Belonging was commissioned as part of a consortium of multiple choirs for multiple voicings, including SATB, SA, TB, and Unison & Piano options. The text and music of Belonging explore the universal need to belong, whether that is part of a friend group, a community, or society in general. The fear of not belonging can be so strong and paralyzing, it is important that we actively engage in body language, gestures, and speech that create welcoming spaces for those who long to join. A direct message of “You belong here. Please join me.” can be the deciding factor in someone finally feeling like they belong.
This piece is suitable for any Mixed-Voice ensemble and would fit well in any concert about friendship, community, and love.
Continue reading Belonging – SATBWe Sang Before We Spoke, originally commissioned for SSAA Choir by the Chanteuses treble choir of Sacramento directed by William Zinn, set this celebratory text by Libby Weber. This SATB revoicing was commissioned by The Stockton Chorale directed by Nate Widelitz. The opening bright harmonies are designed to be acoustically vibrant when sung in a reverberant space, such as a stairwell, a parking lot, or a stone church. The conductor may adjust the length of rests after phrases, fermatas, and breath marks to account for the reverb in the space in which the piece is sung. The middle section (“we instruments refine”) contains a Baroque-inspired fugue, which allows each part to shine as the Subject and Countersubject material are passed among the ensemble. The piece concludes with the opening bright harmonies, which are arpeggiated downwards to allow for timbral nuances as each part moves through their range. The final line is reminiscent of the Fugue-like subject, which then cadences into a final resonant harmony, allowing for a reverberant ending.
This piece is suitable for any Mixed Voice Choir and would fit well on a concert about music or singing.
Continue reading We Sang Before We Spoke – SATBConstant began as an original song by Amy Gordon in 2007, written in her college days. The lyrics and poignant melody express deep gratitude to those people in our lives who are by our sides for a long time. This “constant” could be a romantic partner, a parent, friend, community, or any entity whose lasting presence brings deep comfort, even in times of hardship. This arrangement for SSATBB reimagines this song in a lush, choral settng featuring rich harmonies and vocal jazz-inspired instrumental textures.
This piece would fit well in a concert about friendship and/or featuring a Mixed Voice Choir or 6-voice Jazz Choir.
Continue reading ConstantCheck out these upcoming holiday performances of Amy Gordon’s music!
Check out these 2025 Fall Performances featuring Amy Gordon’s choral and instrumental music!
Finding Your Voice, commissioned by the Vista Murrieta High School Chamber Choir directed by Zachary Krug, sets the reflective and uplifting poem by Robert Longley. The text wrestles with how our once-carefree lives can shift suddenly, which is reflected by the lush harmonies in the Piano and Cello. The choir paints the image of how “something changed” and is “suddenly rearranged” through playful interplay between the parts. The piece goes through various moods, including nostalgia for simpler times, indignance about unfulfilled dreams, and finally a deeper acceptance that we can gain insight “despite a sense of loss” in the piece’s climax. The piece concludes with the quietly triumphant realization that we have the power to make meaning from our lives, whether or not they are exactly as we planned, and use those hard-won insights to find our voice.
This piece would fit well in any concert about storytelling, narratives, and belonging.
We Sang Before We Spoke, commissioned by the Chanteuses treble choir of Sacramento directed by William Zinn, sets the celebratory text by Libby Weber for SSAA Choir. The opening bright harmonies are designed to be acoustically vibrant when sung in a reverberant space, such as a stairwell, a parking lot, or a stone church. The conductor may adjust the length of rests after phrases, fermatas, and breath marks to account for the reverb in the space in which the piece is sung. The middle section (“we instruments refine”) contains a Baroque-inspired fugue, which allows each part to shine as the Subject and Countersubject material are passed among the ensemble. The piece concludes with the opening bright harmonies, which are arpeggiated downwards to allow for timbral nuances as each part moves through their range. The final line is reminiscent of the Fugue-like subject, which then cadences into a final resonant harmony, allowing for a reverberant ending.
This piece is suitable for any Treble Choir and would fit well on a concert about music or singing.
PERFORMANCE CREDITS:
Conductor: William Zinn
Choir: Chanteuses
Alone Together, commissioned by the Jordan High School Choir directed by Juan-Jose Garcia II, sets the poignant poem written by the commissioner, Juan-Jose Garcia II. The musical setting begins with a dark, somber four note motive that is split between the Violin & Cello, perhaps representing two people separated by circumstance. There is an occasional 3/4 measure to imply a feeling of longing and incompleteness. The piece starts to shift into a more hopeful tonality at Section D, as the narrator experiences “a presence, all powerful, ever present”. The piece blossoms into a pop-infused Chorus at Section G, where we realize that we may feel alone but we are still together in our hearts.
This piece would fit well in any concert about friendship and/or featuring a Mixed Voice Choir.
Continue reading Alone TogetherCheck out these 2025 Winter/Spring Performances featuring Amy Gordon’s choral music!
Check out these 2024 Holiday Performances featuring Amy Gordon’s choral music!