Full Catalogue

Three songs from the Torres Strait Islands to the north of Australia. Comprises Monkey and Turtle, Trade Winds and Morning Tide. Good for use in classrooms or with choirs at elementary or high school level.

The SATB version is for unaccompanied choir. The treble version (SA) has a piano accompaniment.

Monkey and Turtle:

Trade Winds:

Recordings are from Great Southern Spirits (1994) by The Australian Voices.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Three songs from the Torres Strait Islands to the north of Australia. Comprises Monkey and Turtle, Trade Winds and Morning Tide. Good for use in classrooms or with choirs at elementary or high school level.

The SATB version is for unaccompanied choir. The treble version has a piano accompaniment.

(The musical examples are for mixed voices, from Great Southern Spirits by The Australian Voices. Released: 1994.)

Monkey and Turtle:

Trade Winds:

Morning Tide:

Please click here to download “Jingle Bells” by Graeme Morton

Add to your Christmas Carolling with this light-hearted arrangement.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Kondalilla is a popular and iconic choral offering that brings the Australian bush to the concert hall in a very original way. Kondalilla is the name of a waterfall in a small pocket of Australian rainforest where the water falls from a very great height into rock pools below. The work is voiced for SATB a cappella and SSAA a cappella.

Live performance by Lumina Vocal Ensemble, Musical Director Anna Pope. Adelaide Fringe Festival, March 2009. Singers: Rachel Sag, Raphaela Mazzone, Saam Thorne, Sarah Bleby, Anna Pope, Fiona O’Connor, Rosemary Byron-Scott, Chris Guntner, Tim Muecke, Bernard Mageean, Clive Conway, James Cowling & Kenneth Pope. Recording by James Cowling. Photos from Waterfall Gully by Anna and Eleanor Pope. Film by Anna Pope. From Lumina’s 2009 CD ‘Australian Soundscapes’. luminavocal.com.au

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Kondalilla is a popular and iconic choral offering that brings the Australian bush to the concert hall in a very original way. Kondalilla is the name of a waterfall in a small pocket of Australian rainforest where the water falls from a very great height into rock pools below. The work is voiced for SATB a cappella and SSAA a cappella.

One of the easiest and most immediately appealing from Stephen Leek’s In Construction series. It is suitable for singers of all ages and uses indigenous Australian words that are spoken in rhythm at various pitch levels. “Kumbargung” means “night” and other evocative words include “ungi gungi” (grasshopper) and “goolay yali” (pelican). A delight for all ages!

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Kungala takes its name from the small settlement in the north of New South Wales. The name also comes from the local Aboriginal meaning of a place “to sing, shout and listen” . The work is voiced for SATB a cappella and SSAA a cappella.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Kungala takes its name from the small settlement in the north of New South Wales. The name also comes from the local Aboriginal meaning of a place “to sing, shout and listen” .  The work is voiced for SATB a cappella and SSAA a cappella.

Latest News – This composition will be exclusively represented by Wise Music International from 2026 and will be unavailable through Morton Music if not in stock.

La La Land is the third piece in a collection of four pieces for treble voices and piano. It is available in SA and SSA voicings.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

The recordings are by the Australian Boys Choir conducted by Noel Ancell.

Latest News – This composition will be exclusively represented by Wise Music International from 2026 and will be unavailable through Morton Music if not in stock.

La La Land is the third piece in a collection of four pieces by Paul Stanhope. It is available in SA and piano, or SSA and piano.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

New Digital Release – digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details or from RSCM Music Direct (UK) via the Other Countries link.

Lament is a piece for mixed choir and cello. The text comes from the 17th-century oratorio ‘Jephte’ by Giacomo Carissimi. The words are those of anguish, for Jephte promised to sacrifice the first thing he laid eyes upon if he returned victorious from war. He fulfilled this vow, even though this happened to be his only daughter.

The recording is of the Brisbane Chamber Choir, for whom the piece was written. The cellist is Gwyn Roberts.

SATB divisi choir a cappella or accompanied (by optional Tubular bell & String Orchestra). Originally part of a 30 minutes work Childers Shining which helped bring healing to a community after a fire tragedy caused the loss of 15 lives, this work was written to bring healing, transformation and upliftment.

The second of Joseph Twist’s “Victoria Triptych” this piece quotes from Victoria’s Lamentation, adding new modern elements clothed in a rich, plaintive harmonic language. Suitable for concert and liturgical use, and making musical references to Victoria’s Lamentations throughout.

Available in the set of Three Motets after Victoria, linked here – not available singly.

To listen to Lamentation of Jeremiah on SoundCloud, click here.

An arrangement of a folk song about sailors and the sea. Simple yet delightful, this piece is written for piano and solo flute accompaniment.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Lent Prose is a sacred piece, suitable for low intermediate choirs and is arranged for SATB voices and organ; duration 6 mins.

This piece was written for and performed by Holy Trinity Fortitude Valley at their Lenten Concert in April 2025.

