,"
        then we'll sit around the fireplace watchin' yule logs give off light.

The vocal ranges are: voice 1, C1-e2; voice 2, c-E1. (2:00) #2

    2.  THE LITTLE KING is a simple retelling of the Christmas story set in a multi-verse canon.  Contrast between the mood of the verses will help to determine musical interpretation.  The text is:

    Hey, little king, where is your crown?  Are your royal subjects out of town?
    Is your manger the throne of Bethlehem? Hey, little king, smile on me with your power.
    Hey, little king, at twelve years old, you will preach God’s commandments to your fold.  
    You will be the king of Galilee. Hey, little king, smile on me with your power.

    Hey, little king, on the cross you’ll die as the soldiers are laughing while you cry. 
    You will be the king of Golgatha. If only they knew, they would stand in awe of your power.
    Hey, little king, you’ll rise again, and you’ll be the king who’ll judge our sin. 
    We’ll be on our knees when we meet our end. Hey, little king,  Hey, little king, smile on me, I’m your friend.

This piece is good to use in church and charming to present in concert. (1:20) #1

    3.  WIND SONGS (double chorus: Voices 1-2-3 only, or with Voices A-B-C). The choir director may arrange this Christmas canon in a variety of ways. It may be performed upside-down in its original form.  The text is:

    In December, cold winds, sounding much like voices, say "Christ is coming soon." Merry Christmas!

The voice range is: C1-f2. (0:30, minimum) #3

    4.  I THINK IT’S CHRISTMAS (SATB four-part canon) is one a single page, but it contains a contrary canon, two perpetual canons, a cancrizan and a triple canon!  In other words, it is open to numerous different arrangements and can take as much time to sing as is desired for a program offering.  The tempo is "vivace" in 7/8 meter.  The soprano part is a "round."  The alto part is the soprano part, upside down.  The tenor is a "cancrizan" if performed with the Alto.  Regardless of the analysis, this "contemporary" piece of music is an audience delight.  The text is:

   Snowballs flying through the air; time for heavy underwear; red and green are everywhere; I think it’s Christmas!
    And even though there’s little time to spare, there’s a feeling people care; folks are trying hard to share;  I think it’s Christmas!
    All little children find it hard to bear, waiting for a day so rare.  Once a year is hardly fair to think of Christmas. 
    Christmas is coming and all people are waiting for it love for all nations.

The written ranges are: Soprano, D1-f2; Alto, D1-c2; Tenor Eb1-f2; Bass, A flat-C1.(0:45, minimum) #3-
 
GLORY TO GOD IN THE HIGHEST (SATB) is a short, exciting piece that is truly excellent for use as an opening number on a choral program.  It is a rhythmic piece in contemporary tertian harmony.  The piece was taken on a European tour by a fine university choir and was received by audiences with extraordinary enthusiasm. The text is:

   Glory to God, in the highest, and on Earth, peace and goodwill to all men.
    We bless Thee.  We worship Thee.  We glorify Thee, Lord, God, Heaavenly King, Father Almighty.
    Glory to God, and on Earth, peace, good will to men.  Amen.

 The written ranges are: Soprano, F1-a2; Alto, D1-c2; Tenor, G1-e2; Bass, A-C#1. (0:45) #3

HARRY WUZANELF (SATB/piano) is a Christmas song about Santa’s newest elf, Harry, who is taller than a horse and weighs more than half a ton!   It follows the tradition of story songs such as "Rudolph, the Red-nosed Reindeer" and "Frosty, the Snowman."  It is a piece that makes an audience laugh.  The text is:

   There once was a man named Harry Wuzanelf, and Harry was an elf in spite of himself. 
    He was taller than a horse, weighed more than half a ton, and liked to play his flute when his work was done. 
        Oh, Harryaryaryaryaryaryary was an elf.  Toodleloodleloodleloodleloodleloodleloodleoo.

     For all of his life, old Harry was the same; he shared with the poor and cared for the lame. 
     He was ever making toys for all the girls and boys and liked to play his horn with skill and poise. 
        Oh, Harryaryaryaryaryaryary had a horn.  Hornornnornnornnornnornnornnornnorn.
    
    When Harry got old and said that he would die, a lot of the children were wondering why
        that a jolly old Saint Nick would ever let him go, 'cause Harry was a trumpet playing elf, you know. 
        Oh, Harryaryaryaryaryaryary was an elf. Trumpitytumpitytumpitytumpitytum.
    
    When Santa Claus was finally advised of Harry Wuzanelf, he was surprised,
        so quicker than a wink, he flew to Harry's place and took along a tuba to play some Bass with
        Harryaryaryaryaryaryarywuzanelf.  Tubadubadubadubadu.

     Old Santa said, "You're perfect, I am sure.  No one can play with more allure. 
        You are always full of love much bigger than yourself, so come along with me, Sir Harry Isanelf." 
        Sir Harryaryaryaryaryaryary is an elf. 

The written vocal ranges are: Soprano: D1-g2; Alto: a-c2; Tenor: D1-g2. (2:20) #2+

HOW DO I KNOW THAT IT'S CHRISTMAS WHEN IT COMES? SATB/Piano) is a piece in binary form, that is, a peppy section followed by a legato section.  It is composed by creating a contrary canon at the fourth and basing it on a cancrizan, that is, the melody played against the reverse version of itself.  The music is fresh and bouncy and the melodies are likely to remain in the minds of those who sing it as well as those who listen to it.

   How do I know, by the lights strung on the porches?
    How do I know, by the sidewalks lined with torches?
    How do I know, by the sound of fifes and drums?
    How do I know "‘tis the season," when the wind blows?
    How do I know, by the carolers sing-ing?
    How doI know, by the sleigh-bells ringing?
    How do I know, by the carolers singing?
    How do I know that it's Christmas when it comes?

    While all these things are nice, 
    I’ve thought them over twice,
    so I’m prepared to of-fer everyone some good advice.

    You know  when Christmas comes that it is warm, 
        no mat-ter if ice and snow are on the roof-tops.
        and you know when Christmas comes, because there's joy in the air,
        and random acts of kindness seem to wipe away some tear drops.

