Sacred Songs

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This week a summary of the sacred choral pieces I’ve written. Organised into four categories- Very Simple, Medium, Sophisticated and Christmas. I’ve included recordings where I have them, of various quality and level of rehearsal! If you perform any of my works and record it, I will happily share it here.

Very Simple

These two pieces are from the book Singing The Dots and are designed to be accessible for community choirs.

An Irish Blessing


Psalm 23


Medium Challenge

These are three gospel pieces arranged for acappella choir.

Michael Row
SATB with Soprano Solo


Balm Of Gilead
SSATB with Solo


This Train
SATB with divisi in every part



These two works have divisi in every part.

Prayer For Sanctuary
setting of Psalm 23


setting of the latin Gloria from the Ordinary Mass



Still Still Still
SA - simple setting of An Austrian Carol


Mary Had A Baby
SATB - simple arrangement of a traditional gospel piece


Rolling Downwards
SSA - simple arrangement of a Southern Baptist Carol


A Child Is Born
SATB - Medium - arrangement of a medieval carol


The Nativity
a 15 minute work with ten small sections
Medium -SATB with some divisi and solos and piano accompaniment


The Nativity


Last year I dusted off this Christmas work which I'd first written about 10 years ago. I rewrote it in sections, and whisked it off to my choir while the ink was still drying so we could learn the work in time for our Christmas concert. I shared it here,  published as five discreet parts. My lovely choir Voices In The WIlderness sang it at the last concert we did together. In fact it was the last concert I conducted. Funny how things change, after directing happily for hmmm somewhere between fifteen and twenty years, I don't know if conducting is in my future. It's been a gradual shift in my heart. I am still as passionately committed to choirs, and what singing with others means for us as humans, but my sense of where I want to put my energy has slowly changed. 

Anyway, I've spent the last week putting the pieces all together, smoothing out the transitions and tweaking little bits here and there. And here it is. We are staying in an apartment temporarily, where I don't want to make a lot of noise and annoy my neighbours. I also don't have a piano and I tend to write piano accompaniments at the piano, my fingers feel what goes. So I've been playing the air piano to write bits. 

This piece goes for about fifteen minutes. It's middle level complexity. When I first wrote it I was conducting a choir who liked to sing medleys, so it's in that style, with ten small sections. This means if you have multiple ensembles this would be a piece everyone could do together, allowing different groups to take different sections. 

And here's a rinky tinky Sibelius version of what it sounds like.

Songs From The Shed

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Well I don't know what sort of fancy shmancy recording studios you record in.  To record the songs for the sightsinging book Singing The Dots, Emlyn and I were joined by Australian Soprano Bethany Hill, and Tenor Hew Wagner, for the most rustic recording session of my life. We ferried to Kangaroo Island off the coast of South Australia for a camping weekend with Beth's boy's fam and friends. During daylight, we recorded in an unpowered tin shed using a single battery powered H2N. To give you an idea of the rusticness of our recording situation, the photo on the left is the view from the outdoor facilities. 


I'll give you a sample here - Break Break Break, a setting of a beautiful poem by Alfred Lord Tennyson.This song  introduces quavers. The main tune is just do, re and mi. All seventeen tracks,  recorded in a weekend, in a shed, and the books with the sheet music and teaching notes are available here.




10 000 Miles On A Fish

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We did it! We travelled 10 000 miles on a fish!

And now here we are in Nashville Tennessee.

I found this picture just off 12 Street South. I often see people snapping it. 

I've got two updates for you plus a new song.


Wine And Cheese Cantata

Firstly - before we left , I grabbed some opera buddies, and we had a bash through the Wine And Cheese Cantata. It was a roaring success, and Emlyn's brie was the star of the show. It truely was Gooey Superb!! The cantata worked well, and it was, as I'd hoped, totally singable. After we did it, I did make a few adjustments. The three male characters - the Cheesemaker, the Winepairer and the Judge are all scored for baritones, because, as you know, they tend to be findable. But I thought when we sang through it, having the three voices close in Fach meant the texture of the work wasn't as varied as it could be, and the music didn't help define the characters. I've tried to keep the parts in a baritone range, but I've given the Cheesemaker a more tenorial feel. Similarly I've made the Judge feel bassier. The other changes I made were to smooth a few transitions between sections so directors and singers can be clearer about time signature changes.

