Taking its name from the book by Malcom Gladwell, Tipping Point seeks to identify the moment when something arrives, spreads, and becomes memorable. This work for baritone saxophone and virtual reality performer was written for Dr. Adrianne Honnold in 2022, and utilizes the SolticeVR software written by Dr. Roy Magnuson.

Note: This work requires special hardware and software to perform. Contact the Mike McFerron for more information.

Myopic Phantasy for mobile device trio was written in 2019. The foundation for this work is the opening lines of Edgar Allan Poe's short story, "The Fall of the House of Usher," whose narrator describes a feeling of "insufferable gloom" upon seeing the titular house and its decayed surroundings. The reader understands this description as a prediction of what is to come as the narrator descends to the House of Usher.

Many composers, from Debussy to Philip Glass, have produced music inspired by Poe's famous text, and for good reason. In it, the reader is confronted with quintessential Gothic themes, magnificently rendered: psychosis, metaphysics, human decay (physical and moral), and the strong tether of family. But perhaps the two themes that most elicit dread are isolation and captivity?being alone, captive to a sibling, captive to a house, captive to a sick mind. The terror and horror of this story may be that readers, through the eyes of Poe's narrator, begin to imagine themselves isolated and trapped by their circumstances. It is upon these themes that Myopic Phantasy is built.

\"We must talk about poverty, because people insulated by their own comfort lose sight of it.\" --Dorothy Day If You Walked a Mile for marimba and computer was written in 2015 for acclaimed percussionist, Andrew Spencer. Texts in this work are excerpted from George Miller's eponymous social justice poem, which was written specifically for this composition.

Written in 2014, 1S->2S Transitions is a concert meditation for iPhone octet and computer. 1S->2S Transitions refers to the quantum mechanical phenomena by which a photon causes orbital shifts in atomic electrons. Acceptance that these shifts of matter exist in space between orbits led to the understanding that something can be both particle and waveform simultaneously.

X Marks the Sirens was written for and dedicated to mezzo-soprano, Katherine Crawford. This composition was completed in my home studio in July, 2013. My heartfelt thanks to acclaimed poet and my colleague, Jackie White, for supplying a beautiful text.

Open Circuit was written for flutist, Rebecca Ashe, in celebration of Electronic Music Midwest?s 10th Anniversary. This composition was completed at the Ucross Foundation Artist Residency in Wyoming, August 2010.

In Latin, this work was composed in 2006. Translation Set me as a seal upon your heart, as a seal opon your arm; For love is as strong as death, Ambition as harsh as hell: its flames are a blazing fire. Deep waters cannot extinguish love, Nor rivers sweep it away. If a man should give all the substance of his house for love, he shall despise it as nothing. Technical Note: This work is available in a 5.1 surround as well as a stereo version

"Kai estin au mousike peri harmonian kai rythmon eroticon epistime..." (And music, in turn, is knowledge of harmony and rhythm of love) PLATO Torrid Mix was written in 2006. The electroacoustic tape part was created entirely by manipulating piano and voice samples. This work is written and dedicated to pianist GéNIA

This work for piano and tape was written specifically for Stephan Casurella. Stephan is one the finest pianist I have ever had the honor of working with. In this work, I concerned myself with drawing on the performer's strengths, while still challenging the performer's technique to fall in line with my own aesthetic. Stephan, who is also a very fine composer, is a major contributer to this work. His participation in the creation of Stratum insured a truly collaborative piece of music for which I am very proud. On a technical level, the piano writing explores multiple layers of the register and rhythm. Also, I focused on sharp contrasts in dynamics, and on the exploitation of two pitch set-classes that interest me. Every sound in the tape part is derived from a recording session which involved Stephan and myself. The entire tape part, including mixing, was created using these samples and realized with CSound on a Macintosh computer. The tape part makes use of more ambient sounds at times when the piano is more active, and makes use of motion when the piano is more static. Special thanks to Dr. Robert L. Cooper for his technical and musical assistance.

Dos Paisajes for amplified violin and fixed media was written during my residency at the MacDowell Colony for violinist Jesús Florido. The fixed media part was created by manipulating a limited number of violin samples. Dos Paisajes is delineated into two opposing musical ideas, one that is ordered by me, and one where the performer must improvise. These two "landscapes" coalesce to form the unified whole.

Stationary Fronts was written in 1999 at my home studio in Kansas City, MO. This work explores my interest in "hard, loud, and fast" music and the relationship between two seemingly opposing forces. The tape part for Stationary Fronts was created entirely using recorded samples of a flute session with Thomas Clement. Samples were manipulated, sequenced, and mixed using Csound. Stationary Fronts is dedicated to flutist Thomas Clement.

