Gustav Holst’s In the Bleak Midwinter was written at the request of Ralph Vaughan Williams, the editor of the English Hymnal. Holst used Christina Rossetti’s popular poem, written in 1872, for the text. The carol was first published in the English Hymnal in 1906 and quickly became a favorite among congregations. The frigid northern landscape that Rossetti paints with her text combined with the divinely melancholy nature of Holst’s melody provides the perfect backdrop for the winter holidays. The first and last sections of this arrangement incorporate the same melody and major key as the original, but the middle section, while in a minor mode, juxtaposes Holst’s melody with one of the most beloved chant melodies from the Gregorian chant repertoire, Ave Maria. The original chant can be sung in conjunction with the piece. This unique arrangement will be exciting for any women’s chorus to sing. The flute and violin parts can be played by any two C-instruments.

In the Bleak Midwinter - arr. Mark Templeton - Performed by Womansong Chorale in WV

This arrangement of Will the Circle Be Unbroken? was commissioned in 2003 by the choir of St. John’s Episcopal Church in Charleston, West Virginia. The original hymn, written by Ada Habershon and Charles Gabriel and published in 1907, became popular amongst congregations in the southern United States. Throughout the 20th century, it was arranged and rearranged many times by numerous gospel groups and folk artists. In 1972, the Nitty Gritty Dirt Band famously used the song as the title to one of their albums featuring various bluegrass and country-western musicians. The text used in that album was written by A. P. Carter of the Carter Family and was significantly different from Ada Habershon’s original text. The text I used for this arrangement is also different but still emotes the same sentiment of leaving loved ones behind. All the verses are taken from either the Southern Harmony or the Sacred Harp and are appropriately suited to compliment the refrain. The syncopated and driving rhythms juxtaposed with the straight forward melody make this a fun song to sing. The slow barbershop style harmonies of the fifth verse also give a welcome contrast to the overall flair of the piece. With an ever increasing climactic ending, this song is sure to bring down the house.

Will the Circle Be Unbroken? - composed by Mark Templeton - performed by Matthew Curtis

Since the dawn of the first century, the text from the gospel of Matthew 6:9-13, known as the Lord’s Prayer, has inspired many musicians across the globe from Palestrina to Schubert to Duruflé and countless modern composers. The vast collections of Western plainchant and Byzantine chant also include the Lord’s Prayer in their repertoire. Probably the most unheralded version comes from the Beth Gazo, a collection of liturgical chants and hymns of the Eastern Syriac Orthodox Church. The Beth Gazo (The Treasury of Chants) is the Eastern Church’s equivalent of the Liber Usualis of the Roman rite. The roots of the collection can be traced as far back as the second century with Ephrem the Syriac contributing the bulk of the chants. It is supposed that thousands of chants existed in the original collection, but since they were only passed down through an oral tradition, only 700 or so have survived. Only in the late twentieth century have musicologists begun to preserve these in musical notation. The Abun d’bash’maiyo (Our Father) is one such chant that has survived.

When I set out to compose the Lord’s Prayer for my Compline, I wanted to try something different. I searched until I came across this version from the Peshitta text in Syriac, one of the dialects of old Aramaic. Historians and biblical scholars generally agree that Jesus would have spoken Aramaic. I thought it would be wonderful to compose something using the language, or near language, of Christ. I decided to use the actual chant from the Beth Gazo as my melody. The melody uses the Arabic maqam, Nahawand (نهاوند), which is basically a melodic minor scale found so prevalently in music from the Fertile Crescent. The chant is sung like a hymn with four verses repeating the same melody. The only words that are not traditionally used as part of the chant is the title, Abun d’bash’maiyo. I set these words as a kind of intoning chant before each verse with the last intonation using the full divisi and power of the choir. This meditative and somewhat surreal setting is well suited for any sacred service or for a multi-cultural concert.


