Miscellaneous Odes (Full Score - Original Engraving)-Purcell Society Edition Volume 27 Miscellaneous Odes in full score.

Written for the girl and boy choristers of Grace Church New York U.S.A. For unison voices with descant flute and organ.

Here's a collection of incredibly successful games and activities for the elementary music classroom. IT'S YOUR TURN emphasizes the art of 'play' - the ultimate learning tool for children of all ages. This book featureslarge-group fun-filled experiences which reinforce basic musical concepts such as melody rhythm or tone color. Highlights include: Surfin' Hand Jivin' Rockin' Rhythms Tune-a-Grams Invasion of the Soap Bubbles Boogie WoogieRap and much more. For Gr. 1-6.Here's a collection of incredibly successful games and activities for the elementary music classroom. IT'S YOUR TURN emphasizes the art of 'play' - the ultimate learning tool for children of all ages. This book featureslarge-group fun-filled experiences which reinforce basic musical concepts such as melody rhythm or tone color. Highlights include: Surfin' Hand Jivin' Rockin' Rhythms Tune-a-Grams Invasion of the Soap Bubbles Boogie WoogieRap and much more. For Gr. 1-6.

A suite for Piano Solo.

Fools By Heavenly Compulsion - String Quartet No.3 is a work by David Stoll for String Quartet. The work is divided into three movements Nothing Storm and Never taking their titles and imagery from Shakespeare's 'King Lear'. This is the score and parts for this work a full performance of which lasts around 20 minutes. Commissioned by the Bingham String Quartet with funds from the Ralph Vaughan Williams Trust Stoll wrote it in the winter of 2001-2. Fools By Heavenly Compulsion - String Quartet No.3 is a work by David Stoll for String Quartet. The work is divided into three movements Nothing Storm and Never taking their titles and imagery from Shakespeare's 'King Lear'. This is the score and parts for this work a full performance of which lasts around 20 minutes. Commissioned by the Bingham String Quartet with funds from the Ralph Vaughan Williams Trust Stoll wrote it in the winter of 2001-2.

Wind Quintet Parts-Luís Tinoco 's Autumn Wind . Parts for Wind Quintet. Composed 1998 published 2004. Commissioned by the Junior Academy of the Royal Academy of Music. First performance: RAM/Junior Academy students Duke's Hall RAM London 20th June 1998. First professional performance: Galliard Ensemble Wanstead and Woodford Festival of Chamber Music Holy Trinity Church 17th April 1999. Recorded on MERIDIAN CDE 84429 and DEUX-ELLES DXL 1084. Duration: c. 10 minutes. Luís Tinoco 's Autumn Wind . Parts for Wind Quintet. Composed 1998 published 2004. Commissioned by the Junior Academy of the Royal Academy of Music. First performance: RAM/Junior Academystudents Duke's Hall RAM London 20th June 1998. First professional performance: Galliard Ensemble Wanstead and Woodford Festival of Chamber Music Holy Trinity Church 17th April 1999. Recorded on MERIDIAN CDE 84429and DEUX-ELLES DXL 1084. Duration: c. 10 minutes.

A Carol of the Incarnation. A setting of a 15th Century prayer. A Carol of the Incarnation. A setting of a 15th Century prayer.

Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices human beatbox electronics fashion and space. The final track bares very little resemblance to theoriginal recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!) therefore coming full circle! There are now two versions of Human Drum the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival Sir Jack Lyons Concert Hall University of York. Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices human beatbox electronics fashion andspace. The final track bares very little resemblance to the original recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!) therefore coming full circle! There are now two versions of Human Drum the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival Sir Jack Lyons Concert Hall University of York.

Bordel 1900 - Café 1930 - Night-club 1960 - Concert d'aujourd'hui 1.Bordel 1900; 2.Café 1930; 3.Night-Club 1960; 4.Concert d'Aujourd-Hui

Method-For unaccompanied clarinet. A selection of studies designed to improve all aspects of Clarinet playing at Intermediate-Advanced level. Several pieces are based on orchestral parts/solos or loosely based on a composer's particular style. Victor Polatschek was for many years First Clarinetist of the Boston Symphony Orchestra.

A collection of 40 studies for the intermedite Trupmet player exploring a host of scale arpeggio and more unusual melodic structures by Wilhelm Wurn.

Uses: General call to worship Scripture: Gen. 24:52 Eph. 1:12 Rev 19:10 A contemporary sensibility governs this satisfying new original. We are admonished to place our trust in Christ and during ourlife acknowledge the gift of grace He died to bring us. Fresh music and inspired words make this a must for worship gatherings.

Hilda Paredes ' Jitanjáfora for eight-piece Ensemble. A4 study score. Jitanjáfora was commissioned by Instituto Nacional de Bellas Artes y Literatura through Centro de Experimentación y Producción de Música Contemporáneaof México in 2014. Hilda Paredes ' Jitanjáfora for eight-piece Ensemble. A4 study score. Jitanjáfora was commissioned by Instituto Nacional de Bellas Artes y Literatura through Centro de Experimentación y Producción de Música Contemporáneaof México in 2014.

Johann Sebastian Bach 's Toccatas BWV 910-916 contains early versions of BWV 912 and 913 and an ornamented version Of BWV 916.

