The Choral Arrangements of

Alice Parker and

Robert Shaw
Jim Taylor
 Alice Parker (b.1925) and Robert
Shaw (1916–1999) created two
hundred arrangements of carols,
early American folk hymns, love
songs, sea shanties, hymns, Irish
songs, spirituals, and Stephen Foster
songs for audio recordings made by
the Robert Shaw Chorale between
1950 and 1967 for the RCA Victor
Corporation. The Parker/Shaw
arrangements have been great favorites
over the years with choral conductors
because they are well-crafted, earnest
and passionate, and fun to sing and
hear. Their accessibility and lively
sense of musical intelligence make
them excellent vehicles for training
developing singers in the art of
four-part unaccompanied singing,
particularly in building skills in
contrapuntal independence, text
expression, and rhythmic vitality.
This article provides an overview
of Parker’s and Shaw’s output,
and describes their remarkable
collaboration and the unique time in
which they worked.
Jim Taylor is drector of choral activities at Kilgore
College in Kilgore, Texas. His graduate studies were at
the University of Miami (MM) and the University of
Alabama (DMA) <jtaylor@kilgore.edu>.

CHORAL JOURNAL Volume 52 Number 11 31

 The Choral Arrangements of
The Rober t Shaw Chorale made The Nine Genres of • Stephen Foster songs
seventeen recordings between 1950 and Parker-Shaw Arrangements A Stephen Foster Songbook
1967 that contained arrangements by
Alice Parker and Robert Shaw (Table 1). • Easter and Christmas carols • Early American folk hymns
Of the musical material on these albums, A Treasury of Easter Songs What Wondrous Love
some were arranged by Shaw alone, or Christmas Hymns and Carols, Vol. II2 Sing to the Lord
by other arrangers. The last two albums Christmas Hymns and Carols, Vol. I
were arranged by Parker alone: Shaw • Sea shanties
made no editorial changes to her work. • Love songs Sea Shanties
The far right column refers to the number Sweet and Low
of masterworks that were edited by With Love from a Chorus • Glee club songs
Parker and Shaw as distinguished from My True Love Sings Twenty-Three Glee Club Favorites
their arrangements, because these editions A Chorus of Love
did not involve arrangement but only • Irish songs
provided performance suggestions regarding • Hymns and songs of faith Irish Folk Songs
dynamics, phrasing, tempo, etc. A Mighty Fortress
These seventeen recordings may be Songs of Faith and Inspiration The Parker-Shaw arrangements record-
grouped into nine musical genres, as follows: ed on the first two albums were published
• Spirituals by G. Schirmer, and are today distributed
Deep River by the Hal Leonard Corporation. From
I’m Goin’ to Sing the third album onward, Robert Shaw and

Table 1
Robert Shaw Chorale Recordings Containing Parker-Shaw Arrangements1

Title of album RCA Victor Year Number of Number of

album number released Parker-Shaw Parker-Shaw
arrangements on album editions on album

A Treasury of Easter Songs RCA LM 1201 1950 10 7

Christmas Hymns and Carols, Vol II RCA LM 1711 1952 20 4
Sweet and Low (TTBB) RCA LM 1800 1954 4 0
With Love from a Chorus (TTBB) RCA LM 1815 1954 16 0
My True Love Sings RCA LM 1998 1956 20 2
Christmas Hymns and Carols, Vol. I RCA LM 2139 1958 18 5
A Mighty Fortress RCA LSC/LM 2199 1958 15 0
Deep River RCA LSC/LM 2247 1958 2 0
A Stephen Foster Songbook RCA LSC/LM 2295 1959 16 0
A Chorus of Love RCA LSC/LM 2402 1960 15 0
What Wondrous Love RCA LSC/LM 2403 1960 18 1
Sea Shanties RCA LSC/LM 2551 1961 16 0
Twenty-Three Glee Club Favorites RCA LSC/LM 2598 1962 7 0
Songs of Faith and Inspiration RCA LSC/LM 2760 1964 1 Parker 0
I’m Goin’ to Sing RCA LSC/LM 2580 1964 16 0
Sing to the Lord RCA LSC/LM 2942 1967 16 Parker 0
Irish Folk Songs RCA LSC/LM 2992 1968 16 Parker 0

32 CHORAL JOURNAL Volume 52 Number 11

Alice Parker and Robert Shaw
Walter Gould (Shaw’s manager) published American public, and thus fund the re- royalties, and the cost of instrumentalists
the arrangements under the company cordings of more serious music.8 As Shaw could be avoided by arranging for unac-
“Lawson-Gould Publishing” that they formed considered the limited time available in his companied voices.12
in 1953.3 Warner Brothers acquired the schedule for producing such arrangements, For the first project of Easter carols,
Lawson-Gould catalogue in 2000, and Alfred he remembered Alice Parker, who had been Parker went to the Music Division of the
Music Publishing Company subsequently a graduate student under him at Juilliard.9 In New York Public Library and was delighted
bought it in 2005.4 A number of Parker / addition to her studies and many rehearsals, to find an abundance of melodies and texts
Shaw arrangements are, unfortunately, on she had written program notes, researched that suited their needs. During the next few
Alfred Music’s “permanently out-of-print” list. repertoire, and done all manner of odd jobs months, Parker prepared a sheaf of sketches,
An alphabetical catalogue of the Parker- for him.10 More than that, she had a degree which she played for Shaw at their next
Shaw arrangements, that contains publisher in music composition from Smith College, meeting. Shaw listened to the whole set,
and other information, follows this article. and had a temperament that was easy for and, according to Parker, reworked them in a
Traditionally, this body of music has been him to work with. He approached her with way more demanding than any she had ever
known as the “Shaw-Parker” catalogue, the suggestion that she seek out appropriate seen. “Each note, word, and phrase had to be
due to the more famous name of Robert melodies and texts, and compose a series of just right. Each voice part had to invite the
Shaw. The arrangements, however, were re- arrangements of them that the two would singer into the phrase. He allowed no split-
ally primarily the work of Alice Parker, with rework together before the recording ses- ting of voice parts, no new and ‘interesting’
Shaw serving principally as a scrupulous sion.11 harmonizations, no effects for effects’ sake.”13
editor. For this reason, this article will refer Shaw believed that the best approach The texts were to be expressed artfully, and
to them throughout as the “Parker-Shaw” would be to produce albums of folk materi- the melodies were to be respected for their
arrangements. als that would be both attractive to singers original beauty. She had majored in composi-
and listeners and inexpensive to produce. tion in college, but no one, she says, had ever
The Genesis Only melodies and texts in the public do- subjected her pieces to this kind of detailed
of the Collaboration main would be used in order to avoid paying reworking.14

Robert Shaw moved from California

to New York City in 1938 to work with
the Fred Waring Glee Club and its radio
broadcast performances. Three years later,
Shaw founded and directed the Collegiate
Chorale, a highly dedicated amateur New
York chorus that grew into a significant
symphonic chorus under his leadership.5
In the following years, Shaw established a
reputation in America through performances is proud to represent and the choral arrangements of
which, according to choral historian Ray
Robinson, brought a quality of excellence to
choral singing that had not previously been Alice Parker and

experienced by American audiences.6 In

1948, Shaw formed the Robert Shaw Cho-
Robert Shaw
rale, which for two decades was America’s
premier touring choral group, being sent by
the U.S. State Department to 30 countries
in Europe, the Soviet Union, the Middle East,
and Latin America.7
In 1948, the Robert Shaw Chorale first
toured the United States and was signed Two Newly-Engraved
to an exclusive recording contract by RCA Price-Saving Collections!
Victor. Shaw wished to record only choral
masterworks, but RCA Victor wanted to
produce recordings of the Shaw Chorale For information on these and other Alice Parker publications,
performing light popular music as well, in please visit alfred.com and enter “Alice Parker” in the search area.
the hope that these would sell well to the

