All Scores

Listed on this page are scores written by the musician in residence (nearly all written specifically for his work in the church) which we are making available to anybody who would like to make use of them in a non commercial context. If you would like to use them commercially please do get in touch.

(Scores for the Littlemore Mass are available here. They will also be listed below in the appropriate categories. Where there is a recording that can be used in conjunction with the score the link will be included).

Agnus Dei

Agnus Dei from the Littlemore Mass

This Agnus Dei was adapted from an African lullaby and references to the Zimbabwean melody. A guide version is here

 

Alleluiah

Alleluiah based on African melody Niwe Jesu

This Alleluiah is adapted around a line supplied by Shanice Haguma for Niwe Jesu – a Rwandan song.

Alleluiah based on African song Jesu Idombo

This is based on a melody taught by Nkosinathi Mlobane

Kyrie Eleison

Kyrie Eleison that can be sung as a round

This Kyrie has been written as a simple and flexible piece that uses a ground that can be played by any instruments. It can be sung as a round or just a performance piece with instrumental accompaniment. A recording to show how it can sound will be added soon.

 

Kyrie Eleison from the Littlemore Mass

This Kyrie was written for the Littlemore Mass last year. This is also flexible and can have instruments added. Part of it uses an adaptation of a traditional Jewish melody. A recording from a performance of the mass last year is here

 

Kyrie Eleison based on L’Homme Arme melody¬† will be added soon.

This was originally written for The Sixteen in 2005.

 

Gloria

Gloria from the Littlemore Mass

This Gloria uses community melodies from the South Seas and Rumania as a starting point with simple ostinato motifs and canons so that all can learn it. A guide recording is here

Lux Aeterna

Lux Aeterna

This Lux Aeterna was written as a solo exploration using a loop pedal. It works well for a choir and can be taught very quickly. The conductor must bring in and out different parts to build and vary the piece.

Sanctus

Sanctus from the Littlemore Mass:

Part 1

This part of the Sanctus uses an improvisation to start and then adaptations of Zimbabwean and Nigerian melodies gatehred from Nkosinathi Mlobane and Femi Mandara

Part 2

This part of the Sanctus uses original melodies and ideas derived from a traditional  Zimbabwean melody supplied by Sister Nyarai.

 

A recording of Part 1 and most of Part 2 is on film here