S.A.T.B.

(SATB & piano/keyboard) words: Anon 16thc music: Douglas Coombes
With Christmas in mind, this is a very lively setting of a 16th century macaronic text (Latin and English) for mixed voices. Typical of Douglas Coombes, it makes great use of changing time signatures which adds to the celebratory and dance-like nature of the piece. This is anything but stodgy!

traditional Korean melody with new words & arranged by Douglas Coombes

This is a lovely reflective piece, allowing opportunities for lots of expressive singing. The pentatonic melody has a Far Eastern feel, and with these new Christmas words, in English, provides a great new addition to Christmas repertoire. All parts lie well within the vocal ranges. Straightforward piano accompaniment.

This substantial choral work, consisting of 8 movements, through-composed and linked by narration, tells, very powerfully of the exploits of Henry Blogg of Cromer, Norfolk (1876 – 1954), Britain’s most decorated-ever lifeboat coxswain. He was coxswain for 38 years, launched the Cromer lifeboat 387 times and saved 873 lives; however, it is the effort and determination shown in a single day, the 9th of January 1917 that this cantata samples. The action takes place over a 14-hour period when two passing ships, the Pyrin and the Fernebo, separately find themselves in peril. Written in a tonal harmonic palette, this work has Douglas Coombes’
familiar stylistic melodic qualities as well as driving rhythms underpinning the drama of the story. It also references the sailors’ hymn ‘Eternal Father strong to save’. The piece was commissioned by Southrepps Chorale, to celebrate their 10th anniversary and it is dedicated to Southrepps Chorale, their musical director Stephen Richards and the Royal National Lifeboat Institution.. Libretto: Paul Rosier Music: Douglas Coombes

For SATB Chorus, tenor & baritone soloists, two narrators
With piano/keyboard accompaniment or chamber ensemble
Vocal score: Price £9.95 ISBN 978 0 85957 188 3 Duration c. 44 minutes

Bridges not walls
by James Robertson
for SATB Choir and Piano/Keyboard

This soft-rock-style piece was written for the Lauderdale Community Choir, of which James Robertson is the musical director. He also wrote the words which send out a message of togetherness, no matter who you are or where you come from. Indeed, annual royalties from the sale of this music go to Scottish Refugee Council. Leaving aside the altruistic nature of the song, the words are secular, with the music being on the lighter side and is also thoroughly ‘inspirational’ and would be suitable for just about any occasion – including acts of worship. Singers of all ages will be able to cope with the limited vocal range – the sopranos have a final top ‘E’ (a twelfth above middle ‘C’) and the basses go no lower than ‘E’ for a single note. The piece alternates between D and E major and all the parts lie in the comfortable mid-range of each voice. There is a little solo work specified, but choirs without soloists may care to interpret this as ‘a small group’ instead of ‘solo’ in the sopranos and altos, while the tenors and basses hum and ‘oo’ in the background. This is a guaranteed ‘feel-good’ winner.

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

Come and join the dance a choral cycle of 8 songs - SATB with piano accompaniment by Douglas Coombes

The title of this cycle is taken from 'The Whiting and the Snail', the first song in the collection. Though onceived for performance as a cycle, each song stands alone for individual performance. All songs are well contrasted with rhythmic passages interposed with lyricism, and visit the blues and the tango along the way. Poems by Lewis Carroll, Robert Louis Stevenson, William Shakespeare, Vachel Lindsay and the much encountered 'Anon'. Moderate difficulty level.
Commissioned by St May's Singers of Potton, Bedfordshire.

Douglas Coombes [after G.F.Handel based on Hallelujah Chorus]
SATB with keyboard accompaniment, of moderate difficulty, but of maximum excitement, this re-working of Handel's 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.

