2 - 4 Part Upper Voices

SSA choir & piano/keyboard with optional bells
words: Wilfred Owen
music: Douglas Coombes
Written to commemorate the visit of his own women’s voice choir to the Menin Gate in Ypres, Belgium, Douglas Coombes has produced a most poignant setting of this World War I poem by Wilfred Owen. He has fully exploited the opportunities for word-painting with haunting harmonies and rhythmic effects. The simple part for bells is optional. Duration approx. 4 mins.

part-songs and rounds for A Cappella Upper Voices, edited and arranged by Douglas Coombes

Chatter with the Angels is a super collection of a cappella upper voice part-songs and rounds compiled, edited and in some cases written, by Douglas Coombes.
4-part rounds, with music by Douglas Coombes, ideal as either warm-up or cool-down material, sit alongside Tudor anthems in 3 parts by Dunstable, Deering, Redford and Weelkes, with a 4-part setting by William Beale (Come let us join the roundelay) as well as artfully arranged folk songs such as Begone dull care, My Johnny was a shoemaker, The Last Rose of Summer and Will ye go Lassie? This collection does not ignore the rich vein of Spirituals which includes the lively title-song Chatter with the angels as well as Peter, Go ring them bells. Original settings by Douglas Coombes comprise Betty Botter (a real challenge of enunciation and intonation if taken at the indicated tempo – Allegro con spirito (crotchet = 140)), Since singing is so good a thing (words by William Byrd), and The Knight of the Grail.
This is a handy volume for any girls’/ladies’ choir who enjoys a diversity of musical styles.
B5 format: 60pp with laminated card cover

An approach to choral singing through fun and effective warm-ups & pieces, which help everyone to sing & sound good

Starting from the premise that everyone would like to be able to sing together with others, and do it well, Bette Gray-Fow explains her approach to singing with groups of all ages and experience. She does not avoid the thorny problem of 'technique' and has uncovered and explained some of its mysteries, sufficient to enable singers to improve what they are doing, and thereby, gain greater enjoyment and sense of accomplishment. Her work is a layered approach from firm foundations, maintaining that it is not always necessary or desirable to use printed music in the early stages. Nevertheless, this book does contain 4 choral pieces (which may be photocopied) and various warm-up and preparatory exercises and the reasons why they are recommended. Most of all, they are fun with bags of 'street cred'.

44 pages + cover ISBN 0 85957 050 9

(SSA/A & piano/keyboard)
traditional arranged: Adrian Pitts
This setting of traditional melody & words also includes an optional part for the audience. It is thoroughly joyful and even includes in a touch of ‘Ding dong merrily on high’ from time to time. It is bright and breezy and the perfect con-trast to more reflective music.

for SSA choir & piano/keyboard

arranged by Laura Shur

We are excited to include this highly experienced composer and arranger in the Lindsay Music Choral Series, and first to be released is Laura Shur’s arrangement of this Northumbrian, traditional early English minstrel song. The vocal parts are pretty straightforward, but with plenty of interest, and the very pianistic nature of the writing will please accompanists. Suitable for both girls and women’s choirs.

Duration approx. 2’.45”

(SSA & piano/keyboard)
words: Thomas Tusser music: Douglas Coombes
If you’re looking for something lively to include in Christmas programmes this is just the thing. The text dwells more on the customs and merry-making of the Christmas season rather than the religious side. Originally written for an American youth choir, the range is neither too high nor too low in all voices and should be enjoyed by singers and audiences old and young.

by Robert Latham. A fast moving, declamatory piece, full of rhythmic interest, set to the traditional words ‘Gloria in excelsis . . etc.’. Sure to make great impact and suitable for church or concert performance. Good vocal writing, which grabs the attention of the listener and establishes a joyful mood from the start.

