Composer's Corner - Judy Herrington

As an educator and composer, my goal is to create an artistic experience for young people that builds respect for the music and a connection within the ensemble. 

My early training was influenced by the studies of the Orff-Schulwerk teaching process. With that came a love for folk songs. By their nature, folk songs are singable, easily learned and shared. Their melodies (often pentatonic and modal) followed the natural ‘song’ of the text, and rhythms emerged with natural word stress. These studies became a key factor in the development of my composing and arranging.

The gift of vocal music is that we have text. The poetry can tell a story, paint a description, share a belief, or message.  The composer’s task is to discover the beauty and essence of the poet’s text; to create melodies, harmonies, and piano accompaniment that reflect the text; and to support the vocal and artistic development of the singer.  The melody, rhythm, and word stress can be discovered by speaking and repeating the text. Attention to vowels in the upper and lower range of the melody will ensure beautiful tone production and word painting (for the accompaniment as well as the vocal writing) will give added meaning.

Part-writing becomes part of the pedagogical process as well as the artistic expression. Always, unison singing gives the opportunity to unify vowels and ensemble. The partner song format (two melodies introduced separately and then stacked) offers quick success; ostinati can lock in a pattern with rhythmic drive, while countermelodies can give the lower voices the melody or challenge singers in the upper range with a descant. With experience in these part singing skills, singers are then ready for a ‘singable harmony part.’ Careful scaffolding, especially in writing for developing singers, leads to successful skill development,.

The piano accompaniment becomes a significant tool for supporting the vocal lines and adding to the beauty and texture of the composition. An underlying moving piano part supports the breath, especially for younger voices, and gives direction to entrances and phrasing. Harmonic structure, countermelodies and articulations adds to the musical interpretation and scope. 

I always learn from my students’ feedback and insights. In developing the composition, “What is Water?”  (poetry of Hilda Conkling) for the WA ACDA commission, open-ended questions lead to deeper understanding of the singers’ experience: “What is your favorite part? “What do you like about the piece (words, singing parts, piano parts)?” What was challenging? What helps to convey the text?” 

“My favorite part was the ‘what is water that holds silver’ then we wait and then we say it again.” 

“The piano part echoes the singing. It makes the sound of rain and sometimes, it creates a waterfall sound.”

“It sounds like a song that you might sing to bring courage before you do something.”

“It’s hard to make an answer when someone asks, ‘what is water that holds the sky’ or ‘what is water that pours silver.’ I would not know how to answer a question like that. I really don’t get what the song means, who are we asking this question to and how would they know how to answer the question? I still like the song and how powerful it is.”  (Note: Don’t you love the honestly of young people!)

Beethoven is attributed to have said, “Music can change the world.” As composers it is critical that we offer music that is worthy and inspiring to our singers. Through our music, singers develop pride in being part of an ensemble that loves to sing together. In doing so, our music strengthens ensembles, supports the growth of the singers, and can change lives. 

Judith Herrington has served 34 years as founder and director of the Tacoma Youth Chorus. A noted clinician and guest conductor, she has published compositions in a number of catalogues and edits two choral series with Pavane Publishing.