Hot Hallelujah reviewed
Ever heard of Breezy Bach? Well this is a kind of Hurricane Handel. Using Handel's chorus "Hallelujah", Coombes has created a rock-style variation in 3 editions (SSA, SATB, TTBB).It starts deceptively calmly before breaking into a frenzy of syncopated "Hallelujahs" insterspersed with bits of the original. The piano accompaniment, although notated, is intended to be used freely, taking the notes supplied as a guide. A useful encore if you need one. Stephen Pusey - Sheet Music magazine

by Douglas Coombes
This is a single movement of profound beauty and emotion. The choral writing is of moderate difficulty, but the music speaks powerfully.
In Latin with piano/organ accompaniment.
Orchestral accompaniment also available ON HIRE
CD of UK premiere performance (live) of complete REQUIEM: Coombes now available price £7.50(inc.VAT)

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.


The SATB edition was completed shortly after the original SSA version was created. Larry Dorminy, a church music director in Pennsylvania, USA, a close friend of the composer, was staying at Douglas Coombes' home and on hearing the work, immediately asked Douglas to make the SATB version. He then performed it with his church choir shortly after the SSA world premiere was done, in December 2000. In the SATB performance, it actually formed part of the Christmas Eve service and was acted-out in a series of tableaux while the choir and narrator performed the music. Duration 30 minutes.
For Narrator, SATB Choir & keyboard (organ/piano).

traditional North American folk song arranged by Douglas Coombes
SATB with piano/keyboard accompaniment
(orchestral accompaniment also available on hire)


This is a real fun piece. If you want something to lift the mood, this is just the thing. It's as if the choir is having a party right there in concert. The straightforward arrangement incorporates clapping, glissandi and stomping - as if in a square dance. Written for a community choir, St. Mary's Singers, Potton, Bedfordshire, England as part of their 40th anniversary celebrations, this is a highly accessible and rewarding arrangement.

music Douglas Coombes
Written for the French choral society 'Collegium de Senlis' this is a dramatic new setting of the Mass [Kyrie, Gloria, Sanctus, Benedictus & Agnus Dei]. Duration approx. 40 minutes. A substantial work for mixed choir. Plenty of rhythmic drive with melodic beauty from one of Britain's best-known choral writers. A small amount of sub-division mainly within the soprano part. Rewarding to work at and to perform.
SATB soli, SATB choir & orchestra <Actinic:Variable Name = 'Latin'/> Price: vocal score £5.95. Orchestral parts on hire only.
CD by Suwon Civic Chorale (with piano accompaniment only) now available price £7.50 (inc.VAT) - also contains separate anthem DONA NOBIS PACEM: Coombes

Comments from performers & audience:
"Eminently approachable style and from the orchestra's point of view, very playable." Janet Hicks, orchestra leader.

"The Mass was exciting, passionate and every note, compulsive listening". Robert McArthur, Chairman Stevenage Arts Guild.

"Everyone involved in both orchestra & choir thoroughly enjoyed rehearsing and performing this lovely work, which hugely rewards listener and performer alike". Trevor Hughes, Musical Director, Stevenage Music Society.

"I wanted to personally express my admiration for the religious and musical beauty of your Mass". Jacques Grimaux, member of Collegium de Senlis.

"One of the many things that drew me to your Mass was its spirituality - even the non-Christians in the group grasped how well the text is served". Robert J. Reilley, director The Mastersingers of Philadelphia. USA.

Listen to a performance click
here

by Douglas Coombes. This is an exciting, yet easily accessible new setting of the Annunciation Carol which can involve your audience too. For SATB chorus, piano/keyboard and optional audience participation, this was written to a commission from director Jeremy Lee Briggs for the Round Mountain Schools and the Sound Waves Community Choir, Nevada, USA, and will put a spring into your Carol concerts with clapping in the refrain and key-changes from Dm to Ebm and finally Em and a driving rhythm throughout. Excitement a-plenty!