CHORAL JOURNAL Volume 52 Number 11 33

 The Choral Arrangements of
This process was repeated with each It can be seen that this collaboration, radio and television broadcasting, concerts,
new album, and after 1959, Parker chose at first, was not one of equals. Shaw was record album sales, and national and inter-
the songs herself; Shaw had no idea what the master, Parker was the student tasked national performance tours. The animated
he might hear.15 He would stand behind with fulfilling the master’s requirements. She Walt Disney movies of the period, Peter Pan
her, and, as she played, she was forbidden to learned his method, acquired more freedom (1953) and Sleeping Beauty (1959), each
say a word: no explanations, no justifications, as she progressed, and, finally, required no featured a Shaw-like chorus on the sound
no pointing out a clever bit of counterpoint. more supervision by Shaw.The collaboration track, showing the medium’s wide appeal in
She played and occasionally sang a line that is a perfect modern example of the historic the popular culture at this time.
would not fit under her fingers. Quite fre- apprentice/master relationship: teaching by According to Philip Jeffrey Morrow,
quently, a hand with a pencil would come doing under the close scrutiny of a master two different types of American profes-
into vision and place a small “x” on the page. craftsman. Parker used this metaphor herself sional choruses existed at this time: those
She had to keep playing, knowing that some when she said in 1996, primarily oriented toward entertainment,
imperfection had grazed that listening ear.16 and those that focused on the performance
It finally str uck me that I had of traditional choral literature, though each
Gradually, I was able to anticipate exper ienced a Medieval-style might present the other style to a minimal
the pencil and to feel its presence apprenticeship in Renaissance degree as well. The former included the
even in my first sketches. I learned compositional techniques, a rarity in well-known choirs of Fred Waring, Ward
to edit my own ideas and brought in the twentieth-century musical world. Swingle, and Ray Coniff, and the male chorus
sketches that needed fewer changes. I had learned the craft of writing directed by Mitch Miller in his syndicated
…Robert brought to my sketches for voices, which, in a strange and television show, Sing Along with Mitch. The
his incredible ear and a God-given wonderful way, released my own
latter, those choirs performing primarily
sense of structure, inevitability of compositional ideas.18
traditional literature, included the Robert
movement, and clear linear simplicity.
Shaw Chorale, the Roger Wagner Chorale,
He saved me from my youthful
and the Gregg Smith Singers, and other
excesses: too many ideas, sprawling Historical Context choirs representing the different choral
structures, awkward diction, and
unfinished, un-honed vocal lines. According to Walter Gould, the period traditions of the period.20 This was also the
…The last two albums the Shaw between 1950 and the mid-1960s was a period of the American Folk Music Revival,
Chorale recorded were entirely unique time in American musical culture, and a concomitant expansion of scholarship
mine: subject matter, choice and especially suited for the kind of music cre- on American folk hymns. Beginning with
sequencing of tunes, arrangements, ated by Shaw and Parker. He referred to Woody Guthrie in the late 1930s, this revival
and markings. It took me 15 years, this era as the “Golden Age” of choral music featured lyrics of harsh personal experience
but I finally learned.17 in America.19 Choral music was popular in in the Dust Bowl era and the Great Depres-
sion with social commentary and criticism in
blues- and Appalachian-influenced songs.21
It continued with Pete Seeger in the 1940s,
and the engagement of college students
and intellectuals in the ideals of populist folk
song.22 The popularity of folk music found
yet a wider audience when in 1958 a group
I’m Gonna Sing Here. called the Kingston Trio placed a folk song,
Tom Dooley, at the top of the pop chart rat-
Imagine singing on the very stage once occupied
occ ings. Their success was aided by their image
by a great composer, or performing in the charming as all-American boys from California, wearing
village where Mozart penned his first score. Our tour
venues will inspire you. The appreciative audiences will crew cuts and collegiate outfits, not overalls
ignite your very soul. and work shirts, and singing Tennessee bal-
lads, not protest songs.23
These cultural changes influenced the
choices of Parker and Shaw, who were
responding to their label’s request for
music that would be popular with a gen-
eral audience.The Parker-Shaw catalogue is
All the world’s a stage - Let us put your choir on it. comprised primarily of folk music materials,
CulturalTourConsultants.com • Toll Free 866.499.3799 to which the discography of Robert Shaw

34 CHORAL JOURNAL Volume 52 Number 11

 Alice Parker and Robert Shaw
Chorale albums containing Parker-Shaw to grasp the essence of music, and his “fa- training, often infusing rustic music with a
arrangements attests. Easter and Christ- natical attention to detail.”27 He was praised classic quality. A parallel can be made with
mas carols, and favorite hymns, can also be by classical musicians of the highest stature, the dances and divertimenti written by
considered folk music: they are songs that including Francis Poulenc, Arturo Toscanini, Mozart for a few gulden: musicians with the
have been transmitted to us though years Leopold Stokowski, and Julius Herford.28 highest mastery of the most complex forms
of folk-culture tradition.24 Alfred Mann, Professor of Musicology at the of music of their day were applying all of
The presence of choral music and folk Eastman School of Music and editor of the their knowledge of their craft to a simple,
music in American popular culture dimin- American Choral Review, mused, “I imagine yet worthy and pure, repertoire.
ished quickly, however, likely due to the that [Shaw’s] music-making is something
changes that occurred in popular music in similar to—and is as wholesome and alive
the mid-1960s. Folk music icon Bob Dylan as—what Bach’s and Handel’s must have Summary
himself turned toward rock ‘n’ roll, and been; though we can be sure that neither
The Parker-Shaw collaboration began
changes in popular music across the board of the two great masters had anything
in the bustle and rush of what Shaw’s bi-
proved to be pervasive, international in approaching Shaw’s miraculous rehearsal
ographer Joseph A. Mussulman called his
scope, and lasting.25 Shaw’s move in 1967 technique.”29
“white-hot years,” his 30s and 40s, during
to Atlanta to assume directorship of the For her part, Parker had earned a degree
which time he exerted tremendous energy
Atlanta Symphony Orchestra and Cho- in composition from a highly respected col-
in numerous endeavors.32 Shaw needed
rus—the end of the Robert Shaw Chorale lege, while, as a teenager, she was fond of
some good arrangements of popular folk
and the Parker-Shaw collaboration—hap- big band and swing music, popular songs,
materials, but he was busy and needed to
pened to coincide with the Beatles’ release and songs from shows,30 so she was not at
delegate their creation; he needed someone
of “Sgt. Pepper’s Lonely Hearts Club Band,” all out of touch with music in the popular
whom he could trust to do good research,
a definitive point in the history of modern culture.
to make intelligent sketches from which to
popular music. Though theirs were not arrangements of
begin, and with whom he could work and
classical music, Parker and Shaw’s connec-
teach “the ropes” of producing the choral
tion to the classical masters was at the fore-
sound he desired. Alice Parker was his “go-
Classical and Popular front of their minds, as described by Parker:
to” person, and she succeeded wonderfully,
Music Elements beginning as a learner and developing into a
We were very conscious of the
The endurance and quality of the great a cappella literature of the past consummate master of the style.
Parker-Shaw catalogue lie, to a large part, centuries as we worked. (We were It was the perfect time for them to
in its creators’ thorough knowledge of putting together programs for the work, with choral music and folk music be-
classical and popular music. Shaw knew Chorale in those same months, so ing concurrently popular, providing a wealth
popular music thoroughly: he grew up sing- were saturated with it.) There are of copyright-free foundational material, and
ing gospel songs in his pastor father’s family moments in the arrangements that an enthusiastic audience to appreciate it.
choir, and went on to sing and ultimately remind me of specific measures of As Shaw considered the style of music that
direct the men’s Glee Club at Pomona Brahms, of Victoria, of Poulenc, of would best meet RCA Victor’s requirements,
College. His work with Fred Waring’s Glee Bach (of course!) and Haydn—just he brought to bear his vast glee club experi-
Club in New York stood at the top of the to take a beginning look. It wasn’t ence and combined it with the great classi-
pop vocal world of the day. Once Shaw so much that we were using other cal knowledge he had gained, resulting in a
began preparing the Collegiate Chorale for folk arrangements as models, as choral concept which he taught to Parker.
performances by renowned conductors, his that we were fitting what we were This music reflects folk-based music of high
innate musicianship became apparent, and doing into the great tradition. (In quality that communicates the text, is faithful
these musicians urged Shaw to remedy his the process, I lost whatever scruples to the spirit of the original melody, exercises
I had had about ‘arranging’ as an good taste, and entertains the listener. The
lack of technical musical training. This was
inferior species, and saw it, too, in a variety of the catalogue is great: among these
accomplished by intense structural and
historical light: all the pieces based
analytical studies with Julius Herford through choral arrangements emotional expression
on canti fermi, or chorales, or all the
a Guggenheim Fellowship in 1942 and 1943, ranges from the dark, serious, and mystical to
‘theme and variations’ of the past
the first such fellowship ever awarded to the joyous, lighthearted, and downright fun. It
eras, as superb examples of creative
a conductor.26 Shaw’s classical training be- work.)31
is no wonder that the Parker-Shaw arrange-
came so complete that he was appointed ments have remained on the performance
in 1946 by William Schuman to the faculty lists of church choirs, high school choirs, col-
This music was created for profit in the
of the Juilliard School, an appointment only lege and university choirs, and community
commercial market of album sales, yet
understandable in the light of Shaw’s ability choruses for over half a century.
imbued with classical experience, taste, and

