I. Gloria In Excelsis
SDG 97-103 $1.25
Mixed Chorus, a cappella, Tenor Solo 3.2’ 8 pgs.

The Gloria in excelsis opens with a tenor solo leading to choral plainchant in combination with ison (pedal point), much like the writing of Arvo Pärt. Following the opening (written in stemless notation), the work progresses to a highly rhythmic section with melodic material shifting quickly between the voices. A tenor solo briefly interrupts over a pedal point and a second rhythmic section follows. A series of repeated quintuplet-quadruplets follows with the opening text and a tenor solo closes the movement. Commissioned by the Greeley (CO) Chorale, Carl Gerbrandt, conductor.

II. Laudamus Te
SDG 97-104 $1.25
Mixed Chorus, a cappella 3.5’ 8 pgs.

Inspired by his beautiful Ave verum corpus, this movement is respectfully dedicated to Imant Raminsh. Laudamus te opens with lyrical triadic, polytonal writing between the men and women. Eventually the work becomes more tonal with soaring lines especially evident in tenor/soprano doubling. The benedicimus te section offers contrast and makes a transition to the closing adoramus te with a hypnotic ostinato in the altos and basses. The work draws to a close with a choral pyramid built from the center around middle C, progressing up an octave in the women and down two octaves to low C in the basses.

III. Gratias Agimus Tibi
SDG 97-105 $2.80
Mixed Chorus, a cappella, Solo Tenors (2), Solo Sopranos (2) 6’ 16 pgs.

Gratias agimus tibi is a minimalist work that can function beautifully as a multiple choir work. As such, it may be performed by three treble choirs, occupying different spaces in a large area, eventually moving together to form a large mixed chorus with the men. The entire text is stated initially as chant by the tenors and basses. Then follows a segment by the three treble choirs, each singing very similar material, offset at a half bar between each choir. The first such statement soon becomes the background for the tenors and basses to enter falsetto. The third iteration features the tenors and basses full force, eventually singing chant in imitation. The three treble choirs close the third section with an arrival at a vertical sonority which again iterates the complete text. A closing section offers an ostinato which changes harmonically underneath a repeated solo by two tenors and two sopranos. Commissioned by the Ames (IA) Chamber Artists, Everett Johnson, conductor.

IV. Domine Deus
SDG 97-106 $1.25
Mixed Chorus, a cappella, Baritone Solo 3.5’ 8 pgs.

Domine Deus opens with triadic chordal writing reminiscent of the preceding Laudamus te. The reminiscence is short-lived as the tempo suddenly changes and makes an immediate progression into quartal writing with clashing major seconds between the men and women of the mixed chorus. Constant pedal points prevail between the voices as the different sections repeat the Domine Deus, rex coelestis, Deus Pater omnipotens. A short Domine fili unigenite section sets up a complete 4-part statement of the text and closes as the mixed chorus becomes a choral background for a baritone solo, fashioned after the “Roasted Swan” in Orff’s Carmina Burana. Commissioned by the Lancaster (OH) Chorale, Robert Trocchia, conductor.