This piece is based on the text of award-winning American poet Jane Kenyon’s poem by the same name, which contemplates the end of the day, and alludes to the parallels in life and death. With a quiet, reflective beginning, listeners are transported to the peaceful countryside in the late afternoon. Voice parts in turn bathe the listener in rays of light as they “shine through the chinks in the barn”. The piece culminates in an affirming declaration – “let evening come, as it will, and don’t be afraid. God does not leave us comfortless.”

The recording above is performed by the Brisbane Chamber Choir (2011), directed by Graeme Morton. This recording is of the SATB version, also available for purchase.

This piece is based on the text of award-winning American poet Jane Kenyon’s poem by the same name, which contemplates the end of the day, and alludes to the parallels in life and death. With a quiet, reflective beginning, listeners are transported to the peaceful countryside in the late afternoon. Voice parts in turn bathe the listener in rays of light as they “shine through the chinks in the barn”. The piece culminates in an affirming declaration – “let evening come, as it will, and don’t be afraid. God does not leave us comfortless.”

The recording above is performed by the Brisbane Chamber Choir (2011), directed by Graeme Morton.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Living Shells is a peaceful work for high-school-aged and community choirs that exists in multiple voicings – SSA and piano, SAB and piano, SSATB and piano, SSATB a cappella and uniquely, for SAA and handbells choir. Experience the joy and serenity of a stroll along a sun-drenched golden beach and rock pools, and discover all the small creatures that bask in the warmth of the Australian coastline.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Living Shells is a peaceful work for high-school-aged and community choirs that exists in multiple voicings – SSA and piano, SAB and piano, SSATB and piano, SSATB a cappella and uniquely, for SAA and handbells choir. Experience the joy and serenity of a stroll along a sun-drenched golden beach and rock pools, and discover all the small creatures that bask in the warmth of the Australian coastline.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Living Shells is a peaceful work for high-school-aged and community choirs that exists in multiple voicings – SSA and piano, SAB and piano, SSATB and piano, SSATB a cappella and uniquely, for SAA and handbells choir. Experience the joy and serenity of a stroll along a sun-drenched golden beach and rock pools, and discover all the small creatures that bask in the warmth of the Australian coastline.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Living Shells is a peaceful work for high-school-aged and community choirs that exists in multiple voicings – SSA and piano, SAB and piano, SSATB and piano, SSATB a cappella and uniquely, for SAA and handbells choir. Experience the joy and serenity of a stroll along a sun-drenched golden beach and rock pools, and discover all the small creatures that bask in the warmth of the Australian coastline.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Living Shells is a peaceful work for high-school-aged and community choirs that exists in multiple voicings – SSA and piano, SAB and piano, SSATB and piano, SSATB a cappella and uniquely, for SAA and handbells choir. Experience the joy and serenity of a stroll along a sun-drenched golden beach and rock pools, and discover all the small creatures that bask in the warmth of the Australian coastline.

New Digital Release – digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details or from RSCM Music Direct (UK) via the Other Countries link.

Combines the text of Brightest and Best of the Sons of the Morning with two verses of Australian bush poet “Banjo” Paterson’s Sunrise on the Coast. Excellent Christmas piece. This work was commissioned in 1996 by The Harvard University Choir.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Look, There are Dark Hands is an exciting work for medium to advanced high school aged SATB a cappella choirs. From the set of works called “Once on a Mountain”, this award-winning piece was composed for the infamous St Peters Lutheran College Chorale for their first tour of Tasmania, Australia’s most southern state. Here, spectacularly beautiful landscapes are paired with the markings of the original owners of the land through paintings that have survived in hidden caves. This work features some of the first ever inclusions of harmonic-overtone singing in Australian compositions and rapid and complex time signature changes.

Latest News – This composition will be exclusively represented by Wise Music International from 2026 and will be unavailable through Morton Music if not in stock.

Lost the Plot is the fourth piece in a collection of four pieces for treble voices and piano. It is available in both SA + piano, and SSA + piano voicings.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

The recordings are by the Australian Boys Choir conducted by Noel Ancell.

Latest News – This composition will be exclusively represented by Wise Music International from 2026 and will be unavailable through Morton Music if not in stock.

Lost the Plot is the fourth piece in a collection of four pieces by Paul Stanhope. It is available for SSA and piano, as well as SA and piano.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

New to Morton Music – digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details or from RSCM Music Direct (UK) via the Other Countries link.

This gentle piece expresses the the feelings of Mary as she reflects on the child she has borne. She feels affection for the sweet young babe she holds in her arms. Yet there is also wonderment and awe, as she understands his true nature and grapples with what the future holds for him. These are feelings similar to what any mother would have for her child. A mothers love is a universal theme. It can be understood by people of all faiths and creeds. Therefore, this piece, while sacred, can be sung in secular contexts as well as in services.

New to Morton Music –  digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details or from RSCM Music Direct (UK) via the Other Countries link.

