O Lord, you have searched me out

Version 1

Scoring: SATB a cappella

Date: 2024

Here is a setting of Psalm 139, in two versions, which begins "O Lord, you have searched me out and known me." The psalm is a deeply personal reflection by the psalmist on the "wonder of my being" and on the inescapability of God's love, wherever we might try to hide, and whatever we might do ourselves or might experience - even death. This gentle setting uses the full range of all four/three choral voices, with just a few divisi passages near the end of the composition in the lower parts. The pslam should be sung meditatively, without too much drama, even in the fortissimo passages, aiming for a sense of wonder and inner peace.

Links: pdf - mp3 - midi - mxl - sib - sib 6

YouTube video scores for practice:
Full version
Soprano
Alto

Tenor

Bass

Version 2

Scoring: SABar and piano

Date: 2024

Here is a setting of Psalm 139, which begins "O Lord, you have searched me out and known me." The psalm is a deeply personal reflection by the psalmist on the "wonder of my being" and on the inescapability of God's love, wherever we might try to hide, and whatever we might do ourselves or might experience - even death. This gentle setting uses the full range of all four choral voices, with just one divisi passage at the end of the composition in the tenor and bass parts. The piece should be sung meditatively, without too much drama, even in the fortissimo passages, aiming for a sense of wonder and inner peace.

Links: pdf - mp3 - midi - mxl - sib - sib 6

YouTube video scores for practice:
Full version
Soprano
Alto

Baritone

Psalm 139

O Lord, you have searched me out and known me;

you know all my sitting down and rising;

you discern my thoughts from afar.

You mark all journeys and my resting place

and are acquanited with all my ways.

For not a word is on my tongue

but, Lord, you know it altogether.

You encompass me, behind and before me,

you lay you hand upon me.

O where can I go from your spirit?

Or where can I flee from your presence?

If I climb up to heaven you are there;

you are there if the grave is where I lie.

If I take the wings of the morning,

or dwell in the depths of the sea,

even there your hand shall lead me,

your right hand hold me fast.

You created my innermost parts;

you knit me together in my mother's womb.

I thank you for the wonder of my being,

I marvel at all your works.

Amen.

A British Tar (Gilbert & Sullivan)

Scoring: TTBB barbershop quartet

Date: 2024

"A British Tar" is one of the most popular songs from Gilbert and Sullivan's operetta "HMS Pinafore", and it deserves to be sung more widely. Here it is arranged for unaccompanied barbershop quartet from the original trio plus orchestra/piano. In the operetta the song is supposedly composed by Sir Joseph Porter, First Lord of the Admiralty, "to encourage independence of thought and action in the lower branches of the service [the Navy], and to teach the principle that a British sailor is any man's equal." It should be sung with as much mock pomp as can be mustered, and I suggest that in bars 10 to 16 and again bars 42 to 48 the first bass singer(s) should (especially when singing to a foreign audience) clearly indicate which part of the sailor's body is being referred to!

Links: pdf - mp3 - midi - mxl - sib - sib 6

Soave sia il vento (Mozart)

Scoring: SATB choir and strings

Date:  2022 (updated 2024)

This lovely aria from Mozart's opera "Cosi fan tutte" is a blessing for a sea crossing that the weather will be kind, the waves calm and all good things will happen to us. There are massive undercurrents in the opera, however, hidden beneath this song, and although beautiful, it should be sung slightly po-faced! The original is for three soloists and orchestra, but here Roy Bell has arranged the choral parts for SATB choir and Philip Le Bas has reduced the orchestra to a string quintet.

Links: pdf (score) - pdf (parts) - mp3 - midi - mxl - sib - sib 6

Words:

Soave sia il vento, tranquilla sia l'onda,

ed ogni elemento benigno risponda ai nostri desir.

Men of Harlech

Scoring: TTBB choir a cappella

Date:  2024

"March of the Men of Harlech" is the Welsh National Hymn. Here it is arranged by John Hyatt Brewer (1856-1931) and adapted by me for a cappella TTBB choir (plus "solo".) It is admittedly a thoroughly violent, anti-Saxon (yes, that ancient!) marching song, but it deserves to be sung as the melody is so well-loved and it is so full of drama and excitement. Extra sound effects are introduced by the "solo" part imitating trumpets and drums, and by all the singers with loud (on the spot?) bootsteps! Brewer's harmonisation also keeps the interest up through both verses. Pace Welshmen, perhaps this could be "hammed up" a little?

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:
1. Men of Harlech honour calls us,

No proud Saxon e'er appalls us!

On we march, whate'er befall us,

Never shall we fly!

