Book 1-Edited by Geoffrey Bush and Michael Hurd. 30 rounds and catches for equal voices from 18th- and 19th-century England.

(Full score). Macmillan J

Gluck's second French reform Opera Orphee Et Euridice was first performed in 1774. It was a reworking of a previous Italian opera that Gluck had composed in Venice in 1762 and which marked the begininning of Gluck's operatic reforms. He had the libretto translated from Italian to French and modified and recast the entire opera to cater to the taste of the French audiences. The present arrangement retains the original Flute part whilst the Piano is assigned the function of the Orchestral accompaniment. Gluck's second French reform Opera Orphee Et Euridice was first performed in 1774. It was a reworking of a previous Italian opera that Gluck had composed in Venice in 1762 and which marked the begininning of Gluck's operatic reforms. He had the libretto translated from Italian to French and modified and recast the entire opera to cater to the taste of the French audiences. The present arrangement retains the original Flute part whilst the Piano is assigned the function of the Orchestral accompaniment.

Cet hommage musical au pianiste de jazz Count Basie qui fut et restera l’un des chefs d’orchestre de jazz (big bands) les plus connus au monde comprend quatre morceaux choisis parmi ses nombreux succès : Jumpin' at the Woodside The Wind Machine Li'l Darlin' et April in Paris .

Book 6-Medieval Carols for 1-3 voices and/or instruments

for Eb Horn and Brass Band- Sunday in the Park was written for tenor horn virtuoso Sheona White and commissioned by her partner Matt Wade as a Christmas present. Composer Philip Sparke had known and admired Sheona’s playing for many years having produced her firstsolo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter Sheona in part modelling her sound on the singer’s sultry voice; so it was decided that this new solo would be a piece which whilstnot being a ‘Carpenters’ pastiche paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist which leads to a gentle rhythmic melody with a laid-back feel. This istaken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax at which point the music unwinds until the original mood returns. A variation on the original melody leads to a shortcadenza from the soloist which brings the work to a peaceful close. Sunday in the Park was written for tenor horn virtuoso Sheona White and commissioned by her partner Matt Wade as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which whilst not being a Carpenters' pastiche paid tribute to their relaxed style and rich harmonic language. Sunday in the Park openswith an accompanied cadenza for the soloist which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist which brings the work to a peaceful close.

Sinfonietta: The Town Beneath the Cliff was commissioned by Holmestrand Ungdomskorps from Vestfold in Norway. The work is in four movements: a spectacular fanfare followed by a ‘moto perpetuo’-like toccata. The third movement Hymn is a beautiful piece of music allowing the band to show its musicality and sound. The last movement Scherzo Finale opens with a short phrase from Holmestrand’s own ‘town song’ – Holmestrandsangen which comes again in full at the end of the piece accompanied by a florid passage based on the opening theme.

A work that has stood the test of time by one of the brass world's most important pedagogues Characteristic Studies for the Cornet should be part of any trumpet student's library. Within its pages the student will gain valuable insight on tonguing and the 24 characteristic studies will help the student to gain absolute control of technique articulation slurring and endurance. This work will prove helpful and beneficial to the developing student. First published in 1915 this is a work that has stood the test of time by one of the Brass world's most important pedagogues – Characteristic Studies for the Cornet should be part of any Trumpet student's library. Within its pages the student will gain valuable insight on tonguing and the 24 characteristic studies will help the student to gain absolute control of technique articulation slurring and endurance. This work will prove helpful and beneficial to the developing student. Herbert Lincoln Clarke was a well-known American Cornet player feature soloist bandmaster andcomposer. Clarke ’s legacy includes composing a portion of the standard repertoire for the instrument many recordings as well as a seminal school of playing which emphasized not only technical aptitude but also increased warmth and lyricism of tone. He also produced several method books that are still used by Brass students to this day.

Ten classical pieces arranged for Trumpet with Piano accompaniment by Andrea Cappellari .

Part of the Anglo Music Play-Along Series Philip Sparke’s 15 Easy Christmas Carols is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument this book introducesthe beginning player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. This book will provide invaluable additional material to complement any teaching method and includes both pianoaccompaniment and a demo/play-along CD.

