Come Away and Sing: Unison Choral Octavo

The music unfolds with gentle invitation. Eshelman's flowing melody feels almost like a conversation between friends, warm and unhurried. There's an intimate quality here that draws listeners in rather than overwhelming them; the optional cello enriches this warmth without overshadowing the singers' voices.

This piece works beautifully for middle school choirs seeking unison repertoire that feels age-appropriate without talking down to singers. It's equally valuable for elementary programs transitioning students into more lyrical singing or for community groups building confidence in beginning singers.

• Shape the melody with natural breath points rather than strict phrase boundaries. Let singers discover where their voices want to rest within Eshelman's flowing line.
• If using the optional cello, rehearse the choral part alone first so voices establish their independence before adding accompaniment.
• Pay attention to vowel consistency across the unison line. At this level, unified vowel shapes will make the melody bloom.
• Keep the tempo conversational and unhurried. The piece's beauty lives in sustained singing, not rushing through text.

Open a concert with this piece to establish an accessible, welcoming tone, or use it mid-program as a moment of repose between more energetic selections. Its lyrical character also makes it effective as part of a thematic program exploring friendship, community, or belonging.

• Singing sustained, connected melodic lines
• Maintaining consistent vowel shapes across a unison ensemble
• Understanding phrase structure and natural pacing
• Responding to optional instrumental accompaniment