Forward, lightly bounding,

To the trumpets sounding,

Forward ever, backward never,

The proud foe astounding;

Fight for father, sister, mother,

Each is bound to each as brother,

And with faith in one another

We will win or die.

2. Tho' our mothers may be weeping,

Tho' our sisters may be keeping

Watch for some, who now are sleeping

On the battle field,

Still the trumpets' braying,

Sounds on, ever saying,

Let each bowman pierce a foeman,

And ne'er stop the slaying,

Till invaders learn to fear us,

And no Saxon linger near us;

Men of Wales! our God doth hear us,

Never will we yield!

Early One Morning

Scoring: TTBB choir a cappella
Date: 2017/revised 2024
"Early One Morning" is a simple arrangement for TTBB barbershop chorus of the well known folk song. Although its subject is sad and full of melancholy, it should not be sung too slowly, but with simplicity and compassion.
Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:
1.
Early one morning, just as the sun was rising,
I heard a young maid sing in the valley below.
Oh, don't deceive me, oh, never leave me.
How could you use a poor maiden so?

2.
Remember the vows that you made to your Mary.
Remember the bow'r where you vowed to be true.
Oh, don't deceive me, oh, never leave me.
How could you use a poor maiden so?

3.
Oh, gay is the garland and fresh are the roses
I've culled from the garden to place upon thy brow.
Oh, don't deceive me, oh, never leave me.
How could you use a poor maiden so?

4.
Thus sang the poor maiden, her sorrows bewailing.
Thus sang the poor maid in the valley below.
Oh, don't deceive me, oh, never leave me.
How could you use a poor maiden so?

Drop, drop, slow tears

Scoring: SATB choir and organ
Date: 2021 (updated 2023)
Five (now seven!) years on from the original version of my "Drop, drop, slow tears" (see below), here is a major revision of the piece adding an important organ part and expanding the whole piece slightly. I am hoping it now has added drama! 

With thanks to members of the Morley College Composition Workshop, and especially to Dr Paul Sarcich, for their input and ideas on this piece.
Links: pdf - mp3 - midi - mxl - sib - sib 6

Or see it on YouTube: https://youtu.be/pBaWpNsaUYw

  

Scoring: SATB choir a cappella
Date: 2016
A short setting of the classic words of the Jacobean poet Phineas Fletcher. This passionate poem expresses heartfelt regret and penitential remorse for sin. It was most famously set to music as a hymn by Orlando Gibbons and more recently as an anthem by William Walton. This new anthem for SATB choir tries to capture in a more modern way the drama and depth of the words, while retaining a simplicity that enables it to be sung by a church choir. It is particularly suitable for Holy Week services or more generally in Advent and Lent. It might also be sung at Remembrance services.
Links: pdf - mp3 - midi - mxl - sib

Words:

Drop, drop, slow tears,

And bathe those beauteous feet
Which brought from Heaven
The news and Prince of Peace.

Cease not, wet eyes,
His mercy to entreat;
To cry for vengeance
Sin doth never cease.

In your deep floods
Drown all my faults and fears;
Nor let His eye
See sin, but through my tears.

Praise the Lord from the heavens

Scoring: SAB choir and piano

Date: 2023

A joyful, upbeat setting of Psalm 148 to celebrate the coronation of King Charles III. Although the time signatures may at first seem daunting, this is quite simple to perform and the piano part is deliberately supportive. I hope singers will find it fun to sing and perhaps a church congregation might be encouraged to join in with the refrains!

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words (from Ps 148):

Refrain:

Praise the Lord from the heavens;

Praise the Lord from the heights!

Praise him all his angels;

Praise him all his host!

Verses:

Praise him, praise him, sun and moon,

praise him all you shining stars,

praise him highest heavens,

praise the name of the Lord.

Great sea monsters, ocean deeps,

fire and hail at his command,

snow and frost and stormy wind,

praise the name of the Lord.

Praise him, hills and mountains,

cattle and wild animals,

creeping things and flying birds,

praise the name of the Lord.

He commanded, they were made,

fixed their bounds as he decreed,

founded them for ever.

Praise the name of the Lord.

Kings of the earth and princes,

rulers of every nation,

women and men together

praise the name of the Lord.

Agnus Dei (Samuel Webbe)

Scoring: SAB choir and organ

Date: 2023

The "Agnus Dei" ("Lamb of God") by Samuel Webbe (1740-1816) is here rearranged for 3-part choir and organ.

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona mobic pacem

(Lamb of God, who takes away the sins of the world, have mercy on us.

Lamb of God, who takes away the sins of the world, have mercy on us.

Lamb of God, who takes away the sins of the world, grant us peace.)

