Easy to intermediate pieces for alto saxophone.

Play guitar and sing along with the specially recorded CD backing tracks of eight great songs. The matching music book features both standard and guitar tab notation of each song plus chord symbols and complete lyrics for vocalists.

Edited by Watson Forbes for Violin and Piano.

Elgar's pastorale Serenade Op.73 No.2 is written for mixed chorus with a Piano accompaniment supplied for rehearsal purposes only.

Arias by Mozart Paisiello Pergolesi Ponchielli Rossini and Sarti

16 middle-grade solos for classical guitar- These 16 solos for classical Guitar have been inspired by the rich and vivid rhythmic influences of Spanish Latin music. They are compact and melodic in structure and are composed in a variety of time signatures and Guitar tunings all adding to the diversity and descriptive nature of the collection. Whether a Sarabande or a Bossa Nova each solo is edited with convenient and helpful left and right hand fingerings. Momentos Españoles will be a varied and expressive addition to the Guitarist's repertoire. Written for the intermediate level Guitarist in accessible keys with left and right-hand fingering suggestionsincluded. Ideal for performances to be enjoyed by the player and audience alike.

Some Pairs is a delightful set of pieces for Descant recorder and Piano by Geoffrey Winters.

Edited by Walter Emery and Robert Donington.

Eric H. Thiman 'S Hopscotch & An Old English Melody For Piano. Eric H. Thiman 's Hopscotch & An Old English Melody for Piano.

Berceuse Pour Orchestre Op.28 was composed by the Norwegian pianist and composer Signe Lund (1868-1950). Berceuse Pour Orchestre Op.28 was composed by the Norwegian pianist and composer Signe Lund (1868-1950).

A work for Soprano Woodwind 2 Horns and Strings. Duration: circa 15 minutes Programme Note: 'This work was commissioned as a possible companion piece to Mozart’s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460?–1513?] describe the promise of salvation after life’s dark passage. Each of the three poems echo this thought: “In celum ther is joy with Thee” “A short torment for infinite gladness” and “Since erdly joy abides never Work for the joy thatlastès ever”. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ‘dark’ moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain “Terribilis mors conturbat me” in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song “A free choice given to Paradise or Hell”. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and

Piano. Brandmueller T

The Imperial Royal State Railways was the first rail company in the Austro-Hungarian empire. Imperial Overture tells the tale of a tourist who visits Austria and travels by rail across Austria. During his journey the train passes through the Vienna Woods and the beautiful scenery of Lower and Upper Austria stopping for a short while in Wels before reaching Salzburg Mozart’s home town.

(Full score). Zender H

This composition is taken from the well-known Secular Cantata for Bass Voice Amore Traditore . In playing over this Cantata the writer was impressed by the sparkling vivacity and brilliance of the Cembalo obbligato in theBass Aria. This piece makes an excellent study for strengthening the individual fingers and can be practised in various rhythms. Lass dich nimmer von der liebe berücken.

Step into the spotlight and play along with ten big Abba hits arranged for Alto Saxophone by Paul Honey. Demonstration and playalong tracks are available to stream and download.Includes the songs Dancing Queen Fernando Knowing Me Knowing You Mamma Mia Money Money Money Super Trouper Take A Chance On Me Thank You For The Music Waterloo and The Winner Takes It All.This book is supported by SoundWise. It includes these interactive digital features:eBook: A digital edition of your music to read on any device.Audio: Full demonstration recordings of each song plus accompaniment-only backing tracks to stream and download. Step into the spotlight and play along with ten big Abba hits arranged for Alto Saxophone by Paul Honey. Demonstration and playalong tracks are available to stream and download. Includes the songs Dancing Queen Fernando Knowing Me Knowing You Mamma Mia Money Money Money Super Trouper Take A Chance On Me Thank You For The Music Waterloo and The Winner Takes It All. This book issupported by SoundWise . It includes these interactive digital features: eBook : A digital edition of your music to read on any device. Audio : Full demonstrationrecordings of each song plus accompaniment-only backing tracks to stream and download.

For SATBB Choir. For SATBB Choir.

The edition is part of the Trinity syllabus 2007 (grade 7)

Oculus Non Vidit is a work for Unaccompanied SATB chorus by Daniel Rollison a setting of 1 Corinthians 2:9. Please note that the lyrics are in Latin. Oculus Non Vidit is a work for Unaccompanied SATB chorus by Daniel Rollison a setting of 1 Corinthians 2:9. Please note that the lyrics are in Latin.

For Chamber Ensemble. Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010. In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure: 1. The Clouds 2. Decor 3. Absinthe 4.Suicide 5. The Church 6. Sunset 7. The Harp Each movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds. Instrumentation Flute doubling piccolo Clarinet in Bb doubling Bass Clarinet in Bb Violin doubling Viola Cello Piano