Abun D'bash'maiyo - composed by Mark Templeton - performed by Matthew Curtis

Odi et Amo, or Carmen 85, is one of the most celebrated elegiac couplets composed by Gaius Valerius Catullus (84-54 B.C.E.). His muse in this poem is understood to be Lesbia, the name believed to have been given by Catullus to his mistress. Lesbia was really Clodia, the sexually promiscuous wife of proconsul Quintus Caecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’ torment and obsession for her is well documented in 13 of his poems where the name, Lesbia, is used. Many composers have been inspired by the duality of emotions of this acute two-lined poem. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, the musical triptych that also includes the Carmina Burana and Trionfo di Afrodite. Unlike Orff’s driving rhythms of outwardly expressive anguish, my setting is a more introspective interpretation. It is as if the music is surrendering to the mercurial personalities that Catullus and all humans possess, the tortured ability to hate and love at the same time.

Odi et amo. Quare id faciam fortasse requiris.
Nescio, sed fieri sentio et excrucior.

I hate and I love. Why do I do it you might ask?
I don't know, but I feel it happening and it is tearing me apart.


Odi et Amo - composed by Mark Templeton - performed by Matthew Curtis

Korean folk song for TTTBBB chorus a cappella arranged by Mark Templeton. This recording is performed by Mannerstimmen Basel, and all male choir is Switzerland. 

Arirang - arr. by Mark Templeton - performed by Mannerstimmen Basel

 For TTBB chorus a cappella arranged by Mark Templeton. This Christmas favorite can be performed in either English or Latin. This recording was performed by Cantabile.

O Come, O Come Emmanuel - arr. by Mark Templeton - performed by Cantabile

Composed by Mark Templeton for TTBB chorus a cappella. Christ the Lord is Ris’n Again was composed for the men of St John’s Episcopal Church in Charleston, WV. It was first premiered in 2001 at an Easter Sunrise Service, and was subsequently recorded by the all-male ensemble, Cantabile. While melody uses chant-like phrases throughout, the opening theme is loosely inspired by the Ave Maris Stella chant. The music also incorporates medieval sounds of drones and parallel fifths. The polyphonic texture of the final Alleluia section will be fun and challenging. This song is best suited for an Easter service or a concert during the Easter season.

Christ the Lord Is Risen Again - composed by Mark Templeton - performed by Cantabile

Composed by Mark Templeton for SATB, Soprano solo, and Piano or String Quartet. The text of the Pie Jesu is taken from the final phrase of the Dies irae which can be found in the Requiem Mass. Many composers have famously set the Pie Jesu to music, most notably Gabriel Faure, John Rutter, and Andrew Lloyd Webber. In this setting, the phrase “gentle Lord Jesus” inspires an almost lullaby like quality where the soprano solo floats above the choral parts. The simplicity of the melody and the flowing and accessible choral lines make this a beautiful piece that any school or church choir can enjoy.

Pie Jesu - with piano - composed by Mark Templeton - performed by Matthew Curtis

When Irish Eyes Are Smiling, text by Chauncy Olcott (1858-1932), melody by Ernest R. Ball (1878-1927), and arranged by Mark D. Templeton was commissioned in 2001 by WomanSong Chorale of Charleston, West Virginia.

When Irish Eye Are Smiling - arr. by Mark D. Templeton, performed by WomanSong Chorale

For SATB chorus, a cappella. The term Missa brevis translates as “short mass.” It is derived from the mass of the ordinary (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) but with some movements removed. Many composers from the renaissance to the modern era have composed settings of “short masses.” The nucleus of my setting, the Kyrie, Sanctus, and Agnus Dei, is taken from the Missa XVII Adventus et Quadragesima (Mass for Advent and Lent – found on the following page). Each of these three movements includes an incipit (intoning chant) before each phrase mirroring the original chant. Regardless of differing performance practices, the diamond shaped notes of the incipits should be sung slightly faster than the round notes. All three movements contain changing meter but the measures have no written time signatures. This should help to visually create fluid chant-like phrases without always feeling a strong beat at the beginning of each measure.

