Sound Advice is a valuable resource for college students, beginning teachers, and experienced conductors of children's choirs. It covers the vast array of skills needed by today's conductor of children's choirs. In a clear and direct style, Bartle outlines everything from the development of musicianship through singing and literacy in the choral setting, to the challenges of conducting an orchestra, working with staff, parents, and a Board of Directors.

for SATB (with divisions) unaccompanied A powerfully emotive setting that contrasts moments of reflection with declamatory exultation, Psalm 57 uses passages from the eponymous psalm in the King James translation. Written in 1972, it is dedicated to the Brazeal Dennard Chorale, a Detroit-based choir known for championing the music of Black composers. Jackson King employs imitative writing to great effect, and the anthem's slow tempo makes space for expansive melodic lines.

for SATB unaccompanied This gentle anthem, written for the Choir of St Chad's College, Durham, sets a text that is adapted from several prayers of St Chad. Warm dynamic swells and rich harmonies emphasize the meaning of these prayers. Bednall has added movement to this calm and reflective piece through the use of melismatic vocal phrases and falling triplet figures.

The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

This rehearsal pack provides all of the material needed to help prepare the unison voices for a performance of Birdland, Bob Chilcott's engaging musical drama following the quest of Pip the Sparrow to be accepted into the Dawn Chorus. Along with a copy of the vocal score, the pack contains a photocopiable booklet containing the part for unison voices and lyric sheets for all of the movements in which the unison voices participate. In addition, you will find a unique access code for a companion website containing downloadable audio rehearsal tracks (performances) for the unison voices part, PowerPoint resources for teaching and rehearsing the unison voices, and PDFs of the unison voices part and lyric sheets for printing.

for SSAATTBB unaccompanied The Island Itself is a setting of the poem Homage to Omey by Irish poet, Joan McBreen. The imagery of the sea conveyed in the text is reflected through lilting, syncopated rhythms. The melody is supported by a bed of ostinati sung with vocables. The swelling dynamics and long, held notes create an immersive wash of sound.

for SATB with piano and organ This is a substantial setting of the canticles of Mary and Simeon, suitable for performance in both concert and liturgical settings. The choral writing features fugal counterpoint and a chromatic soundworld rooted around the octatonic scale. The text is in English throughout, with occasional Latin interjections in the Magnificat. Notably, the choir is accompanied by both piano and organ, a combination that reflects the tradition of the Black American church in which the composer grew up, where both instruments were used simultaneously for almost all service music. The resulting timbral effect is quite unique, with the more percussive piano sound twinkling over the sustained organ writing. Bringing a fresh voice to an established genre, this setting presents a rewarding challenge for singers and the opportunity for congregations or audiences to appreciate familiar words in a new way.

for SSATB unaccompanied A Gaelic Blessing was commissioned by the University of Edinburgh, McDowall's alma mater, for performance by the Edinburgh University Singers conducted by Calum Robertson. This meditative, folk-style anthem is given a Scottish lilt through the use of Scotch snap rhythms and held drone-like vocal lines. The text is a traditional Scottish Gaelic blessing, translated by the Right Reverend Ian Paton, Bishop of St Andrews, Dunkeld, and Dunblane. McDowall chose this text for the 'warmth and simplicity' of the words that seem to 'resonate with the times in which we live'.

for SATB and orchestra Setting a well-loved medieval text, this effective piece paints the story of Jesus through lyrical melodies and beautiful harmonic surprises. The vocal lines offer both powerful intensity and skilful dialogue, and are supported by a pulsing orchestral accompaniment.

for SATB and organ or small orchestra This much-loved carol is presented with background information and helpful performance hints. Recognising the frequency with which this piece is performed with organ accompaniment, John Rutter has made an organ reduction of the orchestral material. Conductor's scores and instrumental parts are available on sale and on hire.

This short Missa brevis setting is perfect for choirs looking to bring a fresh soundworld to their worship. Each movement is distinct in character, but with an overall cohesiveness of harmonic language. A short communion introit, Hoc corpus, which is traditionally sung on Passion Sunday, follows the Mass setting.

for SABar and piano Show them you care ('cos it's Christmas) is a setting of an original text by Mark De-Lisser and Clare Dove in a pop ballad style. It conveys a heartfelt and powerful message that is perfect for Christmas concerts. The song includes solos from each vocal section and the voices are supported by a piano accompaniment enriched with extended and altered chords.

for SSA and piano In O be joyful, McGlade presents the words of Psalm 100 with a clarity and sincerity that amplifies the message of the text. The piece moves through a variety of tonalities and metres, which is typical of the composer's style. The lyrical melody lines from the upper voices are supported by a sensitive and melodic piano accompaniment.