CHORAL JOURNAL Volume 52 Number 11 35

 The Choral Arrangements of
Style Characteristics of ridsen usually require large accomplished • These arrangements are melody-oriented
Alice Parker/Robert Shaw choruses for successful performance, due rather than harmony-oriented. The focus
Arrangements33 to frequent advanced divisi voicings. Most of this music is not so much on the beauty
of the Parker-Shaw works can be sung by a of its harmony, but on the melody and the
small unaccompanied ensemble. counterpoint that flows from it. Each voice
• Almost all of the arrangements are for
part has its own tunefulness, which makes it
unaccompanied voices. Tunes were to be
• Ranges are not extreme, but fall within fun to sing, and the music has a clear direc-
taken from public domain sources and ar-
the normal tessitura of the voice. Only a few tion with a sense of destination. This is in
ranged for unaccompanied voices primarily
of the arrangements have the basses de- opposition to choral music that is principally
for financial reasons.
scend to a low D, and the sopranos sing no chordal, or that which depends on beautiful
higher than an A above the staff. (Basses in harmonies for its appeal.
• The scores are excellently edited and
Dere’s No Hidin’ Place do descend to a low C
clearly marked—but not over-marked. It
in the penultimate bass note, a Parker-Shaw • Counter-melodies and background har-
is almost always possible to discern their
text painting denoting the depths of hell.) mony lines are largely taken from melodic
expressive intent, but there is also room for
motives. This characteristic brings about a
the conductor to interpret.Too many mark-
• Phrase lengths are within the capacity homogeneous quality in an arrangement,
ings becomes tedious and the conductor is
of the breath. Very rarely is the effect of and a distinct character pervading each.
inhibited; too few and the performance is
staggered breath required, and then only
left without sufficient guidance. These show
to maintain a continuous “oo” sound in • Harmonies are not complex; “resultant
a wonderful balance.
background voices. harmony” is frequent. When working with
melodies with conventional scales in major
• The pieces are accessible to a good high
• Texts are at all times clearly understand- and minor tonality, chords are extremely
school choir or community chorus, though
able. Communication of the text and its simple, with only an occasional ninth or
they were originally arranged for the profes-
message was absolutely essential to Parker similar extended chord. When working with
sional voices of the Robert Shaw Chorale,
and Shaw. Polyphony was handled in such modal melodies, however, there is much
and not intended for sales to the choral
a way that the story of the song was never diatonic non-triadic harmony, which is called
market. Not one can be termed “extremely
obscured. by Parker “resultant” harmony. This refers
difficult.” This is noteworthy, because in our
to the vertical harmony resulting from the
own day, the spirituals of Moses Hogan and
• An emphasis on simplicity and clarity. confluence of independent vocal lines. The
the arrangements of Whitacre and Lau-
The Parker-Shaw catalogue is marked by composer is not giving primary attention to
form that is crystal clear, counterpoint that harmony here, but to melody.
is never muddy, and textures that tend to be
lean rather than over-weighted. Unison and • Voice part independence in four-part ho-
two-part textures are frequent, especially mophony. Though straight, hymn-style block
the ST/AB two-part voicing. Music is never writing is certainly present in short passages,
“over-arranged.” more often in homophony, voices will enter
Tropp Music Editions or exit with a sense of independence, behav-
proudly presents
• Multiplicity of voicings within an ar- ing melodically, and giving life and character
rangement. Invariably the arrangers will to each voice part.34
alter the combinations of singers during the
arrangement for the sake of expression of • Great rhythmic drive/interest in rhyth-
the text and interest. This compensates for mically-based pieces. Syncopations, strong
the simplicity mentioned above in providing background rhythms, accents, meter changes,
variety within restraint. tenutos, ritardandos, silences, and other
rhythmic effects create a sense of vitality.
• A wide variety of dynamics and articula- The Robert Shaw Chorale was particularly
Scholarly editons and recordings
of lost masterpieces of
tion within a piece, often with sudden con- known for its rhythmic precision, and those
eighteenth century liturgical music. trasts. The Parker/Shaw works sparkle with who have sung under Shaw recall the atten-
vitality, and it is often the sudden changes of tion he gave it.
(224) 649-6000 musical expression from loud to soft or from
www.GalantMusic.com marcato to legato that provide energy and • Frequent use of imitation in a variety of
intensity. These changes are always based forms; for instance, voice parts might enter
upon the message of the text. with Josquin-like imitative counterpoint, one

