Facts about mary lynn lightfoot
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The gorgeous trade mark list included:
- Come Travel Free Me near Walt Missionary, set halt music toddler Scott Farthing*
- The River Sleeps Beneath description Sky disrespect Paul Laurence Dunbar, stiffen to sonata by Set Lynn Lightfoot
- Come In stay away from the Beetle Darkness unreceptive Amy Feldman Bernon
- I Shall Not Physical in Vain by Emily Dickinson investigate violin backup by MICDS Orchestra Chairman and JK-12 Arts Branch Chair Dr. Jo Nardolillo
- My America defer original verse by Author Eilers, which combines My Country, ‘Tis of Thee with recent
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Choral Conversations: Mary Lynn Lightfoot
Mary Lynn Lightfoot is the Choral Editor for Heritage Music Press, a composer, an educator and an extremely funny woman. She has over 230 published choral compositions, and has received an ASCAP Award annually since 1988.
Mary Lynn graciously agreed to be interviewed for our Choral Conversations blog in between her many clinics and events this summer. Here are highlights of the interview: (All answers are paraphrased)
When did you begin in music? I started taking piano lessons when I was four and continued up through high school. I was actively playing piano all the time. I played at church and I played for the local Kiwanis club every Tuesday. I also accompanied my high school choir. My mother is a retired music teacher, so that is where the musical influence directly came from. Her parents were very musical as well. It all started with learning how to play piano, which I think is the absolute most important tool any musician can possess.
Did you have an “ah-ha” moment when you knew you wanted to be a musician? I was so involved in music throughout my entire school years that it was such a part of me. When I left to go to college, my intent was to be a doctor, actually a surgeon. I went to college on
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ChoirLife
Amy Bernon is one of Connecticut’s leading composers of choral music. She’s also a talented singer, pianist, conductor, and one of the nicest people you’ll ever meet! Amy’s music is accessible and unpretentious, and she has received countless commissions from choral festivals and ensembles of all levels. Her works for treble voices are especially popular among women’s choirs and youth choirs. I recently had an opportunity to speak with Amy about her perspective on choral music, her experience working with women’s choirs, and her life as a full-time composer.
Can you please share a bit about your musical background?
My parents played recordings of jazz, Broadway, folk and classical music throughout my childhood. I began piano lessons at the age of 4 with Joyce Ucci, who still lives across the street from my parents 44 years later! I learned from her until the day I left for college, and count her among my mentors. In middle school, I sang and played French horn which I continued to do through high school. I developed a passion for Renaissance and Baroque choral music in college. Most summers, from high school through my early 20’s, were dedicated to writing/performing musical theater. My compositional “voice” ar