Alleluia Round (Boyce)

Scoring: Mixed voices and organ

Date: 2023

Here is a round by William Boyce (1710-1779) arranged with a simple organ accompaniment. It can be sung almost any way you like, as long as it is joyful!

Links: pdf - mp3 - midi - mxl - sib - sib 6

How beautiful upon the mountains (Stainer)

Scoring: SABar choir and organ

Date: 2023

A simple reduction of John Stainer's "How beautiful upon the mountains" from SATB and organ to SABar and organ, to make it more accessible particularly to church choirs with few tenors and basses. 

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words (from Isaiah 52:7):

How beautiful upon the mountains

are the feet of him

that bringeth good tidings,

that publisheth peace;

that saith unto Zion,

Thy God reigneth!

In Dulci Jubilo

Scoring: SABar choir and organ
Date: 2019 (updated 2022)
An arrangement of the wonderful old German carol "In Dulci Jubilo" made popular in an English version by R.L. Pearsall (1795-1856), mixing English and Latin words, for 8-part choir and organ. Here I have reduced the parts to three (soprano, alto, baritone) so that it can be sung by choirs for whom 8 parts is too ambitious! Perhaps surprisingly, the carol retains much of its interesting counterpoint and tuneful lyricism; I hope both singers and listeners will enjoy it equally.

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:

1. In dulci jubilo
Let us our homage shew:
Our heart's joy reclineth
In praesepio;
And like a bright star shineth
Matris in gremio,
Alpha es et O!

2. O Jesu parvule,
I yearn for thee alway!
Hear me, I beseech Thee,
O puer optime;
My prayer let it reach Thee,
O princeps gloriae.
Trahe me post te.

3. O patris caritas!
O Nati lenitas!
Deeply were we stained.
Per nostra crimina:
But Thou for us hast gained
Coelorum gaudia,
O that we were there!

4. Ubi sunt gaudia,
Where, if that they be not there?
There are angels singing
Nova cantica;
There the bells are ringing
In Regis curia.
O that we were there!

March of the Kings (Bizet)

Scoring: SABar choir and organ

Date: 2022

An arrangement of a thirteenth century French Christmas carol from Provence harmonized by Jean-Baptiste Lully (1632-87, attrib.) and, more famously, by Georges Bizet (1838-75, in his L'Arlesienne Suite of 1872). In France the melody is still tightly associated with Christmas, and French audiences start singing their own Christmas words whenever they hear the melody (I have heard them!) The English translation used here is adapted from a variety of sources. The three kings (or more precisely the "magi" from St Matthew's gospel) are seen marching towards Bethlehem with their fantastic golden wealth and grandeur. But why are they going to see a low-born baby and why do they worship this child who will die on a cross?
The organ sets the scene from the beginning with its marching accompaniment, and the first verse is sung in unison by all three parts. The second begins with a canon, as used by Bizet, and then breaks into harmony. The first section of the third verse is much quieter and legato, sung by the sopranos and altos, using wonderful chromatic harmonies based on another section from Bizet's suite. The lyrics express wonder at the beautiful music heard from the camp of the kings. The second section, sung in differentiated unison then begins to wonder why the kings "stoop so low to a baby in a manger". Finally the fourth verse, sung in full harmony, returns to the marching accompaniment and reiterates the amazement of meeting these kings with their mysterious mission.

Files: pdf  - mp3 - midi - mxl - sib - sib 6

Cradle Song

Scoring: Unison voices (with occasional divisi) and piano

Date: 2022

A new Christmas carol, setting the words of William Blake's poem "A Cradle Song" from his collection entitled "Songs of Innocence".

The very title of Blake's poem calls out for it to be set to music. Indeed the poem is a straightforward lullaby for the first few stanzas, sung softly by a mother over her sleeping baby, as she marvels at the wonder of this beautiful infant and expresses her love for the child. Her own anxieties and weeping for the child remind her of the Christ-child who also wept as a vulnerable baby. But as God incarnate he "wept for me, for thee, for all", and brought peace to heaven and earth. (Blake perhaps uses the word" beguile" to indicate the paradoxical nature of a weeping God bringing redemption to a suffering world by becoming a vulnerable human baby himself.)

The composition aims to avoid unnecessary complexity in the vocal parts, so that it can be sung easily particularly by a parish choir. However, it also attempts to capture some of the beauty, drama and mystery of the scene expressed by Blake. The piece begins and ends in stillness, and there are gentle climaxes here and there, reflecting some of the rise and fall of the poem's lyrics.

It could be sung by a mixed or single-voice choir, but note should always be taken of the predominantly quiet dynamics of the piece, especially in the first half.

