This exclusive collection brings together 12 of Nico Muhly's sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly's Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best. Choral music has always been at the emotional core of my musical output. Even when I'm writing large-scale orchestral works (or indeed chamber music) I always find myself returning to techniquesand textures I've greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners' ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets and represent a decade and a half of output. - Nico Muhly This exclusive collection brings together 12 of Nico Muhly's sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly's Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best. 'Choral music has always been at the emotional core of my musical output. Even when I'm writing large-scale orchestral works (or indeed chamber music) I alwaysfind myself returning to techniques and textures I've greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners' ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and o

Paganini's Variations on the G String have been skilfully transcribed for Viola with Piano accompaniment by Alan Arnold. This arrangement will provide the advancing Violist with an enjoyable challenge. The solo Viola part is also included on a separate insert. Paganini's Variations on the G String have been skilfully transcribed for Viola with Piano accompaniment by Alan Arnold. This arrangement will provide the advancing Violist with an enjoyable challenge. The solo Viola part is also included on a separate insert.

Paperback-for SS and organ or piano This simple beautiful setting of the ancient prayer has a carefully judged range with young voices in mind. A short anthem for SS and Organ or Piano.

Bach for the Banjo is a collection of some of Bach's best-known pieces transcribed for the five-string banjo. Several pieces appear in tablature for banjo with a second part for guitar: Inventions 1 8 13 and 14: March: Minuet in G: Polonaise in G minor: Minuet in G minor: and Musette. Others appear in notation and tablature for solo banjo: Prelude from Partita No. III for Solo Violin: Bouree II from Suite IV for Solo Cello: Menuets I & II from Suite II for Solo Cello: Courante from Suite I for Solo Cello: Gavotte en Rondeau from Partita No. III for Solo Violin: and Prelude from Suite I for Solo Cello. Finally Bauerntanz is offered as a banjo duet in tablature only. Thesetranscriptions are taken from the recordings The Classical Banjo and Bach on the Banjo which take Bach's classic pieces to new heights. Bach for the Banjo is a collection of some of Bach's best-known pieces transcribed for the five-string banjo. Several pieces appear in tablature for banjo with a second part for guitar: Inventions 1 8 13 and 14; March; Minuetin G; Polonaise in G minor; Minuet in G minor; and Musette. Others appear in notation and tablature for solo banjo: Prelude from Partita No.III for Solo Violin; Bouree II from Suite IV for Solo Cello; Menuets I & II from Suite IIfor Solo Cello; Courante from Suite I for Solo Cello; Gavotte en Rondeau from Partita No.III for Solo Violin; and Prelude from Suite I for Solo Cello. Finally Bauerntanz is offered as a banjo duet in tablature only. Thesetranscriptions are taken from the recordings 'The Classical Banjo' and 'Bach on the Banjo' which take Bach's classic pieces to new heights. Bauerntanz Bourée II/Suite IV for Solo Cello Courante/Suite 1 forSolo Cello Gavotte en Rondeau/Partita No. III for Solo Violin Invention #1 Invention #13 Invention #14 Invention #8 March Menuets I & II/Suite II for Solo Cello Minuet in G Minuet in G Minor Musette Polonaise in G Minor Prelude/Partita No. III for Solo Violin Prelude/Suite 1 for Solo Cello

in E-minor-Orchestration: 3 fl (III+picc) 2 ob ca 2 cl bcl 2 bn cbn 2 asx tsx 4 hn flugel 2 tpt 3 tbn tba timp perc (BD cym tri TD tbells gong xylo glock) 2 hp cel str This scholarly edition replaces the original 1958 edition and includes detailed preliminary matter comprising a preface sources and editorial ... This scholarly edition replaces the original 1958 edition and includes detailed preliminary matter comprising a preface sources and editorial method and detailed textual notes.