for SA Choir with piano/keyboard and optional side drum
words & music by Elizabeth Keetley-Smith
This is a brand-new Christmas Carol which incorporates both Latin and English text, and also provides an opportunity for a side drum – if forces allow. The side drum is used in the introduction and coda only and the part is entirely optional.
The song itself is canonic in style throughout, apart from a few bars in unison about halfway through and has contrasting sections. Following on from the Maestoso introduction comes a Con spirito section using the Latin text. Then comes a complete contrast with a slower, more reflective passage sung in English. The Con spirito is then restated and the whole song is neatly rounded-off with the coda which echoes the introduction.
The vocal lines, which have occasional divisi, are not demanding from the perspective of range – the soprano part lies between middle C and Eb (a minor-tenth above) and the alto line dips in step, briefly to the A (a minor-third below middle C), making this piece eminently suitable for developing voices – as well as the more mature. Harmonically, it embraces conventional tonality which conveys both strength and joyfulness. The piano accompaniment is of easy-to-moderate difficulty.
This is a versatile song, being suitable for both liturgical occasions and Christmas concerts alike

Download A Performance

Douglas Coombes [after G.F.Handel based on Hallelujah Chorus]
SSA with keyboard accompaniment, of moderate difficulty, but of maximum excitement, this re-working of Handel¹s best-known chorus by Douglas Coombes will have your audiences rocking in the aisles! There is a strong rock-gospel feel about this piece which choirs will love performing. The accompaniment works well on piano, but lends itself to electronic keyboard treatment too. A favourite at home and overseas.

Words David Self, music Douglas Coombes
This choral song is ideal material for all occasions both secular and religious. Extremely tuneful and majestic in character, it is very grateful to perform and leaves no dry eye in the house! Although arranged for SSA it can still be very effective if sung in unison.
Piano part straightforward. SSA & Keyboard.

by Douglas Coombes
This is a continuous piece in which the story of the Annunciation right through to the flight from Egypt is told in 9 choral movements, linked with music and narration. The narration is based on chapters 1 & 2 from Matthew & Luke (New Testament) and the texts for the choral movements are traditional, 15th century and also by the composer himself.

Written in 2000, to a commission from The St.Swithun's Singers, Sandy, Bedfordshire, England, their director, Elizabeth Gammell, after the premiere in December 2000, writes:-

"The St.Swithuns Singers took instinctively to 'The Infancy of Christ'. From the first sing-through they liked the work and wanted to do it justice. It was a considerable challenge, but extremely satisfying. The changes of mood required between the movements were greatly helped by the linking narration and the intense and powerful drama of the story came shining through the music.in the performance, the audience were totally gripped by the work; the stillness, after 'The Slaughter of the Innocents', was palpable. By the time we reached the last movement, 'Out of Your Sleep Arise', the choir were both thrilled that they had risen to the demands of the work and very sorry that it was almost over. I would commend this work as a lovely addition to traditional Christmas music - the infectious tune to "While Shepherds Watched" had the audience tapping their feet and dancing in their seats. We are greatly looking forward to performing it again." Duration 30 minutes.
For women's / upper voice choirs (SSA), Narrator & keyboard (organ / piano)

trad. Warwickshire folksong
arr. Douglas Coombes

SSA a capella. For ladies' choirs who love a challenge. A witty arrangement to really display a choir¹s bravura - first performed at Llangollen Eisteddfod 1986.

SSA choir a cappella
By Robert Latham
Written to special commission for the JSS Singers, as a companion piece to the composer’s setting of Gloria, this Laudamus Te is similarly bright and energetic. If you use the Gloria as a concert opener, this would make an ideal finishing piece to the performance (or vice versa), or equally, as a piece in its own right suitable for church or concert use full of rhythmic and melodic interest

For SSA Choir and piano/keyboard
By Douglas Coombes
ISBN 978 0 85957 171 5
EAN 5 060496 280060

Here is a brand new setting of words by Sara Teasdale (1884-1933), an American poet whose work is just being discovered by composers. Douglas Coombes has created a lyrical choral piece for upper voices, suitable for a wide age-range of singers. This piece is dedicated to Tamsin Anderson and the Leigh Ladies Choir from Kent and should be easily within the grasp of women’s choirs of any age – the highest note in the soprano line never venturing beyond E (a twelfth above middle C) and the altos never descend lower than A flat (a third below middle C). The words express a positive message in appreciation of the simple things in life – ‘blue waves whitened on a cliff’, ‘music like the curve of gold’, ‘scent of pine trees in the rain’ – a few of the things that can uplift the soul. Duration approx. 4’15”.

arr.Douglas Coombes
10 carols from around the world in 2 parts with chord symbols.

