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to write my own pieces,” so I gave it a try! When my students be a challenge when I’m working on a piece for a choir
seemed to enjoy my arrangement of “Deck the Halls” and and director I’ve never met! When I’m working on a non-
were successful performing it, I thought, “Maybe other di- commissioned composition for a developing choir, a lim-
rectors and choirs would be able to enjoy this piece,” which ited range is something I strive to prioritize, especially in
prompted me to submit it for publication. After it was ac- tenor-bass compositions. I also try to incorporate optional
cepted, I was encouraged to write and arrange more pieces notes to allow directors the flexibility to make the best
for my students. choices for their particular ensemble.
I also learned, first from Dr. Earlene Rentz in my cho-
Wright: I started composing music for school choirs due to a ral methods class and later from personal experience, the
need for music for my high school tenor/bass choir. We had importance of a supportive piano accompaniment part.
a strong, but mighty, twelve-voice men’s choir. The required Finally, I try to keep the text choice in mind as I write. I
music for the state festival list was well above the accessibil- try not only to write music that uses poetry that speaks to
ity level for this band of humans. The more accessible music my soul, but also to keep in mind, “How can I make these
for the group was below their level. I composed a middle-of- beautiful words accessible to the young artist?”
the-road piece that contained some cool stylings along with
a difficulty that was within their grasp. Wright: I am always doing my best to stay in tune with
the needs of the student musicians, as some things have
As a singer or choral conductor yourself, what helped changed over the years in terms of the make-up of some
prepare or give perspective to your composing? choirs. I’d like to think that I am in tune with the overall
specifics of young choirs in terms of appropriate skill level,
Farnell: My experience teaching junior high choir probably tessitura, societal interests, and musical preferences for the
shaped my perspective most as a composer and was also my age groups.
primary motivation to begin to write. I wanted my students
to have successful performances, and I felt the literature op- What are the challenges you find yourself facing as
tions available then were limited in many ways. I first wrote a composer?
for my students, and doing so prompted me to shape my
writing styles for their needs, such as what ranges would Farnell: When I first started writing, one of my primary
work best, what types of styles and texts they would like to challenges was finding enough time to balance the writ-
sing, and how to make the pieces simultaneously interesting ing process with the demands of teaching. When I stepped
and accessible. away from teaching full time, I found a similar challenge of
balancing my creative process, which often requires large
Wright: My experiences as a middle and high school teach- chunks of uninterrupted time, with the demands of being
er/conductor gave me the best insight on what and how to a mom and a part-time musician. I also face the challenge
compose. I tended to pay attention to the musical elements of “staying connected” meaningfully in classroom work
that my students liked, as well as voicings and compositional so that my writing remains relevant. Additionally, finding
devices that allowed them to be successful. I loved writers public domain texts that simultaneously speak to my soul
like Morten Lauridsen and Z. Randall Stroope, who incor- and are accessible enough for use with young singers is an
porated interesting harmonies, and Stephen Paulus, who ongoing challenge.
used instruments as a continuation of the vocal sonorities.
Wright: The biggest struggle I face at the present time
Do you have anything specific in mind related to is working to balance my life as a full-time husband and
middle school or high school choirs when you are teacher while composing and conducting, where travel is
composing a piece? mostly required.

Farnell: Definitely! When I’m writing a piece for a specific Describe the publishing process for you. Is there
choir, I try to tailor it to that ensemble, which can definitely anything about it that you think conductors or
teacher might not be aware?

ChorTeach Volume 15 • Issue 1 15 Fall 2022