I've recently been developing some short studies for singers. I suppose they're designed for children, but they're based around food so anyone can use them. I use some of them consistently as warm ups for groups. Find them here

A bright, driving piece to celebrate Christmas. Lots of colours. Difficult percussion parts (marimba, xylophone, struck percussion) but simpler choir parts. Piano/organ reduction available

'They shall grow not old'. Setting of Binyon's poem for Remembrance

To the words from the Book of Common Prayer, this requires a cathedral-standard choir (each part splits into up to three sub-parts). The Nunc is still in progress

Written in memory of James Gilbert, an admired fellow aviation journalist. The text ismuch-loved of pilots, and I hope that the setting gives it new life and captures the excitement of flight

Medium difficulty pieces, named after seasons of the year. Each explores a different technique (or two) of piano playing. The complete project will be a four-movement suite. The existing studies (Autumn and Winter) are on spread chord configuration and 7/8 rhythms respectively

You'll recognise the tune, you'll recognise the words and you'll recognise the style - but you'll never have heard them all together like this before. The trad carol gets a jazz treatment with a chorale prelude in the middle.

Scored for choir, with all the parts splitting

This piece owes a huge debt to Orlando Gibbon's setting of the same words (from Psalm 47 in the Book of Common Prayer version) - my version is certainly a tribute to that great composer. The forces are the same (double choir, subdivided in various ways at different times); the piece is split into two parts at the same point; each verse gets a new set of melodic ideas; much of it is contrapuntal, with the same musical ideas being bounced around all eight voices; and much more.

There are a number of different styles referenced in this piece, from the ultramodern to the English pastoral school of the twentieth century and even the style current in Gibbons' day. I have tried to make the setting of the words as clear as possible, and have tried to word paint some of them (another technique beloved of Tudor composers). I hope you'll enjoy the sound of 'God going up'.

An extended alleluia setting (with a verse to the words 'Set me as a seal upon your heart'), written for the wedding of some close friends

Not easy, this piece. The three dances all sort of run into each other, and represent the past (a Howells-ian gavotte), future (an almost atonal seven-note row) and present (a blues section) hinting at the eternal nature of the spirit.

There are a number of other allusions to the Holy Spirit in the piece.

It was written for our daughter (Rachel) for her baptism

Written for the baptism of a godchild, it's a sprightly voluntary in the good old tradition of recessional voluntaries

A setting of the hymn words, and written for the baptism of our first daughter. It's a joyful setting, first performed (coincidentally) on the feast of Christ the King.

The Reproaches are words from the Good Friday afternoon liturgy of the church. This setting frames the reminders of God's saving acts with Christ's words from the cross: 'O my people, what have I done to you?'