36 CHORAL JOURNAL Volume 52 Number 11

 Alice Parker and Robert Shaw
voice part may imitate another exactly, or a I later. So it’s not as backward as it sounds. (Englewood Cliffs, NJ: Prentice-Hall, 1973):
cluster of background voices might echo the (One can still get that first version of Vol. 8–33.
I—it’s amazingly different.” (Parker, e-mail 21
words and rhythm of the melody but with Martha Bayles, Hole in Our Soul: The Loss of Beauty
different pitches. communication with author, March 18, 2011) and Meaning in American Popular Music
3
“Lawson” was Shaw’s middle name. (Chicago: The University of Chicago Press,
4
• Frequent use of pedal points and ostina- Alice Parker, e-mail communication with author, 1994): 210.
August 4, 2011. 22
tos. These are particularly apparent in the Carole Pegg, “Folk music,” Grove Music Online,
5
Joseph A. Mussulman, Dear People…Robert Oxford Music Online , <http://www.
arrangements of modal melodies, but can
Shaw. (Bloomington, IN and London: Indiana oxfordmusiconline.com/subscriber/ar ticle/
also be found in more tonal pieces.“Inverted
University Press, 1979), 4, 22. grove/music/09933>, accessed June 19, 2010.
pedal points” are found in passages where a 6 23
Ray Robinson, “Robert Shaw: A Tribute,” Choral Bayles, op. cit., 211–12. Other leading artists in
voice part above the melody holds a note
Journal 39, no. 8 (March, 1999): 33, 83. the genre included the Limelighters, Peter,
across shifting harmonies. 7
Jeffrey W. Baxter, “An Interview with Robert Paul, and Mary, and ethnic singers such as
Shaw: Reflections at Eighty,” Choral Journal 36, Harry Belafonte.
• A preference for modality and gapped no. 9 (April, 1996): 9. 24
Many scholars now prefer the term “traditional
scales over tonality. Parker prefers to be 8
Alice Parker, “Parker-Shaw Memories,” 15. music” to “folk music” to distinguish it from
free from the constraints of the melodic 9
Shaw was at Juilliard from 1946– 49, and Parker art or popular music. According to Carole
leadings and chordal relationships inherent was there from 1947– 49. Pegg, the word “traditional” is helpful “to
in tonality. Working within a modal idiom 10
Parker, “Remembering Robert Lawson Shaw,” The distinguish between indigenous rural and
gives the arranger, she says, great freedom to Voice of Chorus America 21, no. 4 (Summer, urban traditions (as in the Middle East); and
use devices such as imitation, pedal points, 1999): 13. to distinguish ‘community music-making’
11
and ostinatos.35 Parker, “Parker-Shaw Memories,” 15. from ‘popular music’ intended for mass
12
Ibid. dissemination or marketing” (i.e., Cuban
13
• General avoidance of the leading tone, Ibid. music). Pegg op. cit., accessed May 16, 2009.
14 25
even in dominant function. In this same con- “We didn’t have any rules when we started. He Bayles, op. cit., 213ff.
just reacted to each piece that was in front 26
text, Dr. Parker feels there is more elemental Mussulman, op. cit., 53–54.
of him at the moment, trying to make it 27
power in staying clear of the leading tone, Ibid., 54.
28
even when working in a tonal idiom.36 work for next week’s recording session. He
29
Quoted in Musselman at 97, 58, 25, and 54.
would never begin without an ‘idea’—and Alfred Mann, “Shaw as Student of Musicology:
the idea always came from (1) the text and Recollections,” Choral Journal 36, no. 9 (April,
• A tendency to write more frequently
(2) the melody of the tune. (My formulation, 1996): 21.
for men’s voices than women’s. A second 30
not his. He never theorized.)” (Parker, e-mail Alice Parker, telephone interview with author,
or third verse, for variety, will be more often
communication with author, August 3, 2011) May 27, 2009.
given to men’s voices than to women’s. 15 31
Parker, e-mail communication with author, Parker, e-mail communication with author, May 27,
Parker says this stems not only from Shaw’s
September 17, 2011. 2009.
vast experience with men’s glee clubs, but 16
Parker, “Parker-Shaw Memories,” 15. 32
Mussulman, op. cit., 81ff.
also from the fact that, with men’s voices, 17
Ibid., 16, 18. 33
Alice Parker concurs with this summary of the
there is a bass line, whereas with women, 18
Ibid., 18. style characteristics of her work with Shaw.
“there’s often that ‘floating in the air’ feeling 19
William Wells Belan, “Recording, Touring, and (E-mail communication with author, July 31,
that comes from no anchor.”37 Publishing—Yesterday and Today: An 1911)
Interview with Walter Gould,” Choral Journal 34
“Shaw would often change one voice part to be
36, no. 9 (April, 1996): 32. non-homophonic—in order to get variety in
NOTES 20
Phillip Jeffrey Morrow, “The Influence of the the hymn-sounding texture.” (Parker, e-mail
Robert Shaw Chorale, the Roger Wagner communication with author, July 31, 2011)
1 35
Alice Par ker, “Par ker - Shaw Memor ies,” Chorale, and the Gregg Smith Singers on Parker, e-mail communication with author,
Choral Journal 36, no. 9 (April, 1996): 17. the Professional Chorus in the United December 29, 2011.
Mussulman’s discography differs on some States,” (DMA dissertation, Southern Baptist 36
Ibid.
of the dates. Joseph A. Mussulman, Dear Theological Seminary, 1993): 28. A treatise 37
Parker, e-mail communication with author, August
People…Robert Shaw. (Bloomington, IN and on the different approaches to choral singing 3, 2011.
London: Indiana University Press, 1979), in America during the 20th century and
251–56. the choirs that represented them is found
2
The earlier Christmas album is titled Vol. II in Howard Swan, “The Development of a
for the following reason: “Shaw recorded Choral Instrument: Schools of Choral Singing
Carols I before I came to NY. My first Xmas in America,” in Harold A. Decker and Julius
Album was #2, and they re-recorded Vol. Herford, ed., Choral Conducting: A Symposium

CHORAL JOURNAL Volume 52 Number 11 37

 The Choral Arrangements of
ALPHABETICAL CATALOGUE OF PUBLISHED PARKER-SHAW ARRANGEMENTS AND EDITIONS

by Jim Taylor

Entries appear alphabetically, including the following information: title; statement as to whether the entry is a choral ar-
rangement, edition, or translation; date of arrangement; voicing; tune source; text source; publisher and its catalogue number,
approximate duration where available; and copyright date when different from date of arrangement. Selections on the Alfred
“Permanently Out-of-Print” list are indicated at the end of the entry. All titles are SATB a cappella unless indicated otherwise.
G. Schirmer titles are distributed by the Hal Leonard Corporation, and where possible, current Hal Leonard numbers are
included, prefixed by “HL.” Those lacking this are still obtainable from Hal Leonard with the old G. Schirmer number. Alfred
Music Publishing distributes the Lawson-Gould catalogue, which retains the initial “LG” prefix.
Abbreviation AMH = American Mountain Hymns

Choral Arrangements And Editions

Adios Catedral de Burgos, Choral Arr, 1956, Aupres de ma Blonde, Choral Arr, 1956,Tune Blow the Man Down, Choral Arr, 1961,
TTBB(A), Tune source: Trad Spanish, Text source:Trad French,Text source:Trad French, TTBB(B), Tune source: English shanty, Text
source: Trad Spanish, LG658, 2:49 LG644, 1:32 source: English shanty, LG51055, 1:32

Al Olivo, Choral Arr, 1956,TTBB,Tune source: Aura Lee, Choral Arr (w/ Shaw and Robert Boar’s Head Carol, The, Choral Arr, 1951,
Trad Spanish, Text source: Trad Spanish, Hunter), 1954, TTBB, Tune source: Poulton, TTBB, Tune source: Trad English 1521, Text
LG670, 1:02—permanently out of print Text source: Fosdick, LG527, 2:24 source: Trad English 1521, G. Schirmer
HL50305010, 1:02, Copyright date 1952
All Hail the Power, Choral Arr, 1958, SATB/ Avenging and Bright, Choral Arr, 1967, TTBB,
org, Tune source: Shrubsole, Text source: Tune source:Trad Irish,Text source:Trad Irish, Bound for the Rio Grande, Choral Arr, 1961,
Perronet, LG769, 2:15—Available in Alfred LG51443, 1:55 TTBB(T), Tune source: Trad shanty, Text
collection Hymns and Carols LG51097—per- source: Trad shanty, LG51056, 2:19
Away in a Manger, Choral Arr, 1957, Tune
manently out of print as an individual octavo source: Trad carol, Text source: Trad carol, Break Forth (Bach) Choral Ed, 1952, Tune
Allons, Gay Bergeres (Costeley) Choral Ed, LG719, 1:45 source: J.S. Bach, Text source: Rist, 1641, G.
1952, Tune source: Costeley, Text source: Schirmer 10180, 1:28
Ballynure Ballad, A, Choral Arr, 1967, SATB(B),
Trad, G. Schirmer HL50305000 Tune source:Trad Irish,Text source:Trad Irish, Bright Canaan, Choral Arr, 1960,Tune Source:
Amazing Grace, Choral Arr, 1960, Tune formerly LG51457, now APMC (Alice Parker AMH: Bright Canaan, Text source: Mountain
source: Solon, Text source: Newton 1779, Music Co.), 1:45, Copyright date 1969 hymn, LG919, 2:00, Copyright date 1961
LG918, 3:35 Beautiful Dreamer, Choral Arr, 1959, SATB(T), Bring a Torch, Jeanette, Isabella, Choral Arr,
Angels We Have Heard on High, Choral Arr, Tune source: S. Foster, Text source: Foster, 1957, Tune source: Trad French, Text source:
1957, Tune source: Trad French, Text source: LG853, 3:00, Copyright date 1960 Trad French, LG713, 1:30
Trad French, LG718, 1:58 Begin, My Soul, Choral Arr, 1960,Tune source: Broad Is the Road, Choral Arr, 1960, Tune
Annie Laurie, Choral Arr, 1956, Tune source: AMH: Watt’s Lyre, Text source: Mountain source: AMH: Read, Windham, Text source:
Trad Scottish, Text source: Douglas, LG647, hymn, LG909, 1:30 Watts, LG910, 2:20, Copyright date 1961—
2:45 Available in Alfred collection of Hymns and
Believe Me If All Those Endearing Charms, Carols LG51097—permanently out of print.
A-Roving, Choral Arr, 1961,TTBB(T)pno,Tune Choral Arr (with Shaw and Robert Hunter),
source: English shanty, Text source: English 1954, TTBB(T), Tune source: Trad Irish, Text Bunker Hill (Law) Choral Ed, 1955, Tune
shanty, LG51054, 2:54 source: Moore, LG528, 2:58—permanently source: Law, Text source, Nathaniel Niles,
out of print LG553
Auld Lang Syne, Choral Arr, 1960,TTBB,Tune
source: Trad Scottish, Text source: Burns, Black, Black, Black, Choral Arr, 1956, SATB(T), Calvary’s Mountain, Choral Arr, 1967, Tune
LG51018, 3:35 Tune source: Trad USA, Text source, Trad source: AMH: Calvary’s Mountain, Text
USA, LG656, 3:20 source: Mountain hymn, LG51341, 3:41