For a person who fly fishes few things are more exciting than a strong hatch, the moment when adult insects emerge from their underwater nursery breaking through the surface tension to escape into an awaiting world. It's during this time when trout, who have been resting in the depths patiently, ascend to where the water unravels. It's during these brief moments when fly anglers join the fragile dance developing in the world around them. Inside the Hatch was written specifically for flutist Linda Chatterton and pianist Matthew McCright for the Vox Novus Composers Voice Series

Hamburger Pattie Machine, for clarinet, violin, and cello, was written for the Chamber Music Conference and Composers' Forum of the East.

Music for Viola and Piano was written in 1997. The music explores the relationships of two musical characters. At times, these characters are delineated by any number of elements including harmony, rhythm, timbre, or tessitura. At certain times two instruments share common material and one character speaks independently. On a global scale, the work is delineated by four movements. All of the movements are constructed of very similar shapes, and movements two through four are shorter in length than the movement which precedes them resulting in a "telescoped" form. This work received its world-premiere at June-in-Buffalo in 1997.

This work, for flute, clarinet, violin, cello, percussion, and piano, was completed in the spring of 1999. Special thanks to Dr. Reynold Simpson, Michael Isadore, and Musica Nova for whom this piece is dedicated. As in other works written during this time in my life, these short pieces explore my interest in "hard, loud, and fast" music, how instrumental "personalities" interact with one another, and the development of high vs. low motives. These pieces should be performed consecutively without interruption.

Trio Divergent for flute, cello, and percussion is a compositional study in perpetual motion. This work is very challenging and rewarding for players.

I have felt that, at times, my compositional process serves a therapeutic purpose that attempts to answer questions about my experiences. In 1997, Robert Cooper who was a dear friend, teacher, and colleague of mine suddenly passed away. Recently, I was struck once again with the emotions of this passing. After three years, I recently realized once again how important his life was to me. Although this is the first composition that has a reflective quality, this work for flute, oboe, clarinet, and cello is my third composition that is dedicated to Robert. Robert was very interested in experimentation for the individual. From my perspective, he was not as concerned that I (or any other composer) should experiment in music for "music's sake," but experimentation for the benefit of the composer. Although subtle, I think it is important to distinguish between these two views because it insures a very personal attachment to one's music. I continue to explore the definitions of melody, harmony, rhythm, timbre, and medium for myself in every piece I write. I must admit that the compositional ideas in Experience 3 are not revolutionary ideas; however, these ideas represent a discovery process and my exploration for beauty in music. Simply, this work and every work, is a direct reflection of my time with Robert.

Improvisation for Violoncello and Percussionists: a study in moment form was written for my 2004 Theory 4 class at Lewis University. I composed the work to enhance the visit of William Jason Raynovich, a fantastic composer, cellist, and promoter of new music. Jason is an expert in 20th century improvisation, and this composition was written to allow my theory 4 class and him collaborate in the musical world. It premiered in January, 2004 at Lewis University

Red Earth, a work for mixed instrumental ensemble, is constructed of two movements that may be performed together or independently. Although these movements share commonalities associated with traditional multi-movement works, each movement, due to its structure, provides the listener with a sense of completion. I made no attempt to adhere to a specific traditional form in either of these movements. Instead, by distancing myself from the work as a composer and assuming the role of audience member, I was able to create forms and shapes that I find satisfying as a listener. Examples of techniques used to generate these shapes include written out accelerandi and ritardandi in melodic fragments, decreased or increased time intervals between entrances of an instrument or instruments, and manipulated tessiture of instruments in different directions. The main commonalities that these movements share can be classified as thematic and rhythmic. For example, the primary theme in the second movement is derived from the second theme of the first movement. Also, both movements rely heavily on several ostinati to provide motion that is constantly moving forward, to create a surface for the main melodies to work with and against, and to supply the listener with multiple layers. Red Earth is simply an expression and observation of my search for beauty in this world. If these emotions could be written in any other language, I would not have had to write this music.

Kreutzer Fantasy for violin, cello, and piano was inspired by Janacek's String Quartet No. 1 Kreutzer Sonata. Janacek's composition was inspired by Tolstoy's eponymous novella which in turn was inspired by Beethoven's sonata for violin and piano. While composing this work, I rediscovered Janacek's quartet and was amazed by his capacity for juxtaposing disparate musical ideas to create a dramatic work of art. Kreutzer Fantasy presents three distinct musical characters who struggle to define their identity.

Because this work has a limited harmonic vocabulary, it exploits contrasts of dynamics and rhythm. Although not entirely monothematic, Kreutzer Fantasy builds upon my recent compositional explorations that conserve musical materials and create a dramatic musical structure. Kreutzer Fantasy was completed in 2004.

