Ballad of the Tempest: SATB Choral Octavo
Words by James T. Fields, music by Ruth Morris Gray
Item: 00-PO-0000015
Minimum order quantity: 20 copies
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Description
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More about this title
About the Composer: Ruth Morris Gray

Ruth Morris Gray has directed choirs at Rosemead High School in California since 2004, where she also teaches piano. She holds a Bachelor of Music in Piano Performance and Composition from Biola University and a Master of Arts in Music Composition from the University of California, Santa Barbara, with additional credentialing from California State University, Northridge.
With over 100 published choral works to her name, Gray brings deep experience in writing for voices across diverse styles and voicings. Beyond her work as composer, director, and performer, she is an avid traveler and cyclist who brings a vibrant, curious perspective to her musical life.
Why we love this
Gray's setting captures the narrative power of Fields' text through genuinely dramatic music that doesn't require advanced techniques to execute well. The piece gives your choir a complete theatrical arc—tension, struggle, and resolution—that singers feel as much as audiences hear, making it remarkably rewarding for groups at this level.
What to expect
The music evokes the roiling motion of storm-tossed water and the human will pitted against it. Gray's setting swells and subsides with the emotional weight of the text, creating moments of eerie stillness alongside passages of propulsive urgency that keep both singers and listeners engaged.
Who it's for
This octavo suits SATB ensembles across high school, community, and collegiate settings who want to perform a narrative-driven piece with genuine dramatic stakes. Singers need secure part-reading skills and comfort sustaining phrase energy, but the piece doesn't demand virtuosic vocal technique.
How to get the most out of it
- Layer the dynamic contrasts carefully; the sea imagery depends on distinct shifts between calm and turbulent sections rather than constant intensity
- Shape long phrases through breath management so the text remains audible even during fuller passages; this is ultimately a story being told, not a wall of sound
- Work sectional entrances with precision so that overlapping voice parts create textural depth rather than muddy intonation
How to use it
Program this as a centerpiece concert selection or paired with other nature-themed repertoire to create a thematic arc. Its theatrical character also works well in a program that balances introspective selections, offering your choir a chance to demonstrate interpretive range and dramatic commitment.
Skills your students will build
- Phrasing extended melodic lines with textual awareness
- Blending individual voice parts into unified choral texture
- Sustaining dynamic contrast and narrative focus across a longer form
- Ensemble intonation during divisi passages