This song is about a miracle. Liam was born in December 2018 and was without oxygen for fifteen minutes. Normally, that is fatal. In Liam's case, he lived but he had no sight, no hearing, no touch and no brain activity. He was given days to live and his parents took him home to talk to him, sing to him, be with him in his first and last few days. Days passed and Liam didn't die. Day by day, his face lit up, he could see, he could hear, he could feel and his brain came alive. Now he is a happy toddler, with an innocent smile and a miraculous radiance. See Perusal Score.

This evocative setting of Ave Maria was written for the Choir of Holy Redeemer in Chelsea and workshopped by the BBC Singers with Judith Weir. The vocal lines intertwine, creating constantly moving harmony, like the acoustic in a big cathedral. The varied textures allow each part to shine, with sections for upper and lower voices. Ideal for many liturgies (where there is a Marian prayer) and a concert programme of lush choral music. Scored for SSSSAATTBB. See Perusal Score.

This 8-part setting of Ave Maria has subtly shifting tonalities, like sliding doors between different harmonies. The simple chanted lines allow the words to shine effortlessly, while the melodic lines weave through the texture. Scored for SSAATTBB. See Perusal Score.

Layering the voices with the alto saxophone soaring over the top, Ave Maris Stella Takes Flight is a palimpsest. Starting with the plainsong hymn, the lines build up, using the acoustic of the cathedral to create rich and luscious harmonies, while the solo line fills the vaulted ceiling. It features on the album Palimpsest with Sam Corkin (sax) and Canterbury Cathedral Choir available from Amazon, Presto and Spotify.  Scored for SSAATTBB and alto sax. See Perusal Score.

Ave Verum takes 16thC polyphony into a 21stC sound world. The rich choral resonances are created layering the simple motifs of Byrd's famous setting of the Ave Verum some 500 years earlier. In the final section, the oscillating figures for O dulcis and O pie create a soft bed for the soaring melodies of O Jesu Christe and miserere mei. Scored for SATB. See Perusal Score.

Birth in a City Park was written with poet Euan Tait as an alternative contemporary perspective on Christmas. Joe, a homeless boy, shelters Jesus in a modern city. The voices swell with joy and pain, building to a climactic refrain and finding peace. This four part setting for SATB is within reach of amateur choirs and sounds glorious sung by professional singers. See Perusal Score.

Written for CoMA Voices, Chiswick House sets the guide book to music. It opens with the address of the house, a little history, and then a tour through all the rooms. Each room has a different chord which alternate on repeat at the end as we get lost looking for the toilets. It's fun to sing and entertaining for the audience. See Perusal Score.

Domine Tu Mihi Lavas Pedes is the antiphon for the washing of the feet on Maundy Thursday, Lord You Wash My Feet? It was written for the Choir of Holy Redeemer in London. It has a plainchant feel with flowing melodic lines and rich harmonies built up from the plainchant riffs. It ends with a beautiful soprano solo (sung at the first performance by Sophie Bevan). It is suitable for Maundy Thursday, Holy Week or any service themed on service, sacrifice or love. See Perusal Score.

I dreamt this piece and had to write it down as soon as I woke up. It's all about the engagement between the singers, which creates the harmony. It's suitable for any number of singers, from 2 to 200. A larger group would best be split into a number of 'choirs' to facilitate the engagement between singers. The homophonic texture starts quietly, then builds and accelerates before the climactic final chord. See Perusal Score.

The words for I Carry The Light were written specially by poet Euan Tait, reflecting on the flickering light of love, passed to the world. The rich harmonies burst into chords from a single note, creating clouds of light. The two upper parts (soprano) create a duet of interweaving melodies and can be sung by soloists, semi-chorus or full choir. It's piece where the beauty shines through. It is suitable for almost any amateur choir as the lower parts are simple and it sounds fabulous with professional voices. See Perusal Score.

In The Beginning was commissioned by Fever Pitch, keen to have new material to sing in their regular Christmas concerts. It was premiered at a major charity event at St Paul's Covent Garden in London and performed two weeks later at Southwark Cathedral. The words - In the beginning was the Word: the Word was with God and the Word was God - have rarely been set to music, but they are perfect for a Christmas programme or liturgical service. Big choral textures are created from small beginnings, with climactic chords on 'God'. The second half is a soprano solo singing a long, lyrical melody over rhythmic and chordal patterns in the choral parts. See Perusal Score.

This piece sparkles, like the River Loddon which inspired it. From the twinkling figuration in the piano to the flowing melodies in the voices, this is pure uncomplicated joy in music. It's fun to sing and fun to play. See Perusal Score.

