Seasons Come and Seasons Go: 2-Part Choral Octavo

Donnelly and Strid know how to write for young voices without talking down to them. The pentatonic writing here feels contemporary and accessible while the optional glockenspiel part gives you a genuine reason to include an unpitched instrumentalist in the performance, which middle school directors always appreciate. This is the kind of straightforward, singable piece that builds confidence while sounding genuinely musical.

Autumnal and contemplative. The pentatonic writing creates a folk-song quality that feels both simple and somehow inevitable, like watching leaves settle. There's no bombast here, just clear-eyed observation of seasonal change.

Middle school choirs working with limited rehearsal time and two-part writing. This sits comfortably for groups that are building toward unison and simple harmony without being bored by the process.

• Let the pentatonic framework guide your interpretation; the limited harmonic palette means every voice part needs clarity and commitment to land the melodic shape.
• If you're using the glockenspiel, have that student practice independently so they aren't dependent on finding their cues in a dense two-part texture.
• The recorded accompaniment is strong; use it sparingly in early rehearsals so students anchor their parts by ear first, then bring it back for performance confidence.

Consider this for an early-fall concert program or as a transition piece in a longer seasonal set. Its brevity and warmth make it ideal for opening a performance or as a palate-cleanser between contrasting selections. You could also program it alongside instrumental pieces exploring the same season for a thematic concert experience.

• Singing in pentatonic harmony without relying on familiar major/minor tonality
• Maintaining independent melodic lines in two-part texture
• Blending with optional non-pitched percussion to support the ensemble sound
• Shaping a legit melodic phrase across multiple bars