Take centre stage and play along with a live band. The authentic CD backing tracks will help you achieve a more professional performance. Ten pieces in melody line arrangement. Professional 'soundalike'performances of every piece featuring a live band plus backing tracks to play along with. Free Internet downloads. Full band score and parts downloadable to your computer.

Work for Violin Cello Clarinet Piano and Tabla. Work for Violin Cello Clarinet Piano and Tabla.

Drum Play Along-Performed by Hal Smith drums Accompaniment: Tim Laughlin's New Orleans All-Stars Many people consider New Orleans the birthplace of jazz. After all Louis Armstrong was born and played there as well as Joseph King Oliver the Dodds Brothers Sidney Bechet and a roster of players to fill not one but many all-star bands. Louis Prima was a child of the Crescent City as is Harry Connick and Wynton Marsalis. The whole Marsalis clan was raised there and are all acknowledged jazz masters so its reputation as the seminal jazz town has long been acknowledged. We assembled a band of New Orleans' best players for our times veterans all of many street parades and steamboat gigs andasked them to put together a typical program of New Orleans Classics. Under the direction of Tim Laughlin clarinetist supreme and led by Connie Jones Jr. one of the great hornmen of this city which boasts so many great players they put together an album of must-hear must-have songs that every traditional jazz player cherishes. Hear them now in these perfect renditions. Then join the band on your own instrument be it clarinet trumpet trombone tenor piano bass or drums as they swing through the French Quarter of New Orleans. Includes newly engraved solo charts printed on acid-free ivory paper; and two compact discs featuring complete versions of each tune plus a recording of the accompaniments minus the soloist. Also includes slow tempo versions of most up-tempo pieces for practice purposes. Performed by Hal Smith drums Accompaniment: Tim Laughlin's New Orleans All-Stars Many people consider New Orleans the birthplace of jazz. After all Louis Armstrong was born and played there as well as Joseph King Oliver the Dodds Brothers Sidney Bechet and a roster of players to fill not one but many all-star bands. Louis Prima was a child of the Crescent City as is Harry Connick and Wynton Marsalis. The whole Marsalis clan was raised there and are all acknowledged jazz masters so its reputation as the seminal jazz town has long been acknowledged. We assembled a band of New Orleans' best players for our times veterans all of many street parades and steamboat gigs andaskedthem to put together a typical program of New Orleans Classics. Under the direction of Tim Laughlin clarinetist supreme and led by Connie Jones Jr. one of the great hornmen of this city which boasts so many great players they put together an album of must-hear must-have songs that every traditional jazz player cherishes. Hear them now in these perfect renditions. Then join the band on your own instrument be it clarinet trumpet trombone tenor piano bass or drums as they swing through the French Quarter of New Orleans. Includes newly engraved solo charts printed on acid-free ivory paper; and two compact discs featuring complete versions of each tune plus a recording of the accompaniments minus the soloist. Also includes slow tempo versions of most up-tempo pieces

Robert Powell is a master with the hymn concerto. Here he takes the Arthur Sullivan tune and turns it into a festival setting accompanied by organ brass quintet and timpani. The congregation even gets to sing. Very accessible and suitable for Easter!

for Chamber Ensemble-Version for chamber ensemble (flute clarinet guitar accordion piano percussion and string quartet) and a mezzo-soprano and tenor soloist.

Sir Eu was commissioned by the regional music authority of Upper Austria and the brass band SoundINNBrass. The composition was meant to be very virtuoso and was written for the euphonium player Steven Mead who premièred it and has played it regularly worldwide. The title Sir Eu alludes to the master of the euphonium himself and also to the concept of Europe. From jazz through romanticism to folkloristic elements - this work offers everything that the musical heart could wish for!

Music Minus One Violin-Here is much of the best literature and favorite selections for the violin suitable for intermediate-level violinists. They will challenge and delight the performer. Geoffrey Applegate noted American violinist performs these pieces then stands aside so you can step in and perform with the Stuttgart Symphony Orchestra conducted by Emil Kahn. Includes a high-quality printed music score and a compact disc containing a complete version with soloist in split-channel stereo (soloist on the right channel) then a second version in full stereo of the orchestral accompaniment minus the soloist. Performed by Geoffrey Applegate violin Accompaniment : Stuttgart Symphony OrchestraConductor: Emil Kahn Here is much of the best literature and favorite selections for the violin suitable for intermediate-level violinists. They will challenge and delight the performer. Geoffrey Applegate noted American violinist performs these pieces then stands aside so you can step in and perform with the Stuttgart Symphony Orchestra conducted by Emil Kahn. Includes a high-quality printed music score and a compact disc containing a complete version with soloist in split-channel stereo (soloist on the right channel) then a second version in full stereo of the orchestral accompaniment minus the soloist. Performed by Geoffrey Applegate violin Accompaniment : Stuttgart SymphonyOrchestraConductor: Emil Kahn

Festive brass fanfares an attractive melody and a quiet chorale-likeinterlude played by the woodwind section are the main ingredientsof this compelling concert opener by Gilbert Tinner. The lively startreturns in the finale with a display of musical fireworks ensuring yourconcert band make a truly powerful entrance!

Poul Ruders' Diferencias - on a beloved tune by J.S. Bach. Programme Note: 'Differencias' was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title however and as to the present piece a very fitting one indeed because I wrote it especially to The Elsinore Players for their South America-tour in 1981. Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu Joy of Man's Desiring cantata No. 147) apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet the latter ofwhich creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly I haven't included anything that Bach does not have in the book himself. In addition to that the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations no tricky polyphony nothing but a long thoughtful tasting the beautiful piece of tune. Well of course the chorale itself enters the picture in the very last section but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end. Finally I really do think that the Cage/Morgan poem quoted below is the most suitable prologue to 'Diferencias ' :14 variations on 14 words I have nothing to say and I am saying it and that is poetry (...) Poul Ruders' Diferencias - on a beloved tune by J.S. Bach. Programme Note: 'Differencias' was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title however and as to the present piece a very fitting one indeed because I wrote it especially to The Elsinore Players for their South America-tour in 1981. Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: 'jesu Joy of Man's Desiring' cantata No. 147) apart from thecontinuous changing of the succession-pattern of the 11 triplets and one duplet the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 'spinnrad-rolling'. To put it popularly I haven't included anything that Bach does not have in the book himself. In addition to that the unpredictable accents and various instrumental colours are the only means of 'differences'. There are no modulations no tricky polyphony nothing but a long thoughtful tasting the beautiful piece of tune. Well of course the chorale itself enters the picture in the very last section but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end. Finally I really do think that the Cage/Morgan poem quoted below is the most suitable prologue to 'Diferencias '