Malala's Dream: 2-Part Choral Octavo
Malala's Dream Sheet Music Preview

Malala's Dream: 2-Part Choral Octavo

By Ethan McGrath

Item: 35-DS00470653
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Additional Details
Publisher: Hal Leonard
Page Count: 7
SKU: 35-DS00470653

More about this title

About the Composer: Ethan McGrath

Ethan McGrath

Ethan McGrath, a Chattanooga-based composer, draws artistic sustenance from the lyrical traditions of Vaughan Williams and Howells alongside the distinctly American voices of Copland and Barber. His compositional voice emerged from a deep engagement with American poetry; his setting of Whitman's "When lilacs last in the dooryard bloom'd" has circulated among choirs nationally and earned recognition in Rodney Eichenberger's workshops and at the 2013 ACDA National Conference.

McGrath completed his composition studies at the University of Tennessee at Chattanooga under Jonathan McNair, Roland Carter, and Mario Abril. He has also pursued organ performance, studying with Judy Glass at Southern Adventist University and serving as organist for both Our Lady of Perpetual Help Catholic Church and First Baptist Church of Chattanooga. His 2013 release "An Echo from Willowwood" showcases his collaborative work for voice and piano.

Why we love this

McGrath's gift for setting meaningful text shines through in this octavo. The 2-part writing is sophisticated without demanding virtuosity, allowing choirs to focus entirely on the emotional delivery that makes this piece resonate. Programming an inspirational work this well-crafted sends a clear message about what your choir values.

What to expect

Quiet conviction flows through this piece. McGrath's harmonic language suggests both introspection and quiet strength, creating space for the text to land with full force rather than overwhelming it with musical gesture.

Who it's for

Choirs seeking repertoire with genuine emotional weight and accessible vocal writing. This works equally well for middle school ensembles building confidence and high school or community choirs looking to program something meaningful for concert or festival.

How to get the most out of it

  • Shape the phrasing around the language rather than the bar lines; Whitman's influence on McGrath's work means the text itself carries the musical architecture.
  • Balance the two parts carefully in rehearsal so neither voice overwhelms the narrative. Record sectional rehearsals to help singers hear how their line interacts with the other.
  • Allow space for breath and reflection at phrase endings. This piece rewards singers who listen to silence as actively as they listen to sound.

How to use it

Pair this with other contemporary works that explore themes of hope and resilience; it can anchor a program focused on social justice or inspiration. Its 7-page length makes it substantial enough to stand as a centerpiece without consuming your rehearsal time, ideal for inclusion in spring or fall concerts.

Skills your students will build

  • Reading and sustaining harmonic structures in 2-part writing
  • Text expression and phrasing independent of rhythmic notation
  • Blend and balance between two independent vocal lines
  • Interpretive choices that serve meaning over decoration

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