QMB 382-Symphonic Band (full score). Grundman C

Vocal Range: f'-abThe edition is part of the ABRSM syllabus (grade 6) A terrific song in D flat completed in 1908 by the great English vocal composer Roger Quilter. He was inspired by a 16th Century traditional text by an anonymous poet which he has set to music for Voice and Piano creating an evocative and stirring work.

Arranged for oboe and piano by Arthur Willner.

Oratorio on passages from the Holy Bible and the Catholic liturgy. Franz Liszt's Christus is an attempt to capture in music the life of Christ from his birth to his Passion and Resurrection thereby following in the tradition of Handel's biblical oratorios. Despite the familiar subject matter Liszt was concerned less with depicting Jesus's deeds than with producing an object of meditation. To this end he employed a full array of musical devices to create a work abounding in sharp contrasts: symphonic textures alongside simple hymns modal harmonies alongside bold chromaticism and varied combinations of voices and instrumentsalongside purely instrumental groupings. David Friddle's new edition is the first to publish the original text of Christus on the basis of all available sources. His extensive introduction also sheds light on the performance practices of Liszt's day. Our vocal score contains a German translation of the original Latin as a guide. - First Urtext edition of this work. - Straightforward easy-to-play piano reduction. - Duration: approx. 175 minutes. - Full score (BA7680) and vocal score (BA7680-90) for sale; performance material (BA7680-72) for hire.

1st and 3rd Position- Arranged here for Violin with Piano Accompaniment Kuchler's Concertino In D Op.12 is a delightful and relatively simple work covering the first and thirds positions on the Violin. The solo violin part is also included on a separate insert.

Cantata for the Second Day of Christmas- Telemann composed “ Gelobet Seist Du Jesu Christ ” (TvWV 1:612) for his cantata cycle of 1710–11. Although scored without Brass Instruments or Timpani the brilliant festive mood of the second day of Christmas prevails. The opening chorale and the final chorus form a frame for the four solo arias of the main section (ATB). Here too the choral numbers may be and usually are taken one to a part. The vocal score appears with a singing translation in English and suggested alternatives for the German text. - Urtext based on the latest findings of scholarship. - Straightforward and easy-to-play Piano reduction. - Duration:approx. 15 minutes. - Singing translation in English. - Full score (BA7676) and performance material (BA7676) available for sale.

A collection of 40 exercises designed to help you develop blues rhythms and jazzy syncopations at the drumkit. A collection of 40 exercises designed to help you develop blues rhythms and jazzy syncopations at the drumkit.

Après Excalibur et Stonehenge Albion est la troisième œuvre majeure pour Brass Band de Jan Van der Roost inspirée par l’Angleterre du Moyen Âge. Bien que l’œuvre ne soit pas construite autour d’une histoire précise ce poème symphonique a toute l’ampleur d’une épopée. L’ouverture de l’œuvre semble dépeindre la conquête d’Albion (premier nom connu de l’Angleterre) transportant l’auditeur à l’époque du roi Arthur et de ses légendaires chevaliers de la Table Ronde. Trois groupes de cornets dispersés au sein de la formation et trois tambours différents reflètent en autant de tonalités et de tempos les périodes de guerre qui plongent l’Angleterredu début du Moyen Âge dans la tourmente. Des accords sombres et majestueux exposés dans le registre grave créent un contraste et donnent au son d’ensemble un caractère trouble et confus. Lorsque les tambours se retrouvent dans un même rythme l’ensemble de la formation interprète pour la première fois à l’unisson le Thème d’Albion.Un allegro energico plein d’agitation apporte soudainement plus d’élan et de dynamisme. Des thèmes virtuoses et guerriers se succèdent donnant au passage un caractère tumultueux. Cette suite de thèmes se conclut également avec le Thème d’Albion soutenu cette fois-ci par une structure harmonique plus complexe. S’ensuit un passage intermédiaire calme et serein permettant à plusieurs solistes d’exploiter et de révéler leurs qualités musicales. Après tout Albion n’a pas connu que des périodes de troubles et de misère. Et le roi Arthur n’est-il pas considéré comme celui qui a apporté paix et stabilité au pays ? Cette lente succession de fragments en solo progresse avec une fluidité presque évidente vers un passage où l’orchestre interprète en chœur les accords majestueux des mesures d’ouverture de l’œuvre. Le Brass Band sonne comme un orgue et le Thème d’Albion vient tout naturellement conclure cette oasis de paix retrouvée. Dans le finale impressionnant plusieurs éléments thématiques

The best-selling Microjazz series features solos in a variety of styles - blues rock jazz ect. - for the player of intermediate level.

The task: to write a piece that could involve children as players singers and composers alongside a professional symphony or chamber orchestra. The solution: a peace-cry for the biosphere in which the collaborative nature of theenterprise is a metaphor for a wished-for human enlightenment to the ways of the natural world. Davies provides five musical elements and five ways of development and uses these to illustrate five branches of life on earth:water-plants trees fish birds and mammals (including man). There is a space for answers from children's instrumental groups and then a larger space in which the children can develop the given ideas perhaps with members of theorchestra. Davies returns as composer to depict through an excess of development creation turned sour. Finally everyone comes together with a unison hymn with orchestra and instrumental groups celebrating the turn of thetide .This work for young instrumentalists children's chorus and orchestra was commissioned by the Association of British Orchestras as the centrepiece of an education project which coincided with the implementation of theNational Curriculum for music in schools in England and Wales echoing similar developments in Scotland and Northern Ireland. Score. Duration c. 25mins.

Cheryl Frances-Hoad's Amy's Last Drive for Soloists Womens Choir and Orchestra. Duration: 2 hours

What a wonderful idea! Make beautiful music such as this available at the Grade 1 level! Even young bands love to play enchantingly beautiful melodies. You’ve spent a lot of time and effort in helping your students learn to play full value notes breathe in appropriate places and stretch out their phrases so that they sound more mature and less like beginners. IN THE BLEAK MID-WINTER by Holst is a perfect opportunity for them to truly realize the value of these things you’ve been teaching. Your musicians will come away from the experience of preparing this piece with a better understanding of how to shape a melodic phrase and play with warm reserved elegance.Captivating!

To arrange one of the most beautiful organ fugues by the great classical composer Johann Sebastian Bach (1685-1750) for brass band is certainly a demanding task. Klaas van der Woude has however performed this feat to produce this excellent and exciting arrangement. Organ Fugue is suitable for any festive concert!

Fantasy- In Ireland is a wonderful fantasy for Flute and Piano composed in 1915 by respected and renowned Irish musician Sir Hamilton Harty.

Charles-Marie Widor (1844-1937) composed this Mass Op. 36 in 1878 for the St Sulpice church in Paris. The initial two choirs for which it was composed were comprised of around 200 and 40 voices while the score for this version is for a choir of baritones and an SATB choir. The Organ part requires an advanced-level of ability as it contains some difficult parts. Divided into five sections the entire work has been transposed one half step lower to avoid the awkward key of F sharp major'. These sections are: 1. Kyrie (Moderato - F# minor) 2. Gloria (Vivace - Lento D major 3.Sanctus (Con brio A major) 4. Benedictus ( Piú lento A major) 5. Agnus Dei (Moderato F# major) This really delicate and emotive Mass Op. 36 is a piece that stands out by its majesty. Charles-Marie Widor was a great organist who did not only focus on Organ composition. From orchestra pieces to chamber music he wrote various different compositions including 10 symphonies for Organ some Operas and some Piano Concerti.