for SATB (with divisions) unaccompanied This is an expressive setting of Sara Teasdale's poem 'Peace', with lush, rich harmonies and a soft dynamic palette. Poignant and peaceful, and perfect for choirs who enjoy refining blend and ensemble, this setting will provide a reflective moment in a concert programme.

One of the finest books available on jazz guitar chords. Joe covers all the bases with two sections on chord forms and chord passages. Chords are divided into six categories: Major, Seventh, Augmented, Minor, Diminished, and Minor Seventh Flat Fifth, each showing substitutions and inversions that Joe would play when confronted with "basic" chord symbols. The chord passage section is divided into nine categories, including such topics as Major Sounds, Diminished Sounds, Augmented Sounds, Standard Patter Chord Substitutions, and other chord progression - related topics.

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 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 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 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.

for TTBB unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. Also available in a version for upper voices or SATB.

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.

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 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 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. 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 CCBar and piano This sensitive, authentic arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunciation guide and English translation are included, along with a fascinating contextual note.

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 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 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 SATB (with divisions) unaccompanied. A short upbeat setting of words from Psalms 9, 95, and 97, Cantate Domino opens with a triple-metre dance-like section that features optional clapping. Brown juxtaposes a darker, more chromatic middle section that has an optional verse in French, before reprising the joyful opening material.

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!

This inventive work, composed in 2019, owes its title to that year's two great anniversaries connected to manned flight: the 50th anniversary of the first moon landing and the 500th anniversary of the death of Leonardo da Vinci. A wide range of highly effective textures and atmospheric harmonies draws the player and the listener through a journey that eventually reaches D major for the gloriously affirmative ending.