The bookends of the mass, Rex, Requiem and Bless, O Lord, Us Thy Servants are identical musically except for the Amen section of the latter. Both movements were composed in memory of a mentor and dear friend of mine, Dick Young. The text Rex, Requiem, originally titled Epitaphium Angilberti (The Epitaph of Angilbert), was written by Angilbert (c. 740-814) for his own headstone. I have substituted the name Angilberti for the Latin translation of Richard, Ricardus, to pay homage to my friend. Although this mass was not intended to be a requiem, the first movement lends itself to that genre. One can personalize the Rex, Requiem by replacing a different name as I did, or the movement can be omitted altogether.

The Anglican-chant style of Psalm 23 and the anthem, A Prayer of St. Benedict, compliment the overall ethos of the mass. All the movements are quiet reflective settings that can be sung individually but are best performed together. This Missa Brevis is suited well for a liturgical service and equally for a concert performance. The vocal lines are fluid, and the ranges are conservative making this an easily accessible work. Your choir will thoroughly enjoy singing this reverent setting.


Kyrie (from Missa Brevis), composed by Mark Templeton, performed by Matthew Curtis

For SATB chorus, a cappella. The term Missa brevis translates as “short mass.” It is derived from the mass of the ordinary (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei) but with some movements removed. Many composers from the renaissance to the modern era have composed settings of “short masses.” The nucleus of my setting, the Kyrie, Sanctus, and Agnus Dei, is taken from the Missa XVII Adventus et Quadragesima (Mass for Advent and Lent). Each of these three movements includes an incipit (intoning chant) before each phrase mirroring the original chant. Regardless of differing performance practices, the diamond shaped notes of the incipits should be sung slightly faster than the round notes. All three movements contain changing meter but the measures have no written time signatures. This should help to visually create fluid chant-like phrases without always feeling a strong beat at the beginning of each measure.

The bookends of the mass, Rex, Requiem and Bless, O Lord, Us Thy Servants are identical musically except for the Amen section of the latter. Both movements were composed in memory of a mentor and dear friend of mine, Dick Young. The text Rex, Requiem, originally titled Epitaphium Angilberti (The Epitaph of Angilbert), was written by Angilbert (c. 740-814) for his own headstone. I have substituted the name Angilberti for the Latin translation of Richard, Ricardus, to pay homage to my friend. Although this mass was not intended to be a requiem, the first movement lends itself to that genre. One can personalize the Rex, Requiem by replacing a different name as I did, or the movement can be omitted altogether.

The Anglican-chant style of Psalm 23 and the anthem, A Prayer of St. Benedict, compliment the overall ethos of the mass. All the movements are quiet reflective settings that can be sung individually but are best performed together. This Missa Brevis is suited well for a liturgical service and equally for a concert performance. The vocal lines are fluid, and the ranges are conservative making this an easily accessible work. Your choir will thoroughly enjoy singing this reverent setting.


Psalm 23 (from Missa Brevis), composed by Mark Templeton, performed by Matthew Curtis

Sanctus (from Missa Brevis), composed by Mark Templeton, performed by Mark Templeton

A Prayer of St. Benedict (from Missa Brevis), composed by Mark Templeton, sung by Matthew Curtis

Agnus Dei (from Missa Brevis)composed by Mark Templeton, performed by Matthew Curtis

For SATB Chorus & String Quartet. The text of the Pie Jesu is taken from the final phrase of the Dies irae which can be found in the Requiem Mass. Many composers have famously set the Pie Jesu to music, most notably Gabriel Faure, John Rutter, and Andrew Lloyd Webber. In this setting, the phrase “gentle Lord Jesus” inspires an almost lullaby like quality where the soprano solo floats above the choral parts. The simplicity of the melody and the flowing and accessible choral lines make this a beautiful piece that any school or church choir can enjoy.