Music for Flute Violin and Piano was completed in Kansas City, Missouri in the spring of 1998. The music explores many relationships of three characters. For example, at certain times two instruments share common material and one character speaks independently; however, there are also moments when all three characters are allowed to speak their own independent voice. These characters are delineated by a number of elements including harmony, rhythm, timbre, or tessitura. Music for Flute Violin and Piano follows the compositional process in my recent music which explores the creation of a composition from the ?outside in.? This process is analogous to a sculptor who determines the shape of a sculpture before deciding on what materials will be used. For ?outside in? process in Music for Flute Violin and Piano, I first determined the form and shape of the composition, as opposed to developing a melodic or pitch idea to create a shape. This work is dedicated to Tom and Elizabeth Clement in celebration of their wedding.

Insistent Disturbances is representative of my compositional process at this time. In this work, I began with a global plan that defined a musical shape and then immediately developed pitch material to support my original global perspective. But as I developed local level material, I began to modify the overall structure of the work. In other words, these two opposite approaches give and take for the sake of drama. While composing this work, I was overwhelmed by the amount of tribulation in the world. Like many people, I often feel like an outside observer of events that directly impact my life, and (as in the creative process) these events generate a struggle between my affective and cognitive minds. Just when I begin reconcile these two forces, another dramatic event occurs in the world, and the human process begins all over again. Insistent Disturbances was written in 2003.

Winter Solstice, the first work for cello and piano by Mike McFerron, was written in 2004. This composition is a grade 3-4 for cello. With its pandiatonic harmonic language, this composition is very accessible to both the performer and audience. The title refers to the Raven Hail poem below. The dark Goddess gathers all Her fallen blossoms unto the warm earth to await new birth. poem by Raven Hail Winter Solstice ©1994 Raven Hail All Rights Reserved used with permission Note: This composition is accompanied by a letter granting permission to photocopy the score to accommodate performance needs.

20 young children lost their lives at Sandy Hook Elementary School on December 14, 2012. The senseless mass shooting impacted most of us at some level. For me, my son was the same age as the children who were taken from their families that day. Since then, I have marked his milestones with those children who were lost in 2012; school programs, first dance, driving. At times, even rather common experiences like hearing sounds of playing and laughter when I would pick up my son at his elementary school transported me back to that moment when I first learned of the horrific event. Immediately After the shooting, parents of students who attended Sandy Hook Elementary School were directed to gather at the local firehouse, located just around the corner. With what was surely incredible relief for some, children trickled into the building and were reunited with their families. Little by little, those families, still whole, left the brick firehouse until only a small group of parents remained. This remaining group was ushered to the back of the firehouse, where hours later the governor of Connecticut entered the room to confirm their worst fears, that their children were not coming home. The atmosphere enveloping the anguish of waiting for the families throughout that day is almost unimaginable to me. A spectrum of emotions that is indescribable, first watching the tearful reunification of other families all the while desperately clinging to hope for their own joyous reunion as they were ushered to the back of the firehouse. Humanity lost that day, but through remembrance and communion, we seek peace and healing together.

IsoLoops, for two pianos-eight hands, was completed in 2020. Constructed with a limited harmonic language, IsoLoops is developed by layering isorhythms of varying duration and pitch scope. The interaction of these rhythmically independent isorhythmic layers create direction and shape in this composition. Isorhythms are often associated with motets from the 14th and 15th century, but this feature can also be found in later western concert music as well as music from the Far East. Today, isorhythms are found in many types of music from concert to pop to film to video game. In the context of IsoLoops, an isorhythm is simply a repetitive rhythmic pattern and an independent repeating pitch pattern. In this composition, these various patterns of different length loop throughout the work, realigning with different voices and propelling the music incessantly forward.

...apprehension of the eternal will was written in 2017. The title is taken from Rabindranath Tagore's essay "The Relation of the Individual to the Universe" from Sadhana (1915), and was inspired by his work as well as Pope Francis' encyclical, "Laudato Si," written one hundred years later. Like Pope Francis' disquisition, the topic of Tagore's work is ostensibly a warning about the disconnect between humanity and nature; however, also like Pope Francis' work, Tagore's essay more covertly confronts the larger topic of humanity's syzygy to the spirit, to the divine, to the infinite, and to each other. Throughout this piano work, a struggle exists to find congruence between a prescribed infinite series and an intuitive musical construction. The purpose is not to accentuate differences or examine a relationship built upon isolation, but instead to observe and respect the kinship established by growing with, growing into, and nourishing each other.

"Football is like life -- it requires perseverance, self-denial, hard work, sacrifice, dedication and respect for authority." -- Vince Lombardi Smash Mouth Offense was written in 2016. It utilizes a limited harmonic language originated from a nine-note scale. Despite hitting barrier after barrier, the music incessantly continues to, as coach Lombardi would say, "run to daylight."

ad fundum is a solo snare drum piece that explores the connections between solo concert and rudiment techniques. It was composed in 2013

Robert Cooper had a profound influence on me and my music. As his composition student, I believe I took a little bit of "musical personality" from all of my teachers. Under Robert's tutelage, I began to further explore my concept of sound and experimentation. Robert was very interested in experimentation for the individual. From my perspective, he was not as concerned that I (or any other composer) should experiment in music for "music's sake," but experimentation for the benefit of the composer. Although subtle, I think it is important to distinguish between these two views because it insures a very personal attachment to one's music. Because I studied with him, I continue to explore the definitions of melody, harmony, rhythm, timbre, and medium for myself in every piece I write. I must admit that the compositional ideas in "Experience I" are not revolutionary ideas; however, these ideas represent a discovery process and my exploration for beauty in music. Simply, this work and every work, is a direct reflection of my time with Robert as his student. Sadly, Robert suddenly passed away in 1997.