    These things the season brings, makes one know it's Christmas.

The written ranges are: Soprano, F#1-f2; Alto, b-c2; Tenor, C1-e2, Bass, G-a. (2:00) #3

*CHRISTMAS PROCESSIONAL CANON, A: (any combination of six voices with an SATB coda) was written for approaching a concert stage while singing. Any hand-held instruments may be used while walking to the stage. The music is designed to cause voices to transfer octaves for the sake of respective ranges. The rhythmic effect of the technique is fascinating.  The text is:

    'Twas once upon a Christmas night like this, when the son of God came down to Earth,
    to dwell among us all, as a common man, and     give us a second birth. 

    May we, through lives of harmony, enrapture those who've never learned to recognize Him "King of All Mankind,"
    until He has returned. 

*STAR CAROL, THE (SATB/optional piano) is published by Warner Brothers Publications; its order number is SV9228.  This Neapolitan carol was arranged by Wallace De Pue to provide a quiet, lovely piece about the Christmas Star.  Most of the bass part is an ostinato.  The text is:

   Twas on a night like this, a little babe was born. 
    The shepherds gathered round to guard him ‘til the dawn. 
    Above them shone a star of wondrous light. 
    No one had ever known a star to shine so bright, shining so lovingly, shining so brightly, guiding their footsteps from afar. 
    The star led them through the dark of night to a path of love and brotherhood by following its light.

  The written ranges are: Soprano, G1-f2; Alto, b-B1; Tenor, D1-e2; Bass, A-C1. (2:38) #2

*TOY CAN(N)ON, THE (SATB) may be the only piece of music in the literature that possesses a single melody to create a double canon, a contrary canon, a spiral canon, a canon in augmentation, a cancrizan, an enigma and a perpetual canon.  All of these types of canons are in this piece for SATB. This piece is published by Warner Brothers Publications; the order number is OCT 02577.  The text is:

    Merry Christmas!  Happy New Year!  May your troubles vanish in a puff of smoke.
    Go boom!  Go boom, toy cannon!  Go boom, boom, boom!
    If at Christmas, I’m not happy, I would like to vanish in a puff of smoke.
    Go boom!  Sound like volleys of cannon fire, like thunder, to say Merry Christmas to all mankind!

The written ranges are: Soprano, E1-f2; Alto, a-e2; Tenor, C#1-f2; Bass, A-D1. (2:12) #4

BURGUNDIAN CAROL, THE (SATB/optional piano) is published by Moon of Hope, Galesburg, Ill., 61401; the order number is BC 006 002. This arrangement of a traditional carol by Wallace De Pue is a retelling of the events that occurred when Christ was born in the manger.  The mystery is extant in the choral setting.  The text is:

   The world was sinful and forlorn, until the night when Christ was born.
    A radiant star was shining down upon a king without a crown.
    Wise men and shepherds came one-by-one to kneel before God’s only son.
    Frankincense, gold, and precious things were laid before the king of kings.
    The donkeys, oxen, and the sheep kept still to let the baby sleep. 
    Dear Mary crooned a lullaby while Joseph stood on guard nearby.

    The shepherds coming from the field, had nothing precious they could yield,
        just colored stones and flutes of reed, but nothing that a king might need.
    Wisemen and shepherds came one-by-one to kneel before God’s only son.
    Frankincense, gold, and myrrh volutes were cast aside for stones and flutes!

The written ranges are: Soprano, C1-d2; Alto, g-A1; Tenor, D1-f2; Bass, F-g. #2

TRUE, IS IT REALLY TRUE? (SATB) is published by Lawson-Gould Publishers of New York, now the property of Warner Brothers Publications. It may be ordered by title. The baseline of the piece is a descending continuous scale throughout the piece to imply the never-ending story of the birth of Christ. #2

*MANGER SCENE, THE (SATB-brief solos for soprano and baritone voices) is a setting of what went on in the manger on the night when Christ was born.  The music is in traditional harmony that supports flowing melodic lines.  This work has been toured all over the nation by at least two fine college choirs.  "The Manger Scene" should be placed between two fast pieces on a choral program.  The text is:

   Lo, in a humble manger, clothed in the raiment of the poor, lies the Son of Man!
    Fearing no sudden danger, welcoming strangers to their door are the parents of the Son of Man.
    Angels  are watching over the manger; kings are bestowing gifts with care.
    Wise men are kneeling close to the cradle. Only the shepherds' hands are bare.

    Quietly, now the child awakens, viewing His subjects gathered there.
    How silently, now, He smiles at the shepherds; though they are poor, they still have a gift to share. 
    What is their gift, so precious? 
    What is the glorious gift they bring to the Son of Man? 
    They bring a wondrous gift of love to the Son of Man. 
    Surely the child is gracious; love is the perfect gift to bring to the Son of Man, the Son of Man.  

The written ranges are: Soprano solo, c2-b flat2; Baritone solo, e flat-Eb1; Soprano, D1-e flat2; Alto, a-c flat2; Tenor, F1-g2; Bass, F-b flat. (2:50) #3-

CHRISTMAS CARD, A (SATB/organ or piano) was commissioned by Dr. Joseph Henry and the Peoria Civic Choral, Peoria, Illinois.   This anthem is reminiscent of a popular music style similar to "The Christmas Song" which begins with the line, "Chestnuts roasting on an open fire…" Although the piece seems innocent and straightforward, it is a study in counterpoint.  The lines are all quite melodic, so the quiet, relaxed atmosphere the song creates is appreciated by any audience.  The text is:

    When it's Christmas time, love is in the air again, so we think of you, as we always do.  
    Then we make this prayer, 'Let it last forever, while it's Christmas time.’
    There is peace on Earth, again.  Let it be secure.  May it long endure.
    Join us in this prayer. 'Let it last forever.'  The world is joyful now, while it's  Christmas time. 

    When the church bells ring, there's a chance that you'll remember how people used to sing all the yuletide carols.     
    Sitting side-by-side, they would take a sleigh ride; they would sing beneath "His star," while it was Christmas time.
    Merry Christmas, one and all!

