Roderick Williams choral sampler

Roderick Williams
Choral Sampler
December 2021

Roderick Williams Choral Sampler
Roderick Williams studied music and composition at Oxford University. Alongside a successful performing career
as a baritone soloist, he has also developed a strong reputation as a composer. Encompassing opera, instrumental,
vocal, and choral music, his works have been commissioned and performed by such groups as The Sixteen. The
BBC Singers, and the Orchestra of the Age of Enlightenment, and soloists including Sally Matthews, James
Rutherford, and Susan Bullock. His music has been heard at Wigmore Hall, the Barbican, the Southbank Centre,
and on BBC Radio. He was awarded an OBE for services to music in June 2017.
Contents
I want Jesus to walk with me SATB & piano More info 3
Let nothing trouble you SATB unaccompanied More info 13
O Adonai, et Dux domus Israel SATB (div) unaccompanied More info 28
O Guiding Night SATB & piano More info 42
The star has come SATB unaccompanied More info 57
A Catch by the Hearth
SSA & piano More info 64
(from For Him all Stars: 15 carols for upper voices)
Children, go where I send thee SATB & piano More info 67
(from Christmas Spirituals for Choirs)
Mary had a baby
Tenor solo, SATB & piano More info 91
(from Christmas Spirituals for Choirs)
Coventry Carol SATB & opt. piano/ organ More info 101

CHORAL SONGS
SATB and piano
3
2
for online perusal only
I want Jesus to walk
with me
Roderick Williams
watch on
A

B.
SOPRANO
ALTO
TENOR
BASS
PIANO*
I want Jesus to walk with me
i) i = c.120–140
Š
Vb C p p p p
Vb C p p p p
Š
Vb
[
C p p p p
Bb # Š C p p p p
V
Swung duplets (h = i) i = c.120–140
8va
b C p p p q tŠŠ.
mp f
{ Bb C Š r Š r =Š tbŠeŠ Š bŠ r Š r #Š =Š Š Š
Swung duplets (h =
for online perusal only
p (quasi pizzicato)
arr. RODERICK WILLIAMS
V
8va
b #Š /Š Š r q r t #Š 5
/Š Š=Š f Š Š-
Š.
r q r t #Š /Š f
Š Š Š
{ Bb Š
=
r Š r =Š t bŠeŠ Š bŠ r Š r #Š
t
=ŠeŠ Š
9
BASSES
Bb p p p q
mp ben cantab.
Š Š ‰ ‰
V I want Je - sus
b Š Š r q tŠŠbŠŠ f
Š Š Š r q p B t Š f r =
8va
- .
Š tt#Š/Š
pp f f
{
legg.
Bb Š =Š Š #Š Š =Š Š #Š Š Š Š Š Š r q Š Š Š Š
* The bass line of the piano part may also be augmented by a double bass playing pizzicato.
4
Offprinted from Spirituals for Choirs, edited by Bob Chilcott (ISBN 0–19–343537–3)
G Oxford University Press 2001 and 2004
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Arranger have been asserted. Photocopying this copyright material is ILLEGAL.
Printed in Great Britain

4
5
14
poco più
Bb Š Š Š Š ˆ q Š Š f ‰ ‰
to walk with me. I want Je - sus
Bb ‰ =Š t f
Š t t f Š f r
=Š tt#Š/Š f f
‰. r
Z ‰‰. ŠŠ
ŠŠŠ
{
poco più f
Bb Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š Š
for online perusal only
18
Bb
Š Š Š Š Š ˆ mf
q Š #Š ‰ ‰
ˆ Bb
ˆˆ V ‰ Š . # Š e r # ‰ . ˆ‰ b‰
cresc.
Bb ŠŠ Š Š Š Š Š #Š Š =Š #Š Š Š Š Š
{
to walk with me. All a - long my
Š
22
Bb
Š Š Š Š Š ‰ ‰ Š
Š-
Š Š Š ‰ ‰
pil - grim jour - ney. Lord, Iwant Je - sus
V b ˆ‰ b‰ ‰ t b ŠŠe r =Še t bbŠ Š Š B b‰. r
-
{ BbbŠ Š bŠ =Š Š
Š bŠ Š Še t bŠ - Š Š Š =Š Š Š

A.
T.
B.
straight duplets
26
Vb p p mf
r Š ŠŠŠ ‰ ‰
In (a) my tri - als,
Vb p p p
[
‰ =‰
aah,
Bb Š Š Š Š ˆ p ‰ p ‰
to walk with me. aah
6
p
5
S.
A.
T.
B.
{
for online perusal only
Bb # Š f
tt=Š f
q r Š Š = Š f
Š Š p f r Š Š =
straight duplets
Š f
Š #Š/Š f
p
Bb Š #Š Š Š Š Š Š Š Š r q
‰ Š Š
30
Vb p p p p
ˆ
aah
Vb Š Š Š Š ˆ r Š ŠŠŠ ‰ ‰
Lord, walk with me. In (a) my tri - als,
Vb ‰ =Š Š Š
[
‰ =‰ Š t‰ Š f
ˆ
da da da ah ba ba aah
Bb ‰ Š Š Š ‰ ‰ Š f t=‰ bŠ ˆ
da da da ah ba ba aah
Bb Š Š Š Š = Š Š Š r Š Š = Š f
Š #Š/Š f
Š f t=‰
-
bbŠ r ŠŠ
Š tŠŠŠ
t Š f
ŠŠ f
{ Bb ‰ Š Š ‰ Š Š Šet ‰ - bŠ Š. ŠeŠ Š

34
Vb ˆ ‰ ‰ Š ‰ Š
ba
ba
più
Vb Š Š Š Š
f
Š ˆ q Š #Š
Lord, walk with me. When my
Vb ˆ ˆ #Š ‰ Š
[
ba
ba
Bb ˆ ˆ Š ‰ Š
ba
ba
Š Bb r
ŠŠ Š t ŠŠŠ
f
t ŠŠŠ
f r VŠ Še Š
# Š e Š # Š Š
Š
Š
Š
Š
poco cresc.
BbŠ. Še Š Š Š. Še Š Š Š. Še Še Š Še
{
6
7
for online perusal only
37
non troppo f
Vb Š Š Š bŠ-
Š Š Š Š bŠ Š bŠ-
Š bŠ Š Š Š Še - Š-
Še -
ba da da da de da ba da da da de da ba ba da da da
Vb ‰ ‰ Š Š Š Š Š ‰ ‰
heart is al - most break - ing,
Vb Š ŠŠŠ - Š Š ŠŠŠ - Š Š Š Š-
[
f
Š - =Š-
ba da da da ba da da da ba ba da da da
f
Bb Š Š Š bŠ-
Š Š Š Š bŠ Š bŠ-
Š bŠ Š Š Š bŠ-
f
Š-
Š-
ba da da da de da ba da da da de da ba ba da da da
f V b r Še t b
bŠe Š . r ŠŠe t b
bŠŠ Še Š Š .
r BŠ f
tbŠŠŠ
f
ŠŠ Š =Š
mf
f
{ BbŠ. Še Š Š bŠ. Še Š Š =Š Š. ŠebŠe Š Še

40
Vb r ‰ Š ‰ ‰ b‰ ‰ ‰ q
-ba da aah
Vb r Š-
Š Š Š ‰ ‰ Š Š Š Š ‰ q
Lord, Iwant Je - sus to walk with me.
Vb
[
r b‰ - Š ˆ b‰ ‰ ‰ q
ba da aah
Bb r ‰-
Š bˆ ‰ #‰ ‰ q
{
ba da aah
8
Bb rbb‰ Š r bŠ t Š t f
Š f r #Š =# = Š f
Š. t Š Š f
Š = Š f
Š >
Š
p
f
Bb rb‰ - Š Š. ŠeŠ Š Š Š Š#Š Š
Š Š Š Š Š
7
for online perusal only
S.
A.
T.
B.
44
Swung
mf sost.
Vbq bbŠŠŠŠ Š bbbbbb ‰ ‰ Š ŠŠ Š Š
Bb q
{
bŠŠbŠŠ Š ‰‰ ‰‰ ŠŠ bbbbbb
Š =ŠŠ Š
When I’m in trou - ble, Lord, walk with
mf sost.
8va>
Bb rVt b Š Š Š b Š bbbbbb ŠŠŠ
ŠŠŠ
r q t Še Š =Š Š Š >
Swung
f
Š
Bb Š r q bbbbbb Š Š Š Š Š Š Š Š

8
47
Vbbbbbb ˆ‰ =‰ ŠŠ t Še f
ŠŠŠ ‰ ‰
me. When I’m in trou - ble,
Bbbbbbb ˆ Š t =Še Š Š Š Š f
ŠŠ=Š ‰ ‰
V bbbbbb r t= ŠŠ > Š r t ŠŠe t ŠeŠ Š =Š/Š Š/Š. Š f f . Še t Š V
8va
> - > Š Š V
Š Š
{
meno f
mp
Bbbbbbb Š Š Š Š Š Š Š Š Š Š Š Š
50
Vbbbbbb Š Š Š Š Š ˆ Š r Š f =ŠŠ
Lord, walk with me. When my
Š Š Bbbbbbb
Š Š Š ˆ =ŠŠ r
Š Š
V bbbbbb Š Š Š Š Š Š Š Š Š Š Š Š Š Š >
f
8va-
- - - Š f t =ŠŠ > Š > Š Š Š > Š Š Š
V V V
{
cresc.
BbbbbbbŠ Š Š Š Š Š Š =Š Š =Š =Š Š
53
Vbbbbbb ‰ bb‰ ‰ Š Š bbŠŠ Š Š Š ‰ Š Š ‰
head is bowed in sor - row,
bŠ
Bbbbbbb
‰ ‰ Š Š Š Š ŠŠ Š bb‰ ‰
V
8va
bbbbbb Š Š Šbb>
bbŠ Š Š Š >
Š Š Š Šbb>
bbŠ Š Š Š > Š r tbbŠ>
Š Šf r t=
b= > ŠŠŠ
f
f
{ BbbbbbbbŠ Š bŠ
Š bŠ Š Š Š Š Š bbŠ Š
for online perusal only
9

10
56
Vbbbbbb -
Š Š
Š
ŠŠŠ Š Š ‰ ‰‰ =ŠŠ Š =ŠŠ Š
Lord, I want Je - sus to walk with
Bbbbbbb =Š -
Š ==ŠŠ ŠŠŠ bb‰ ‰ ‰ =Š Š ==ŠŠ bbŠŠ Š
-
V bbbbbb r B > =‰ Š bbŠ Š
.
r Vt Š Š Š =Š/Š Š/Š bŠŠ Š f
Š Š Š>
mf
{ Bbbbbbb Š =‰ Š bŠ Š Š Š Š =Š Š
Š
-
Vbbbbbb bˆ q = =Š Š
59
f
‰ ======# Še
=‰ Š =Š Š. Š f q
me. I want Je - sus
Bbbbbbb ˆ q
= Š Š Še
======# Š. Š f q
V bbbbbb q B=Š ŠŠ t
>
Š f r V = ==‰ ‰
> f
> .
