Thomas Dorsey: The Father of Gospel Music

Precious Lord, Take My HandThomas A. Dorsey (1899-1993)—not to be mistaken with the big band leader Tommy Dorsey—is often referred to as the “father of gospel music.” The son of a minister and a piano teacher, he started his career as a blues pianist in Chicago, working with local jazz groups. He eventually formed his own group, The Wildcats Jazz Band, which played regularly with the great Ma Rainey. During this same time, he also began recording. The way in which he combined blues and jazz rhythms with traditional hymns and spiritual songs resulted in a new “gospel” style. Some historians credit Dorsey with creating the term “gospel music.”

In 1932, Dorsey experienced a life-changing event that resulted in the creation of one of his most popular compositions. While on the road performing, he received a message asking him to come home immediately, as his wife Nettie, pregnant with their first child, had died. Two days later, his newborn son also died. Filled with grief, he penned the lyric “Precious Lord, take my hand. Lead me on, let me stand.” (He can be seen telling the story in the documentary Say Amen, Somebody.) This would go on to be one of his most famous compositions, along with the gospel standard “Peace in the Valley,” which was written for Mahalia Jackson. After writing “Precious Lord, Take My Hand,” Dorsey devoted himself almost exclusively to the writing and performing of gospel music.

In addition to writing over 400 songs, Dorsey started a publishing company, Dorsey House of Music, and was a founder and president of the National Convention of Gospel Choirs and Choruses. He died in 1993 at the age of 93.

An SSAA arrangement of “Precious Lord, Take My Hand” by J. Reese Norris is newly available from Lawson-Gould.

Selecting Repertoire for Middle School Boys

Lon BeeryBy Lon Beery, Educator and Composer

Perhaps the most challenging issue facing middle school choral directors is finding appropriate repertoire for their choirs. No doubt the adolescent male voice change impacts middle school choruses more significantly than at any other level. Although many authorities have come up with specific ranges and labels, I find it more useful to think of voice ranges in practical terms as they relate to repertoire: what pieces and voicings will fit the variety of voice types found in the average middle school choir?

I like to think of adolescent male voices in terms of tessituras: high, middle and low. High voices include those boys who have voices that are unchanged or in the first stages of change. The A below middle C to the A above is a comfortable tessitura for most of these guys. I personally call them Tenor 1, even though they are actually more like altos. (I used to call them “cambiatas,” but over time, some of them came to think of that as a negative designation. Calling them a tenor took care of that, even though I know they are not really tenors!) There are also middle voice guys who are more comfortable around middle C, usually from the F or G below to the D or Eb right above. This is the range often referred to as Part III in three-part mixed pieces. I call these guys Tenor 2. Finally, there are those boys who have voices that have dropped lower, from around the Bb an octave below middle C to the A or Bb just below middle C. These are the Baritones.

There are also a few guys with voices that have changed quickly and have a hard time matching pitch, except for a few notes at the very bottom of the bass clef. Privately, I jokingly call them my “subterranean basses!” It is certainly difficult to consider these guys when selecting repertoire. They need individual attention and lots of encouragement! They often become great singers later, once their voices have stabilized.

When it comes to repertoire, one needs to make sure that there are parts for each of these broad categories. Unchanged voices can often sing the soprano part. However, I personally prefer to combine them with the beginning changed voices on the alto part. In my sixth grade mixed chorus, I often use specifically chosen two-part music in which the range of part II is generally A to A. With the voice change, two-part music with equal ranges just doesn’t work any longer.

But in most middle school mixed choirs, two-part music generally does not provide enough parts for the variety of voice parts present. One generally needs three or four parts. The higher guys can often still sing the alto part. And the beginning changed voices can comfortably sing the lowest part in most three-part mixed pieces. Too often, however, the new baritones get slighted in three-part mixed music. Fortunately, in the last several years, more and more of these voicings include optional baritone parts. This is the music I recommend most often for middle school mixed choruses.

I have also found it beneficial to actually separate the boys and girls at the middle school level. This allows the boys to go through the voice change without the potential embarrassment of singing in front of the girls. It also emphasizes that singing is a “guy thing.” As is the case with mixed chorus repertoire, one must be careful to select repertoire that has vocal parts for guys in all stages of vocal maturation. Personally, I believe that carefully selected TTB music is the best solution, using the ranges listed above. It is also helpful to combine grade levels for middle school male choruses. Each grade level has significant strengths and weaknesses. Sixth grade choruses will have more high voices and fewer low. In contrast, eighth grade choruses will generally have more low voices and fewer high. Combining grade levels together helps to achieve a more satisfying choral balance. With my current school schedule, I cannot rehearse them together, but when I put them together everything works out just fine.