The written ranges are: Soprano, D1-e2; Alto, a-c2; Tenor, D1-g2; Bass, G-C1. (3:20-6:25, with repeat) #3-
 
WOULDN’T YOU LIKE TO GO TO CHRISTMAS TOWN? (three voices - one tenor or bass - hand-claps, finger snaps and piano) is a sparkling treat that is based on a perpetual canon.  As an opener to a Jr. High School Christmas concert, it is exceptional.  This piece was composed with the cambiata voice in mind.  The text is:

    Tommy sat down to study a map. He was holding an Atlas in his lap.
    He couldn't decide where he'd like to go.  He thought his mother would know.  
    She was in the kitchen,  making apple pie.  When Tommy asked his question, she wondered why!
    She thought for a moment, then made her reply with a definite twinkle in her eye.
   
    "Wouldn't you like to go to Christmas Town?  Wouldn't you like to track old Santa down? 
    Wouldn't you like to be where toys abound for play, the whole year 'round? 
    Wouldn't you like to pack your bags and go?  Wouldn't you like to live in ice and snow?
    Wouldn't you like to see your loved ones, though, when howling winds may blow? 
    Wouldn't you like to be at home, anyway?  Wouldn't you like to join your friends and play? 
    Wouldn't you like to see your folks perceive the beauty of Christmas Eve? 
    Wouldn't you like to go to church Christmas Morn? 
    Wouldn't you like to know why Christ was born?  Do you know?
    Wouldn't you like to know?  Wouldn't you?

  The vocal ranges are: Voice 1, D1-f2; Voice 2, b flat-c2; Voice 3, e flat-Eb1. (2:00) #2+

CAROLING BELLS (SSAA) is a slow "chiming" piece that can afford some color to a choral program.  It is excellent for children’s voices.  A good women’s choir can also make this piece very beautiful.  "Caroling Bells" is a composition that will linger in the minds of both singers and  listeners.  There is an optional piano part. The text is:

   If you listen well, there's a way you can tell when Christmas is coming. 
    Steeple bells sing a carol so clear in the air.
    God sends His love to us and all mankind, through His only son.  
   
    "Now Christ is here," they carol.  "Now Christ is born."

The vocal ranges are: Soprano 1, D1-g2; Soprano 2, D1-e2; Alto 1, C1-c2; Alto 2, a-c2.  (1:50) #2
 
ONE LITTLE LIGHT: (SA children’s voices – SATB humming chorus or appropriate instruments, including piano) is a quiet, lovely selection, the kind that touches a program with great beauty when adult and children’s voices combine.  In lieu of SATB voices, appropriate instruments, including the piano, may be used.  In the Holy Bible, Proverbs 16-9, says: "A man’s heart deviseth his way; but the Lord directeth his steps."  The verse was on the composer’s mind during the creation of this piece, therefore, the Bass descends in continuous steps throughout the piece…as directed.  The text is:

    One little light at Christmas, created long ago,
       lifted the world from darkness, and laid the devil low.
    One little light just seemed to ignite and set all the world aglow!
    Anyone on Earth at Christmas will know.

    One little light at Christmas, transfigured you and me,
       lighting the way to lifetime that lasts eternally.
    One little light is shinning so bright that even the blind can see
       what a little light at Christmas can be.
   
    Let the message of the Christmas Spirit set you free. 
    Be one little light!

The written ranges are: Child Soprano, C1-e flat2; Child Alto, C1-c2; Soprano (div) C1-c2; Alto, a-A1; Tenor, F1-f2; Bass, d-D1. (1:35) #2

WHAT DO I MEAN WHEN I JINGLE?:  (seven treble voices) is a seven-voice "orchestral" canon.  The singers imitate orchestral instruments while they sing the song.  The text is:

   When I go toodle-oodle-oodle, a clarinet sings a-long.  When I go rah-tk-a-ty-tah, a trumpeter plays his song.
    When I go "Boom, boom, boom," you think of a drum, a dum-a-dum. 
    When I go plink-a-ta-plank-a-plink-a-plank-a-plink, it’s a banjo strum.
    Now tell me what do I mean when I jingle?  Just think a little; horses even know! 
    Hung on a sleigh, they sparkle.  Hear them as you go! 

The vocal range is C 1-d2 (2:00) #2

WHEN I THINK OF CHRISTMAS (one to three treble voices, a cappella) is solo or a two-voice canon with an optional third part.  It has a moderate tempo and beautiful melodic lines.  The text may be interpreted as either an expression of love between two people, or as a song that one might sing to the Christ Child.   Various arrangements may be made by the choral director that can make this one-page score last as long as desired (1:12 minimus duration).  The text is:

    When I think of Christmas, I don't think of Santa Clause and reindeer.  I don't think of evergreens and ivy.
        I just think of you.  You're my joy at Christmas.  You're my Spirit of Christmas.  You're my star!

    When I think of Christmas, I don't think of carolers and music.  I don't think of op'ning all the presents. 
        I just think of you.  You're my joy at Christmas.  You're my Spirit of Christmas.  You're my star!

    When I think of Christmas, I don't think of Yule logs in the fireplace.  I don't think of mistletoe and holly. 
        I just think of you, 'cause you're my joy at Christmas.  You're my Spirit of Christmas.

    You're my joy at Christmas time, my Spirit of Christmas.  You're my shining Christmas star!

The vocal ranges are identical to the a cappella version: Voice one, E1-g2; Voice two, optional, D1-c2; Voice three, optional, g-G1. A longer version of this piece has a piano accompaniment and a duration of (2:05) #2-

WOOF! (from two to four treble voices) is in a set of three single page canons .  The text tells the story of a child’s dog who dared to bark at Santa Claus.  The piece may be as long or as short as one desires and may be made into several different arrangements.  "Woof!" is excellent for either women’s chorus or children’s chorus.  It is totally secular and designed to inspire lots of laughter. The text is:

   Should Santa Claus light on my roof, my dog will growl and woof, woof, woof!  
    Then all the reindeer Santa has may vanish in a poof!
    Would Santa’s reindeer run away or dare to raise a hoof?  
    Well, all I know is dogs that bark at Santa really goof!

