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 and piano Slow Down has a relaxed swing feel, with imaginative lyrics by the composer that encourage us to take time out of our busy lives. The vocal lines explore a swung quaver style, along with scat syllables and jazzy harmonies, all underpinned by a supportive yet characterful piano part. Also available for cambiata voices and piano in the Emerging Voices series, and for TTBB and piano.

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 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 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).

The Recital Books congratulate students for a job well done by providing correlated repertoire to their Lesson Books that are based on concepts they've already learned. As a result, the pieces are quickly mastered. Included in Recital 1A are familiar favorites such as "Lost My Partner" and "Tumbalalaika," and fun originals like "Charlie the Chimp!" and "My Secret Place."

for SATB and piano With a text by the composer, this work was originally inspired by members of the Radcliffe Ladies' Choir and their motto 'friendship through singing'. The lilting vocal lines are subtly underpinned by a delicate piano accompaniment, and the opening performance direction, 'contentedly rocking', describes the overall nature of the piece: peaceful, content, and easy-going. Also available in a version for SSA and piano in the Songbird series.

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 SABar and piano, with opt. bass and drum kit This is a funky arrangement of Beethoven's 'Ode to Joy' with an English text by Henry van Dyke. Milloy jazzes up the well-known melody by arranging it in 12/8 time and adding syncopation, while supporting it with a groovy piano accompaniment and optional bass part (available at the back of the leaflet). Originally published in Pop Voiceworks 2.

for SA and piano (with optional percussion) With a text by the composer, this is a beautiful piece about optimism, companionship, and the belief that 'all will be well'. Todd's gentle melodies are supported by a delicate, pulsing piano accompaniment, and an optional percussion part (snare drum, bass drum, and cymbal) that adds extra spark to the music. Originally published in The Oxford Book of Flexible Choral Songs, this piece is also available in a version for SABar and piano.

for SSA and organ or piano Paul Drayton's setting of three stanzas from Laurence Binyon's poem 'For the Fallen' is poignant, dignified, and atmospheric. A serene and expressive refrain for unison voices (which the congregation may join in if desired) is interposed between evocatively turbulent passages for SSA choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available. Also available in a version for mixed voices.

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 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 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 This beautiful setting of a medieval English text is simple yet effective, written in Assersohn's clear and approachable style. With tender 'lullay, lullow's, lilting phrases, and gentle modal inflections, this hushed lullaby paints a serene picture of the baby Jesus at rest.

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 SSATB unaccompanied. Composed for International Women's Day, this mesmerising piece celebrates the centennary of Rosalind Franklin and sets her own words with additional text by the poet Sean Street. McDowall's tribute to this underappreciated chemist and crystallographer combines intricate, intertwining melodies with ethereal harmonies beautifully capturing Franklin's part in the discovery of the double helix structure.

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 TTBB and piano This sensitive 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.