for SA and piano In this beautiful setting of words by the composer, based on a quote by Brian Palmer, singers are encouraged to listen to the sounds and people around them in order to learn and grow: 'one act of love, I know, for sure, is to listen.' Listen is suitable for upper-voice or children's choirs, and its memorable melodies are accompanied by a simple and supportive rippling piano accompaniment.

SATB and piano, with optional bass and drum kit This dynamic collection presents four jazzy settings of favourite madrigals by Thomas Morley, John Bennet, and Orlando Gibbons. The first, 'Sing we and chant it', is a relaxed jazz waltz with a compelling melody, and singers will especially revel in the rich harmonies of the expressive 'Weep, O mine eyes' setting that follows. 'Learned Poets' has a bossa nova feel with a strong rhythmic groove and characterful syncopations. The urgent rolling tempo of the fourth movement captures the text's intensity and titular call of 'Fire, fire!', also expressed by a walking bassline that continually drives towards the work's emphatic conclusion. The stylistic piano part may be played as written or serve as a guide, and a bass and drum kit part is available separately for trio accompaniment.

for TTBarBB unaccompanied Skilfully set to tender words by the poet e e cummings, 'I carry your heart', this piece was commissioned by the acclaimed close-harmony group, The King's Men, and was recorded on their album Love from King's. Also available for SSATBB.

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 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 CCBar and piano Ian Crawford breathes new life into this traditional American tune by employing a bluegrass-inspired style, jaunty syncopations, and an upbeat tempo. The light but supportive piano accompaniment uses punchy clustered chords, and the melody is shared between the voice parts. This flexible arrangement is accommodating and idiomatically written for changing male voices.

for SABar 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 brief contextual note.

for SATB and piano or orchestra Based on William J. Kirkpatrick's 'Cradle Song', A Christmas Meditation was originally written as underscoring for a reading of the Biblical account of the Nativity (Luke 2:1, 3-14). In the tradition of incidental music, this wordless piece may be used in a variety of ways, including as a processional, as a transition between other works, or as background for spoken words and images.

for upper voices (SSAA) and SATB (with divisions) unaccompanied This is an innovative, striking setting of the Magnificat text that is well suited to both liturgical and concert performance. The work celebrates the strength, character, and intelligence of teenage girls, as well as offering a different presentation of Mary, focusing on her courage and determination. The upper-voice choir is asked to sing in the style of Bulgarian choral folk music, using a visceral sound that contrasts with the mixed-voice choir. Olson's setting is an exquisite study in sound and texture, with a distinctive soundworld and a positive message.

for soloists and SATB unaccompanied Inspired by Rachmaninoff's All-Night Vigil, Vespers is a 12-movement English-language work in the Eastern Orthodox tradition. Suited to concert and liturgical settings, it draws from a variety of Orthodox chant traditions, with Sheehan's use of asymmetric metres enhancing the textual expression of the chosen prayers, psalms, and hymns. The work is infused with a deep religious sentiment, and the artful use of chiasmus places the ancient hymn 'Phos Hilaron' ('O gladsome Light') at its centre, defining its supreme message of light and hope. Virtuosic solos are underpinned by rich choral textures or offset by characterful interjections, with movements for chorus alone equal in impact. In a work that considers the past, present, and future of Orthodox liturgical music in America, Sheehan creates a distinctly American idiom rooted in the centuries-old Eastern Orthodox musical tradition, displaying a unique voice that is cohesively ancient and modern.

for SSA and piano In this passionate four-movement work, composer Bob Chilcott and lyricist Delphine Chalmers explore themes of inclusivity, identity, and unity. The middle movements, 'Harmony' and 'Rhythm', have strong grooves and rhythmic drive, while the outer movements, 'Unison' and 'Resolution', are steadfast and uplifting. Songs my Heart has Taught Me brings singers and audience together in a celebration of all that unites us. This work was originally published in a version for mixed voices, commissioned by the American Choral Directors Association as the 2021 Raymond W. Brock Memorial Commission.

TTBB unaccompanied Setting inspiring words by James Weldon Johnson, this work is both poignant and stirring, encouraging singers and listeners to reflect on the challenges of present times and to move forward with courage and strength towards a brighter future. The choral writing beautifully reflects the powerful text, leading us towards a climactic reminder that 'Tho' thick the battle and tho' fierce the fight, There is power in making for the right'. My heart be brave is an ideal choice for choirs looking to address issues of social justice in their programming. Also available in a version for SATB unaccompanied.

for SATB unaccompanied Setting inspiring words by James Weldon Johnson, this work is both poignant and stirring, encouraging singers and listeners to reflect on the challenges of present times and to move forward with courage and strength towards a brighter future. The choral writing beautifully reflects the powerful text, leading us towards a climactic reminder that 'Tho' thick the battle and tho' fierce the fight, There is power in making for the right'. My heart be brave is an ideal choice for choirs looking to address issues of social justice in their programming. Also available in a version for TTBB unaccompanied.

for SABar and organ or piano With words by the composer, this warm, expressive anthem calls to Christ, the light of the world, to bring justice, hope, and joy to our lives. The simple, memorable melody is supported by a gently flowing organ part, with straightforward but effective harmonies from Altos and Baritones in verse two. Offprinted from The Oxford Book of Easy Flexible Anthems.

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.

for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.

