Taking the High Road: 2-Part Choral Octavo
Words and music by Berta Poorman and Sonja Poorman
Item: 00-PO-0005971
Minimum order quantity: 20 copies
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About the Composer: Berta Poorman

Berta and Sonja Poorman, a mother-daughter composing duo, have spent more than two decades creating choral music for congregations and community ensembles. Both have directed choirs across age groups in church settings, bringing direct knowledge of what singers actually need to succeed.
Their compositions are marked by clean voice leading and accessibility without compromise. Every text they select carries an affirmative, meaningful message, making their work a natural fit for singers and audiences seeking repertoire with substance.
Why we love this
This piece knows exactly what young choirs need: enough unison to build confidence, echo passages that create natural musical interest without technical overload, and harmony that feels like a genuine step forward rather than a struggle. The text matches the musical simplicity with real emotional weight, so singers understand they're conveying something worth saying.
What to expect
Bright and earnest without being saccharine. The writing breathes naturally, with enough space to let singers hear themselves and each other. There's a quality of gentle forward motion, like a group moving together with shared purpose.
Who it's for
Choirs new to two-part singing and treble voice ensembles building confidence in part work. This piece works equally well for middle school choirs making their first steps into harmony and adult community choirs seeking accessible concert repertoire.
How to get the most out of it
- Balance the unison sections with full ensemble sound, then bring out the echo passages by pulling back slightly on the first statement so the response feels like a genuine musical conversation.
- Anchor the light harmony passages with your stronger singers on the lower part, freeing the majority of your ensemble to focus on secure melodic lines.
- Let the positive character of the text inform your tempo and phrasing; avoid rushing, which can make simple music feel thin rather than intentional.
How to use it
Program this in the first half of a concert, where it sets an uplifting tone and demonstrates your ensemble's growth in musicianship. It pairs well with other contemporary sacred or secular pieces that prioritize lyrical clarity and positive messaging.
Skills your students will build
- Singing sustained unison lines with ensemble blend
- Reading and executing echo passages with rhythmic precision
- Managing two-part harmony with independent part security
- Interpreting text with musical intention and phrase shape