Graeme Morton

The text, based on a traditional Celtic blessing, reminds us of the companionship of Christ and parallels our life’s journey with his. It is suitable as a doxology in church services, a blessing in Christian weddings, an act of dedication in baptisms and confirmations, a graduation blession or a moment of musical calm within a choral concert. This piece can provide comfort in times of personal stress and reassurance of the chosen journey through life. It ends with a beautiful and expressive setting of Amen, providing a moment of quietly confident affirmation.

Graeme Morton’s A Red, Red Rose beautifully captures the romance of Scottish poet, Robert Burns’ text of the same title. Heart wrenching harmony and union of voice and strings evoke the poignancy of the text – And I will love thee still my dear, til all the seas gang dry. Til all the seas gang dry my dear, and the rocks melt with the sun; and I will love thee still my dear, while the sands o’ life shall run.

A stunning piece for SATB voices with viola or violin and an excellent addition to your concert programme.

Recording by the Brisbane Chamber Choir, directed by Graeme Morton.

For your convenience, both the viola and violin parts are attached separately below, free of charge.

A Red Red Rose – Viola

A Red Red Rose – Violin

Combines the traditional music and text of the Australian folk song Andy’s Gone With Cattle with the American folk song He’s Gone Away. Would suit a high school choir.

A rollicking piece for a good high school choir. Bullock teams were an important form of early transport for heavy loads in Australia and each one was driven by a “bullocky” – a pioneer of great character. Requires a skilled pianist.

Recording from “Our Time And Place” by St Peter’s Chorale, directed by Graeme Morton, released in 1997.

Watch the full score preview video here!

An energetic and exuberant paean on an Easter text by sixteenth century German writer, Michael Weisse. The music bowls along in changing meters from 4/4 to 7/8, 6/8 and 2/4. The choral parts are often in rhythmic unison or doubled by the keyboard, so the music is memorable and easy to sing by choirs of all abilities. There is a great balance between the asymmetry of the rhythm and the repetition of sections. The accompaniment lies “under the fingers” and is easily accessible to most church accompanists. This piece is suitable for any part of the Easter season, but particularly for Easter Sunday. Its dance like character also makes performance possible in choral programs outside religious services.This simple and vital anthem solves the problem of finding Easter music that is vibrant and energetic rather than grand and triumphant. If your choir likes John Rutter’s Easter music you may also like this piece, which makes references in the keyboard part to the well-loved hymn tune commonly sung to the same text.

This recent work by Australian composer/choral conductor Graeme Morton is an energetic and highly rhythmic setting of this familiar Catherine Winkworth translation of a sixteenth-century German hymn text.  The frequently changing meters from 4/4 to 7/8 to 6/8 add syncopation and rhythmic energy, a fitting complement to this joyful text.
The melody is memorable, and the composer has creatively, yet subtly alluded to the familiar Easter hymn tune Lyra Davidica in the instrumental introduction and interludes. Aside from some moderate rhythmic challenges, the choral writing is quite accessible, and range and tessitura are easily within the reach of the average church or high school choir. The accompaniment, while best suited to the organ can also be performed on the piano.  
This piece is suitable for the season of Easter and would make a great anthem for Easter Sunday for those churches that choose not to prepare works with brass ensemble. Highly recommended. (Review in the American Choral Director’s Association Journal)

Erratum – In bar 57 the bass part should be 2 b-naturals followed by 2 b-flats, as in bars 27, 78, 106.

This piece owes much to Henry Purcell since it uses Ruth Watson Henderson’s lovely paraphrase of “Come Ye Sons of Art”. The music is simple (in 2 parts), with metre changes that always follow the flow of text and underpinned by constant eighth notes in the accompaniment. The piece is energetic and vibrant and makes an excellent start to a program or bracket for your choir.

An evocative setting of Tennyson’s text. Suitable for high school, community and church choirs.

The text of this piece is taken from the Evening Prayer of St Augustine, which asks for the protection and love of God whilst we are asleep, before calling for a blessing upon those who are suffering. While an a cappella performance is preferred, the minimal accompaniment gives harmonic support and can be used if desired in rehearsal or performance.