These little preludes were written in Kansas City, MO from 1998-1999. Although unrelated to one another, these pieces represent the compositional process of "working out" ideas (discoveries), conversations (for Joe), and frustrations (Figaro's Whore). For me, Discoveries is a study in my compositional process where global ideas (shapes) precede local ideas (motivic) at conception. In my mind, this is analogous of a sculptor determining the shape of a sculpture before determining the materials that will be used. For Joe is directly inspired by a series of conversations I had with a very close friend who is also a composer. Although our musical language is completely different, we are generally trying to say the same things. Figaro's Whore is a direct reaction to the frustration of dealing with academic procedures. At times, I feel like I must put things back into perspective for myself. Three Preludes is dedicated to pianist Janet Fetterman.

Conversation for solo flute represents how, at times, I deal with personal, professional, and compositional problems. As I search for answers, I generally have a series of conversations with myself, where I try to argue two opposing answers. Slowly, I begin to reconcile these differences until I reach the conclusion. Conversation begins by stating two opposing points of view that, in the end, more or less reconcile.

Views for Piano consists of three movements and two short intermedii. The intermedio developed in the Renaissance and continued throughout the Baroque era. They were generally very short, and their character was lighthearted in nature. Similar to the English Masque, they were inserted between the acts of plays, and they consisted of short events from presentations of purely instrumental music to elaborate staged productions . The spirit of the brief episodes in Views for Piano is consistent with intermedii found in Renaissance plays and Baroque opera. That is, they provide the listener with relief from the intensity of the drama. Except for some of the harmonic language, they are not related to the larger movements.

Conversation 2 for solo vibraphone is the second in a series of short pieces for solo instruments. These works represent how, at times, I deal with personal, professional, and compositional problems. As I search for answers, I generally have a series of conversations with myself, where I try to argue two opposing answers. Slowly, I begin to reconcile these differences until I reach the conclusion. Conversation 2 begins by stating two opposing points of view that, in the end, more or less reconcile.

Two Images was commissioned by Dmitry Sumarokovam for a multimedia production in Latvia. The production, a mixture of music, dance, theatre, and art, is based upon mythological character who is a blend of Goethe's Faust, Dickinson's "Scrooge," and "Johnny" from the Charlie Daniel's song, A Devil went Down to Georgia--it's rather complicated, so never mind. My goal was to create a work that would not cause an international incident, and also one that could stand on its own merit.

Rainbow Magnetic Spinning Wheel uses limited pitch and rhythmic material to support a wide variance of color. Even during extreme changes in texture and shape, the original musical material is always being drawn back to the
foreground. This composition was written in 2003 and dedicated to Anne McFerron.

Concert Fanfare was written in 2024 for the Metropolitan Youth Symphony Orchestra's 65th anniversary celebration concert. An orchestra located in the southwest suburbs of Chicago, MYSO brings young people together to explore and express their talents in community, fostering a life-long love of music. My special thanks to Peter Lipari and the Metropolitan Youth Symphony Orchestra for asking me to write this work for them. MRM

Although the phrase, "Hope in the face of uncertainty" was delivered by then Senator Barack Obama during the 2004 Democratic Convention, its meaning and significance transcends political partisanship and ideology. For many, it symbolizes the power of the unified voices of youth as they proclaim, "Yes we can!" embracing, "Hope in the face of difficulty. Hope in the face of uncertainty. The audacity of hope."

Written in 2009, FANFARE: Hope in the Face of Uncertainty is dedicated to the Metropolitan Youth Symphony Orchestra in celebration of their 50th anniversary.

Note: smaller format study score available upon request.

Hymnus Cherubicus for string orchestra began as a choral work, but at the encouragement from a dear colleague, I transcribed this work for string orchestra. The text of the motet, Hymnus Cherubicus, has a long history in the church as well as in concert settings. It has been set by composers such as Tchaikovsky, Ippoloitov-Ivanov, Bortniansky, and Grechaninov. Generally associated with eastern orthodox liturgies, The Cherubic Hymn is sung at the pivotal moment in the Divine Liturgy in Orthodox Churches. It represents the blending of the worship of the Earthly Church with the Heavenly worship as described in the biblical book of The Revelation of St. John. The text also exists in the Roman Catholic tradition as part of the feast of St. Dennis. This composition is written for and dedicated to the Lewis University Choir. Qui Cherubim mystice imitamur et vivificae Trinitatis ter sanctum hymnus offerimus, omnem nunc mundanam deponamus sollicitudinem sicuti regem omnium suscepturi cui ab angelicis invisibiliter ministratur ordinibus, alleluia Translation by Dr. Lawrence T. Sisk Let us, who mystically represent the Cherubim, and who sing to the Life-giving Trinity the thrice holy hymn, put away all earthly cares so as to receive the King of all things escorted by the army of angels. Alleluia.

