Genre: ISME

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.

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).

“Arise my love, my fair one” was written in 2012 for the service at St John’s Cathedral, Brisbane commemorating the 20th anniversary of the ordination of women to the priesthood in the Anglican Church of Australia. Flowing lines rise gradually towards the “fragrance” to which the text refers later, the blooming and blossoming of spring and the heralding of a new dawn, for the ministry of women and men. The middle section exhorts in dramatic homophony which gradually calms to release “fragrance”, and then repeats the ideas of the opening. The piece dies away, as if lover and beloved were disappearing into a mist (or a cloud of incense!).

The above recording features St Peter’s Chorale (2013), directed by Kathryn Morton. Or click here to watch a recording from St John’s Cathedral, Brisbane (2013), directed by Graeme Morton.

This piece for choir, piano and flute paints a cloudless winter night – the piano and flute adding a crisp clarity to the atmosphere. A lovely piece for secondary choir, and a great addition to your concert programme.

“Winter Stars” is also available in SATB voicing.

This piece for choir, piano and flute paints a cloudless winter night – the piano and flute adding a crisp clarity to the atmosphere. A lovely piece for secondary choir, and a great addition to your concert programme.

“Winter Stars” is also available in SSAA voicing.

A wonderfully uplifting piece with solos throughout, We Are The Future is highly recommended for youth choir. With text adapted from year 8, Brighton Secondary Student, Paris Maddern’s poem “The Future”, this joyous piece for SATB or SSA choir carries a strong, youthful voice and sings of their hope for the future, and their role in it.

“And I cry at the glowing blaze of disaster in this world

Yearning to reshape it, let goodness be unfurled

Perhaps I am not good enough

Perhaps my strength exceeds me,

The world will see me.”

“We Are The Future” is also available in SATB voicing.

A wonderfully uplifting piece with solos throughout, We Are The Future is highly recommended for youth choir. With text adapted from year 8, Brighton Secondary Student, Paris Maddern’s poem “The Future”, this joyous piece for SATB or SSA choir carries a strong, youthful voice and sings of their hope for the future, and their role in it.

“And I cry at the glowing blaze of disaster in this world

Yearning to reshape it, let goodness be unfurled

Perhaps I am not good enough

Perhaps my strength exceeds me,

The world will see me.”

“We Are The Future” is also available in SSA voicing.

A fresh take on an Aussie classic.

This recording of The Earth’s Prayer is sung by Lumens and directed by Kathryn Morton. Despite beautiful, moving harmonies throughout, it is the text that shines through in this piece.

Text by Sally Clarke:

Our Mother, whose Paradise is our Haven, 

Hallowed be thy top soil. 

Thy splendour, thy splendour, thy splendour be replenished, 

thy nurture be reciprocated on Land as it is in Sea/Sky/Mountain Range. 

Give us this day our daily mindfulness, 

forgive us our fossil fuel obsession as we forgive those who manipulate against us. 

Lead us back into balance and deliver us from separation, 

for thine is the Wonder of Biodiversity, the renewable power and the shared, sustainable glory. 

Now and forever. Amen! 

In the wake of the COVID-19 pandemic, Carl Crossin writes that the brief given to him in the commission of this work was that the song be “uplifting and life affirming” – and that it certainly is. A wonderful piece for secondary choir.

“Rise” is also available for SSAA voicing.

In the wake of the COVID-19 pandemic, Carl Crossin writes that the brief given to him in the commission of this work was that the song be “uplifting and life affirming” – and that it certainly is. A wonderful piece for secondary choir.

“Rise” is also available for SATB voicing.

**This piece is currently in preparation. For more information, or to purchase a PDF version, please email admin@mortonmusic.com.**

Voted the most unforgettable Australian TV moment, Julia Gillard’s 2012 “misogyny speech” presented in parliament is well-known to all Australians. In this powerful setting, Davidson syncs recorded clips of the work with choral imitation, accompaniment and even commentary (“hear, hear!”).

