These five spirituals for unaccompanied chorus despite the occasional appearance of complexity are basically simple: the harmony indeed is of the simplest possible. The apparent complexity arises primarily from the number of parts which are not however all real parts. These in fact seldom comprise more than the traditional four. Lines are frequently doubled at the octave rather in the manner of organ registration so that the chorus needs to be thought of as an organ-like body producing a homogeneous sound at many levels of the chords and melodies. Thus the numbers and even the kinds of voices needed to produce these chords and melodies in the most effective manner mustbe selected by the conductor from the whole body of the chorus according to the conditions of performance. Great latitude can be taken in this respect even to the extent of using low female voices for the high registers of written tenor parts or high male voices for the low registers of written alto parts etc.The only parts which are strictly differentiated are those marked Leader. These should be an individual voice standing out from the choir sufficiently to lead the singing both in the words and in the music. They need not be soloists engaged from outside.If the spirituals are performed in this way the apparent complexity of certain printed pages will disappear. Any reasonably sized chorus with four good leaders can produce the effect required.

From the same team that gave us You Raise Me Up comes Raise Your Voices as recorded by Secret Garden on their Earthsongs album. The orchestration and female soloist give this anthem the authentic Celtic feelof the original recording. Perfect for any size ensemble church or sacred school settings complete with orchestra pak.Available separately: SATB SAB and SSA. Instrumental ePak includes score and parts for Flute F Horn BbTrumpet 1 2 Trombone Timpani Cymbals Violin 1 2 Viola Cello and String Bass. ChoirTrax CD also available. Performance Time: Approx. 4:00

This work was commissioned by St Dunstan's College South-East London for the celebration of its centenary in 1988. It is an anthem and uses a setting of Psalm 100. The work has three main sections (fast-slow-fast) and is essentially jubilant in nature. After a brief instrumental introduction the choir enters using as its text the first two verses of the Psalm. This reaches a climax on the word singing after which the music subsides into the serene key of C major for female voices only to sing a reflective tune on the words Know ye surrounded by various counter melodies on solo horn and trumpet. Male voices then take over this tune (inverted) and the final comment isleft to unaccompanied choir leaving sopranos on a held low D. At this point the last section begins. The mood is set by Organ and Percussion the style takes off its hat to minimalism with multi-layered textures underpinning the choral unison on the word Enter. Eventually the tonality heads towards G major and a reprise of the opening music with a coda full of energetic exuberance.

No one writes memorable melodies like Don Besig and Nancy Price. Fun to sing and easy to learn “Hurry on Down to Bethlehem”invites the listener to run to the manger with a delightful gospel swing. Featuring both maleand female soloists this invitation to joy will remain in your heart and in your ears long after the final chord. The sky will glow with a shining light as the angel voices ring... “Hurry on Down to Bethlehem”– you don't want to miss it!