With a text from an old gospel hymn, this original setting is brisk and syncopated, perhaps even jazzy and calls for a bright, energetic and joyous choral sound.

Composer: Timothy Broege

for Tenor Solo, SATB Quartet (or semi-Chorus) and SSAATTBB Chorus, a cappella.

Composer: Rupert Lang

The title of Ain't That News is a tribute to the superb Staple Singers, who dang a piece by that name, not otherwise quoted in this chart. The opening seven measures are an adaptation of an old Paul Robeson 78. The rest of the piece is original material intended to pay homage to both the black church and black popo music, just one of the many genres that owes its soul to the spiritual. The composer states, "My goal is to allow even the most demure chorister to have at least a little taste of what it would be like to be Aretha Franklin."

Arranger: Stephen Hatfield

Beginning with two main thematic ideas that are developed throughout the work: a 2-note gentle, lilting motive and a 4-note lyrical theme that travels throughout the voices, this 7 minute piece for a cappella chorus will challenge any fine chorus. The use of triangles and simple body percussion near the end engage both the listener and the performers in a magical and heartfelt experience.

Composer: Andrea Clearfield

Here is the second movement and emotional heart of Heavenly Home: Three American Songs. Simple, soaring descants, countermelodies, and rich harmonic textures provide a symphonic breadth to this arrangement that encompasses the full, four-octave range of the choral instrument. Duration: ca. 6:15.

Arranger: Shawn Kirchner

The tune for Annabel Lee is an original one, but is treated as a folk song. The path of love is not always sunlit. In Shades of Love, the music expresses a variety of emotions brought on by diverse stages of love: ecstasy, tenderness, bitterness, wistfulness, eternal devotion. The colors and harmonies shift to match the mood of the poetry as each song portrays a different aspect of love.

Arranger: Doreen Rao

The words of the mortally wounded King Arthur reflect on life and the quest for ideals; the music artfully gives life to this wisdom.

Composer: Lee Kesselman

This Chippewa text is energized by close canonic entries.

Arranger: Imant Raminsh

A beautiful rendition of the sacred text from the Gospel of Luke set for SATB divisi chorus and mezzo soprano soloist. This work has been recorded by the Vancouver Chamber Choir, Jon Washburn conducting. Duration: 4:45.

Arranger: Imant Raminsh

Arranger: Doreen Rao

There are three sections to the piece. The audience can join in singing the opening groove. When the conductior or leader form the chorus gives the signal, the chorus goes into a second section. Because of the improvisational nature of jazz, the leader can then either return to the first section or go on the third section. During the first section, soloists should come forward to scat or create vocal drum grooves (percussion patterns made with the voice). Invite audience members to come forward to do solos. If you want, change the key of the piece or sing it fast or sing it slow or sing it slow, then fast to create vocal drum grooves to go in the background or, while the vocal drum grooves are wailing away, have the singing suddenly stop, letting the drum patterns shine out by themselves. Jazz is living music. You keep it alive by keeping it spontaneous. The piece should always end with the third section. The fast run at the end of the third section isn't so much sung, as it sounded-li

Composer: Nick Page

This robust, full-bodied song comes from the rich musical tradition of Transylvania. The vocal figures inspired by the dance rhythms and vigorous bowing techniques of this region should inspire choirs to sing out and make this an entirely powerful performance.

Arranger: Stephen Hatfield

A gentle Russian Doukhobor lullaby, the second movement of "Northwest Trilogy." Varied textures and voicings bring this song of warmth and simplicity to life.

Arranger: Imant Raminsh

This setting of a sixteenth century French poem celebrates May Day, the mid-point between the vernal equinox and the summer solstice, which in many traditions marked the beginning of the pastoral summer season.

Composer: Mark Sirett

Here's a carousing English toasting song, hearty and robust and perfect for the pub with raised glass in hand - or, if the chance arises, perhaps for your next rollicking encore or concert piece!

Composer: Stephen Hatfield | Performed By: England

Written in response to the 2003 war in Afghanistan, this haunting a cappella work is based on an original plainchant. Using only the words dona nobis as the text, the melody weaves effortlessly through the different voice parts, and then is heard in inversion and augmentation. Duration: 2:00.