Mark Templeton, born 1974, is an American choral composer, conductor, and countertenor. Templeton’s music has been performed across the world at various international festivals and ACDA conventions. Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. He teaches and resides with his wife, Becca, at West Nottingham Academy in Colora, Maryland, the oldest boarding school in the United States. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request.

Pie Jesu - with String Quartet, by Mark Templeton, sung by Matthew Curtis

From Missa Brevis for SATB chorus, a cappella. This Missa Brevis is suited well for a liturgical service and equally for a concert performance. All the movements are quiet reflective settings that can be sung individually but are best performed together. The vocal lines are fluid, and the ranges are conservative making this an easily accessible work. Your choir will thoroughly enjoy singing this reverent setting.

Rex, Requiem - by Mark Templeton, sung by Matthew Curtis

Schloof, Bobbeli, Schloof is a folk song of the people commonly referred to as the Pennsylvania Dutch. These people were Germans who migrated to America during the eighteenth and nineteenth centuries. They brought with them their culture and religions, but most importantly, their music and cooking! The Pennsylvania Dutch language is still spoken by the Amish, the religious sect mostly known for their horses and buggies and their eighteenth century way of life. Schloof, Bobbeli, Schloof’s etymology is found in the German lullaby, Schlaf, Kindlein, Schlaf, but the Pennsylvania Dutch version has taken on a life of its own reflecting the lives of the Amish who still sing it. The melody can differ slightly from community to community; the one used in this arrangement hails from the Amish communities in Lancaster, Pennsylvania. The English translation, written underneath the Pennsylvania Dutch, is more poetic than literal but retains the same sentiment. The song can be sung in Pennsylvania Dutch or English. It is also optional to perform the song in one language and then repeat the song in the other language. This arrangement uses a slow tempo and simple harmonies while retaining the integrity of the original melody. Your choir will enjoy singing this rare gem.

Schloof, Bobbeli, Schloof - by Mark Templeton, performed by Matthew Curtis

For SAATBB chorus a cappella.Down to the River to Pray, popularized by the movie, O Brother, Where Art Thou? (2000), was originally entitled The Good Old Way (see below). It was first published in 1867 as part of a compilation of slave songs edited by George H. Allen. Although the song is attributed to him, it is understood that he is only the editor, not the composer. The original tune is thought to have its roots in the Native American tribes of the northwest. The tune would have undoubtedly been passed from one American culture to the other until it was first notated in the Slave Songs of the US (1867). The text is thought to have its roots in the Underground Railroad. Whoever was to be freed (brother, sister, father, mother, etc.) would wear the robe and crown. This arrangement, for six parts – SSATTB, uses a fun swing rhythm throughout. The slower and straight forward section, measures 103-114, incorporates a round and offers a welcome contrast to the syncopated swing rhythms. The song concludes with a bombastic barbershop style ending that your choir is sure to enjoy.

Mark Templeton, born 1974, is an American choral composer, conductor, and countertenor. Templeton’s music has been performed across the world at various international festivals and ACDA conventions. Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. He teaches and resides with his wife, Becca, at West Nottingham Academy in Colora, Maryland, the oldest boarding school in the United States. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request. 

Swingin' Down To The River - B

The text of the Ave Maria…virgo serena is taken from a cantorale, or hymn, which can be found in the medieval manuscript E-Bc 911 located in the Catalonian town of Girona. The text differs from the more well-known Ave maria…benedicta tu in mulieribus of which many composers, like Victoria, Schubert, and Gounod, have set to music. During the medieval and renaissance eras there were many different versions of the Ave Maria which composers set to music, and the …virgo serena was one of them. Jean Mouton’s (1459-1522) beautiful setting of the …virgo serena is one such motet that has survived, but composers rarely used the text after the 16th century.
This setting of the Ave Maria…virgo serena uses chant-like melodies but does not incorporate any particular chant from the original manuscript. The accessible and sometimes polyphonic choral lines make this a fun song to sing for any school, community, or church choir. The accompaniment can be played by either an organ or piano. The original chant, found on the following page, can also be performed in conjunction with this setting.

