Our Easy-To-Master Masterworks™ put the sounds of
great music within the easy reach of any choir. Please do not hesitate
to contact us if you are interested in any of
the works in this catalog.
indicates that sample pages are available (requires Adobe Acrobat Reader).
The icon indicates that
an MP3 is available. All audio files are non-streaming, and range from
3 to 7 MB in size.
Organ and Brass
Canzona Triumphale from the suite from "The Merchant
of Venice." Brass quintet or brass choir with optional timpani/percussion.
Originally composed for a performance of Shakespeare's drama, this work
rings out joyously in the antiphonal style of Renaissance tower music.
The quintet version sets the organ in dialog with the brass; in the version
for brass choir, the brass are separated into antiphonal units, with the
organ unifying the sound of the separate choirs.
Cortège Triomphale. Brass choir, snare,
cymbals, timpani, and organ. A bold and rousing coronation march, suitable
for any festival occasion.
Festival Processional. Bold and heroic, the noble and
regal tones of this work belie its simplicity. A good "hip pocket"
work for any festive occasion that calls for a processional.
Festival Processional on "Sine Nomine". Brass
choir, timpani, cymbals (optional) and unison chorus/congregation with
soprano descant. Setting the lyrics to two verses of the hymn text "When
in our music God is glorified," this processional is especially suited
for choral festivals or "choir recognition" Sundays.
Festival March "Discipuli de Pulpito". Brass quintet or choir, timpani, snare drum, cymbals, and organ. A joyous recessional, with just a touch of humor—as is only fitting for a march dedicated to "students at the teacher's desk," the English translation of the Latin title.
No Candle Was There and No Fire. Brass quartet or quintet, timpani/percussion, organ. Lisa Lehmann's lovely Christmas song, this time arranged for brass. (Choral arrangement also available.)
Postlude on "Brixton Victory". Brass choir, organ, timpani, and percussion. An instrumental setting of
an original hymn tune, in the style of the great English cathedral. A choral version of the same work is also available.
Toccata in C "Angel's Song". Brass quartet or quintet with organ. A fiery postlude on the beloved carol "Angels We Have Heard on High."
Toccata in Dialog. Brass choir or quintet, optional
percussion and timpani, and organ. The fire of the en chemade reeds and the roar of the pedals ring out in dialog with the brass, accompanied
by a blazing sixteenth-note-sextuplet figure that's much easier to play
than it sounds!
Wassail Toccata. Brass quartet or quintet, timpani, organ. A jubilant festival toccata bursting with Christmas joy, as only the "Gloucester Wassail" can express it.
Chant Suite for Brass and Organ (movements available
Processional on A Russian Chant. Brass quintet, organ, timpani, and cymbals (optional). A proud
and noble processional (or recessional) on a Russian incipit for Psalm
113: "Hvalite Imia Ghospodne". Published for quintet and organ by GIA. Contact the composer for other ensembles.
Meditation on "Christ Our Passover." Brass
quintet, organ, timpani, and unison chorus (optional). Suitable for prelude,
offertory, or communion meditation, with an optional (and very easy) unison chorus part doubling the chant tune. A good choice for
an "instant" anthem any time brass players are available. Published for quintet and organ by GIA. Contact the composer for other ensembles.
Fanfare and Toccata on "Veni Creator Spiritus".
timpani, snare drum, and suspended cymbal. The fire of the holiday of
Pentecost infuses this rousing postlude, setting the traditional Pentecost
plainchant to spirited modern rhythms. Published for quintet and organ by GIA. Contact the composer for other ensembles.
Mass of Peace. SATB (divisi), treble chorus, organ,
orchestra, and congregation. A new English translation of the Mass created
specifically for this work, with "call and response" sections
for congregational participation. The Mass of Peace strives
to create a very special unity between the text, the music, and the
audience, breaking the barriers that separate the liturgy from the "non-liturgical"
listener, classical from "world" styles—even breaking
the wall between performer and audience, by setting the bar of participation
at the level of "repeat after me." It ends not with the traditional
"Ite missa est" of the formal Mass, but with a final message
of peace, a benediction from the Song of Simeon: "Lord, now lettest
thou thy servant depart in peace."
