David Lantz III brings decades of classroom experience to his compositional work, serving as a vocal music educator in Pennsylvania's public schools while maintaining an extraordinarily active publishing portfolio of roughly 500 pieces across sacred and secular genres. His compositional range spans orchestral, band, jazz, and chamber settings, reflecting both his versatility as a musician and his deep understanding of what works in educational and performance contexts.
Beyond the page, Lantz sustains active careers as a church choir director, music editor and engraver, and performing musician in pop and jazz settings. He shares his musical life with his wife, composer Marti Lunn Lantz, and their five musically trained children in northeastern Pennsylvania.
Why we love this
A processional written by someone who directs choirs tends to understand exactly what singers need to sound their best and feel their confidence. Lantz crafts music that sits naturally in the voice while maintaining genuine musical substance, the kind of piece that elevates a concert program without overreaching beyond your singers' current ability.
What to expect
This is music written in praise, not apology. The processional character invites dignity and forward motion, allowing singers to feel purposeful in their performance while the harmonic language and text create an atmosphere of reverence and celebration.
Who it's for
Choirs seeking a confident, reverent piece for concert or worship contexts will find this work accessible without sacrificing musical integrity. The seven-page length and SATB voicing make it suitable for high school through adult ensembles with moderate to developing vocal skills.
How to get the most out of it
Invest in the text and let the words drive your phrasing rather than following phrase marks mechanically; this sacred text deserves intentionality from all four parts
Balance the parts carefully during rehearsal to prevent the sopranos from dominating; SATB writing requires ear training across all sections
Plan your entrance as a processional moment in real time during rehearsals, not just as a musical run-through, so singers understand their spatial and temporal placement
How to use it
The processional form makes this a natural concert opener or a meaningful piece to lead into a sacred portion of a mixed program. It works equally well as an entrance piece for a holiday concert or as a standalone item in a spiritual music program.
Skills your students will build
SATB voice leading and part independence
Text expression and diction in sacred contexts
Maintaining consistent tempo and phrasing in ensemble
Dynamic control across all four vocal ranges
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