    Bad dog!  Bad dog!  You must not bark at Santa.

    Should Santa Claus light on my roof,
        and should my dog go "woof, woof, woof,"
        and should the reindeer run away and vanish in a poof,
        my dog will never bark again and never bare a toof.  
    If you should ask, "Is Santa real?" 
        my dog will know the troof.

 The vocal range is: C1-e2 with optional notes. 2+
 
WOOF! (four voices in any combination) is a humorous four-part a cappella Christmas piece about a child who is waiting for Santa Claus but is afraid that his dog will bark and scare Santa's reindeer away. The piece is canonic and contains a canon within a canon. "Woof!" is excellent for a women’s voices, children’s voices or mixed voices in any combination. The singers should perform "Woof!" with the attitude of the six-year-old child, whose front teeth are missing, who is telling the story with that slight handicap.

The text is:

Should Santa Claus light on my roof,
  my dog will growl and woof, woof, woof!
  then all the reindeer Santa has may vanish in a poof!

Would Santa’s reindeer run away or dare to raise a hoof?
Well, all I know is dogs that bark at Santa really goof!

Bad dog!  Bad dog!  You must not bark at Santa.
Should Santa Claus light on my roof,
  and should my dog go "woof, woof, woof,"
  and should the reindeer run away and vanish in a poof,
  my dog will never bark again and never bare a toof.

If you should ask, "Is Santa real?"  my dog will know the troof.

The vocal range is: C1-e2 with optional notes. (2:18) 2+

WINTER ROSE, THE (SATB, optional piano or organ) The mood of the piece is soft and melodic, just right for Christmas Eve. The text is a conversation between two people:

    "In December, Christmas comes, and mankind remembers love again.  Warmth and friendship flowers and grows like a lovely winter rose."
   
    "Winter rose, you say!  Can that be?  Is there such a thing in this word of ours?" 

    "Such a rose was grown for me, long ago in Galilee.  When the Rose was born, there were thorns that would not outlast the lovely flower. 
    From the cross, the petals fell that would give us loves great power." 

    "Will the Rose appear, once again?  Will it thrive on Earth where man’s heart is cold?" 

    "It will bloom as is foretold in the prophecy of old. In December, Christmas comes, and mankind remembers love again. 
    Warmth and friendship flowers and grows, like the lovely Winter Rose."

The written ranges are: Soprano, D1-e2; Alto, b-c2; Tenor, G#1-f2; Bass, G-b. #2+

I THINK IT’S CHRISTMAS (SATB four-part canon) is one a single page, but it contains a contrary canon, two perpetual canons, a cancrizan and a triple canon!  In other words, it is open to numerous different arrangements and can take as much time to sing as is desired for a program offering.  The tempo is "vivace" in 7/8 meter.  The soprano part is a "round."  The alto part is the soprano part, upside down.  The tenor is a "cancrizan" if performed with the alto.  Regardless of the analysis, this "contemporary" piece of music is an audience delight.  The text is:

   Snowballs flying through the air; time for heavy underwear;
        red and green are everywhere; I think it’s Christmas!

    And even though there’s little time to spare,
        there’s a feeling people care;
        folks are trying hard to share; I think it’s Christmas!

    All little children find it hard to bear,
        waiting for a day so rare. 
    Once a year is hardly fair to think of Christmas. 

    Christmas is coming and all people are waiting for it love for all nations.

The voical ranges are: Soprano, D1-f2; Alto, D1-c2; Tenor, Eb1-f2; and Bass, Ab-C1. (0:45, minimum) #3-

CHRISTMAS EVE: was premiered by Joseph Henry and the Peoria Area Civic Choir of Peoria, Illinois.  He used the piece as a highly effective processional in unison, with the choristers carrying percussion instruments.  Once the choir was on stage, the piece was sung in parts as an anthem.  He followed what was called for in the score and created a splendid opening for his annual Christmas concert. The text is:

    Long ago on Christmas Eve, bells in Heaven rang. 
    When the world could hear their sound, hearts of all men sang, "Alleluia!  Gloria!"

    Long ago on Christmas Eve, shepherds saw a light;
        then an angel told them all, Christ would come that night.  Alleluia!  Gloria!

    Wise men came from miles away, just to see a little lad
        who would be the greatest king mankind ever had.  Alleluia!  Gloria!

    Just as men of old had said, there the baby Jesus lay,
    cradled in his mother’s arms, resting on the hay." Alleluia!  Gloria!

    Many years have come and gone since that Christmas Eve. 
    Someday, Christ will come again, Christians must believe." Alleluia!  Gloria! 

The written ranges are: Soprano, C1-a2; Alto, a-flat-d2; Tenor, c-F#1; Bass, G-D1.  (2:45) #2+

*ONE FOR THE LITTLE BITTY BABY (SATB divided & 12 selected voices) is a Xmas jubilee song done with a chorus and selected singers for the small, core group.  As an example, the chorus may sing, "Children, go where I send thee!  I’m agonna sent you four-by-four," and the core singers reply, "four-by-four" as a quartet, "five-by-five" as a quintet, etc.  The overall effect is striking and much appreciated by the audience.  The music is simple but the coordination and ensemble effects are challenging. 

The written ranges are: Soprano, C1-e2; Alto, a-c2; Tenor, E1-e2; Bass, G-C1. (2:30) #3

CHRISTMAS FOR THE LIVING LORD: (SATB-piano optional) is a gentle, lovely story about the birth of Christ. The music will enable a typical volunteer choir to play an important role in a Christmas or Christmas Eve worship service.
    Once to a manger came a little stranger, new to a world of sorrow. 
    Wise men attending, knew the never ending hope He would bring the morrow. 
    All sang, "Hosanna! The Prince of Peace is with us."  All sang, "Hosanna!" to Jesus Christ, the Lord. 
    Still, to this day, the faithful kneel and pray to God, for His love and kindness. 
    By sending His son, a victory was won o’er death and eternal blindness.