The first in a series of compositions for youth orchestra, Heroic Overture #1: Cuchulainn is named for the hero of the Ulster Cycle, an early Irish Gaelic literary work written around the 1st century BCE. In this heroic tale, Cuchulainn (pronounced koo-hool-n) is portrayed as a person above reproach, and the cycle documents his great strength and heroic deeds. The story outlines his triumphs including single-handedly defeating an entire army. Yet in the end through the trickery of another, Cuchhulainn dies in battle facing all the forces of Ireland.

Between the Extremes for orchestra was written for Lawrence Sisk and the Metropolitan Youth Symphony Orchestra. This work is rooted in the compositional process of working simulteneously with two opposite methods: inside-out and outside-in. When working from the inside-out, motivic materials (in this case a set-class and scale) are developed to create shape and structure, while the outside-in approach starts with a shape and works toward details at the local level. I find that much of life seems, at times, to occur on the extremes. For example, experiences are either good or bad emotions either high or low. It is my goal to find these wonderful interstices in my life that are between the extremes.

Odiporia (pronounced "O-thee-po-ree-a") was composed in 2002. When beginning this work, I chose a global musical shape before choosing pitch, orchestration, rhythmic, or thematic materials. This is analogous to a painter determining what to paint first instead of choosing what colors to begin painting with. Odiporìa juxtaposes two opposing thematic ideas to generate the musical shape. Although both are created using the same pitch material, they are initially presented in different textural environments. Near the end of the composition, both musical ideas coalesce to create a sustained climactic section. From the genesis of the creative process, collaboration has played an important role. My special thanks to Juan F. Lamanna and the State University of New York at Oswego for commissioning this work. In addition, this work would not have been written if it were not for the collegiality, counsel, expertise, and immense help of Lawrence Sisk. Mike McFerron Lockport, Illinois - 2002 Text from Antigone by Sophocles written 442 b.c.e. Translation of Original Greek Text adapted from the translation of Sir R.C. Jebb (1841-1905) by Mike McFerron There are many things that are terrible, But none is more terrible than man. He is more powerful than the stormy sea, Which threatens to engulf him. God of the Earth-Imperishable! He continues to plow away the soil each year at his own peril. Man is destined for misfortune. A wise person once stated That for an instant, man embraces evil. Thinking of himself as a god, In time, he will lead himself to ruin. Yet for this brief moment, such a man feels free. But blessed are those who have not embraced evil ways. Their houses will not be shaken by the hands of God, And their families will not be taken from them. Wisdom defines our happiness. The most important element of wisdom is to be holy. Arrogant men will receive the wrath of the gods. Wisdom comes through experience and age. Note: SATB is in Greek. Transliteration and pronunciation CD available

Grade 3-4, this fanfare is a great way to feature a brass section. Relatively easy to prepare, this work is conducive to almost any occasion. Lewis Fanfare was written for the Metropolitan Youth Symphony Orchestra in residence at Lewis University, Lewis Fanfare was completed August 2004.

On the Edge was commissioned by the Metropolitan Youth Symphony Orchestra which in 2001 acquired four new timpani. The conditions surrounding this composition afforded me the opportunity to write a work that would feature a very talented 17 year old timpanist. On the Edge deals with two similar themes presented separately. These melodies coalesce and collide in the final section of the piece and continue to build a thick climactic texture until the end. My goal was to present a colorful orchestration at the end of the piece where these themes spiral through different instruments, thus blurring the original two melodies, and in a sense, synthesizing one texture and theme which is practically new, but related to the original two themes. 2002 was a very difficult time for my entire family. At one point, my mother commented that she felt like at any moment, she "would explode." For months we were "On the Edge" of these emotional and physical explosions. My hope, is that the listeners experience an emotional journey which leaves them refreshed. As we released (or exploded), we all found calm -- It helped us endure. notes by Mike McFerron

