for SSSAA unaccompanied. The opening of this motet displays Massaino's skill in the art of word-painting with soaring lines that play on the word 'arise' (Surge). Punctuated with occasional homophonic writing, the beautiful melodic lines find clever use of imitation across all voices. The secunda pars increases the quick imitation of the vocal lines, mirroring the excitement of the text 'the time of pruning has come' (Tempus putationis advenit). This, coupled with the introduction of shorter note values, creates a joyful celebration of the text from the Song of Songs. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SATB, upper voices, and organ This compelling work tells the story of creation through a tapestry of biblical passages, spiritual writings, poems, and hymns by writers such as Thomas Traherne. The piece is structured around a recurring refrain, composed for upper voices, but also suitable for performance by any group from within the SATB choir, if an upper-voice choir is unavailable. Chilcott's great sensitivity to text brings this wondrous story to life, evoking images of 'the earth, the seas, the light, the day, the skies' being fashioned before our eyes. To access the Upper Voices Part, visit oxford.ly/CreationSongUpperVoicesPart To access the Lyric Sheet, visit oxford.ly/CreationSongLyricSheet

for SATB (with divisions) and small orchestra This is a beautiful, sensitive arrangement of the African-American spiritual and folk hymn Oh, watch the stars. The text reflects on the beauty of creation, and alternative verses by David Warner celebrating Christ's birth have been included for performance during the Christmas season. Wilberg artfully retains the understated feel and simplicity of the original spiritual while demonstrating hallmarks of his unique style, such as rich harmonies, contrasting keys and textures, and effective obbligato instrumental fills.

for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

for SSAA unaccompanied. This Marian text for Eastertide, Regina caeli, was set four times by Morales. This setting for four voices was first published in the Spanish composer's 1543 collection and notated in high clefs. The simple-tone plainchant hymn is strongly referenced in each of the vocal lines, with Alto 1 dedicated as a cantus firmus for the majority of the piece. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SATB and piano (with opt bass and drums) Optional parts for bass and drum set enliven this joyous arrangement for choir and piano of a traditional spiritual. Propelled by a light swing tempo, the mood grows more and more euphoric with each succeeding stanza of text, and the uplifting music surges towards an opulent conclusion.

for SATB and organ This setting of the evocative poem by Chesterton is atmospheric and powerful. Showcasing McDowall's distinctive style, its minor tonality, subtle chromaticisms, and whole-tone scales portray the contrasting voices in the text to breathtaking effect.

Intricate counterpoint and a continuo-style bassline bring a medieval flavour to Williams' arrangement of this much-loved carol. The gentle vocal lines build in texture throughout, with optional support from the accompaniment. Originally published in The Oxford Book of Flexible Carols, it is also available in a version for two-part and optional accompaniment.

for SA or TB and optional piano/organ/melody instruments Intricate counterpoint and a continuo-style bassline bring a medieval flavour to Williams' arrangement of this much-loved carol. The gentle vocal lines build in texture throughout, with optional support from the accompaniment. Originally published in The Oxford Book of Flexible Carols, it is also available in a version for SATB and optional accompaniment.

for SATB (with divisions) unaccompanied This is an upbeat original setting of the well-known Latin text. Rambunctious, hearty, and in a sophisticated modal style, it is suitable for both church and concert performance by experienced choirs.

for SATB and organ or piano With words by the composer, Archer's carol joyfully describes the Nativity story with a lilting melody in 3/4 time. The voices culminate in a powerful unison statement with an angelic descant, all the while underpinned by flowing keyboard accompaniment. Perfect for services and concerts.

for TTBB and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SSAA and hand drum and SATB and hand drum

for TTBB unaccompanied This lively reimagining of the traditional hymn is a thrilling a cappella arrangement which pairs the soaring legato melody with a rhythmic vocal accompaniment. Together, these elements capture both the gentle hope and the profound joy contained in the text. Also including moments of tenderness and reflection, the piece comes to a rousing close with an energy that engages singers and audience alike. Also available in a version for SSA unaccompanied and SATB unaccompanied.

for soprano solo and SATB (with divisions) unaccompanied In this gentle lullaby, poet Charles Bennett reflects upon the promise held in the dreams of a sleeping child, a life that has just begun. The choir opens and closes the carol, providing a rich cushion of harmony on which the soprano soloist sits as they narrate the central section through an arching, soaring melody.

for SSAA unaccompanied Setting the modernized words of an Anglo-Saxon metrical charm, this thrilling piece is unusual, dramatic, and beguiling. Featuring a whispered list of potion ingredients for the intro and outro, it also includes whistling, modal touches, and some very funky riffs-to be performed with freedom, energy, and imagination!

for baritone solo, SAATB, and organ or piano or small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra. The orchestral accompaniment is available for purchase.

for SATB (with divisions) and organ This sparkling arrangement of the traditional English carol presents the familiar melody through a variety of textures, ranging from unison to five parts, and concludes with a soaring soprano descant. Light and rhythmic in style, it dances with joy and celebration DL perfect for concerts and services.

for SATB unaccompanied. This setting of Edward Caswall's well-known text shows all the hallmarks of McGlade's characteristic style, with changing time signatures, beguiling chromaticisms, and a beautiful, fluid melody. Changing metres give a sense of fluidity, while a scintillating climax on 'Peace on earth' forms the centre of the work.

for SATB (with divisions) unaccompanied Setting Revelation 21: 1-5, this short anthem is in McGlade's typically fluid style, with harmonic twists, changing metres, and tempo fluctuations. With some divisi in the upper parts, it will be particularly welcomed by experienced church and cathedral singers as a new take on these well-known words.

for SATB and children's choir/SSATB unaccompanied Introduced by the children's choir, Quartel's simple and uplifting melody repeats throughout the piece, beautifully coloured by the surrounding parts. The voices offer joyful praise and the rich harmonies build up to a warm and rousing finish. The children's part may also be sung by a congregation or divided soprano part.

for SATB unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-11; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item.

for SATB and piano Quartel's arrangement of this well-known Irish carol is distinctly refreshing, characterized in part by its charming and sparkling piano part. The middle section offers an opportunity for both the choir and pianist to shine individually, and explores further the beautiful modal harmonies of the original melody.

for unison voices and piano This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for SA and piano, SABar and piano, and solo voice (high/low).

for SSSAAA unaccompanied This imaginative setting of Henry Wadsworth Longfellow's poem encourages the use of evocative bird and wind noises to capture the text's natural imagery. In a fresh, a cappella style, Hawley's charismatic melodies soar through the vibrant texture, and offer plenty of opportunities for soloistic singing. Also available in a version for alto solo and SSATB unaccompanied.