for SSAA unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this carol for upper voices. 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'. The carol may be sung unaccompanied, though for added sparkle there is an optional part for handbells (or percussion or organ).

for unison voices, with optional descant, and piano This attractive piece for unison voices celebrates the wonder of the 'bright new moon'. The composer's own text, based on traditional Hebridean poems, is set to a simple, flowing melody, and the optional descant in the final section soars over the melody and introduces an echo effect. The piano accompaniment supports the vocal lines while providing additional colours and textures.

for unison voices, with optional second part, and piano This is the key is a dramatic, narrative piece, perfect for children's and youth choirs. It can be sung in unison throughout, or the score contains options for two parts, sometimes singing alternating phrases and at other times singing together in two-part harmony. Sections in different tempos and keys create a variety of moods, and the continuous piano part features running quavers, a rhythmic bass line, and shimmering spread chords.

for SATB (with divisions) and piano or small orchestra Originally published in Carols for Choirs 2, Rutter's arrangement of this well-known carol is energetic and joyful. The memorable and buoyant melody is supported and driven by lively piano accompaniment, making it well-suited for Christmas concerts and services. Orchestral material is available on hire.

for SATB (with divisions) and piano or orchestra Thornett's setting of this Epiphany text, also known as 'Brightest and best', makes effective use of arching melodies and a variety of choral textures. The piece builds to a dramatic final verse with a soprano/tenor descant, before a gentle ending. The accompaniment features bell effects and quotations of Gruber's famous 'Silent night' melody. For choirs who are low on male numbers, there are options for omitting tenor and bass divisi parts.

for SSAA unaccompanied Oliver Tarney has re-worked his popular unaccompanied minature The Waiting Sky for upper voices. The evocative text by Lucia Quinault depicts a rural winter scene, and is skilfully set to music by Oliver Tarney to create a lucidly reflective piece. There is a sense in both the text and the music of waiting for the 'shining star' and, while it would make a beautiful addition to a concert programme at other times of the year, the setting is perfect as a reflective carol for Advent, anticipating the wonder of the birth of Christ.

for SATB unaccompanied In this lively 6/8 setting, Assersohn explores a macaronic 15th-century text ('A Patre Unigenitus/Through a maiden is come'), with its exclamations of 'Eya!' reinforcing festive celebration. Featuring modal harmonies and energetic rhythms, this carol promises to be a fresh, uplifting, and accessible addition to any Christmas programme.

for SATB unaccompanied A mystical, atmospheric carol for Epiphany, The Wise Men and the Star sets a text by contemporary writer Lucia Quinault that depicts the journey of the wise men as they follow the star. Tarney's appealing musical language creates a sense of expectancy, and there are beautiful moments of stillness and quiet that enable the listener to reflect on the wonder of the events of the season.

for SSSSAATBB unaccompanied In this haunting arrangement of the well-known carol, Higgins creates a mystical soundscape by layering a single motif in a four-part soprano canon. These repetitions echo throughout and support the various textures explored in each verse, producing a dramatic and atmospheric setting of the Basque carol. Suitable for chamber and concert choir.

for SATB and piano or orchestra Male voices take the leading role in this mixed-voice arrangement of the tender and well-loved solo piece attributed to Caccini (and usually sung to 'Ave Maria'). In keeping with the cumulative embellishment of the original, Wilberg's version starts with unison men and gradually adds more parts, always grounded by the lower voices. Similarly, the accompaniment's texture thickens as the piece develops, with the instrumental version starting with strings only, building up to a full orchestral climax before a gentler coda.

for violin and mixed choir This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original orchestration is based) and combines this with wordless vocal lines and vocal solos, preserving the texture and timeless effect of the original. Commissioned and premiered by the Swedish Chamber Choir, the work has also been recorded by the choir under the direction of Simon Phipps.

for SATB and piano This celebration of friendship is rich in expressive melodies and poignant harmonies, underpinned by sensitive piano writing. The text, by Delphine Chalmers, is inspired by French Renaissance essayist Michel de Montaigne's writings on friendship, from which the well known quotation 'If I am pressed to say why I loved him, I feel it can only be explained by replying: 'Because it was he; because it was me.'' originates. Eminently accessible, this piece is perfect for concert programmes celebrating friendship and community.

for SATB accompanied or unaccompanied Offprinted from Carols for Choirs 5, this exquisite setting of a familiar text by Isaac Watts has flexible scoring, with choirs encouraged to explore different options for each of the four verses. The music is gentle, flowing, and peaceful, perfectly reflecting the nativity scene the poet so vividly depicts.

for solo tenor and SSATB unaccompanied Following on from the publication of Jackson's settings of the seven 'O' antiphons under the title Seven Advent Antiphons, O Virgo virginum is a setting of the Latin text recognised as the eighth 'O' antiphon and performed as such in many Christian traditions. Jackson's imaginative setting features a melismatic line for tenor soloist and aleatoric writing.

for SSATB and piano Reginald Unterseher has adapted his much-loved lower-voice arrangement of this well-known hymn by John Adam Granade for mixed-voice choir. The arching vocal lines are accompanied by a rhythmic, undulating piano part evocative of the rivers the hymn-writer describes.