In addition to vocal changes, these students are facing many other emotional and developmental transformations. And this will impact the type of text that speaks to them. Indeed, there is no age that presents as many challenges for choral directors as middle school. Finding repertoire that fits these students is a challenge, but it is the primary key to leading them to success and a desire to continue to sing for a lifetime.

Piano Teaching Tips from Joyce Grill – Using Words to Aid with Interpretation

Joyce GrillMost beginning piano methods include illustrations, words, and descriptive titles that help students develop interpretative ideas about tempo, dynamics, touch and mood. Many of these beginning pieces can be considered easy “character pieces,” a form associated with the Romantic era. After a while, students study pieces without words and with very few pictures (if any). Finally, they perform pieces with no words or pictures and with generic word titles such as nocturne, prelude, scherzo, and ballade.

When writing Musical Scenes, Books 1-3, my intention was to create musical “character pieces” with titles that help create the mental picture of a particular scene, event, or feeling. When introducing these pieces to students, I often ask them to try writing lyrics for the music to reflect the title. The title of the piece often fits the melody line, and adding these words can help with touch, phrasing, and mood. I have also found that the lyrics can help students play musically and with feeling.

I'm Happy

“I’m Happy” from
Musical Scenes, Book 1

An example of the title fitting the music is “I’m Happy” from Book 1. When saying the word “happy,” the emphasis is on “hap,” and “py” is spoken with less emphases. In the music, a staccato dot on “py” requires students to lift the hands to get ready for the rest that follows. The hands then drop to start the new identical phrase.


“Practicing” from
Musical Scenes, Book 1

Students may not always come up with lyrics that you like! An example of words that one of my students created for “Practicing” from Book 1 follows. When you read the words, you will know why I did not really like the words, but the student was honest. The piece opens up with a four-measure, smooth phrase with a crescendo. It is followed by two short phrases that decrescendo. At measure 16, the B section suggests a mood change.



When I was writing these pieces, I particularly had teenagers in mind since this age group is known for changes in emotions. One day they are up; the next day they are down. They may be full of tears one minute and filled with laughter the next minute. I wanted them to be able to express their feelings through the music in the pieces in Musical Scenes.

In “Why?” from Book 2, the title is a questioning word. Because it is not possible to crescendo on a single note, saying the word “why” on a long note helps students feel that the sound is sustaining.


“Why” from
Musical Scenes, Book 2

Other pieces in the series suggest other emotions.

  • “I Just Get So Mad!” from Book 1 – anger
  • “Tension” from Book 1 – uptight
  • “Wishing on a Star” from Book 1 – hopeful
  • “Being Silly” from Book 1 – happy
  • “Where Am I Going?” from Book 2 – confusion
  • “The Stay-at-Home Blues” from Book 2 -boredom
  • “Storm” from Book 3 – anger
  • “Skeletons’ Ball” from Book 3 – happy

In my experience, students can create interesting, thoughtful, and provocative words. It is also acceptable to only create words for specific phrases or sections rather than for the entire piece. Some students will sing the words, but others feel more comfortable just speaking them. Even just thinking about the words can help them with interpretation.

My favorite lyrics created by my students were for “More Salsa, Please!” from Book 2.


“More Salsa” from
Musical Scenes, Book 2

The pieces in Musical Scenes are really similar to preludes, nocturnes, and scherzos. By studying these pieces and adding words, I hope that students will be able to apply similar interpretative techniques to such pieces by master composers from the Romantic era.

Joyce Grill
Author, Arranger, Composer

Piano Teaching Tips from Robert D. Vandall

Robert D. VandallI have always felt that each solo that I write should fit comfortably in the hands of students and teach something of value both technically and musically. As an example, I would like to take a look at “Grand Tarantella” from Piano Extravaganza, Book 2. This new series consists of three books containing pieces in a variety of styles.