> .
=‰. ======# Š. Š f r Š #Š
{ Bbbbbbb Š Š Š Š Š = ‰ Š = =====#
Š Š Š Š
>
V #
62
r t ŠeŠ r -
Š #Š Š Še q f
Š #Š. Š f Š Š
to walk with me oh yeah! I want
B# r t Še -
Š Š Š Še
r q f
Š Š. Š f
Š Š
-
V# ‰ Š
# Š #‰ r Š Š Š # ŠŠ
ŠŠŠ
ŠŠŠ
ŠŠŠ
ŠŠŠ
Š
f V V V V
{ B# Š Š Š Š Š Š Š Š Š Š Š bŠ
for online perusal only
fp f
meno f
9

10
V # 65
unis.
Š. ŠeŠ q r t Š Š Š f f
Š Š Š r ‰
Je - sus to walk with me, with
B#
Š. ŠeŠ q r t Š Š f
unis. Š f
Š Š Š
r
‰
V# -
Š. Š
Š Š Š f
Š Š Š Š Š Š Š Š Š-
Š Š Š Š-
Š Š Š
-
f t
{
meno f
B# Š =Š Š Š =Š Š Š Š Š Š Š #Š
V #
68
( Š)
unis.
#Š ff
r Š #Š ‰ ‰ Š Š Š Š Š
me. All a - long my pil - grim
B#
Š unis.ff
r
Š #Š ‰ ‰ Š Š Š Š Š
V# #Š Š Š Š Š Š Š Š Š Š Š Š Š b>
Š Š Š Š >
Š Š = =Š Š Š b >
Š Š b Š Š =Š >
V V V
{ B# Š =Š Š Š Š f Š Š Š =Š Š Š Š
V #
71 straight duplets
decresc.
*
‰ ‰ r
Š-
decresc.
Š Š Š Š ‰ ‰
jour - ney Lord, I want Je - sus
B# ‰
Š-*
‰
Š Š Š
r
Š ‰ ‰
decresc.
decresc.
V# r t #ŠŠe r t=#Še
r = Š
‰
straight duplets
Š r Še t
> > > Še Š Še
{
meno
B# Š Š bŠ Š Še t b‰. Š =Š
f
> Š ŠŠŠ Š
for online perusal only
11
* Altos and basses can miss out the top note and join on the ‘E’.
~~~~~~~~~~~~~~~
gliss.

V #
74
r bŠ Š Š
p
- Š ˆ Š r Š
Š
to walk with me, walk with
B# r
bŠ-
Š Š Š ˆ Š
Š
Š
r
V# p
r ##Š ==Še Š t
- . Š e Š
Š
{ # Še Š ŠŠe ŠŠ Š ŠŠ Š #Š Š Š
B#
Š Š Š bŠ =
e
p
Š
- . ‰ Š Š ‰ Š Š
V #
77
cresc. al fine
ˆ Š r Š Š ˆ
me, walk with me,
B# ˆ ˆ Š Š ŠŠ ŠŠ ˆ
r
#ˆ
V#
cresc. al fine
t
Š e Š
Š
{ # Š
Š
Š ŠŠ ŠŠ Š ŠŠ Š #Š Š Š r Š
Š # Še Š ŠŠe
poco cresc.
B#
Š. Še Š Š ‰ Š Š ‰ Š Š
V #
80
(
r )
Š Š Š #‰. r p
( )
walk with me.
B#
Š Š r
#Š Š ‰.
r p
V# ŠŠ Š ŠŠ #Š Š Š Š r Š
Š # Še Š Še p
>
{
non troppo
B#
f
‰ Š Š ‰ Š Š Š r q
for online perusal only
12
11
Music origination by Barnes Music Engraving Ltd., East Sussex.
Printed in Great Britain by Halstan & Co. Ltd., Amersham, Bucks.

NEW
HORIZONS
13
2
Sacred
SATB a cappella
for online perusal only
RODERICK WILLIAMS
Let nothing trouble you

14
St Teresa of Ávila
trans. unattrib.
SOPRANO
ALTO
TENOR
BASS
Commissioned by the Genesis Foundation for Harry Christophers and the members of The Sixteen
Let nothing trouble you
Moderato, senza rigore q = 66
SOLO or SMALL
GROUP ad
lib.
Let
p sostenuto
Let
no
p sostenuto
pp
Let
no - thing, no - thing,
let
RODERICK WILLIAMS
- thing, let no -thing,
no
- thing, let
p dolce e semplice
pp
no - thing
no -
for
rehearsal
only
for online perusal only
Moderato, senza rigore q = 66
p
( )
4
no - thing,
no - thing, let no thing,
trou-ble
you,
poco cresc.
Let no-thing
fright-en
you, Ev
poco più f molto legato
’ry-thing
is fleet - ing,
- thing, let no - thing,
no - thing, no - thing,
legato e senza cresc.
B. 1 ad lib.
pp sostenuto
No
- thing,
no
pochiss. marcato
-
dim.
- no -
- thing, no - thing, no - thing,
poco cresc. poco più f dim.
Let nothing trouble you is recorded by The Sixteen, conducted by Harry Christophers, on their CD O Guiding Night (COR16090).
© Oxford University Press 2011
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

15
TUTTI SOPRANOS
3
lunga
8
p
poco cresc.
fleet - ing, fleet - ing,
Let no-thing
trou - ble you, Let no-thing
p
poco cresc.
no - thing, no - thing,
Let no-thing
trou - ble you, Let no-thing
p
poco cresc.
- thing, no - thing,
Let no - thing, Let no-thing
TUTTI p
BASSES poco cresc.
no - thing, no - thing, no - thing, Let
no - thing, Let no-thing
lunga
( )
p
poco cresc.
poco meno mosso
12
mf
p
fright-en
you, God a-lone
is un - chang - ing,
God a-lone
is unmf
p
fright - en you, God a-lone
is un - chang - ing, God a -lone
is unmf
p
fright-en
you, God a-lone
is un - chang-ing,
God a -lone
is unmf
p
fright - en you, God a-lone
is un - chang - ing,
God a -lone
is unpoco
meno mosso
mf
p
for online perusal only

16
4
16
a tempo e accel.
mp
- chang - ing. Pa-tience
can ob-tain
ev ’ry
rit. e dim.
- chang - ing.
Pa-tience
can ob - tain ev - ’ry -thing,
ev - ’ry-thing,
mp
- chang - ing.
Pa-tience
can ob - tain ev - ’ry -thing,
ev - ’ry-thing,
mp
mf
mf
mf
- -thing,
ev - ’ry-thing,
mp
mf
- chang - ing.
Pa-tience
can ob - tain ev - ’ry -thing,
ev - ’ry-thing,
for online perusal only
a tempo e accel.
mp
mf
rit. e dim.
20
a tempo
p ma deciso
cresc. e accel.
ev - ’ry - thing.
The one who pos-ses
- ses God wants for
3
p ma deciso
ev - ’ry - thing.
The one who pos-ses
- ses God wants for
3
3
ev - ’ry - thing.
The who pos-ses
- ses God wants for
ev
- ’ry - thing.
The
a tempo
p ma deciso
one
p ma deciso
p
one
3
who pos-ses
- ses God wants for
3
3
cresc. e accel.

17
23
a tempo
f
3
3
no - thing,
3
3
no - thing,
3
wants for no - thing:
God
wants for no - thing: God
3
3
no - thing, wants for no - thing:
God a lone
3
f
f
a - lone suf - fi - ces,
a - lone suf - fi - ces,
- suf - fi - ces,
5
3
3
3
no - thing,
wants for
no - thing:
f
God
a - lone suf - fi - ces,
3 3
3
3 3
3
a tempo
f
27
for online perusal only
molto dim.
mp
sub. p
God a - lone suf - fi - ces,
God
a
-
lone,
molto dim.
mp sub. p
molto dim.
mp sub. p
God a - lone suf - fi - ces,
God a - lone,
God a - lone suf - fi
God a - lone suf - fi - ces,
-
molto dim.
ces,
God
mp
God
a
a
-
-
lone,
sub. p
lone,
molto dim.
mp
sub. p

18
6
30
mp
God
mp
God
mp
God
mp
God
a
a
a
a
sub. p
mp
- lone
suf - fi - ces, God
sub. p
mp
- lone
suf - fi - ces, God
sub. p
- lone
suf - fi - ces, God
sub. p
mp
mp
- lone
suf - fi - ces, God
a
a
a
a
-
-
-
-
sub. p
lone,
sub. p
lone,
sub. p
lone,
sub. p
lone,
for online perusal only
mp sub. p mp sub. p
34
SOLO or SMALL GROUP ad lib.
espress.
Let
no
mp
God
mp
God
a
a
-
-
sub. p
lone,
sub. p
lone,
poco cresc.
- thing trou-ble
you, Let no - thing
mp
God
a
-
sub. p
lone,
mp sub. p poco cresc.

19
7
38 mp
cresc. e string. poco a poco
- is un-chang-ing,
mp
suf - fi - ces, God a - lone, God a - lone is un-chang-ing,
TUTTI TENORS
mp
fright-en
you, God a - lone, God a - lone is un-chang-ing,
mp
suf - fi - ces, God a - lone, God a -lone
is un-chang-ing,
cresc. e string. poco a poco
mp
a tempo f
41
- is un-chang-ing,
is un-chang-ing,
God a -
f
God a - lone is un-chang-ing,
is un-chang-ing,
God a -
f
God a - lone is un-chang-ing,
is un-chang-ing,
God a -
f
God a - lone is un-chang-ing,
is un-chang-ing,
God a -
a tempo
f
suf - fi - ces, God a - lone, God a lone
God a lone
for online perusal only

20
8
44
- lone
poco accel.
dim.
- lone
is un - chang - ing, un - chang - ing, un - chang - ing, un -
- lone
is un - chang - ing, un - chang - ing, un - chang
- lone
is un - chang - ing, un - chang - ing, un - chang - ing, un -
dim.
is un - chang - ing, un - chang - ing, un - chang
dim.
dim.
-
-
for online perusal only
poco accel.
dim.
48
- chang - ing, un - chang - ing,
- -
ing,
- chang - ing, un - chang-ing,
un - chang-ing,
un - chang - ing,
p
- -
ing,

21
Tempo primo
53
p
p
pochiss. cresc.
God a - lone is un - chang - ing,
p
un - chang - ing,
God is un- chang-ing,
un -
p
God
Tempo primo
p
58 pochiss. cresc.
pp
is un - chang - ing,
God a - lone is un-chang - ing,
pochiss. cresc.
pp
- chang - ing,
God a - lone is un - chang - ing,
p pochiss. cresc.
p espress.
