Don Besig spent three decades as a public school music educator in western New York, building award-winning concert choirs and show choirs that performed regularly at festivals, competitions, and community venues. His work across all grade levels and ability ranges shaped his understanding of what singers actually need from their music.
Seeing a gap between the repertoire available and what his own singers could successfully perform, Besig began composing and arranging for his ensembles. His catalog now exceeds 350 works published by major school and church music houses, with over 15 million copies in circulation worldwide. He holds membership in ACDA, MENC, ASCAP, and Phi Mu Alpha, and continues to guest conduct, adjudicate, and lead workshops across North America. He currently directs music at Perinton Presbyterian Church in Fairport, New York.
Why we love this
Besig's decades in the classroom taught him exactly what SATB ensembles need to sound confident and stirring. This octavo sits in that sweet spot where the text carries real spiritual weight without demanding virtuosity you don't have time to build.
What to expect
A straightforward expression of faith delivered with warmth and conviction rather than dramatic flourish. The writing supports singers rather than challenging them, allowing voices to blend into something greater than individual parts.
Who it's for
SATB choirs in church, school, or community settings who want substantial sacred material that's genuinely singable. Directors seeking pieces that work for volunteer ensembles and developing high school choirs will find this especially useful.
How to get the most out of it
Balance the inner voices by having sopranos and altos practice separately from tenors and basses first; this piece rewards clear harmonic definition.
Lean into the text's emotional arc rather than pushing for volume; intimate conviction reads across a room better than forcing the dynamics.
If you're using this in a concert context, allow time for a breath and silence before the opening to let the congregation or audience settle into listening.
How to use it
This works beautifully as a concert centerpiece in spring or as part of a sacred choral program during worship services. Consider pairing it with lighter fare to create programming contrast, or use it as the anchor when you want to showcase your ensemble's ability to sustain longer harmonic passages with maturity.
Skills your students will build
sustaining legit tone over longer phrases
listening for harmonic blend across four parts
shaping a narrative arc through text expression rather than dramatic dynamics
balancing melody, countermelody, and supporting harmony in SATB voicing
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