(excerpt, final two movements)
Te Deum Laudamus. SATB (brief SATB solos), brass ensemble,
handbells, harp, percussion, and organ. The traditional 1662 text is
set first to bold rythms in shifting time signatures, with full brass
chords and crashing cymbals; then, when the text turns from praise to
supplication, the soft sounds of the harp and handbells bring the work
to a peaceful and sublime conclusion.
Music in the Classical and Cathedral Style
A Promise of Comfort. SATB chorus and organ, with
optional brass choir and timpani. Composed to commemorate the tragedy
of July 7, 2005 in London, and dedicated to the victims of the tragedy
and their families, this short anthem offers words of comfort from the
Scriptures: "The souls of the righteous are in the hand of God;
no pain nor grief shall nigh them come. For we have here no continuing
place, but we seek one that is to come. For the ransomed of the Lord
shall return again, and songs of everlasting joy upon their heads shall
Behold My Servant. SATB, optional
treble chorus, organ. The ordination anthem for the Right Reverend Jon
J. Bruno, sixth Episcopal Bishop of Los Angeles; a setting of Isaiah
42 in the style of the nineteenth-century English cathedral. Published
De Profundis. SATB chorus and organ. A setting of Psalm 130, excellent for Lent and other penitential or introspective seasons.
Hail, Gladsome Light. SATB chorus with chamber orchestra.
A setting of the "Phos Hilaron," one of the oldest (if not the oldest) Christian hymns. In Latin.
Hodie. SATB (optional divisi) and orchestra. Described
at its premiere as "the greatest piece Vaughn Williams never wrote,"
this is an electrifying setting of the proper for Christmas Day.
I Walk the King's Highway. Chamber orchestra, handbells, SATB soloists and chorus, and congregation. Composed for the 100th anniversary of Oneonta Congregational Church, this festival anthem is suitable for any service of dedication--or re-dedication.
Lenten Mass. Cantor, congregation/choir, and organ.
A favorite at the Cathedral Center of St. Paul in Los Angeles,
this simple Mass is intended to be used as service music, and can be
learned quickly and easily by choir and congregation alike. An easy
"new liturgy" for congregations accustomed to a sung liturgy,
and an accessible introduction to sung liturgy for congregations who
would like to try something new (or should we rather say, "something
Lift Up Your Heads. Introit for SATB chorus, SATB
semi-chorus or soloists, brass choir, timpani, and organ. A powerful
beginning for a festival service, in which the choir can be placed at
the back of the church, or even surrounding the congregation.
Magnificat. SSATB and organ. The Canticle of Mary, in a setting suitable for five soloists or chorus.
O Sacrum Convivium. Soprano solost, SATBB chorus (either or both) and organ. A simple and beautiful anthem extolling the mystery of the Eucharist, setting a text by St. Thomas Aquinas. Available from OCP in single copies or as part of their Holy Week octavo packet, and they have also released a recording on CD.
O Savior of the World. SATB chorus with optional organ. A setting of the Good Friday text "Salvator Mundi," in the style of the Russian Romantic era, but scored for today's more humble choral resources.
Psalm 57. SATB chorus (optional divisi) with piano
accompaniment. Commissioned for performance on Memorial Day 2006, at
Ground Zero in New York City; a dramatic setting of a psalm that offers
to people of every faith the Lord's sustenance and comfort in the face
Psalm 118. SATB (optional divisi) and organ, with
optional brass and percussion. A triumphant setting of a triumphant
psalm: it sounds "big," but the ease with which it reads and
sings belies the grandeur of its sound. For Easter or other festival
Sundays when you want to shake the rafters with a huge choral sound.
Sure On This Shining Night. SATB a capella. A gentle and meditative setting of the poem by James Agee (1909-1955), composed for and premiered by the vocal quartet Red Car Trolley. Originally composed for a quartet, it sings easily and can easily be performed by a group larger than the original quartet.