This gentle piece expresses the feelings of Mary as she reflects on the child she has borne. She feels affection for the sweet young babe she holds in her arms. Yet there is also wonderment and awe, as she understands his true nature and grapples with what the future holds for him. These are feelings similar to what any mother would have for her child. A mother’s love is a universal theme. It can be understood by people of all faiths and creeds. Therefore, this piece, while sacred, can be sung in secular contexts as well as in services.

A version of this piece is also available in SATB voicing here.

The recording below is by the University of Queensland Chamber Singers, 2022, conducted by Graeme Morton.

Watch the full score preview video here!

Though written in an advanced idiom, this work was commissioned and first performed by Graeme Morton’s St Peters Chorale, a leading high school choir in Australia. The composer writes, “musically, this work has been much influenced by Renaissance choral music…my aim above all things was to draw upon a tradition of writing that is solemn, richly spiritual but ultimately life-affirming”.

Listen to Lux Aeterna here!

New to Morton Music – digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details or from RSCM Music Direct (UK) via the Other Countries link.

Magnificat (Opus 79) was composed over the summer of 2008-2009.  The work is an a cappella setting of the Latin Vulgate text and was written in response to a commission from the Sydney Chamber Choir. Marked ‘Calm and gentle – with flow’ the score carries an inscription from Emily Bronte’s poem of creativity, Last Lines, “No coward soul is mine.” The first performance of Magnificat, was given by the Sydney Chamber Choir conducted by Graham Abbott at the City Recital Hall, Angel Place, Sydney, 6 September 2009.

Listen now

Duration: approximately 8 minutes

Nunc Dimittis (Opus 89) is sold separately and was written in 2011 in response to a commission from the Brisbane Chamber Choir who had already performed Andrew Schultz’s Magnificat and wanted to have Nunc Dimittis to perform with the earlier work. The setting of the text parallels the dramatic flow of the original text, The Song of Simeon. The work moves from a world of clouded uncertainty through exultation and revelation to a final passage of transcendent simplicity and tranquillity. Marked ‘Flowing’ the Nunc Dimittis is similar to Magnificat in the tempo and meter (3/2) and in the ebb and flow between four and eight part vocal writing.

New to Morton Music – digital copies are now available from Morton Music, just email admin@mortonmusic.com for more details.

The original SATB version of Mater Dolorosa was composed for conductor Jillian McGregor and the Corinthian Singers of Adelaide for a Good Friday concert in the Art Gallery of South Australia’s Radford Auditorium in April, 2011. The work was subsequently revised and expanded (SSATBarB) in 2013, and was premiered by Adelaide Chamber Singers – conducted by Carl Crossin – at the Musica Sacra a Roma in Rome, Italy in July 2013. Mater Dolorosa is a setting of the first four stanzas of the 13th century Marian hymn Stabat Mater Dolorosa, a much longer poem which expresses Mary’s sorrow as she stood at the foot of the cross witnessing her son’s death by crucifixion.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Midsummer Noon is a movement from a set of works titled “Voices of a Land”. Originally written for the St Peter Choral of St Peters Lutheran College in Brisbane, the work exists in several voicings and is suitable for high school aged, youth and community choirs. Set to the evocative text by Australian poet Charles Harper, the music captures the stillness of the Australian bush and the freshness and colour of the bush birds and the fluttering of insects.

The recording above features the St Peter’s Chorale, directed by Kathryn Morton.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Missa di Angelis is suitable for low intermediate choirs and is arranged for SATB a cappella voicing; duration 7 mins.

This piece was arranged in 2024 for Holy Trinity Fortitude Valley and was the Winner of the Choral Composition Competition in Celebration of the Sesquicentennial of St. Thomas’ Anglican Church, Toronto (Canada) in November 2024. It has also been performed as part of Masses at Holy Trinity Fortitude Valley in March 2025.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Missa di Cantibus et Choreis is a sacred piece, suitable for intermediate choirs and is voiced for ATBarB, ATB, SATB, SSATB, and TTBarB; duration is 10 mins.

This piece was written in 2022 and performed numerous times as part of Mass at All Saints Wickham Terrace.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Missa di Cantibus et Choreis is a sacred piece, suitable for intermediate choirs and is voiced for ATBarB, ATB, SATB, SSATB, and TTBarB; duration is 10 mins.

This piece was written in 2022 and performed numerous times as part of Mass at All Saints Wickham Terrace.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Missa di Cantibus et Choreis is a sacred piece, suitable for intermediate choirs and is voiced for  ATBarB, ATB, SATB, SSATB, and TTBarB; duration is 10 mins.

This piece was written in 2022 and performed numerous times as part of Mass at All Saints Wickham Terrace.

New Release – One of John Rotar’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Missa di Cantibus et Choreis is a sacred piece, suitable for intermediate choirs and is voiced for  ATBarB, ATB, SATB, SSATB, and TTBarB; duration is 10 mins.

This piece was written in 2022 and performed numerous times as part of Mass at All Saints Wickham Terrace.