Choral Sight Reading provides a practical and organic approach to teaching choral singing and sight-reading. The text is grounded in current research from the fields of choral pedagogy, music theory, music perception and cognition. Topics include framing a choral curriculum based on the Kodaly concept; launching the academic year for beginning, intermediate, and advanced choirs; building partwork skills; sight-reading; progressive music theory sequences for middle to college level choirs; teaching strategies; choral rehearsal plans as well as samples of how to teach specific repertoire from medieval to contemporary choral composers. This volume includes basic and advanced music theory concepts to develop fluent sight-reading skills for reading standard choral repertoire, providing examples for the process outlined in Chapters 6-8 of Volume 1 (Choral Artistry). This guide provides choral directors with a choral curriculum and choral rehearsal models that place performance, audiation, partwork, music theory, and sight-signing skills at the heart of the choral experience, through a 'sound thinking' approach to teaching that results in greater efficiency in creating independent choral singers with a well-rounded repertoire.

for SABar and piano This is a vibrant setting of a poem by George Parsons Lathrop that describes how music underpins all earthly life. An active piano part provides an energetic undercurrent to compelling vocal lines, with the voices beginning in unison before opening out into two and then three parts. Music of Life is the perfect selection for choirs looking to celebrate the life-affirming power of music. Also available in a version for SSA and piano.

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.

Ecologies of Resonance in Christian Musicking Rexplores a diverse range of Christian musical activity through the conceptual lens of resonance, a concept rooted in the physical, vibrational, and sonic realm that carries with it an expansive ability to simultaneously describe personal, social, and spiritual realities. In this book, Mark Porter proposes that attention to patterns of back-and-forth interaction that exist in and alongside sonic activity can help to understand the dynamics of religious musicking in new ways and, at the same time, can provide a means for bringing diverse traditions into conversation. The book focuses on different questions arising out of human experience in the moment of worship. What happens if we take the entry point of a human being experiencing certain patterns of (more than) sonic interaction with the world around them as a focus for exploration? What different ecologies of interaction can be encountered? What kinds of patterns can be traced through different Christian worshiping environments? And how do these operate across multiple dimensions of experience? Chapters covering ascetic sounding, noisy congregations, and Internet live-streaming, among others, serve to highlight the diverse ecologies of resonance that surround Christian musicking, suggesting the potential to develop new perspectives on devotional musical activity that focus not primarily on compositions or theological ideals but on changing patterns of interaction across multiple dimensions between individuals, spaces, communities, and God.

A dictionary containing 3500 biographical entries, each representing a composer whose work has been used within the worship of the church in Britain and Ireland.

The first in-depth study of the ceremonial and music performed at British royal and state funerals over the past 400 years. British royal and state funerals are among the most elaborate and solemn occasions in European history. This book is the first in-depth study of the ceremonial and the music performed at these events over the past 400 years, fromthe funeral of Elizabeth I in 1603. Covering funerals of both royalty and non-royalty, including Nelson, Wellington and Churchill, this study goes up to the funerals of Queen Elizabeth The Queen Mother in 2002 and the ceremonial funeral of Baroness Thatcher in 2013. While some of these funerals have received a good deal of attention - especially the 1997 funeral of Diana, Princess of Wales - these extraordinary events have largely not been discussed in their longer historical context. The book examines the liturgical changes in the Anglican funeral rite since the Reformation and also the change from the so-called 'public' to 'private' funerals. It includes many new findings onthe development of the ceremonial and its intricate peculiarities, as well as new insights into the music and its performance. British Royal and State Funerals shows that, despite a strong emphasis on continuity in the choice of music, the ceremonial itself has shown an astonishing flexibility over the last four centuries. Overall, the book also contributes to the debate on the monarchy's changing public image over time by paying particular attention to topics such as tradition and propaganda. Drawing on substantial research in principal libraries and archives, including those of Westminster Abbey, the College of Arms, Lambeth Palace and the British Library, this book is an exhaustive resource for musicologists, musicians and historians alike, providing an unprecedented insight into this most sombre of royal and state occasions. MATTHIAS RANGE is author of Music and Ceremonial at British Coronations (2012). He is a post-doctoral researcher for the Digital Image Archive of Medieval Music and its partner AHRC-funded Tudor Partbooks project at the Faculty of Music, University of Oxford.

for SSATB unaccompanied The O nata lux text is taken from a 10th-century anonymous hymn that uses the concept of light to symbolise hope, a particularly pertinent theme for Advent. Throughout this setting the sopranos intertwine their high, melodic lines above interjections from the lower voices, creating an atmosphere of ethereal luminosity. O nata lux is the second of McDowall's set of three 'O' text settings conceived as Trinity Triptych.

for SATB unaccompanied 'Traditionally sung on Christmas Eve, 'O Virgo virginum' is often described as the eighth 'O' Antiphon and praises Mary, 'O virgin of (amongst) virgins.' McDowall's setting is vigorous and joyful, with intimations of medieval plainchant. O Virgo virginum is the final movement of McDowall's set of three 'O' text settings conceived as Trinity Triptych.

for treble solo and SATB unaccompanied This atmospheric carol sets the well-known 'O magnum mysterium' text in the version famously used by Victoria, with its tender, devotional additions. Set in four parts, the work unfolds simply, from stillness and silence, in awe and contemplation. The choral writing is effectively punctuated with a high solo voice singing phrases that call to mind fragments of the plainsong chant on the same text, appointed as a Responsary for Christmas Day.