Ave Maria - composed by Mark D. Templeton

About the Song:
"Mi Vater isch ä Chääser Gsii" is a yodeling love song from the Amish communities in Adams County, Indiana. The Pennsylvania Dutch speaking Amish of Ohio and Pennsylvania generally do not yodel and do not speak the same language as their Indiana brethren. The Amish from Indiana migrated from Switzerland during the eighteenth and nineteenth centuries and aptly speak a Bernese dialect of Swiss German. These Swiss Amish have retained many yodel songs from the “old world” through an oral tradition. "Mi Vater isch ä Chääser Gsii" is unique to the Swiss Amish and cannot be found in any collection of Swiss folk songs or in the Swiss Folk Song Archive in Basel.

How to Yodel:
This song incorporates the singing technique called yodeling. This is when a singer abruptly and rapidly changes between the head register (or falsetto voice) and the chest register (or speaking voice). The passaggio is the Italian term for the break area between these two registers. Trained choral singers are usually taught to sing through the passaggio without any noticeable glitch in the voice, but yodeling encourages the singer to manipulate the passaggio by abruptly and noticeably switching back and forth from the different registers. Yodeling is a great way to teach the difference between the two registers, and it will also give the singers an opportunity to sing in a different and fun way.

Each verse of the song should be sung using proper choral technique (singing smoothly through the passaggio). The yodeling will be indicated by arrows pointing down (↓) or arrows pointing up (↑). The arrows pointing down indicate to abruptly switch to the chest register while the arrows pointing up indicate to switch abruptly to the head register. The arrows point to the precise note where the change should occur. This abrupt switching of registers creates the yodel effect.

Swiss German Pronunciation:
Swiss German is the spoken language of the Swiss Amish from Adams County, and they are understood by other Swiss speakers. While Swiss German looks similar to Standard German, the pronunciation is a little different. The IPA guide in the score is by no means exhaustive and refers only to the text of this score. For best results refer to a native speaker. The yodeling sections of the song should not be pronounced as the Swiss German. An IPA spelling guide for the yodeling is given as well. There is an English translation written in the score underneath the Swiss German. The English version may also be performed if preferable.

Mi Vater isch ä Chääser Gsii - arranged by Mark D. Templeton

Come Unto Me, for SSAATTBB and Soprano solo, was written for famed soprano of choral, oratorio, and opera repertoire, Jessica Beebe. The solo tessitura is quite high and should be sung with minimal vibrato. While this is written for eight choral parts, the ranges are conservative and move mostly by steps making this an accessible work. The choral parts glide in and out of the texture while accompanying the ethereal melody of the solo. Your choir will enjoy singing this for a religious service or for a concert featuring an accomplished soprano.

Come Unto Me - by Mark D. Templeton - performed by The First Readings Project

The text for the Nunc Dimittis is taken from Luke 2:20-32 of the Latin Vulgate and is commonly referred to as the Canticle of Simeon. In the Roman rite, the Canticle is sung at Candlemas (“Candle Mass”) and during the concluding office of the day, the office of Compline. It is also sung along with the Magnificat (the Canticle of Mary), usually in English, during evensong in the Anglican tradition. The text has been famously set to music by many composers. Influenced by chant, renaissance composers, like Josquin, Byrd, and Victoria, have written some of the most beautiful polyphonic settings.  My setting, from my larger work, Compline, juxtaposes the same renaissance techniques of imitation and polyphonic writing with a unique and modern harmonic sound. It is my humble attempt to pay homage to the most inspirational of renaissance composers, Palestrina. 