God a - lone,
Let no-thing
pochiss. cresc.
pp
a - lone,
God
for online perusal only
9

22
10
63
God a - lone is un - chang - ing, un -
God is un - chang - ing,
God a - lone is
poco cresc.
trou -ble
you, Let no-thing
fright-en
you, Ev
poco più f molto legato
- ’ry-thing
is fleet - ing,
for online perusal only
a - lone
is un - chang - ing,
un -
poco cresc.
poco più f
67
- chang- ing, un - chang - ing.
Trou-ble
you, no
p
poco cresc.
un - chang - ing.
Trou-ble
you, no - thing
p
poco cresc.
dim.
fleet
- ing,
fleet - ing,
Let no- thing trou -ble
you, Let
- chang - ing.
Trou-ble
you, no
p
p
-
poco cresc.
thing
no-thing
poco cresc.
-
thing
p
poco cresc.
dim.

23
11
poco meno mosso
71
poco più f
p
fright-en
you, God a- lone is un - chang - ing,
God a-lone
is unpoco
più f
p
fright-en
you, God a - lone is un - chang - ing, God a-lone
is unpoco
più f
p
fright-en
you, God a- lone is un - chang - ing,
God a-lone
is unpoco
più f
p
fright-en
you, God a- lone is un - chang - ing,
God a-lone
is unpoco
meno mosso
poco più f
p
a tempo
rit. e dim.
75
mp
f
- chang - ing. Pa-tience
can ob - tain ev -’ry-thing,
ev - ’ry-thing,
mp
f
- chang - ing.
Pa-tience
can ob - tain ev -’ry-thing,
ev - ’ry-thing,
mp
f
- chang - ing.
Pa -tience
can ob - tain ev -’ry-thing,
ev - ’ry-thing,
mp
f
- chang - ing.
Pa-tience
can ob - tain ev -’ry-thing,
ev - ’ry-thing,
a tempo
rit. e dim.
mp
f
for online perusal only

24
12
79
p dolce
pp
a tempo
p
3
cresc. e accel.
ev
p dolce
- ’ry - thing.
ev
p dolce
- ’ry - thing.
pp
3
ev
- ’ry - thing.
pp
The
p
The
p
The
one who pos - ses - ses
3
one who pos - ses - ses
one who pos - ses - ses
for online perusal only
p dolce
ev
3
- ’ry - thing.
pp
p
The
one who pos - ses - ses
a tempo
p dolce pp p
cresc. e accel.
3
3
82
3
3
God wants for no - thing,
3
3
God wants for no - thing,
3
wants for no - thing:
wants for no - - thing:
3
3
God wants for no - thing,
wants for no - thing:
3
3
3
3
God wants for no - thing,
wants for no - thing:
3 3
3
3
3
3

25
85
a tempo
f
p
13
God
a - lone suf - fi - ces, God a - lone suf - fi - ces.
f
p
God
f
God a lone
a tempo
a - lone suf - fi - ces, God a - lone suf - fi - ces.
p
- suf - fi - ces, God a - lone suf - fi - ces.
f
God
a - lone suf - fi - ces, God a - lone suf - fi - ces.
f
p
p
for online perusal only
89
p
Pa
-
tience,
Pa - tience, pa -tience,
pa - tience, pa tience,
-
- pa tience,
p
Pa
- tience, pa-tience,
pa - tience,

26
14
94
mp espress.
Pa
- tience can
pa - tience,
pa - tience, pa - tience,
pa
sim.
-
tience,
sim.
pa
- tience, pa
- tience, pa - tience,
pa - tience,
sim.
pa - tience, pa - tience, pa - tience,
pa - tience,
for online perusal only
mp
98
ob
- tain
ev - ’ry - thing,
can ob - tain ev - ’ry - thing,
pa - tience,
pa - tience, pa - tience,
pa - tience,
pa
- tience,
pa - tience,
pa - tience,
pa - tience,
pa
- tience,
pa - tience, pa - tience,
pa - tience,

27
102
dim.
can ob - tain ev - ’ry - thing,
can ob - tain ev - ’ry - thing,
pa
dim.
- tience,
pa
- tience, pa - tience,
pa - tience,
15
dim.
pa - tience,
pa - tience,
pa tience,
-
- pa tience,
for online perusal only
dim.
pa - tience,
pa - tience, pa - tience,
pa - tience,
dim.
106
can ob-tain
ev - ’ry-thing,
pp
pp
ev
morendo
- ’ry - thing.
morendo
pa-tience,
pa-tience,
pa
- tience, pa - tience.
pp
morendo
pa - tience, pa - tience.
pa-tience.
Processed in England by Enigma Music Production Services, Amersham, Bucks.
Printed in England by Halstan & Co. Ltd, Amersham, Bucks.
pp
Loch Rannoch, 17 November 2010

NEW
HORIZONS
28
2
Advent
SATB (with divisions) a cappella
for online perusal only
RODERICK WILLIAMS
O Adonai, et Dux domus Israel

O Adonai, et Dux domus Israel
Performance directions
Structure
The motet is performed as follows:
Solo Soprano opening phrase A sung once.
· Solo and chorus Sopranos sing B and continue improvising until the
solo Soprano cues the Coda.
· Once B is established in upper voices, lower voices begin at and sing
through to the end of their music.
· The Celebrant joins at E .
During the last line of the Celebrant’s music, the solo Soprano begins the
Coda by singing the initial phrase, overlapping with the singing of the
Celebrant and lower voices.
The chorus Sopranos (with the soloist ad lib.) respond with the exit phrase,
·
·
repeating as many times as necessary to cover their exit (see below).
The upper and lower voices are not necessarily meant to synchronize the end
of the motet; either part may end first.
Notation
· In the absence of barlines, an accidental lasts for all successive notes unless
cancelled by a further accidental, a change of pitch, or a rest.
· In free chant passages, the value is taken to be a longer note and
the value a shorter one. Actual duration of notes is
determined in performance by the conductor (for the choir) and the soloists.
The rest is taken to be a longer rest, a shorter rest.
· The slurring of the diphthong in ‘Ado-nai’ ( ) is not meant to give
undue stress to the last vowel. Rather, the choir should sing a longer first vowel
and synchronize the change.
· The Celebrant’s part should be performed with great freedom, and all aspects of
pacing, dynamics and expression are left to the performer. The commas are
suggested phrasings and can be breaths of indeterminate length; both they and
the alignment of the part in the score are for guidance only.
29
C
for online perusal only
Positioning of singers
The preferred arrangement of the singers is as follows:
· The solo Soprano (solo Angel) should begin from a high vantage point.
The chorus Sopranos (chorus of Angels) should sing from different parts
of the building, still from on high if possible.
· Altos, Tenors and Basses (the People) should be placed at the back of the
audience or in their midst, with the conductor visible to them, but not necessarily
to the audience.
· Before starting his solo at E , the Celebrant should walk to a position in front
of the audience (for example, at a pulpit or lectern), and address the audience
directly.
· During the Coda the Sopranos should leave their positions and start to exit.
The solo Soprano should lead off during the initial phrase as a signal for
the other Sopranos to follow. The chorus Sopranos should repeat their exit
phrase as necessary to cover their exit. The last ‘veni’ should be very much in
the distance.
This piece may also be performed in any standard choir formation.
·
Style
The pacing and dynamics of the motet are left to the imagination of the
soloists and conductor and may differ with each performance.
The delivery of the Celebrant should contrast with the rest of the motet; it
should be dramatic, impassioned, highly communicative – almost operatic.
·
·

30
Commissioned by Jeffrey Skidmore for Ex Cathedra
for performance at St Paul’s Church, Birmingham
O Adonai, et Dux domus Israel
Advent antiphon
RODERICK WILLIAMS
SOPRANOS
A
SOLO
S.
Solo Angel
O
A
- do - nai,
O A - do - nai,
ve
- ni, ve - ni
ad re - di - men - dum nos.
B
S.
Solo Angel and Chorus of Angels
O
A
- do - nai,
O
A
- do - nai,
for online perusal only
ve
-
ni,
ve
- ni, ve - ni
ad
re
- di - men - dum nos.
The Sopranos sing from pp. 4–5 only.
At B , the soloist improvises using the cells 1-5, in any order, repeating at will. Most important is
that the soloist uses frequent gaps or rests between entries – these are as much a part of the
improvisation as the notes. One by one the chorus Sopranos begin improvising, using the same cells
while imitating what they hear around them. Again, the use of rests is important so that the
resulting texture is not too dense. Rather, it should be made up of unpredictable entries led in part
by the solo Soprano.
The Sopranos should continue this improvisation until the start of the Coda.
Offprinted from Cantica Nova: 18 new motets for choirs (ISBN 978-0-19-335536-1)
© Oxford University Press 2004
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

31
5
Coda
SOLO
S.
Initial phrase – Solo Angel
O
A
- do - nai,
O A - do - nai,
ve
- ni, ve - ni
ad re - di - men - dum nos.
Exit phrase – Chorus of Angels
O
A
- do - nai,
ve - ni, ve - ni,
ve
-
ni.
O
A
- do - nai,
ve - ni, ve - ni,
ve
-
ni.
for online perusal only
O
A
- do - nai,
ve - ni, ve - ni,
ve
-
ni.
The solo Soprano begins the Coda by singing the initial phrase during the last line of the Celebrant’s
music (before G ).
The chorus Sopranos, with the soloist ad lib., then sing the exit phrase, repeating as many times as
necessary to cover their exit.
The Sopranos should exit during the singing of the Coda, and the last ‘veni’ should be very
much in the distance.

6
Advent antiphon
32
Commissioned by Jeffrey Skidmore for Ex Cathedra
for performance at St Paul’s Church, Birmingham
O Adonai, et Dux domus Israel
RODERICK WILLIAMS
ALTO
TENOR
BASS
C
The People
O,
O,
O,
O A - do - nai, A - do - nai,
O A - do - nai, A - do - nai,
O A - do - nai, A - do - nai,
for online perusal only
for
rehearsal
only
O A - do - nai,
A - do - nai,
A - do -
O A - do - nai,
A - do - nai,
A - do -
O A - do - nai,
A - do - nai,
A - do -
Offprinted from Cantica Nova: 18 new motets for choirs (ISBN 978-0-19-335536-1)
© Oxford University Press 2004
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

33
7
- nai, A - do - nai,
ve - ni ad re - di- men - dum nos,
- nai, A - do - nai,
ve - ni ad re - di- men - dum nos,
- nai, A - do - nai,
ve - ni ad re - di- men - dum nos,
for online perusal only
ve - ni ad re - di- men - dum nos in bra -chi
- o ex - ten - to.
ve
- ni ad re - di- men - dum nos in bra -chi
- o ex - ten - to.
ve - ni ad re - di- men - dum nos in bra -chi
- o ex - ten - to.

A.
8
D
Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,
34
T.1
T.2
B.
Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,
Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,
Ve - ni, ve - ni. O, O A - do - nai, A - do - nai,
for online perusal only
O A- do - nai,
A- do - nai, A- do - nai, A- do - nai,
O A- do - nai,
A- do - nai, A- do - nai, A- do - nai,
O A- do - nai,
A- do - nai, A- do - nai, A- do - nai,
O A- do - nai,
A- do - nai, A- do - nai, A- do - nai,

35
9
ve
- ni ad re - di-men
-dum
nos, ve - ni ad re - di-men
-dum
nos
ve ni
- ad re - di-men
-dum
nos, ve - ni ad re - di-men
-dum
nos
ve - ni ad re di
ve
- -men
-dum
nos, ve - ni ad re - di-men
-dum
nos
- ni ad re - di-men
-dum
nos, ve - ni ad re - di-men
-dum
nos
for online perusal only
in bra - chi - o ex - ten - to.
Ve - ni, ve - ni.
in bra - chi - o ex - ten - to.
Ve - ni, ve - ni.
in bra - chi - o ex - ten to.
- Ve - ni, ve - ni.
in bra - chi - o ex - ten - to.
Ve - ni, ve - ni.

SOLO
A.
T.1
T.2
B.
10
E
Celebrant (TENOR or BARITONE Solo)
pacing and dynamics ad lib.
O,
3 3 3
O A - do - nai, A- do - nai, A- do - nai, A - do
O A - do - nai,
A - do - nai,
O,
O A - do - nai,
A - do - nai,
O,
O,
36
O A - do - nai,
A - do - nai,
O A - do - nai,
A - do - nai,
-
for online perusal only
3
- nai, A-do
- nai,
O A - do - nai, et Dux do -mus Is -ra -el,
O A - do - nai,
A- do-nai,
A- do-nai,
A - do -
O A - do nai,
- A- do-nai,
A- do-nai,
A - do -
O A - do - nai,
A- do-nai,
A- do-nai,
A do
O A - do
- nai,
- -
A- do-nai,
A- do-nai,
A - do -

qui Moy - si in
3
- nai,
ve
i
3
- gne flam - mae ru -bi
ap-pa
- ru - i - sti,
unis.
- ni ad re - di- men - dum nos,
- nai,
ve - ni ad re - di- men - dum nos,
- nai,
ve - ni ad re - di- men - dum nos,
unis.
- nai,
ve
37
- ni ad re - di- men - dum nos,
11
for online perusal only
3 3
et e - i in Si - na, in Si - na le - gem de di -
- sti:
ve - ni ad re- di- men -dum
nos in bra -chi
- o ex - ten - to.
ve ni
- ad re- di- men -dum
nos in bra -chi
-o
ex - ten - to.
ve - ni ad re- di- men -dum
nos in bra -chi
-o
ex - ten - to.
ve - ni ad re- di- men -dum
nos in bra -chi
-o
ex - ten - to.

12
O A - do nai,
Ve
- O A- do- nai, A- do-
nai,
F
Ve - ni, ve - ni.
O, O A - do - nai,
3
et Dux do - mus
- ni, ve - ni.
O, O A - do - nai,
Ve - ni, ve - ni.
O, O A - do - nai,
Ve
38
- ni, ve - ni.
O, O A - do - nai,
for online perusal only
3
Is - ra - el,
ve - ni,
O A - do nai,
A
- do - nai,
O A - do - nai,
A - do - nai,
O A - do - nai,
A - do nai,
A
- O A - do - nai,
- do - nai,
O A - do
-
- A - do -
nai,

13
- nai, A -do -nai,
A -do -nai,
ve - ni ad re - di- men - dum nos in
A - do - nai, A- do - nai, A - do - nai,
A - do - nai, A- do - nai, A - do - nai,
A - do - nai, A- do - nai, A - do - nai,
A - do - nai, A- do - nai, A - do - nai,
3 3
bra - chi - o ex - ten - to.
Dux do - mus Is - ra - el,
unis.
ve - ni
ad re - di - men - dum nos,
ve - ni
ad re - di - men - dum nos,
ve - ni
ad re - di - men - dum nos,
unis.
ve - ni
ad re - di - men - dum nos,
for online perusal only
39

14
40
ve - ni ad re - di - men -dum
nos
ve
- ni ad re - di - men - dum nos
ve - ni ad re - di - men - dum nos
ve - ni ad re - di - men - dum nos
ve
- ni ad re - di - men - dum nos
for online perusal only
in bra -chi
-o
ex ten
3 3
(long)
- - to. Ve - ni, ve - ni, ve - ni.
in bra - chi - o
ex - ten - to.
Ve - ni, ve - ni.
in bra - chi - o
ex - ten to.
in bra - chi - o
ex - ten to.
- Ve - ni, ve - ni.
- Ve - ni, ve - ni.
in bra - chi - o
ex - ten - to.
Ve - ni, ve - ni.

A.
T.
B.
G
O,
15
O,
O A - do - nai,
A - do - nai,
O A - do - nai,
A - do - nai,
O,
O A - do - nai,
A - do - nai,
A - do - nai, A - do - nai,
A - do - nai,
O.
- O.
A - do - nai, A - do - nai,
A - do - nai,
O.
A - do - nai, A - do - nai,
A - do nai,
for online perusal only
41

NEW
HORIZONS
42
2
Sacred
SATB and piano
for online perusal only
RODERICK WILLIAMS
O Guiding Night

43
Commissioned by the Genesis Foundation
for Harry Christophers and the members of The Sixteen
O Guiding Night
St John of the Cross (1542–91)
trans. Kieran Kavanaugh and Otilio Rodriguez
RODERICK WILLIAMS
SOPRANO
ALTO
Allegro non troppo q = 92
TENOR
BASS
PIANO
4
7
for online perusal only
poco cresc.
Allegro non troppo q = 92
ff
poco dim.
con Ped.
3 3
f
ff
3
f
Music © Oxford University Press 2012. Text from The Collected Works of St John of the Cross, translated by Kieran Kavanaugh and Otilio
Rodriguez, © 1964, 1979, and 1991 by Washington Province of Discalced Carmelites, ICS Publications, 2131 Lincoln Road, NE Washington,
DC 20002-1199, USA (www.icspublications.org).
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.
3
3 3
solo p espress.
p
An extended version of O Guiding Night is recorded by The Sixteen, conducted by Harry Christophers, on their CD of the same
name (COR 16090).
3
3
( f )
mp
mp
( f )
3 3

S.
A.
10
p hushed, excited
3
One dark night, fired with love’s ur - gent long-ings,
p hushed, excited
3
T.
B.
bright
3
44
3
3
6
3
13
p
(O
(the
mf
mf
the sheer
sheer grace!)
grace!)
p
I went out un - seen, my
I went out
p
un - seen,
p
Un - seen,
cresc.
house
my house
cresc.
my house
poco cresc.
16
for online perusal only
p
mf sost.
be - ing now all stilled.
p
On
mf
mf sost.
that
glad

4
19
45
3
22
25
night, on that glad
In se-
cret,
p
p
did I look
p
for
mf
night,
sost.
no one saw me, nor
in se - cret,
p (senza cresc.)
In se- cret,
in se - cret,
poco cresc.
at
3
a-ny-thing, with no o-ther
light
( p )
in se
with no
( p )
-
cret,
p
o-ther light or guide
3
3
with
sempre poco cresc.
no
sost.
for online perusal only
or guide
3
o-ther
guide,
poco cresc.
3
3
than the
than
3
the
3 3

28
one
that
that
burned
burned
3
3
in
3
3
in
my
my
heart.
46
poco rit.
mf
mf
heart.
poco rit.
5
31
a tempo
p dolce
34
for online perusal only
espress.
poco rit.
S.
A.
a tempo
mf sost.
38
T.
B.
This
mf sost.
guid-ed
me more sure - ly than the light of noon
a tempo

6
41
to where he was a wait
45
well–
p dolce
- - ing me– him
p dolce
molto
there
molto
3
in
3
3
a
mf
place
mf
where
3
47
3
3
no one ap
3
3
I knew so
- peared
for online perusal only
49
mf espress.
mp

54
3
48
7
58
p
Poco meno mosso
sost. e dolce
S.
A.
62
S. O
p
guid - ing night!
T.
B.
T. O
p
guid - ing night!
espress.
for online perusal only
3
66
O
night
more love
- ly than the dawn!
O
night
more love
- ly than the dawn!
A. p
O
B. p O
3

8
69
49
night
night
that has u - nit - ed
the Lov
- er with his be -
that has u - nit - ed
the Lov
- er with his be -
72
- lov
for online perusal only
- ed.
- lov - ed.
76
un poco più f
O
guid
un poco più f
- ing night!
mf
O
O
night
night
O
O

night
79
more love
more love -
night more love
more love
-
50
- ly than the dawn!
ly than the dawn!
- ly than the dawn!
ly
than the dawn!
non troppo f
O night that has u -
non troppo f
9
for online perusal only
82
- nit - ed the Lov er
poco più mosso
3
- with his be- lov - ed, trans - form - ing the be-
mp
3
mp
3
poco più mosso
mp
86
- lov
- ed in her Lov - er,
poco cresc.
( mp )
Trans
mp
3
- form - ing the be -
3
3

10
90
- lov
mf
51
- ed, trans
mf
- form
ing
mf
- - - the be - lov - ed.
94
poco allarg.
f
O
f
poco allarg.
guid
a tempo
- ing night! O guid - ing
a tempo
f
for online perusal only
97
night! O night that has u -

100
- nit
104
a tempo
espress. 3
108
52
11
poco rit.
p
- ed the Lov - er
with his be - lov - ed.
p
poco rit.
a tempo
p
3
f
O guid - ing night! O guid - ing
f
3 3 3
3
3 3
3 3 3
sub. f
for online perusal only

12
111
53
allarg. a tempo
f
115
night!
O
f
allarg.
guid -ing
night more love - ly than the dawn,
a tempo
3 3 3 3
f
for online perusal only
more love - ly than the dawn.
3
mf dim.
118
u
-
pon
p
3
my flow - er-ing
breast
p
bright
3
which I kept whol - ly for him a-lone,
p
p
p
(in se
-
cret)

121
there
there
he
lay
he
sleep
lay
54
- ing,
sleep
-
ing,
13
and I ca -ress
-ing
him
p molto sost.
p molto sost.
and I -ress
him
there he lay
sleep
-
ing,
-ress him
p molto sost.
there
he
lay
sleep
-
ing,
for online perusal only
124
3
there in a
3
p molto sost.
3
3
3
3
breeze from the fan - ning ce - dars.
3
3
p
127
O guid - ing night! O
p sonore
p
p
guid - ing night!
p cantabile

14
131
p
O
night more love
55
- ly than the dawn!
poco meno mosso
( p )
I
a -
p
poco meno mosso
for online perusal only
135
p espress.
3
- ban - doned and for - got my -self,
lay-ing
my face
3
poco cresc.
3
3
poco cresc.