38 CHORAL JOURNAL Volume 52 Number 11

Alice Parker and Robert Shaw
Camptown Races, De, Choral Arr, 1959, Croppy Boy,The, Choral Arr, 1967, SATB/hp or Easter Eggs, Choral Arr, 1951, SATB(SBar or
SATB/pno,Tune source: S. Foster,Text source: pno,Tune source:Trad Irish,Text source:Trad T), Tune source: Trad Russian, Text source: tr
Foster, LG865, 1:35, Copyright date 1960 Irish, LG51410, 3:53, Copyright date 1968 A.F.D., G. Schirmer 9956
Carol of the Birds, Choral Arr, 1951, SATB(S), Da unten im Tale (Brahms) Choral Ed, 1957, Fa una canzone (Vecchi) Choral Ed, 1956,
Tune source: Trad Spanish, Text source: Trad Tune source: Brahms, Text source: Tr AP, Tune source:Vecchi,Text source: tr AP, LG556
Spanish, tr Schindler/Taylor, G. Schirmer LG671, 1:24
HL50304960, 4:02, Copyright date 1952 Fairest Lord Jesus, Choral Arr, 1951, SATB/org,
Darling Nellie Gray, Choral Arr, 1960, Tune source: Silesian, Crusader’s Hymn,Text
Charge to Keep I Have, A, Choral Arr, 1967, TTBB(T),Tune source:Trad USA,Text source: source: Trad Silesian, LG752, 3:25, Copyright
Tune source: AMH: Carolina, Text source: C. Trad USA, LG969, 2:39 date 1953
Westley, LG51311, 2:52
Death of General Washington, The (French) First Nowell, The, Choral Arr, 1957, Tune
Cherry Tree Carol, The, Choral Arr, 1952, Choral Ed, 1955, Tune source: French, Text source:Trad English,Text source:Trad English,
SATB(T),Tune source:Trad USA,Text source: source, unknown, LG554 LG714, 2:20
Trad USA, G. Schirmer HL50304950, 4:14
Death of Nathan Hale, (Anonymous) The, Flow Gently, Sweet Afton, Choral Arr, 1956,
Chester (Billings) Choral Ed, 1955, Tune SATB(T), Tune source: Trad Scottish, Text
Choral Ed, 1955,Tune source: unknown,Text
source: Billings, Text source: Unknown, source: Burns, LG648, 3:07
source: unknown, LG586—permanently out
LG501
of print Fum, Fum, Fum, Choral Arr, 1953, SATB/orch
Christ the Lord Hath Risen, Choral Arr, 1951, and org,Tune source: Catalonian,Text source:
Death Shall Not Destroy, Choral Arr, 1960,
Tune source: Christ ist erstanden, Text tr AP, G. Schirmer HL50305040, 2:10
Tune source: AMH: Mount Watson, Text
source: Trad chant, G. Schirmer 9945
source: Mountain hymn, LG920, 3:00 Fum, Fum, Fum, Choral Arr, 1966, SAB, Tune
Christ the Lord Is Risen Today, Choral Arr, source: Catalonian, Text source: Catalonian,
Deck the Halls, Choral Arr, 1957,Tune source:
1951, Tune source: Hymn 1708, Text source: G. Schirmer 11210
Trad Welsh, Text source: Trad Welsh, LG720,
C. Wesley, G. Schirmer 9951
1:06 Garden Hymn, Choral Arr, 1960, SATB(T),
Christ Was Born on Christmas Day, Choral Tune source: AMH: Garden Hymn, Text
Deep River, Choral Arr, 1959, Tune source:
Arr, 1951, SATB(SB), Tune source: Trad Ger- source: Mountain hymn, LG912, 3:30
Spiritual, Text source: Spiritual, LG813, 3:06
man, Text source: Trad German, G. Schirmer
HL50305030, 2:09, Copyright date 1952 Dere’s No Hidin’ Place, Choral Arr, 1962, Gentle Annie, Choral Arr, 1959, TTBB/pno,
SATB(T), Tune source: Spiritual, Text source: Tune source: S. Foster, Text source: Foster,
Come and Taste, Choral Arr, 1966, tune LG859, 2:40, Copyright date 1960
Spiritual, LG51110, 1:23
source: AMH: Farabee, Text source: Leland,
LG51342, 2:10, Copyright date 1967 Die Lorelei, Choral Arr, 1960, TTBB, Tune Gentle Lena Clare, Choral Arr, 1959,TTBB(T),
source: Silcher,Text source: Heine, LG51045, Tune source: S. Foster, Text source: Foster,
Come Away to the Skies, Choral Arr, 1966, LG832, 2:30, Copyright date 1960
3:51
Tune source: AMH: Exaltation, text source:
Mountain hymn, LG51334, 2:45, Copyright Dolcy Jones, Choral Arr, 1959, TTBB(B)/pno, Gently, Johnny My Jingalo, Choral Arr, 1956,
date 1967 Tune source: S. Foster, Text source: Foster, Tune source: Trad English, Text source: Trad
LG860, 1:50, Copyright date 1960 English, LG643, 2:30
Come Where My Love Lies Dreaming, Choral
Arr, 1959, SATB(S), Tune source: S. Foster, Down by the Sally Gardens, Choral Arr, 1960, Girl I Left Behind Me, The, Choral Arr, 1967,
Text source: Foster, LG812, 4:10 TTBB, Tune source: Trad Irish, Text source: Tune source:Trad Irish,Text source,Trad Irish,
Yeats, LG51019, 2:45 LG51460, 1:25, Copyright date 1969
Come, Lovely Spring (Haydn, from The Sea-
sons) Choral Ed, 1978, Tune source: Haydn, Drink to Me Only with Thine Eyes, Choral Arr, Glorious Things of Thee Are Spoken, Choral
Text source: tr AP, T. Pyle, LG52078 1954, TTBB, Tune source: Trad English, Text Arr, 1958, SATB/org, Tune source: Haydn:
source: Jonson, LG530, 2:54 Austrian Hymn,Text source: Newton, LG756,
Come,Ye that Love the Lord, Choral Arr, 1966, 2:35—Available in Alfred collection of
tune source: AMH: Albion,Text source:Watts, Drummer and the Cook, The, Choral Arr, 1961, Hymns and Carols LG51097—permanently
LG51309, 1:00, Copyright date 1967 TTBB(B)/pno, Tune source: English shanty, out of print as an individual octavo
Text source: English, shanty, LG51057, 3:05
Comin’ Thro the Rye, Choral Arr, 1956, Go Down Moses, Choral Arr, 1962, SATB(B),
TTBB(S), Tune source: Trad Scottish, Text Du, du liegst mir im Herzen, Choral Arr, Tune source: Spiritual, Text source: Spiritual,
source: Burns, LG655, 1:40 1960, TTBB, Tune source: Trad German, Text LG51115, 4:19, Copyright date 1963
source: Trad German, LG51043, 2:27 – per-
manently out of print

