Easy recorder quartets Band 7- Containing works ranging from pre-Baroque to contemporary music the popular series Easy Recorder Quartets is intended for both students at music schools and music ensembles of all age groups. All editions are published in the form of playing scores.

A wonderful masterwork from the Romantic Era this dramatic energetic chorus has been made accessible with easy unison and part-writing and a simplified accompaniment. For soprano alto tenor and bass voices in concert/contest/festivals.

Wordless-Frise - Cantata Profane Op.103b for Mixed Choir SATB by Vagn Holmboe . Frise - Cantata Profane Op.103b for Mixed Choir SATB by Vagn Holmboe .

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

Fragments Of A Teaching for Baritone String Trio and Percussion (2011). Commissioned by Hans Kristian Kjos Sorensen with financial support from Norsk Kulturrad. Written for Ultron Concept . Premiered at The Bergen International Festival June 2011. Parts available: WH31336A

The Bach Busters series 'unlocks' some of the less well known but equally beautiful Preludes and Fugues from J. S. Bach's Well Tempered Clavier through transposition and subtle re-notation.

How to shape a melodic line-Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music like any language follows its own set of rules and a sufficient knowledge and familiarity with musical grammar' is therefore an essential prerequisite of any convincing interpretation.The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm metre agogics articulation phrasing ornamentation and implied polyphony etc. Numerous examples from the flute repertoire of the 17th-20th century serve as models fromwhich he derives the rules' appropriate for an interpretation in keeping with each period. - These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion.

The Poet - A Gothic Tale for Saxophones and String Quartet (2007). 2008 Chamber version available: WH30938 Programme note The Poet is the fourth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrativ ecomplexity: Themes andmotivs from one piece appear in others in new and surprising shapes and combinations. Karen Blixen's The Poet is about a retired counsilor who always desired to be an artist - once he even met his ideal Goethe - but knows that he is completely without talent. Instead he patronizes a young gifted writer to the extent of shaping himself into a father figure his protege depends upon. When a young italian widow arrives and the writer predictably falls in love with her and she with him the councilor arranges a marriage between the widow and himself in order to break the young poet's heart - only in the best intention: to make him into a real poet. But the writer decides to take his own life and the widow crushes the councilor's head with a heavy stone crying You poet! As he dies helpless to the will of destiny the councilor realizes that fate has wrought a story greater than any he could have invented. The Poet isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression... except one might say that the violin kills off thepiano while the baritone saxophone goes

Michael Bojesen's Te Deum (2010). For Mixed Voices SATB Children's Chorus Soprano solo and Wind Quintet. Parts: WH31141A Piano score: WH31141B Chorus score (SATB+SA): WH31141C Children's chorus: WH31141D

The music of George Gershwin is a vital component in the American music idiom both pop and concert hall. This is typified by his Concerto in F for Piano and Orchestra which is a subtle and graceful yet distinctive work full of charm and sweeping themes. It was this 1925 composition that proved he had made the transition between popular music and large-scale instrumental composition. Eulenburg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

The 'Romanian Folk Dances' undoubtedly rank amongst Bartok's most popular compositions. The earliest version is scored for piano (1915) and was published by Universal Edition in 1918. The composer himself orchestrated this version in 1917. Several other chamber music arrangements (for example Zoltan Székely's version for violin and piano) were not by Bartok although he authorised them. The musical material derives from Bartok's collections of folk music which date right back to 1904 when he wrote down a melody sung by a Hungarian peasant girl. In the course of extensive travels throughout Eastern Europe Bartokcompiled an enormous collection of folk tunes (by 1918 his collection comprised no fewer than 2700 Hungarian 3500 Romanian and 3000 Slovak dances and songs) which would in all probability have been lost had Bartok not written them down. As it was some of them found their way into his compositions. In 1908 Bartok jotted down dance tunes in Transsylvania. They are the source of the 'Romanian Folk Dances'.

Entertainer / Bethena- Two contrasting piano rags arranged for viola and piano: The Entertainer and Bethena . Grade: 5 - 6.

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon. While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture – I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Robert SchumannPIANO SONATA NO. 4(completed by Karl Aage Rasmussen)has been recorded on CD byAmalie Malling pianoon the CD entitledSCHUMANN PIANO WORKSon the label Classico CDK 1072 Robert Schumann's Sonata No. 4 For Piano . Completed from the unfinished sketch by Karl Aage Rasmussen .

Pelle Gudmundsen-Holmgreen's Mirror Pieces for Clarinet Violoncello and Piano. Danish title: Spejlstykker Pelle Gudmundsen-Holmgreen's Mirror Pieces for Clarinet Violoncello and Piano. Danish title: Spejlstykker

Pelle Gudmundsen-Holmgreen: Green (SATB) For four voices Pelle Gudmundsen-Holmgreen's Green for 4 Voices (SATB). Programme note: New Ground - No Ground - Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords - going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground - at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic and I decided to write a new - lighter ground - New Ground . To disappoint mylisteners as much as possible I based this piece on a very old and very well-known ground: Pachelbel's Canon. The piece is tonal and that suggested another -atonal - composition - No Ground (based on another string quartet - no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

Beautiful classical melodies arranged for either Eb Tenor Horn or F French Horn. Both parts are included in the publication

Work for Chamber Ensemble (Flute Clarinet Violin Cello Percussion Piano and Guitar) composed in 1982. Work for Chamber Ensemble (Flute Clarinet Violin Cello Percussion Piano and Guitar) composed in 1982.

solo saxophone edition- 20 hot studies for Saxophone compiled and edited by Nigel Wood. Set as part of the ABRSM examinations grade 6 7 and 8 for Alto or Tenor Saxophone.

Capriccio nach Goya-Guitar. Behrend S Guitar. Behrend S