The Mass For Hengrave is a simple Missa Brevis for congregational use with SATB choir. There is beauty in its simplicity, yet there is melodic, harmonic and rhythmic interest. See Perusal Score.

The Minsteracres Compline was written for Monastic Music Hours, a musical retreat in the beautiful Minsteracres in Northumberland. It is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones and responses are intuitive for the congregation, with the SATB choir providing modal 4-part harmony. The Nunc Dimittis open up to contrapuntal treatment, yet still retaining a simple, reflective quality. See Perusal Score.

The Missa Et Incarnatus Est is the triumph, emerging from thirty years of crise créative. Not wanting to write modernist music (the hegemony of the 1970s), I found my voice with Missa Et Incarnatus and with it the confidence to create a major work for 8-part choir, 3 soloists and an 8-piece instrumental ensemble. The work has many inspirations - Gregorian chant, Messiaen, Poulenc, Janacek, Bach, Victoria, Machaut. It comes from a deep love of liturgical music and a desire to create something that adds to the repertoire. The Credo has a novel structure. Instead of a series of movements of roughly equal text, the apogee (the words, Et Incarnatus Est) are extended to become the centrepiece, bookended by repeated fanfare-like Credos and the acts of faith ('I believe...') set to a modern, modal psalmtone. The work ends with a peaceful Agnus, where the final cadence ('Dona nobis pacem) is a final resolution of the underpinning modality. Scored for SSAATTBB choir, SAB soloists, organ or ensemble of clarinet, oboe, bassoon, trumpet, trombone, violin, cello, bass. See Perusal Score.

Night Song was commissioned by Janet Oates for the inaugural concert by Philomel, a vocal ensemble of six sopranos singing repertoire from Hildegaard von Bingen to specially commissioned works. The words were written by poet Euan Tait about a woman carrying water in the darkness, accompanied by birdsong. The six voices are layered to create rich harmonies, building to a cascade of sound as 'the birds sing sudden rainfall'. The piece was workshopped by the BBC Singers. It is for professional or advanced amateur singers, but well worth getting six sopranos together to create an exciting choral texture. It works with solo voices or chorus. See Perusal Score.

This is a psalmody setting of the Nunc Dimittis, the canticle for Evensong or Compline. The top line is largely static, with the harmonies becoming increasingly rich underneath. The voice leading ensures that it is easier to sing than it sounds. See Perusal Score.

On The Beach takes its inspiration from waves, lapping on the beach, overlapping and creating undercurrents. There is always movement, revolving around a rhythmic and harmonic constant. The melodic fragments allow the singers to paint their own picture, one brush stroke at a time. Written in open score, there is a randomness, determined by the performers overlapping and interacting. Duration 3' - 6' (depending on the conductor).  See Perusal Score.

The Reproaches are traditionally sung at the Good Friday service, remembering the suffering of Jesus at the hands of the people. This setting has simple, yet powerful harmony, capturing the anguish of the words. The psalmtone has an elaborate cadence, accentuating the words. Duration 4' (if all verses are sung).  See Perusal Score.

The Reproaches are traditionally sung at the Good Friday service, remembering the suffering of Jesus at the hands of the people. This setting has simple, yet powerful harmony, capturing the anguish of the words. The psalmtone has an elaborate cadence, accentuating the words. Duration 4' (if all verses are sung). See Perusal Score.

Rhythm Herd is a celebration of rhythmic energy in words and music. Euan Tait's poem harnesses the stampede of whinnying horses, the crackle of the fire, thundering south and gives the singers the power of nature's forces. The four sopranos keep constant pulse passed between the voices as the quavers are herded into chords, melody, phrases and whole movements. Their warm tones are punctuated by riffs on the recorder, building up to an extended obbligato fughetta. Finally, the heart dissolves to ashes, the pulse of the sopranos slows, while the recorder maintains the rhythmic riffs, now in time with the human heart. Rhythm Herd was commissioned by Philomel and first performed by them on 24 November 2018. See Perusal Score.

Written for JAM in the Marsh, Romney Marsh Cries gives voice to the land donated by the sea, enclosed by a cliff and a canal, fertile and remote. Here, generations have made their lives over hundreds of years, from the land and the sea. The voices of the choir and the brass quintet strike out with rough waves of sound, cascading over each other, through a reclamation of calm in the middle to a resigned peace of the lost beauty once sung here. See Perusal Score.

Peter Tranchell was an inspirational composer, academic and teacher. He was a great inspiration to me as a student, giving insight into music through architecture and literature. Rorate Caeli is an opportunity to repay that inspiration several decades later. The single phrase countertenor solo is a reminder of the all male choir at Gonville and Caius College, Cambridge, which was such an important part of Peter's life. See Perusal Score.

