There is nothing more exciting, more atmospheric, than attending a communion service with a full choral setting. This service, at the very heart of Christian worship, is not only beautiful as it stands but can have the understanding of the words considerably enhanced by music. I have made my setting as accessible as possible for both choir and organist but, at the same time, musically satisfying. It allows the singers to shine, sectionally, as a full choir, occasionally with parts divisi, accompanied or a cappella together with some sections for soloists. There are also opportunities for the organ to add to the atmosphere of the individual sections of the service.

The Kyrie is a gentle, reflective, homophonic, diatonic start to the morning. In contrast, the Credo is strong and forthright, reflecting the firm conviction that Christians should have in their belief. Through a variety of textures, solo line, contrapuntal work and the organ accompaniment the meaning of the words is conveyed. Discordant piercing reflects "crucified" with the word tumbling through the parts. After the pianissimo and deep voiced "buried" there is a triumphant and exuberant organ fanfare announcing "And the third day". Unison writing reinforces some of the words central to the Creed. An enharmonic change takes us into "He shall come again with Glory" followed by a solo SATB, "And I believe in the Holy Ghost". The section finishes with a climax "and the life of the world to come" and a pianissimo, reflective "Amen".

There is a brief Sursum Corda, then the Sanctus, reminiscent in rhythmic feel to the Sanctus from Bach's B Minor Mass. There is an interplay between SA and TB on the word "Holy", a joyous "Heav'n and earth are full of thy glory" and a gentle play-out at the end. The Benedictus begins as the Sanctus - interplay between SA and TB - but ends with a solo quartet and, again, a gentle play-out.

A solo soprano begins the Agnus Dei, and the mood is sombre and reflective with a peaceful ending.

The Gloria is, again, strong and forthright with a confident opening. "We praise thee" is interspersed with organ flourishes and a choral flourish on "glorify thee". The opening organ phrase is repeated, but in the minor - "O Lord the only begotten Son" - with the theme passed between SA and TB. Counterpoint is now used as a contrasting texture ending with unison "thou that takest away". The opening organ phrase is used again, this time in C major leading to a subdued "have mercy on us" but rising to a climax at "art most high" and "to the glory of God the Father". The opening organ theme recurs with the Amen with choir and organ giving their all at the end.

I write for the enjoyment of choir and organist, for the uplifting of the congregation's spirits but, primarily, to the glory of God. Raise your voices and your souls but, above all, enjoy.