Three Simple Songs

Reflections On a Simple Melody

Walk Humbly with Your God

The piece is simple and unassuming and grows in complexity throughout, much like the text from Micah 6:1-8. Challenging but beautiful organ accompaniment.

To Canaan's Land I'm on My Way

This work opens with a simple soprano solo followed by the entrance of the choir in a style reminiscent of early American part-writing. The text is both hopeful and peaceful.

The Lord's Prayer

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15

Gwyneth Walker: Let The Life I've Lived Speak For Me (TTBB)

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open, transparent harmonies, this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

Gwyneth Walker: Let The Life I've Lived Speak For Me (SSAA)

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open, transparent harmonies, this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

Gwyneth Walker: Let The Life I've Lived Speak For Me (SATB)

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open, transparent harmonies, this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

Jesus Christ, the Apple Tree

The 18th-century poem, Jesus Christ, the Apple Tree, found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third, then embellished by a soprano descant on the final verse. Duration: 2:00 The 18th-century poem, Jesus Christ, the Apple Tree, found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third, then embellished by a soprano descant on the final verse. Duration: 2:00

Stille Nacht! Heilige Nacht!

This simple concert arrangement employs Franz Gruber’s original melody as sung in Northern Europe, and three of Joseph Mohr’s original German stanzas. Composed in a charming “Austrian style,” this arrangement evokes the sound of a traditional band of folk singers, as one might hear in a Christkindlmarkt in Germany or Austria. It is especially useful when programming a Christmas in Germany-themed (or Christmas in Austria-themed) concert, and works perfectly as a hushed, elegant encore. Duration 4:30This simple concert arrangement employs Franz Gruber’s original melody as sung in Northern Europe, and three of Joseph Mohr’s original German stanzas. Composed in a charming “Austrian style,” this arrangement evokes the sound of a traditional band of folk singers, as one might hear in a Christkindlmarkt in Germany or Austria. It is especially useful when programming a Christmas in Germany-themed (or Christmas in Austria-themed) concert, and works perfectly as a hushed, elegant encore. Duration 4:30

A Quiet Alleluia

This piece was composed for my close friend Walter Roach. He asked for a piece for his dear wife Debbie, who was in the last months of her life. I composed it with her in mind, and fortunately she got to hear it sung. Musically, it is basically a simple and flowing melodic piece. Compared with some of the more majestic and powerful pieces that have been written on this text, this work is really a quiet meditation and prayer.

Maid of Constant Sorrow

A familiar American folk song is A Man of Constant Sorrow. Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. “All through this world, I’m bound to ramble...perhaps I’ll take the very next train.” Then, later, “perhaps I’ll die upon this train.” Some comfort is taken with the lines “I know we’ll meet on God’s Golden Shore.” Approachable vocal writing with a gently flowing piano accompaniment. Duration: 4:15A familiar American folk song is A Man of Constant Sorrow. Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. “All through this world, I’m bound to ramble...perhaps I’ll take the very next train.” Then, later, “perhaps I’ll die upon this train.” Some comfort is taken with the lines “I know we’ll meet on God’s Golden Shore.” Approachable vocal writing with a gently flowing piano accompaniment. Duration: 4:15

Were You There?

This new arrangement focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the crucifixion. The piano accompaniment, which plays a featured role in this music, varies with the mood of the lyrics—from simple chordal support at the beginning, to harsh rhythms (“nailed him to the cross”), to rapid “sunburst” patterns (“the sun refused to shine”), to sorrowful descending lines (“laid him in the tomb”). The choral expression is articulated in similar manner to the accompaniment. Duration: 4:30

Et in terra pax

Et in terra pax is a choral meditation on the dream of peace on Earth, coupled with the realities which constantly threaten such a dream. The work begins with a simple homophonic prayer. The middle section features a more agitated theme, indicating fear from enemies. This section culminates in a powerful supplication for strength and aid. The opening music returns, emboldened by a repeated plea which reaches an apex of sheer serenity. The final moments echo the continuous hope of peace on earth. -Thomas Juneau   Duration: 3:30

She Walks in Beauty : From Love Shall Live Forever

Part of the collection Love Shall Live Forever. "She Walks in Beauty" begins with a piano introduction allowing time to enter the poetic world of Lord Byron. A simple melody is accompanied by steady, walking rhythms. Although the original poem speaks only of the woman (beloved)- reverently, objectively- this new interpretation inserts a verse to include the man (lover), thus creating a love song for a couple. He walks in courage...they walk in beauty, O love! The piece concludes with a quote from the Song of Solomon (Set Me As A Seal). Duration: 3:00

The Morning Train: 3. Maid of Constant Sorrow

A familiar American folk song is "A Man of Constant Sorrow." Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. "All through this world, I'm bound to ramble...perhaps I'll take the very next train." Then, later, "perhaps I'll die upon this train." Some comfort is taken with the lines "I know we'll meet on God's Golden Shore." But the life on this earth is one of constant sorrow. Duration: 2:30.

If Ye Love Me

If Ye Love Me was composed as a reflective commentary on the well-known motet by Thomas Tallis (1505 1585). Homophony predominates in the first section but with clusters rather than the traditional harmonies used by Tallis. Later, the texture reduces to a very simple four-voice contrapuntal texture as a brief reference to Tallis’ style. The chorus then divides into two groups with one group continuing the counterpoint which is now expanded into a more active and complex style. The second group of voices returns to the homophonic style, but now in widely expanded harmonies. Thus, the motet concludes with homophony and counterpoint sounding simultaneously. Duration: 2:00