Written for the Choir of Holy Redeemer, Chelsea, this Salve Regina makes the most of the 8-part vocal texture with rich harmonies and different voice groupings. The fluid lines are reminiscent of Gregorian chant while the close canonical writing builds into rolling cluster chords. It ends with a beautiful harmonic resolution in the final cadence (similar to the ending of the Missa Et Incarnatus Est).  See Perusal Score.

This short setting of the Sanctus from the Mass makes the most of the six voices. It is loosely based on the Gregorian chant Mass XVIII (traditionally sung during Lent, Advent and at funerals). The characteristic opening falling phrase is layered to create rich cluster chords that are surprisingly easy to sing (and enjoyable). See Perusal Score.

Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.

Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.

Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.

Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.

Set Me As A Seal is perhaps the most famous text for weddings. This setting celebrates a Golden Wedding, quite an achievement and a time for celebration. It marks the occasion with a moment of reflection and wonder, capturing the beauty of timely union. The lush harmonies underpin beautiful flowing melodies in each voice, all parts marking the occasion together. See Perusal Score.

Sarah is kindness itself and it's no surprise that her best friend, June Curtin, wrote such beautiful words about the power of kindness to a stranger. The music captures the tenderness and strength of kindness with beautiful flowing lines and a fitting climax of vocal counterpoint. June Curtin is known for Snámhaí Sásta, the daily swim in Spanish Point which has given wellbeing to thousands across Ireland and the rest of the world. See Perusal Score.

A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. Scored for ABarB or SSA or TTB. See Perusal Score.

A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. See Perusal Score.

A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. See Perusal Score.

The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.

The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.

The Butterfly is joyful in a burst of life. Euan Tait's words celebrate the exuberance of singing. Dominic McGonigal's music brings it to life with a beautiful, flowing setting, building the textures of different combinations of voices. This is full of the joy of life. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.

The Lamb captures the wonder, power and timelessness of William Blake's famous poem. Rich harmonies and strong melodies build to a contrapuntal climax and an ethereal ending. See Perusal Score.

The Owl is at peace and so are we. Euan Tait has captured the serenity of the owl and Dominic McGonigal's music matches that with pleasing harmonies and a calm melodic line. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.

The Racehorse is just happy to be alive, running for joy. Joy is the key word in Euan Tait's poetry, brought to life by Dominic McGonigal's music. There's a pulsating rhythm running through, with different textures from the different combinations of voices. It ends with pure joy. It is set for five voices, SSATB and can be sung by a consort or a choir.  See Perusal Score.

The Spaniel is lost, dying, but found and saved. Euan Tait's words are of hope for an animal abandoned. Dominic McGonigal's music brings it to life with a beautiful, simple setting, allowing each of the five voices to shine through, coming together for a glorious climax as the spaniel is saved. The final 'You found life' is an expansion of the opening 'I found you'. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.

Ubi Caritas is a contemplative setting of the words Where There Is Charity, There Is God. Like the famous Durufle setting, it is based on the Gregorian chant, with the beautiful flowing melodies set against a pedal note. The harmonic colour is accentuated by the use of the words Ubi Caritas as a refrain. It is scored SATB Choir a capella and can be rehearsed by a professional quartet in about ten minutes. It is suitable for general liturgical use (especially communion and Holy Week), as well as in concert programmes. See Perusal Score.

Vegetable Soup was written at the very formation of CoMA Voices, the first CoMA vocal ensemble, mirroring the instrumental ensembles which were already established by then. The opening scoring and semi improvised writing make it suitable for any group of singers and it was a success from its first outing. Melodic catches introduce the ingredients over a low, rhythmic pedal. The free writing allows the voices to interact and build to a climax of dynamic and texture. See Perusal Score.

Where Music Touches Spirit celebrates the joyful and mystical power of music to touch our spirit. The spirit is at times ethereal, at other times exuberant, with words by poet Euan Tait capturing this duality - 'what is written on my life, scored…in music, seeing a stranger face...oh, constant friend, choired self, orchestra of sufferings'. The refrain, 'here, the music touches spirit' develops into an exstatic coda, rising higher with each iteration of themes for music and spirit. Finally, the mystic and the joyful are united in a powerful cadence. See Perusal Score.

Euan Tait (poet) has really tuned into adolescents' struggle with identity and their need of friendship. The music is joyful, celebrating the exuberance of friendship and joie de vivre. It is scored for soprano, alto, baritone so easy to sing for most community choirs and church choirs. See Perusal Score.