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 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 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 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 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 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 SSATB unaccompanied With words by the composer, this tender piece expresses gratitude and awe for the redeeming power of the Christ-child. Replete with rich contrasting harmonies, the changing metre and effective phrasing build anticipation before the piece resolves into serenity.

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 SSSAA unaccompanied. Recent scholarship postulates that this anonymous motet for the Feast of the Assumption of the Blessed Virgin Mary was in fact written by Leonora d'Este, daughter of Duke Alfonso I and Lucrezia Borgia, and abbess of the Corpus Domini Convent in Ferrara. The music and style of d'Este's compositions are skilful in the art of polyphonic writing and the beautiful Sicut lilium inter spinas, written for five voices, is a fine example of this style. 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 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 SATB and piano Written for the BBC Last night of the Proms, this sensitive setting of the well-known Irish folk song does justice to the beauty of the original melody. Chilcott's harmonic subtleties add to the poignancy of the lyrics, expressing and elevating the sentiments of loss and longing.

for SSATB (with divisions) and organ Setting an invigorating Easter text from the Song of Songs, this episodic anthem is full of expressive passages and lyrical melodies. The canonical soprano parts are echoed in the lower voices, contributing towards the rich texture, all the while underpinned by an independent, sparkling organ part.