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Perhaps the most iconic song of the '80s is finally available as an a cappella arrangement! Rhythmic, full, fun to sing, yet not too complex so your singers will be able to tackle a few signature dance moves while they sing. Zombies optional.

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Featured on the 2013 season of NBC's The Sing-Off, the #1 hit by Michael Jackson has a sweetness that speaks directly to the heart. Lending itself to multiple soloists and vocal pairings, this is a perfect arrangement to showcase your talented singers!

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It's the instantly recognized theme from television and film! A great a cappella showcase for pop, jazz and show choirs, your singers will build performance skills and have fun in the process!

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Here's the showstopper from The Little Mermaid in a dynamite a cappella rendition by the incomparable Kirby Shaw. Great Caribbean change of pace! Available also SATB a cappella, SSAA a cappella.

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The theme song from the Disney animated classic simply sparkles in a warm a cappella arrangement. Nominated for a Best Score Academy Award, this music is timeless.

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The ultimate soft shoe song has been given novel twists and turns galore! This theme-and-variations arrangement includes the traditional soft shoe, a waltz, a jazz waltz, and a soap opera theme treatment! Perfect for your "novelty" slot in the concert.

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Celebrate the joy of music with this inviting Tom Gentry original. Opportunities for solo work and easy choreography are readily available in this gem.

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This poignant anthem was written in memory of the Revd Dr John Hughes (1978-2014), Dean of Jesus College, Cambridge. The text combines the nineteenth-century poet and Christian minister George MacDonald's emotive poem Lost and Found with the 'In paradisum' antiphon from the Burial Service in the Liber Usualis. The music is at times ethereal, melancholic, poignant, and life-affirming. The solo oboe and organ writing is integral to the emotive character of the piece, and the word-painting and angelic chorus moments encourage the listener to reflect on the subject at hand.
The Quest is featured on the Collegium Records CD The Gift of Life. An orchestration for chamber ensemble (solo oboe, harp, and strings) is available on hire/rental.

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As She Goes sets words by the composer on a reflective yet inspirational theme ("We were born to fly, but your wings come without a trial run"), against the backdrop of images from the natural world. The choral lines are simple and melodic, drawing on the sound-world of the folksong 'My Love's An Arbutus', which opens the work. Ideal for adult and youth upper-voice choirs, as well as children's choruses.

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This playful song sets the famous 'Beautiful Soup' poem from Lewis Carroll's Alice's Adventures in Wonderland in a suitably tongue-in-cheek manner. With lilting rhythms, intertwining lines, and opportunities for portamento, Beautiful Soup will make an enjoyable addition to any concert programme.

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Arrangement for SSATB by Anders Jalkeus (The Real Group).

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'How Do I Love Thee' is a a traditional choral setting of Elizabeth Barrett Browning's wonderful poem. 'Tre Karleksdikter' means 'Three love-poems.' These are settings of well-known Swedish poets, and would present a good challenge for a choir wanting to explore the Swedish language. 'It Was A Lover And His Lass' is a setting of Shakepeare's famous sonnet. The text has a lot of scat-like syllables (e.g. "hey-ding-a-ding") which Ward Swingle was able to adapt and use as part of the guitar-like accompaniment.

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The Swingle Singers often use "Flight Of The Bumble-Bee"as an encore piece. It has to go as fast as possible using a great variety of scat syllables in order to avoid lock-jaw. It also includes a fairly literal vocal transcription of Debussy's famous piano piece, "Claire de Lune." The tessituras are quite wide ranging from low D-flats for the basses to high B-flats for the sopranos. It is probably best sung with the help of microphones. This transciption of a Chopin "Etude Op. 25 No.9" is probably easier to sing than it is to play ! It should be performed at a brisk pace, with the main melody alternating between the Tenors and the First Sopranos. "Overture to Marriage of Figaro" - It was an interesting challenge to arrange this wonderful overture for eight voices. My group has often used it to open a concert. Of course it is very difficult but quite a few choirs have managed to master it. I think it works equally well on or off mikes, as long as a proper balance is maintained among the voices. Ward Swingle

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Setting a text by Charles Bennett, The White Field presents a dreamlike scene in which blackbirds plant songs in the cold earth and await the growth of their music. Chilcott's melodies echo through the voices, before a climactic tutti central section giving full voice to the idea of renewal and hope in the depth of winter. A wistful coda completes the reverie as the blackbirds settle to await the return of the sun. The piano part provides harmonic support and rhythmic energy to the voice parts with chordal and semiquaver figurations throughout the work. The White Field was commissioned by the Barbican Centre for London Symphony Chorus and BBC Symphony Chorus for Sound Unbound, November 2015.

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A setting of texts from Genesis, sung simultaneously in English and Hebrew.
The soprano saxophone/clarinet part is printed in the vocal score.
Orchestral material is available on hire.

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Commissioned by the 2015 Three Choirs Festival, this is Chilcott's second setting of the Evening Canticles. Bright and rhythmical, the Magnificat features syncopated chords in the organ part that punctuate the more sustained choral textures. In contrast, the Nunc dimittis is reflective, opening with a soaring soprano melody and building towards an expressive climax on the word 'glory'. Ideal for church and cathedral choirs looking for something new for their evening service.

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Originally the second movement of Chilcott's choral work Five Days that Changed the World, this poignant setting of words by Charles Bennett reflects on one of the most significant events of our time. The choral parts are melodic and interweaving, and the flowing piano part provides harmonic support for the voices throughout.

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Every Thing That Grows is an meaningful and uplifting setting of Shakespeare's Sonnet 15. Chilcott employs captivating vocal lines, a flowing piano part, and expressive clarinet interludes to reflect on the text's theme of mortality, with a profound closing section calling the listener to reflect upon the immortalising couplet 'And all in war with Time for love of you, As he takes from you, I engraft you new'.

