Lon Beery directs six choruses at Spry Middle School in Webster, New York, where he works with approximately 500 students across all levels. His arranging and composing work appears in catalogs published by Alfred Music, BriLee, and other respected houses, with over 50 pieces in circulation.
Beery's compositions have earned recognition including ASCAP Standard Awards and performances by prestigious ensembles such as the U.S. Army Chorus. He contributes regularly to the choral field through articles in the Choral Journal and Music Educators Journal, and he serves as Middle School Chair for New York ACDA while presenting frequently at state, regional, and national conferences.
Why we love this
This arrangement opens the door to a profound liturgical text without overwhelming singers still developing their range and musical maturity. Beery's writing for three-part mixed voicing feels natural and idiomatic, allowing each section to contribute meaningfully while keeping harmonic complexity accessible. It's exactly the kind of piece that reminds singers why they love choral music in the first place.
What to expect
Gentle reverence with underlying warmth. The piece invites singers into a moment of reflection and connection, moving beyond surface-level harmony into something genuinely expressive. The text itself carries a message of peace and fellowship that emerges naturally through the musical writing.
Who it's for
Middle school and early high school choirs looking for sacred repertoire that sits comfortably in developing voices. This works equally well for all-gender ensembles and mixed programs where you need something meaningful yet approachable.
How to get the most out of it
Balance the inner parts carefully during sustained sections. The middle voices often carry important harmonic content, so avoid letting them disappear beneath the outer parts.
Let the text shine through with clear diction on key words like 'Hineh' and 'tov.' This arrangement rewards lyrical phrasing that honors the prayer's meaning.
Shape longer phrases by thinking in terms of breath and emotional arc rather than mechanical dynamic markings. Allow the arrangement's harmonic movement to guide your natural crescendos and diminuendos.
How to use it
Pair this with other sacred works to create a spirituals or world music concert set. It also serves beautifully as a processional piece or as part of a year-end program celebrating the ensemble's growth. Consider programming it alongside secular pieces to show the range of your choir's artistry.
Skills your students will build
Balancing three-part textures with independent voice leading
Singing with clear, unified vowels in Hebrew text
Shaping long phrases with musical intent rather than mechanics
Sustaining lyrical expression across sustained harmonic passages
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