Files: pdf  - mp3 - midi - mxl - sib - sib 6

Words:

A Cradle Song
from Songs of Innocence
by William Blake (1757-1827)

Sweet dreams, form a shade
O'er my lovely infant's head!
Sweet dreams of pleasant streams
By happy, silent, moony beams!

Sweet Sleep, with soft down
Weave thy brows an infant crown!
Sweet Sleep, angel mild,
Hover o'er my happy child!

Sweet smiles, in the night
Hover over my delight!
Sweet smiles, mother's smiles,
All the livelong night beguiles.

Sweet moans, dovelike sighs,
Chase not slumber from thy eyes!
Sweet moans, sweeter smiles,
All the dovelike moans beguiles.

Sleep, sleep, happy child!
All creation slept and smiled.
Sleep, sleep, happy sleep,
While o'er thee thy mother weep.

Sweet babe, in thy face
Holy image I can trace;
Sweet babe, once like thee
Thy Maker lay, and wept for me:

Wept for me, for thee, for all,
When He was an infant small.
Thou His image ever see,
Heavenly face that smiles on thee!

Smiles on thee, on me, on all,
Who became an infant small;
Infant smiles are His own smiles;
Heaven and earth to peace beguiles.

Brother James' Air

Scoring: SABar choir and organ

Date: 2022, revised 2024

An arrangement of a popular and simple melody by James Leith Macbeth Bain (1860-1925) - Brother James - with the words of Psalm 23 ("The Lord's my shepherd") for 3-part choir and piano. There are many existing arrangements, but most tend to be rather sophisticated (e.g. by Gordon Jacob and Alan Bullard), requiring four competent parts, or else it is simply sung as a congregation hymn. Here it is set for SABar choir so that it becomes more accessible to small parish choirs, who may lack tenors and basses. It has five verses, the second and fourth providing an opportunity either for a cappella or for accompanied part singing. The other verses are varied particularly by the piano, although the ending is also in parts.

Files: pdf  - mp3 - midi - mxl - sib - sib 6

God be in my head (Walford Davies)

Scoring: SABar Choir and organ

Date: 2022

An arrangement of a very simple and well-loved anthem by H Walford Davies (1869-1941) for three-part choir and organ. The original was written for SATB choir. As the original is very short, the whole anthem is repeated, but shifted up a minor third, from the original key of A major to C major. This gives a much brighter and more passionate rendition the second time, and encourages a more fulsome climax on "God be in my heart and in my thinking" before returning to a pianissimo "God be at mine end, and at my departing."

Files: pdf  - mp3 - midi - mxl - sib - sib 6

Quiet Peace

Scoring: Choir (3 versions: SSABar, SATB, SSA) and piano

Date of composition: 2016 (latest update: 2022)

An original setting of a poem by Amy Carmichael (1867-1951), in the form of a prayer.

The piano here provides a constantly flowing ritornello throughout the verses, while the voices weave around it in a gentle wave of prayerful reflection. The poet feels an interior "quiet peace" while all around her there are storms and disquiet, because she knows that her Lord hears her voice. The setting is deliberately simple and undemanding, and it should be sung quietly, meditatively and without rushing.

My wife, Rev Canon Anne Le Bas, speaks about the poet in the following way, helping to put the words of the poem in perspective: "Amy Carmichael worked as a Christian missionary in India in the early twentieth century, among the poorest of the poor. She often felt despair, just as we may do when we see the devastation of war, still, again, tearing lives apart in our world. She wrote of her despair, but also of her trust that God heard her. That was what gave her the peace she needed, that gave her strength to go on."

SSABar version: pdf  - mp3 - midi - mxl - sib - sib 6

SATB version: pdf  - mp3 - midi - mxl - sib - sib 6

SSA version: pdf  - mp3 - midi - mxl - sib - sib 6

Words:

O Lord my heart is all a prayer,
But it is silent unto thee;
I am too tired to look for words,
I rest upon thy sympathy
To understand when I am dumb;
And well I know thou hearest me.

I know thou hearest me because
A quiet peace comes down to me,
And fills the places where before
Weak thoughts were wandering wearily;
And deep within me it is calm,
Though waves are tossing outwardly.

Amy Carmichael (1867-1951)

Christ the Lord is risen again (descant)

 Scoring: Soprano descant, unison choir, and organ

Date: 2022

A descant written to supplement the last verse (v.4) of Anthony Foster's "Christ the Lord is risen again" from The New Oxford Easy Anthem Book, OUP 2002, p.39.

