Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet is divided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played again immediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes the second 6 minutes and thethird 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’s historical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music. The material for each of the three pieces is different although the harmonic and rhythmic worlds of each one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August 2007. Brian Elias ' Three Scherzi for violin and piano follow closely the Minuet and Trio form used so often for lighter movements in eighteenth and early nineteenth century sonatas and symphonies. In each piece the Minuet isdivided into two sections and each section is repeated; similarly the Trio section is also divided into two repeated sections in which the music is generally more gently paced. After the Trio the minuet is played againimmediately this time without repeats. In these Scherzi I have chosen to use variants of the original of each section in most instances rather than make exact repetitions. The first Scherzo lasts approximately 3 minutes thesecond 6 minutes and the third 2 minutes. Part of my interest and purpose in writing these pieces was to use an identical but highly elastic form for three pieces of different durations. I was also intrigued by the form’shistorical development and evolution into the Scherzo and I hope this explains the atmosphere and style of the music. The material for each of the three pieces is different although the harmonic and rhythmic worlds ofeach one are similar and as a result they do form a complete work in three movements. However each of the three Scherzi may be played separately. These three pieces were written between September 2004 and August2007.' Brian Elias

The congregation part for the full scoring of James Whitbourn' s Missa Carolae . Full Score available: CH71621.

Plain Song Thirteenth Century-Ever thought of introducing your choir and congregation to plainsong? Here Robert Powell takes a 13th century chant and weaves it into a wonderful anthem accompanied by organ and oboe.

Boogie down with the 1979 hit by Bob Seger in this smokin' show choir arrangement! One of the most popular singles of all time it was also a classic scene in the 1983 film Risky Business starring Tom Cruise. Availableseparately: SATB SAB SSA TBB ShowTrax CD. Combo parts available digitally (tpt 1 tpt 2 tsx tbn gtr b dm). Duration: ca. 2:45.Boogie down with the 1979 hit by Bob Seger in this smokin' show choir arrangement! One of the most popular singles of all time it was also a classic scene in the 1983 film Risky Business starring Tom Cruise. Available separately: SATB SAB SSA TBB ShowTrax CD. Combo parts available digitally (tpt 1 tpt 2 tsx tbn gtr b dm). Duration: ca. 2:45.

Opera Vocal Score-More than anything else Margaret Garner is an opera that reminds us that we all belong to the same human family and it demonstrates what can happen when we forget this fundamental truth... - Richard Danielpour This Opera by Grammy-winning composerRichard Danielpour tells the story of Margaret Garner an enslaved African-American woman in pre-Civil War America who gained notoriety for killing her own daughter to prevent her from suffering the degradation of a life of slavery. In thisadaptation of the famous tale Edward Gaines acquires his deceased brother’s Kentucky estate and pledges to let all of the slave families on the Maplewood Plantation stay together. However when he takes a special interest in one of the slaves Margaret Garner it is not long before her husband Robert is sent away alone to another plantation. One night Robert sneaks back to Maplewood and attempts to escape with Margaret and their children to the ‘Free State’ of Ohio. They are caught andMargaret murders her children in a crime of passion sparing them from a life of slavery. Margaret is condemned to death and although she is granted clemency at the last minute she chooses the freedom of the gallows over life as a slave. The tragicwork features a libretto by Toni Morrison and gained high critical praise at its first performance in Philadelphia in 2006. ' More than anything else Margaret Garner is an opera that reminds us that we all belong to the same human family and it demonstrates what can happen when we forget this fundamental truth... - RichardDanielpour This Opera by Grammy-winning composer Richard Danielpour tells the story of Margaret Garner an enslaved African-American woman in pre-Civil War America who gained notoriety for killing her owndaughter to prevent her from suffering the degradation of a life of slavery. In this adaptation of the famous tale Edward Gaines acquires his deceased brother’s Kentucky estate and pledges to let all of the slave familieson the Maplewood Plantation stay together. However when he takes a special interest in one of the slaves Margaret Garner it is not long before her husband Robert is sent away alone to another plantation. One night Robertsneaks back to Maplewood and attempts to escape with Margaret and their children to the ‘Free State’ of Ohio. They are caught and Margaret murders her children in a crime of passion sparing them from a life of slavery. Margaretis condemned to death and although she is granted clemency at the last minute she chooses the freedom of the gallows over life as a slave. The tragic work features a libretto by Toni Morrison and gained highcritical praise at its first performance in Philadelphia in 2006. Watch a clip from the performance here:

The turbulence and intensity of a major wind storm is effectively recreated in Richard Saucedo's Of Gale Force Winds. Based around rhythmic figures that create a wind-like effect and combined with a playful melody the piecealternates between 6/8 and 9/8 staying rhythmically dynamic throughout. A very brief moment of repose hints at the period of calm that comes in the middle or eye of bigger storms. The fury of the storm then returnswith darker sonorities and increased energy as this descriptive work comes to an exciting conclusion. Dur: 4:00

A beginning band method based on the breath impulse teaching techniques of James Middleton and William Robinson.

Study Score- Morton Gould 's Cinerama March from 'Cinerama Holiday' for Concert Band. Study score.

Five poems from Prayers From The Ark Each song captures the essence of the animal featured: rooster butterfly tortoise giraffe and pigThis song would be fun for any group to do!

If Mendelssohn's How Lovely Are The Messengers is a bit outside the reach of your choir try Carl Nygard's moving setting of texts from Romans and Psalm 119.

Commissioned by the Michigan School Band and Orchestra Association this major work by James Curnow honors the memory and legacy of renowned conductor and educator Harry Begian. In consideration of Dr. Begian's Armenian heritage Nulli Secundus (second to none) is a suite of three variations based on the Armenian folk song Cilicia (My Homeland) . Movements include: I. March Caprice (concert march in fantasy variationform) II. In Memoriam (honoring victims of the 1915-18 Armenian Genocide) and III. Finale (rapid paced set of variations). Recorded by the Michigan State University Wind Symphony. Dur: 10:00

Ten festal pieces for Trumpet in B flat with Organ accompaniment ideal for adding a celebratory touch to any occasion. For the average parish organist who is fairly competent with pedals.

Piano. Original edition.

Francisco J Nunez' Transient Glory Series- Upon Julia's Clothes by John Corigliano for unaccompanied SA choir.

This clever festive melody combines two seasonal favourites - the popular Christmas song Jingle Bells and tunes from Tchaikovsky’s ballet The Nutcracker . Arranged for SATB with Piano accompaniment this fun piece will delight performers and audiences alike.

Another Foot at a Time contains arrangements of popular pieces requiring from three to six pedal notes and builds up the player's organ management skills. Only a moderate ability on the piano is assumed. Another Foot At A Time contains arrangements of popular pieces ranging from three to six pedal notes. This collection will build up any player's Organ management skills and only a moderate ability on the piano is assumed.

Unison. Collins C

Four part arrangment of 'Sh-Boom' arranged by Patsy Ford Simms. Includes Piano accompaniment with optional Bass Guitar and Drums.

Features five songs also known as St John Of The Cross (Canciones Entre El Alma Y El Esposo). Where can your hiding be But have been found again Of flowers and emeralds sheen Now as she longaspired Rejoice my love with me Canciones entre el alma y el esposo is a poem consisting of forty verses reproduced below. Havingpreviously set two sections of it as separate a cappella choruses and one fortwo countertenors andstrings I’ve long wanted to make a complete setting of the work and by arranging the countertenorpiece for a cappella chorus and setting the remaining verses as two more anthems for the same forces I’vecompleted the task. The five pieces can of course still be performed separately or brought togetheras a twenty-five minute setting of Roy Campbell’s translation from the original Spanish of this vivid andintense poem. Geoffrey Burgon May 2008.

„Ganz gewiss aber liegt da ein Heft vor das dem Klischee vom Schumann-Epigonen markante Züge eines eigenwilligen vom Herkömmlichen abgewandten Ausdruckswillen entgegensetzt.“(Schweizer Musikzeitung Nr. 2 Februar 2001)