The words of this anthem have been used to tell of the psalmist's delight in singing Jehovah's praises. The music needs to be sung with great conviction and exultation in what could be called a quasi-fanfare style.

For Solo Cello And 40 Part Choir. For Solo Cello And 40 Part Choir.

Pavana – Capricho is one of the last pieces from Isaac Albeniz ’s early period before he turned to Spanish influences – a style that would characterise the rest of his compositions. In this earlier period Albeniz who was a child prodigy on the Piano composed ‘salon style’ music and experimented with traditional styles in the manner of Rameau Bach Beethoven Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell a leading figure in the development of nationalist Spanish music. Pavana-Capricho is graceful and light-hearted at the same time. The playfulness that arises from the alternating moods is best achievedwhen the proper technique and articulation is applied. Arranged for Violin and Piano and with a performance time of ca. 3:30 this piece of Romantic chamber-music is a perfect addition to any concert programme. Pavana - Capricho is one of the last pieces from Isaac Albeniz 's early period before he turned to Spanish influences - a style that would characterise the rest of his compositions. In this earlier period Albeniz who was a child prodigy on the Piano composed salon style' music and experimented with traditional styles in the manner of Rameau Bach Beethoven Chopin and Liszt. His shift towards Spanish music occurred after meeting the teacher and composer Felipe Pedrell a leading figure in the development of nationalist Spanish music. Pavana-Capricho is graceful andlight-hearted at the same time. The playfulness that arises from the alternating moods is best achieved when the proper technique and articulation is applied. Arranged for Violin and Piano and with a performance time of ca. 3:30 this piece of Romantic chamber-music is a perfect addition to any concert programme.

The popular and lively traditional air arranged for Unison voices with descant and Piano accompaniment by Thomas Dunhill.

Five Secular Christmas Carols-We wish you a merry Christmas presents five secular carols and Christmas songs in distinctive mixed voice arrangements by John Rutter. Each of the pieces from this collection is available as an individual leaflet and instrumental parts are available from Oxford University Press. We Wish You A Merry Christmas presents five secular carols and Christmas songs in distinctive mixed voice arrangements by John Rutter . Each of the pieces from this collection is available as an individual leaflet and instrumental parts are available from Oxford University Press.

This English folk song will be recognised instantly by British listeners as the tune formed the first few opening bars of the ‘Radio 4 UK Theme’ – an orchestral arrangement of traditional British airs compiled by Fritz Spiegl – which was played every morning at the switch-on of BBC Radio 4 for almost 28 years. The lyrics of Early One Morning can be found in publications as far back as 1787 but the well-known melody was not printed until ca. 1855-1859 in William Chappell’s publication of his ‘National English Airs’. As is usual with folk art of any kind no two versions of the song agree beyond the second line although the subject is always thesame - a damsel's complaint for the loss of her lover. In this Novello edition Early One Morning is arranged for SATB Voices with Piano accompaniment for practice only by Thomas F. Dunhill .

Arranged for Baritone solo and SATB (unaccompanied)

Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his knowledge is captured in this two-volume work which also reflects valuable experience gained from his activities as a tutor at national and international seminars and workshops. The CD included with volume 1 contains all the pieces and musical examples for volumes 1 and 2. Besides being a pure pleasure to listen to - Flamenco puro - it also conveys the authentic sound and the pulsating compás of this music. This is the only way to learn to play the music properly yourself. This is an excellent self-study course that includes many photographs some to illustrate techniques others of guitars guitarists etc. Self-contained chapters cover all basic techniques plus compás palmas nail care and an overview of current guitarists guitar makers construction and sound of Flamenco guitars etc. All musical examples are in standard notation and tablature (tabs) and performed on the accompanying CD. Volume 1: Lesson 1 - 5 Volume 2: Lesson 6 - 10 (English). Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his knowledge is captured in this two-volume work which also reflects valuable experience gained from his activities as a tutor at national and international seminars and workshops. The CD included with volume 1 contains all the pieces and musical examples for volumes 1 and 2. Besides being a pure pleasure to listen to - Flamenco puro - it also conveys the authentic sound and the pulsating compás of this music. This is the only way to learn to play the music properly yourself. This is an excellent self-study course that includes many photographs some to illustrate techniques others of guitars guitarists etc. Self-contained chapters cover all basic techniques plus compás palmas nail care and an overview of current guitarists guitar makers construction and sound of Flamenco guitars etc. All musical examples are in standard notation and tablature (tabs) and performed on the accompanying CD. Volume 1: Lesson 1 - 5 Volume 2: Lesson 6 - 10 (English).

Hofmann's Opus 19 No.6 is a majestic and stately Wedding Processional and has been arranged for Organ by J.B. Lott and C.C. Palmer. Hofmann's Opus 19 No.6 is a majestic and stately Wedding Processional and has been arranged for Organ by J.B. Lott and C.C. Palmer.

Kretzer's song 'On My Own' from the hugely successful and long running west end musical 'Les Miserables.' Arranged for piano voice and guitar. Kretzer's song 'On My Own' from the hugely successful and long running west end musical 'Les Miserables.' Arranged for piano voice and guitar.

A Northumbrian Folk-song arranged for SATB unaccompanied choir by David Stone. Includes Piano for rehearsal only.