Surely He Hath Borne Our Griefs. S(div)ATBB a capella;
an optional accompaniment for chamber orchestra is also available. A
setting of the traditional Lenten verses of Isaiah 53, in the style
of the great nineteenth-century Russian composers.
The Strife Is Over. SATB and
organ. Hearkening back to the grand cathedral sound of Stanford and
Vaughan Williams, this new setting of a favorite hymn text features
soaring lines, heroic harmonies, and a grand final "Alleluia."
For choirs who would like something a little ambitious to learn, but
completely accessible for the listener. Optional instrumentation: brass
choir and percussion. (A recording of the brass/organ
version is available.)
Veni, Sancte Spiritus. SATB, trumpet, and organ. A setting of the "golden sequence," a text from the Middle Ages calling upon the Holy Spirit and celebrating the day of Pentecost.
Music in Contemporary and "World" Styles
Acclamation and Exaltation. SATB, piano, electric
bass, drum set, African percussion, and two C instruments (optional).
Originally composed for World Communion Sunday, this joyful work sets
the Memorial Acclamation "Christ has died; Christ is risen; Christ
will come again" in Swahili, with joyful African rhythms that will
get both the choir and the congregation dancing. Includes pronunciation
guide. A version for chamber orchestra is also available.
Create in Us Your New Jerusalem. SATB, brass choir,
organ, electric bass, drums and percussion. An anthem of rededication,
which employs the imagery of the "new Jerusalem" described
in Revelations as a metaphor for consecration and renewal. Featuring
a firey organ toccata accompanied by a powerful "rock" rhythm,
this is the ideal anthem for a "blended worship" church.
Do This and Remember Me. SATB and organ or piano. A communion meditation, ideal for introducing liturgical elements to non-liturgical churches. Nicely suited for smaller or "summer" choirs.
Gloria. SATB, brass choir, organ, electric bass, drums
and percussion. Suitable for Christmas or general use,
this joyous anthem sets portions of the Gloria of the mass to an infectious
Song of the Word. SATB plus alto soloist, orchestra
or two keyboards (piano and synthesizer), electric bass, drum set, African
percussion. The text from John 1 on the Word made flesh is set in Swahili
and English in a delightful combination of African and Western styles;
suitable for Christmas or general use. Includes pronunciation guide.
Parts for brass choir or chamber orchestra are available immediately;
two-keyboard version available later this year.
Rejoice and Sing Praise! SATB with piano accompaniment. A setting of Psalm 98; not a "responsorial psalm," but an anthem with congregational participation, and the only skill required of the congregation is the ability to "repeat after me." Ideal for small or "summer" choirs.
No Candle Was There and No Fire (L. Lehmann).
SATB (most parts divisi) chorus, alto soloist, and orchestra. A charming,
heartwarming arrangement of the classic song by Lisa Lehmann, one of
the most celebrated women composers of her time.
(Also available for brass and organ)
Sad Am I Without Thee. SSA plus soprano soloist and
chamber orchestra. A hauntingly beautiful Scottish folk song with a
new text: the soul longing for its Savior. Also available with the original,
traditional lyrics. (The recording uses the sacred lyrics; PDF shows
The Angels' Song (W. Billings). SATB
chorus and orchestra. A holiday favorite from the first truly "American"
composer, full of eighteenth-century sparkle, wit,
Three Shakespeare Songs. SATB, chamber/youth orchestra,
with solo violin or other C solo instrument. Three songs from Twelfth
Night: "Oh Mistress Mine," "Come Away Death,"
and "Hey, Ho, the Wind and the Rain." Suitable for smaller
and/or younger choirs.
Ave Maria. Mezzo soprano, handbells, and organ. Originally composed for an Advent Sunday celebrating Mary, this contemplative work is suitable for any service celebrating the Mother of God.
Handbell Doxology. Handbells, congregation, and organ. The text to "Old Hundredth," sung to the hymn tune Laßt uns erfreuen, with handbells pealing with all the joy of traditional change-ringing.