Written ranges are conservative: Sop, E1-f2; Alto, E1-B1; Tenor, A1-e2; and Bass, A-b. #2+

WHEN CHRISTMAS COMES TOO EARLY (Children’s voices, flute, Bb clarinet or appropriate substitutes)  This piece would be an excellent vehicle for children's to sing during the holiday season; the piece could also be sung as a treble voice solo. The lyrics might make people think about starting Christmas months in advance.  An effective tempo would be andantino. The text has a "different" message than the text of most Christmas pieces:

   When Christmas comes too early, then what do angels sing? 
    What happens to their story about a new born king?
    If presents have no meaning, what pleasure do they bring? 
    When Christmas comes too early, no silver bells will ring.
    When Christmas comes too early, the wise men go astray! 
    Their star cannot be shining, except near Christmas day.
    If Christmas were a person, I'll wager s/he would say:
    "When Christmas comes too early, its meaning fades away."

The voice range is C1-d2.  The first instrument range is D1-g2.  The second instrument range is d-A1.  Although a flute and Bb clarinet are suggested in the score, any instruments capable of playing the music may be used.  #2

BIRTHDAY PARTY, THE (unison children’s voices & piano) may be sung as a solo for a treble voice.  The text is quite contemporary among pieces written for the Christmas season:

    This is God; you’re invited to a party. 
    Come, one and all, for the good times will be hearty. 
    Leave your Santa Claus at home with your evergreens and lights. 
    They have nothing to do with the holiest of nights. 
    It’s the birthday of my son. 
    There is much that must be done.

    Bring along an orphan from the city,
        or from a neighborhood where it isn't very pretty,
        or from a corner where there’s crime
        and where no one has a dime. 
    Bring your spirit and smile,
        and be sure to be on time for the birthday of my son. 
    Merry Christmas, everyone!

The vocal range is Eb1—e-flat 2. (1:30) #1

SOLI DEO GLORIA (SATB, divided sopranos) is a composition for the artist choir to perform.  Either in concert or in church, for general, Christmas or Easter use, this work has an astounding effect.  The texture is polyphonic; the musical language is contemporary; and the rhythm is asymmetric.  R. D. Mathey’s Bowling Green State University Collegiate Chorale performed this work all over the nation and rave reviews appeared in many newspapers.  The text is simply "Soli Deo Gloria." 

The written ranges are: Soprano, D1-b2; Alto, g-c#2; Tenor, F#1-f#2; Bass, B-C#1. (2:20) #5

YOU NAUGHTY, NAUGHTY MEN, from the first American musical, The Black Thief (two treble voices with piano, or optional instruments: flute, Bb trumpet, snare and Tenor drums) Because of the historical significance of music from the first American musical, this charming piece arranged by Wallace De Pue can be of great interest to both singers and listeners.  The text is:

   I will never more deceive you, or of happiness bereave you, but I’ll die a maid to grieve you.
    Oh, you naughty, naughty men!
    You may talk of love and sighing, say for us, you[‘re nearly dying,
    All the while, you know you’re trying to deceive.
    You naughty men!

    You pretend that you are courting, but you men are all consorting.
    Do you know you are distorting what a romance really means?
    You may talk of love and sighing, say for us, you[‘re nearly dying,
    All the while, you know you’re trying to deceive.
    You naughty men!

The vocal ranges are: Voice 1, D1-e2; Voice 2, a-A1. #2  

*TO AMERICA FROM HER FATHERS (two treble voices/piano) is a patriotic work whose text is written to America by the composer, much as a father would write to his child.  The acrostic poem is:

   America, may you stay young as ages come and go.
    May God be always on your side to help you as you grow.
    Equality is meant for man; so honor God's desire!
    Reach up and hold aloft the lamp of liberty's pure fire!
    Imagine, as your fathers did, what wonders are in store!
    Convince the world that love and peace can reign for evermore!
    A song of hope must still be sung for those involved in war.
    Compassion for the common man has made your image great.
    In countless thousands, common men have entered through your gate.
    Remember what their colors were: black, yellow, brown and white.
    Embrace all men, for every one is vital to your might.
    May no one think that liberty, alone, caused you to be.
    A poet's line expressed the truth: "God shed His light on Thee."

The vocal range is D1-d2; therefore, the piece may be done by any combination of voices, as a unison anthem or even as a solo with piano accompaniment..(4:25) #2+

MARCH OF LIFE, THE (two treble voices, piano, percussion: crash cymbals, triangle, finger cymbals, small and large drums) This piece may be sung by both changed and unchanged voices.  It may also be done by male, female or mixed groups.  The text is:

   March along.
    Sing a song.
    Wonderful things are in a lifetime.
    First, we're young; then we're old!
    What's in between is not foretold.

    Every soul has a goal.
    Shall we all strive for fame and glory?
    Time is lost; that's the cost.
    Who, in the end, will tell our story?
    Moments fly!
    Life goes bye.
    Short is our time to raise a family.
    Children grow; then they go!
    What lies ahead, we never know.

    March along.
    Sing your song.
    What is more precious than your lifetime?
    First, we live; then we die.
    There is a reason why.
    We’re under our Creator’s watchful eye.

When used as a processional, percussion is to be carried and tempo variations are to be ignored.
The range of each voice is from C1 to Eb2. #2

MR. RABBIT (SSA) is handled by Colla Voce Music, Inc. , 4600 Sunset Ave., #83, Indianapolis, IN 46208. The order number is 55-26200.  Contact  collavoce.com .  This piece is an African-American folksong arrangement about an encounter between a rabbit and a man who has never seen such an animal. The humorous dialogue between them is delightful to an audience.  The text is:

    Mister Rabbit, your tail is mighty white.
    "Bless my soul, better keep it out of sight!  Every little eye is gonna shine!
    Mister Rabbit, your coat is mighty grey.
    "Bless my soul, better move it on its way!  Every little eye is gonna shine!

    Mister Rabbit, your ears are mighty long.
    "Bless my soul, better take ‘em and be gone!  Every little eye is gonna shine!
    Mister Rabbit, your paws are mighty wide.
    "Bless my soul, better find a place to hide!  Every little eye is gonna shine along!