Prayer For Sanctuary

Secondly - a few things about this piece have been niggling in the back of my mind for a while. The top and tail really! I have simplified the first verse, pruned it back. I also realised the climactic moment of the piece - the Victory Verse - was only half a bar long. That's out of proportion for a piece that's around seven minutes long. So I worked into and expanded that and feel much happier with the balance of the work now, I think it will be more satisfying for singers and listeners. I've got a recording of the way it was before I made these changes. Hopefully I'll find a way to record the updated version here in Tennessee.

The Parting Glass

This one is a tribute to the darling humans I've left home in Australia. My heart has been reminding me that leaving loved ones is a tough thing to do. Certainly this song helps. You know sometimes I like to get in there and really compose, and sometimes, with a song like this, I just transcribe the simplest version of the harmony. This song is so very simple and its beauty is in that simplicity, I didn't want to do anything other than write out what any good bunch of folk singers would get together and instinctively do. The tenor line divisi comes from having female tenors in the tenor section who didn't like to sing too high. So for my community choir, the female tenors actually sang the second tenor line.  But the first tenor line could be given instead to altos 2s, if you don't want to divide your tenor section. Finishing on chord IV is from The Wailin Jennys and it's a killer eh? Who wants to say goodbye on I? IV means we'll meet again!!






We are packing our pot on a stick, jumping on our fish and heading off, moving from Adelaide Australia to Nashville Tennesse. Emlyn (husband/baritone/IT guy) has a job opportunity there and we are off.

I'm a bit distracted winding things down here and wondering about Nashville life - not a big country music girl but google says the city is alive with many different musical genres - so I'm going to sign off for a month or so and see you on on the flip side!

Wine And Cheese Cantata - Its Done. Booyah!!!

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oh yeah. yeah. yeah. yeah.

So Bach can write a cantata in one week and it has taken me six but I did also write the libretto so you know, there's that. And Bright Spark #3 is a beat poet. There's that too!

Ok. The sheet music:

And some rehearsal tracks. The full mix might be most useful for the soloists.

1. Blessed Are The Cheese Makers    0’0
2. Curds In A Mold    1’31
3. The Brie Fanfare    3’07
4. The Cheese Is Complete    3’17
5. The Company Yums In Chorus    4’34
6. The Wine Pairer interrupts Proceedings    5’23
7. The Company Resolutely and Desolately Agrees    7’32
8.  Everyone Seems Much Happier With An Onerous Task    8’44
9. And So To The Judge    10’44
10. The Candidates Are Summoned    12’32
11. Fruity Merlot   13’08
12. The Judge's Premature Ruling    15’20
13. Bright Spark #1 Earns Their Name    15’41
14 Judge And Company Summon The Second Candidate    16’59
15. The Lovely Chardonnay    17’14
16. Bright Spark #2 Rejects The Dichotomy     20’18
17. Judge Is Awake Now, If He Even Was Asleep    21’54
18. Champagne    22’15
19. The Company Reflects On The Options     24’58
20. Despair Descends    25’30
21.  The Extraordinay Proposal Of Bright Spark #3     28’21
22.  Joyous Outpouring Of Delirium And One Niggling Doubt     30’22
23.  The Benevolent Magnificence Of  The Judge's Final Ruling     31
23.5 Joyous Outpouring Continues As Various Folks Weigh In      32’36

Last week I included an alternative solo for Champagne, because the original is quite stratospheric.

Wine And Cheese - the 25 minute mark

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So much for writing a Cantata in a week!! Last night somebody suggested Bach managed his extraordinary schedule because he had 22 children. It's obvious when you think about it eh? I only have 2, and one doesn't even live here any more. How could I possibly expect to write a cantata in a week with such meagre progeny? (Lovely quality but low in numbers.)