My "Nunc Dimittis" is written for nine parts and divided into three groups: the first group, S1, S2, A1, the second group, A2, A3, T1, and the third group, T2, B1, B3. Each group should be placed according to the performance suggestions found at the bottom of the page. The piece incorporates an incipit (intoning chant) at the beginning of each section and is loosely adapted from the Nunc Dimittis chant at Candlemas. Regardless of differing performance practices, the diamond shaped notes in the incipit should be sung slightly faster than the round notes. While the stylistic techniques of this piece are imitative and chant-like, the form is a bit minimalistic. There are four sections (Nunc, Quia, Lumen, and Gloria), and each time a new section begins, after the incipit, another vocal part is added to each group. The same melodic and harmonic material is present in each section until the Gloria, where all the parts are singing the main theme in unison. The piece concludes with a final Amen that is sure to bring utter delight to your choir.


Nunc Dimittis - by Mark D. Templeton - performed by Matthew Curtis

The text of the Benedictus is taken from the final two phrases of the Sanctus, the fourth section of the Ordinary of the Mass. Composers have often set it independently from the Sanctus. This setting was originally composed for Selina Midkiff and the Appalachian Children’s Chorus in Charleston, West Virginia. The original consisted of only the two soprano parts from Choir 1 and Choir 2. I decided to compose alto, tenor, and bass parts for the first two sections, creating a double choir effect for the final section. Although it is scored for double choir one will find the individual parts easily accessible for any church, school, or community choir. The accompaniment can be played by organ, piano or string quartet.

Benedictus - composed by Mark D. Templeton

The melody for Tián Mì Mì is taken from an Indonesia folk song, Dayung Sampan, which became popular across East Asia during the late 1700’s. In the early 1900’s, the melody was given Chinese lyrics written by the famed poet and song writer, Zhuang Nu. This version is now recognized across China as one of the most beloved folk songs in Chinese culture. This choral arrangement uses a slower tempo than what some may be used to so that the lush harmonies may be experienced more sumptuously. The third verse allows for all the voice parts a chance to sing the melody while the accompanying parts dance around using syncopated rhythms. The last section returns to verses one and two and ends softly with “a zài mèng li” (Oh, in a dream). 

Tián Mì Mì (Sweet Like Honey) for SATB - arr. by Mark D. Templeton

Kāng Dìng Qíng Gē (Kang Ding Love Song), also known as Pǎo Mǎ Liū Liū De Shān Shàng (On the Running Horse Mountain), is a Han folk song from the Sichuan Province. The song is believed to be created by herders and farmers from the Yala channel in the north of Kang Ding City. During the 1940’s, it became popular to sing the song for the Pan Hua Ye (the night before marriage). During the Pan Hua Ye, the singers would change the last names of Li and Zhang to their last names. This would make the song unique to them. In 1989, during the Voyager II space launch, NASA selected Kāng Dìng Qíng Gē as one of the ten most recognized folk songs from around the world.  In the late 1990s, the song was also selected as one of the ten most influential international folk songs by the United Nations’ Educational, Scientific, and Cultural Organization. This choral arrangement uses swift, accented, and syncopated rhythms while also employing an abundance of parallel fourths and fifths. The vocal ranges are conservative and the choral parts are repetitious making this an easily accessible song. Enjoy singing this as a set with Tián Mì Mì and Ālĭ Shān Zhī Gē.

Kāng Dìng Qíng Gē (Kang Ding Love Song) for SATB - arr. by Mark D. Templeton

This setting incorporates a more recent and beautiful translation of the most ancient of Christian hymns, Phos Hilaron, by the late William G. Storey. This anthem would be perfect during the lighting of candles at Evensong, Vespers, or Compline.

O Radiant Light - for SATB - composed by Mark D. Templeton

Commissioned by the Greensboro Choralfest 2016. Premiered by the First United Methodist Church in Greensboro, Georgia under the direction of Alexis Ford.

