This is an exquisitely beautiful and haunting setting of 'The silver swan' that would fit any programme around the themes of nature, life, love, and loss. The melody should be sung with a flowing line: keep the breath moving. Take care that the low Es in the octave leaps are not sung with too much heavy chest-voice, otherwise the top E will sound strained.

This is a beautiful and imaginative setting of Emily Dickinson’s poem that also gives the accompanist a wonderful part to play. While it is not complicated, it nevertheless requires particular attention to the text and long legato lines, making sure that the four-bar phrases are sung in one breath; this is possible if the tempo indication is observed. Take care of the rhythm coming off the tie in the opening phrase; it has to be smooth but also in time.

The opening section of this song perfectly captures the elements of nostalgia and loss. This is contrasted well with the urgency of a fast, syncopated middle section. In the opening section, take care of the long ‘eh’ vowel each time on ‘away’. Sing on a clean ‘eh’, and tuck the diphthong in at the end. In the fast section, be careful to observe the different dynamic levels so that the sense of anticipation and urgency is maintained.

This is a thrilling and unusual piece, with some very funky riffs. Don’t be afraid to be free and imaginative with the speaking at the beginning and how you might perform the ingredients being tossed into the cauldron! You can also be flexible about moving your singers from one vocal (or whistling) part to another to get a good balance between the lines. Sing with freedom and energy, and explore the colours in the voice to bring out some of the textures.

'Sweet and low' is an appealing and gentle lullaby with a wonderfully catchy melody. It is beautifully crafted and has an enjoyable simplicity about it, remaining in two parts throughout. There is an opportunity to focus on bringing the text to the fore, with plenty of alliteration: ‘breathe, blow’ and ‘wind, western’. Use the comma each time text is repeated, for example ‘low, low’, to help the clarity of the words.

This is a moving anthem-like setting of words by Marie Curie—profound and thought-provoking. There is a strength and resolve about the melody at the words ‘Now is the time’, and the piece gives an opportunity to explore unifying themes of life and its struggles, but also spirit and determination. Aim for a warm, rich sound, and, where possible, quick top-up breaths should be taken to ensure that the quality of sound is consistent throughout the longer phrases.

The global message of this piece is movingly conveyed with pop-like harmonies and simple and accessible vocal lines. The large range of dynamics should be carefully observed, and the crescendos and diminuendos carefully paced. The word ‘know’ is repeated several times: be careful not to move to the ‘ooh’ part of the diphthong until the end of the note. Make sure the middle section is taken quickly enough, and explore a different vocal colour: a darker and richer sonority is needed here.

This is a thrilling, high-energy piece that includes body-percussion and sound effects to convey the atmosphere of the fast-moving river—a superb finale or encore in a concert. Some of the rhythms in the chorus look challenging on the page, but they repeat and may be best learned by ear. The melody needs to be sung with attention to the line, despite the fact that it looks very rhythmical. This will help bring out the text and give a sense of being carried along on the powerful river current.

for SA and piano

Ramsey's characterization of the fairy's monologue from 'A Midsummer Night's Dream' is both fun and imaginative, with rhythmic fluidity, a driving piano part, and clever accentuation perfectly complementing Shakespeare's metre and rhyme scheme.

The piece was originally published in the collection 'Hark, hark, the lark'.

for SATB and organ

This rhapsodic anthem sets verses from Psalm 95 and features contrasting sections, changing metre, and a buoyant organ part.