Flee As A Bird Sheet Music Preview

Flee As A Bird: SATB Choral Octavo

As performed by Mary S.B. Dana / Arranged by Joseph M. Martin

Item: 35-DS00349247

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Additional Details
Publisher: Hal Leonard
Page Count: 10
SKU: 35-DS00349247

More about this title

About the Artist: Mary S.B. Dana

Mary S.B. Dana was a 19th-century American hymn writer and poet whose texts found their way into many sacred vocal arrangements. Her poetry carried both spiritual conviction and literary craft, making her words particularly suited to choral settings that needed emotional depth without sentimentality.

Dana's work represents an important tradition in American sacred music: the marriage of accessible, singable texts with music that respects both the congregation and the trained choir. Her influence appears throughout choral octavo literature, particularly in arrangements by composers like Joseph M. Martin who valued her gift for clear, meaningful language.

Why we love this

Joseph M. Martin's arrangement captures the contemplative urgency of Dana's text without resorting to heavy-handed drama. The SATB writing is clean and idiomatic, giving each voice line something purposeful to sing while keeping the harmonic language within reach of volunteer and school choirs alike. This is the kind of piece that directors program when they want sincerity over spectacle.

What to expect

The piece carries a steady, inward quality. There's movement in the text and harmony, but it unfolds as meditation rather than proclamation. The arrangement feels spacious, as if giving singers room to breathe while holding the listener's attention through understated musical craft.

Who it's for

This works beautifully for church choirs, small community ensembles, and advanced high school groups looking for substantial sacred repertoire that doesn't demand virtuosity. It suits directors programming a concert with mixed difficulty levels, since singers feel the musical weight without needing extensive rehearsal time to achieve results.

How to get the most out of it

  • Bring out the alto line in the opening phrase; it often carries the harmonic foundation and benefits from slight emphasis that lets the other voices float above it.
  • Trust the text to do emotional work for you. Avoid oversinging or adding interpretive gestures that aren't already in the score.
  • Balance the soprano and tenor lines where they intertwine; they should feel like a conversation rather than one voice leading while the other follows.
  • Consider the acoustics of your venue when determining tempo. This piece lives in restraint, and pushing the tempo undermines its contemplative quality.

How to use it

Pair this with other Dana texts or complementary sacred arrangements from the same era to create a thematic concert segment. It works equally well as a concert opener that establishes a reflective tone or as a centerpiece that demonstrates your ensemble's musicality without excessive difficulty. Spring concerts and church services centered on themes of faith or renewal suit this piece well.

Skills your students will build

  • Phrasing across longer melodic lines in four-part texture
  • Harmonic listening and blend in close interval writing
  • Text interpretation in sacred contexts
  • Sustaining line in SATB voicing without doubling instability

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