for SSAATTBB unaccompanied A reflection on the plainchant antiphon 'Pulchra es et decora', this hauntingly beautiful piece was commissioned by ORA100 for Suzi Digby and ORA Singers. The original antiphon has been transcribed and included at the beginning, and may be used as an introduction. Porter's use of rich harmonies and rippling melismatic vocal lines make this an impassioned setting of a Marian text.

for SATB unaccompanied Edward Margetson was born in St. Kitts, British West Indies, immigrating to the United States in 1919. One of only a few published choral works by the composer, A few more years shall roll sets a hymn by Horatius Bonar that was written for his congregation to use on New Year's Day. Margetson's setting is characterized by imitation and powerful word-painting.

for SATB (with SAT semi-chorus) and cello Quartel has chosen a powerful combination of texts by Hildegard von Bingen and Mother Teresa for this emotive choral work. The main choir is accompanied by a small ensemble singing the word 'love' with rippling ostinati that reflect the title of the work. The solo cello line contributes lyrical melodic lines, moving into triplet rhythms and broken chords as the piece progresses to its emotive climax.

for SSA and piano This uplifting work by American composer Reginal Wright sets a text by the nineteenth-century poet Arthur O'Shaughnessy. The powerful words are sung to a memorable melody embellished with syncopation and triplets. The voices are accompanied by rippling broken chords enriched with falling chromatic lines. A version for SATB and piano is also available.

for SATB and piano. An upbeat setting of words by Charles Bennett celebrating the arrival of spring, Opening features changing metres, a compelling verse-refrain structure, and catchy melodies. A darker middle section mirrors the text's reflection on winter's snow and silence, before the music opens out into a final, joyful statement of the verse and refrain as the first signs of spring appear.

for SSAA and piano Down the Silver Road is a comforting and uplifting setting of the poem To F.W. by Edith Franklin Wyatt, which describes the joy of growing old with a companion. It was premiered by the choir of Nazareth College, NY at a concert specifically for individuals living with Alzheimer's or other dementias and their families and caregivers. Alongside the flowing lyrical melodies, Quartel incorporates a simple vocal part that can be taught to audience members who may be encouraged to join in when it occurs.

for SSA and piano Setting words by Chief Dan George, this optimistic work reminds us that there is still beauty to be found in times of trouble and that difficult days will not last forever. Quartel's sensitive setting uses triplets against duplets to give a sense of fluidity to the melodic phrasing. The balanced vocal lines will be enjoyed by youth and adult upper-voice choirs.

for SATB (with divisions) and two soloists unaccompanied In this beautiful setting, Latvian composer Laura Jekabsone presents a modern, popular take on the familiar carol text by Henry John Gauntlett. The piece is led by two soloists (one upper voice, one lower voice), who the choir underpin with a rich harmonic cushion of a cappella-style scats. The melodies are instantly memorable, and the choir's move from an accompanying role to presenting the final chorus gives a powerful lift and emphatic conclusion to this effective Christmas work.

for narrator, SATB soloists, and SATB choir unaccompanied, with optional bones In this compelling work for narrator, soloists, and choir, Sheehan presents an engaging musical dramatization of Charles Dickens's A Christmas Carol. Dickens's text has been artfully abridged by Matthew Guard to facilitate concert performance, and the narration is seamlessly woven into Sheehan's richly diverse score. Suited to performance in a variety of settings, this work sees imaginative arrangements of traditional carols and vibrant and accessible original music combine to bring a familiar festive tale to life.

for SATB unaccompanied The three movements of A Winter Breviary are entitled: 'We look for you', 'The year's midnight', and 'The unexpected early hour'. The movements are each based on an Indian classical Raag: Raag Hamsadhwani, Raag Malkauns, and Raag Ahir Bhairav, respectively. The texts, by poet Rebecca Gayle Howell, are linked to the Christian services of Evensong, Matins, and Lauds, and are eco-carols written from the perspective of a different point in time-evening, midnight, and daybreak-using nature to explore a different part of the Christmas story. The first two movements have a serene and pensive atmosphere that contrasts with the third movement, which uses an energetic compound time signature and bell-like melodic shapes.

for SATB and piano, with optional bass and drum kit Sing we and chant it sets the text of a well-known sixteenth-century madrigal of the same name by Thomas Morley in a jazz waltz style. Chilcott injects energy and fun into the piece through a quick three-time metre and extended and altered chords. This is an offprint from the four-movement work Little Jazz Madrigals. The optional bass and drum kit parts are printed in this vocal score.

for SSAATTBB and oboe John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Es ist ein' Ros' entsprungen. The piece opens with a lyrical melody from the solo oboe, over a wash of gentle, hummed vocal harmonies. Rutter continues the carol by underpinning the vocal melodies with 'ah's and hummed parts, and keeping the dynamics soft, to retain its tranquility.