Piece #5: Rescue Me! for choir

USFchoirThe fifth piece in my composition quest was quite an adventure. Definitely surprising.

Rescue Me, Recover Me” is based on Psalm 130, and the title stems from the term “redeem” which this psalm seems to be all about. It has a simple ABAB structure, so knowing that I wanted to write a choral work I began playing with the translated poem (I don’t read Hebraic) and converting the meaningful words into my own poem with rhyme and meter.


Except that it looked a lot like the verses and chorus of a song.

Never mind. Onwards.

Well, the piece began and I created a simple progression of chords. I had intended the style to be along the lines of a nice scrunchy choral work similar to those of the contemporary American School such as Eric Whitacre and Randall Thompson, so I spent a lot of time studying 9th & 13th chords which made their way into the third verse and chorus.

As the piece developed, a vocal soloist took the opening verse and by the time I was done, I had written a verse-chorus song for vocalist, 3-part choir (soprano, alto and baritone), piano and bass. In addition, the verses and each time the chorus appeared the harmonies were slightly expanded and therefore the melodies slightly altered, too.

So much for my traditional English Choral work!

I don’t have a choir living in my basement, so the audio recording is actually a computer generated “AH” that represents the vocal parts. Of course, if you happen to have access to a choir and a digital recorder, please feel free to have a go and send me the results!

Have a listen here to get the gist of the piece:

[ca_audio url_mp3=”https://www.stephenpbrown.com/audio/130_RescueMeRecoverMe.mp3″ url_ogg=”” skin=”regular” align=”none”]

Click here to get your copy of the score and lead sheet.

Please pass this blog post around so that others can access the music this week – not only might they enjoy the music, but they may be able to get a choir to record it, too. Thank you. You can use the social media buttons below, or just copy and paste the link above. Emails work just as well.

Add a comment below letting me know what you think of this piece – it will help me determine whether or not to stick with the verse-chorus format or have a go at the more traditional style.

How I compose: Step 1

dna structure musical composition stephen p brown spb

The structure of DNA forms the foundation of physical life. Music also needs a structural foundation.

I am now working on the 6th piece in my composition quest. This is not the first time I’ve composed music but in the past I have approached pieces from a variety of angles: systematically using someone else’s process, systematically using someone else’s process that I adapted slightly, systematically using a process I developed myself (which begs the real question: is there anything brand new, or is everything an adaptation of what we’ve already experienced?) and there were even pieces that I approached system- and process-free; meaning, I just sat and wrote something.

However, in order to accomplish my current task it makes sense to stick with a systematic approach, and each of the 6 pieces that exist in this project so far have been put together starting with its “source structure.”

Step 1: Structure.

You may be aware by now that for a variety of reasons I chose the poems in the Book of Psalms as my inspiration to compose music that will improve my skills. (“Psalm” in English means “Song” so think of the Book of Psalms as an anthology of song lyrics! However, when translating into English most Bibles rightfully focus on the content and meaning of the text and ignore the temptation to maintain any of the original Hebraic meter or rhyme.)

So, I look at my listed of psalms sorted by type and calculated for even distribution, and read the next psalm on the list. For piece #6 it is psalm #144. After a couple of readings I usually sort of get what its about, but to make sure I also read an old narrative text by R.E.O. White (A Christian Handbook to the Psalms) that summarizes the poem and puts it into context alongside other psalms and stories in the Bible.

Next, I carefully look at the overview and detailed analysis as prepared by Longman and Garland in their edition of  the revised (2008) “Expositor’s Bible Commentary” Volume 5, a massive and heavy volume that contains detailed topical, language, structural and historical contexts of every psalm – all 150.

So far I have used the Longman and Garland structural analysis as the foundation for the structure of my compositions. For piece #6 psalm #144 the structure has three main parts with poetic meter and rhyme (in the original Hebrew language) divided up as follows:

  • Section A (Hymn of Praise)
  • Section B (Human Need)
  • Section C (Prayer for God’s involvement)
  • Section A’ (Hymn of Praise)
  • Section B’ (Prayer for God’s involvement)
  • Section C’ (Prayer for Blessing on God’s people.)

Well, I like to keep things consistent only to make my life easier, so based on the section titles above I’m restructuring the structure to: A B C A C D. This will tell me to use the same theme/ melody/ style/ for both sections called “A – Hymn of Praise” and “C – Prayer for God’s Involvement.” Sometimes this is sufficient but these section titles don’t really tell me what the psalm is saying, so I keep a note of what the author is expressing, such as:

  • A – Bold praise
  • B – Fleetingness of life
  • C – Lead the battle
  • A – Promise of wild abandon praise (a new song will be composed!)
  • C – Re-request for deliverance
  • D – The peace and results of winning

And now I have the structure of my musical inspiration.

Next week: either composition #5 will be published (the piece that started out as a traditional choral work but didn’t end up that way) or I’ll share step 2 of how I compose… which would you prefer?

Composing B: And so it begins…

Following last week’s post about how to start a composition, well… how I am starting this composition… a few decisions have been made.

Whilst looking around for a compositional structure I came across several main elements:

Each have their own special qualities and after a little thought, I thought it would be nice to try Sonata form. I don’t remember the last time I wrote something in Sonata form (and stuck to it) so here’s an opportunity.

At the moment, Sonata form will form the dominating format, although during the creative process unexpected twists and turns can often lead compositions into completely unplanned territory.

The creative process can take unexpected twists and turns that lead into completely unknown territory. via @Stephen_P_Brown

Sonata form structure:

  • Introduction
  • Exposition: A main theme (usually a melody) followed by a second theme in a different key*
  • Development: Both themes mixed together through wildly changing audio experiences, although still always related to the exposition somehow
  • Recapitulation: The main theme revisted plus the secondary theme in the ‘home key’
  • Coda: An ending unlike any other. Or, probably like every other.

Beethoven had a really hard time ending his music, so pieces like his famous Fifth Symphony could actually end many, many times but none of them actually do end the piece. Until there are no more chords left.

Dudley Moore had a similar problem:

Dudley Moore doesn’t stop…

So, quite imaginatively, let’s call our piece after its structure, “Sonata.” But who is it for? Well, it’s for a chamber orchestra of sorts. Not piano, nor violin or any other solo instrument. So we can expand the title of our new piece of music to: Sonata for Chamber Orchestra. Like it? I do. Don’t like it? Are there any other options? Yes. Lots. Think of a title and put it in the comments below.

I also chose to go with the key signature of G Major. The KEY of a piece of music tells the players what tonality to focus on. In the Western world we have developed a system using 12 different tones that repeat (on a piano, play every consecutive note starting with the left of the three black keys, F sharp(#). You’ll end up hearing ‘another’ F# 13 keys later). From those 12 notes, 8 of them form the basis of tonality – major (happy) scales and minor (sad) scales.

Again on a piano, find ‘C’. It’s the white key immediately to the left of the two black keys. Play that C plus only the 6 white notes to the right, and then finish with the 8th key which is actually another C. Repeat. And repeat. Start with any C and play the scale – they all sound the same only higher or lower. The combination of tones forms the scale, in this case a major scale.

Copy that combination of tones but start on G (G is 5 notes up from C, including C. It’s the white key immediately to the RIGHT of the LEFT-MOST of the THREE black keys. Got it?!). Only this time, instead of playing all the white keys, when you get to the 7th key, don’t play it. Instead, play the black key immediately to the right – that’s right, F#.

This major scale is what will form the tonal foundation of our new piece.

G Major scale on a keyboard

G Major scale


Next week, lets look at the melody, or the ‘Main Theme’