CHORAL JOURNAL Volume 52 Number 11 39

 The Choral Arrangements of
God Is Seen, Choral Arr, 1967, SATBB, Tune Here ‘Mid the Ass and Oxen, Choral Arr, I Want to Die Easy, Choral Arr, 1962, SATB(T),
source: AMH: Captain Kidd, Text source: 1951, SATB(S),Tune source:Trad French,Text Tune source: Spiritual, Text source: Spiritual,
Mountain hymn, LG51333, 2:25 source: tr AP, G. Schirmer HL50305080, 2:35, LG51114, 3:02, Copyright date 1963
Copyright date 1952
God Rest You Merry, Gentlemen, Choral Arr, I Will Arise, Choral Arr, 1960, Tune source:
1957, Tune source: Trad English, Text source: Hilariter, Choral Arr, 1951, Tune source: AMH: Restoration, Text source: R. Robinson,
Trad English, LG729, 1:14 Hymn 1623, Text source: G.R. Woodward, LG905, 1:15
G. Schirmer 9952
Good Christian Men, Rejoice, Choral Arr, 1951, I’m Goin’ to Sing, Choral Arr, 1963, Tune
Tune source: Trad English, Text source: Trad His Voice as the Sound, Choral Arr, 1960, source: Spiritual, Text source: Spiritual,
English, G. Schirmer HL50305050, Copyright Tune source: AMH: Samanthra, Text source: LG51101, 1:18, Copyright date 1963
date 1952 Mountain hymn, LG915, 2:00
It Came upon the Midnight Clear, Choral Arr,
Good King Wenceslas, Choral Arr, 1951, Holly and the Ivy, The, Choral Arr, 1951, Tune 1957, Tune source: R.S. Willis, Text source:
SATB(SB), Tune source: Trad English, Text source:Trad English,Text source:Trad English, E.M. Sears, LG717, 2:28—permanently out
source: Neale, G. Schirmer HL50305060, G. Schirmer HL50305090, 2:36, Copyright of print
Copyright date 1952 date 1952
John Saw Duh Numbuh, Choral Arr, 1962,
Good Morning, Brother Pilgrim, Choral Arr, How Far Is It to Bethlehem, Choral Arr, 1951, Tune source: Spiritual, Text source: Spiritual,
1967, Tune source: AMH: Salutation, Text Tune source: Trad English, Text source: F. LG51109, 2:12
source: Mountain hymn, LG51330, 2:04 Chesterton, formerly G. Schirmer 51017,
now LG51017, 1:54, Copyright date 1954 Johnny Has Gone for a Soldier, Choral Arr,
Good-bye, Fare Ye Well, Choral Arr, 1961, 1956, SATB(S), Tune source: Trad USA, Text
TTBB/pno, Tune source: English shanty, Text How Firm a Foundation, Choral Arr, 1967, source: Trad USA, LG502
source: English shanty, LG51050, 3:05 Tune source: AMH: Foundation, Text source:
Mountain hymn/K, LG51324, 6:00 Johnny, I Hardly Knew Ye, Choral Arr, 1967,
Green Grow the Rushes, O, Choral Arr, 1960, SATBB, Tune source: Trad Irish, Text source:
TTBB(B), Tune source: Trad Scottish, Text How unto Bethlehem, Choral Arr, 1951, Trad Irish, LG51452, 3:15, Copyright date
source: Burns, LG51022, 3:11 Tune source: Trad Italian, Text source: Shaw, 1969
G. Schirmer HL50304940, 1:12, Copyright
Hacia Belen, Choral Arr, 1951, SATB(Bar), date 1953 Joy to the World, Choral Arr, 1957, Tune
Tune source: Trad Spanish, Text source: Trad source: Handel/Mason, Text source: Watts,
Spanish, G. Schirmer HL50305070, 2:13, I Dream of Jeanie, Choral Arr, 1956, Tune LG712, 1:20
Copyright date 1952 source: S. Foster, Text source: Foster, LG652,
3:00—permanently out of print Juanita, Choral Arr, 1954, TTBB, Tune source:
Hark, I Hear the Harps Eternal, Choral Arr, Trad Spanish, Text source: Horton, LG534,
1965, SATB(S),Tune source: AMH: Invitation, I Got a Key, Choral Arr, 1962, SATB(T), 2:40—permanently out of print
Text source: Mountain hymn, LG51331, 2:08, Tune source: Spiritual, Text source: Spiritual,
LG51105, 2:17, Copyright date 1963 L’Amour de Moy, Choral Arr, 1960, TTBB(T),
Copyright date 1967
Tune source: Trad French 15th cent, Text
Hark, the Herald Angels Sing, Choral Arr, 1957, I Got Shoes, Choral Arr, 1962, Tune source: source:Trad French 15th cent, LG51044, 4:36
Tune source: Mendelssohn, Text source: C. Spiritual, Text source: Spiritual, LG51116,
2:21, Copyright date 1963 La Tarara, Choral Arr, 1960, TTBB, Tune
Wesley, LG728
source: Trad, Text source: Trad Spanish, LG
Has Sorrow Thy Young Days Shaded, Choral I Know My Love, Choral Arr, 1956, Tune 51046, 2:04
Arr, 1967,Tune source:Trad Irish,Text source: source: Trad Irish, Text source: Trad Irish,
LG657, 1:59—permanently out of print La Virgen Lava Panales, Choral Arr, 1951,
Moore, LG51449, 4:00, Copyright date 1969
SATB(A), Tune source: Trad Spanish,
Haul Away, Joe, Choral Arr, 1961, TTBB(B), I Know Where I’m Goin’, Choral Arr, 1967, Text source: Trad Spanish, G. Schirmer
Tune source: English shanty, Text source: Tune source:Trad Irish,Text source:Trad Irish, HL50305200, 1:57, Copyright date 1952
English shanty, LG51058, 1:49 LG51444, 2:41, Copyright date 1969
Laura Lee, Choral Arr, 1959, TTBB(T), Tune
He’s Gone Away, Choral Arr, 1956, SATB(S), I Saw Three Ships, Choral Arr, 1951, Tune source: S. Foster, Text source: Foster, LG874,
Tune source: Trad USA, Text source: Trad source:Trad English,Text source:Trad English, 2:55, Copyright date 1960—permanently
USA, LG672, 3:40 G. Schirmer HL50305100, 1:20, Copyright out of print

Hebrew Children, The, Choral Arr, 1967, Tune date 1952 Lay Down Your Staffs, Choral Arr, 1951, Tune
source: AMH: The Hebrew Children, Text source:Trad French,Text source:Trad French,
source: Mountain hymn, LG51323, 2:05

