I arranged this piece many years ago for a stake conference and subsequently for the BYU Men’s Chorus (Homecoming Spectacular) where Nate Hofheins arranged the orchestra (see the video on YouTube).

It’s a great anthem and brings an energetic spirit.  Someone recently reminded me that this was no longer on the site.  I dusted off the old arrangement, reformatted it for easier reading and performing, and am now posting (thanks, Gretchen!).

Through this piece I find one of the best expressions of how I feel about the Atonement of Christ.  As I grow older and, hopefully, more humble I realize how much I need the power of the Atonement every hour, every moment of mortality. 

How grateful I am for Christ’s atoning sacrifice and the opportunity it affords me to not only be forgiven, but to confidently forgive; how it fills me at once with both humility and compassion.  The harmony is meant to represent our ‘wandering’ through mortality with a bright and profound conclusion that we truly do need the Savior “every hour.”

This is a lovely tune that lends itself well to interesting harmony.  This arrangement sounds something like an anthem, with confident intensity.  The organ accompaniment steadily builds throughout with fanfare-like flourishes in the last verse.  There is an opportunity here for the bass to really shine with their moving part in the last verse, too.  It was great fun to perform!

For SATB Chorus and Organ, Three-Hands
Come-Follow-Me-ORGAN-CHORAL.pdf
Come-Follow-Me-ORGAN-PART.pdf

I really enjoyed arranging this piece.  The simple-but-inspiring text suggests a journey; musically I thought a fantasia-like arrangement supported the idea.  I imagined someone humbly, almost timidly, taking first steps in following the Savior then progressing through more complex and intricate paths to a fullness of joy.  The violin symbolizes the constant, beckoning call of the Spirit, urging us on to greater heights.  I particularly like the chromaticism of the accompaniment which presents a sense of wandering and a sense of longing at the same time.

I arranged this for an upcoming Stake Conference (February 2009).  We are performing this piece with four solo singers (sort of like an oratorio) but it would suit a small choir as well.

I’ve always enjoyed this tune from Sister Vanja Watkins (composer); particularly, I love the  surprising harmony of her very bright and hopeful “Alleluia!” section.  For this arrangement I chose to build toward an extended Alleluia chorus (though a bit shorter and certainly less dramatic than Handel’s).  The voice parts are fairly straight forward with lots of motion and embellishment.  The organ allows for a bit of  fanfare and requires a second player for the interludes and descant.  Our first rehearsal with this piece is Sunday evening; I’m excited to see how it turns out.