Choral Works

Choral composing and arranging have been a part of my skill set since the early 1970s when I was hired as a Choir Director, especially at small-member churches. It was easy preparing for choirs such as the like found at Ben Hill United Methodist or Beulah Baptist, my home church, because there were ample voices and many trained voices to cover all parts. But it was quite apparent to me that in order for small choirs with as few as nine voices, more women than men, to be successful, I would have to be very creative to enable them to experience certain repertoire sung by larger choirs. Arranging hymns and converting 4-to-8-part octavos to 3-part arrangements or less complex arrangements became second nature to me as a writer.

The next phase of my choral writing came when I was hired as the Interim Choral Director at Clark College, my Alma Mater, for three years. In that position, I was able to advance my choral technique in writing by including more complex harmonies and rhythms. Although I could write in any genre, my interest in the African American spiritual found me captivated by the possibilities of expanding my writing and becoming a composer that would become recognized for my choral contributions at the Southeast African American Choral Festival known as SEAAC. Today that festival is in its 21st year; I have been invited as a guest composer and workshop facilitator for three of those years.

College and Church Choirs that have sung my arrangements and works include, but not limited to, Allen University, Clark Atlanta University, Morris Brown College, Ben Hill United Methodist Church, Beulah Baptist Church, Hoosier Memorial United Methodist Church, Riverdale United Methodist Church, New Life Presbyterian Church, Alabama State University, Saint {aul Episcopal Church, The Wendell P. Whalum Community Chorus, Edward Waters College, South Carolina State University, and Central State University.

CHORAL CATALOG: Come Thou Long Expected Jesus (SATB with Descant); Come to the Table (SATB and Solo); G. Johnson Hubert Requiem (SATB and Soli); God, You Are My Strength (SATB, Solo, Brass and Timpani); Great Getting’ Up Mornin (SATB and Soli); Hallelujah, Thanks Be to God (SSAATTBB); I’m Gonna Wait on the Lord (SSAATTBB and Soli); I Want Jesus To Walk with Me (SATB and Soli); Keep Your Lamps Trimmed and Burning (SSAATTBB and Solo); Lord, I Can’t Turn Back (SATB and Soli); Lord, I Know I Been Changed (SATB and Soli); Martin Luther King, Jr., Celebration Mass); O For a Faith (SSAATTBB and Soli); Rockin’ Jerusalem (SSAATTBB and Solo); Silent Night (TTBB); Balm in Gilead (SSAATTBB and Soli); Wade in de Watuh (SSAATTBB and Solo Voices); Weaver Requiem Mass (SATB and Soli); We Shall Overcome (SATB, Handbells);