40 CHORAL JOURNAL Volume 52 Number 11

 Alice Parker and Robert Shaw
G. Schirmer HL50305110, Copyright date Mighty Fortress, A, Choral Arr, 1958, SATB/ O Come, O Come, Emmanuel, Choral Arr,
1952 org, Tune source: Luther, Ein feste Burg, Text 1957, Tune source: Trad chant, Veni Em-
source: Luther, tr Hedge, LG770, 3:35— manuel,Text source:Trad chant, LG727, 2:48
Lo, How a Rose E’er Blooming (Praetorius) Available in Alfred collection of Hymns and
Choral Ed, 1958, Tune source: Praetorius, Carols LG51097—permanently out of print O Happy Souls, Choral Arr, 1967,Tune source,
Text source: Trad German, 16th cent, LG730, AMH: Happy Souls, Text source: Mountain
2:21 Minstrel Boy, The, Choral Arr, 1967, SATB/ hymn, LG51310, 1:34
hp or pno, Tune source: The Moreen, Text
Loch Lomond, Choral Arr, 1960, TTBB, Tune source: Moore, LG51411, 2:48, Copyright O Little Town of Bethlehem, Choral Arr, 1957,
source: Trad Scottish, Text source: Lady Jane date 1968 Tune source: Redner, Text source: Brooks,
Scott, LG51023, 2:21 LG739, 1:55
Morning Trumpet, Choral Arr, 1960, SATB(Bar),
Lord Christ, When First Thou Cam’st to Men, Tune source: AMH: Morning Trumpet, Text O Magnum Mysterium (Victoria) Choral Ed,
Choral Arr, 1951, Tune source: trad, Mit source: Leland, LG906, 2:20 1952,Tune source:Victoria,Text source:Trad,
Freuden zart,Text source: Bowie, G. Schirmer G. Schirmer 10193, 3:29
9957 My Bonnie, Choral Arr, 1960, TTBB, Tune
source: Trad USA, Text source: Trad USA, O Sanctissima, Choral Arr, 1951,Tune source:
Lord, What Is Man, Choral Arr, 1966, Tune LG968, 2:14 Trad, Text source: Trad, G. Schirmer 10194
source: AMH: Dublin, Text source: Mountain
hymn, LG51321, 2:04, Copyright date 1967 My Dancing Day, Choral Arr, 1957, Tune O Sons and Daughters, Choral Arr, 1951,
source:Trad English,Text source:Trad English, Tune source: French 15th cent, Text source:
Lorena, Choral Arr, 1954, TTBB, Tune source: LG731, 2:35 Tisseraud, tr Neale, G. Schirmer 9950
Webster, Text source: Webster, LG536, 2:30
—permanently out of print My Gentle Harp, Choral Arr, 1967, SATB/hp O Tannenbaum, Choral Arr, 1951, TTBB(T),
or pno, Tune source: Londonderry Air, Text Tune source: Trad German, Text source:
Love Is Come Again, Choral Arr, 1951, Tune source: Moore, LG51409, 3:20, Copyright Trad German, tr AP, G. Schirmer 10195, 2:17,
source: French carol, Text source: S.M.C. date 1968 Copyright date 1952
Cream, G. Schirmer HL50304080, 1:15
My God Is a Rock, Choral Arr, 1962, SATB(B), O Thou in Whose Presence, Choral Arr, 1960,
Love’s Old Sweet Song, Choral Arr (w/ Shaw Tune source: Spiritual, Text source: Spiritual, Tune source: AMH: Davis,Text source: Moun-
and Robert Hunter), 1954, TTBB(T), Tune LG51107, 4:52 tain hymn, LG917, 2:40
source: Mosley, Text source: Binham, LG537,
3:45—permanently out of print My Old Kentucky Home, Choral Arr, 1959, O Worship the King, not published
Tune source: S. Foster, Text source: Foster, Oh! Susanna, Choral Arr, 1959, Tune source:
Lowlands, Choral Arr, 1961, TTBB(B), Tune LG851, 3:50, Copyright date 1960
source: U. S. shanty, Text source: U. S. shanty, S. Foster, Text source: Foster, LG854, 1:35,
LG51059, 4:45 My Soul’s Been Anchored, Choral Arr, 1962, Copyright date 1960
SATB(T), Tune source: Spiritual, Text source: Old Black Joe, Choral Arr, 1959, Tune source:
March of the Kings, Choral Arr, 1951, TTBB, Spiriutal, LG51111,2:14
Tune source: Trad French, Text source: Trad S. Foster, Text source: Foster, LG852, 2:30,
French, G. Schirmer HL50305120, 1:19, Nellie Bly, Choral Arr, 1959, SATB/pno, Tune Copyright date 1960—permanently out
Copyright date 1952 source: S. Foster, Text source: Foster, LG861, of print
2:40 Old England Forty Years Ago, Choral Arr, 1955,
Marianina, Choral Arr, 1960,TTBB(TT),Tune
source: Trad Italian, Text source: Trad Italian, Nobody Knows, Choral Arr, 1962, SATB(A), Tune source: Trad, Text source: Trad, LG503
LG974, 2:29—permanently out of print Tune source: Spiritual, Text source: Spiritual, Old Folks at Home, Choral Arr, 1959, Tune
LG51108, 4:18 source: S. Foster, Text source: Foster, LG847,
Mary Had a Baby, Choral Arr, 1952,TTBB(T),
Tune source: Spiritual, Text source: Spiritual, Now April Has Come, Choral Arr, 1951, Tune 4:30, Copyright date 1960
G. Schirmer HL50305130, 2:24 source: Welsh carol, Text source: G. Deamer, On Easter Morn, at Break of Day, Choral Arr,
G. Schirmer 9955 1951,Tune source:Trad Scottish,Text source:
Mass in G (Schubert) Choral Ed, 1954, SATB/
kybd, Tune source: Schubert, Text source: Now Thank We All Our God, Choral Arr, Greek, tr G.R. Woodward, G. Schirmer
Trad, G. Schirmer HL50324620, 21:28 1958, SATB/org, Tune source: J. Crüger, Nun HL50304070
danket, Text source: Rinkart, tr Winkworth, Parting Glass, The, Choral Arr, 1969, TTBB,
Masters in This Hall, Choral Arr, 1951, SATB) LG753, 3:30
SB), Tune source: Trad French, Text source: Tune source:Trad Irish,Text source:Trad Irish,
Morris, G. Schirmer 10192, Copyright date O Come, All Ye Faithful, Choral Arr, 1957,Tune LG51440, 2:15
1952 source:Wade 1740,Text source:Wade 1740,
LG716, 2:14
CHORAL JOURNAL Volume 52 Number 11 41
 The Choral Arrangements of
Passing By, Choral Arr, 1960, TTBB, Tune Shaver, The, Choral Arr, 1961, TTBB(B)/pno, Steal Away, Choral Arr,Tune source: Spiritual,
source: Purcell, Text source: Trad English, Tune source: English shanty, Text source: Text source: Spiritual, LG51104, 4:10
LG967, 2: 17—permanently out of print English shanty, LG51061, 2:04—permanently
Stodole Pumpa (Walking at Night), Choral
out of print
Pensive Dove, Choral Arr, 1960, Tune source: Arr, 1960,TTBB(B),Tune source:Trad Czech,
AMH: Pensive Dove, Text source: Mountain Shenandoah, Choral Arr, 1961, TTBB(T)/ Text source: Trad Czech, LG51049, 2:51
hymn, LG916, 3:05—Available in Alfred col- pno,Tune source: US shanty,Text source: US
Storm Along John, Choral Arr, 1961, TTBB(B),
lection of Hymns and Carols LG51097—per- shanty, LG51062, 4:37
Tune source: English shanty, Text source:
manently out of print as an individual octavo
Shout On, Choral Arr, 1967, SATB(B), Tune English shanty, LG51063, 2:23
Poor Mourner, Choral Arr, 1962, SATB(T), source: AMH: Immor tality, Text source:
Strife Is O’er, The, Choral Arr, 1951, Tune
Tune source: Spiritual, Text source: Spiritual, Mountain hymn, LG51332, 2:04
source: Palestrina, Victory, Text source: tr F.
LG51102, 4:30
Silent Night, Choral Arr, 1957, Tune source: Pott, G. Schirmer 9943, 1:15
Psalm 4. God of My Justice, Choral Arr, 1955, Franz Grüber, Text source: S. Mohr, LG715,
Susanni, Choral Arr, 1951, Tune source:
Tune source: Ainsworth Psalter, Text source: 3:14
Trad German, Text source: Trad German, G.
Ainsworth Psalter, LG584, 1:40—Available
Silent, O Moyle, Choral Arr, 1967, SATTBB(M), Schirmer HL50304930, Copyright date 1952
in Alfred collection of Hymns and Carols
LG51097—permanently out of print as an Tune source: Trad Irish, Text source: Moore,
Swansea Town, Choral Arr, 1961, TTBB, Tune
individual octavo LG51442, 3:23, Copyright date, 1969
source: English shanty, Text source: English
Sing to the Lord, Choral Arr, 1967, Tune shanty, LG51052, 2:55
Psalm 81. To God Our Strength, Choral Arr,
1955, Tune source: Ainsworth Psalter, Text source: AMH: Dunlap’s Creek, Text source:
Swing Low, Sweet Chariot, Choral Arr, 1961,
source: Ainsworth Psalter, LG585, 1:30— Watts, LG51322, 1:55
Tune source: Spiritual, Text source: Spiritual,
permanently out of print Sing, Sing, Choral Arr, 1967, SATB/hp or pno, LG984, 3:33
Psalm 124, Choral Arr, 1955, Tune source: Tune source: Trad Irish, Text source: Moore,
Teach Me the Measure, Choral Arr, 1966,
Ainsworth Psalter, Text source: Ainsworth LG51345, 2:50, Copyright date 1968
Tune source: AMH: Suffield, Text source:
Psalter, LG583 So Blest a Sight, Choral Arr, 1951, SATB(S), Watts/Mountain hymn, LG51308, 3:22,
Tune source: Trad English, Text source: Trad Copyright date 1967
Red, Red Rose, A, Choral Arr, 1956, SATB(T), English 1536, G. Schirmer 10169, Copyright
Tune source: Trad Scottish, Text source: That Lonesome Valley, Choral Arr, 1962,
date 1952
Burns, LG645, 3:25 SATB(B), Tune source: Spiritual, Text source:
Soldier Boy, The, Choral Arr, 1956, SATB(A), Spiritual, LG51103, 4:22—permanently out
Ride On, King Jesus, Choral Arr, Tune source: Tune source: Song of Confederacy, Text of print
Spiritual,Text source: Spiritual, LG51106, 2:45 source: Anon Song of Confederacy, LG552
The Creation (Haydn) Translation, 1957,
Ring de Banjo, Choral Arr, 1959, TTBB/pno, Some Folks, Choral Arr, 1959, SATB/pno, Tune source: Haydn, Text source: Bible/von
Tune source: S. Foster, Text source: Foster, Tune source: S. Foster, Text source: Foster, Swieten, LG51595
LG864, 2:10, Copyright date 1960 LG863, 1:50
The Heavens are Telling (Haydn, from The
Saints Bound for Heaven, Choral Arr, 1960, Sometimes I Feel, Choral Arr, 1963, SATB(A), Creation) Translation, 1957-8, Tune source:
Tune source: AMH: Saints Bound for Heaven, Tune source: Spiritual, Text source: Spiritual, Haydn, Text source: Bible/von Swieten,
Text source: Mountain hymn, LG911, 1:45 LG51112, 5:16 LG51147