It's been five weeks and we're up to 25 minutes. I'm putting the whole thing up from the beginning. You'll notice Champagne's song is composed for someone stratospheric. I have one of those people in my life but they are rare. So down the bottom you can find an alternate version without quite so many ledger lines.

Rehearsal Tracks

For the rehearsal tracks, I've included a general mix, as well as mixes with each of the parts boosted. The general mix may be usefulest for the soloists.

The approximate times on the tracks for the different songs are:
1. Blessed Are The Cheese Makers   0’0
2. Curds In A Mold     1’31
3. The Brie Fanfare    3’07
4. The Cheese Is Complete    3’17
5. The Company Yums In Chorus    4’34
6. The Wine Pairer interrupts Proceedings    5’23
7. The Company Resolutely and Desolately Agrees    7’32
8.  Everyone Seems Much Happier With An Onerous Task    8’44
9. And So To The Judge    10’44
10. The Candidates Are Summoned    12’32
11 Fruity Merlot    13’08
12. The Judge's Premature Ruling    15’20
13. Bright Spark #1 Rejects The Dichotomy    15’41
14 Judge And Company Summon The Second Candidate    16’59
15. The Lovely Chardonnay    17’14
16. Bright Spark #2 Earns Their Name    20’18
17. Judge Is Awake Now, If He Even Was Asleep    21’54
18. Champagne    22’15

Alternate Champagne





wine and cheese cantata - so far!

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I really want you to have a chance to listen to the piece so far. The full work will be about 25mins, and this is 15 mins. So two more installments and we'll be there! I just listened to it and really wanted to share.

I'm not trying to change the world with this piece - just write something that will be great fun to sing! But it's turning out to be a little gem. Woohoo.

I've added a few bars of silence in the winepairer's solo, so the poor fellow (and his audience) can catch their breath. This means if you have printed out previous instalments, you may need to find a way to cope as your bar numbers after this insertion will now be out. All part of the joy of being involved in the process!!

Go on. Pour yourself a Merlot and have a listen!!!!

Non Verbal Scaffolding


A break this week from the wine and cheese cantata cause I've reached the difficult third section and tripping over myself - the notes want one thing, the words want another, the larger piece a third. I have learnt these things are surmountable and can lead to lovely results, but not yet my friend, not yet. 

A little while ago, I shared some sheet music for the rockin thirteenth century piece Alle Psallite with more sophisticated parts here. This week a very bright and committed young teacher asked me for some thoughts on running short workshops on singing. This sort of thing comes up eh? You get asked to run a little singing or choir workshop for beginners and maybe you've got an hour, and you want everyone to have fun, walk away with a feeling of mastery and accomplishment, and learn a useful idea or two about healthy technique. The big challenge here is repertoire! There's nothing boringer than note bashing and for a short workshop it's a total sapper of valuable time and enthusiasm. The more you can dispense with sheet music the better too. When I prepare for these sorts of workshops I think through what repertoire I can select and how I can teach it without sheet music and with minimal note bashing.  A tenant of Kodaly philosophy is to use non verbal communication to maximize the amount of time everyone is making music -at uni we had a prac where we had to teach the class a song without talking. To prepare a workshop I plan and rehearse non verbal scaffolding to help my singers pick things up quickly. I made a short video to show this. I'm pleased to say it's about three minutes long! If I tried to teach this song by note bashing with sheet music, it would take hmm ten times as long! 

the continuing saga of the cheese maker - wine and cheese cantata part 2


this is the second part of the Wine And Cheese Cantata. Sheet Music and rehearsal tracks for part one can be found here

This is a silly work - I'm writing it with the simple agenda of being great fun to throw together and sing.

In this week's section we meet the Wine Pairer. who I imagine is a nervous fastidious person who cares very deeply that things are done the right way - particularly when it comes to pairing wine. 

And some rehearsal tracks for y'all

The piece starts with a solo for the wine pairer.

And then moves to rousing chorus work.

Blessed Are The CheeseMakers - second post

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As we were drinking wine and eating cheese, one of my dear friends with one of my favourite voices to write for/with asked if I'd write a cheese work. Given my darling husband's brie is ripening in the fridge as we speak, I was inspired to write a brie work. I think we'll call it a Cantata, and expect it to take about 20 minutes. Check out last week's post for the libretto and character list.