For Unaccompanied Clarin- Paul Harris's Sonata da Camera has recently been selected for the LTCL & ABRSM syllabus. Also useful for festivals and auditions. Duration: 6 mins.'It would make a fascinating addition to a more traditional programme without scaring a timid audience.' Music Teacher Grade: 7 - 8

This chart contains the 26 original drum rudiments written out in an easy read format. Accompanying CD includes all rudiments recorded so students can hear exactly how they are to be played. This rudiment chart is great for daily warm-ups and also an excellent reference for intermediate and advanced players; it can be used as a supplement to every drum method book. Use the material presented to review for solo and ensemble contests. Also helps develop stick control speed and coordination.This chart contains the 26 original drum rudiments written out in an easy read format. Accompanying CD includes all rudiments recorded so students can hear exactly how they are to be played. This rudiment chart is great for dailywarm-ups and also an excellent reference for intermediate and advanced players; it can be used as a supplement to every drum method book. Use the material presented to review for solo and ensemble contests. Also helps developstick control speed and coordination.

Born in the Italian city of Naples Giuseppe Domenico Scarlatti (1685-1757) was one of the few Baroque composers to transition into the Classical period. Scarlatti composed operas cantatas symphonias and liturgical pieces but his 555 keyboard sonatas are most well-known: a vast collection of single movements in binary form. Lily Afshar's arrangement of Sonata K. 11 (a favorite of Segovia) utilizes staccato articulation reminiscent of the harpsichord and othertechniques including cross-string trills and minimal slurs. The pair of sonatas work well together written in E minor and E major.Sylvius Leopold Weiss (1687-1750) was the most accomplished lutenist of the Baroque periodand the most prolific composer of lute music writing over one thousand pieces for the instrument. The four pieces arranged in this book show the beautiful polyphony and fantastical writing of Weiss. Afshar utilizes campanella (cross-string) fingerings throughout to emphasize the musical line and produce a fuller sound on the instrument. Born in the Italian city of Naples Giuseppe Domenico Scarlatti (1685-1757) was one of the few Baroque composers to transition into the Classical period. Scarlatti composed operas cantatas symphonias andliturgical pieces but his 555 keyboard sonatas are most well-known; a vast collection of single movements in binary form. Lily Afshar's arrangement of Sonata K. 11 (a favorite of Segovia) utilizes staccato articulationreminiscent of the harpsichord and othertechniques including cross-string trills and minimal slurs. The pair of sonatas work well together written in E minor and E major. Sylvius Leopold Weiss (1687-1750) wasthe most accomplished Lutenist of the Baroque period and the most prolific composer of Lute music writing over one thousand pieces for the instrument. The four pieces arranged in this book show the beautiful polyphony andfantastical writing of Weiss . Afshar utilizes campanella (cross-string) fingerings throughout to emphasize the musical line and produce a fuller sound on the instrument.

Sacred Music Part 5 (Anthems) (Original Engraving)-Original Engraving.

A setting of three lunar-inspired poems of Jean Kenward by Betty Roe for unison voices with piano. Ideal for young singers and youth choral groups.

Rev. Gary Davis is the real thing. The authentic blind-seer. He is a genius with a brightly burning spirit enormous musical intelligence technical brilliance an encyclopedic memory driving passion deep faith a raunchy and gracious sense of humor. A mystic. He is an icon of the style of guitar he was born into known today as the Piedmont blues. Through players of the first half of the twentieth century like Alfred Shultz Mose Ranger Merle Travis and Chet Atkins this is the signature American fingerpicking style that would so deeply inform the country folk blues and even rock and roll of our day. Rev. Davis (1896-1972) was born black in deep poverty in South Carolina blind from an early age. He overcame these longest of odds to become world famous a giant of American music. He brought together black and white styles country gospel folk themes blues jazz ragtime minstrel songs dance tunes and popular song. He developed his own brilliant fingerpicking style that was deep economical and adaptable enough to easily cover all these genres. Supporting all his creativity was an unshakable faith that pulled him through the obscurity the bitter hard times and crushing poverty he would endure until the folk music awakening of the fifties and sixties caught up to him. In this book and accompanying audio Ernie Hawkins has transcribed 18 of Rev. Davis' best known gospel arrangements. The playing of Rev. Davis has influenced generations of guitar players from Blind Boy Fuller to Dave Van Ronk David Bromberg Ry Cooder Jorma Kaukonen Bob Weir Stefan Grossman and Woody Mann. His tunes have been recorded by a host of today's finest rock musicians: The Grateful Dead Hot Tuna Bob Dylan Jackson Browne and others. Rev. Gary Davis is the real thing. The authentic blind-seer. He is a genius with a brightly burning spirit enormous musical intelligence technical brilliance an encyclopedic memory driving passion deep faith araunchy and gracious sense of humor. A mystic. He is an icon of the style of Guitar he was born into known today as the Piedmont blues. Through players of the first half of the twentieth century like Alfred Shultz MoseRanger Merle Travis and Chet Atkins this is the signature American fingerpicking style that would so deeply inform the country folk blues and even rock and roll of our day. Rev. Davis (1896-1972) was bornblack in deep poverty in South Carolina blind from an early age. He overcame these longest of odds to become world famous a giant of American music. He brought together black and white styles country gospel folk themes blues jazz ragtime minstrel songs dance tunes and popular song. He developed his own brilliant fingerpicking style that was deep economical and adaptable enough to easily cover all these genres. Supporting all hiscreativity was an unshakable faith that pulled him through the obscurity the bitter hard times and crushing p