This choral arrangement for unison voices with divisi at the end is a very dramatic and rhythmic setting of an apocalyptic text, Luke 21:25-26 and 33. Accompanied by full minor chords on piano, this very

A 19th century Shaker song is set in a skipping 6/8 setting. The opening verse is sung in unison voices, after which the SATB chorus exhorts us to celebrate life, love, and communion. Come Dance and

This spiritual, which begins over a repeated "have mercy, my Lord" in the low voices, features realized dialect and pronunciation. A two-minute expression of jubilation, Duh Blin' Man is suitable for

This unique setting of a Richard G. Jones poem sounds exactly as the title appears. Somers calls for the percussion section to be made up of "found" instruments: anything from old car parts to old computer

A setting of the well-known Psalm 121, this arrangement starts maestoso with mixed meter and octaves in the piano. It then moves to a faster 5/4 section with more agitated accompaniment, continues through

A slow, a cappella meditation on a text from the Dead Sea Scrolls.

Using text from the book of Jeremiah, both choir and accompaniment imitate turning wheels. Oscillating 8th note patterns in major and minor seconds will challenge your singers.

Using text from Philippians 4:8-9, this piece features antiphonal singing followed by a climactic piano interlude with a key change that leads to a calm conclusion.

Using a Shaker text, Dietterich infuses the cold blast of winds throughout his choral setting for unaccompanied choir. The soprano lines (with frequent divisi) soar above the other supporting voices, adding