Contains:
Sleep Safely in the Golden Hay (Spain)
The Bagpiper¹s Carol (Italy)
Mary Had a Baby (West Indies)
I Wonder as I Wander ( N.Carolina)
Star Blaze (by Douglas Coombes)
What You Gonna Call Yo' Pretty Little Baby (Spiritual)
Shepherds of the Hillside (Venezuela)
One Winter's Night (Germany)
Shepherd's Leave Your Flocks (Puerto Rico)
The Cuckoo Carol (Czechoslovakia)

3 Folk songs arr. Robert Latham

SSA a cappella

Wraggle taggle Gipsies
She’s like the swallow
Dashing away with the smoothing iron

This collection of three songs makes the ideal concert group for upper voices, both at youth and adult level. Robert Latham has preserved the intrinsic nature of the songs and at the same time, brings a freshness to each one. These excellent arrangements present their own challenges, but the challenge is worth taking on. Choirs will enjoy working at these well-crafted pieces and audiences will thrill to the contrasts within them. The melody line is well distributed among all parts, allowing each to shine.

a Somerset folk song arranged for SSA & piano by Douglas Coombes

If you're looking for a song with a bit of humour, this is it. You will also need a solo 'snorer' to play the part of the Old Man. Plenty of opportunity for communicating with your audience. Great
fun! Duration 3 minutes.

[Mass for the People & Town of Kortrijk, Belgium] s2.gif
music Douglas Coombes
Sop.solo, SSA & Organ/Piano. A welcome addition to the longer works for ladies' choirs, this work shows Douglas Coombes' deep understanding of choral writing. All ladies' choirs will enjoy the challenge and reward of a substantial work of this nature. Duration approx. 40 minutes. [Latin].

SSA with optional piano / keyboard accompaniment arr. Douglas Coombes An exciting, lively arrangement of this well-known Tudor song, in which the singers get the chance to sound like crumhorns from time to time. It is great fun to sing as well as offering some challenges with regard to crispness and precision. A real winner in any concert programme.
Suitable KS3 and upwards / women¹s voices.

By Bill Staines arranged for SSA Choir & keyboard by
DOUGLAS COOMBES
If you’re looking for a piece that your choir can characterise, have fun with and let their hair down, then this bluegrass-style song is just the ticket. Its inclusive message (that there is a place for everyone in the choir) will resonate with all singers and audiences. A Place in the Choir is arranged by Douglas Coombes so that each of the three parts gets a go at the melody, with opportunities for solos (or not) as you see fit. This is a real foot-tapper with uncomplicated language and a vocal range that is not extensive, thus making it suitable for most age-groups.

Words Edward Caswell, music Douglas Coombes
SA & Descant with piano accompaniment. This new setting of familiar Words, first performed at Central Hall, Westminster, December 1992, was enthusiastically received. Suitable upper juniors through to adult choirs.
HEAR A PERFORMANCE

words: William Shakespeare
music: Douglas Coombes
for SSA & piano
This is one of the songs from a ten-movement choral suite Shakespeare Dances, for women's voices, written for the composer's own women's choir. There are jazz influences here - a real mixture of lyricism and some highly rhythmic passages too. The vocal lines are very singable with audience appeal. The piano part has plenty of interest. There is also a chamber orchestra accompaniment (score and parts available on hire). Together with Who is Sylvia? and Ye Spotted Snakes this song completes an ideal concert group.
Duration approx 2'00".

Trad. North American folk song arr. by Douglas Coombes
SSA choir & piano accompaniment
A most atmospheric setting of this truly beautiful folk song, for women's / upper voices. It was premiered in the USA by Douglas Coombes own ladies choir in Spring 2008 and was a real winner with audiences. It has since proved to be equally popular here in the UK. Opportunities to display the whole dynamic range of a choir as well as demanding great blend and control, and provides conductors with the chance to really mould each performance. "It's a wow"!