3
on my Be -
138
- lov
- ed;
all
*p
things ceased;
I went
3
( )
3
out from my-
self,
3
3
*The piano can support the choir ad lib. until b. 144, using the small notes.

142
146
tempo flessibile colle parole
3
3
leav-ing
my cares
3
3
*tenors stay on A§ and 1st basses on Ab
tempo flessibile colle parole
for - got - ten
a - mong the lil - ies.
*
pp
56
15
O
pp
the sheer grace! O
guid
- ing night! O
guid -
149
for online perusal only
pp
rit. al fine
- ing
night!
div.
(opt.) pp
rit. al fine
Processed in England by Enigma Music Production Services, Amersham, Bucks.
Printed in England by Halstan & Co. Ltd, Amersham, Bucks.

NEW
HORIZONS
57
2
Christmas
SATB unaccompanied
for online perusal only
RODERICK WILLIAMS
The star has come

58
for Marie Curie
The star has come
Robert Seatter (b. 1955)
RODERICK WILLIAMS
SOPRANO
°
& 4
Bright, fun q = c.100
‰ Ó ‰
f fp >
œ j œ
The star,
œ
f fp > *
œ j ˙
the star,
˙
port.
¿ j ‰
∑
ALTO
& 4
f fp >
f fp > *
œ j w œ
œ
˙ ˙
The star, the star, the
port.
¿ j ‰ Ó Œ ‰
f
œ j
for online perusal only
TENOR
BASS
4
&
‹
?
¢ 4
p
p
‰ Ó ‰ œ J
œ œ œ J
˙ w ˙ Ó
œ
J
The star,
the star,
w œ œ ˙ w ˙
Œ ‰
The star, the star, the
p
œ
J
5
°
&
&
‰
the star,
f
the
fp
f fp > > >
œ j ˙
œ j œ œ
œ j ˙ ˙
star
has
fp
˙ œ œ œ ˙ œ œ œ w ˙
?
¢
f
f
fp
come,
fp
f
>
fp > >
( q ) 3
˙ œ œ ˙ œ
œ œ œ ˙ ˙ ¿ j ‰ Œ œ œ
star, the star has come
with a
p
3
& ‰ œ ˙ œ œ œ œ w ˙ J J J Œ Œ œ
‹
the star, the star has come, the
star, the star has come,
port.
port.
( q )
¿ j ‰ Ó
Ó
mf
p
* The portamenti need not be exactly synchronized within each voice part, certainly in terms of pitch. The effect is of a shower of stars,
rather than a single star in each voice part. In general, the slide should aim to span at least an octave.
First performed by Canticum, directed by Mark Forkgen, at Southwark Cathedral on 11 December 2017.
Duration: 2.5 mins
© Oxford University Press 2019
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

9
°
&
&
>
-
œ œ œ - ˙ œ œ œ œ ¿ ‰ œ œ œ J
œ œ ˙ ‰
mf cresc. f
3
3
flash and a
fla
-
sh
zoom
cresc.
cresc.
and a fla - sh,
3
a flash and a
zoom,
the star has
3
f
-
-
œ ¿ Œ ‰ œ
>
œ œ œ œ œ ˙ ˙ ‰ œ J œ œ
and
a zoom,
3
flash and a
59
zoom,
the star has
f
˙ œ œ J
œ œ ˙ ˙ ‰ œ J
œ œ
œ
J
œ
œ
3
&
‹
?
¢
star,
the star, the star has
p cresc.
œ f
˙ œ œ œ œ œ ˙ ‰ œ œ œ
J
star,
the star, the star has
for online perusal only
12
°
&
15
° 3
& 4
3
& 4
? 3
¢ 4
come
poco rall.
come out of the night now in - to this room.
p
3
3
4
- -
- -
3
œ œ œ J œ œ œ œ œ J œ j œ
- -œ -œ w
out
a tempo
pp
The
3
of the night
3
pp
The
star, the star,
star, the star,
The star, the star,
p hushed, excited
The star, the star,
p
room.
p
room.
p
4
œ j ˙ œ œ j w w
*
Œ Œ ‰ œ 4
œ
J ˙ œ J w ˙
> >
4
now
in
- to this
& -
œ -
œ j œ œ œ -
œ œ j -œ -
œ j œ
-œ -œ w
-
& œ
-
œ œ œ œ -œ œ - - - -
J J
œ œ œ J
œ œ
‹ 3
come out of the night now in - to this
w
?
- -
- -
3
œ œ œ œ - - -
¢ J
œ œ œ œ J œ œ œ œ
J
w
&
‹
come
out
∑
Œ Œ ‰
∑
3
of the night
4 Ó ‰
p hushed, excited
Ó ‰
now
in
3
- to this
bœ
bœ
œ b˙
> >
room.
œ j œ œ œ ˙ w
bœ
J
*
˙
port.
port.
¿
J
‰
¿
J ‰
3
4
3
4
3
4
3
4
* The portamenti need not be exactly synchronized within each voice part, certainly in terms of pitch. The effect is of a shower of stars,
rather than a single star in each voice part. In general, the slide should aim to span at least an octave.

4
60
19
°
&
Ó ‰
˙
& Œ ‰
˙
?
¢
∑
pp cresc.
The star,
the star has come
pp
cresc.
The star, the star has come
p
& Ó Œ ‰ œ œ
J ‹ >
œ J >
˙ œ œ j ˙
The
star,
œ j ˙ œ œ œ œ ˙
œ j œ œ j ˙ œ œ j ˙
‰
p
bœ
J
The
cresc.
the
cresc.
b˙
>
star,
star has come
bœ
>
bœ
œ bœ
b˙
the star has come
for online perusal only
22
mf
f
°
& Œ œ n-œ
œ j œ œ ˙ ‰ œ œ œ œ J
œ œ
& Œ
?
¢
Œ
to
mf
to
mf
to
mf
to
all who wait - ed here, the star has come which
f
œ -œ œ j œ œ
all who wait - ed here, the
& Œ
œ ‹ -œ œ j œ œ
all who wait - ed here, the
bœ
-œ œ j œ œ # ˙
all who wait - ed here, the
˙ ‰ œ j œ œ œ œ œ
f
f
star has come which
˙ ‰ œ J
œ œ œ œ œ
star has come which
‰ # œ œ œ œ œ œ
J
star has come which
25
°
&
-
mf
˙ œ ˙ Œ œ œ w
burned so bright,
mf
burned so bright,
mf
burned so bright,
now it burns
& b˙
bœ
-œ ˙ Œ œ œ œ j œ œ j œ j bœ
now it burns
œ œ œ -
& œ nœ
˙ Œ œ œ œ b˙
‹
now it burns
bœ
mf
? n˙ -œ ˙
¢
Œ œ œ b˙
burned so bright, now it burns
bœ
œ

°
&
¢
28
&
&
‹
?
poco rall.
p
3
˙ ˙ w 4 Œ Œ ‰
˙
œ
b˙
˙
so
p
so
p
so
p
so
near.
bœ
œ w
b˙
œ
near.
w
near.
w
near.
3
4
3
4
3
4
61
Œ Œ ‰
a tempo
f decisive
œ j
The
f decisive
œ j
star has come,
The star has come,
f decisive
Œ Œ ‰ œ J 4 œ œ ˙ J
Œ Œ ‰ œ j 4 œ
The star has come,
f decisive
The
4
œ
4
œ
œ
J
œ
J
œ
J
˙
˙
˙
star has come,
5
for online perusal only
32
°
&
&
&
‹
?
¢
œ
œ
3
œ ˙ ˙ Ó Œ œ œ
>
œ œ œ j
the star has come, straight as a win - ning,
mf
f
3
œ ˙ ˙ Œ œ œ
>
œ œ œ œ œ
the star has come, straight
mf
>
œ œ œ
3
as a win - ning, straight as
mf
œ œ œ œ ˙ ˙ Ó œ œ œ œ œ
œ
œ
œ
the star has come, straight as a win -
œ
œ
œ
œ
œ ˙ ˙
the star has come, straight as a win -
mf
Ó œ œ œ œ œ
a
35
°
&
f
> œ œ
>
œ œ œ
3
straight as
&
win
˙
a win-ning
dart,
‰
œ
J
the star has come, the star has come,
œ œ œ œ œ j œ ‰ œ J
œ œ ˙ ‰ œ J
œ œ ˙
œ
- ning dart, the star has come, the star has come,
f
œ œ ˙
œ
˙
‰ œ J
œ œ œ J
œ ‰ œ J
œ œ œ J
œ œ J
‰
œ
J
œ
œ
œ
J
œ
&
‹
?
¢
- ning dart,
f
œ œ ˙
- ning dart,
‰
the star has come, the star has come,
œ
J
œ œ ˙
the star has come, the star has come,
‰
œ
J
œ œ œ J
bœ

6
38
°
&
&
?
¢
œ
‰
œ
J œ œ
œ ˙ œ œ œ œ -˙
J
the star has come which is made
œ ‰ œ œ œ ˙ œ J bœ
the star has come which is made
‰ œ J
œ œ œ ˙ œ œ
mf
œ
the star has come which is made
the star has come which is made
mf
mf
of
of
of
of
light,
bœ
j œ œ j -˙
œ
-
& œ
J
˙
‹
œ
‰
62
light,
light,
mf
bœ
œ œ J
b˙ œ œ œ bœ
j -˙ # œ
light,
for online perusal only
41
°
&
&
&
‹
?
¢
poco meno mosso
p
Œ œ œ œ ˙ Œ œ œ œ ˙
Œ
the
p
œ
the
p
the
p
the
star has come, the
# œ œ ˙ Œ
star has come, the
star has come, the
star has come, the
p
p
œ
p
p
star has come
# œ # œ ˙
star has come
Œ œ œ # œ ˙ Œ # œ œ œ n˙
Œ
star has come
# œ œ œ # ˙ Œ œ # œ œ n˙
star has come
44
°
&
Œ
& Œ
?
¢
Œ
-
œ œ œ œ j œ œ œ œ
-
œ # œ ˙ œ
pp
which
pp
which
pp
which
pp
which
is made of light now here in my heart, now
œ œ œ œ j œ
-
œ œ œ œ œ ˙ -
œ
is made of light now here in my heart, now
& Œ
‹ œ œ œ œ j œ
-
œ œ œ # œ œ # ˙ -
œ
is made of light now here in my heart, now
nœ
œ œ œ j œ œ œ œ œ œ
-
˙
-
œ
is made of light now here in my heart, now

47
°
&
&
poco rall.
œ œ œ œ
here in my heart. The star,
the
f f fp
U
fp >
>
? U
¢ œ œ œ œ
˙
Tempo I
œ œ # œ œ # ˙ Œ ‰
here in my heart. The star, the
f fp
here in my heart. The star, the
f fp
here in my heart. The
63
7
U ˙ >
Ó Œ ‰
œ j ˙ œ œ
f
fp
œ j ˙ œ
U p
œ >
& œ œ œ ˙ Œ ‰ œ w J
‰
œ j ˙
‹
Ó Ó Œ ‰
port.
star,
port.