Now Bach banged out a cantata a week, in between all the other shit he was writing, so I think it's important to respect the tradition of writing cantatas as quickly as one is able. I didn't write the whole work this week, but I did make a respectable beginning. Here's part one. 

And here's my computer's idea of what it might sound like

And some rehearsal tracks for the keen folks:

Blessed Are The CheeseMakers

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My next project is to write a bit of fun and nonsense about wine and cheese. My darling husband's brie will be ripe soon and I think a musical work is called for.

I've finished the libretto - so that's today's offering. I might start on the choruses so we'll see what we can get to you by next week.

Wine Pairer
Judge Most Imperious
Fruity Merlot
Bright Spark #1
Bright Spark #2
Bright Spark #3


Cheesemaker. Cheesemaker. Cheesemaker. Cheesemaker.
Let us see, let us see. How did you make brie?

Curds in a mold. Stored in the cold.
Til they went crusty. Til they went musty.

Curds in a mold. Stored in the cold.
Til they went crusty. Til they went musty.

The cheese is complete. And ready to eat.
Gooey, superb, and ready to serve.

Yum yum yum yum yum yum yum yum Give us some. Give us some. Give -  us - some.
Yum yum yum yum yum yum yum yum Give us some. Give us some. Give - us - some.

Proceedings must cease. Do not eat the bries
Are you barbaric or just puritanic?
You have no pairing, no flavour matched sharing.
I insist and decree, before you eat brie
You must first secure a sore grape liquor:
A complement fine of mellifluous wine.

Most agreed. We concede. We adhere,

Now draw near!
Your task is most onerous. Your burden is great.
To find wine harmonious, to find brie’s true mate.

Our task is most onerous. Our burden is great
To find wine harmonious, to find brie’s true mate.

This is more cultured than milk in a vat.

A judge most imperious will sure help with that.

This is more cultured than milk in a vat.
A judge most imperious will sure help with that.

I can indeed arbitrate all things good and fine
I will now administrate selecting of wine.
Bring forth the candidates. Come here! Form a line.
Then I can speculate which one truly shines.
First Candidate. Put forward your case.

I’m fruity merlot, with spice you can savour
I’m plump and full bodied, with soft flirty flavour.

She sounds divine. Merlot is our wine.
Merlot it must be, to drink with our brie.

It seems the vox populi speaks with one voice.
So I must align with the people’s first choice.
My ruling is merlot!

We can’t decide yet.
Let her sit furlough, while others we vet.

Don’t drink the merlot! We can’t decide yet.
Let her sit furlough, while others we vet.

Ah yes well. Harrumph harrumph harrumph
Second candidate. Come forth and explain.

I’m a white Chardonnay. All peaches and cream
And nuanced oak tones, a splendid brie team.

She sounds quite perfect but so does Merlot
Oh such wine conflict! We simply don’t know.

Reject the dichotomy. We still have an option three.

Indeed and well said. Third candidate. Step forth and speak out.

I’m filled up with bubbles and giggles and fun.
I’m the life of the party, you know I’m the one.

We do like to party with bubbly fun wine.
But Merlot’s so arty and Chardonnay’s fine.
Now our heads hurt and our spirits are low.
We’re dumb and inert cause we simply don’t know.

What a disaster. What a cruel fate.
Without a clear winner I must legislate:
Leave us cheese master. Remove the cheese plate.
There’ll be no more laughter. I’ve cancelled this date.

What a disaster. What a cruel fate.
Without a clear winner he must legislate:
Leave us cheese master. Remove the cheese plate.
There’ll be no more laughter. He’s cancelled this date.

May I interject? May I intercede?
I’ve found, I suspect, a way to get bried.
If you can’t choose one wine to pair with this brie,
The problem is simple, why not drink all three?

If we can’t choose one wine to pair with this brie
The problem is simple, why not drink all three?
With joy we’re delirious. But judge most imperious
What do you think of this triple paired drink?

