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"Though we are small, we are meant to break free." Carefully crafted for developing voices, this lovely concert piece features unison singing, parallel harmony, pedal-tone harmony, plus some staggered entrances at the bridge. Set the tone for growth at the beginning of the year, or celebrate moving up in the spring.
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Lisa Longe earned degrees in Music Education from the Crane School of Music at SUNY Potsdam and studied Christian Spirituality at Fordham University. Over two decades, she has shaped music education in Schenectady City Public Schools in Upstate New York, where she transitioned from general music instruction to directing instrumental ensembles.
Longe's teaching philosophy centers on the joy of introducing young musicians to their first instruments and fostering growth from initial attempts to confident musicianship. She is equally passionate about choral singing, accompanying school choirs and believing deeply in the power of children's voices. She lives in Albany with her family and a menagerie that includes two teenage children, two dogs, a bird, and a gecko.
Why we love this
Longe understands the specific needs of developing singers, and it shows in every phrase. The piece moves deliberately through unison passages, parallel harmony, and pedal-tone textures, giving singers time to build confidence while still delivering a rewarding musical arc. The bridge's staggered entrances create genuine harmonic interest without requiring virtuosic coordination.
What to expect
The piece unfolds like growth itself: emerging from single, unified voices into layered, interdependent harmony. The lyrical melodic writing has warmth and accessibility, while the harmonic movement underneath creates subtle lift and movement. Young singers will feel their own developing musicianship reflected in the progression from simple to more complex textures.
Who it's for
Two-part choirs with voices developing beyond simple unison singing. This works beautifully for middle school programs, early high school treble or lower voice sections, and any ensemble ready to explore basic harmonic concepts without overwhelming texture or range.
How to get the most out of it
Balance unison sections with clear vocal projection rather than volume; young singers often equate confidence with singing louder. Encourage supported tone and steady breath throughout.
In the parallel harmony passages, ensure singers maintain their individual line integrity while blending the overall sonority. Mark phrase shapes in rehearsal to prevent singing in blocks.
Emphasize the text's growth metaphor during interpretation. The staggered entrances at the bridge should feel like natural, overlapping movement rather than technical precision work.
Use the recorded accompaniment to establish tempo and harmonic support, freeing yourself to listen for balance and diction during rehearsals.
How to use it
This is natural repertoire for a concert celebrating transitions: opening a year-end show about growth and development, or leading into a spring showcase of graduating singers moving to upper levels. The concert-appropriate length and message also position it well for standalone performances at assemblies or recognition events.
Skills your students will build
Singing in parallel harmony while maintaining individual line awareness
Sustaining unison singing with pitch security and blend
Entering at staggered moments and finding one's part within multi-layered texture
Connecting lyrical phrasing with textual meaning
Building tone quality and breath support across longer phrases
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