Perspectives, a work for orchestra, is the result of my exploration of two contrasting extreme compositional processes. One extreme is an approach to composition from the 'top-down,' or from the 'outside-in', a process analogous to defining the form of a sculpture before deciding what tools or materials are to be used to create it. In Perspectives, my 'outside' process defined the structure and shape of the composition by outlining textures and pitch centers for the piece in a global way. The other extreme process is the opposite of the first, or an 'inside-out' process. Continuing the analogy above, the sculptor defines the materials and tools to use first, and the form of the sculpture is then a result of these choices. For this local process, I initially chose the set-class which interested me. Through a sequence of manipulations I eventually developed a symmetrical nine-note scale on which the piece is locally based. The form of the work is defined by the same 'outside' and 'inside' approach that was used in the composition process. The large-scale (outside) shape of the work is based upon the juxtaposition of two unrelated orchestral environments: a fast section which is highly rhythmic and dense in texture, and a slow section which is rhythmically static with a thin texture. The building blocks (inside) consist of two contrasting motives and two contrasting themes which are directly developed from the nine-note scale. Each of the large sections of the composition is bound together by the two short motives. The first motive is generally presented in the brass and is rhythmically static. The second motive rhythmically telescopes. That is, the duration and distance between notes become shorter. Additionally, the two seemingly unrelated themes are presented separately in each of the different orchestral environments. Finally, each section of Perspectives gradually becomes shorter until an amalgamation of the various shapes, themes, and motives is presented. This coalescence of material is the foundation for the climactic section, and is the clearest demonstration of the compositional processes used in the work. Perspectives was written in Kansas City, MO.

Abide with me: fast falls the eventide; the darkness deepens; Lord, with me abide. When other helpers fail and comforts flee, Help of the helpless, O abide with me. I need your presence every passing hour. What but your grace can foil the tempter's power? Who like yourself my guide and strength can be? Through cloud and sunshine, O abide with me. Hold now your Word before my closing eyes. Shine through the gloom and point me to the skies. Heaven's morning breaks and earth's vain shadows flee; in life, in death, O Lord, abide with me. Performance Considerations "Abide With Me" was written specifically with the diversity of church music resources in mind. During this work, the choir sings an original musical setting of the text. Inspired by Luke 24:29, Henry Francis Lyte's text is appropriate for any occasion celebrating God's steadfast love including, but not limited to, funerals, memorial services, Easter vigil, and New Year's Eve. Even though this was originally intended for a church service, directors may also include this work on any choir concert.

Be Thou my Vision, O Lord of my heart; Naught be all else to me, save that Thou art; Thou my best Thought, by day or by night, Waking or sleeping, Thy presence my light. Be Thou my Wisdom, and Thou my true Word; I ever with Thee and Thou with me, Lord; Thou my great Father, I Thy true son; Thou in me dwelling, and I with Thee one. Performance Considerations "Be Thou My Vision" was written specifically with the diversity of church music resources in mind. During this work, the choir sings an original musical setting of the text. Near the end, a minister is asked to say a few words to the congregation and then invite all in attendance to sing the well-known hymn. Even though this was originally intended for a church service, directors may also include this work on any choir concert.

Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, Triumph o'er the shades of night; Dayspring from on high, be near; Day-star, in my heart appear. Visit then this soul of mine, Pierce the gloom of sin and grief; Fill me, Radiancy divine, Scatter all my unbelief; More and more Thyself display, Shining to the perfect day. Performance Considerations "Christ, Whose Glory Fills the Skies" was written specifically with the diversity of church music resources in mind. Ideally, this work should be performed with the given instrumentation; however, directors should feel free to substitute instruments in order to accommodate the their particular circumstance. Please note that this is the SATB and Organ version. Originally written for SATB, Piano, and Brass Quartet (see RE1054)

Christ, whose glory fills the skies, Christ, the true, the only Light, Sun of Righteousness, arise, Triumph o'er the shades of night; Dayspring from on high, be near; Day-star, in my heart appear. Visit then this soul of mine, Pierce the gloom of sin and grief; Fill me, Radiancy divine, Scatter all my unbelief; More and more Thyself display, Shining to the perfect day. Performance Considerations "Christ, Whose Glory Fills the Skies" was written specifically with the diversity of church music resources in mind. Ideally, this work should be performed with the given instrumentation; however, directors should feel free to substitute instruments in order to accommodate the their particular circumstance. The choral score reduces the brass instrumentation so that with a little planning an accompanist can cover all of the brass parts either on organ or piano. Contact the publisher directly to receive additional parts or to have parts transcribed for other instruments by emailing sales@redearthpublishing.com NOTE: SATB and Organ version available. See RE1057

The text of this motet has a long history in the church as well as in concert settings. It has been set by composers such as Tchaikovsky, Ippoloitov-Ivanov, Bortniansky, and Grechaninov. Generally associated with eastern orthodox liturgies, The Cherubic Hymn is sung at the pivotal moment in the Divine Liturgy in Orthodox Churches. It represents the blending of the worship of the Earthly Church with the Heavenly worship as described in the biblical book of The Revelation of St. John. The text also exists in the Roman Catholic tradition as part of the feast of St. Dennis. This composition is written for and dedicated to the Lewis University Choir. Qui Cherubim mystice imitamur et vivificae Trinitatis ter sanctum hymnus offerimus, omnem nunc mundanam deponamus sollicitudinem sicuti regem omnium suscepturi cui ab angelicis invisibiliter ministratur ordinibus, alleluia Translation: Let us, who mystically represent the Cherubim, and who sing to the Life-giving Trinity the thrice holy hymn, put away all earthly cares so as to receive the King of all things escorted by the army of angels. Alleluia.