The written vocal ranges are: Soprano, 1: C#1-g2; Soprano 2, D1-c2; Alto, g-B1.  (1:30) #3
 
 THREE BIBLICAL PSALMS  (canons):
143, "Hear my prayer, O Lord!  Give ear to my supplications.  In Thy faithfulness, answer me.  And in Thy righteousness, Lord, hear my prayer,"  is for general use by any vocal combination of three parts.  The vocal range is: a-d2.  (1:50 to 2:22, with repeat.)

146, "Praise ye the Lord, O my soul! While I live will I praise the Lord. I will sing reverent praise unto my God.  Thanks be to the Lord, our God!"  is in three voices and for general use or for Thanksgiving.  The vocal range is: C1-e2.  (0:58)

149, "Sing unto the Lord a new song, and His praise in the congregation of saints!  Alleluia!"  is in three voices and is an excellent canon for All Saints Day. All three settings of these psalms are a cappella and written in consonant counterpoint. The vocal range is: C1-f2. (0:37) #1

*ECCLESIASTES 12: (SSAA) is a major work in two segments.  It is Twenty-first Century music.  The first segment of the piece is sung in King James English by two voices while the other two voices translate the text into modern English.  Only the second segment has been premiered and recorded.  There are striking choral effects that seem to involve great difficulty; in actuality, such events are simple.  The rating of five is given because the piece is so contemporary in nature that students may be quite challenged at first.

    "Remember now thy Creator"

    Remember now thy Creator in the days of thy youth while life is a joy, while the evil days come not, nor the years draw nigh when thou shalt say: "I have no pleasure in them!" while life is good, while the sun or the light of the moon or the stars be not darkened, nor the clouds return after the rain, while life is worth living.

    Remember now thy Creator in the days of thy youth, in the days when the keepers of the house shall tremble (Your arms shall have no power), and the strong men shall tremble and bow themselves (Your legs shall fail), and the grinders shall cease because they are few (Your teeth shall be gone), and those that look out of the windows be darkened (Your precious sight is lost).

    Remember now thy Creator in the days of thy youth, when the doors shall be shut in the streets, when the sound of the grinding is low, when the sound of the mill is low  (Your hearing shall become impaired).  And ye shall rise up at the voice of the bird in the early morning (You shall rise up in the early morning light).  All the daughters of music shall be brought low (You shall be unable to hear a sweet sound).

    Remember now thy Creator in the days of thy youth, also, when men shall be fearful of that which is high (You shall be afraid of high places), and fear the way (They shall even fear to walk), and the almond tree shall flourish and flower (Your hair shall turn as white as snow), the greasshopper shall be a burden (The strength you once enjoyed is but a memory).  All desire shall fail because man goeth to his long home in heaven.  And the mourners will go about in the streets.

    Remember now thy Creator in the days of thy youth, or ever the silver cord be loosed or the golden bowl be broken at the fountain, or the wheel be broken at the cistern (Life is but oil and water spread over time.)  Then shall dust return to earth as it was, and the spirit shall turn unto God who made it.

The written ranges are: Soprano 1, D1-a2; Soprano 2, C1-f2; Alto 1, g#-e flat2; Alto 2, g-c2. (4:45) #5

    "Vanity of Vanities"

    "Vanity of Vanities" comes from the second half of Ecclesiastes 12 of the Holy Bible. "Remember thou thy Creator,"  is of a streamlined contrapuntal nature while "Vanity" is an avant garde idiom.  Both pieces share a percussion accompaniment as well as a related text; so there is a strong enough element of unity to allow them to be performed in different places on the same program, or one after the other without pause.
    The purpose intended by the composer is not so much to impart the familiar text, but more to portray the frustration of lifetime pursuits through jumbling rhythms and musical lines.  There are four primary melodic lines, each bearing a share of the text and each added to the next as the piece unfolds.  The text is as follows:

   "Vanity of vanities," saith the preacher!
    And moreover, because the preacher was wise,
    he still taught the people knowledge.
    He sought out, and set in order many proverbs.
    The preacher sought to find out acceptable words
    and that which was written was upright,
    even the words of truth.

    The words of the wise are as goads
    and as nails fastened by the masters of assemblies.
    They are given from one shepherd.
    My son, be admonished, of making many books there is no end;
    and much study is weariness of the flesh.
    Vanity of vanities, all is vanity.

    Let us hear the conclusion of the whole matter:
    Fear God and keep His commandments!
    God shall bring every work into judgment with every secret thing,
    whether it be good or whether it be evil.
    All...is vanity.

The written ranges are: Sopranos 1, D1-a2;  Altos, g#-d2.  (3:49) #5

SPINNING SONG, THE (SSAA--3 interior piano percussionists--pianist) was published by J. Fischer & Bro. (Warner Brothers) after winning a prize in a contest for choral composition.  The call number is FEC 10137.  The contrast this piece can afford to a monochrome treble vocal concert is a pleasure to behold. The text is:

   Mother, I cannot mend my wheel.  My fingers ache.  My lips are dry.  
    Oh, if you knew the pain I feel, but ah, who ever felt as I?
    Never could I doubt him true.  All other men might show deceit.
    He always said my eyes were blue and always swore my lips were sweet.

The vocal ranges are: Sopranos, D1-a2; Altos, g-e2. (3:30) #4

LA DONA É MOBILE (SSAA &  Tenor soloist) is an arrangement in barbershop harmony of the great opera aria by Giuseppe Verdi.  It provides wonderful contrast to a program of treble voices.  When it is performed with staging, as if it were part of an actual opera, the audience enjoys a change of pace from music coming only from the choir risers.  This piece is scored in Sweet Adeline notation style. 

Written ranges are: Tenor, b flat-f2; Lead, b flat-c2; Baritone, b flat-Ab1; Bass, g-F1 (3:00) #3

MOCKING BIRD, THE (SSAA voices and "selected voices) Richard Milburn (1855) composed this piece, but most people believe it is a folksong.  A country fiddler may be used instead of selected voices.  "The Mocking Bird" has had many performances and has been enjoyed by listeners all over America. The text is:

   I am dreaming now of Hally, and the thought of her is one that never dies. 
    Listen to the mocking bird!  Listen to the mocking bird! 
    Oh, the mocking bird is singing o'er her grave. 
    Listen to the mocking bird!  Listen to the mocking bird! 
    He is singing where the weeping willows wave. 
    