Reject the monotony of wine/brie monogamy.
Refuse the dyadic. Drink wine in triadic.
My judgement is final. My judgement is clear.
The best wine with brie, is all of them here.

Reject the monotony of wine/brie monogamy.
Refuse the dyadic. Drink wine in triadic.
His judgement is final. His judgement is clear.
The best wine with brie, is all of them here.

Yar yar yar yar

The best wine with brie Is all of them here.

The best wine with brie is all of us here.

The best wine with brie is all of them here.
Good night and good cheer.

creating a melody using AABA form


I've been  sooking in bed today, feeling a bit poorly, watching project runway on netflix. I have a total lack of interest in fashion, but I've been quite excited by the thoughts and language used in clothing design. There are criteria - clothes need to be authentic and not costumes; clothes need to sit  beautifully on the people wearing them, clothes need to be tailored and crafted and the craftspersonship needs to be excellent,  there needs to be balance, ratio, excitement, simplicity. The worst things the designers can do is make clothes that are overdesigned and gimmicky. Gimmicky clothes are dismissed as "student". Ouch.

It got me thinking about the craft of composing. There IS craft, despite the post modernist legacy we have inherited where it's become awkward to acknowledge this. I started thinking about the simple design issues in composing which led me to jump on the white board and share some design thoughts - using AABA form to start creating a melody. 


I am still recovering from the mad push to finish Singing The Dots and am taking a few weeks off writing. So no new arrangement for you!

Instead - a virtual concert!

During the Adelaide Fringe Emlyn and I had a concert and I'm really thrilled that he recorded it - singing some of our favourites together. It was our first full concert since my vocal damage was diagnosed back in 2016 so it felt like a big step and we were both a bit nervous. And I am excited to say we did fine and my voice hung in there really well.

When we sing we try to give over completely to the song. We don't think about anything other than - are we in the song? I think these recordings capture this. Plus *cough* a five star review if you please! That's a pretty nice way to re-enter performing!

Please enjoy. x And let me know if any of these songs tickle your fancy and I'll try to write down what we do, for you.


Singing The Dots

Howdy. It's been a long time. And I'm really thrilled to announce that I finished Singing The Dots.

This is a collection of sixteen songs I've composed - specifically created for adult choirs to use to learn sightsinging. This means choirs can sing choral repertoire and develop musicianship.

There are two books - one for choristers and one for choir directors. Each song has explanatory notes and exercises.

If your choir would like to learn sightsinging - please help yourself. Thanks to support from the Australian Kodaly Scholarship, Singing The Dots is available for free.


Fire Songs and Summer Change

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I've been focusing on an acappella song cycle for the stunning Bethany Hill. Have you seen her singing the piece I wrote for her?  (featuring the beautiful singers of 'the Jupiter Choir'.)

When Bethany asked me if I could write an acappella song cycle for her, I thought of the ancient celtic Goddess Brigid - about whom I knew very little other than she had fire hair. Which seems like a good match for beautiful Beth. I've finished the work and as Bethany hasn't performed it yet, the sheet music will stay an alluring mystery for now! But I would love to share the story I uncovered of Brigid, and the text I created.

Brigid is a triple Goddess - of healing, blacksmithing and poets. Which was a great point of departure but isn't enough information to create poetry.  I got stuck for a while til I discovered the irish myths in the Book of Invasions - written circa 1100. This gave me some more biographical detail for Brigid, and allowed me to map the events of her life onto the three rhealms under her care.  This idea wasn't mine.  As she's a Goddess of poets, I had asked Brigid for inspiration. (sure I'm an aetheist but I figured why not?) And this idea of structuring her story around her three aspects was hers. Once she gave me that, I was able to create the text. This is Brigid's life story.

Fire Songs is an acappella song cycle of the Celtic Goddess Brigid. Brigid is an ancient Goddess from the pantheon of Irish celts, and a living Goddess, followed in contemporary pagany. She is often represented as a triple Goddess with care over the domains of healing, blacksmithing and poets. Brigid holds a goblet for healing, fire for the forge, and a harp for the poets. In this cycle I have drawn on myths of early celtic belief. I imagine Brigid growing through her life experiences. I am interested in how her life forged her - how her story created the attributes she needed to become the “exalted one” for her people.

