Revelation 20

With a text from Psalm 80:2, this a cappella piece is traditionally used on the third Sunday of Advent - the Gaudete or Rejoicing Sunday. The beginning quotes the "Alleluia" from the original chant, and

In this original choral setting of the spiritual Rockin' Jerusalem, the bells are intended to imitate the sounds of gunshots in a rallying cry for justice. The intensity and depth of this

The text of this powerful choral work is addressed to anyone facing struggles and it presents an honest affirmation that those struggles are real. Rather than deny the existence of problems or pain, the

This setting of one of Petrarch's sonnets alternates homophonic chorale texture with melody and supporting vocal accompaniment. The lyrical quality of the writing lends itself to a beautiful sonic

The traditional French carol sparkles in this strophic a cappella setting. It begins with standard harmonies but grows to feature both the upper and lower voices on the melody with accompanying harmonies.

Fun and energetic, this gospel-style a cappella arrangement of the traditional spiritual is easy to learn and dynamic to perform. There's plenty of repetition and very little divisi, making this

Crossing the Bar, one of Alfred, Lord Tennyson's most famous poems, is set as a journey. This journey begins at sunset in a minor mode and finishes in the relative major after having crossed the

Meaning "give us peace, Lord," this sublime setting is a great work for advanced and professional tenor-bass choirs. The chant-like textures are balanced with chordal dissonances, making for a very

This bluesy setting requires three treble soloists with power and confidence. The choral backgrounds are deliberately sparse imitating guitar, light organ, and banjo until a climactic group shout. The music

This brief but poignant a cappella work begins with a melding of the music and text in a bittersweet way. The music grows more animated as it progresses, adding quite a bit of dissonance to the harmonic

This selection is a song of determination that encourages the listener to stand up to the pressures of racism and oppression.

From Due South, one in a series of four choral suites that explore the cultural and natural wonders of various regions of North America. This movement is the short opening of this suite of five

From Due South, one in a series of four choral suites that explore the cultural and natural wonders of various regions of North America. This second movement takes its sweet time tantalizing the

From the larger work Due South, this movement almost feels like a hymn. A love song in every respect, the long flowing phrases and interplay between the voices as they sing "Love, O Love, my rising

From Due South, one in a series of four choral suites that explore the cultural and natural wonders of various regions of North America. This movement is a perfectly apt finale to this choral suite

One in a series of four choral suites that explore the cultural and natural wonders of various regions of North America. This choral setting is broad in both scope and tone; the tone painting evokes the

This arrangement for SSAA chorus is from the original set Due West for SATB chorus, which was commissioned by the Vancouver Chamber Choir in 1997. The simple, charming text by Tara Wohlberg is in a

This setting for SSAA chorus is an arrangement from Stephen Chatman's original set, Due West for SATB chorus, commissioned by the Vancouver Chamber Choir in 1997. The charming text by Tara Wohlberg

In this fourth movement from For a Breath of Ecstasy, the instrumental introduction leads to a completely a cappella setting of this Sara Teasdale text. This movement is slow, lyrical and hymn

An expressive original text that speaks to the healing presence of hope in our lives. Including a solo in a free, soulful style soaring overhead, the musical setting begins reflectively and then builds to a

This work has the ethos of a spiritual, with the text and a few riffs inspired by Amazing Grace. The choir, considering the power of grace in song, affirms that no trouble, no shame, no

This unaccompanied piece contrasts a simple unison motif with quick ostinato in the lower voices. The homophonic refrain clearly declaims, "All forces have been steadily employed to complete