In measures 1-8, the right hand should make an oval shape in one smooth motion for each measure. Start the first note with a low wrist and raise the wrist on each ascending note, then circle back down and around to the left, lowering the wrist with each descending note. There should be one gesture per measure, not a series of five down-motions for Piano Extravaganza, Book 2each note.

There are accented staccato endings in measures 4 and 8. “Pushing off” on these endings prepares the student to place his/her hands for the following measures. Like measures 1-3, these measures should be done with one smooth motion. Measures 1 and 5 outline an extended A minor triad while measures 2 and 6 use a D major triad in first inversion.

Grand tarantella

“Grand Tarantella” from
Piano Extravaganza, Book 2

Measures 9-15 (and the similar passage in measures 17-23) feature a sequence of stepwise, broken, second inversion triads. In a sense, these sections are little etudes drilling second inversion shapes. Like measures 1-8, these should be played with one oval gesture per measure, but starting at the top of the shape. The wrist starts in an “up” position and makes ovals that lower towards the thumb and rises again with finger 5.

Measures 27-30 drill the B-flat major triad in all of its positions: second inversion, root position, first inversion and followed again by a second inversion. Create a keyboard harmony drill for students using triads and their inversions so that they intellectually know which inversion of the B-flat triad they are playing and that finger 3 of the right hand is always playing the root of a second inversion triad. Notice that both hands play the same second inversion of the B-flat triad in measure 30.

New right hand broken-chord shapes occur in measures 48 and 52. They are E7 chords with measure 48 starting with the 7th at the top of the chord and measure 52 starting with the root of the chord. Therefore, the entire solo can be used to teach the technique of circling the wrist from left to right and right to left, and playing chord inversions.

After students understand the technique, hand shapes, and chord structures, the emotional and dramatic content can be addressed. The left hand 5ths on beat one of measures 1-7 should be light and precise. Start p in measure 9 for the long crescendo to the mp at measure 16. Then start quieter in measures 17 and crescendo to the f in measure 24 before reaching the dramatic echo in measures 25 and 26.

Notice the eighth rests in measures 16, 24, and 26. Observe them and release the damper pedal exactly on the rests. This provides a breath between musical statements.

The most dramatic portion of the piece is the crescendo that starts in measure 27 and the ritardando that begins in measure 29. They culminate in the dramatic high point with the return to a tempo and ff in measure 31. The tension of these measures is caused by the B-flat triad over a pedal point E in the bass. The emotional release of this harmonic tension comes in measure 31 with the return of the first theme and the A minor harmony.

On the return of the first theme in measure 31, play with a strong, full ff with dramatic fire. This is the section of the piece that inspired my title, “Grand Tarantella.” The bass uses dotted half notes and the damper pedal is held through each change of harmony. Starting in measure 41 the strong ff of the tarantella slowly recedes joined with a final ritardando in measure 52 and ending with a very gentle pp.

Extremes of dynamics, touch, and emotions, plus freedom of movement in the arms, wrist, and hands provide a vehicle for students to exhibit their pianistic abilities. I truly enjoy playing this piece and hope that others will too!

Yours Sincerely,
Robert D. Vandall
Author, Arranger, Composer


Brass Quintet Swing: It’s All About That Bass

Zachary Smith

If you have ever heard a brass quintet plod its way through what is supposed to be a “swinging” arrangement of a standard and wondered why it doesn’t feel right, the answer is simple: It’s “all about that bass”…or more accurately, the bass line and the tuba playing it.

In a typical “classical” brass quintet, the tuba is treated as one of five voices which come together to paint a sonic picture. To create an effective “swing” quintet arrangement, a composer has to write for four voices which will play over the top of a tuba bass line. Listen to a jazz small group and you will realize that the bass almost never stops playing—often playing a “walking four” as horn players solo over the top. The tuba has to embrace the same role for a brass quintet to swing and to maintain accurate time.

“Walking four” is the art of playing long strings of quarter notes which provide the chordal or harmonic foundation of a swing tune. One issue for the tuba player playing a walking bass line is that there seems to be no opportunity to breathe. A composer can address this problem with skillfully placed quarter or eighth rests, and the tuba player must learn to take quick, efficient breaths. Planning and practicing where to breathe should not be overlooked when rehearsing a swing tune.