Commissioned by the Lewis University Choir, this setting of the Nunc Dimittes is very accessible work for the singers and audience. This text is appropriate year around as it is one of the two canticles of the evening service. Translastion Lord now let your servant depart in peace according to your word. For my eyes have seen your salavation, which you have prepared before the face of all people: A light of revelation to the people, and the glory of Thy people Israel.

From the 16th century Spanish school, Franciso Guerrero's setting of the Lord's Prayer is suitable for any occasion.

Written in 1563, this lesser known motet by Palestrina makes a wonderful addition to any concert program. Also in the Red Earth Publishing catalog is Palestrina's setting of Veni sponsa Christi (RE1040) written in the same year.

One of Palestrina's most famous motets, this lively polyphonic work will delight audiences and choirs alike. Written in 1563, this work is an excellent choice to pair with Palestrina's Ave Mara (RE1041) written in the same year. Translation Come bride of Christ, accept the crown which the Lord has prepared for you for ever.

Regina caeli laetare paraphrases the plainsong Marian antiphon for Eastertide. The chant melody is presented in canon at the fourth between soprano and alto in long notes. The tenors and basses counter with its inversion in canon at the fifth and in shorter note values, providing delightful rhythmic counterpoint throughout. The men's parts are more active than the women's in this motet, and might effectively be reinforced by two bassoons or trombones in the Spanish manner. This Marian hymn is suited for the easter season. One of the most interesting Morales motets, amateur and professional choirs alike will enjoy learning this work. Translation Queen of Heaven, rejoice, alleluia. For you, who was worthy to bear Him, alleluia. As He said, He has risen, alleluia. Pray for us to God, alleluia.

Ave Maria by Tomas Luis da Victoria was arranged for the Lewis University Choir--Lawrence T. Sisk ,conductor. This arrangement has been used throughout the United States including a performance during the New York State All-State Choir in 2004.

Journey to Sekhet-Aanru: Four Ancient Egyptian Magic Rituals for Male Voices was written for Cantus. This work was commissioned by Cantus through Community Partners, which is underwritten by the American Composers Forum with funds provided by The Katherine B. Anderson Fund of The Saint Paul Foundation. This work was premiered by Cantus. Journey to Sekhet-Aanru grew out of a collaborative effort between Cantus and me. This work was written for Cantus' Myth, Magic, and Legend concert series (2003). It creates a dramatic environment where audience members witness an ancient Egyptian burial ceremony. They travel with Anubis--a canine-headed god who guides the dead through the underworld on the journey to Sekhet-Aanru (The ancient Egyptian semi-equivalent place to our heaven). While in the underworld, the dead face trials and tests. This composition is set from the perspective of Egyptian priests who administer spells during the ritual. This composition contains four rituals.

I. Processional: An hommage to the main Egyptian gods, Tem Herushuti and Hathor. The first movement serves as a call to service.

II. The Key to the 15th Gate of the Underworld: Before the dead may enter the underworld, they must first pass through several "pylons", or gates. This spell is for the 15th pylon.

III. Spell to Keep Your Heart from Being Stolen: Probably the most recognized section of the journey through the underworld occurs when the dead must weigh their hearts against a feather. In this trial, gods are told what the dead person did, and as important, what the dead person did not do. After this, the heart of the dead is weighed against the "feather of truth." If the heart was heavier than the feather, that meant then the person would die a second death which was forever. If the heart was lighter than the feather the person would go on to Sekhet-Aanru.

IV. The Arrival: This movement is a song of celebration. The soul has successfully passed through the underworld and is now gazing at Sekhet-Aanru. This movement also gives thanks to the Egyptian god, RA.

Throughout the work, Anubis periodically uses the priests as a vessel to make his presence perceived. At times, Anubis appears in one priest, and at other times in many. The "Anubis Theme" is heard throughout--it is this theme that binds the four movements together. Translation I. Processional

Hommage to thee, O thou glorious being, The endowed Tem Herushuti, You rise in the horizon of heaven And from the mouths of all people comes a joyful cry. Beautiful one, Becoming young in the palm of the hand, Of the mother, Hathor, Rising therefore in the place, Of every expanded heart for ever and ever. May he be victorious in the underworld. The sektet boat comes closer, It arrives... II. The Key to the 15th Gate of the Underworld

The terrible souls who judge, Who emerge at night, Who shackle the demon in his lair, May they be given two hands of the still heart And make them come forth, For they judge the sins of the dead.

