I believe great choral music should do more than sound beautiful. It should tell a story, spark curiosity and leave singers with something meaningful to discover. Many of my arrangements are inspired by the cultures and traditions of Southeast Asia, while others explore themes of joy, courage, community and belonging. Behind every piece is the same goal: music that is engaging to perform, memorable to hear and thoughtfully crafted for the choir singing it.
Di tanjong katong
This accessible arrangement of Di Tanjong Katong is crafted with beginning SA choirs in mind. It also works well for more experienced ensembles who need to learn something quickly. The piano accompaniment brings color and movement, and requires a bit of dexterity to perform effectively.
The piece begins softly and slowly, evoking the calm of early morning. As the music progresses, the tempo increases to reflect the start of a new day. Following the key change, the sopranos introduce a playful “hide-and-seek” motif. These lines should be sung lightly and with clear articulation, almost as if they are peeking out of their hiding spots to look around and quickly hiding again. Altos provide contrast with smooth and flowing legato lines. The song finishes with a gentle winding down of energy, much like the quiet close of day.
Di Tanjong Katong is a beloved Malay folk song, long considered part of Singapore’s musical heritage. Originally a traditional pantun (Malay poetic form), it was later set to music by Ahmad Patek and became popular in the mid-20th century. Its enduring charm lies in both its gentle melodic shape and its poetic imagery: blue waters, beautiful maidens, and longing glances across the sea. Though the lyrics reference places beyond Singapore, the song’s emotional core speaks to themes of nostalgia, beauty, and connection.
Singapore Town
This arrangement of Singapore Town offers young choirs an opportunity to engage with a culturally significant and musically joyful piece of Singaporean heritage. Originally adapted in 1967 by The Sidaislers, (a group of schoolgirls from St. Andrew’s Cathedral) Singapore Town is an uplifting tune rooted in community spirit and local pride. The song’s origins trace back to Colombo Town, a song about Sri Lanka’s capital. Peggy Daroesman and her sister reworked the lyrics to reflect Singapore’s landmarks and cultural energy, at a time when local songs were rare.
Musically, this setting preserves the song’s bright, infectious character while introducing singers to foundational ensemble skills. The piece is arranged for two-part voices, with an optional countermelody introduced toward the end. This flexible format allows directors to tailor the arrangement to different ensemble levels—ideal for upper primary or lower secondary choirs.
One feature of this arrangement is the absence of written dynamics. I want to encourage singers to make musical decisions collaboratively and take ownership of their interpretation. Directors can guide students in discussing phrasing, shaping lines, and balancing parts.
Its familiarity among older generations makes it an effective intergenerational bridge in community concerts or National Day-themed programs.
Rain Rhymes Rhapsody
Rain Rhymes Rhapsody is an a cappella SSA arrangement that fuses Rain Rain Go Away, It’s Raining, It’s Pouring, and The Itsy Bitsy Spider into a rhythmically and harmonically engaging medley ideal for intermediate to advanced treble ensembles.
The arrangement opens with Rain Rain Go Away in 5/4, introducing an asymmetrical pulse that encourages rhythmic independence and internal counting. This transitions into It’s Raining, It’s Pouring, where imitative entries and layered ostinati create a texture reminiscent of falling rain. The writing in this section emphasizes blend, balance, and rhythmic precision across the three parts.
The most harmonically adventurous segment is The Itsy Bitsy Spider, set in a minor key with successive modulations upward by minor thirds. While this may appear complex on the page, the modulation pattern is consistent and predictable. The SSA voicing maintains a diminished chord structure throughout, reinforcing ear training, vertical tuning, and awareness of tonal tension and release.
The final section superimposes motifs from all three songs in a contrapuntal texture that challenges singers to maintain independence while contributing to a cohesive ensemble sound. The piece culminates in a unified rhythmic and dynamic build, anchored by the recurring “Go away, rain, go away!” motif.
This piece is ideal for choirs looking to develop part independence, rhythmic confidence, and ensemble storytelling within a familiar and accessible melodic framework.
Tri La Li La La
This lively, dance-like arrangement of a Peranakan folk song is tailored for developing treble ensembles looking to transition into four-part SSAA singing. Like many traditional songs in the Malay language, the piece follows the pantun poetic form, a traditional verse structure celebrated for its clever, paired lines. Each pantun consists of two distinct parts: the first introduces a vivid image often drawn from daily life or nature, while the second conveys the core emotional message. While these pairs may seem disparate at first glance, they are bound together through rhymes, rhythms, and verbal associations.
Musically and textually, the song celebrates the foundational Peranakan values of community, warmth, and gratitude. The opening lines utilise imagery of young banana shoots and blossoming flowers to evoke themes of growth and renewal, while later verses touch upon a subtle sense of longing and uncertainty, which is a poignant emotional contrast frequently found in Malay poetry. However, the arrangement emphasises a joyful togetherness, inviting people of all ages to gather and celebrate one another. This sense of hospitality shines through in the final lines, which extend a heartfelt welcome and deep appreciation to those who have traveled from afar, making it an engaging, culturally rich addition to any treble choir’s repertoire.