for SATB (with divisions) and organ This sparkling arrangement of the traditional English carol presents the familiar melody through a variety of textures, ranging from unison to five parts, and concludes with a soaring soprano descant. Light and rhythmic in style, it dances with joy and celebration DL perfect for concerts and services.

for SATB unaccompanied. This setting of Edward Caswall's well-known text shows all the hallmarks of McGlade's characteristic style, with changing time signatures, beguiling chromaticisms, and a beautiful, fluid melody. Changing metres give a sense of fluidity, while a scintillating climax on 'Peace on earth' forms the centre of the work.

for SSAATTBB (with S. and A. solos) unaccompanied This lavish arrangement of the second movement of Rachmaninoff's Second Piano Concerto for wordless a cappella voices was written for Harry Christophers and The Sixteen. Chilcott artfully reimagines a pianistic texture for choir, making full use of the potential of the human voice.

for SSA and piano Singing Children is an upbeat, optimistic piece featuring scat-like vocalizations, extended unison passages, syncopations, and intuitive harmonies. The composer has adapted a song from the Elizabethan play 'Locrine', attributed to Charles Tilney, with lyrics that profess the singers' overwhelming, joyous love of singing.

This a beautiful and meditative setting of a translated text from Carmina Gadelica, a collection of Gaelic hymns, prayers, and other texts. With gentle suspensions and exquisite harmonies, this anthem by Quartel is warm, refreshing, and uplifting, perfectly demonstrating her signature style.

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 and piano Quartel's arrangement of this well-known Irish carol is distinctly refreshing, characterized in part by its charming and sparkling piano part. The middle section offers an opportunity for both the choir and pianist to shine individually, and explores further the beautiful modal harmonies of the original melody.

for SATB and organ or piano A Prayer of St Columba is an expressive and emotive anthem with appealing, arching melodies underpinned by a sparkling organ part. Also available in a version for SAB and organ or piano in The Oxford Book of Easy Flexible Anthems.

for SATB unaccompanied This a cappella setting of evocative words by E. Pauline Johnson is immediately appealing, with its playful, swinging syncopations and dancing scat accompaniment. Also available in a version for SSAA in the Songbird series.

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 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 TaReKiTa is a refreshing concert piece that effortlessly blends the Indian and Western classical styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website.

The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir looking to explore this rich genre in liturgical or concert settings.

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 SABar and piano Commissioned by the Treble Makers Women's Choir to celebrate both their 10th anniversary and the 150th anniversary of Canada, this secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult upper-voice choirs. Also available in a version for SA and piano.

for SATB unaccompanied This setting of a traditional Gaelic prayer is poignant and heartfelt, with sustained lines and a full, rich choral sound. Gentle shifts in harmony between various combinations of voices and the use of unexpected chromatic chords imitate the slow movement of the clouds, rain, and mist, and reveal something once hidden.

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 choir unaccompanied With a text by John Henry Newman, Lead, kindly Light is a short, moving piece perfectly suited for our current times. Step-like movement in the melody reflects the speaker seeking light in the darkness, slow but steady in their way out of the 'encircling gloom'.

for SSATB unaccompanied. My song is love unknown is an expressive and fluid setting of the well-known Lenten text by Samuel Crossman, particularly suitable for performance on Good Friday. McGlade highlights the phrase 'take frail flesh and die' with a sighing musical motif, before the work closes with the affirmation 'heaven was his home; but mine the tomb wherein he lay'.

This well-known song by Vaughan Williams is arranged here for mixed voices, with additional lower voice parts by Alan Bullard. The pastoral imagery in the lyrics is beautifully brought to life by the trademark folk-inspired melodies, fluid harmonies, and a lively piano accompaniment. Originally published in The Oxford Book of Flexible Choral Songs.

for SABar (with optional Bass) 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 SA and piano.

for SATB (with divisions) unaccompanied This beautifully expressive piece is based around The Seven Sacred Virtues of the Lakota; the title, 'Walking the Red Road', refers to the commitment to purposefully live by these values, the metaphorical 'red road', being a spiritual way of life. The unhurried tempo gives space for the listener to reflect on the text, while sumptuous harmonies create a rich cushion of sound.

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.