Music in the Water: 2-Part Choral Octavo
Words from "Water" by Lura Anna Boies, music by Ruth Morris Gray
Item: 00-PO-0003237
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Description
This lesser-known poem by female writer Lura Boies recognizes the inherent artfulness in nature. Imitation in the choral parts replicates rippling waters, and conservative vocal ranges allow every voice to sound its best.
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Additional Details
Series:
Alfred Choral Designs
Publisher:
Alfred Music
Page Count:
12
SKU:
00-PO-0003237
More about this title
About the Composer: Ruth Morris Gray
Ruth Morris Gray directs choirs at Rosemead High School in California, where she has shaped young singers since 2004. She holds a Bachelor of Music in Piano Performance and Composition from Biola University and earned her master's degree in Music Composition from UC Santa Barbara. Her compositional output exceeds 100 published works for choir, grounded in her dual expertise as both pianist and conductor.
Beyond the choral rehearsal room, Gray pursues an active creative life that includes travel, reading, swimming, and cycling. Her educational credentials span performance, composition, and pedagogy, giving her work the practical insight of a teacher who understands what voices at every level can accomplish.
Why we love this
Gray captures something genuinely poetic here without overreaching vocally. The imitative writing mirrors water movement without requiring advanced voice leading skills, and the conservative ranges mean your singers stay in their wheelhouse while creating real musical texture. It's the kind of piece that teaches musical thinking through accessible composition.
What to expect
Water in motion comes alive through overlapping vocal lines. The piece carries a sense of quiet observation, inviting singers and listeners to notice small details in nature. There's a contemplative quality that feels unhurried, almost meditative.
Who it's for
This piece works for middle or high school choirs seeking accessible 2-part writing with genuine musical substance. It suits programs building imitative techniques or introducing singers to how poetic imagery translates into compositional choices.
How to get the most out of it
- Shape each imitative phrase as a gentle wave. Avoid holding notes too long even when the notation suggests it; let the ripple effect flow forward naturally across both parts.
- Balance the parts by favoring clarity in whichever voice enters the imitative figure first. The leading voice should sing through; the second part follows as if echoing rather than competing.
- Match vowel shapes between the two parts during imitative passages. Slight differences in vowel formation will make the rippling effect sound scattered rather than unified.
- Explore dynamic variation within each phrase. Let the imitation suggest a natural swell and recede, rather than singing at one dynamic level throughout.
How to use it
Pair this with other nature-inspired pieces to build a thematic concert segment, or program it as a reflective moment between livelier selections. Its modest length and accessible ranges make it ideal for spring concerts or performances exploring environmental themes.
Skills your students will build
- Singing imitative entrances with clear part independence
- Matching vowel shapes across vocal parts
- Interpreting musical imagery through phrasing and dynamics
- Managing narrow vocal ranges without sacrificing musical expression