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Another winning collaboration between Bob Chilcott and author Charles Bennett, this work was commissioned by Age UK Oxfordshire as part of a project to highlight and combat loneliness. The singers assume the role of narrator, guiding the listener on a journey made by boat, with nine choral songs presenting their own stories within this larger excursion. The outer movements provide a watery framework with rippling figures and gentle choral waves. An air of nostalgia pervades 'My father's boat' and 'What we did on our holiday', while the central songs use naval and meteorological imagery to speak of some of life's difficulties. Soliloquies between the choral songs highlight a variety of solo instruments, but these may be omitted if performing with piano.

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This is a setting of a text by Guyanese-British poet John Agard, which describes how eighteenth-century slave-trader John Newton became an abolitionist. Featured on Orphei Drangar's CD, De Profundis: Sacred Repertoire for Male Choir.

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Thou, my love, art fair was written for The King's Singers and first performed by the group on St Valentine's Day 2015. Setting the William Baldwin poem, Christ to his spouse, this delightful song makes full and effective use of the voice parts and features charming harmonies and interweaving melismas. Chilcott has treated the sixteenth-century text with due care and style, creating a beautifully elegant piece of music.

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Modest and humble, this is how the old man Simeon is described; he who recognizes the fulfillment of his life, as he takes the new-born Jesus in his arms in the temple and praises him as "the light to enlighten the heathen." Matsushita's setting of this scene is portrayed sensitively and, accordingly, is simple and primarily homophonic. The women's voices are set in a more comfortable range and are treated melodiously. Thus the composition can move in a very relaxed manner, flowingly, meditatively. The work is entirely tonal, without any modernisms. Important words are emphasized through the use of third relationships. The almost minimalistic piano accompaniment proceeds both independently from the choir, yet supports it and adds color which lends the work a traditional as well as a clearly "contemporary" character. This first choral piece can be performed by soloists or by a small choir, making it easily accessible to any girl's or women's choir.

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Matsushita's setting of a hymn for Pentecost is a dialog between women's choir and piano: while the choir develops its melodies from the Gregorian hymn, the piano provides a counterpoint with the minimalistic sounds of fourth and fifths, together with short independent motives related to the text of the hymn. Corresponding to the chorale, the meter changes continually, as if floating. The choir is treated homophonically throughout and, in preparation for the climax of the piece it is briefly divided into six parts at the words "pacemque dones protinus" (true peace bring unto us). One again Matsushita proves himself a master of economy in his use of compositional means; thus his works of new church music are appealing, effective, and they express humility.

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"Flight Song was written as a gift to Dr. Anton Armstrong and the St. Olaf Choir. I had the pleasure of working with Armstrong and his choir in 2013 and their performance of my piece Even when He is silent was sublime. I was impressed not only by the artistic work, but also the personal development and safe environment Armstrong has given to so many young singers. With this piece I want to show my gratitude for their performances on tours all over Norway and the United States." -- Kim Andre Arnesen

"This is the first piece on which Kim and I worked together. I live in a house that overlooks two great British rivers, the Wye and the Severn, and the air is constantly alive with the sound of seabird wings and calls, so when Kim came to me with the idea of writing a piece for these amazing young musicians, the idea of flight as a metaphor for the beginning of a young adult life - and as a tribute to a great conductor - came to me first. A human life preparing to take off, and the movements of a conductor's arm like the beating of a soul's great wings, are images at the heart of this piece." -- Euan Tait

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Incorporating the traditional melody that we all associate with this title, Jon Washburn has composed a new melody and overlays the word "Peace" spoken in 40 languages. Scored for double choir, there is a beautiful antiphonal effect that adds to the sense of "Peace" being encouraged by the choir.

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Jon Washburn has crafted a lush and dramatic setting of this traditional Japanese folksong. Using the choir as a traditional Japanese stringed folk instrument, Jon sets the mood with a gentle vocal accompaniment for a soprano solo. Soon the dynamics swell and the full sense of spring and the wonder of nature explode with vocal intensity, painting the picture of the arrival of spring.

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Andre van der Merwe's arrangement of this African Prayer for peace captures the unashamedly emotional content of the song. The performance should be poignant and powerful. Also available for SSAA.

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Ever clever, composer Narverud put on some tribal gear and came up with a highly rhythmic celebratory composition. The title translates "We are one", the theme being that all human beings have much in common. The energetic djembe sets the tone, the piano adds its own rhythmic design, and the singers deliver the message, at times sounding as though there should be a campfire at the center of their circle. Great fun, a profound message, and an intriguing piece, this is a winner!

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Recently recorded by VOCES8 to celebrate the Royal Wedding, Ed Rex's "This Marriage" is a setting of words by the 13th-century poet Rumi, in which blessings are wished on a married couple.

*Ed Rex is a composer and arranger based in London. He was a chorister in the Choir of Kings College, Cambridge, went on to the King's School, Canterbury, and returned to Cambridge as a choral scholar at King's. He graducated with a double-starred First in Music in 2010.
He has written for various groups, including The King's Singers, VOCES8 and the Choir of King's College, Cambridge, and also recently wrote the music for a West End play directed by Tom Attenborough. His music has been played on BBC Radio 3 and 1Xtra.
Ed is musical director of the Camden Choral Collective, a choir for the contemporary music scene who sang with Dizzee Rascal at the BBC Electric Proms in 2009. He is also a regular contributor to The Spectator.

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Great for a church festival, or graduation. This expressive and emotional piece captures the audience's attention with it's gentle melody.

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