Donna Butler Douglas has directed traditional music at Lee's Summit United Methodist Church in the Kansas City region since 2005. She earned a Bachelor of Music Education in Piano from Oklahoma Baptist University and a Master of Music in Theory and Composition from Southwestern Baptist Theological Seminary, establishing herself across Oklahoma, Texas, and Arkansas through 17 years of church music leadership.
With more than 80 published compositions to her name, Douglas has received consecutive ASCAP standard awards since 1989. Her work has been recognized by the Missouri House of Representatives, and Oklahoma Baptist University selected her as a "Profiles in Excellence" award recipient. As both a pianist and soloist, she brings deep pedagogical insight to her free-lance compositional practice.
Why we love this
Douglas crafts music that speaks directly to young singers without talking down to them. The text selection here serves children meaningfully while the musical setting respects their developing abilities, making this the kind of piece that feels substantive in rehearsal and genuine in performance.
What to expect
The piece has a gentle warmth to it, inviting rather than demanding. There's space in the writing that lets young voices breathe, and the harmonic movement feels natural, like the musical ideas unfold rather than impose themselves.
Who it's for
Elementary and middle school choirs looking for repertoire that combines sacred meaning with accessible two-part writing. This works equally well for children's choirs in faith settings and school ensembles seeking music with spiritual substance.
How to get the most out of it
Balance the two parts by listening for equal phrase weight rather than equal volume; younger singers often need permission to sing boldly on their assigned line without overshadowing the other part
Shape the text expressively by identifying which words carry the emotional center, then letting phrase arcs emerge naturally from that focus
Attend to vowel clarity in unison sections; these moments anchor both parts and deserve articulation work
How to use it
Pair this with a unison hymn or spiritual to create a mini-set within a concert. It also serves well as a devotional opener for rehearsals, settling singers into focused work while establishing the emotional tone you want for that day.
Skills your students will build
Singing in two independent parts while maintaining tonal focus
Connecting text meaning to musical phrasing
Blending harmony in a contemporary sacred idiom
Developing ensemble listening skills across divisi sections
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