Notes flew by, accents aligned, and sounds filled the pages as I finished work on this composition in 2018. Hallelujah: A Praise Suite is ready for performance, and I couldn’t be more thrilled. After a year that challenged my status quo, my musical understanding, and my patience, this composition represents a huge breakthrough in sound for me, as well as praise. Thanks be to God!

I have dedicated it to my husband, Richard, who fought a battle against cancer from 2015-2017 and won. We learned more intensely than ever before how to praise our faithful God in the good times, but especially the bad. This composition takes hallelujahs through the happy times and the sad. May it be a great blessing to you.

Since Hallelujah was finished, 2018 brought Beyond the Noble Way for brass quintet, written for a dear friend and colleague who was ripped up by the loss of his dear wife. After that, a new secular work, Emergence: Tone Poem on the Hymn Tune “Purpose,” was commissioned and premiered by conductor Rebecca Vendemo and the Spring Hill Orchestra on October 26, 2019. What an exciting night for all of us as we were joined by members of a Brazilian women’s orchestra. It was especially significant because this is the season that women composers and conductors are emerging into their purposes and moving to the forefront after generations of hiddenness.

2020 is young yet, but it already bears the birth of a new string quartet called Lament for piano quintet and empty chair, written in 2019 following the devastating news of the death of a dear friend and colleague, Laura Flax. This piece expresses the depths of my numbness, anger, denial, and eventual surrender. Not for the light-hearted.

In the works at the moment is a three-movement composition I’m excited about. It is my first attempt at an unaccompanied piece, and the challenge is significant, especially since it is (purposely) for an instrument not in my woodwind wheelhouse. Transcendence will be for unaccompanied viola.

Initial sketches for a deeply emotional choral/instrumental chamber piece called Lost Daughters for chorus, percussion, clarinet, and English horn sit ready to be developed in the future. My musical, The Soul Felt Its Worth, rests in a “to-be-edited” folder, along with an orchestral tone poem for Jerusalem.

My Short Story

Up to age 65, I had no idea I was a composer, nor had I ever had a composition course. Out of necessity, I dabbled with arranging for my band/orchestra programs as a private school teacher–how do you balance three trumpets, one flute and five drummers? However, I didn’t consider that composing. As I learned to improvise for worship, I began to jot down little fragments of tunes and toss them in a drawer. Out of sight, out of mind. All along, I see God was developing me outside of my awareness. Then I met an amazing Christian composer/teacher/worship leader and musician colleague, David Moser McKay, who graciously took me under his brotherly arm. He nurtured faith in me while he filled in the huge holes in my education and tech experience. I’ve studied and worked hard. Now at 71, the fact that I truly am a composer is a no brainer for me.

Hopefully, this website will convince you that it is never too late

nor are you too old to believe in the callings on your life,

whether composing or writing, even if those gifts have been buried for decades.

 You are worth it, and more that that,

so is HE!


Keep your bookmark set on: for announcements of new musical compositions. You will find audio samples there as well as on my page at: