James McCullough

Adapted from one of Dvorák's Moravian Duets, this piece adds a new English language text to the familiar melody. Subtle modal shifts and unique formal structure give the work interest and value, while...

Adapted from one of Dvorák's Moravian Duets, this piece adds a new English language text to the familiar melody. Subtle modal shifts and unique formal structure give the work interest and value, while...

This haunting folk tune is classified as Type I, which are hymns sung to settings of traditional ballad tunes. This classification was devised by Phillips Barry (1880-1937), who was a pioneering Early...

The second in a series of four songs from Brahms' opus 43, which he composed in 1866, at the age of thirty-three. Its form is ternary (ABA) in structure. This composion clearly lifts the folksong-like...

The second in a series of four songs from Brahms' opus 43, which he composed in 1866, at the age of thirty-three. Its form is ternary (ABA) in structure. This composion clearly lifts the folksong-like...

Clara Schumann's solo song expressing thankfulness for 'True Love' has been expertly and effectively adapted here for SATB voices by composer/scholar James McCullough.

The original tune is set in F major using traditional harmony. The suspensions are set at words which reveal tension to be resolved, which I have not always done. The tonal structure is of a modified...

Unlike some published versions of this African American spiritual, McCullough's rendering is 'not slow, but not too fast, ' in the words of the composer. Transcribed from his father's singing of this...

Clara Schumann's solo song expressing thankfulness for 'True Love' has been expertly and effectively adapted here for SATB voices by composer/scholar James McCullough.