Ten top songs and themes from film and TV arranged for guitar solo by David Burden.This book and the series of which it is part give the classical student popular hits of contemporary music and pieces from other periods that have been used in film TV and stage. Songs include The James Bond Theme Thank You for the Muisc Raindrops Keep Falling on My Head and more. Ten top songs and themes from film and TV arranged for Guitar solo by David Burden . This book and the series of which it is part give the classical student popular hits of contemporary music and pieces from otherperiods that have been used in film TV and stage. Songs include The James Bond Theme Thank You for the Muisc Raindrops Keep Falling on My Head and more.

for SATB unaccompanied Part song adapted from an old air for SATB unaccompanied.

A Spiritual arranged by Jonathan Willcocks for Solo Voice and SATB Choir.

for SATB unaccompanied This short eloquent Benediction sets words from St Patrick's Breastplate (5th century). Also available in John Rutter Anthems. A gentle song with words taken from St Patrick's Breastplate from the 5th century. Composed and arranged for SATB Choir a cappella by John Rutter.

Birthday Odes For Queen Mary Part 1 (Paperback)-Full Score. Purcell Society Volume 11. Edited under the supervision of the Purcell Society by Bruce Wood. Vocal scores and instrumental parts of each of the three works in this volume are available on hire from the publishers. Hardback edition available: NOV151011-01. Full Score. Purcell Society Volume 11. Edited under the supervision of the Purcell Society by Bruce Wood. Vocal scores and instrumental parts of each of the three works in this volume are available on hire from the publishers. Hardback edition available: NOV151011-01.

for SATB brass ensemble timpani optional handbells and optional organ OR SATB and piano This is a joyful carol in which John Rutter sets a traditional English text to a bold and straightforward melody and creates an uplifting work replete with forthright Christmas cheer. Instrumental parts are available on hire. The handbell part is printed in the vocal score. This is a joyful carol in which John Rutter sets a traditional English text to a bold and straightforward melody and creates an uplifting work replete with forthright Christmas cheer. Scored originally for SATB Voices and Brass ensemble with optional Organ and Handbells this arrangement of Rejoice and be Merry may be performed with Piano playing from the Keyboard reduction given in this Vocal score. If available Handbells may be added as well as the Handbell part is printed at the end of this score. With under 3 minutes of performance time and minimal necessary rehearsal time Rejoice and be Merry is the perfect additionto any Holiday performance this festive season.

There exists already and abundant supply of original compositions and arrangements suitable for performance on large and comprehensive organs but many organists who have only a small instrument at their disposal in country churches often have some difficulty in finding short and easy voluntaries suitable for their own use and the instruction of their pupils. It is hoped that The Village Organist may supply this want so much felt by that valuable and zealous class of church-workers to whom the work is inscribed. The editors have endeavoured to bring together a collection of pieces which they trust will prove to be at once simple without being uninteresting and effective where the instrumental resources are limited.

The genesis of Chopin's Polonaise brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with orchestra it takes up a special position among the polonaise compositions of Chopin. However by tradition the work has always been performed as an extremely effective solo piece. Since no autograph has survived the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. The present new edition therefore rates this English edition more highly than usual. Thus numerous discrepancies and omissions in the Frenchdefinitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin's way of playing trills and appoggiaturas as well as on Chopin's tempo rubato. For that sources from the vicinity of the composer such as messages from his pupil Karol Mikuli are evaluated. The genesis of Chopin 's Polonaise Brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with Orchestra it takes up a special position among the polonaise compositions of Chopin . However by tradition the work has always been performed as an extremely effective solo piece. Since no autograph has survived the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin . The present new edition therefore rates this English edition more highly than usual.Thus numerous discrepancies and omissions in the French definitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin 's way of playing trills and appoggiaturas as well as on Chopin 's tempo rubato. For that sources from the vicinity of the composer such as messages from his pupil Karol Mikuli are evaluated.

A beautiful setting of the text by James Reeves this song for Medium Voice Flute and Piano is a superb concert piece composed by Betty Roe. The flute part is also included on a separate insert. A beautiful setting of the text by James Reeves this song for Medium Voice Flute and Piano is a superb concert piece composed by Betty Roe. The flute part is also included on a separate insert.

Kerry Andrew 's Lullaby For The Witching Hour for three voices (SSA). Duration: 4 minutes Composed: 2004 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. This piece was written as an introduction to a gig we did at the York Spring Festival in 2004. It sets my own text and is influenced by 'Our Prayer' heard on Brian Wilson's album Smile as well as the Belgian/Central African a cappella group Zap Mama and the soundtrack to the film Belleville Rendez-Vous. It was first performed by Juice at York Spring Festival in May 2004. Kerry Andrew 's Lullaby For The Witching Hour for three voices (SSA). Duration: 4 minutes Composed: 2004 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. This piece was written as an introduction to a gig we did at the York Spring Festival in 2004. It sets my own text and is influenced by 'Our Prayer' heard on Brian Wilson's album Smile as well as the Belgian/Central African a cappella group Zap Mama and the soundtrack to the film Belleville Rendez-Vous. It was first performed by Juice at York Spring Festival in May 2004.

10 Pieces- Recital Music publish music for every level of double bassist and in the past few years have concentrated on music for the younger player. This new and exciting series includes works with simple accessible technical and musical challenges for beginners and progressing bassists. Piano accompaniments are supportive and written with the bass teacher in mind creating a new repertoire which is ideal for concert and educational use.