    'Twas in the mild September,  when the mocking bird was singing o'er the lea. 
    Listen to the mocking bird!  Listen to the mocking bird! 
    Oh, the mocking bird is singing o'er the lea. 
    Listen to the mocking bird!  Listen to the mocking bird! 
    Oh, the mocking bird is singing just for me. 
    When the mocking bird is singing o'er her grave, she'll behave!

THREE BIBLICAL PSALMS  (canons):
143, "Hear my prayer, O Lord!  Give ear to my supplications.  In Thy faithfulness, answer me.  And in Thy righteousness, Lord, hear my prayer,"  is for general use by any vocal combination of three parts.  The vocal range is: a-d2.  (1:50 to 2:22, with repeat.)

146, "Praise ye the Lord, O my soul! While I live will I praise the Lord. I will sing reverent praise unto my God.  Thanks be to the Lord, our God!"  is in three voices and for general use or for Thanksgiving.  The vocal range is: C1-e2.  (0:58)

149, "Sing unto the Lord a new song, and His praise in the congregation of saints!  Alleluia!"  is in three voices and is an excellent canon for All Saints Day. All three settings of these psalms are a cappella and written in consonant counterpoint. The vocal range is: C1-f2. (0:37) #1

MARCH OF LIFE, THE (two treble voices, piano, percussion: crash cymbals, triangle, finger cymbals, small and large drums) This piece may be sung by both changed and unchanged voices.  It may also be done by male, female or mixed groups.  The text is:

   March along.
    Sing a song.
    Wonderful things are in a lifetime.
    First, we're young; then we're old!
    What's in between is not foretold.

    Every soul has a goal.
    Shall we all strive for fame and glory?
    Time is lost; that's the cost.
    Who, in the end, will tell our story?
    Moments fly!
    Life goes bye.
    Short is our time to raise a family.
    Children grow; then they go!
    What lies ahead, we never know.

    March along.
    Sing your song.
    What is more precious than your lifetime?
    First, we live; then we die.
    There is a reason why.
    We’re under our Creator’s watchful eye.

When used as a processional, percussion is to be carried and tempo variations are to be ignored.
The range of each voice is from C1 to Eb2. #2

HAVA NAGILA, "Let us dance and be happy!" (3 voices/piano/tambourine) is an old Jewish song that inspires a positive attitude in those who hear it.  For contrast on a choral program, it is highly recommended. The augmented second, a music  interval found in much Israeli music, is an element of color for every voice part in this arrangement.  "Hava Nagila" is to be sung in Hebrew.  A pronunciation guide is on the score.  

ALL OF GOD’S CHILDREN (3-voice jubilee song)
The piano part is a rhythmic delight. Young people enjoy singing "All of God's Children," and audiences favor such pieces on choral programs. The text is:

    I got a robe!  You got a robe!  All of God's children got a robe!  
    When I get to heaven, gonna put on my robe and gonna walk all over God's heaven. 

    I got a crown!  You got a crown!  All of God's children got a crown!  
    When I get to heaven, gonna put on my crown and gonna walk all over God's heaven.
    Everybody talkin' 'bout heaven ain't goin' there.  

    I got a song!  You got a song!  All of God's children got a song!  
    When I get to heaven, gonna sing out my song and gonna walk all over God's heaven.

    Everybody talkin' 'bout heaven ain't goin' there.  Gonna fly all over God's heaven!

REJOICE IN THE LORD, Psalm 33 (SAB-organ) is an old-fashioned, climactic "barn burner," that is, it generates great enthusiasm for both the singers and listeners. The organ part is well within the performance limits of anyone who has taken organ lessons. When it is practical to join the male sections, perhaps for a particular service, this piece can give the impression of strength and joy that is needed. The text is:

    Rejoice in the Lord, ye righteous!  Praise the Lord with harp and sing unto Him a new song! 
    For the word of the Lord is right and all His wondrous works are done in truth.  

The vocal ranges are: Soprano, F1-a2; Alto, a-d2; Bass, c-D1.  (1:30) #3

HANUKKAH (SATB/piano) This piece is also available for two-part treble voices and piano.  The story of  The Festival of Lights, "Hanukkah," is told in this piece that celebrates the Jewish holiday similar to Christmas.  Much use is made of the augmented second interval to simulate the flavor of traditional Israeli music.  The melodic lines are easy and so is the harmonic language.  This piece is excellent for inclusion on a program of Christmas music. The text is:

   Face the menorah and take the shamash to light the candles for our holidays!  
    Hanukkah is here now, for eight days of pleasure and giving of thanks to the God we praise.
    Light the first candle, for eight days of praying. 
    Light the second candle, for eight days of swaying as we dance in a celebration, remembering the miracle that saved our nation.
    Light the third candle, for eight days of singing. 
    Light the fourth candle, for eight days of bringing presents and gelt to our brothers and sisters, thanks to Judah Maccabee, and other resisters,                                         defeating the king of darkness and evil who ruined God’s temple and defiled His law. 
    Hanukkah is here now, attesting to his courage.  How he won the battle makes us stand in awe!
    Light the fifth candle, for eight days of playing. 
    Light the sixth candle, for eight days of staying in touch with our families and those who love us, thankful it’s not Antiochus, reigning above us.
    Light the seventh candle, for eight days of resting. 
    Light the last candle, for eight days of testing our "Feast of Light" to renew our dedication to following the Lord, for our eternal salvation.
    Face the menorah and take the shamash to light the candles for our holidays! 
    Hanukkah is here now, for eight days of pleasure and giving of thanks to the God we praise.  Shalom!

AMERICA (SATB/piano or 3 trumpets in Bb/2 horns in F/trombone/tuba) by Samuel A. Ward, music, and Katherine Lee Bates, poem, has been arranged by Wallace De Pue to stir the spirit of Americans as they listen.  This arrangement may be performed by SATB voices with piano accompaniment if practicality is an issue.   Any choir can sing this work because it has such reasonable vocal ranges.  The choral music is published with only the piano as an accompaniment; however, if brass instruments are used, a separate score for the conductor’s is available upon request.  The text is:

    O beautiful for spacious skies, for amber waves of grain,
    for purple mountain majesties above the fruited plain.
    America, America, God shed His grace on thee and crown thy good with brotherhood from sea to shining sea. 