¿ j ‰ Œ ‰
star,
star,
f
¿ j ‰ ‰ œ j
œ j œ
œ
J ˙ œ
>
port.
for online perusal only
51
°
& > ˙
&
&
‹
?
¢
fp
star,
˙
œ
port.
¿
J ‰ ‰
œ
port.
œ
port.
¿ j ‰ ‰
f
the
fp
star,
f
the
star,
f
the
fp f p f
>
¿ j ‰ ‰ œ j ˙ œ J
>
œ j ˙
star,
the star, the
fp f p f
> >
¿ j ‰ Œ ‰ œ j ˙ ‰
œ j œ œ J
f fp
f
œ
œ
J ˙ ˙ ‰ J œ
> >
star,
f
the
œ J
star,
œ
œ
port.
port.
port.
fp f p f
œ j œ
port.
Y
Y
p
Y
Y
port.
port.
port.
port.
œ
f
‰
œ ‰
œ j œ
the star
œ j œ
the star
the star
the star
œ
has
œ
has
œ ‰ œ J
œ œ
œ ‰
œ
J
œ
has
œ
has
55
°
&
&
?
¢
˙
‰
come, the star has come, the
˙ ‰
come, the star has come, the
come, the star has come, the
come, the star has come, the
p
œ œ ˙
>
p
œ œ ˙
>
p
˙ >
& ‰ œ œ œ œ ‰ œ œ œ
J ‹
˙ ‰
œ j
œ
œ
œ j œ œ
œ
J
œ
œ
œ
‰
œ ‰
œ ‰
p
> œ œ ˙
port.
Y
port.
port.
port.
port.
f
w
star.
f
w
star.
f
w
star.
f
w
star.

from For Him All Stars: 15 carols 64 for upper voices
for Richard Vendome and the Oxford Girls’ Choir
A Catch by the Hearth
English trad.
for online perusal only
RODERICK WILLIAMS
(b. 1965)
* During the piece, the choir divides into 2, 3, and eventually 4 parts. Each time the choir should be split evenly.
© Oxford University Press 2006. Photocopying this copyright material is ILLEGAL.

A Catch by the Hearth 85
65
for online perusal only

86 A Catch by the Hearth
for online perusal only
66

from Christmas Spirituals for Choirs 67
4. Children, go where I send thee
arr. RODERICK WILLIAMS
SOPRANO
ALTO
TENOR
BASS
TUTTI or SOLO (see footnote)†
How
Tempo ad libitum
will you send
mf
TUTTI or SOLO (see footnote)†
Child
mf
- ren, go
where
I
send
thee.
me?
PIANO
(Optional)*
Tempo ad libitum
mf
3
mf
I’m
bm
Allegro
p
gon- na send thee one by one ’cos One was the lid - dle bid - dy
doot
cresc.
doot
doo
doo doot bm
doot
doot
doo
ba
- by that’s
doo
doot
Allegro
p
for online perusal only
cresc.
* It may be desirable to have the bass line played on another instrument (electric bass) or even to have
two players at the keyboard, dividing bass line and harmony ad lib.
† These ad lib. bars (see also bars 83, 84, and 102) can be solo, with complete freedom, or tutti as notated.
© Oxford University Press 2003. Photocopying this copyright material is ILLEGAL.

5
born,
born,
mf
born,
68
Children, go where I send thee 17
mf
bm
doot
born,
born
doot doo doo doot bm
in Beth - le - hem.
doot
doot
un poco meno
doot doot
doo
doo
doo
in
doot
Beth - le -
for online perusal only
mf
un poco meno
O child -ren
go where
7
mf
doot doot doo
doo
doot
go,
I send thee.
how,
Well
(mf )
- hem
doot
doot doo
doo doo
O child ren
- go,
O sis - ter how
mf
how,
will you send
me?

18
Children, go where I send thee
69
10
I’m
mp
gon
- na send
thee
two
by
two
’cos
Two
sim.
was Paul
cresc.
an’
Si - las and
mp
hm
doot
doot doo doo doot doot
sim.
hm bur - dp hm
doot
cresc.
doo
doo doot
hm bur - dp
mp
cresc.
S.
12
One
ba by
was the lid - dle bid - dy
- that’s
f
born,
born,
A.
f
doot
doot
doo
doo
doot
born,
born,
T.
B.
hm
doot
doot
doo
for online perusal only
doo
doot
f
f
born,
born,
hm
bur
-
dp
born,
born,
f

70
Children, go where I send thee 19
14
born in Beth
- le - hem.
Go,
mp
doot doot
doo
doo doot
doot doot doo
doo
doo
mf
O bro-ther
mp
mp
hm
doot
doot
doo
doo doot
hm bur - dp hm
doot
doot doo
mf
doo
doot
O child - ren
Go,
thee.
go where I send
mp
17
where,
S.
A.
where
will you
send
me?
mp
doot
doot
doo
doo
doot
how,
T.
B.
where,
Well
pp
O sis -
ter
I’m
mf
I
gon - na send
thee
for online perusal only
three by three ’cos
mp
Gon - na send ’em

20
Children, go where I send thee
71
19
doot
doot
doo
doo
doot
cresc.
sim.
sim.
doot
doot
doo
doo
doot
Three
Three
was the He
-
brew - ren an’
child
child
- ren
an’
Two
Two
was Paul and Si - las
an’
cresc.
Si - las an’
cresc.
21
doot
doot
doo
doo
doot
f
born,
born,
for online perusal only
One
One
was the lid - dle bid - dy
ba
-
by
that’s
ba - by that’s
born,
f
f
born,
born,
born,
f

72
Children, go where I send thee 21
23
doot
doot
doo
mf
doo
doot
mp doot
doot
doo
doo
doot
O
child
- ren
born
born
in Beth - le - hem.
mp
in Beth - le - hem
doot
doot
doo
O
doo
child
doo
- ren
mp
Go,
25 mf
go
where
I
send
thee.
how,
O
(mf )
O
go
for online perusal only
mf
how,
mf
So tell me, how
will
you
send
me?
O
mf

22
Children, go where I send thee
73
I’m gon - na send
27
mp
I doot doot
mp
I
thee four by
doo
four ’cos Four was the four
doo
doot
doot
doot
that stood at the door and
mp
gon-na
send thee Four
doo
stood
doo
at
doot
it
mp
Three was
29
the He
-
brew
child - ren
doot
cresc.
doot
doo
doo
doot
doot
doot
doo
doo
doot
doot
doot
doo
doo
an’
Three
doot
doot
doo
for online perusal only
doo
an’
Two
was Paul
cresc.
and
Si - las an’
child
- ren
an’
Two
Si -
las
an’
cresc.

doot
31
One was
the lid
doot
- dle bid - dy
doo
74
doo doot
ba - by that’s
f
born,
Children, go where I send thee 23
born,
f
born,
born,
that’s
One
doot
doot
doo
doo
doot
f
born,
born,
ba
-
by
that’s
born,
born,
f
33
born
doot
mf
doot
doo
doo
doot
doot
doot doo
mp
in
Beth
-
le
-
hem.
born
doot
mf
doot
doo
mf
for online perusal only
doo
in Beth
doot
- le - hem
doot
mp
doot
doo
in Beth - le -
mf
mp

24
35
Children, go where I send thee
mf
oo
doot
mf
doot
doo
doo
75
doot
doot
doot doo O child - ren
-hem
doot
mf
doot
doo
mf
doo
doo
doot
der - dup bom
doot
doot
doo
doo
doot
O child - ren
mf
37
go
Go,
where
I
send
thee
How,
Go,
Go,
for online perusal only
How
How,
are you gon
-
na send
(either note)
me?

76
Children, go where I send thee 25
complicated against the rhythm in the r.h., a simplified version can be used:
39
doot
mp doot doo
doo doot doot
doot doo
doo doot
mf
I’m gon - na send thee six by six ’cos Six was the six that ne - ver got fixed an’
doot
mp
doot doo
doo doot doot
doot doo
doo doot
mf
doo doo doo doot doo doot doo doo doo doot doo doot
mp
*
41
cresc.
doot
doot doo
doo doot
doot doo
doo an’
Five was the five that came back a-
live an’Four was the four that stood at the door
doot
doot doo
doo doot doot
doot doo
doo doot
cresc.
sim.
doo doo doo doot doo doot doo doo doo doot doo doot
cresc.
* Ideally the l.h. should shadow the bass vocal part. If this becomes too
for online perusal only

26
Children, go where I send thee
77
S.
43
A.
Three was the He - brew
doot
doot
doo
child
- ren an’ Two
doo doot
doot
was Paul
doot
an’
doo
Si
- las an’
doo doot
doot
T.
B.
doot
doo
doo
doot
doot
doot
doo
doo
doot
doo
doo
doo doot
doo
doot
doo
doo
doo doot
doo
doot
45
One
f
ba by
was the lid - dle bid - dy
- that’s born,
born,
doot
doot
doo
doo
doot
f
born,
born,
for online perusal only
doo
doot
doo
doot
doo
doo
doot
doo
doo
doot
doot
f
born,
born,
born,
born,
f

78
Children, go where I send thee 27
47
born in Beth - le - hem.
Go,
mf
born doot
doot
doo
doo doot doodoot
doot
for online perusal only
doo
doo doot
Go,
born doot
doo
doot
mf
mf
doo doo doot doo
doo doo doot doodoot
doot
doo
doo
doot
Go,
doot doo doo doo doot O child-ren
go where I send thee.
mf
S.
A.
T.
B.
50
f
How
how,
will
you send
me?
f
gliss.
p ma distinto
How,
O
I’m
gon
- na send
thee eight
by eight ’cos
p

28
Children, go where I send thee
79
52
mp
Eight,
doot
p
doot
doo
doo
doot
Se-ven,
doot
doot
doo
doo
doot
Eight was the eight that stood at the gate an’
mp
Se-ven
was the se-ven
that got in-to
hea-ven
an’
for online perusal only
54
Six,
p
Six, doot
cresc. poco a poco
doot
doo
doo doot
Five,
doot
Five, doot
doo
doo doot
cresc. poco a poco
Six was the six that ne - ver got fixed an’ Five was the five that came out a - live an’
cresc. poco a poco
mp
56
Four, doot doot
cresc. poco a poco
doo
Four was the four that stood at
mf cresc.
doot
doo doot Three, doot
the door
an’ Three
mf cresc.
was the He-brew
mf cresc.
doo
doo doot
child - ren an’

80
Children, go where I send thee 29
58
Two, doot doot
Two
was Paul
an’
doo
Si
doo doot One, doot
- las an’ One
doot
was the lid - dle bid - dy
doo
doo doot
ba - by that’s
60
for online perusal only
f
born,
f
f
f
born,
born,
born,
born,
born,
born
in Beth le
born
doot
doo
- - hem
doot
doo
doo
doot
doo
doo
doot
doot
62
meno f
doo
meno f
doot
doo
doot
meno f
doo
doo
doot
doo
doo
oo
fp cresc.
mf
doot
mf
fp cresc.
doo
doot
mf
doo
doo
doot

30
Children, go where I send thee
64
doot
doot
O child - ren
f
doo
I
doo
doot
I,
f
81
I
I
I
I yi yi yi
I,
yi yi yi yi
f
I’m
67
mp
mp
gon - na send
them ten
by
ten ’cos
Ten
was the ten
cresc. poco a poco
that
ne - ver got in
an’
mp
I,
mp
doot
doot
doo doo
doo
doot
doo
for online perusal only
doo doot Ten, doot
doot
doo
cresc. poco a poco
doot Ten, doo doo doot
doo
doo doot
doot
mp
cresc. poco a poco

82
Children, go where I send thee 31
69
Nine
Nine,
was
doot
the
nine
Nine,
doo
doot
that
doo
came
doo
doot
on be - hind an’
doo
doo
doot
doot
70
Eight
Eight,
Eight,
was the eight
doot
doo
doot
that
doo
stood
doo
doot
at the gate
doo
doo
an’
doot
doot
71
for online perusal only
Se
sempre cresc.