When Brigid’s people, the Tuatha De Danann (the people of the goddess Danu) arrived in Ireland they set their entire fleet on fire to signal their intention to stay. The original inhabitants of Ireland - The wild, fierce warriors of the Fomorians - not surprisingly didn’t care for this, and immediately clashed with the Danu.

In the ensuing battles, the Danann king was killed. His son had lost an arm in battle and was incapable of succeeding his father. Brigid, the king’s daughter announced she would marry Bres, king of the Fomorians, in the hope this royal marriage would provide a king for the Danann and heal the wounds between the two peoples.

Peace was never secured. Bres, a Fomorian was a cruel, oppressive king to the people of Danu. But Brigid chose to stay with him. I imagine Brigid made an informed, wise decision. I think she continued to believe her marriage would bring peace. I suspect the poet-seers had told her that it would cost her dearly, but her eldest son Ruadan would be the light that restored peace to Ireland. Brigid assumed her marriage to Bres was the price she needed to pay and used her knowledge of blacksmithing to harden herself against Bres’ cruelty, giving herself the fortitude to stay and guide their son to fulfill this destiny.

Brigid passed on to Ruadan the Danann skills of blacksmithing. He proved an excellent blacksmith - combining the raw strength of the Fomorians and the skilled craftsmanship of the Danann to create mighty swords.

But the enmity between Bres and the people of Danu grew. Bres finally betrayed Brigid when he led the Fomorians to outright war against her people. In the terrible second battle of Mag Tuired, her beloved son sided with his father, turning against the Danann. Ruadan died in that battle.  

Throughout the night following Ruadan’s death, Brigid’s anguished cries rang out across Ireland. At dawn her keening softened and her voice fell on the land like rain.

When the sun rose, Brigid reached into the sky and pulled a thread of sunlight down for the poets to spin into words and tell her story. The poets sang of her dedication, sacrifice and grief. The intensity and sorrow of the songs so moved the warriors, they finally laid down their weapons.

With harps and songs, the poets of Brigid brought peace to Ireland. Brigid’s own time at the anvil was complete. Her red hair turned to flames as she stepped into the sky, and ascended from woman to Goddess.

And here is the text...


My wedding night.
My wedding robes.
Woven from the grass that grows on the hills. that grows on the hills.

My wedding night.
My wedding wreath from the sham-rocks and flo-wers that grow be-neath my feet. that grow beneath my feet.

My groom
A mighty king.
The flame in his eyes burns with the fire of the night.

And you. oh my people.
And you Oh my people.
Whose red blood has flowed down to the water deep in my wells.

Tonight. Wine will flow. 
Tonight war will cease.
When the daughter of Danu marries her enemy.

The deep wounds will open.
The water will clean.
Tonight will begin with a dance.
Tonight will begin with a dance.


(this one doesn't have words! It's a jig. )


Ruadan, Ruadan, Ruadan my son.
Watch for the colour. See, my bright one?  
There in the flames, white as the flesh of an apple.  
Deep. So deep. My son. Deep in the heart of the fire.  

Ruadan Ruadan Ruadan my son.
Watch for the iron. See, my true one?  
See it grows bright. Bright as the sun of high summer.
Deep. So deep. My son. Deep in the heart of the fire.  

Now take the hammer See, my own one?  
Strong in your hand. Strong as the ox of the farmer.  
Deep. So deep. My son. Deep in the heart of the fire.  

Strike true. Strike true. Strike true my son.
Strike true. Strike true. Strike true my one.
Over and over and over my son.
Over and over and over my one.

Ruadan, Ruadan, Ruadan my son.
Come see the blade. See what you've done.  
See the straight line? Straight as the path of my arrow.  
Deep. So deep. My son. Deep in the heart of the fire.  

I have my own blade to pattern
I have my own fire to burn.  
My son is the true light of Danu for him I stay true.
I stay Deep. So deep. I stay deep in the heart of the fire.  


