At the same time, she loves to write for adults too. Having a degree in Music History, with an emphasis on early music, she finds herself often using musical forms and vocabulary which are drawn from prior style periods. That gives her a sense of historical connection which is important to her.

If you’d ask Lana Walter why did you choose music for a career, she would reply, “ I didn’t. Music chose me.” For her, being alive and making music are synonymous; she could no more stop doing music than she could stop eating. Since she grew up in a home where both of her parents were musicians and teachers, her life was full of
curiosity, hunger for learning, appreciation for and involvement in the arts. She grew up with weekly trips to the library for books, attending concerts, receiving music and ballet lessons. Learning and teaching were mental habits she acquired early and are deeply ingrained in her—a basic part of her repertoire of human interaction. That is why she is a teacher.

Lana is passionate about music and is able to awaken passion in her students caring deeply about them, working with many who are underprivileged and come from families with low expectations and limited vision; she gives them a taste of excellence and a performing experience to which people respond, “Wow, you were really GOOD!” She helps them discover things about themselves that they didn’t know before and then they reach a little farther the next time.

Lana Walter firmly believes that we are allcreative and that creativity happens in the part of us that’s deep inside where the playful, sensitive, and vulnerable little child lives. Creating something gives everybody out there a very personal glimpse of ourselves, but it is a skill which takes practice to do well. She has learned that if children have creativity going on around them, they begin to assume that they can be creative too, and so they are.

The compositions of Lana Walter never patronize and underestimate the mind and capability of young students. Believing that they deserve the best, her music challenges and stretches their potential.

O LIGHT OF THE CHURCH Voc-Kybd
AP 1090 .95

After that, he sang (with very few interruptions) in many choirs in many parts of the United States until, in June of 2000, he retired from a 22-year stint as a paid chorister at St. Peter’s Episcopal Church in Chicago. During his singing years, he functioned not only as a bass but also, when needed, as a tenor and, for two years, as a male alto. While singing in Handel’s Hallelujah Chorus one Christmastide, he suddenly realized that, in the course of his life, he had sung all four parts of this famous work.

In his teen years, he had studied voice under Emma Reed Mitchell of Worcester, had sung in the Worcester County Light Opera Club, and had directed young choirs in a couple of churches as well as singing in adult choirs. He dropped the "extra" activities when he no longer had time for them, and he didn’t turn to composing until he was about 60 years old. He most often writes the lyrics to his compositions as well as the music.

Repertoire published by Alliance Publications, Inc. —

Christmas Sounds - SATB with Organ   AP-1447
In the Grey Light of Dawn - 2 part Vocal with Piano   AP-1567
Music - 2-part Vocal with Piano   AP-1565
Our Jesus Is Here - SATB with Organ   AP-1566
Proclaim with Me the Greatness of the Lord - SATB with Organ           AP-1564
Singing in Tune to the Glory of God - 2 -part Vocal with Piano           AP-1564
The Foxes Have Holes - Unison Choir or Solo with Piano and
        Descant Instrument, optl   AP-1568
The Praises of God - Treble and Male Voices with Piano   AP-1569
There’s a Wideness in God’s Mercy - Treble and Male Voices         with Piano AP-1461