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Using the text of Matthew 11:28-30, this piece reassures us of God's providence. Written for SATB, organ, and optional flute or violin, it is accessible to any choir.

A flowing, free-form adaptation of the tune SURSUM CORDA, this work is especially useful as a backdrop for Communion. The work is written as a musical painting of the hymn text "You Are Before Me Lord" by Ian Pitt-Watson; the text is included in the music for illustration.

Painting the joyous text Tomorrow Shall Be My Dancing Day, this arrangement combines a number of traditional carol tunes into a playful and unpredictable gigue.

This two-part work for SATB choir and organ celebrates the Lord's greatness and mercy. The text of the first movement is based on the Magnificat, or Song of Mary (Luke 1:46-55), while the second text is from the Nunc dimittis, commonly known as the Song of Simeon (Luke 2:29-32).

The difficulty level of this piece may be more appropriate for experienced choirs. The total work is around seven minutes in length. Either movement may be used independently.

ST. KEVIN, usually paired with the Easter text Come, Ye Faithful, Raise the Strain, is a tune of jubilant celebration. Raymond Haan's adaptation for organ and optional trumpets works well as a postlude during the Easter season. It is around two minutes in length.

This work also works well as an introduction and interludes to the hymn (sung in G); use the first seventeen measures as the introduction.

This lively prelude works well to set a celebratory mood for a worship service or recital. Its syncopations and dissonances provide plenty of energy, while a recurring motif ties the piece together. This work has been performed, by the composer, on American Public Media's Pipedreams.

The text of this song reminds us of God's grace that is bestowed on all who believe. This arrangement, for male chorus with piano accompaniment, is accessible to most singers and is suitable for both small and large groups.

Voiced for AATBB, this work gives a rich, lush texture to this prominent text. The piece was written for The Compline Choir, an all-male ensemble dedicated to weekly observance of the Compline service, which is the last service of the day.

This piece, just over a minute in length, works well as an offertory or interlude. The composer first improvised this work as an offertory, later deciding to transcribe it. Containing some unique chord progressions, it has unconventional style but maintains a smooth feel overall.

This quiet, prayerful improvisation on the tune commonly associated with “Let All Mortal Flesh Keep Silence” is well-suited for a meditative moment in a service, such as the prelude to a lessons and carols service.