This is an easy-listening ‘standard’ that, over the years, has enjoyed popularity as both a song and as a pure instrumental. It has its origins in Cuba, being based on a street vendor’s cry – a son-prégon. It is said to have led to the rumba craze which lasted throughout the 1940s in Europe and America. The arrangement is great fun and ideal for smaller ensembles with the soprano and alto parts both dividing. It calls for some good rhythmic singing and neat articulation and is ideal for lighter moments in a miscellaneous programme. Audiences love it! Harmonically it is very straightforward and helpfully, background notes about the song have been provided.Words: Wolfe L Gilbert & Marion Sunshine Music: Moisés Simons

Arranged by Douglas Coombes

For SATB ensemble/choir (a cappella)

Price: £1.95

ISBN 978 0 85957 190 6

music Douglas Coombes
A joyous setting, ideal for larger combinations of singers. Suitable for celebratory occasions. Competent pianist required. Duration about 5 minutes.
SA, SATB & Piano

music by Douglas Coombes
(SATB with piano/keyboard accompaniment)
A choral cycle of seven songs about birds
This cycle uses words by Thomas Heywood (c1575-c1650), William Blake (1757-1827), Alexander Wilson (1766-1813), Emily Dickinson (1830-1886) and traditional folk poetry from the UK and the USA. Musically, it is not too difficult for the singers, and ranges in style from reflective (in close harmony) to the rhythmic and sheer good fun, via the highly dramatic second movement ‘A Robin Redbreast in a cage’. The piano accompaniment offers some challenges, but most amateur choirs will be able to take on this work with pleasing results.
Duration approx: 25 minutes

words: John Emlyn Edwards
music: Douglas Coombes
If you want something different for your Christmas concert, this short a cappella piece is certainly worth looking at. The words draw upon Inuit mythology in its references, yet is clearly about the birth of Christ. The song is tuneful and tonal and was originally arranged for a small ensemble of mixed voices, but it works equally with larger choirs. Douglas Coombes exploits the rhythmic possibilities suggested by the words to create drive, contrasting with legato melodies.
Duration 2’.30”

Words Thomas Nashe. music Douglas Coombes
An evocative setting including bird-calls, offering a satisfying challenge. Works well with chamber or larger choirs. Ideal for festivals.
SATB a cappella.

by Douglas Coombes
For Soprabo solo, SATB Choir, Brass Quintet, Organ). This work was commissioned by the Presbyterian Church of Paoli in Pennsylvania, USA., where it was first performed in 2000. It has since received performances in the UK. Douglas Coombes¹s music is both tuneful and rhythmically strong with episodes of quiet reflection as well as sheer dance-like joyfulness. The work is written in a single movement.
Scored for an accompaniment of brass quintet, timpani and keyboard, it is also effective with organ only if forces do not permit the larger group.
English text ­ 56pp. Duration approx. 18 minutes.
Vocal score ­ price £4.95.
Instrumental parts available on hire only.

To listen to a performance CLICK HERE

: words & music by James Robertson
for soprano solo & SATB chorus a cappella
This new Christmas carol has great simplicity and calmness in its overall reflectiveness and reverence. The close harmonies don’t always follow the expected path, providing aural interest, yet avoiding too many vocal challenges. Though the copy specifies a solo soprano, this could equally be sung by a small group if needed. A helpful piano reduction is printed for rehearsal purposes.
Scottish composer James Robertson has worked in music therapy for a great deal of his working life, as well as singing in and directing many choirs and writing and arranging music for them.
Duration 2’30”

Traditional Spiritual
arranged by Douglas Coombes
for SSATB (a cappella)
Arising out of the Afro-American Spiritual tradition this song has lots of potential for excitement and drama – and you get both in this a cappella arrangement. The harmonies themselves are not difficult, but the piece calls for nimble articulation – ideally delivered in an American accent. There are some spoken interjections and the piece ends in a cloud of steam (from the engine). A real crowd – pleaser with its allegro con spirito tempo indication, after a short adagio introduction.