[Chamber orchestra parts on hire.]

Words by Joseph Mohr translated from the German by John Freeman Young
Music by ELIZABETH KEETLEY-SMITH for SA Choir & piano/keyboard
This is a second Christmas piece from Elizabeth Keetley-Smith published by Lindsay Music. She has set the well known and loved English words of the carol Silent Night, with a melody that has immediate appeal, in a contemporary popular style, and though totally original, it has an intrinsic naturalness in its unfolding, along with great charm and reverence. This setting avoids the sometimes perilous higher section of the well-known melody by Gruber and it lies comfortably within the vocal ranges, providing a real ‘ah’ factor in any carol service or concert.

S.S.A.A. & Piano
arranged: Laura Shur
This Afro-American spiritual has been arranged very effectively in 4 parts for female voices (girls or women), and will be a welcome addition to the gospel repertoire. Plenty of rhythmic interest and a well-written piano part.
Duration approx, 2'45"

words & music: Sharon Hesketh
arranged: Douglas Coombes
This is a tuneful, lilting carol with lots of appeal. Not too difficult either for the voices or the accompanist. If you enjoyed ‘Love Had Come Down’ by the same composer, then you will also want to add this to your choir’s Chirstmas repertoire. Duration approx: 3’00”. Choral leaflet.

arranged for S.S.A. choir & piano/keyboard
by Douglas Coombes
This ten-song suite or medley, begins with the only composed song in the collection, If music be the food of love, by Henry Purcell, and continues with traditional folk songs from the four corners of the British Isles.
Turpin Hero and Scarborough Fair from England, The Stuttering Lover and The Sally Gardens from Ireland, Song of a Country Girl and David of the White Rock from Wales, Mairi’s Wedding and Eriskay Love Lilt from Scotland, rounded off with the children’s nonsense song Oliver Cromwell from England.
This work may be sung as one continuous piece, or individual songs (each of which, are complete) can easily be extracted.
Great rhythmic and melodic interest in all parts. Suitable for women’s and girls’ choirs.
Duration approx: 25 minutes
Orchestral accompaniment available for hire - see Orchestral Music on Hire

by Adrian Pitts - melody St Columba (Irish), words Henry W. Baker – This was arranged for the Tonbridge School Motet Choir’s appearance on the BBC Songs of Praise School Choir of the Year Competition 2015 which was highly praised by the judges. The opening verse is in unison and can be sung by a soloist or small group. Verses 2 and 3 are in 3 parts and the final verse has a glorious descant using the word Alleluia. The piece is beautifully written for upper voices, with a straight-forward but supportive piano accompaniment.

by Adrian Pitts a traditional English carol, and has been imaginatively arranged, with at times, a very effective cross-rhythm vocal accompaniment which at the start forms the basis of the introduction. It’s in 3 parts with some canonic writing in the third verse. The piano part is of moderate difficulty. Very suitable for youth and adult choirs.

(2-part & piano/keyboard)
traditional West Indian arranged by Laura Shur
This is a traditional West Indian lullaby in two parts which also makes use of some call and response and canon ef-fects. A slower, reflective piece which requires sustained singing, though the phrase lengths are not over-long. A well written piano part of moderate difficulty.

(SSAA & piano/keyboard)
by Douglas Coombes
This work contains settings of inspirational statements by Malala Yousafzai and Nelson Mandela on the subject of education, with additional texts on the same theme from the Bible. The piece which lasts approximately 6’30” offers contrasts of highly rhythmic passages and beautiful slower lyrical sections. It was written for the Ulmer Spatzen Chor of Ulm in South Germany, an upper voices youth choir, directed by Hans de Gilde.
“Thank you so much for your wonderful piece. I’m impressed, not only by the choice of the different texts, but also by the composition itself. You have managed to create different atmospheres and the vocal lines are an absolute pleasure to sing. My choir love it! You have made me so happy with this fantastic piece.”

Melody: Ann Gammell arranged: Douglas Coombes
Words: Sean Street
For SSA Choir & Keyboard(piano/organ).
Duration 4’ 00”

This new, reflective Christmas carol will have immediate appeal in its simplicity and directness. The vocal range lies comfortably for all voices and most upper voice choirs will find the carol readily singable with a minimum of rehearsal time needed.