III. Spell to Keep Your Heart from Being Stolen

My heart is with me, and it will not be taken away. I am the lord of the hearts that commands the heart, Because I am moral, I exist in the heart. My heart will not be taken away from me, Let it not be harmed, I will not be harmed. Homage to thee, my heart! Homage to thee, its soul. Homage to the, gods who rule The divine clouds.

IV. The Arrival

In Sekhet-Aanru, Let me have power, Let me be strong, So that I can plough there. Let me harvest, And let me eat and drink there, As it is done on earth, Yet in the protection of Anubis. I have come to thee, My lord RA, In Sekhet-Aanru Translation and transliteration (found in score) adapted by the composer primarily from the 1888 edition of The Egyptian Book of the Dead: The Papyrus of ANI by E.A. Wallis Budge. Music, translation and Transliteration ?2003 by Red Earth Publishing. All Rights Reserved.

The Sobbing of the Bells for SATB and piano was written in 2004. The piano in this work acts as a delicate and steady bell wash underneath the choir texture. A grade 4-5 composition, this work utilizes glissando, vowel colors, and other techniques to showcase the choir. Text from Leaves of Grass by Walt Whitman (1819-1892) The sobbing of the bells, the sudden death-news everywhere, The slumberers rouse, the rapport of the People, (Full well they know that message in the darkness, Full well return, respond with their breasts, their brains, the sad reverberations,) The passionate toll and clang--city to city, joining, sounding, passing, Those heart-beats of a Nation in the night.

Bonitas Domini was written for Lawrence Sisk and the Lewis University Choir. This work was intended for inclusion in a performance which included Palestrina's Missa Aeterna Christi munera. Bonitas Domini is the Offertory, one of the Propers, for the feast of St. Joseph the worker. This work explores many of my interests in choral music. More notably is the contrasts in the color of vowels, contrasts in the attacks of consonants, vocal percussion, and the comparative timbre of vocal sections. This work was written as a companion piece to Alleluia: De quacumque tribulatione, a choral piece written for the same occasion. From the Graduale Offertory for the feast of St. Joseph the worker May the goodness of the Lord be upon us and favor the works of our hands. Alleluia. Translation of original Latin by Lawrence T. Sisk

1. What is in a Wind Sound

What is in a wind sound
That sings to the trees
When falling leaves
Are not green
And the air is cold
The day is short
It gets dark
Wind scatters leaves
on the ground

2. The Clouds were Piling

The clouds were piling
Sky had lightning
Piling, scaring
Finally showering
Streets were flowing
Water rushing
Thunder rumbling
Clouds were piling

What is in a wind sound and The clouds were piling by Aiden Levy. Used with permission. ©2020 by poet - All Rights Reserved

An arrangement of Joseph Brackett's famous hymn tune, this work is very accessible for singers and accompanists. Tune in A Major

An arrangement of Joseph Brackett's famous hymn tune, this work is very accessible for singers and accompanists. Tune in G Major

One of the most recognizeable American folktunes, this work is very accessible for singers and accompanists.

The legend of Tristan and Isolde has enchanted audiences since the twelfth century and continues to inspire. This epic story of passionate love flourished across Europe with notable versions in English, Celtic, French, German, Italian, Spanish, Norse, Icelandic, and Byelorussian. The legend has been subject to significant variations, with new or embellished episodes creating distinctive dramatic, thematic, and psychological motifs.
The story addresses some of life's most fundamental questions: what is the nature of desire, and what governs its selection; and what is the role of individual and free will in relation to such social structures as the State and the Church? Many treatments of the Tristan saga feature characters who mirror the passions of the central couple: the knights Palamedes and Kaherdin fall desperately in love with Isolde; Tristan himself marries another woman (also named Isolde) so that he might better understand what it means to love while married to another; and later versions intertwine the lovers? adventures with those of Lancelot, Guinevere and King Arthur who mirror the adulterous passion, heroic striving, and torn loyalties central to the legend.
Loving Is emerges from an exploration of Tristan going mad with violent jealousy, a tradition found in the French Prose Tristan and elsewhere. As he does so, he faces vexing questions of faith and fidelity: what does one know, how does one know it, and how does one live with doubt? This leads Tristan to his own version of a Grail quest as he seeks to understand the i am, or mystery of being that underlies all things.
Loving Is was written for the Remarkable Theater Brigade 2011 Opera Shorts Program.
Note: The full score also ships with a cello part.

Selected for the Vox Novus "15 Minutes of Fame" project, Ceremony is a one-minute meditation written for acclaimed baritone, Andrew White.

text by John Ford (1586-1639) Fly hence, shadows, that do keep Watchful sorrows charm?d in sleep! Tho? the eyes be overtaken, Yet the heart doth ever waken Thoughts chain?d up in busy snares Of continual woes and cares; Love and griefs are so exprest As they rather sigh than rest. Fly hence, shadows, that do keep Watchful sorrows charm?d in sleep!