Cuisle mo chroi Cuisle mo chroi (trans - pulse of my heart)
Beat of my heart.
My son. my son. My beautiful one.
Cuisle mo chroi Cuisle mo chroi.
You turned on your people. You turned on me,
And now you lie slain.

Cuisle mo chroi. Cuisle mo chroi.
Beside you the sword we made at the forge.
The forge of the Danu.
Cuisle mo chroi Cuisle mo chroi
Beat of my heart.
My son. my son. My beautiful one.

Never again. Never Never again. will you hold it.
Never again. Never Never again. will I hold you

Cuisle mo chroi Cuisle mo chroi.
Beat of my heart. Beat of my heart.  


The Dawn
night turns again.
Light comes again.
Sun rise again in the sky. 

I reach up my arm reach up to the sky.
I take a single thread of sunlight. 

For you. oh my people.
For you. oh my people.
Take this thead in your hands.
Take this thread In your hands.
Spin it in to a song of light

Let your song rise up
Let your song rise up in to the sky
and the fighting will cease
This bloody war will cease.
finally I will bring peace. 


So that's the text. And she'll be premiering in January at the Mornington Peninsula Music Festival if you happen to be in Victoria and would like to be there - drop me a line and I'll find out the details.


Because I've been working on pieces for professional singers I feel like my composing is going in a few directions at once. I've been feeling like I need to revamp this website to reflect this - an area for community choir pieces, an area for discussing the opera I'm working on (the revolutionary one where the heroine not only doesn't die, but grows in wisdom, strength and emerges victorious), an area for the choir sightsinging songs I will be publishing in the new year, care of a wonderful scholarship from the Australian Kodaly folks, and other pieces I'm writing. So I'm going to take some time over summer to reshape this website. and be back in the new format by the end of March 2018.  I hope you have a wonderful Christmas period and new year. See you in 2018. x





Nativity - the final instalment

We are underway at Voices In The Wilderness, my community choir, with the nativity. I was worried it was cheesy but once real voices sing it, it's actually just lovely. I think I've left the best for last! When I played it to Emlyn last night, even with sibelius doot doots instead of humans singing, he cried. In the right way. 

This is part five. the previous parts are here: part four, part three, part two, part one.

I'll aim to put it together and publish it as one piece after I've test run it with my lovely choristers, and made any adjustments. I would like to put a little time into the piano in a few places too.

This one looks like there are lots of parts.  But it's not as alarming as it looks. The soprano and alto parts only split for the last few bars of the piece. The bass 1 and 2s separate during the section where the kings are singing, and then are together until the last few notes, where if you are a lucky choir you'll have someone with a bottom C.

Since the sopranos and altos don't sing in the first section, their rehearsal tracks begin at bar 40. 


Nativity Part Four and Songs For Our Weddings Recording

CHECK OUT THE SCRATCH CHOIR - Current working title Corinthian Singers who performed and raised money last weekend in Brisbane for their brilliantly themed concert songs for our weddings. In the promo, they said "from Byrd to Beach Boys and Everything In Between" and I'm thrilled to say one of the in betweens was my When You Stand With Me. Which they not only did wonderfully but did acappella! 

Blake Anderson Photographer

Blake Anderson Photographer

Thank you David for sharing that wonderful recording with me. 

Sheet Music here.

Now to this week's installment of the nativity. This section is 83 bars or there aabouts, and there are 100 bars to go. So maybe two more parts will do it. Because it's the end of October and I want to get this out to you, I'm embracing the 80/20 rule of near enuff. There's nothing like it being nearly 1am to get a healthy attitude of "that will do" eh?

A chance for a soloist here. It's not particularly high, so anyone angelic could do it.

Nativity - part three


My lovely choir are attacking this nativity with their usual good humour and adventurous spirit. We haven't looked at this bit yet though! Time for Rock! Hopefully that'll be alright with everyone. 


If you have a pianist who likes to jam you may wish to repeat bars 27 - 30 twice, and give them a moment to really let loose - with my blessing. Either with the choir singing or as a piano solo. No pressure though, if that's not their thing.

This is the third in the series. Part One Here. Part Two Here.

Rehearsal Tracks