Carol For Unaccompanied Voices was written in 2000. It was commissioned by the BBC for the BBC Singers and is scored for SATB chorus. The words are taken from a poem by W. R. Rodgers . Richard Rodney Bennett (1936-2012) was a British composer who lived and worked in New York. During his lifetime he was one of Britain’s most respected and versatile composers remaining fresh and popular throughout his long life and after his death. He wrote over 200 works for the concert hall and 50 scores for film and television. He was knighted for services to music in 1998.

Three Spanish Dances for Guitar by Emilio Pujol - Tonadilla Tango and Guajira . Pujol No.1204.

This James Bond theme tune was released in 1981 with the film starring Roger Moore. The vocalist Scottish singer Sheena Easton beat out the band Blondie to record the song which went on to become a chart success and nominated for an Academy Award. The soaring love song integrates the signature style of Bond themes usually composed by John Barry but this time written by Bill Conti and Mick Leeson. With a great use of dynamic range this SATB arrangement by Thomas Lydon captures the seduction of the classic Bond film. This James Bond theme tune was released in 1981 with the film starring Roger Moore. The vocalist Scottish singer Sheena Easton beat out the band Blondie to record the song which went on to become a chart success and nominated for an Academy Award. The soaring love song integrates the signature style of Bond themes usually composed by John Barry but this time written by Bill Conti and Mick Leeson. With a great use of dynamic range this SATB arrangement by Thomas Lydon captures the seduction of the classic Bond film.

Essential Bach Arranged for Guitar provides guitarists with a new approach to many of Bach's masterpieces. The fingerings in the arrangements make the guitar sound rich and full as if the pieces were written for the instrument. Attention is given to the musical line by using cross-string fingerings in a consistent manner. This approach allows the harmonies to become more evident as well. By using a more musical approach for the fingerings playing Bach on the guitar no longer feels cumbersome. Suggested dynamics and articulations are also included. Fingerings and slurs are notated close to the notes for easy reading. Essential Bach Arranged for Guitar provides guitarists with a new approach to many of Bach's masterpieces. The fingerings in the arrangements make the guitar sound rich and full as if the pieces were written for the instrument. Attention is given to the musical line by using cross-string fingerings ina consistent manner. This approach allows the harmonies to become more evident as well. By using a more musical approach for the fingerings playing Bach on the guitar no longer feels cumbersome. Suggested dynamics andarticulations are also included. Fingerings and slurs are notated close to the notes for easy reading.

Arranged For Classical Guitar-These selected works by Giovanni Antonio Terzi represent a last flowering of the lute fantasia in a motet-imitative style. They stand at a halfway point between being dependent upon vocal forms and being a product of pure instrumental fantasy. Of the sixteen pieces with fantasia in the title eleven are of Terzi's own invention. Five fantasias are attributed to other composers (nos. 13-17) as indicated in their titles and adopted for solo lute by Terzi. When arranged for guitar something special about the character of these fantasias emerges through the instrument. In addition they are all wonderful works that offer many musical and technical lessons for guitarists. These selected works by Giovanni Antonio Terzi expertly arranged by 2011 GFA Winner Vladimir Gorbach represent a last flowering of the lute fantasia in a motet-imitative style. They stand at ahalfway point between being dependent upon vocal forms and being a product of pure instrumental fantasy. Of the sixteen pieces with 'fantasia' in the title eleven are of Terzi 's own invention. Fivefantasias are attributed to other composers (nos. 13-17) as indicated in their titles and adopted for solo lute by Terzi . When arranged for guitar something special about the character of these fantasiasemerges through the instrument. In addition they are all wonderful works that offer many musical and technical lessons for guitarists.

110 all-time favourites. These polkas and slides will enhance your repertoire liven up any session and are surprisingly easy to play. Suitable for all melody instruments. Guitar chord symbols included.

SSATB Mixed Choir or solo (Choral Score) . Klein G

Aulis Sallinen’s Barabbas Dialogues was commissioned by Naantali Music Festival. It received its first performance on 11 June 2004 at Naantali Church (part of the Naantali Music Festival) with Mari Palo (soprano) Riikka Rantanen (mezzo) Topi Lehtipuu (tenor) Petteri Salomaa (baritone) Juha Kotilainen (bass) Kalle Holmberg (narrator) Ralf Gothoni (conductor and piano) Mika Väyrynen (accordion) Elina Vähälä (violin) Arto Noras (cello) Petri Alanko (flute) Michel Lethiec (clarinet) and Ari-Pekka Mäenpää (percussion)

The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation („Im wunderschönen Monat Mai“) to solitary grief („Und wüssten’s die Blumen die kleinen“) and bitter sarcasm („Die alten bösen Lieder“). Schumann knew what he was writing about: the cycle originated in the year of his marriage to Clara Wieck an event that took place only after years of struggle. Originally the sixteen-piece cycle was meant to include twenty lieder. Our volume reproduces the four discarded numbers in an appendix.? The ups and downs of disappointed love: who could fail to sympathize with the feelings that Schumann immortalized in his song cycle Dichterliebe after Heine? The pieces range from hopeful anticipation(„ Im wunderschönen Monat Mai “) to solitary grief („ Und wüssten’s die Blumen die kleinen “) and bitter sarcasm („ Die alten bösen Lieder “). Schumann knew what he was writing about: the cycleoriginated in the year of his marriage to Clara Wieck an event that took place only after years of struggle. Originally the sixteen-piece cycle was meant to include twenty lieder. Our volume reproduces the four discarded numbersin an appendix.