Connecting notes is also critical when playing an effective walking bass line. When an acoustic bassist plucks a string, it rings until the next note is plucked. Many tuba players have a tendency to leave space in between every note they play. The result is a stilted bass line that sounds more like ragtime than swing. In the quintets I have written for Alfred Music I frequently write legato marks over the quarter notes for the tuba as a reminder (or plea) to use a “doo” tongue and connect the notes. In addition, the “doo” articulation will provide a smoother, more connected line, therefore a more effective approach to the quarter note line. If your quintet isn’t swinging, work on it from the bottom up—because it truly is, “All about that bass!”

Zachary Smith
See all titles from Zachary including his three new brass quintets here.

Holiday Traditions

candlesWhether you observe Christmas, Hanukkah, or Kwanzaa, December means coming together with friends and family to celebrate. That can mean big church services and concerts, musical programs and plays at school, or simply time spent with loved ones at home. Read on as Alfred Music’s favorite choral composers reflect on their own holiday traditions.

Ruth Morris Gray

For most of my adult life, my husband, our three kids, and I have celebrated Christmas week in the mountains with my family and then at the beach with my husband’s family. Packing is always an adventure! In the same suitcase, we load snow clothes, boots, and jackets alongside shorts, bathing suits, and flip-flops. Only in Southern California! Some of my favorite Christmas memories include gingerbread house contests (boys against girls), sledding down a snowy road in a canoe, and our yearly picture of the cousins crammed together on the sofa. Now the kids are all grown-up, and they absolutely can’t fit on that sofa anymore!

Russell Robinson

I grew up as a “preacher’s kid,” so religious traditions were very important. Christmas Day was one of them. My two older brothers and I would get up early. Dad would insist on a shave and a shower for himself as we anxiously awaited opening presents and seeing what “Santa” had brought us. Before any gifts were opened, Dad would read the Christmas story: Luke Chapter 2, Verses 1–20. Then we would have prayer so that we all knew the “reason for the season.” I have carried on that tradition. Before any presents are opened, we always read the Christmas story and have prayer. We miss Dad who passed away in 2012 and Mom who passed away in 2004, but these traditions keep them alive in our hearts.

Greg Gilpin

Traditions are a bit scarce in my family, though there are things we try to do on the holiday. My mom always cooks her homemade chicken and noodles and it never seems like Thanksgiving or Christmas without them. I’ve yet to learn how to make them myself! We usually decorate for Christmas on Thanksgiving evening and almost always see a movie on Christmas Day in the afternoon. These are the little things that have become our traditions—simple, but meaningful to us.

Douglas E. Wagner

Our family Christmas traditions always begin with a drive up to Chicago to take in the sensational Christmas Around the World celebration at the Museum of Science and Industry. It’s a festive, multi-sensory mix of decorated trees and exhibits reflecting 50+ countries and cultures, seasonal performances, and even falling snow in the great hall every 30 minutes. This year’s journey was made extra special as our granddaughter joined our daughter, my wife, and I on her first trip. Needless to say, she also now owns the spirit that we have embraced and loved for decades at one of the happiest places on earth at Christmastime.

Dave and Jean Perry

One tradition that we enjoy in Sierra Vista, Arizona is our annual Candlelight Concert. Each year, the community women’s chorus joins with the community college choir for this seasonal concert. The musical performances are interspersed with poems and short readings, serious and humorous, from America and the British Isles. A local church, festooned with greenery, garlands, ornaments, and lights, serves as our venue. The audience becomes part of the concert with sing-alongs of familiar carols accompanied by a brass quintet and organ. The concert draws to a close when the choirs join together to surround the audience and sing John Rutter’s “Candlelight Carol.” At this time a single candle is lit, the lights are dimmed, and the flame of each chorister’s candle is passed on to the next, filling the darkened sanctuary with many flickering lights. The choir members then recess outside and sing traditional carols to send the concertgoers out into the cold winter night.

Beginning Lessons that Rock

By L.C. Harnsberger

It would be easy if every student wanted to learn the same songs and had the same goals, but who wants easy when you can have fun! The traditional note-reading methods like Alfred’s Basic Guitar Method are perfect for a student who simply knows they just want to learn guitar. It covers everything they need to gain a great foundation of skills, learn familiar songs, and have a good time doing it. But what do you do about a student just starting from scratch who wants to play rock songs?

One approach is to find out their favorite song and structure lessons to give them just the knowledge they need to play that song. You work on one section at a time and slowly it comes together. The end result is a student that knows one song.

