This Train
for SSA Voices and Piano
(opt. cambiata part)

Beginning with my Dad strumming and singing his five children to sleep with an endless array of folk songs, and then listening to his LPs of Woody Guthrie, Pete Seeger, and Peter, Paul, and Mary, I was drawn deeply to our folk music tradition at a very young age. As the son of a minister who sang many spirituals over his career, this genre of music lies passionately in me as well. This inspiration is found woven throughout my writing.

One of my greatest memories was riding home from Manhattan on the Hudson Line train in the mid 1980s. I was roused gently from sleep by the sounds of a banjo. Looking, I immediately recognized the banjo with all of its “hippie” art on it, and seeing Pete Seeger next to me was unforgettable. I pay tribute to the five troubadours (listed above the title), in gratitude for their tireless efforts to heighten our awareness of the inequality of humankind as well as their passionate love for our precious earth. From their debut album titled Peter, Paul, and Mary, released in 1962, their arrangement and performance of “This Train” left an indelible impression on me. This arrangement of “This Train” is my attempt to bring the folk music tradition into my classroom, hopefully inspiring a child or two along the way. Coincidentally, I have used eight of the songs from PP&M’s first album countless times to sing and strum my own two sons, Liam and Connor, to sleep.

In the section beginning at bar 29, the first soprano part is a variation on the melody, while the alto part presents a variation on the walking-bass line in the piano left hand. The second soprano part imitates the motion and resonance of the train; these patterns are very strict and repetitive, which makes them easy to learn. Depending on the number of singers on each part, the first sopranos and altos may need to sing p,  so the rumbling of the train is heard in the second soprano part.

This Little Light of Mine
for SSA Voices,
Piano and Bass Guitar

This piece was originally arranged for the Children’s Aid Society Chorus, with members ranging in age from kindergarten through grade 12. Premiered at the Society’s Spring Concert 2005, the children in kindergarten through grade 5 sang the melody, which is scored in the second soprano part, while the other age levels sang the various countermelodies. Our singers love shouting the word “No” at measure 42. In looking at the score, you will see that the first soprano and alto parts each have two countermelodies to learn in addition to the melody. These countermelodies are tuneful, and they are repeated consistently to make the score easy to learn. This piece could also be performed by a single SSA choir. The bass guitar part adds a driving energy as the piece develops.

Oh, Susanna
for Two-part Treble voices opt. Descant
Piano and opt. Bass Guitar

It is often a challenge to motivate our students to sing old-time folk songs. The energetic and rhythmic nature of this arrangement is intended to inspire our students. The bass guitar part also adds to the high energy level students love. Although optional, I strongly recommend including a bass guitar in the performance of this piece.  In the “Meno mosso” section, feel free to add slight rubato for effect.

In 2009 other pieces arriving in print will include:

Jambalaya, for SA Voices and Piano
Crazy Parents (words & music by Peter Frost), Two-part, (opt. solos) and Piano
Wayfarin’ Stranger, SATB, Piano, & opt. organ
Sloop John B., Two-part Treble Voices with opt. divisi and Piano
Drunken Sailor, SAB and Piano
Lift Every Voice and Sing, SSA, with Soprano Solo, and Piano