Rollo Dilworth Choral Series-Kevin A. Memley's The Time Of Roses for SSAA choir a cappella. This buoyant madrigal-like setting of the Thomas Hood text offers a wonderful opportunity for choirs to practice light andarticulate singing. There is wonderful contrast between the lively passages and lyrical legato sections.

True Colors by Billy Steinberg and Tom Kelly arraged for SSAA choir a cappella by Deke Sharon.

O beata Trinitas. for SSAA double choir unaccompanied. In this compelling motet for the Feast of the Holy Trinity, Handl artfully embodies symbolism of the Trinity within the motet's structure.

A Spotless Rose by Welsh composer Paul Mealor arranged for unaccompanied SSAA divisi chorus. The sublime harmonies of this piece were released on the album 'A Tender Light' that also featured his piece composed for the Royal Wedding. The moving melodies and dramatic dynamics of the vocal parts in A Spotless Rose create a subtle solemnity in the wash of the beautiful soprano and alto parts. Featuring a Piano part for rehearsal only the unaccompanied soaring of the choir will make a truly lasting impression on any audience. In the September 2015 issue of the Organists' Review DavidLindley writes that this piece 'encompasses a wide dynamic range and some high tessitura for sopranos as the music celebrates 'Mary purest maid' contrasting with the slow-moving chordal setting of the rest of the text.'

This work have been composed for the DR Girl choir in 2014, with lyrics by Knud Romer.

Heinrich Poos is not the first composer inspired by Friedrich Gottlieb Klopstock's poem 'Die Auferstehung', as even Gustav Mahler had already used these verses in the fifth movement of his Second Symphony 'Auferstehung'. Mahler was inspired to use a choral movement at the end of his symphony at the funeral of the conductor Hans von Bülow where a choir sang a chorale based on said text by Klopstock. Heinrich Poos wrote his deeply moving choral piece in remembrance of the organist Hubert Schoonbrodt. / Choeur De Femmes (SSAA) A Cappella

Commissioned by the 2012 ACDA Women's Choir R and S Commissioning Consortium, the entire piece drives toward the last line of the Stacy Gnall poem 'big brother, I am catching up to you.? One long, rhythmic race, this selection will be a wonderful contrast to much of the repertoire often included in women's choral concerts. / Choeur SSAA A Cappella

Lush vocal textures and expressive harmonies are the highlight of this well-crafted a cappella setting of the classic ballad from Rodgers and Hammerstein's The King and I. An excellent showcase for both concert groups and vocal jazz ensembles this delightful setting for SSAA choir a cappella has been arranged by Kirby Shaw.

Newly arranged for SSAA choirs! Using jazz articulation in an exuberant spiritual style this original provides an exciting dimension to choral programming! Performance Time: Approx. 2:30.

'Close Harmony' offers unaccompanied arrangements of a variety of well-loved songs from the 1920's to the 1970's. Performances should work equally well with choirs or just four voices. Arranged by Nicholas Hare for SSAA. Helpful performance notes are included for each of the songs and the arrangements are notated on two staves for easy piano rehearsal.

This a cappella Shawnee Press Classic by composer Houston Bright has been a staple in choral libraries for many years. Suitable for developing voices and smaller choirs retaining the vocal finesse. Discover again this greatchoral work. Available separately: SSAB a cappella; SATB a cappela; SSAA a cappella; TTBB a cappella. Duration: ca. 2:17.

Introduce your choir to the fun of a cappella singing with this accessible arrangement of the Lee Ann Womack hit that topped the charts in 2001. Crafted for success this setting gives all the parts a chance to sing the melody while the background vocals are easy and create a perfect stylistic texture. Available separately: SATB a cappella SSAA a cappella. Duration: ca. 2:45.