Ranging from the medieval period to the present day, this is a brief history of church music as it has developed through the English tradition. Described as "a quick journey", it provides a broad historical survey rather than an in-depth study of the subject, and also predicts likely future trends.

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATB with or without keyboard accompaniments.

The editors have selected a richly varied collection of sacred pieces for this period of the Church's year, always bearing in mind practical considerations and liturgical needs. Pieces are presented in order according to the Church's calendar, moving from Ash Wednesday and Lent, through Passiontide and Palm Sunday, to Maundy Thursday, Good Friday, Easter Eve, and Easter itself. The best of the standard repertoire is included alongside fine, less familiar, works. Ranging widely from the sixteenth century to the present day, this is a complete and practical collection for church choirs of all sizes and levels of ability.

This collection aims to provide a comprehensive survey of a highly significant part of the Christian Year: Ash Wednesday and Lent, Passiontide, Palm Sunday, Maundy Thursday, Good Friday, and Easter. Its contents span all musical periods of what is a marvellously rich area of church music and it contains much that is not widely available elsewhere under one cover.

Ash Wednesday to Easter for Choirs includes a number of less familiar works together with new or recent arrangements of well-known tunes, such as Philip Ledger's 'This joyful Eastertide', Simon Lindley's 'Now the green blade riseth', and Bob Chilcott's setting of 'Were you there?'. Some of the anthems, for example Richard Shephard's 'Sing, my tongue' and Grayston Ives' 'Ride on', have been newly commissioned specifically for this collection, thus filling certain gaps.

Wherever possible new practical performing editions of 16th-century repertoire have been prepared, reflecting current scholarship and including an English singing translation and, where, the original had none, a dynamic scheme. Such dynamics are the editors' suggestions only and may be freely ignored or adapted. Note values have in some instances been halved. Unaccompanied items include keyboard reductions for rehearsal.

Since it was first introduced in the Summer of 2000, Common Praise the new Hymns Ancient & Modern has sold over one hundred thousand copies, and been adopted by parishes in every diocese in England and Wales including eight English cathedrals and in five of the seven dioceses in Scotland. It is also used in numerous schools, colleges, hospitals, residential homes, retreat houses, religious communities, crematoria, missions and military garrison chapels.

In this third edition - fully revised to cover recent trends in hymnody - the author sets out a comprehensive guide for clergy, organists and choirtrainers seeking to achieve both a smooth working relationship and a high musical standard within the limitations of their local situation.