Psalm 98:4-8-Upbeat and uptempo this joyous anthem could be used in both worship and concert. Its accessible Vocal writing alternates between unison and harmonic passages and a straightforward Piano part further supports the choir making this a perfect choice for church or school mixed choirs.

A tremendous setting of Psalm 148 for Upper Voices (SSAA) Unison Chorus and Organ (or Piano) by Gustav Holst.

John Tavener's popular setting of The Lord's Prayer is arranged here for Upper Voices and Piano or Organ by Barry Rose. The Lord's Prayer was originallycommissioned by the Guildford Philharmonic for the Tallis Scholars and first performed on 10th March 2000 by them at Holy Trinity Church Guildford.  This arrangement received a positive review fromGeoffrey Webber in the January/February 2016 edition of Choir & Organ.

Mozart's Laudate Dominum from Vesperae solennes de confessore K. 339 is arranged here for solo Soprano SSA choir and piano or organ accompaniment. This piece has been arranged with an English translation adapted from Psalm 117.

The Good-Morrow. Composed in 2000 for the highly regarded Cantamus Girls? Choir and their founder, Pamela Cook, The Good-Morrow is Howard Goodall?s stunning setting of the John Donne poem, for upper voices and piano. The universal themes of love, compassion and togetherness are echoed in the music, a reflective and uplifting choral work ideal for concert performance.

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.'