Psalm 150 - For SATB, Organ, & Brass Quintet - Composed By Mark D. Templeton

"I Said a Prayer for You Today" was originally composed for Selina Midkiff and the Appalachian Children's Chorus in Charleston, West Virginia. The anonymous and simple text will remind the singers of an endearing relationship between any parent and child. This piece would be especially appropriate for youth choirs, and it is available for SA chorus, TB chorus, and SATB chorus.

Sheet music available at: www.mtchoralmusic.com

I Said a Prayer For You Today (SATB) - composed by Mark D. Templeton

Lesbia mi dicit semper male, commonly known as Catullus 92, consists of two elegiac couplets written by Gaius Valerius Catullus (84-54 B.C.E) for his lover, Lesbia. Lesbia was the name believed to have been given by Catullus to his mistress. Her real name was Clodia, the sexually promiscuous wife of proconsul Quintus Caecilius Metellus Celer, known as Metellus. Catullus’ earlier poem, 83, brings some context to 92. In the first part of 83, Catullus says:
 
Lesbia keeps insulting me in front of her husband:
this fills the fatuous idiot with delight.
Mule, do you perceive nothing? If she shut up and ignored me
that’d show healthy indifference;…

In 92, Catullus expounds on the idea of why Clodia insults him in front of Metellus. Catullus reckons that he is always cursing her, and he loves her. She always curses him, so she must love him as well. In his desperation, Catullus uses his wit and humor to reason that his obsessive love for Coldia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint the words, “Lesbia mi dicit semper male nec tacet umquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythms return in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illam assidue” (…it’s the same with me: I’m continually complaining.) The piece comes to a final rest after Catullus realizes the he will always be cursed to love her.


Lesbia mi dicit semper male (Catullus 92) - composed by Mark D. Templeton

This piece is comprised of two texts: Psalm 60 (in Old Low Franconian) and Preces Nocturnae (Prayer at Night) written by Alcuin (b. 747). The piece starts with a medieval sounding melody sung by a tenor solo that eventually turns into a round with another tenor solo. The Psalm 60 melody is then juxtaposed with the Alcuin text sung in a chant-like style. The piece gradually expands into three choirs and eventually ends with the tenor solo singing by himself. This is a challenging but accessible piece for the larger choir.

Psalm 60 & Preces Nocturnae - composed by Mark D. Templeton

Yōshayv B’sayser Elyōn (Psalm 91) is one of four Psalm settings (Psalm 4 in Old Scotts, Psalm 60 in Old Low Franconian, and Psalms 91 & 134 in Hebrew) I composed for Compline. My setting of Compline is fairly eclectic using a total of 10 different languages in multiple styles influenced by various cultures. For this setting I wanted to represent the Jewish heritage from which the Psalms originated. Using the Hebrew text was essential but so was finding a voice that epitomized the essence of Jewish music. The melody is original and described in the score to be sung as “sultry.” This is not a word that is usually associated with any of the Psalms, but I am attempting to musically represent a sense of raw humanity that is usually associated. The music gradually increases in speed until it is sung at a frenetic pace. It abruptly halts, and the final phrase is sung slowly in a raw “sultry” ending. This setting would be perfect for a concert incorporating various Psalms or for a multi-cultural concert. Your choir will find the harmonies to be exhilarating and the pace to be adrenaline-charged!