Typical of his style, Davidson’s text-setting is exceptionally innovative and text is without doubt the structural core of the work. For another example of this style see Davidson’s Finest Hour (setting of a speech by Winston Churchill).

The conductor listens to a click track through earphones (it’s preferable that these are worn discreetly, and should be either in-ear earbuds or, ideally, bone conduction headphones where available, as these leave the ear free to listen). The work may be performed with video or audio; in both cases, the audio track contains the click track on the left channel and the speech on the right channel. The left channel should be sent only to the conductor’s headphones, and the right channel to front-of-house loudspeakers. It’s possible to perform the piece with a very simple speaker setup, such as using a single speaker placed amongst the singers.

Click here to watch the Australian Voices, for whom the work was composed, perform “Not Now, Not Ever!”.

The recording above features the St Peter’s Chorale, directed by Kathryn Morton.

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!

Three songs from the Torres Strait Islands to the north of Australia. Comprises Monkey and Turtle, Trade Winds and Morning Tide. Good for use in classrooms or with choirs at elementary or high school level.

The SATB version is for unaccompanied choir. The treble version (SA) has a piano accompaniment.

Monkey and Turtle:

Trade Winds:

Recordings are from Great Southern Spirits (1994) by The Australian Voices.

From the Torres Strait Islands north of Australia’s Cape York comes a beautiful song which depicts the progress of the ship Black Swana as it glides across the sea.

An arrangement in SATB voicing is also available: Black Swana SATB

Recording of SATB version of Black Swana from “Great Southern Spirits” by The Australian Voices, released in 1994.

Lost the Plot is the fourth piece in a collection of four pieces by Paul Stanhope. It is available for SSA and piano, as well as SA and piano.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

Lost the Plot is the fourth piece in a collection of four pieces for treble voices and piano. It is available in both SA + piano, and SSA + piano voicings.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

The recordings are by the Australian Boys Choir conducted by Noel Ancell.

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.

Without Churchill’s gifts of oratory, would the Allies have prevailed in World War Two? His speeches resonate these many decades later.  This choral work, Finest hour, takes its music very explicitly from Churchill’s own composition – the melody and rhythm contained within his spoken intonation. The choir simply reproduces this melody and frames it in harmony, enhancing perception of what is already there though perhaps unnoticed. It is hoped that the music also heightens the emotions of this stirring speech.

The conductor listens to a click track through earphones (it’s preferable that these are worn discreetly, and should be either in-ear earbuds or, ideally, bone conduction headphones where available, as these leave the ear free to listen). The work may be performed with video or audio; in both cases, the audio track contains the click track on the left channel and the speech on the right channel. The left channel should be sent only to the conductor’s headphones, and the right channel to front-of-house loudspeakers. It’s possible to perform the piece with a very simple speaker setup, such as using a single speaker placed amongst the singers.

The recording above is performed by the University of Queensland Chamber Singers (2018), conducted by Graeme Morton.

Simple voice parts, yet a powerful piece with a powerful message surely more necessary now than ever before. This piece brings together many cultural influences from the “earth tribes” – Native American, African, Celtic, Aboriginal and Mongolian as well as the music of nature herself – birdcalls and flowing streams.SA divisi a cappella or accompanied.

An ideal song for Festivals & whole school performances including massed choirs. SA divisi a cappella or accompanied (by Small Ensemble or Concert Band, Orchestra, String Orchestra or Cello Ensemble).

Demonstration Recording: Montclair State University Singers directed by Dr. Heather J. Buchanan from the 2012 ACDA Eastern Division Conference.

Simple voice parts, yet a powerful piece with a powerful message surely more necessary now than ever before. This piece brings together many cultural influences from the “earth tribes” – Native American, African, Celtic, Aboriginal and Mongolian as well as the music of nature herself – birdcalls and flowing streams.SATB divisi a cappella or accompanied.

An ideal song for Festivals & whole school performances including massed choirs. SATB divisi a cappella or accompanied (by Small Ensemble or Concert Band, Orchestra, String Orchestra or Cello Ensemble).

Also available in SA voicing here.

