Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir, Jerry Blackstone, conductor, thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund. Composer's note: Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watched and heard (safety, tracking, empowerment, and pride) has, in some sense, always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm, hacking, subjugation, and embarrassment). The work takes its title from the British social research organisation, Mass-Observation, which aimed to record everyday life in the United Kingdom. Founded in 1937, Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work, on the street and at various public occasions including public meetings, sporting, and religious events. Scored for chorus and percussion sextet, Mass Observation ebbs and flows between various polarities (human voices and percussion instruments, pitched and unpitched sounds, clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work, reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence. Duration approximately: 40 Minutes / SATB div. Et Percussion

Korean Folksong-Nonsense syllables and passages for various forms of laughter make this a highly entertaining work for both singers and listeners. Challenging and quick rhythms make this a great selection for good high school choirs and above.

The TTBB edition of African Processional was commissioned by Charles Bruffy and the Phoenix Bach Choir for the educational outreach program. This welcome song uses African Percussion and provides a plethora of creative staging ideas.

If you have enjoyed Greg Jasperse' VoiceDance series you will love this new addition written for the all-camp choir at the New York Voices Vocal Jazz Camp. A dance of joy and celebration this new VoiceDance givesthe opportunity for improvisation and percussion with Greg suggests several ways to perform the piece making it adaptable for different choirs and performance times. Stunning in its creativeness and choral excellence. Available:SATB a cappella. Duration: ca. 4:54.

Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page. Lively percussion captures the attention followed by a stacking of voices singing this popular South African folk song. Attention is given to vocal writing that creates rhythm patterns around the melody use of repetition and the use of both English and Swahili. A perfect beginning a cappella work for young singers and developing choirs. Percussion parts are available for download on the Closer Look page.

Paperback-Following the success of Songs of Africa (for mixed voices) Fred Onovwerosuoke presents six authentic arrangements of African songs scored for upper voices and percussion. Published in two small collections - this set for SA and the second for SSA - the songs originate from a variety of locations including Zimbabwe Botswana Nigeria and the Republic of Benin. With texts to celebrate an assortment of themes such as harvest Christmas play/leisure and marriage these arrangements are sure to delight all choirs looking for something a bit different.An English translation and a pronunciation guide are provided for each publication.

There are seven songs and an instrumental interlude making all together an entertainment that provides opportunity for very simple stage action and dancing: nothing at all elaborate is needed in the way of scenery and costumes.The voices are in unison throughout and their part is always doubled by instruments which should make it relatively easy for quite young children to learn their way into Davies's delightful tunes. The references to Hoy areincidental and could possibly be adapted to suit the locality of a particular performance. In any event most of these tall stories and rhymes will appeal to children everywhere.Set of instrumental parts (8 descant recorderparts 4 tuned percussion parts and 4 unpitched percussion parts).

Kalinka is a Russian folk song which has been beautifully arranged by Thomas B. Pitfield for Unison Voices with Piano Accompaniment. Optional second voice and percussion parts are also scored.

A vibrant and varied 'capital' choral cantata in five movements. Written for SATB choir upper voices choir Piano duet and optional percussion by Bob Chilcott. The two outer movements draw their words and inspiration from the cries of London by Orlando Gibbons and frame three contrasting middle movements setting a poem each by Dunbar and Wordsworth as well as anonymous 18th-century rhyme Oranges and Lemons Together these settings evoke a surprisingly contemporary vision of London sights sounds an moods inspiring some irresistible music by turns contemplative and unquenchably thrilling!

for SSAA 3 trumpets timpani 3 percussion and piano duet With its trumpet fanfares and rhythmic vitality this exciting anthem ends with a jubilant shout of celebration and is suitable for any school or upper-voice choir. Instrumental material is available on hire.