Ideally you want to give them enough skills to have great technique, theory knowledge, and be able to put emotion into their performances. Alfred’s Basic Rock Guitar is a new method I wrote with Ron Manus and Nathaniel Gunod that gives guitar teachers the material that will get students playing in the rock style right away while still providing a methodical approach that gives them a solid foundation that will keep them playing! Here are some principles in the book that can apply to any lesson.

Start on the 6th String

Where traditional methods start on the first string with traditional melodies, a student interested in rock will want to play riffs from day one. When I first started guitar, I picked one up and taught myself to play the opening lick from The Beatles’ version of “Money.” All I needed was the 6th string and a good ear. Starting on the 6th string will give your student an almost immediate ability to play cool licks and skip songs like “Mary Had a Little Lamb” that populate traditional methods. Once the student knows the basic natural notes on the 6th and 5th strings, they can play licks that sound like “Louie Louie,” “When I Come Around,” “Iron Man,” and “We Will Rock You!”

King Louie

Riffs like this are fun to play and keep students’ interest. Honestly, who doesn’t like to be able to grab a guitar and play cool riffs endlessly!

Get to Power Chords Right Away

As you add more strings and notes to your repertoire, you can play more riffs. More importantly, you can play three-chord songs with power chords. Just by knowing the natural notes on the 6th, 5th and 4th strings, you can play an A-D-E progression with power chords.


Start them slowly and gradually your student will sound like the Ramones!

Have a Goal

Some students have a favorite song they want to play such as “Good Times Bad Times” by Led Zeppelin. It’s great when students are driven to play songs, but it’s the teacher’s goal to make sure they are providing a strong musical foundation during that journey. Continue to introduce the fundamentals of playing while you work towards a song. Gradually introduce essential techniques like scales, full chords, changing positions, bending, soloing, etc.  Not only will they learn everything they need to play their song, but they’ll also have a vast array of techniques that will give them the ability to learn other songs they choose to play in the future.

This is just a taste of the approach used in Alfred’s Basic Rock Guitar Method.

Check out the digital version here.

Character Development

By Michael Souders, Composer and Teacher

Michael and Angela Souders

I once heard a television host say, “If we could just teach our children two things—to be honest and to do what they say they’re going to do—it could transform the future of our nation.” This thought moved me in such a way that I decided to start writing songs to support the teachers in our schools who are educating their students about character.

Of course, character training begins and ends at home, but teachers are with their students for many hours per week. Our influence in their lives is undeniable. Peter Parker (Spiderman) was once told these wise words by his uncle: “With great power comes great responsibility.” As teachers, we are given much power and influence in the development and maturation of our students. And to truly prepare them to interact with the world as adults, it is not only valuable to develop the next science genius, literary superstar, or musical prodigy, but it is incumbent on us to chime in when we are able to support and encourage healthy and strong character development in our students.

Good character qualities (such as good judgment, kindness, courage, perseverance, responsibility, self-discipline, integrity, and respect) are often difficult to define. Sometimes the best thing to do is to talk/sing about situations in which someone would demonstrate a particular trait. This is a moment in which a song can be amazingly powerful in supporting and enhancing the subject! In each verse, there is time to develop a story or a situation that will clearly demonstrate the particular character quality. The concept can then be reinforced through a catchy and repetitive chorus.

Catchy songs are very effective in helping students “gain, retain, and engrain” information. And Alfred Music’s new musical Character Street is chock-full of them. This 30-minute musical is a great vehicle for teaching important life lessons. It’s a resource for music teachers and classroom teachers alike, as you seek out new and fun ways to help students learn and grow in their understanding of what good character is all about.

’Twas the Month Before Christmas

Andy BeckBy Andy Beck, Director of Choral Designs, Classroom, and Vocal Publications

’Twas the month before Christmas, a busy time at school,
But so far I’d managed to maintain my cool.

With extra rehearsals, and concerts, and such,
I started to think, “Have I scheduled too much?

Nursing homes, rotaries, gigs at the mall—
I honestly hope we can handle them all!

There are costumes to alter, and props still to get,
And that’s not to mention, we still need a set.”

Now, being optimistic, I knew we’d get done,
But started to doubt it would be any fun.

It was a typical Friday, at 10:54
(My ten-minute planning, I wish I had more),

With lists all around me, and feeling quite stressed,
I sat down to get some “to-do” things addressed.