Extended Choral Works page 20
Mass Over A Period Of Time Mass Over A Period Of Time is a composition whose movements are reserved for commission by sources as yet undetermined. The original commission held that Floyd Slotterback and the Marquette (MI) Choral Society would commission an extended work from Jackson Berkey. When plans changed due to time constraints surrounding the planned 1994 première, the Mass was already well underway in the composer’s thinking. Consequently, Floyd decided to commission a shorter work which was mutually agreed would be the Kyrie from the Mass. It occurred to the composer that many different choirs could commission the remaining movements, and that the commissions might be written in the future. Hence the title Mass Over a Period of Time. At the writing of this catalog, the Kyrie and the extended seven-movement Gloria are complete and available in print. Kyrie Mixed Chorus SDG 97-102 $1.50 Treble Chorus SDG 03-301 a cappella 3.5’ 12 pgs. The Kyrie is an ABA form with multiple divisi in the A sections coupled with an exciting, bravura middle section which offers highly rhythmic writing in the tenor and bass parts against legato, chant-like singing in the soprano and alto parts. The work is quartal in nature and offers many seconds, sevenths, and fourths in a Scandinavian style similar to Knut Nystedt. The repetition of the Kyrie eleison text follows the standard repetitions found in the Ordinary of the Mass. Commissioned by the Marquette (MI) Choral Society, Floyd Slotterback, conductor. Gloria-Theatre Pieces, 1995-98 The seven-movement Gloria features the complete Latin text from the Mass, with each movement written on commission from varied sources. The individual movements are performed a cappella. The subtitle, “Theatre Pieces, 1995-98” refers to Berkey’s three-year writing process of motifs for the Gloria. “All motivic elements were written at theatres across the United States while the composer was on tour with Mannheim Steamroller.” The movements were later written as commissions were received. Due to the nature of the commissioning process, all movements are published separately.	I. Gloria In Excelsis SDG 97-103 $1.25 Mixed Chorus, a cappella, Tenor Solo 3.2’ 8 pgs. The Gloria in excelsis opens with a tenor solo leading to choral plainchant in combination with ison (pedal point), much like the writing of Arvo Pärt. Following the opening (written in stemless notation), the work progresses to a highly rhythmic section with melodic material shifting quickly between the voices. A tenor solo briefly interrupts over a pedal point and a second rhythmic section follows. A series of repeated quintuplet-quadruplets follows with the opening text and a tenor solo closes the movement. Commissioned by the Greeley (CO) Chorale, Carl Gerbrandt, conductor. II. Laudamus Te SDG 97-104 $1.25 Mixed Chorus, a cappella 3.5’ 8 pgs. Inspired by his beautiful Ave verum corpus, this movement is respectfully dedicated to Imant Raminsh. Laudamus te opens with lyrical triadic, polytonal writing between the men and women. Eventually the work becomes more tonal with soaring lines especially evident in tenor/soprano doubling. The benedicimus te section offers contrast and makes a transition to the closing adoramus te with a hypnotic ostinato in the altos and basses. The work draws to a close with a choral pyramid built from the center around middle C, progressing up an octave in the women and down two octaves to low C in the basses. III. Gratias Agimus Tibi SDG 97-105 $2.80 Mixed Chorus, a cappella, Solo Tenors (2), Solo Sopranos (2) 6’ 16 pgs. Gratias agimus tibi is a minimalist work that can function beautifully as a multiple choir work. As such, it may be performed by three treble choirs, occupying different spaces in a large area, eventually moving together to form a large mixed chorus with the men. The entire text is stated initially as chant by the tenors and basses. Then follows a segment by the three treble choirs, each singing very similar material, offset at a half bar between each choir. The first such statement soon becomes the background for the tenors and basses to enter falsetto. The third iteration features the tenors and basses full force, eventually singing chant in imitation. The three treble choirs close the third section with an arrival at a vertical sonority which again iterates the complete text. A closing section offers an ostinato which changes harmonically underneath a repeated solo by two tenors and two sopranos. Commissioned by the Ames (IA) Chamber Artists, Everett Johnson, conductor. IV. Domine Deus SDG 97-106 $1.25 Mixed Chorus, a cappella, Baritone Solo 3.5’ 8 pgs. Domine Deus opens with triadic chordal writing reminiscent of the preceding Laudamus te. The reminiscence is short-lived as the tempo suddenly changes and makes an immediate progression into quartal writing with clashing major seconds between the men and women of the mixed chorus. Constant pedal points prevail between the voices as the different sections repeat the Domine Deus, rex coelestis, Deus Pater omnipotens. A short Domine fili unigenite section sets up a complete 4-part statement of the text and closes as the mixed chorus becomes a choral background for a baritone solo, fashioned after the “Roasted Swan” in Orff’s Carmina Burana. Commissioned by the Lancaster (OH) Chorale, Robert Trocchia, conductor.
Extended Choral Works page 20