Composer: Caroline Mallonée

with Mezzo-Soprano solo and optional Handbells. Melody by Janicka Vandervelde. (4:45)

Composer: Aaron Jay Kernis

Dubula is a folk song of the Xhosa people of South Africa. The style is boisterous, party-hardy and open-throated.

Arranger: Stephen Hatfield

Composer Rupert Lang has created a beautiful mediative and reflective work based on an Ute Nation prayer. From the earth we can learn how to live our lives with wisdom. Earth, teach me suffering as old stones suffer with memory. Earth, teach me freedom as the eagle which soars in the sky. Earth, teach me. Duration: 7:45.

Composer: Rupert Lang

For a cappella SATB chorus (with divisi), this setting of Shakespeare's Sonnet 87 is full of longing and desire. Voices fit comfortably around the ranges of their parts, and will resonate beautifully within the warm, sonorous harmonic language of Wayland Rogers.

Composer: Wayland Rogers

February Twilight is a stark setting of poetry by Sara Teasdale. The controlled restraint used in the vocal lines creates the image of a cold, clear winter's night. You'll practically see the night sky before you, and feel the chill of the air. Available: SATB. Duration: ca. 4:00.

Composer: Daniel Shaw

After a haunting, chant-like opening, this a cappella Christmas work builds throughout, concluding with an exuberant full chorus. Singers and audience will embrace the jubilant text My heart for very joy doth leap, my lips no more can silence keep; I too must sing with joyful tongue that sweetest ancient cradlesong. Duration: ca. 3:20.

Composer: Wayland Rogers

Written as a farewell to a beloved choir director, this work is filled with meaning and imagery both textual and musical. The text Bon voyage, I'll be moving, moving with the wind is illustrated by slowly drifting melodies and ostinati until the final quiet farewell. Duration: ca. 5:00.

Composer: Stephen Hatfield

Written in the style of students performing in Nairobi, Kenya, Harambee (a Swahili word that symbolizes unity) is full of energy, with an occasional drum and optional clapping to embellish the rhythm and enliven the performance.

Composer: Robert Hugh

In keeping with Sister Rosetta Tharpe's stylistic blend, this arrangement has a funky doo-wop flavored middle section that reminds us just how many different rock styles go back to the gospel source.

Arranger: Stephen Hatfield

Exploring themes of the traveler returning to home and family especially during the holidays, this work uses ostinati and superimposed lines of text in a hypnotic, jazz-flavored style that evokes the foggy December weather of St. John, Newfoundland. Duration: ca. 5:30.

Composer: Stephen Hatfield

This text comes from the Dakota people who address God as Grandfather and this a cappella work by Ruth Watson Henderson is prayerful, strong and full of passion. With large, low drum.

Composer: Ruth Watson Henderson

Based on Psalm 121, the text of this peaceful work captures the beauty and serenity of nature, and the promise of guidance and support from a higher power. The composer has carefully shaped the melodic lines to evoke that of a mountainous landscape and the tone colors to the bold hues of where the hills meet the sky. Duration: 5:00.

Composer: Jake Runestad

This memorably arranged spiritual is a compassionate call for social justice, tinged with anger at those who would stand in the way of the common good.

Arranger: Wayland Rogers

This setting of an Emily Dickinson text explores the bittersweet quality of those few summer-like days in what should be fall, comparing them to the bread and wine of the communion service. The music explores the full palette of choral expression, with dramatic contrasts in dynamic range and vocal textures. Duration: ca. 7:30.

Composer: John Burge

Now available for SATB, this fleet-footed setting of a medieval French folksong is packed with energy and self-assurance. Sure to please! Available separately: SATB a cappella, SSA a cappella. Duration: ca: 2:10.

Arranger: Stephen Hatfield

Jabula Jesu is not hard to learn, and yet creates very rich textures that allow for great variety in shaping and phrasing. The piece can be performed completely unaccompanied, but two or more percussionists can be added as desired.

Arranger: Stephen Hatfield

Adapted from a traditional African-American chant, this is - in the composer's words - a soulful piledriver with a monster backbeat. Plentiful but manageable divisi writing makes this a full and satisfying arrangement.