With numerous corrections. Piano reduction with a separate solo Piano part. The autograph to Beethoven ’s Piano Concerto No. 4 is lost. For every new edition which has appeared during the course of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven ’s own corrections and the first edition in parts from 1808 which was published in Vienna and which contains a few revisions dated after the aforementioned manuscript. Though no new sources have been available for this new edition numerous editorial emendations which have prevailed in all previous editions (evenUrtext editions) have now been corrected. Thus this new Bärenreiter Urtext edition presents Beethoven ’s famous work in the clarity which it deserves.

Hawkes Pocket Scores HPS 1130-Study Score - Hawkes Pocket Score 1130. Carter E

Nr. VI F major BWV 1057- In early 1729 Bach became director of the so-called »Scottish Collegium Musician« a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe). The Concerto in F major BWV 1052 is the sixth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). The initials at the end of the piece SDGl ('Soli Deo Gloria') form a pendant to the J.J. ('Jesus Juva') found at theopening of the D-minor Concerto BWV 1052. This indicates that BVW 1057 formed the final piece in this six-work opus the only authentic and self-contained collection of concertos we have from Bach apart from his presentation copy of the Brandenburg Concertos (1721). Like all the other concertos in this series BWV 1057 is an arrangement of an earlier work in this case the Fourth Brandenburg Concerto in G major (BWV 1049). Urtext of the New Bach Edition Full score & parts (BA5229) two-keyboard reduction (BA5229-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven 's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven's Symphonies culminating in the Choral Symphony (No.9) which came down to us in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers and critics alike and has become the most widely used publication of theBeethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado. Full scores study scores and complete performance material to Beethoven's Nine Symphonies are available for sale.

Now available for mixed voices this setting of Psalm 133 translates to “Behold how good it is for brethren to dwell together in peace.” Though the text is in Hebrew its meaning is universal crossing cultures and bridging diverse languages and religions. In the traditional Klezmer style this piece incorporates lively syncopations as well as the structured progressions between major and minor modes. Now available for mixed voices this setting of Psalm 133 translates to Behold how good it is for brethren to dwell together in peace. Though the text is in Hebrew its meaning is universal crossing cultures and bridging diverse languages and religions. In the traditional Klezmer style this piece incorporates lively syncopations as well as the structured progressions between major and minor modes.

(A Branch of May)-The text for this work is comprised of several traditional May Day carols and sonnets from a variety of sources ranging from the medieval era to the 17th century. Musically the work embraces many different styles but is largely a tribute to the folk traditions of Ireland Scotland and Brittany. The text for this work is comprised of several traditional May Day carols and sonnets from a variety of sources ranging from the medieval era to the 17th century. Musically the work embraces many different styles but is largely a tribute to the folk traditions of Ireland Scotland and Brittany. It is scored for SATB chorus Children's or Women's Choir and Chamber Orchestra (flute oboe harp percussion and strings).

The perfect Christmas piece: a 6 1/2 minute medley of twelve of the most popular holiday favorites from 'Silent Night' to the rousing finale of the 'Hallelujah Chorus' (sure to bring your audience to its feet). Great for ANY choir. The optional instrumental accompaniment is quite effective and simple to add (or use the SoundTrax). Includes Deck the Halls Good King Wenceslas It Came Upon the Midnight Clear What Child Is This? Silent Night Rise Up Shepherd and Follow Go Tell It On the Mountain Hark the Herald Angels Sing Joy to the World One Fine Day We Three Kings and Hallelujah Chorus.

In the words of Rochut these etudes have been specially prepared for use by trombonists to perfect their technique generally and in particular to develop style in the interpretation of melody in all its varied forms of expression. An excellent source of material for the serious trombonist. Selected from the Vocalises of Marco Bordogni these melodious and tuneful studies arranged by Allen Ostrander for bass trombone are an enjoyable way to challenege and improve your playing. Set as part of the ABRSM Bass Tombone Syllabus Grades 6-8.

Opera in 3 acts-Libretto (English). Strawinsky I

Nyx was the goddess of the night - one of the most ancient goddesses respected even by Zeus. This piece depicts the role she played in the creation of the world the generation of life and the formation of the four essential elements - fire water air and earth.