When out on the stage, I heard such a clatter,
I sprang from my desk to see what was the matter.

When what to my wondering eyes should appear,
But a large group of kids from my choir that year.

They weren’t on the risers, just gathered around,
And my instinct at first was to say, “Quiet down.”

But then, when I realized what they’d come here for,
I wasn’t so eager to scold anymore …

Without my instruction, or cues, or a thing,
Suddenly, all of them started to sing.

The altos were flatting, the sopranos were, too.
The very best boys were at home with the flu.

The tempo was dragging, the dynamics were worse,
And most had forgotten the words to the verse.

But despite all the errors, the wrong notes, and flaws,
This beautiful moment, it gave me a pause.

As every last student sang deep from the heart,
I saw very clearly that I’d done my part.

For what could be better than teaching the joy
And the power of music to each girl and boy?

Listening more gave my spirits a lift,
And I’ll always remember this meaningful gift.

Though I was the teacher, my students taught me,
Which may be the best Christmas gift there can be!

Piano Teaching Tips from Melody Bober

When I was a young piano student, I always looked forward to the Christmas season because I knew that I would receive new Christmas solos from my piano teacher. Each year the pieces were a little harder, which was sometimes challenging. However, they were always a joy to practice and perform. Christmas is a fun time of year filled with events that create a lifetime of memories. I remember the huge Christmas tree at my grandparents’ house, homemade holiday treats, the reading of the Christmas story from the Bible, and, of course, Santa’s visit! But Christmas music was always the highlight for me and truly captured the spirit of the season.

Grand Solos for Christmas, Book 3In that spirit, I have written Grand Solos for Christmas, Books 1, 2 and 3 to provide a memorable Christmas experience for today’s students at the piano. These are pieces that will help them progress technically and musically. Book 1 contains arrangements at the early elementary level while the pieces in Book 2 are at the elementary level. Both Books 1 and 2 contain optional duet accompaniments. In the remainder of this article, I will focus on two favorites from Book 3, which are both at the late elementary level: “Deck the Halls” and “Ukrainian Bell Carol.”

“Deck the Halls” from Grand Solos for Christmas, Book 3

“Deck the Halls” begins with a festive introduction that includes a left hand crossover in measures 1–6. (See #1 on the score) Make sure that students use finger 2 for the crossover to create a strong bell-like sound. Measures 5 and 6 are a bit trickier, requiring a stretch to F# on the second half of beat 2 with finger 5. (See #2 on the score) Also, note that the pedal holds for 2 measures at a time through measure 6. The tendency is to change the pedal every measure, but the extra dampening provides resonance for the ringing sound. (See #3 on the score)  Measures 7 and 8 may require extra practice to play the G Major scale with the descending left hand movement. (See #4 on the score)

The main theme begins in the right hand at measure 8, but the melody moves to the left hand in measures 13 and 14. (See #5 on the score) The piece concludes with the same festive theme as the introduction, but with a decrescendo and poco rit. in measure 27.

“Ukrainian Bell Carol” from Grand Solos for Christmas, Book 3

Year after year, one of my students’ favorite Christmas pieces is the “Ukrainian Bell Carol,” found on page 20. This version begins with the familiar motive played pianissimo, but the dynamics change on every line. (See #1 on the score) Dynamics are an integral part of this piece, adding color and contrast to the repetitive themes. Review pedal changes with students since the damper pedal is down for the first four measures, but then varies throughout the remainder of the piece. (See #2 on the score)

Measures 13–16 have tricky left hand chord changes that should be practiced hands separately before playing with the melody. (See #3 on the score) Notice how the right hand changes fingers on the same notes in measures 22 and 24. (See #4 on the score) Also, isolate the right hand and practice the scale passages in measures 25–28. (See #5 on the score)

The added middle section in measures 33–48 expands the thematic material to include crossovers using the A minor, G Major and F Major triads. These crossovers may be somewhat challenging at the brisk tempo. (See #6 on the score) A hint of the bell motive appears in measure 45 leading back to the main theme in measure 49. The final page is very exciting, with scale passages and crossovers to end the piece with a flourish!

I hope you and your students will enjoy this collection to use at holiday recitals, nursing home performances, community events, or family fun.

Blessings to you this Christmas season!
Melody Bober
Author, Arranger, Composer