This book contains sumptuous new Choral versions of seven chart-topping pop songs. The arrangements are by renowned Vocal Coach and Choral Director Mark De-Lisser and are recorded by ACM Gospel Choir. The fourth pop repertoire book in the popular Sing Out! series brings you uplifting songs with positive lyrics. With such feel-good hits as Happy by Pharrell Williams Magic by Coldplay You Gotta Be by Des'ree and more this Choral collection will delight and inspire both the singers and listeners alike. Arranged for SAT Choir with the occasional solo part this pack includes a download card with performancebacking tracks full demonstrations and individual rehearsal tracks of each Vocal line recorded by members of ACM Gospel Choir. The scores feature Piano parts and chord symbols for band accompaniment. Helpful hints for performing each piece are also included in this book giving you everything you need to learn these well-loved songs. If this all sounds too good to be true it isn't! Watch Mark De-Lisser himself explaining why you need to check out the Sing Out! Series straight away:

Schumann’s Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as Second only to Beethoven's Sonata in A. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann’s working manuscripts and – in the case of the 2nd Sonata – the score used by the engravers and extensive correspondence between the composer and the original publishers. Meticulous comparison of these original documents has made itpossible to determine numerous details regarding dynamics and articulation. Schumann’s autograph manuscript has been of significant help in this respect.The edition is part of the ABRSM syllabus (grade 8) Schumann 's Violin Sonatas were taken up with enthusiasm very soon after they were first performed. The Second Sonata was described at the time as 'Second only to Beethoven's Sonata in A'. Sonatas Op. 105 and Op. 121 are now presented in the first volume of this Wiener Urtext edition. It is based on the score in the new complete Schumann edition which draws not only upon the authorised first editions of both works but also upon Schumann 's working manuscripts and - in the case of the 2nd Sonata - the score used by the engravers and extensive correspondence between the composer and the originalpublishers. Meticulous comparison of these original documents has made it possible to determine numerous details regarding dynamics and articulation. Schumann 's autograph manuscript has been of significant help in this respect. The edition is part of the ABRSM syllabus (grade 8).

Geoffrey Bush’s Tributes is a suite of five respectful pieces for B Flat Clarinet and Piano accompaniment. These varied pieces encompassing Jazz Blues and Rhumba styles were completed in 1986 and have each been dedicated to a friend an associate or a contemporary of the composer. Geoffrey Bush’s Tributes is a suite of five respectful pieces for B Flat Clarinet and Piano accompaniment. These varied pieces encompassing Jazz Blues and Rhumba styles were completed in 1986 and have each been dedicated to a friend an associate or a contemporary of the composer.

Encore! is both the perfect encore to round off any Clarinet recital or can be played as a stand alone show-piece. Also particularly suitable for festivals and competitions. The writing is very melodic and flamboyant and the work is a sure audience pleaser. Commissioned by Nigel Hinson. Difficulty: Grade 8

Volume 2-A superb collection that brings together the finest British Piano music of the twentieth-century and features some of the greatest British composers of all time. These are all beautiful pieces that require little or no virtuosity but which demonstrate the rich treasure trove of this pastoral repertory. With comprehensive background notes to each of the ten pieces here this is a fine book of fantastic and enjoyable pieces which any intermediate pianist will enjoy.

Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet free-form in structure. The companion recording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended cadenza. However from my earlier trumpet playing days I recalled that especially in the 19th century a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. Thesesolos are not about that. Rather they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a chant. However most chants are monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar they may be played successfully on a 6 string guitar. Alternate notes for those found on the 7th string are shown in the tablature part. Also the solo Peace is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunity for individual expression and interpretation. I hope you enjoy playing and performing these works. Timeless Solos is a play on words. The solos in this volume contain no time signatures or bar lines. I did this because I wanted the solos to be very expressive in interpretation yet 'free-form' in structure. The companionrecording presents my interpretation of these works. You may interpret them differently and that is fine! All solos are in notation and tablature. When writing these solos I first envisioned the form as an extended 'cadenza'.However from my earlier trumpet playing days I recalled that especially in the 19th century a cadenza was a momentary break in a solo which gave the performer a chance to dazzle the audience with his or her virtuosity. Thesesolos are not about that. Rather they are a vehicle to give the guitarist an opportunity to move the listener with the performer's expressive ability. I also thought of these solos in the form of a 'chant'. However most chantsare monophonic in form and these solos in various parts present a fairly lush harmonic structure. While the solos were written for a 7 string guitar they may be played successfully on a 6 string guitar. Alternate notes for thosefound on the 7th string are shown in the tablature part. Also the solo Peace is written in Dropped D tuning and makes little use of the 7th string pedal tones. The solos are contemplative in nature and provide ample opportunityfor individual expression and interpretation. I hope you enjoy playing and performing these works.

A collection of Seven original character songs with Music by the ever popular Betty Roe and lyrics by John Turner. These pieces are for Piano and Vocal and are all entertaining evocative but most importantly enjoyable to perform. A collection of Seven original character songs with Music by the ever popular Betty Roe and lyrics by John Turner. These pieces are for Piano and Vocal and are all entertaining evocative but most importantly enjoyable to perform.