    O beautiful for pilgrim feet whose stern impassioned stress a thoroughfare for  freedom beat across the wilderness.
    America, America, God mend thine every flaw. 
    Confirm thy soul in self-control, thy liberty in law.

    O beautiful for heroes proved in liberating strife  who more than self their country loved, and mercy more than life. 
    May God thy gold refine, till all success be nobleness and every gain divine.

    O beautiful for patriot dream that sees beyond the years.
    Thine alabaster cities gleam undimmed by human tears.
    America, America, God shed His grace on thee and crown thy good with brotherhood from sea to shining sea.

The written ranges are: Soprano, D1-f2; Alto, b-c2; Tenor, d-F1; Bass, G-C1 (3:45) #3

*SEPARATION (SATB, divided voices) Halloween, contemporary.   The poet, Sidney Johnson, wrote a poem about a soul becoming lost after being freed from his/her body by death.  Wallace De Pue set the poem so that it would be appropriate for a late Fall concert.  There are eerie contemporary choral effects that audiences enjoy.  The text is:

    I am alone.
    Life is done, and the pit of hell opens.
    Tortured faces, all about, looking through me!
    Do they wonder who I am?
    They give no sign.
    They see my terror.
    Why don’t they speak?
    I hear nothing!
    I feel nothing!
    I am alone and I cannot move, and so are all of these dead,
    but just enough to know we are not alive.
    I am alone.
    And as another wisp of human refuse joins us, I look through him.
    I can give no sign.
    I am alone.

The written ranges are: Soprano, C#1-a flat2; Alto, a-e flat2; Tenor Db1-a2, and Bass, A-Db1. #4

HANUKKAH (SATB/piano) This piece is also available for two-part treble voices and piano.  The story of  The Festival of Lights, "Hanukkah," is told in this piece that celebrates the Jewish holiday similar to Christmas.  Much use is made of the augmented second interval to simulate the flavor of traditional Israeli music.  The melodic lines are easy and so is the harmonic language.  This piece is excellent for inclusion on a program of Christmas music. The text is:

   Face the menorah and take the shamash to light the candles for our holidays!  
    Hanukkah is here now, for eight days of pleasure and giving of thanks to the God we praise.
    Light the first candle, for eight days of praying. 
    Light the second candle, for eight days of swaying as we dance in a celebration, remembering the miracle that saved our nation.
    Light the third candle, for eight days of singing. 
    Light the fourth candle, for eight days of bringing presents and gelt to our brothers and sisters, thanks to Judah Maccabee, and other resisters,                                         defeating the king of darkness and evil who ruined God’s temple and defiled His law. 
    Hanukkah is here now, attesting to his courage.  How he won the battle makes us stand in awe!
    Light the fifth candle, for eight days of playing. 
    Light the sixth candle, for eight days of staying in touch with our families and those who love us, thankful it’s not Antiochus, reigning above us.
    Light the seventh candle, for eight days of resting. 
    Light the last candle, for eight days of testing our "Feast of Light" to renew our dedication to following the Lord, for our eternal salvation.
    Face the menorah and take the shamash to light the candles for our holidays! 
    Hanukkah is here now, for eight days of pleasure and giving of thanks to the God we praise.  Shalom!

The written vocal ranges are: Soprano, Eb1-e flat2; Alto, b-c2; Tenor, Eb1-f2; Bass, G-D1.  Small notes provide options within the bass range. (2:20) #3
 
TOMORROW SHALL BE MY DANCING DAY (SATB) , is handled by Colla Voce Music, Inc. , 4600 Sunset Ave., #83, Indianapolis, IN 46208.  The order number is 55-26100.  Contact  collavoce.com .   Wallace De Pue’s arrangement of this traditional carol sets the essence of the story of Christ with traditional harmony. "Sing Oh, my love," the refrain, is beautiful and haunting.  This work is excellent for use in concert or in church during the Easter season.  The text is:

    Tomorrow shall be my dancing day. 
    I would my true love so did chance to see the legend of my play to call my true love to my dance. 
    Sing Oh, my love; this have I done for my true love.

    For thirty pence, Judas me sold. 
    His covetousness for to advance, "Mark whom I kiss, the same do hold! 
    The same is He shall lead the dance."

    Then hanged upon a cross, I was. 
    There, a spear my side did glance. 
    Then flowed there forth both water and blood to call my true love to my dance. 
    Sing Oh, my love; this have I done for my true love.   

The written vocal ranges are: Soprano, D1-g2; Alto, b-c2; Tenor, F#1-e2; Bass, G-a. (1:52) #3

*HOSANNA: (SATB/piano or two trumpets, two trombones, snare drum, small and large suspended cymbals, and tam tam) is a dynamic sacred piece that is excellent for Christmas or Easter or general use.  This work gives the impression of difficulty; however, it is much easier than it sounds.   The seemingly asymmetric rhythm is simply based on the rhythm of the text, "Blessed is he who cometh in the name of the Lord."  Hosanna creates a feeling of great joy and celebration. 

The written ranges are: Soprano, D1-a2; Alto, b flat-d2; Tenor, C1-f2; Bass, F-D1. (3:45) #3

*O SING UNTO THE LORD!  (SATBB) is a polyphonic piece that is written with the techniques employed by composers of Italian madrigals in the Renaissance period.  The added bass part provides a warmth of sound that can cause this music to provide a splendid contrast to a choral concert.  This work is appropriate for a good high school or college madrigal group or choir.  "O Sing..." is an expression of sheer joy. The text, based on phrases in the Bible, allows this piece to be appropriate for general use, Easter, or Christmas: 

   O Sing unto the glittering, glorious king!  O praise his name! 
    Let every living thing with heart and voice, like bells of silver, ring! 
    Take comfort that this day to man doth bring joy! 
    Let lute and shawm sound in sweet delight! 
    J