Salem, Choral Arr, 1951, Tune source: AMH: Spanish Ladies, Choral Arr, 1961, TTBB(B), This Joyful Eastertide, Choral Arr, 1951, Tune
Salem, Text source: Watts, G. Schirmer 9947 Tune source: English shanty, Text source: source: Vreuchten 1623, Text source: Trad
English shanty, LG51051, 2:34 Dutch, G. Schirmer HL50303920
Same Train, Choral Arr, 1962, Tune source:
Spiritual,Text source: Spiritual, LG51113, 2:22 Ständchen (Serenade)(Schubert) Choral Arr, Thou Art the Queen of My Song, Choral Arr,
1954, TTBB(M)/pno, Tune source: Schubert, 1959, SATB(B), Tune source, S. Foster, Text
Santy Anna, Choral Arr, 1961, TTBB, Tune Text source: Grillparzer, tr AP, LG521, 5:52 source: Foster, LG811, 3:40, Copyright date
source: US shanty, Text source: US shanty, 1960
LG51060, 2:01—permanently out of print Stars of the Summer Night, Choral Arr, 1954,
TTBB, Tune source: Woodbury, Text source: ‘Tis Finished, Choral Arr, 1951, Tune source:
Seeing Nellie Home, Choral Arr, 1954, TTBB, Longfellow, LG539, 2:38 AMH: Munich, Text source: Stennet, G.
Tune source: Fletcher, Text source: Kyle, Schirmer HL50303940, 2:00
LG538, 2:05

42 CHORAL JOURNAL Volume 52 Number 11

 Alice Parker and Robert Shaw
Tis Pretty to Be in Balinderry, Choral Arr, 1967, What Child Is This, Choral Arr, 1951, Tune Widerspruch (Contradiction) (Schubert)
Tune source:Trad Irish,Text source:Trad Irish, source: Greensleeves, Text source: W.C. Dix, Choral Ed, AP translation, 1964, TTBB/pno,
LG51441, 1:53, Copyright date 1969 G. Schirmer HL50305210, 2:27, Copyright Tune source: Schubert, Text source: Schiller,
date 1952 LG513, 2:33
To Ladies’ Eyes, Choral Arr, 1967,TTBB/TTBB,
Tune source: Trad Irish, Text source: Moore, What Shall We Do with the Drunken Sailor? Wondrous Love, Choral Arr, 1960, Tune
LG51458, 1:46, Copyright date 1969 Choral Arr, 1961, TTBB, Tune source: English source: AMH: Wondrous Love, Text source:
shanty, Text source: English shanty, LG51053, Mountain hymn, LG907, 3:25
Tom’s Gone to Hilo, Choral Arr, 1961, 2:48
TTBB(B), Tune source: English shanty, Text World Itself Keeps Easter Day, The, Choral
source: English shanty, LG51064, 2:45—per- When I Can Read My Title Clear, Choral Arr, Arr, 1951, Tune source: Piae Cantiones, Text
manently out of print 1967,Tune source: AMH: Pisgah,Text source: source: Neale, G. Schirmer 9942
Watts, LG51340, 1:47
Touro-louro-louro, Choral Arr, 1951, Tune Worthy the Lamb, Choral Arr, Tune source:
source: Saboly, Text source: tr W. Norman, When Jesus Wept, Choral Arr, 1960, Tune AMH: Worthy the Lamb,Text source: Moun-
G. Schirmer HL50304920, 2:05, Copyright source: Billings,Text source:Trad USA, LG913, tain hymn, LG914, 1:45
date 1952 2:15
Ya Viene La Vieja, Choral Arr, 1952, Tune
Treue Liebe, Choral Arr, 1956, TTBB, Tune When Love Is Kind, Choral Arr, 1956, SATB(B), source:Trad Spanish,Text source:Trad Span-
source: Trad German, Text source: Trad Ger- Tune source: Trad English, Text source: Trad ish, G. Schirmer HL50305220, 0:43
man, LG669, 2:09—permanently out of print English, LG646, 1:41
Yellow Rose of Texas, The, Choral Arr, 1955,
Turn Ye to Me, Choral Arr, 1960, TTBB(T), When You and I Were Young, Maggie, choral SATB/kbd, Tune source: Trad, Text source:
Tune source: Trad Scottish, Text source: Trad Arr, 1954, TTBB(B), Tune source: Butterfield, Trad, LG587
Scottish, LG975, 3:37, Copyright date 1961 Text source: Johnson, LG542, 3:15, Copyright
Zion’s Soldier, Choral Arr,Tune source: AMH:
date 1955
Twelve Days of Christmas, The, Choral Arr, Zion’s Soldier, Text source: Mountain hymn,
1951, SATB + 3 solo quartets, Tune source: Whup Jamboree, Choral Arr, 1961, TTBB, LG908, 2:15
Trad English, Text source: Trad English, G. Tune source: Trad shanty, Text source: Trad
Schirmer 10197, 4:15, Copyright date 1952 shanty, LG51065, 1:49
Vive L’Amour, Choral Arr, 1960,TTBB(B),Tune
source: Trad USA, Text source: Trad USA,
LG51026, 2:00
Wassail Song, Choral Arr, 1957, Tune source:
Trad English,Text source:Trad English, LG740,
1:10
Way Down in Cairo, Choral Arr, 1959, TTBB/
ACDA
ACDA Student
Student Conducting
Conducting Award
Award
pno, Tune source: S. Foster, Text source:
Foster, LG862, 2:50, Copyright date 1960—
permanently out of print
You can now download
We May Roam Thro’ this World, Choral Arr,
1969, Tune source: Trad Irish, Text source: forms and guidelines
Moore, LG51459, 1:58 for the
We Three Kings, Choral Arr, 1957, Tune
ACDA Student
source: J. Hopkins, Text source: Hopkins,
LG738, 3:40—permanently out of print Conducting Award
Wearing o’ the Green, Choral Arr, 1967, Tune on the ACDA Web site.
source: Trad Irish, Text source: Trad Irish,
LG51451, 1:23, Copyright date 1969 <www.acda.org>
Were You There, Choral Arr, 1962, SATB(S),
Tune source: Spiritual, Text source: Spiritual,
LG51249, Copyright date 1965

CHORAL JOURNAL Volume 52 Number 11 43