Se
- ven was the se - ven that got
- ven, doot
doot
doo
sempre cresc.
Se
-
ven,
doo
sempre cresc.
doo
doot
in
- to hea
doo
doo
- ven an’
doot
doot

32
Children, go where I send thee
83
72
Six was the six
Six,
doo
that ne - ver got fixed an’
doo doot
doo
doot
that came
Five was the five
Five,
doo
doo
doot
back a - live an’
doo
doot
74
Four
for online perusal only
was the four
who stood at
the door
an’ Three was the He - brew
child
- ren an’
Four, doo doo doot doo doot Three, doo doo doot doo doot
f
76
Two
f
Two,
f
was Paul
doo
an’
doo
doot
Si - las an’ One was the lid - dle bid - dy
doo
doot One,
doo
doo
doot
ba
doo
- by that’s
doot

84
Children, go where I send thee 33
S.
78
born
poco dim.
mf
ba
- by born
ba
- by born
in Beth - le - hem
A.
born,
mf
born,
T.
B.
born,
born,
born,
born,
mf
Doo
mf
doot
doot
doo
doot
doot
doo
doo
doo
doot
doo
doo
doo
doot
doot
doot
mf
80
fp cresc.
oo
doot
doot
for online perusal only
doo
mf
doot
doot
doo
doo
doot
doo
doot
doo
doot
doo
doo
doot
doo
doo
fp cresc.
doo
doot
mf
doot
doo
doo
doot
mf

34
Children, go where I send thee
85
S.
A.
82
doot
doot
doo
Tempo ad libitum
Go,
T.
B.
O child - ren, go
Go,
where I send
3
thee.
Tempo ad libitum
gliss.
84
will you send
Allegro
I’m gon - na send
mp
thee twelve by twelve ’cos
How
me?
I,
How,
for online perusal only
mp
I,
doo
doo
doot
doo
doot
Allegro
mp

86
Children, go where I send thee 35
86
* was
the
Twelve
Twelve,
Twelve,
twelve
doo
Dis
doo
- ci ples
doot
-
doo
an’
E -
E -
doot
E
-
for online perusal only
- le - ven was the e - le - ven A
87
cresc. poco a poco
- le - ven,
cresc. poco a poco
- pos - tles
an’
- le
- ven,
doo
cresc. poco a poco
doo
doot
doo
doot
88
Ten,
Ten was the ten that ne - ver got in
Ten,
doo
doo doot
doo
an’
doot
Nine,
Nine was the nine that came on
Nine,
* From this point onwards a crossed notehead indicates that a word is to be spoken not sung.
doo
doo
doot
doo
be-
hind
an’
doot

36
Children, go where I send thee
Eight,
90
mf cresc.
87
Eight
the eight
was
that
stood
at the gate
an’
Eight,
mf cresc.
Eight,
mf cresc.
doo
doo
doot
doo
doot
Se - ven,
91
an’
Se
- ven was
the
se
- ven that got
in
- to hea
-
ven
for online perusal only
Se - ven,
Se
- ven, doo
doo
doot
doo
doot

Six was the six that ne - ver got
92 mf cresc.
Six,
Six,
doo
doo doot
doo
fixed
an’
doot
Five was the five
that
Five,
doo
doo
came out
doot
doo
a - live
doot
Six,
doo
doo
88
Five,
Children, go where I send thee 37
an’
doo doot
doot
Five,
doo
doo doot
doo
doot
94
for online perusal only
(See footnote on page 25)
Four,
doo doo
doot
doo
doot Three,
doo
doo doot
doo
doot
Four
f cresc.
Four,
was the four that stood at
doo
doo
doot
doo
the door an’ Three was theHe-brew
doot Three,
doo
doo
doot
child-ren
an’
doo
doot
f cresc.

38
Children, go where I send thee
89
96
f
Two
f
Two,
was Paul
Si
doo
an’
doo doot
doo
- las an’ One
doot
One,
was the lid - dle bid - dy
doo
doo
doot
ba
doo
- by that’s
doot
98
born,
Subito meno mosso ‘bluesy’
born, that
born,
3
ba - by was
born,
born,
born,
born,
born,
ba
-
by
born,
born,
born,
born,
for online perusal only
doo - be doo
doo be
-
born,
doo- be doo
doo be
born,
doo be doo
doo
Subito meno mosso ‘bluesy’
3 3

90
Children, go where I send thee 39
born,
ba - - by
3 3 3 3
born ba - by born ba - by born ba - by born ba - by
3 3 3 3
mf
born,
boo
doo
doo - be
(swung
triplets)
mf
Tempo ad libitum
born
in Beth le
102
f - -
(he) - hem.
lunga
3
ff
born,
. . . hem.
born ba - by
. . . hem.
3
f
ff
born,
. . . hem.
Tempo ad libitum
ff
f
(p.30) The vocal bass line can be developed ad lib. using extra percussive sounds with the piano shadowing
(see footnote page 25); this ossia is an example:
I, doo doo doot doo - ba doot
(p.34) The bass line can be further developed ad lib:
I, t k dum dum bum t bum ti bum
(p.37)
The alto and soprano parts should copy whatever bass pattern is used in bar 85.
Six, t k dum dum bum t bum ti bum
born,
101 mf
for online perusal only
gliss.
Four, t k dum
dum
bum
t
bum
ti
bum
gliss.

91
from Christmas Spirituals for Choirs
Mary had a baby
TENOR
SOLO
Slow, very bluesy
mf intense 3 more intense! 3
Ma - ry
had a ba - by,
arr. RODERICK WILLIAMS
Ma-
ry
had a ba - by,
SOPRANO
mf
Yes,
Lord.
ALTO
mf
Yes,
Lord.
TENOR
mf
Yes,
Lord.
BASS
for online perusal only
mf
Yes,
Lord.
PIANO
(Optional)
Slow, very bluesy
mf
© Oxford University Press 2003. Photocopying this copyright material is ILLEGAL.

92
Mary had a baby 49
4
stronger still
f
Ma - ry had a ba - by,
f
Ye
- hes my
Yes,
mf
my
mf
Yes,
Lord.
Ye
f
- hes my
mf
my
Yes, my
mf
Yes, my
Lord.
Lord.
Lord.
Ye
f
Ye
f
Ye
for online perusal only
- hes my
- hes my
- hes my
f
7
Lord;
Lord;
p
p
p
Fast swing (boogie-woogie)
mp leggiero
the peo - ple keep a - com - in’ an’ the train done gone.
mp
mp
Lord;
p
mp
Lord;
p
mp
Lord;
Fast swing (boogie-woogie)
done
done
done
done
mp
gone.
gone.
gone.
gone.
mf

50
Mary had a baby
93
10
Ma
mf
- ry had a ba
-
by,
mf (non troppo forte)
Yes, Lord.
mf (non troppo forte)
Yes, Lord.
mf (non troppo forte)
Ma
- ry had a ba
Yes, Lord.
mf (non troppo forte)
Yes, Lord.
-
by,
for online perusal only
13
Yes,
Yes,
Yes,
Yes,
my
my
my
my
* Solo part can join chorus line here ad lib.
Lord.
Ma - ry had a ba
Lord.
Lord.
Lord.
f *
- by, Yes,
f
Yes,
f
Yes,
f
Yes,
f
Yes,
f
Lord;
Lord;
Lord;
Lord;
Lord;
più p
the
p
the
p
the
p
the
p
the

94
Mary had a baby 51
16
leggiero
peo
peo
- ple keep a - com - in’ an’ the train
leggiero
done
gone.
peo
- ple keep a - com - in’ an’ the train
leggiero
- ple keep a - com - in’ an’ the train
leggiero
peo - ple keep a - com in’
leggiero
- an’ the train
peo - ple keep a - com - in’ an’ the train
p leggiero
done
done
done
done
gone.
gone.
gone.
mf
Where
did she lay
gone.
3
mf
him?
for online perusal only
19
S.
A.
T.
B.
Yes,
mf
mf
Yes,
Lord.
Lord.
Laid him in
a man
- ger,
3
mf
Yes,
mf
Yes,
my
my
Lord.
Lord.

52
Mary had a baby
95
22
wrapped him in the swad - dlin’, Yes,
oo
p cresc.
p cresc.
oo
f
f
Yes,
f
Yes,
f
Lord;
Lord;
più p
p
Lord;
the peo- ple keep a - com -in’
an’ the
the
- ple . . . com - in’
peo
the peo-
ple keep
p
a com
- - in’ an’
p
p
. . . keep a . . .
the
an’ the
for online perusal only
25
train
done
done
done
gone.
p
oo
p
oo
gone.
yeah!
yeah!
gone.
mf
What
did she name him?
named him
Je - sus,
mf sonore

96
Mary had a baby 53
29
mp
Hoo
Hoo
- ba da - um ba - da
mp
- ba da - um ba
- da
f
Yes,
f
Yes,
f
Yes,
f
Al - migh - ty Sa - viour, Yes,
Lord;
Lord;
Lord;
più p
Lord;
f
the
p
32
p
peep
for online perusal only
come
keep
f
keep a shi
Stars
-
nin’
p
peep
keep
come
train
done
gone.
p
oo
peo - ple keep a-com
- in’ an’ the train
done
gone.
mf

54
Mary had a baby
97
35
mf
Yes,
mf
Yes,
mf
Yes,
Lord,
a -
- vin’ in the e - le - ments
mo
Yes,
Lord,
Yes,
Lord,
Yes,
my Lord,
3
Lord,
Lord,
38
decresc.
Stood a
- bove a sta- ble Yes,
f
Yes,
f
Lord;
Lord;
the
for online perusal only
peo - ple keep a - com - in’ an’ the
decresc.
peo - ple keep a - com - in’ an’ the
decresc.
