Paul Harris studied the clarinet at the Royal Academy of Music with Professor John Davies, winning the August Manns Prize for outstanding playing; composition with Timothy Baxter, and conducting with Maurice Miles. He then went on to study music education at the University of London where he was a pupil of Professor Keith Swanwick.
He now has over six hundred publications to his name; among them The Music Teacher’s Companion, which won the UK Music Industry Award for Best New Book, the Improve Your Scales!, Improve Your Practice!, Improve Your Aural! and Improve Your Sight-Reading! series (published by Faber Music), through which he has assisted thousands of young players worldwide to develop these vital musical skills. He is a gifted composer who writes appealing music for players of all abilities and ages and has written many other works ranging from innumerable short education pieces to seven concertos, a ballet and a children’s opera.

Paul writes regularly for many of the major international music magazines, including Music Teacher, BBC Music Magazine, the ABRSM’s Libretto, and the American ICA Journal. He is in great demand as a workshop and seminar leader and adjudicator in the UK, the USA and the Far East, Australia and New Zealand. Paul has also undertaken research into specialist music education for the highly talented (the clarinet prodigy Julian Bliss number among his pupils), an interest that has taken him to many musical institutions around the world.

He is an examiner and adjudicator and is frequently asked to take part in national events including the Chamber Music for Schools Competition, Music for Youth, the BBC Young Musician of the Year and he is a regular judge for Classic FM’s teacher of the Year. He has also recently co-authored (with Anthony Meredith) major new biographies of the British composer Sir Malcolm Arnold (Malcolm Arnold: Rogue Genius), the late Master of The Queen’s Music, Malcolm Williamson (Malcolm Williamson – A Mischievous Muse) and Sir Richard Rodney Bennett.

Paul’s innovative teaching techniques, especially his concept of Simultaneous Learning, have found support all over the world and combine thoroughness, imagination and practicality; the defining qualities of his outstandingly successful work.

A Christmas Sequence is a set of 5 traditional Christmas carols set to new music, for unison voices and organ or piano. Also available for… SATB and organ/piano (QT104). Paul Harris’s A Christmas Sequence is a vibrant and imaginative reworking of five beloved Christmas carols, designed to bring new life to familiar melodies while preserving their timeless spirit. Composed for either unison voices or SATB choir with organ or piano accompaniment, the sequence is ideal for festive performances in churches, schools, or community choirs. Paul Harris’s Christmas Sequence is a set or five traditional Christmas carols set to new music, for SATB and organ or piano. Colourful and appealing. Also available for unison voices and organ/piano (QT105). The work comprises five movements, each based on a traditional carol: Sussex Carol: This lively opener sets the tone with rhythmic vitality and bright harmonies. Harris’s arrangement adds a buoyant energy that captures the joy of Christ’s birth, making it an uplifting start to the sequence. Christus natus est! A more contemplative piece, this movement draws on chant-like motifs and modal harmonies to evoke the mystery and reverence of the nativity. The Latin title (“Christ is born!”) reinforces its sacred character, and Harris’s setting invites quiet reflection. Herod and Emmanuel: This dramatic contrast explores the tension between darkness and light. The narrative of Herod’s fear and Emmanuel’s promise is underscored by shifting tonalities and expressive dynamics. It’s the emotional heart of the sequence, offering depth and contrast. See Amid the Winter’s Snow: A gentle and lyrical arrangement, this carol is treated with warmth and tenderness. Harris’s harmonies are rich yet subtle, allowing the melody to shine while creating a sense of peaceful wonder. Come, Thou Redeemer of the Earth: The final movement is a triumphant conclusion, with bold chords and expansive textures. It celebrates the arrival of the Redeemer with grandeur and joy, bringing the sequence to a powerful close. Throughout the work, Harris demonstrates his skill in balancing tradition with innovation. His settings are respectful of the original carols but infused with fresh musical ideas that make them feel new. The organ or piano accompaniment adds depth and color, supporting the vocal lines without overpowering them. The sequence is also notable for its accessibility. The unison version allows younger or less experienced choirs to participate, while the SATB arrangement offers more complexity for advanced ensembles. This flexibility makes A Christmas Sequence a versatile choice for a wide range of performers. In terms of style, Harris’s writing is melodic and expressive, with clear phrasing and thoughtful voice leading. He uses dynamics and articulation to shape each movement, creating contrast and continuity across the sequence. The result is a cohesive musical journey that moves from celebration to contemplation and back again.  A Christmas Sequence is more than just a collection of carols—it’s a curated experience that invites singers and listeners alike to engage with the Christmas story in a fresh and meaningful way. Whether performed in a candlelit church or a bustling concert hall, it offers a moment of musical reflection and joy