Gary Hallquist holds faculty positions in worship ministries at the New Orleans Baptist Theological Seminary and has shaped the musical life of large congregations throughout the Southeast, including his tenure at Shades Mountain Baptist Church in Birmingham. His output spans church choral works, instrumental pieces, and solo recordings that reflect deep study across multiple disciplines: he earned a Master of Music in clarinet performance from the University of North Texas, a Master of Theological Studies from Beeson Divinity School, and a Bachelor of Music Education from Oral Roberts University.
Beyond the page, Hallquist is an accomplished performer on saxophone, clarinet, and flute, and actively leads worship and speaks at conferences. He and his wife Sherrell have raised three children while building a life centered on music and faith.
Why we love this
Hallquist brings the sensibility of someone who understands both theology and the mechanics of ensemble singing. This is direct, singable writing that honors text and voice alike without asking for unnecessary technical showiness. It lands solidly in the sweet spot for volunteer and church choirs seeking repertoire that feels both contemporary and timeless.
What to expect
A sincere expression of joy that builds through honest harmonic movement. The piece invites singers into genuine emotion rather than requiring elaborate interpretation, creating a moment that feels both personal and communal.
Who it's for
Church choirs of all sizes will find this accessible and musically rewarding. High school and college choirs preparing concert or festival programming will also connect with the straightforward yet expressive writing.
How to get the most out of it
Balance the harmony by listening for the soprano line as your foundation; the SATB texture will lock quickly when the top voice is secure and confident.
Let the text drive your interpretation. Consider the emotional weight of the lyrics during rehearsal so singers understand what they are singing, not just the notes.
Check the alto and tenor ranges early in your learning process. Hallquist writes for real voices, so be certain these inner parts sit well for your specific singers before moving to full tempo.
How to use it
Open a service or concert with this piece to set a tone of warmth and invitation. It also works beautifully as a bridge between liturgical and contemporary styles, making it useful when programming mixed repertoire or introducing newer sacred works to a traditional congregation.
Skills your students will build
Blend and balance in four-part harmony
Text expression and diction in sacred music
Secure part independence within an SATB framework
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