Graeme Morton’s piece “In Flanders Fields” is a poignant setting of the poem by John McCrae. The touching piece swells emotionally, with moments of word painting and an overall sense of serenity. A highly recommended addition for memorial events.

The recording above features the University of Queensland Chamber Singers (2018).

Please click here to download “Jingle Bells” by Graeme Morton

Add to your Christmas Carolling with this light-hearted arrangement.

This piece is based on the text of award-winning American poet Jane Kenyon’s poem by the same name, which contemplates the end of the day, and alludes to the parallels in life and death. With a quiet, reflective beginning, listeners are transported to the peaceful countryside in the late afternoon. Voice parts in turn bathe the listener in rays of light as they “shine through the chinks in the barn”. The piece culminates in an affirming declaration – “let evening come, as it will, and don’t be afraid. God does not leave us comfortless.”

The recording above is performed by the Brisbane Chamber Choir (2011), directed by Graeme Morton. This recording is of the SATB version, also available for purchase.

This piece is based on the text of award-winning American poet Jane Kenyon’s poem by the same name, which contemplates the end of the day, and alludes to the parallels in life and death. With a quiet, reflective beginning, listeners are transported to the peaceful countryside in the late afternoon. Voice parts in turn bathe the listener in rays of light as they “shine through the chinks in the barn”. The piece culminates in an affirming declaration – “let evening come, as it will, and don’t be afraid. God does not leave us comfortless.”

The recording above is performed by the Brisbane Chamber Choir (2011), directed by Graeme Morton.

This gentle piece expresses the the feelings of Mary as she reflects on the child she has borne. She feels affection for the sweet young babe she holds in her arms. Yet there is also wonderment and awe, as she understands his true nature and grapples with what the future holds for him. These are feelings similar to what any mother would have for her child. A mothers love is a universal theme. It can be understood by people of all faiths and creeds. Therefore, this piece, while sacred, can be sung in secular contexts as well as in services.

This gentle piece expresses the feelings of Mary as she reflects on the child she has borne. She feels affection for the sweet young babe she holds in her arms. Yet there is also wonderment and awe, as she understands his true nature and grapples with what the future holds for him. These are feelings similar to what any mother would have for her child. A mother’s love is a universal theme. It can be understood by people of all faiths and creeds. Therefore, this piece, while sacred, can be sung in secular contexts as well as in services.

A version of this piece is also available in SATB voicing here.

The recording above is by the University of Queensland Chamber Singers, 2022, conducted by Graeme Morton.

Watch the full score preview video here!

This piece is currently in preparation. For more information please contact admin@mortonmusic.com

This piece is currently in preparation. For more information please contact admin@mortonmusic.com

A lyrical and charming Australian folksong set for SATB choir and piano. This is a simple arrangement that brings out the grace and charm of the melody. The score gives and explanation of all the Australian slang in the song, arising as it does from the Australian colonial period and the vast sheep-raising properties that were characteristic of this history.

This song makes a great contrast with Bullocky-O, also arranged by Graeme Morton.

Three Christmas Spirituals includes the following pieces for treble voices; also available for mixed voices.

Go Tell it on the Mountain;

There’s a Star in the East; and

The Virgin Mary Had a Baby Boy

These three simple arrangements of some of the best-loved Spirituals are suitable for youthful voices of all ages. While specific to the Christmas Season, the narrative element in these texts make them appropriate for church or concert performance throughout the year.

Three Christmas Spirituals includes the following pieces and is for an accompanied SATB choir; also available for treble voices.

Go Tell it on the Mountain;

There’s a Star in the East; and

The Virgin Mary Had a Baby Boy

These three simple arrangements of some of the best-loved Spirituals are suitable for youthful voices of all ages. While specific to the Christmas Season, the narrative element in these texts make them appropriate for church or concert performance throughout the year.

A fresh take on an Aussie classic.

A graceful setting of the Robert Louis Stevenson poem for young children.

(The performance is by the Brisbane Birralee Voices Junior Choir)