for SATB unaccompanied This is a warm and tender piece setting the last three verses of Christina Rossetti's 'What good shall my life do me?', which encourages leading a life of love as an example for others. Daley's heartfelt melodies are set to hymn-like textures and flow freely in ever-changing time signatures.

for SATB unaccompanied Settings words from part of a letter by Edna St Vincent Millay to her lover Arthur Davison Ficke, this is a gentle, charming piece that celebrates our freedom to love. Dacey's rich harmonies and quirky melodies are presented in a rocking 5/8 time signature, and conclude softly with the central message as the phrase 'you and me' fragments and fades into the distance. Also published in Breath of Song.

for SATB unaccompanied This uplifting anthem sets the Invocation text from Carmina Gadelica. McDowall's beautiful melodies flow and intertwine, decorated by scotch snaps that reflect the text's origin. Suitable for services or concerts. Also published in Breath of Song.

for SATB, body percussion, and congas An energetic piece setting a text full of natural imagery. Mahler's catchy melodies are combined with speech, body percussion, and congas to imitate the contrasting characteristics of rain. Dramatic and expressive - this is the perfect performance piece to get stuck into! Also available in Breath of Song.

for SATB unaccompanied William Romanis's hymn text is brought to life in this enchanting anthem with unexpected harmonic shifts and fluctuating time signatures. Rooney glides gracefully between tonal centres, creating a beautiful, ethereal atmosphere. Also published in Breath of Song.

for Alto solo and SSATB 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 soloists. Also published in Breath of Song.

for SATB (with divisions) and organ or orchestra This affecting setting of the well-known poem from George Herbert's The Temple features rich harmonies and sweeping melodies to create a work of depth and poignancy. The piece begins with an instrumental introduction, before the melody is taken up first by upper voices, then full chorus.

for SATB and piano This atmospheric setting of familiar words from Shakespeare's As You Like It is sprightly and uplifting, with singers being asked by the composer to perform with 'a bit of frost and a knowing smile'. Also available in a version for SSA and piano, and solo voice and piano (high/low).

for SSAA and piano Like the original version for SATB voices, this upper-voice arrangement of Wide Open Spaces reflects on the journeys and adventures to be found in the wide opens spaces within ourselves and in the world around us. The uplifting melody is passed from the sopranos to the altos before the piece opens out into an expansive texture with rich harmonies. Quartel introduces a playful episode of scat singing before a resolute final chorus brings this evocative piece to a peaceful and serene close.

for SSAA unaccompanied TaReKiTa is a refreshing concert piece that effortlessly blends the Indian and Western classical styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website. A version for unaccompanied mixed voices is also available.

for SSA and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'.

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.

for SATB and cello This simple setting of words by Tennyson reflects a different side to McGlade's compositional style, without sacrificing any of her trademark characteristics. The largely homophonic vocal lines move as one, with clarity and poise in abundance, creating a bed of sound over which the cello gently glides.

The Sarah Quartel Songbook brings together a selection of the composer's best-loved pieces for upper voices, including favourites such as The Birds' Lullaby, I remember, and All the way home. This is an invaluable resource both for choirs looking to explore the work of this fine choral composer for the first time and for admirers of Quartel's style hoping to find staple repertoire conveniently gathered together in one volume.

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 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 ATB unaccompanied Scored especially for ATB to meet social distancing requirements, this piece has both special resonance and practical application in these uncertain times. McGlade's characteristic unaccompanied style offers flowing contrapuntal lines while the shifting tonalities throughout effectively capture both poignancy and joy.

for SSSA unaccompanied. Palestrina's setting of the Marian motet Alma Redemptoris Mater seamlessly interweaves each of the four independent voices based on the solemn tone of the corresponding chant. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSA unaccompanied Clemens composed two settings of the Marian text Ego flos campi, one scored for mixed choir of seven voices and this other, more intimate, setting for three voices. Here the voices weave beautiful counterpoint with attractive independent melodies.

for SSAA double choir unaccompanied. In this compelling motet for the Feast of the Holy Trinity, Handl artfully embodies symbolism of the Trinity within the motet's structure. The three verses surrounded by a refrain of 'O beata Trinitas' may have been deliberately chosen to represent the Trinity, as it is the only example where Handl includes a true refrain. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSA unaccompanied. This motet in two parts is devotional in character, with each section opening with homophonic writing before elaborating on close imitative polyphonic lines. The motet demonstrates a mature writing style that would be expected of a composer years beyond the age of the young Monteverdi. The text is based on the first two stanzas of a prayer attributed to Pope Gregory I that contemplates the Passion of Our Lord. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSAA unaccompanied. Consisting of two sections, this large-scale Christmas motet opens with a rich homophonic texture that is synonymous with Victoria's compositions. This is followed by imitation in the vocal lines before a triple-metre section of resounding 'alleluia's. The secunda pars begins with new melodic lines that are beautifully explored before a reprise of the music from the prima pars. Offprinted from The Oxford Book of Upper-Voice Polyphony.

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.