A lovely setting of this beloved text by Mary Frye, which speaks comfort as it were, beyond the grave. For unaccompanied SATB choir, Joe Twist wrote it for Graeme Morton and the National Youth Choir of Australia. Highly recommended.

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.

Australia’s most iconic choral work to date, and featured on the Hollywood film Boychoir. This version is for SATB divisi choir a cappella. MM2003 is a treble version and MM2004 uses the treble voice version of the score for choir and an accompaniment for celli only.

The work distinctively features Harmonic Overtone Singing. A rehearsal guide to Past Life Melodies, also available through Morton Music, shows you how to teach this technique to your choir.

Commissioned by Graeme Morton’s high school choir, the work can be performed by choirs of modest training, and yet has made it all the way to Chanticleer, and other professional groups, such is its broad appeal.

Accompaniment available for Full Orchestra or Concert Band, String Orchestra or Cello Ensemble.

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.

Wake Up! is a rhythmic and energetic piece that re-imagines the choir ensemble as a contemporary band. Amongst the global frenzy of contemporary culture, hip-hop and urban music has become the ‘folk music’ that resonates strongly with our current generation. This piece captures the vibrancy of those rhythms and melodies through the imitation of driving hip-hop beats and vociferous rap vocal.

Sing Out! was commissioned for Australian Society of Music Education Conference 2005 as the opening massed work. It is a short, fun, rhythmic piece to be sung ‘with joy’.

Orlovich has a keen ear for the way different texts resonate with each other. This piece uses the traditional Latin text Dulcis Jesu Memoria and Victor Carrell’s Voice of the River which draws on a series of images which address “love” as it is found in some of its myriad manifestations. Commissioned by Graeme Morton’s St Peters Chorale and suitable for a good high school or college choir. It could also be used in church situations as an anthem.

This wonderful piece portrays three phases of the day: Sunrise, emerging in the stillness of the dawn, Birds, reflecting the vitality of the noonday, and the vibrant bird calls in the “Australian) bush, and Sunset, where the conclusion to the set of songs is a slow chordal diminuendo as the sun sets. Each movement can be performed separately.

Watch the full score preview video here.

An energetic rhythmic Gloria with alternative texts for Christmas and general use.

Demonstration Recording:
Gloria In Excelsis, Mark Puddy: Gulf Coast Youth Choir, Florida, Conducted by Lynne Gackle, 2001

Arrangement for SAB choir. For SA arrangement, contact admin@mortonmusic.com.

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

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

Stanhope’s piece was written 1999. The text by Michael Dransfield, partly autobiographical, explores personal change and the inevitability of things being forgotten. Aimed at a top treble choir (children or women) although the individual parts themselves are not difficult.

Listen to Ground Zero here!

Australia’s most iconic choral work to date, and featured on the Hollywood film Boychoir. This version is for SA divisi choir a cappella. There is also a treble voice version of the score for choir and an accompaniment for cello only.

Commissioned (in the SATB version) for Graeme Morton’s high school choir, the work can be performed by choirs of modest training, and yet has made it all the way to Chanticleer, and other professional groups, such is its broad appeal.

Accompaniment available for Full Orchestra or Concert Band, String Orchestra or Cello Ensemble.

Recording by The American Boychoir · Fernando Malvar-Ruiz · Sarah Hopkins

A  short song by Sarah Hopkins in a vibrant, joyful style. This is a combined score that can be used by either treble or mixed voices. The work divides into seven parts but many parts use sustained single tones so a choir of reasonable ability can perform the work. SA or SATB a cappella (or accompanied by any treble ensemble).

The second of the Ancient Cries set, this introspective slow work in 5/8 allows a choir to showcase a beautiful tone. The title means “red earth” and evokes the landscape of Australia’s geographical center.

An SSA version is also available here.

The third and final piece in Ancient Cries, this “pelican dance” has caught the imagination of young and adult treble choirs the world over. Wonderfully rhythmic with stunning climaxes and interesting vocal sounds. It is also not very difficult. A “must perform.”

The recording is by Young Voices of Melbourne, directed by Mark O’Leary.