Yōshayv B’sayser Elyōn (Psalm 91 in Hebrew) - composed by Mark D. Templeton

Reide, Reide, Geili! (Ride and Ride the Pony!) is a Pennsylvania Dutch folk song. The Pennsylvania Dutch were Germans who migrated to America during the eighteenth and nineteenth centuries. They brought with them their culture, religions, music, and cooking! The Pennsylvania Dutch language is still spoken by the Amish, the religious sect mostly known for their horses and buggies and their eighteenth century way of life. There are many different tunes associated with Reide, Reide, Geili! The song has taken on a life of its own reflecting the lives of the Amish who still sing it, and the melody and text can differ from community to community. The particular tune used for this arrangement comes from Holmes County, Ohio and is similar to the English nursery rhyme, Ring Around the Rosie. Amish parents and grandparents will sing this rhyme while bouncing their toddlers on their knee. The bouncing is to imitate a horseback ride as the song begins. At the end of each verse, the adult suddenly drops their leg to imitate the child falling off the horse. The child falls to the floor amidst a peal of laughter. The song can be sung in either Pennsylvania Dutch or in English (written underneath the Dutch). This unique arrangement will lift your audience’s spirits as they are reminded of the songs of their youth, and your singers will enjoy its high energy and pulsating rhythms!

Three Amish Folk Songs

Reide, Reide, Geili! (SATB) - arranged by Mark D. Templeton

Ālĭ Shān Zhī Gē (Song of Ali Mountain) is from a renowned location in Taiwan. A legend exists about the origin of Ali Mountain’s name. There was once a chief of a traditional tribe named Abali. He chased a white deer into a giant mountain that he had never seen before. He found there were large amounts of animals for hunting, so he decided to move his tribe next to the mountain. His people were able to live with great abundance every year because Abali had lead them to what they now considered a holy place. The tribe decided to commemorate Abali by naming the mountain after him, Ali Mountain. Ālĭ Shān Zhī Gē praises the beauty of the girls and the strength of the boys and compares them to the splendor and might of the mountain. Today, Ali Mountain is a symbol of traditional Taiwanese culture. This arrangement paints an idyllic pastoral scene by allowing the beautiful pentatonic melody to be easily heard through the texture of the simple yet lush harmonies. Each vocal line is conservative yet flows interestingly in a cantabile-like manner.

Three Chinese Folk Songs

Ali Shan Zhi Ge (Song of Ali Mountain) - arranged by Mark D. Templeton

Nuru Ai Pani is a traditional song of the Kamoro people, the biggest tribe in Timika, Papua Indonesia. The song tells about the longing of a child for her parents who are often gone working every day. The song should be played with drums for a great Island vibe.

Papuan Folk Songs Volume 1

Nuru Ai Pani (Papuan Folk Song) for SATB & drums - arranged by Mark D. Templeton

Paniai Maki is a traditional song that comes from the Paniai region of Papua, Indosnesia. This region is well known for its three lakes. Paniai Lake (the largest), Tigi Lake, and Tage Lake are named in the first line of the song followed by Kamu, a vast valley surrounded by mountains on all sides. Mapiya is an area with steep mountains and deep, fast-flowing rivers. The three lakes are spectacularly high in the mountains at an altitude of 1650 to 1750 meters. These lakes and the surrounding mountain forests have sustained the indigenous people living there for thousands of years. The song, Pania Maki, tells of the beauty of the mountains and lakes and equates the people with this beauty too.

I was introduced to this song by my student, Elvine, who is from the Ekari tribe in the Paniai region. The language they speak is called Ekagi. Elvine sang this song to me with her sweet soprano voice perfectly in tune. The lilting and syncopated vocal parts along with the relaxed drum rhythms make this a perfect example of Papuan music. The ranges are conservative making the song accessible for any choir. There is an English translation written underneath the Ekagi language in the score. It can be performed in either language. It is ideal to sing the Ekagi the first time through and then English the second time through.

Paniai Maki (Papuan folk song) arranged by Mark D. Templeton

Mark Templeton, born 1974, is a choral composer, conductor, and countertenor. He teaches and resides at West Nottingham Academy in Colora, MD, the oldest boarding school in the United States. Templeton’s music has been performed all over the world at various international festivals and ACDA conventions. Some of his music is published by Santa Barbara Music Publishing, and he has recently started to self-publish. He also enjoys coaching, playing, and watching soccer when he is not working. He is available for commission upon request.

Mark D. Templeton

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