The original Easter hymn/anthem itself is lovely: very straightforward for the top line, with interesting simple harmonies for altos, tenors and basses. This descant, with its organ accompaniment incorporating some extended harmonies, was written to give some added interest for the sopranos to sing (as well as providing more variation for listeners!) The rest of the choir are to sing the main melody in this verse.

The words are by Michael Weisse (c.1480-c.1530), translated by Catherine Winkworth (1827-78).

Links: pdf - pdf (part) - mp3 - midi - mxl - sib - sib 6

Salley Gardens

Scoring: TTBB quartet a cappella

Date: 2017 - updated 2022

This arrangement for TTBB quartet or choir of "Salley Gardens" (or "Sally Gardens") presents the traditional folksong very simply, but it is to be sung as a quietly emotional song about lost love, expressing both dreamy regret and, at times, fierce intensity.

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:
1.
Down by the Salley Gardens my love and I did meet.
She passed the Salley Gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree.
But I, being young and foolish, with her did not agree.

2.
In a field down by the river my love and I did stand.
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs.
But I was young and foolish and now am full of tears.

3.
Down by the Salley Gardens my love and I did meet.
She passed the Salley Gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree.
But I, being young and foolish, with her did not agree.

The cold winds are blowing (Ave Maria)

VERSION 1: 

Scoring: SATB choir and organ

Date: 2021

Words: Christian W J Catsanos

This carol is the result of a kind commission by Christian Catsanos (Australia) to set the words of a Christmas poem of his own. It has three verses with a repeated refrain, and a straightforward meter. 
To create interest the verse and refrain are set in different time signatures: 3/4 and 6/8. Verses are in a modal minor key, while the lilting refrain begins and ends in the relative major. The organ part is used to provide support for the choir and plenty of musical colour, especially in the arpeggiated accompaniments which characterize two of the three refrains. Harmonies are rich, allowing plenty of opportunity for the composer to vary the presentation of each section. The piece definitely has the feel of Christmas!

At present there are two versions of the piece: SATB/organ and a hymn-style single sheet (see below.)

Links: pdf - mp3 - midi - mxl - sib - sib 6

VERSION 2: 

Scoring: Hymn sheet

Date: 2021

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:

1. The cold winds are blowing, the stars shine so bright,
The angels are singing on this holy night;
A beautiful mother, so gentle and mild,
Now lays in a manger her heavenly Child.
Ave Maria, Ave Maria
Jesus thy Child is the hope of the earth.
Sancta Maria, Sancta Maria,
Sing we in chorus the joy of His birth.

2. A manger His cradle, the beasts pressing round,
In Him is no glory, no majesty found;
Yet Mary his Mother, so tender with bliss,
Adores her sweet Saviour and gives him a kiss.
Ave Maria, Ave Maria
Jesus thy Child is the hope of the earth.
Sancta Maria, Sancta Maria,
Sing we in chorus the joy of His birth.

3. His courtiers are shepherds and sages so wise,
Who found Him by starlight they saw in the skies;
Their gifts are so rare, yet His Mother most mild
Sees no greater treasure than Jesus her Child.
Ave Maria, Ave Maria
Jesus thy Child is the hope of the earth.
Sancta Maria, Sancta Maria,
Sing we in chorus the joy of His birth. 

by Christian W J Catsanos, 2021

Ecce quam bonum

 Scoring: SABar choir and piano

Date: 2021

A new composition setting the words of Psalm 133 for three-part (SABar) choir and piano. This cheerful, perhaps even rather idealistic psalm expressing the joy of "kindred dwelling in unity" has long been used to give voice to a human longing for acceptance by others, whether in a family or a community. Its verses compare this familial unity to the tradition of pouring expensive ointment over the head of visitors. Far from our modern use of oil for lubrication, this is an ancient middle-eastern oil of welcome and washing and feeling part of a community. Dwelling in unity is also compared to cloudy mist which regularly descends on the heights of Mount Hermon in Zion, providing moisture to an otherwise arid land and enabling life across the whole country. This setting is unashamedly playful, popular and romantic, with verses adding a more mysterious, metaphorical quality to the piece, and bringing to expression the deep joy of living in harmony with others..., even if finding this is not always easy. The composition is ideal for use by a parish choir, employing relatively easy part singing with a supportive piano part.

Links: pdf - mp3 - midi - mxl - sib - sib 6

Words:

Psalm 133: Ecce quam bonum et quam iucundum, habitare fratres in unum. Behold, how good it is, how pleasant, for kindred to dwell in unity. It is like precious ointment upon the beard, running down upon the beard of Aaron; like the dew of Hermon, which falls upon the mountains of Zion. For there the Lord bestows his blessing: life for evermore.