It could also be sung in unison by choirs whose singers lack experience in part-singing – such as junior school choirs.

A charming addition to Christmas repertoire.The keyboard part of moderate difficulty.

In Haven & Where Corals Lie (from Sea Pictures Op.37)
arr. By Douglas Coombes
SSA choir & piano accompaniment
These two beautiful songs, (from the solo song cycle Sea Pictures by Edward Elgar) lend themselves admirably to choral treatment. Arranged for Douglas Coombes' own women's choir, these wonderfully atmospheric pieces, call for legato singing, great intensity and a good command of dynamics. Would suit secondary female choirs and adults.

[Chamber orchestra accompaniment is also available on hire from Lindsay Music.]

Traditional melodies with English Words & musical arrangements by Douglas Coombes
A suite of 8 carols from Latin America for SA Choir with occasional solo/small group and piano/keyboard accompaniment
This suite is written as one continuous whole, although it is also possible to perform individual pieces from it, if so desired. This is a very singable work and will not be too demanding of rehearsal time. Offers something different for Christmas programmes and is ideal material from young singers through to adults.

Duration approximately 15’ 30”

Traditional Afro-Caribbean, arranged: Douglas Coombes
This is Key Stage 3+ material and adult female choir repertoire, being arranged for SSA and piano. A highly effective treatment for upper voices with a real gospel feel. Some rhythmic challenges and shifts of key all add to the interest and excitement of this arrangement.

Trad: North of England New Year Carol Arr: Douglas Coombes
This is a rollicking song that choirs will greatly enjoy. The piece offers some rhythmic challenges but also calls for very expressive singing and dynamic control. The words are all about the old custom of going from house to house asking for food or a little money in return for blessings on the household for the coming NewYear.
Wassail = "good cheer".

Words: Arthur O’Shaughnessy (1844-1891)
Melody by members of the National Association of Choirs Annual Conference 2017
Arranged: Douglas Coombes
In a melody-writing session at the National Association of Choirs (NAC) Annual Conference in 2017, led by Douglas Coombes, the tune for Arthur O-Shaughnessy’s highly optimistic and forward-looking words was composed collaboratively. To enable all members of the NAC to be able to sing the piece, Douglas Coombes has produced three separate arrangements, which in the case of massed forces, can be sung together at the same time – SSA, SATB and TTBB. Each of the arrangements also contains an optional descant in the final verse. A highly lyrical piece with rhythmic under-pinning in the piano part, which is of moderate difficulty

English Sea Shanty, arr. by Douglas Coombes
SSA a cappella, this is a challenging arrangement of the well-known English sea-shanty. This is a piece for making your audience say 'wow'. It contains a number of interesting choral effects as well as the odd 'hiccup' and 'finger pop in the mouth'. Great fun with lots of reward for mastering the tricky moments. Some subdivision within each part. A must if your choir wants to strut its stuff.

words: William Shakespeare
music: Douglas Coombes
for SSA & piano
This is a separately published song from a ten-movement choral suite Shakespeare Dances, for women's voices, written for the composer's own women's choir. There are jazz influences here - a real mixture of lyricism and some highly rhythmic passages too. The vocal lines are very singable with audience appeal. The piano part has plenty of interest. There is also a chamber orchestra accompaniment (score and parts available on hire). Together with Shall I compare thee to a Summer's Day? and Ye Spotted Snakes this song completes an ideal concert group.
Duration approx 2'00".

words: William Shakespeare
music: Douglas Coombes
for SSA & piano
This is another song from a ten-movement choral suite Shakespeare Dances, for women's voices, written for the composer's own women's choir. There are jazz influences here - a real mixture of lyricism and some highly rhythmic passages too. The vocal lines are very singable with audience appeal. The piano part has plenty of interest. There is also a chamber orchestra accompaniment (score and parts available on hire). Together with Who is Sylvia? and Shall I compare thee to a Summer's day? this song completes an ideal concert group.
Duration approx 2'00".