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Voicing/Instrumentation: SATB


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Related song categories are:
Diligence/Commitment/Endure to End
Zion

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More about Paul R. Machula:
Born in Snowflake, AZ, I’ve been a member of the Church all my life. I was raised by “goodly parents,” completed a mission (1967-69) in northern Argentina, and was married in 1976 to an American Methodist missionary’s daughter, Janet Allen, who was born in India and later converted to the Church. We met at B.Y.U. and were married in the Mesa, AZ, Temple. We have three daughters and ten grandchildren. Our daughters are married to faithful husbands and are raising wonderful families, for which we are truly grateful. I have an M.A. from B.Y.U. in Music Education and taught music in local schools for 22 years, and for 15 years I taught Spanish. Having written much music over the years, I recently have completed music in many styles for local community drama, dance, and band groups. I have also written music for many church functions. In 1990 I won first place for what was then called the Ensign Writing and Music Contest (anthem division) for my piece, “Wondrous Child.” Since I am now retired, I have devoted myself to many activities; therefore, my current website is not quite ready for posting some of my compositions (It contains too much about many of my other interests). Perhaps in the future I may remedy that. But if you wish to contact me, my email is prmachula@gmail.com. I truly appreciate the work of all those who devote so much time to freeldssheetmusic.org. It is truly a wonderful, much-needed endeavor!
Song background:

I was very impressed by Elder M. Russell Ballard’s talk, “Stay in the Boat and Hold On,” given in the Sunday afternoon session of the October 2014 Conference.  I decided to write a hymn somewhat in the style of American hymns common in the time of Brigham Young, who was referenced in Elder Ballard’s address. It is an accompanied SATB arrangement of a pentatonic melody (such melodies were common in early American hymns). The mp3 version does not use human voices for the vocal parts, but uses a combination of oboes (women’s parts) and bassoons (men’s parts) to give some kind of an indication of what the vocal parts would be like.

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