Mandolinists who wish to expand their improvisational vocabulary and spice up their rhythm accompaniment are invited to try some Jazz Mandolin Appetizers. This book and accompanying audio prepared by chef Don Stiernberg include a batch of etudes that address the challenges every improvising mandolinist faces. These include common issues such as selecting notes that sound good with chord progressions and finding them on the fretboard. In the first section new melodies are presented for chord progressions that are often played at swing and jazz jam sessions. These tunes will benefit players of any style. Concepts are discussed at the beginning of each tune such as harmonicanalysis and the effects of certain intervals (useful groups of tones). The tablature suggests fingerings for the melodies. The chordal section shows how chords and progressions can be made more interesting by adding color tension and movement. Chord substitution is also demonstrated. Working through this section will prepare the player with commonly played progressions and will expand their chord voicing vocabulary up and down the neck. Lastly a study of chord-melody style playing is presented. Playing the melody and harmony at the same time yields full sounding solo arrangements. Don Stiernberg is a leading proponent of the jazz mandolin style. He has eight available recordings performs coast to coast and abroad writes a column for Mandolin Magazine and teaches at several mandolin events. Audio download available online. Mandolinists who wish to expand their improvisational vocabulary and spice up their rhythm accompaniment are invited to try some Jazz Mandolin Appetizers. This book and accompanying audio prepared by chef Don Stiernberg include a batch of etudes that address the challenges every improvising mandolinist faces. These include common issues such as selecting notes that sound good with chord progressions and finding them on the fretboard. In the firstsection new melodies are presented for chord progressions that are often played at swing and jazz jam sessions. These tunes will benefit players of any style. Concepts are discussed at the beginning of each tune such as harmonicanalysis and the effects of certain intervals (useful groups of tones). The tablature suggests fingerings for the melodies. The chordal section shows how chords and progressions can be made more interesting by adding color tension and movement. Chord substitution is also demonstrated. Working through this section will prepare the player with commonly played progressions and will expand their chord voicing vocabulary up and down the neck. Lastly astudy of chord-melody style playing is presented. Playing the melody and harmony at the sametime yields full sounding solo arrangements. Don Stiernberg is a leading proponent of the jazz Mandolin style. He has eightavailable recordings performs coast to coast and abroad writes a column for Mandolin Magazine and teaches

A comprehensive 96-page large print perfect-bound book of bass chords. Hundreds of chord forms are shown ranging from basic major minor and dominant 7th forms and venturing into extensions such as minor 7b5 7b9 minor 9th and more. A comprehensive 96-page large print perfect-bound book of bass chords. Hundreds of chord forms are shown ranging from basic major minor and dominant 7th forms and venturing into extensions such as minor 7b5 7b9 minor 9th andmore.

Telemann's Concerto No. 2 In G arranged for Four Violas. Telemann's Concerto No. 2 In G arranged for Four Violas.

Franz Schubert’s Piano Sonata op. 143 in a minor was composed in 1823 after his large “Wanderer Fantasy”. With its formal cohesion and mature originality this a-minor Sonata initiated a new phase in Schubert’s sonata oeuvre. The composer dispensed here with all pianistic brilliance. At the same time a wealth of colour and of sonorities triumphs in such a manner that the work numbers among Schubert’s most frequently played sonatas. For this Urtext edition we had at our disposal the composer’s autograph as the authoritative source the posthumous first edition was consulted only by way of comparison.

Score and Parts-Great Performer's Edition. For viola and orchestra (piano reduction). Great Performer's Edition of Stamitz's Concerto In D for Viola with Piano reduction by William Primrose.

Paperback- A collection of manuals-only organ music covering the church's year from Advent to Epiphany containing arrangements of core repertoire from the 18th- to 20th-century plus new pieces. This technically accessible music (approx. grades 4-5) is perfect for less confident organists.

A set of five folksongs for high voice with Horn and Piano accompaniment. The songs were written in 1976 and first performed at the ISM Centre Derby in July 1979.

This lively piece sets the first six verses of Psalm 105 in a song of praise packed with energy and fervour. A dazzling and spirited organ part is present throughout featuring spritely triplet figurations set against long melodic lines in the voices. Suitable for both church and concert use this piece will inject joyful vigour into any programme.

Bednall's beautiful setting of this much-loved prayer is warm simple and immediate. The vocal line is expertly lyrical and the accompaniment suitably supporting with a serene line for solo violin that soars above the texture.

