A popular Newfoundland folksong for SSA and piano.

for SATB unaccompanied A lively sixteenth-century anthem based on Psalm 81. This psalm falls within week 9 of Epiphany in Year B of the RCL.

for SATB unaccompanied This is a short anthem for communion with words by Douglas L. Bean in a simple, straight-forward setting.

Rounds and canons drawn from the folk and classical repertoire provide an introduction to two-part singing.

for SATB with organ introduction An expressive setting for Lent that begins with a treble solo or unison singing that gradually splits into four-part harmony.

Tallis's Canon for 2, 3, 4, or 5 equal voices and chamber orchestra or organ and strings Accompaniment for chamber or string orchestra is available on hire

for SATB, congregation (opt), and organ, or string/chamber orchestra, or brass This popular arrangement can also be found in Carols for Choirs 1 and 100 Carols for Choirs. Verses two and five may be sung by two choirs or by choir and audience. The other verses are a mixture of women's voices alone, men's voices alone, and SATB. Orchestral accompaniment is available on hire.

for SATB and congregation (opening phrase to be played on trumpets or organ) This striking anthem sets the Latin text of Psalm 33 (an English singing translation is included). Dynamic melismatic vocal lines feature throughout, with the texture switching between homophony and polyphony. It was first performed in 1956, the same year as the composer's similarly lively motet A Vision of Aeroplanes.

for SA and piano This setting of the much-loved English folksong Greensleeves employs sophisticated harmony to adorn the simple yet timeless melody. An SATB version is also available.

for soprano, tenor, and baritone soloists, SATB choir, and orchestra In this Christmas cantata Vaughan Williams uses and a wide range of musical styles to create a compelling, vivid, and highly original retelling of the Christmas story. Composed in 1953-4, Hodie (This Day) was Vaughan Williams's final large-scale choral-orchestral work, and was premiered under his own baton in Worcester Cathedral as part of the 1954 Three Choirs Festival. It comprises sixteen movements, including 'narrations' of words from the Bible, chorals, and a variety of other forms for both soloists and choir. The words are taken from diverse sources, with sacred texts from the Vespers of Christmas Day and the Bible interspersed with secular texts by poets including John Milton, Thomas Hardy, and the composer's own wife Ursula Vaughan Williams.

for SATB unaccompanied Vaughan Williams composed this setting of a poem by his wife Ursula in 1953 to form part of A Garland for the Queen, a collection of ten tributes to the newly-crowned Queen Elizabeth II by leading British composers and poets. It is dedicated 'to the memory of Charles Villiers Stanford, and his Blue Bird', and reflects Stanford's masterpiece in its harmonic language, floating soprano part, unaccompanied scoring, and haunting atmosphere.

for unison or two-part voices and piano Adapted from music from The Pilgrim's Progress, this setting of words from Revelation 2 is profound and mystical. Flowing melodies, atmospheric harmonic shifts, and hushed dynamics all give the piece an ethereal quality that powerfully evokes the religious transcendence described in the text.

Set of parts for the joyful carol of celebration with the refrain 'Gloria in excelsis Deo'. Compatible with both the upper- and mixed-voice versions. This set contains the following string parts: 4 x vln I, 4 x vln II, 3 x vla, 2 x vc, 1 x db. Also available on hire/rental.

for tenor soloist, SATB choir, and organ Written for the marriage of HRH The Princess Elizabeth and Lieutenant Philip Mountbatten in Westminster Abbey, 20 November 1947.

for STB soli and unaccompanied SATB choir This unaccompanied motet was first performed at the dedication of the Battle of Britain Chapel in Westminster Abbey, London, and has an accordingly sombre tone. It opens with a haunting treble/soprano solo, and this ethereal atmosphere continues with unexpected harmonic shifts and hushed vocal writing. The words are taken from The Wisdom of Solomon (3: 1-5) and convey death as peaceful for those who have been 'righteous'. This motet would therefore be particularly well-suited to funeral or memorial services.

Originally entitled Thanksgiving for Victory, A Song of Thanksgiving is a powerful and moving work that celebrates the Allies' victory in World War II. It was first recorded in 1944 while the war was still ongoing, but was not broadcast until victory had been achieved in May of the following year. Comprising seven movements, it sets texts from the Bible alongside words by Shakespeare and Kipling, lending the work a sense of timelessness and grandeur. Scores and parts for both the full and reduced accompaniments are available on hire.