Yes,
f
Yes,
Lord;
Lord;
peo - ple keep a - com - in’ an’ the
decresc.
peo - ple keep a - com - in’ an’ the
f
decresc.

98
Mary had a baby 55
41
TENOR SOLO
f
train
S.
A.
train
T.
train
done
done
gone.
Ma-ry
had a ba - by
gone.
f
Yes
f
Yes
f
Lord,
Lord,
Ma-
B.
train
44
for online perusal only
* Falsetto ad lib.
done
done
gone.
gone.
- ry had a ba
mf
-
by
Yes
Yes
my
my
Lord,
Lord,
*
f
Yes
f
Yes
Lord,
Lord,
oo
poco meno f ma cresc.
Ma -
Ma - ry had a ba - by, Ma-
poco meno f ma cresc.
Yes my Lord,
Yes my Lord,
Ma
f
-
Ma - ry had a ba - by, Ma
poco meno f ma cresc.
-
Ma - ry had a ba - by, Ma
poco meno f ma cresc.
- - -

56
47
*
Mary had a baby
- ry had a ba-by,
Ma
top note ad lib
- ry had a ba-by,
Ma
- ry had a ba-by,
Ma
- ry had a ba-by,
Ma
- ry had a ba -by,
Ma
- ry had a ba -by,
Ma
- ry had a ba -by,
Ma
- ry
had
- ry had a ba -by,
Ma
99
- ry had a ba - by
- ry had a ba - by, the
- ry had a ba - by,
- ry had a ba - by
a
S.
50
sub. p
peo
for online perusal only
A.
T.
B.
- ple keep a - com - in’ an’ the train . . .
p
the
* Solo part can join chorus line here ad lib.
peo - ple keep a - com - in’ an’ the train . . .
p
sub. p
boy
the peo
sub. p
boy
the peo - ple keep a
sub. p
the
- ple keep a - com - in’ an’ the
p
-

100
Mary had a baby 57
52
peo ple
p secco
train
p secco
- keep a - com - in’ an’ the train
train . . .
p secco
done
done
for online perusal only
-com
- in’ an’ the train . . .
train
p secco
train
done
done
55
gone.
What
(comic high voice ad lib.)
hap - pened to the train?
gone.
gone.
gone.
p
(comic low voice ad lib.)
It
done
gone.

SOPRANO
Gently and expressively q = 100
101
Coventry Carol
from the Pageant of the
Shearmen and Tailors (15th cent.)
arr. RODERICK WILLIAMS (b. 1965)
°
& bb 3
4 Œ ∑ ∑ ∑ ∑
ALTO
& bb 3
4 Œ ∑ ∑ ∑ ∑
TENOR
& b b 3
4 Œ ∑ ∑ ∑ ∑
‹
for online perusal only
BASS
? 3
¢ b b 4 Œ ∑ ∑ ∑ ∑
{
KEYBOARD*
3
&b b 4
Gently and expressively q = 100
œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ
p
? b b 3
4 Œ Œ Œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ
S.
5
°
¢ &
: ‹ ;
&b b
{
? b b
b b SOPRANOS (or TUTTI)
∑ ∑
œ œ œ
œ
œ
œ
œ
# œ œ
œ œ œ œ œ œ œ
p
Lul
œ œ œ œ œ Œ
œ œ # œ ˙ œ
œ
- ly, lul - lay,
thou
Œ
œ œ œ œ œ
œ œ œ œ œ œ œ
9
°
¢ &
: ‹ ;
b b
œ œ œ œ # ˙ œ œ œ œ ˙ n˙
lit
- tle ti - ny child, By by, lul - ly, lul - lay.
&
&b b
{
? b b
œ œ œ œ œ œ # œ œ œ œ nœ
œ œ œ œ œ j œ nœ
j # œ œ ˙ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ nœ
œ œ œ
* The keyboard part may be omied entirely or in part. Alternatively, the accompaniment may be played by two appropriate
melody instruments (e.g. violin and cello).
© Oxford University Press 2009 and 2020. Photocopying this copyright material is ILLEGAL.

2
S.
A.
14
°
& bb
¢ & bb
∑
∑
p
1. O
p
1. O
sis
sis
102
œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
- ters too, How may we, how may we do
œ œ # œ ˙ œ ˙ œ # ˙
- ters too, How may we do
{
& bb
? b b
œ œ nœ
œ œ œ bœ
œ # œ œ œ œ œ œ œ
nœ
œ # œ œ œ bœ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
# œ nœ
œ œ œ œ
œ œ œ œ œ
19
°
& bb
œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ
For to pre - serve this day This poor young - ling,
For
for online perusal only
¢ & bb
{
&b b
? b b
24
°
&b b
¢ &b b
œ œ œ œ ˙ ˙
For to pre - serve this day This poor young - ling,
For
œ nœ
œ ˙ œ ˙ œ
bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙
whom we do sing, By by, lul - ly
lul - lay?
œ œ œ # ˙ œ # œ œ œ ˙ n˙
whom we do sing, By by, lul - ly lul - lay?
{
&b b
? b b
œ œ œ œ œ œ
# œ
œ œ œ œ œ œ œ # œ nœ
œ œ œ nœ
œ œ œ œ œ # œ œ œ œ j œ # œnœ
œ ˙ œ
bœ
œ œ œ œ œ œ
œ œ nœ
f
œ œ œ
T.
B.
29
°
& b b
‹
∑
2. He
?
¢ b b ∑ ∑
f
œ œ # œ ˙ œ ˙ œ # ˙
- rod, the king, In his rag - ing,
f
œ
2. He
œ œ œ ˙ œ ˙ œ
- rod, the king, In his rag -
{
&b b
? b b
œ œ nœ
œ œ œ bœ
œ # œ œ œ œ œ œ œ
nœ
œ # œ œ œ bœ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
# œ nœ
œ œ œ œ
œ œ œ œ œ

103
3
34
°
& b b
‹
?
¢ b b
œ œ œ œ ˙ ˙
Char
œ
œ ˙ œ ˙ œ
- ged he hath this day His men of might, In
œ œ œ ˙ œ œ œ œ œ œ œ œ œ
- ing, Charged he hath this day His men of might, In
{
& bb
? b b
œ nœ
bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
for online perusal only
39
°
& b b
‹
˙ œ # ˙ œ # œ œ œ ˙ n˙
his own sight, All young chil - dren to slay.
?
¢ b b œ œ œ œ ˙ œ
- -
œ j œ œ œ œ J
˙ œ ˙
his own sight, All young chil - dren
to slay.
{
&b b
? b b
œ œ œ œ œ œ
# œ
œ œ œ œ œ œ œ # œ nœ
œ œ œ nœ
œ œ œ œ œ # œ œ œ œ j œ # œ nœ
œ ˙ œ
bœ
œ œ œ œ œ œ
œ œ nœ
p
œ œ œ
S.
A.
T.
B.
44
°
&b b
&b b
&
‹
b b
∑
∑
∑
3. That
?
¢ b b ∑ ∑
p
œ œ # œ ˙ œ ˙ œ # ˙
Œ
p
3. That
woe is me, Poor child, for thee!
Œ
p
3. That
œ œ œ
woe is me, Poor child, for
woe is me, Poor child, for thee! And
p
3. That
œ j œ œ œ œ œ œ œ œ
œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ ˙ œ ˙ œ
woe is me, Poor child, And
{
&b b
? b b
œ œ nœ
œ œ œ bœ
œ # œ œ œ œ œ œ œ
nœ
œ # œ œ œ bœ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
# œ nœ
œ œ œ œ
œ œ œ œ œ

4
104
49
°
& bb
œ œ œ œ ˙ ˙
œ ˙ œ œ œ œ
And ev - er morn and day, For thy part - ing Nei - ther
& bb œ j œ œ j œ œ n-œ
j # œ ˙ nœ
œ œ œ œ œ œ
&
‹
b b
thee!
ev
Ev - er morn and day, For thy part - ing Nei - ther
œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ J
œ
- er morn and day, For thy part - ing Nei-ther
œ œ
œ
?
¢ b b
œ
ev
œ œ œ ˙ œ œ œ œ œ œ œ œ œ
- er morn and day, For thy part - ing Nei - ther
for online perusal only
& bb
{
? b b
œ nœ
bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
54
°
&b b
&b b
&
‹
b b
˙ œ # ˙ œ # œ œ œ ˙ n˙
say nor sing By by, lul - ly lul - lay!
œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ # œnœ
œ ˙
say nor sing, sing By by, lul - ly lul - lay!
˙ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙
say nor sing By by, lul - ly
lul - lay!
?
¢ b b œ œ œ œ ˙ œ
- -
œ j œ œ œ œ J
˙ œ ˙
say nor sing By by, lul - ly
lul - lay!
{
&b b
? b b
œ œ œ œ œ œ
# œ
œ œ œ œ œ œ œ # œ nœ
œ œ œ nœ
œ œ œ œ œ # œ œ œ œ j œ # œnœ
œ ˙ œ
bœ
œ œ œ œ œ œ
œ œ nœ
œ œ œ

105
5
59
°
& bb
& bb
& b b
‹
∑
∑
∑
p cresc.
œ œ # œ ˙ œ œ œ œ œ
Lul
Œ
p cresc.
Lul
- ly, lul - lay,
thou lit - tle ti - ny
Œ
p cresc.
œ œ œ
Lul
œ j œ œ œ j
- ly, lul - lay, lul - -
œ œ œ œ œ J
œ œ œ œ œ œ œ œ œ œ
- ly, lul - lay,
thou lit - tle ti - ny
?
¢ b b ∑ ∑
p cresc.
œ œ œ œ ˙ œ
Lul - ly, lul - lay,
thou
for online perusal only
& bb
{
? b b
œ œ nœ
œ œ œ bœ
pp cresc.
œ # œ œ œ œ œ œ œ œ œ œ œ
nœ
œ # œ œ œ bœ
œ œ œ œ œ œ
# œ œ œ nœ
œ œ œ œ œ œ
œ œ œ œ
œ
œ œ
63
°
&b b
U
# ˙ œ œ œ œ ˙ n˙
&b b
&
‹
b b
?
¢ b b
&b b
{
? b b
child,
rit.
mp
By
mp
œ œ œ ˙ œ
- ly, lul - lay,
Lul
child, By by,
lit
- tle ti - ny child, lul
mp
rit.
by, lul - ly,
lul - - lay.
pp
U
˙ œ # œ nœ
œ ˙
- ly,
lul - lay.
mp
pp
œ œ U
J
œ œ œ œ œ œ œ ˙ J
œ œ œ œ j œ
# œ œ œ
œ
œ
nœ
œ œ
lul
pp
- ly,
lul - - lay.
mp
œ U
œ œ œ ˙ ˙
pp
- ly,
lul - - lay.
œ nœ
œ œ bœ
œ œ U
œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ
œ
pp
u˙

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