A series of the finest songs for close harmony TTBB singing taken from the bestselling Novello Barbershop Songbook . Renowned vocal arranged Nicholas Hare has added helpful performance notes to each of the songs which are given delightful fresh and modern-sounding treatments. Arranged specifically for male-voice groups (from as few as four voices in some numbers to a full choir) the songs are notated on two staves for easy piano rehearsal.

This is the full score for Rainforest 1 a work for Chamber Ensemble by composer John McCabe . The work was commissioned by the Chamber Music Society of Lincoln Center New York and is scored for a String Quartet a Piano Trio and an Ensemble of Flute Clarinet and Glockenspiel. This is the full score for Rainforest 1 a work for Chamber Ensemble by composer John McCabe . The work was commissioned by the Chamber Music Society of Lincoln Center New York and is scored for a String Quartet a Piano Trio and an Ensemble of Flute Clarinet and Glockenspiel.

J. S. Bach's two-part keyboard pieces form a significant body of musical literature but only occasionally have they been arranged for strings. This carefully transcribed collection of cello duets and its two companion volumes Duets for Two Violins and Duets for Two Violas bring many additions taken from Bach's suites preludes and inventions to the string player's repertoire. Intermediate and advanced instrumentalists will delight in the musical complexity contrapuntal dialogue and variety of moods in these pieces.Since bowing and fingering preferences vary greatly among string players editorial marks have been kept to a minimum. These arrangements are an attractive valuable addition to string ensemble work. J. S. Bach’s two-part keyboard pieces form a significant body of musical literature but only occasionally have they been arranged for strings. This carefully transcribed collection of cello duets and its two companion volumes –Duets for Two Violins (MB # 21437) and Duets for Two Violas (MB # 21438) – bring many additions taken from Bach’s suites preludes and inventions to the string player’s repertoire. Intermediate and advanced instrumentalistswill delight in the musical complexity contrapuntal dialogue and variety of moods in these pieces. Since bowing and fingering preferences vary greatly among string players editorial marks have been kept to a minimum. These arrangements are an attractive valuable addition to string ensemble work.

Orchestral reduction for organ-Orchestral reduction for Organ. This edition of the Organ score to Handel's Messiah is intended to make life a little easier for the organist who is to accompany this Choral work in place of an orchestra. Prepared by Warren Hutton and Mary-Lou Robinson it is an accurate and stylistically faithful transcription arranged idiomatically for the instrument. Yet it is also very practical - fingering ornamentation pedalling and registration have been carefully planned and clearly indicated and the whole is well-set out (as a large organ score with choral parts printed above) and beautifully printed. For the time it will save in preparing for performance this edition is an excellent investment.

A selection of 5 Jazz classics skilfully arranged for SSA Choir with Piano accompaniment by Berty Rice as part of The Novello Youth Chorals series. Suitable for Secondary School choirs. Includes Fever and Lullaby Of Birdland .

This collection of vibrant traditional and original tunes captures the variety of mandolin styles in America. The styles represented include old time country and bluegrass ragtime swing Irish Italian and neoclassical. Some of the techniques explored are cross-picking droning voice-leading double stops and pull-offs. Of special interest are tunes that make use of the chord solo potential of the mandolin. A discussion of each tune provides lively commentary on the history and players behind the style an outline of the arranging and composing ideas that are employed and tips for practicing and honing technique. Tunes are shown in notation and tablature and a CD isincluded. This is the perfect anthology for intermediate and advanced players who want to build their skills while expanding their range of styles. This collection of vibrant traditional and original tunes captures the variety of mandolin styles in America. The styles represented include old time country and bluegrass ragtime swing Irish Italian and neoclassical. Someof the techniques explored are cross-picking droning voice-leading double stops and pull-offs. Of special interest are tunes that make use of the chord solo potential of the mandolin. A discussion of each tune provides livelycommentary on the history and players behind the style an outline of the arranging and composing ideas that are employed and tips for practicing and honing technique. Tunes are shown in notation and tablature and a CD isincluded. This is the perfect anthology for intermediate and advanced players who want to build their skills while expanding their range of styles.