Written for the Manteliusensemble of Hasselt, Belgium and their conductor Jos Cuppens
This 3-movement work offers challenge and reward. In Latin.
i Jesu, Rex admirabilis
ii Salve Regina
iii Duo Seraphim

Vocal score Price £4.95
[piano/keyboard accompaniment.]
Demonstration CD also available
Parts for flute, harp & ‘cello on hire only from the publishers.

for SSAATTBB choir & organ

by John Eady

This is a brand new setting of the 13th Century latin text, Veni Sancte Spiritus, sometimes called the Golden Sequence. This sequence is prescribed in the Roman Liturgy for the Masses of Pentecost and its liturgical octave, exclusive of the following Sunday. It is usually attributed to either the thirteenth-century Pope Innocent III or to the Archbishop of Canterbury Stephen Langton, although it has been attributed to others as well. Veni Sancte Spiritus is one of only four medieval Sequences which were preserved in the Missale Romanum published in 1570 following the Council of Trent (1545-63). Before Trent many feasts had their own sequences. It is brought into the 21st Century in this wonderful setting by John Eady, and was the prize-winning entry in the St Paul’s Cathedral International Pentecost Anthem Competition 2012. Choirs who enjoy a challenge will relish

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.

How to survive and make progress in choirs that use sheet music and vocal scores
by Derek Harrison
The author’s intention in producing this booklet is that it will help you enjoy your singing – and it is important that you do. Singing is the stuff of life and can enrich a life beyond measure. This is a wonderful beginner’s guide – it is not so much about showing you how to read music, but more about following the musical map and recognising the road signs. There is quite a lot you need to know about being a member of a choir, whether or not you are a music reader and this little book will more than point you in the right direction if you are completely new to this kind of singing – equally, it will serve as a reminder for those who have sung in a choir for some time. All the sections are really useful and full of good advice, amongst them are ‘What is the conductor doing?’, ‘When to mark the score’, ‘What signs to use’, ‘What is going on in rehearsals?’ and ‘What to do in between rehearsals’ and more besides. There is also a handy glossary to de-mystify many of the terms you may encounter. Derek Harrison is a singer and conductor of wide experience and all his advice is thoroughly practical and reliable, written in an easy-to-read style.

Skarbek arranged Douglas Coombes (Unis.+ SATB & piano/keyboard)
With lyrics and musical adaptation by Charlie Skarbek, from the melody used for I vow to thee my country, (by Gustav Holst), World in Union is the theme song for the Rugby World Cup that captures the spirit of international friendship which exists in Rugby Union culture the world over. It has now been taken up much more widely as an inspirational song for all. This arrangement by Douglas Coombes was originally created for the BBC TV Songs of Praise School Choirs of the Year Competition in 2008, and is now available.
It may be seen and heard on You Tube

by Douglas Coombes
Vocal score (Narrator, Sop. solo, SATB Choir & Organ). Like the Te Deum this was also commissioned by Paoli Presbyterian Church, Pennsylvania, USA and is a work of oratorio proportions, telling the whole of the Easter story, using a variety of texts - including two by the composer (Judas and Betrayed by a kiss). The music is continuous, although the ten choral movements may be sung in isolation as anthems etc. Instead of sung recitative, the narrative is spoken, broadening the opportunities for performance. First performed at Easter 2003 in the USA by the commissioning body.
English text ­ 126pp. Duration approx. 1hr 15mins.

This song, originating in Haiti, has a relaxed tropical feel, with an easy lilt. It dates back to the 19th century, and was updated and given English words in the mid-1950s when it found world-wide popularity. The song makes an ideal partner for Peanut Vendor (see above) and works well for smaller vocal ensembles as well as choirs. The harmonies are not challenging – very much in the easy-listening genre and audiences enjoy its rhythmic and tuneful character. Background notes about the song are provided – especially useful if you need information for a printed programme. Words: Alan & Marilyn Bergman Music: Norman Luboff

Arranged by Douglas Coombes

For SATB ensemble/choir (a cappella)

Price: £1.95

ISBN 978 0 85957 189 0