Ode to Joy. Handbells, congregation, and organ. A setting of the favorite hymn "Joyful, Joyful, We Adore Thee" accompanied by handbells, accompanied by strains from Beethoven's Ninth Symphony.
Prelude on Morecambe. Handbells and organ. A setting of the tune best known for the hymn "Spirit of God, Descend Upon my Heart."
Psalm 136. Handbells and piano. Premiered on Thanksgiving Sunday, the piece joyfully celebrates the exhortation of the psalm, "Give thanks to the Lord, for he is good."
Works for Concert Band/Wind
Commencement March: Sicut Incipiat
(Latin: Thus, let it begin.) For symphonic band with optional
organ. The inaugural commission of the Robert J. Flanagan Yale
Bands Commissioning Endowment, a fund directed to the commissioning and
premiering of music for concert band to ensure that the Yale Band’s
exemplary and long-standing tradition of commissioning the worlds’
greatest composers will remain an active and important part of the program
in perpetuity. The piece was specifically commissioned to become part
of the music accompanying Yale University's annual commencement exersises.
Also available adapted for brass quintet and organ.
Fanfare and Cortège. According to Dr. Thomas C. Duffy, Director of Bands at Yale University, Fanfare and Cortège is a "beautiful, well-crafted
mini-tone poem that... creates a sound-world of royal pomp, reserved celebration
and nostalgia." For symphonic band with optional organ.
Fanfare and Triumphal March from Macbeth. Brilliant
brass and thundering drums provide a fitting fanfare for Shakespeare's
Call of the Forest Spirits. A musical portrait of the
magical forest of Arden, from a suite of incidental music composed for
Shakespeare's As You Like It. Suitable for younger orchestras;
with optional SSA (wordless) chorus.
Christmas Festival Overture. After an introductory horn
call on the "Gloucester Wassail," this medley of carols explores
the joys of French Christmas music: "Tomorrow Shall Be My Dancing
Day"; "Bring A Torch, Jeanette Isabella"; "He is Born,
the Divine Christ Child"; and a rousing organ toccata on "Angels
We Have Heard On High." For full orchestra with organ solo.
Elizabeth's Farewell. Inspired by Arthur Miller's The
Crucible, this tone poem paints a picture of a time after the end
of the play, when Elizabeth "introduces" her infant child to
her father at her husband's grave; with optional SSA (wordless) chorus.
English Carol Overture. The Sussex Carol and the Boar's
Head Carol join to ring out the glad tidings of the season in this Christmas
jewel. For full orchestra.
Processional for a Quiet Time. A simple F-major processional
composed for the Baccalaureate service; suitable for any time a gentle,
but regal, processional is required. For chamber/youth orchestra.
Nightingale Walzes. A delightful night in Old Vienna for chorus and orchestra, with text by von Daumer and Goethe. Well suited for youth or community chorus (SATB plus two soprano soloists) and orchestra—and, if the chorus isn't available, it's a wonderful waltz setting just for orchestra.
Somerset Overture. Three traditional English carols
(the Somerset carol, "Good King Wenceslaus," and "God Rest
Ye Merry Gentlemen"), in a sparkling arrangement with sleigh bells
and horn calls that evokes the charm of the English countryside that will set the perfect mood as a concert overture. For full
orchestra. Published by Ludwig Masters.
Song for My Brother. A charming setting of an original
Scottish slow air ("Landsborough"), featuring the tune presented
by a solo viola. Suitable for small or youth orchestra.
Song for a Faraway Friend. A warm and gentle work, evoking
images of friends and family. Easy and lyrical, this works puts the expansive
"romantic" orchestral sound within the grasp of smaller orchestras.
Tragic Overture for "The Notebook of Trigorin".
Orchestra with cello solo. From a suite composed for Tennessee William's
brilliant reworking of Chekov's The Seagull, this piece has all
the sadnesss and poignance for which classic Russian romanticism is renowned.
Also suitable for younger orchestras who have "varsity" players
in the first chairs.