Personage Press

This short setting of a beautiful text by Percey Shelley (1792-1822) is sure to put a smile on your choir's face. It's complex harmonic profile and rhythmic drive are true crowd-pleasers. It's suitable for any general choral use but especially suitable for the theme of love or unrequited love. It can also easily be used at weddings or marriage blessings.

This a cappella arrangement of Eric Clapton's wonderful song is modeled after the version presented in his "Unplugged" recording done for MTV. It is easy and accessible and suitable for choirs or a cappella groups.

Commissioned and premiered by the multi-Grammy® award-winning ensemble Chanticleer, this one-of-a-kind song by Leonard Cohen gets a major a cappella treatment full of rhythmic vitality and harmonic interest. Note: there is a lot of divisi in this arrangement and parts should not be omitted for the purpose of "simplification." It can be performed by chorus of tenors and basses with a few countertenors, if available.

This classic and beloved Carpenters song is treated in a simple, hymn-like arrangement here, which creates a beautiful and poignant musical space for the song's message about human connection. It's suitable for almost any mixed choir and easy to rehearse and present. This piece was performed as part of the New York City run of "The Events" at the legendary New York Theater Workshop.

Vince Peterson's setting of Shakespeare's text from "The Tempest" is a great alternative to the long-treasured staple by Vaughan Williams. The three-part ostinato in the alto line turns the section into a sort of backup group (the "nymphettes" if you will...) who herald the sea nymphs now caring for Ferdinand's father deep at the bottom of the water. The pulsation and doo-wop nature of the alto trio is meant to heighten the comic effect of Ariel's failed attempt to console Ferdinand at this moment in Act 1, Scene 2 of the play.

Commissioned, premiered, and recorded by the multi-Grammy® award-winning ensemble, Chanticleer, Vince Peterson's iconic arrangement of Joni Mitchell's song, currently No. 170 on the list of the top 500 songs of all time, was an overnight hit. It has been performed in concert halls all across the world by the ensemble and by many college-level choruses as well. This version is modeled after Mitchell's remake of the song unveiled in the early 2000s and recorded with string orchestra for the film, "Love Actually." There won't be a dry eye in the house!

Vince Peterson's arrangement of this 1922 war song was commissioned, premiered, and recorded by the multi-Grammy® award-winning ensemble Chanticleer. Aligned with Doris Day's 1952 recording of this American song, the arrangement incorporates a sung version of "Taps," traditionally played at the burial of an American soldier. The harmonic profile is typical of the style and boasts a barbershop feel with beautiful chromaticism throughout. This arrangement is still simple enough to be labeled "Intermediate" and will be a special and quintessentially American addition to your program.

This hymn-like arrangement of Pete Seeger's iconic American tune set to words from the Book of Ecclesiastes is a simple yet beautiful treatment for such a song. Its closed-score, straightforward harmonies have just the right amount of color to add interest without taking away from the integrity of the original song. It's a great addition to any choral program.

Vince Peterson's arrangement of this Simon & Garfunkel classic is modeled after Aretha Franklin's adaptation performed at her live concert at Fillmore West in San Francisco. The recording of that performance is widely available. The arranger suggests the choir be accompanied by a solo Djembe drum or similar to provide a strong sense of backbeat throughout this piece. Alternatively, a seasoned beatboxer can be used to provide the backbeat. Feel free to hear the recording for the illustration of drum use throughout this arrangement. Enjoy!

O Nata Lux is a setting of the liturgical text from the Morning Office Lauds for the Feast of the Transfiguration in the Christian church. It was originally composed for and premiered by the Choir of St. Paul's Carroll Street in Brooklyn, NY and was dedicated to its then Rector, The Revered Peter Cullen. The premiere was conducted by the composer in Sunday Mass on the Feast of the Transfiguration. This harmonically surprising setting is suitable for liturgical or concert use and is short and simple enough to put together when rehearsal time is at a premium.