Come, Join the Dance of Trinity
Alfred V. Fedak

Composer Alfred V. Fedak
Text Richard Leach
Voicing Two-part mixed voices, kybd.
Topics Biblical Names (Bethlehem),
Creation, Dance, Holy Spirit, Jesus’
Crucified and Risen, Pentecost,
Trinity, Pentecost
Scriptural references Genesis 1, Matthew 11:28-30, Acts 2:1-4
Lectionary usage Trinity Sunday
Price $2.40 (U.S.)
Length 2' 15" Released 5/2021
Catalog no. 405-701
Difficulty Mod. easy

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"The English folk tune KINGSFOLD is the basis for this straightforward setting of Leach's evocative panegyric to the Trinity. Fedak sets all four verses of the hymn, although he organizes them in a slightly unusual manner. Rather than four verses of the CMD text and tune, Fedak repeats each half of the tune (A, A, A, A; B, A, B, A) such that the entire modified version of the tune is sung twice to cover all four stanzas of text....Fedak's imaginative harmonization in the accompaniment continues to draw the ear’s interest. It begins with a sixteen measure introduction that is nearly a small choral prelude. Unison treble voices enter singing the first half of the tune, answered by unison bass voices repeating the first half. Treble voices sing the second half, and this time they are answered by all voices repeating the second half. Following a flowing interlude, the third stanza of the hymn shifts to treble melody and bass countermelody for the first half of the tune. The repeat of the first half is given to unison alto, tenor, and bass voices while sopranos sing a wordless descant. Treble/bass harmony returns for the second half of the tune (stanza four of the hymn), and the final cadence divides the two voices alto/bass against soprano/ tenor approximating a four-voice texture. Treble choirs or other unison ensembles could easily perform the piece singing melody throughout (perhaps including the short passage of wordless descant). The accompaniment also shows flexibility in being designed equally for organ and piano. Indications for each instrument are included in the score by way of pedal entrances for organ and octave doublings for piano." --AAM Journal, Nov./Dec. 2022


review copy

Richard Leach's memorable text is inspired by the Greek theological word for the three-in-one interwoven nature of the Holy Trinity: "perichoresis," literally meaning "dance around." The first three stanzas focus each primarily on Father, Son, and Holy Spirit, and the final one sums them up together. The text is paired with the tune KINGSFOLD, and Alfred Fedak's setting emphasizes the familiar British folk melody's rhythmic side. An active accompaniment (with options given for effective performance on either organ or piano) underpins the varied two-part (mixed voices) choral textures: beginning as unison melody, a bit of harmony, and reaching a final flowering in a descant, imitation, and a broad conclusion.

Come, join the dance of Trinity,
before all worlds begun--
the interweaving of the Three,
the Father, Spirit, Son.
The universe of space and time
did not arise by chance,
but as the Three, in love and hope,
made room within their dance.

Come, see the face of Trinity,
newborn in Bethlehem;
then bloodied by a crown of thorns
outside Jerusalem.
The dance of Trinity is meant
for human flesh and bone;
when fear confines the dance in death,
God rolls away the stone.

Come, speak aloud of Trinity,
as wind and tongues of flame
set people free at Pentecost
to tell the Savior's name.
We know the yoke of sin and death,
our necks have worn it smooth;
go tell the world of weight and woe
that we are free to move!

Within the dance of Trinity,
before all worlds begun,
we sing the praises of the Three,
the Father, Spirit, Son.
Let voices rise and interweave,
by love and hope set free,
to shape in song this joy, this life:
the dance of Trinity.

Text: Richard Leach, 2001, 2002
© 2005 Selah Publishing Co., Inc.


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