Violoncello and Piano- Johannes Brahms ' Sonata Op. 38 in E minor for Cello with Piano accompaniment.

An exciting addition to the two piano repertoire Ragtime was written in the early war years and reflects both Sir Malcolm's love of jazz and his enormous respect for his friend and teacher Constant Lambert. A real audience winner. Score only: 2 copies will be required to perform this successfully.

Hortus Musicae - Book 2 by Robert Saxton for solo Piano. Composed and published in 2016. Duration: 35 minutes. 1: The Flowers appear on the Earth 2: Light on the Water Garden 3: The Garden of Changing Perspective 4: Beech Bank (a la recherché)… 5: Light in the hedge garden 6: The Garden at twilight 7: Hortus Animae Alis Fugacis [The Garden of the Swift-Winged Spirit] Hortus Musicae Book 2 was premiered by Clare Hammond at the 2016 Presteigne festival with funds provided by the RVW Trust. Hortus Musicae - Book 2 by Robert Saxton for solo Piano. Composed and published in 2016. Duration: 35 minutes. 1: The Flowers appear on the Earth 2: Light on the Water Garden 3: The Garden of Changing Perspective 4: Beech Bank (a la recherché)… 5: Light in the hedge garden 6: The Garden at twilight 7: Hortus Animae Alis Fugacis [The Garden of the Swift-Winged Spirit] Hortus Musicae Book 2 was premiered by Clare Hammond at the 2016 Presteigne festival with funds provided by the RVW Trust.

From the majestic chords of How Firm a Foundation to the flowing strains of Be Thou My Vision to the haunting spiritual I Want Jesus to Walk with Me these arrangements are offerings of praise from player to congregations or an audience of One. From the majestic chords of How Firm a Foundation to the flowing strains of Be Thou My Vision to the haunting spiritual I Want Jesus to Walk with Me these arrangements are offerings of praise from player to congregations or an audience of One.

Claude Debussy 's Preludes book 1.

Hope's Place by Anthony Gilbert. 18'18; for septet of 4 Wind and String trio. Chamber concertino for Flute doubling Alto Flute; Oboe doubling Oboe d'amore; Clarinet in Bb doubling either Bass Clarinet in Bb & Clarinet in A or Basset Clarinet in A with extension to low written C Bassoon Violin Viola Cello. Commissioned for Clark Rundell and Ensemble 10/10. First performance by Ensemble 10/10 dir. Clark Rundell at The Cornerstone Liverpool Hope University on 16th October 2013. Hope's Place by Anthony Gilbert. 18'18'; for septet of 4 Wind and String trio. Chamber concertino for Flute doubling Alto Flute; Oboe doubling Oboe d'amore; Clarinet in Bb doubling either Bass Clarinet in Bb & Clarinet in A or Basset Clarinet in A with extension to low written C; Bassoon; Violin; Viola; Cello. Commissioned for Clark Rundell and Ensemble 10/10. First performance by Ensemble 10/10 dir. Clark Rundell at The Cornerstone Liverpool Hope University on 16th October 2013.

Austrian Song by Anton Wildgans-Male Choir Orchestra (Choral Score). Strauss R

Motette (Psalm 126)-7-part choir. Redel M 7-part choir. Redel M

Motette (Psalm 84)-SATB (Choral Score). Redel Mc

Written for organ. Written for organ.

for SATB and small orchestra Set of parts for John Rutter's anthem of haunting simplicity and rich orchestral colours.This set includes the following string parts: 4 x vln I 4 x vln II 3 x vla 2 x vc 1 x db. Set of parts for John Rutter 's anthem of haunting simplicity and rich orchestral colours. This set includes the following string parts: 4 x vln I 4 x vln II 3 x vla 2 x vc 1 x db.

Michael Hurd. Here is the answer for schools looking for a full length flexible show. Jazz Testament provides an ‘Introduction’ ‘Interlude’ and ‘Epilogue’ to the complete cycle of the Bible-based ‘pop’ cantatas; Adam-In-Eden Jonah-Man Jazz Swingin’ Samson and A New Nowell. Thus they tell a coherent exciting and significant story of the ways of God and Man. Hurd’s ‘pop’ setting of William Cowper’s hymn ‘God Moves In A Mysterious Way’ can be used to introduce and link the cantatas of your choice. 2 mins.

Infant Joy / Infant Sorrow is a work by Julian Marshall for Tenor Solo and Unaccompanied SATB Choir. A setting of two William Blake poems from 'Songs of Innocence' and 'Songs of Experience' a full performance lasts around 4 and a half minutes. Infant Joy / Infant Sorrow is a work by Julian Marshall for Tenor Solo and Unaccompanied SATB Choir. A setting of two William Blake poems from 'Songs of Innocence' and 'Songs of Experience' a full performance lasts around 4 and a half minutes. A review in the July/August issue of Choir and Organ magazine stated that Infant Joy / Infant Sorrow 'will please audiences with its 'crisp yet relaxed syncopation'.'