Choral Music

A setting of Emily Dickinson’s poem for SATB a cappella choir, capturing the fleeting quality of early spring light. Luminous major-second harmonies evoke the poem’s central image, with suspended resolutions reflecting the bittersweet passage of a transient moment in nature.

An SATB a cappella choral arrangement of the mele by Kenneth Makuakāne (music) and Joseph Keola Donaghy (words), with choral writing crafted to illuminate the text’s imagery of peace and stillness. Recognized by Na Haku Mele 2026. Publication forthcoming.

A four-movement SSATBB a cappella cycle setting Christina Rossetti’s poem of love and loss. Each movement explores a different facet of grief—from anguished dialogue through tender remembrance and mournful processional to an unresolved epilogue—through chromatic harmony, shifting textures, and expressive word-painting.

A compact SATB a cappella setting of Heine’s fairy-tale poem in German. Gentle homophonic outer sections frame a vivid melismatic center where independent voices evoke the singing trees and swirling mist-figures of the poet’s enchanted land.

“An a cappella SATB setting of Tennyson’s meditation on grief and the sea, written for the sixteen-voice professional choir Radiance. Cascading suspensions evoke the relentless sea, while chromatic harmonies and sustained legato lines build from conventional imagery to unexpected emotional revelation.”

A refined SATB a cappella carol setting of the Epiphany hymn St. Ninian by John Bacchus Dykes. Enhanced counterpoint and melodic refinements breathe new life into this neglected hymn tune while preserving its intimate, reverent character.

A lush SATB arrangement of the soprano-tenor duet from Horatio Parker’s 1893 Christmas cantata The Holy Child. Ornamental melismatic lines, rich late-Romantic chromaticism, and a sweeping pp-to-ff climax bring warmth and grandeur to Isabella Parker’s tender lullaby text.

An austere dirge for solo alto, SATB choir, and drum, setting Nicolson’s unflinching poem of famine, death, and desperate love in colonial India. Bare unisons and open fifths build through polyphonic intensity before dissolving back into solitary grief.

A freely chromatic, un-metered SATB a cappella setting of Nicolson’s poem about love lost. Cut-away scoring and invisible barlines create a continuous, fluid texture where voices emerge and recede as the poet moves from tender memory through passionate outburst to quiet resignation.

A vibrant new setting of Psalm 133, Hine Ma Tov celebrates the joy of community through a lyrical melody inspired by traditional Jewish tunes. Dramatic exclamations of Hine! (“Behold!”) build to a striking convergence on a single pitch—a musical portrait of the text’s vision of unity.

A sly SATB a cappella setting of Teasdale’s poem about a lover’s quiet revenge. The music mirrors the poem’s trick—opening as tender elegy before a concentrated chromatic outburst reveals the true emotional stakes, then retreating to an ambivalent whisper.

A joyful celebration of the Hawaiian landscape, Island Home (Awakening) traces a Kona sunrise from first light behind the mountain to the vibrant singing of the Island coming to life. The work can be performed with orchestra, piano accompaniment, or a cappella.

An atmospheric a cappella setting of the Picardy hymn tune for solo soprano and SATB choir. Four verses build from a hushed, chant-like opening over sustained drones to full marcato power, with vivid text-painting that brings the ancient Liturgy of St. James to life.

An energetic SATB a cappella re-composing of William Billings’ 1778 hymn tune Judea, telling the Christmas story in three verses. Lilting compound meter and a boisterous refrain frame contrasting verse styles—simple storytelling and a reverent hymn—unified by Billings’ raw, singable energy.

A meditative SAB Christmas setting interweaving the 1843 Adoramus te Christe with the original 1591 Coventry Carol. Gentle lullaby refrains alternate with motet-like devotional episodes, creating an intimate dialogue between adoration and lament.

A contemplative SATB a cappella mass for concert or worship, with the spare intensity of Arvo Pärt channeled through plainchant-rooted writing. The Kyrie, Sanctus, and Agnus Dei are each a self-contained meditation suitable for independent programming.

An SATB a cappella mass of striking harmonic depth—vivid progressions illuminate and intensify the Latin text at every turn. The Kyrie and Agnus Dei are each suitable for independent programming.

A complete six-movement SATB a cappella mass spanning 17 minutes, each movement rooted in a different era of choral writing—from plainchant origins to lush Romantic chromaticism. Recorded by the Byrd Ensemble on Stories.

A festive SAB arrangement of the beloved Divinum mysterium chant, available in two scorings: handbells and flute (F. 180a), or organ (F. 180b). Three verses build from intimate homophony to joyful polyphony with staggered entries and independent texts.

A spirited SAB arrangement of the 1582 carol Personent hodie for choir and handbells. Four verses build through progressive vocal layering—soprano, alto, then bass each lead in turn before all voices unite—punctuated by jubilant Latin refrains.

A warm SATB setting for baptism or Eastertide, built on progressive voice entries that expand from soprano-alto duet to full choir. Piano counterpoint enriches the hymn-like texture, and a half-step modulation near the end lifts the final verse to a climactic close.

A dramatic SATB setting tracing the emotional aftermath of love lost through Nicolson’s vivid imagery—flowers, sunset, stars. The music mirrors the poet’s journey from tender remembrance through furious outburst to quiet, unresolved desolation.

An operatic scene for tenor solo and SATB chorus a cappella, setting Wilde’s graveside elegy. The soloist bares the poet’s grief while the chorus hums and murmurs a sustained harmonic backdrop—echoing, supporting, and absorbing the mourner’s desolation.

An unaccompanied SATB setting from the India’s Love Lyrics cycle, The Plains brings Nicolson’s wide horizons and longing to life through extensive word painting, a distinctive pentatonic harmonic language, and free, chant-like rhythms.

A gentle SA and piano setting of Tennyson's lullaby “Sweet and Low”–a mother singing to her child while watching for her husband’s ship. Rocking piano triplets evoke the waves, and a closing two-voice texture layers comfort with longing.

Wistful Wind’s quick, rhythmic pattering of unaccompanied voices paints the scene for the listener: a chilly errant breeze in the hush before dawn. Just like the poet uses language to evoke imagery, the composer can use rhythm, melody, and harmony to support specific aspects of the text.

A complete list of compositions is available in the Catalog Index, including pieces not yet featured on this site.