For Soprano Mezzo Countertenor Tenor Baritone Ensemble and Electronics. Singers: Eurydice (Soprano) Princess (Mezzo) Loved One (Countertenor) Orpheus (Tenor) Poet (Baritone) Ensemble: Flute (doubling Piccolo/Alto Flute) Clarinet (doubling Bass Clarinet) Horn Trumpet Percussion (1 player: Timpani Bass Drum 4 x Toms Glockenspiel Vibraphone) Typewriter (to be performed by a member of the ensemble) Harp Piano Violin 1 Violin 2 Viola Cello Double Bass ElectronicsFor Soprano Mezzo Countertenor Tenor Baritone Ensemble and Electronics. Singers: Eurydice (Soprano) Princess (Mezzo) Loved One (Countertenor) Orpheus (Tenor) Poet(Baritone) Ensemble: Flute (doubling Piccolo/Alto Flute) Clarinet (doubling Bass Clarinet) Horn Trumpet Percussion (1 player: Timpani Bass Drum 4 x Toms Glockenspiel Vibraphone) Typewriter (to be performed by a member of the ensemble) Harp Piano Violin 1 Violin 2 Viola Cello Double Bass Electronics

Ten Catalan folksongs for guitar solo.

With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relatively narrow so that the volume can be usedcontinuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.Volume 1 contains both frequently played educational works by Bach and lesser known pieces by Handel and Scarlatti Volume 2 compositions by Haydn and Mozart as well as musically and educationally attractive pieces by Cimarosa. Volume 3 (scheduled for publication in summer 2013) contains pieces by Beethoven Schubert and Hummel Volume 4 (scheduled for publication in early 2014) works by Schumann Brahms and Theodor Kirchner. Further volumes are being planned. With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a Piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering Piano pupils (or even adults who want to resume Piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relativelynarrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for Piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explan

The Fanfare For The Common Man came about in the summer of 1942 when Eugene Goosens approached eighteen American composers to contribute patriotic fanfares for performance by the Cincinnati Symphony Orchestra. Ten of these pieces were written for percussion and brass alone. The works do not only enrich the literature for brass and percussion but to pay tribute to all those involved in World War II.

Double Bass-More String Time Joggers is a welcome addition to the ensemble repertoire for beginner strings from the authors of the award-winning Fiddle Time series. This exciting collection provides inventive and enjoyable ensemble material for all string groups whatever their size. More String Time Joggers is a welcome addition to the ensemble repertoire for beginner strings from the authors of the award-winning Fiddle Time series. This exciting collection provides enjoyable and inventive ensemble material for all string groups whatever their size.

Fly Bold Rebellion is a work by English composer Henry Purcell for 2 Soprano 2 Countertenor Tenor and 2 Bass Soli as well as SSAATB Chorus with Strings and Continuo. The work was composed in 1683 and this edition of the score has been edited by Bruce Wood. Fly Bold Rebellion is a work by English composer Henry Purcell for 2 Soprano 2 Countertenor Tenor and 2 Bass Soli as well as SSAATB Chorus with Strings and Continuo. The work was composed in 1683 and this edition of the score has been edited by Bruce Wood.

for SATB unaccompanied This setting of the Song of Songs is a fine example of Skempton's distinctive ability to distil and express the emotional essence of a text. Beautifully understated and employing a straightforward tonal language with gorgeously refined harmony this is an exquisite piece of choral writing. This setting of the Song of Songs is a fine example of Skempton's distinctive ability to distil and express the emotional essence of a text. Beautifully understated and employing a straightforward tonal language with gorgeously refined harmony this is an exquisite piece of choral writing.

A work by Peter Jenkyns for unison voices and piano.

Aerobics & Warm–Ups for Fiddlers & Violinists is not for the sophisticated violinist with years of classical training. It has been created especially for the more casual player who is sincerely interested in getting maximum benefit from a minimum of effort. Aerobics & Warm–Ups for Fiddlers & Violinists helps to fill this need for technical studies applicable to both the worlds of classical violin and fiddling. I first tested these scales and exercises on myself for six months faithfully using them for about 20 minutes as warm–ups to my daily practice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as Icharted my metronomic progress on a calendar. I remember thinking I will never be able to play faster than this. But then a couple of weeks later I would indeed climb a notch higher! Through the years I have used these exercises in countless fiddle workshops and with private students. The letters of thanks and positive feedback from students who were thrilled with improved fiddle technique have brought me great satisfaction. I sincerely believe that these exercises when faithfully practiced will help violinists improve their playing skills. The exercises will help develop and strengthen muscles used for finger dexterity clarity of notes tone bowing–arm control intonation double stops and a flexible bowing arm wrist. Companion free Audio Tracks available online. Aerobics & Warm–Ups for Fiddlers & Violinists is not for the sophisticated violinist with years of classical training. It has been created especially for the more casual player who is sincerely interested in getting maximumbenefit from a minimum of effort. Aerobics & Warm–Ups for Fiddlers & Violinists helps to fill this need for technical studies applicable to both the worlds of classical violin and fiddling. I first tested these scales andexercises on myself for six months faithfully using them for about 20 minutes as warm–ups to my daily practice. I was rewarded with a definite improvement in my technique. I was actually surprised to see my dexterity grow as Icharted my metronomic progress on a calendar. I remember thinking 'I will never be able to play faster than this.' But then a couple of weeks later I would indeed climb a notch higher! Through the years I have used theseexercises in countless fiddle workshops and with private students. The letters of thanks and positive feedback from students who were thrilled with improved fiddle technique have brought me great satisfaction. I sincerely believethat these exercises when faithfully practiced will help violinists improve their playing skills. The exercises will help develop and strengthen muscles used for finger dexterity clarity of notes tone bowing–arm control intonation double stops and a flexible bowing arm wrist. Companion free Audio Tracks available online.