I Am A Cloud Sheet Music Preview

I Am A Cloud: SSA Choral Octavo

By Sara Teasdale / As performed by Mary Donnelly and George L.O. Strid

Item: 35-DS00427800

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Additional Details
Publisher: Hal Leonard
Page Count: 15
SKU: 35-DS00427800

More about this title

About the Author: Sara Teasdale

Sara Teasdale (1884-1933) was an American lyric poet whose work defined early twentieth-century poetry for many readers. Her verses captured moments of intimacy and natural observation with remarkable economy of language, earning her the Pulitzer Prize in 1924. Her poetry has attracted composers throughout the decades because of its musicality, emotional clarity, and the way images linger after a single reading.

For choral musicians, Teasdale's work offers texts that sit naturally in the voice. Her poems avoid pretension and sentimentality while exploring themes of nature, love, and solitude. Setting her words to music has become an enduring practice among composers seeking accessible yet substantive repertoire.

Why we love this

Donnelly and Strid have crafted a setting that lets Teasdale's quiet observation breathe. The piano writing supports without overwhelming, and the harmonic language gives SSA singers material that feels singable while maintaining musical sophistication. This is the kind of piece that works equally well at festival or in a casual concert setting without sacrificing artistic integrity.

What to expect

Peaceful and introspective, with moments of unexpected harmonic color that deepen the contemplative mood. The writing has transparency; you hear each voice but never feel the density is oppressive. There is gentleness here, but not passivity.

Who it's for

SSA choirs of mixed experience looking for concert literature that rewards careful preparation without demanding advanced technique. This works for high school and adult community choirs, as well as in educational settings where singers are building confidence in part singing and interpretive skills.

How to get the most out of it

  • Shape the vocal line through vowel consistency rather than dynamic marking. The text naturally suggests when to move forward and when to settle.
  • Balance the voice sections so that a single melodic idea registers clearly even when multiple parts move simultaneously.
  • Work the accompaniment as an active partner rather than support; the piano articulations should coordinate with the choral phrasing.
  • Give singers space to hear themselves within the texture, especially in passages where upper voices sustain while lower voices move.

How to use it

Pair this with other nature-themed poetry settings for a cohesive concert segment, or use it as a contrasting quieter moment between more energetic works. Its length and moderate demands make it a strong choice for festival seasons when choirs are balancing multiple pieces.

Skills your students will build

  • Blend and balance in three-part harmony
  • Sustaining legit tone in supported passages
  • Coordination between voices and piano accompaniment
  • Interpretation of text through vocal color rather than exaggerated dynamics
  • Part independence while maintaining ensemble cohesion

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