Arranger: Stephen Hatfield

Joulupuu On Rakennettu is a lovely Finnish Christmas carol. Each of the three verses is given individual treatment. (4:30)

Arranger: Charles Collins

Cuckoo calls and shifting moods across three verses round out this satisfying Welsh folksong arrangement. Both Welsh and English texts are given.

Arranger: Nigel Jones

This Nahuatl text is a lyrical, rhapsodic setting of a ravishing text. Features a Soprano Solo.

Arranger: Imant Raminsh

This setting of Solveig's Song from Act V of Ibsen's Peer Gynt is a gentle lullaby in ABA form. It features a variety of choral textures, some alternation of meters and interplay between the mezzo-soprano soloist and the rest of the choir. The middle section is characterized by increased divisi writing, contrapuntal imitation and some degree of modulation resulting in overall intensification.

Arranger: Imant Raminsh

Hauntingly beautiful, this is the story of a young girl exiled to a remote island by a hard-hearted uncle. The story of love and loss that unfolds is second only to the lush harmonies of the vocal lines.

Arranger: Stephen Hatfield

The first movement of Nights in Armor, a four-movement suite evoking the legend of King Arthur as related by Alfred, Lord Tennyson. "Merlin's Riddle" is a quirky, dance-like incantation, in which the famous sorcerer prophesies Arthur's coming.

Composer: Lee Kesselman

This was the winning entry in the DaCapo Chamber Choir (Canada) 2014 New Works competition. As each phrase moves to and from chords in inversion, the music ebbs and flows depicting life's flow, until the final phrase sweeps into a starry night toward the road's final ending.

Composer: Matthew Emery

This native welcoming song from British Columbia features free incantation alongwith evocative choral writing. First movement of "Northwest Trilogy."

Arranger: Imant Raminsh

Nukapianguaq (pronounced Nuhk-ah-pee-ang-guaq) attempts to present Inuit music in a choral setting that remains as faithful as possible to the aesthetics of the original tradition. Inuit chants are usually reflective in nature and spiritual in intent. They frequently aim at a kind of inner awareness and harmony with life that is comparable to the liturgical music of India and Tibet. A marked exception is the war chant which finishes the piece, which should end in a suitable frenzy.The chants included here do not have lyrics. The syllables used on the field recordings on which this piece is based have been identified by an Inuit teacher as a kind of 'scat'. Often the singer will improvise with verbal sounds that rhyme with the name of the child who is being sung to sleep, or the name of the person the singer wishes to honor.

Arranger: Stephen Hatfield

This breathtaking work, derived from unique fragments of plainchant from the 13th century, evokes a sense of serenity and peace. O Columba begins slowly and quietly with three verses of hymn in praise of St. Columba.

Composer: Ken Johnston

This gentle, soothing, and almost hypnotic work is taken from a traditional Alentejo carol from southern Portugal and the Magnificat. Each verse is treated differently, giving the solo voice and all the others an opportunity to sing the melody. It may be performed a cappella in Portuguese or English or with an optional instrumental accompaniment scored for strings, two tenor recorders, and harpsichord. Instrumental score and parts sold separately. Duration: 4:35.

Composer: Eurico Carrapatoso

Lowell Mason was American's first public school music teacher, known for his ability in hymn singing and conducting choirs. In 1838, Mr. Mason convinced the Boston schools to include singing as an essential part of the school curriculum. Includes two arrangements: one for unison voices with piano, and one for SSA a cappella in canon form.

Arranger: Doreen Rao

with Alto & Tenor Soli, with PercussionContents: All Throughout the Great Wide World, The Black Raven, Along the Peterskaya.

Arranger: Imant Raminsh

This Winnebago text is a quiet meditation, featuring a soprano soloist (imitating a boy soprano).

Arranger: Imant Raminsh

While the sopranos convey the text of the first half of Remember, the lower three voices softly echo the words remember me like fleeting glimpses of past memories. The harmonic implications are rather vague with clusters of notes creating a hazy effect. (2:30)

Arranger: Doreen Rao

Drawn from the English wassail tradition that brought blessings to crops and flocks, this Somerset melody is rousingly arranged for full chorus.

Composer: Stephen Hatfield

Written in the style of 19th century Shaker music, this new composition by Wayland Rogers uses claps and foot stomps along with energetic music to capture the sense of movement that is essential to this style of music.

Composer: Wayland Rogers