Anthems for SA & Men is the perfect collection for church choirs looking for high-quality accessible material in three parts. Ideal for performance during Holy Communion and suitable for use across the Church year the nine pieces by favourite Oxford composers have been re-scored specially for this collection with a particular focus on producing practical singable parts for unison men's voices. The approachable accompaniments for organ or piano support the vocal lines throughout.

Concertino Op.78; Solo de Concert No.3 Op.83; Solo de Concert No.5 Op.91

Commissioned by Jo Boosey in memory of her husband Simon. First performed by Marcus Farnsworth (Baritone) and the Alberni String Quartet on 17th March 2012 at St Mary's Church Pembridge Herefordshire.

Open Tunings For Blues Guitar is a groundbreaking Guitar concept for studying the scale and chord shapes relevant to the most popular open tunings. By utilising a combination of modal scales and perfect chords this book effectively maps out the lead and rhythm Guitar essentials for all blues styles. Open Tunings for Blues Guitar successfully removes the confusion surrounding alternate tunings and allows the student to learn in a more straightforward and immediate way. Open Tunings For Blues Guitar covers the 20 most common open tunings including open D open G open C and DADGAD. Open Tunings For Blues Guitar is a groundbreaking Guitar concept for studying the scale and chord shapes relevant to the most popular open tunings. By utilising a combination of modal scales and perfectchords this book effectively maps out the lead and rhythm Guitar essentials for all blues styles. Open Tunings for Blues Guitar successfully removes the confusion surrounding alternate tunings and allows thestudent to learn in a more straightforward and immediate way. Open Tunings For Blues Guitar covers the 20 most common open tunings including open D open G open C and DADGAD.

for SATB and organ A version for unison voices is also available. For SATB and Organ.

A Letter Of Rights is a work by Tarik O'Regan a Cantata for SATB Chorus Strings and Percussion. Commissioned by Salisbury Cathedral to mark the 800th anniversary of the Magna Carta it received its first performance on 13th June 2015 at Salisbury Cathedral. This is the Vocal Score . With words by Alice Goodman the Cantata explores the clauses of the Magna Carta which deal with legal process and the palindromic structure weaves its way through a story which begins with the parchment itself. A full performance of this work lasts around 35 minutes.

An attractive work in neo-baroque style. Duration: approx. 2 mins. Grade: 5

There exists already and abundant supply of original compositions and arrangements suitable for performance on large and comprehensive organs but many organists who have only a small instrument at their disposal in country churches often have some difficulty in finding short and easy voluntaries suitable for their own use and the instruction of their pupils. It is hoped that The Village Organist may supply this want so much felt by that valuable and zealous class of church-workers to whom the work is inscribed. The editors have endeavoured to bring together a collection of pieces which they trust will prove to be at once simple without being uninteresting and effective where the instrumental resources are limited.

A 17th century French carol arranged by Rogers Covey-Crump for SATB choir and organ. A 17th century French carol arranged by Rogers Covey-Crump for SATB choir and organ.

(Dall'opera Turandot) Per Canto E Pianoforte Tenore

This uplifting Christmas carol demonstrates Rutter's gift for writing engaging and memorable tunes. This set contains the following string parts: 4 x vln I 4 x vln II 3 x vla 2 x vc 1 x db. Both the full score and set of parts are also available on rental.

The Joy Of The Hunter (Huntsmen's Chorus from Der Freischutz ) for ATBB and piano.

Four songs for UNison voices and piano. Betty Roe has used her extraordianry talents in this fabulous setting of Leonard Clark's poems. A splendid marriage of interesting dynamic text with wonderful melodies. Four songs for UNison voices and piano. Betty Roe has used her extraordianry talents in this fabulous setting of Leonard Clark's poems. A splendid marriage of interesting dynamic text with wonderful melodies.

Next is a work by Nico Muhly which sets words by Andrew Solomon for High Voice and Piano. A performance of this lasts around 5 minutes. Next is a work by Nico Muhly which sets words by Andrew Solomon for High Voice and Piano. A performance of this lasts around 5 minutes.

Melodies By Women Composers-The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the flute and they provide excellent material for developing skills in rapid tonguing extended breath-control and phrasing. Three of the world's most famous melodies are here: Mildred Hill's Happy Birthday (originally Good Morning to You) Euphemia Allens' Chopsticks (originally The Celebrated Chop Waltz) and Effie Corckett's Rock-a-Bye Baby. Less well known delights include Faustina Hodges' Because I'm Twenty-Five and Florence Percy's Fly Away as well as Amanda Aldridge's Dance of the Warriors and the list goes on and on. A separate recorderedition is available. The solos in this book are all based on melodies composed by women. They are especially well suited to performance on the flute and they provide excellent material for developing skills in rapid tonguing extended breath-control and phrasing. Three of the world’s most famous melodies are here: Mildred Hill’s 'Happy Birthday' (originally 'Good Morning to You') Euphemia Allens’ 'Chopsticks' (originally 'The Celebrated Chop Waltz') and Effie Corckett’s 'Rock-a-Bye Baby.' Less well known delights include Faustina Hodges’ 'Because I’m Twenty-Five' and Florence Percy’s 'Fly Away ' as well as Amanda Aldridge’s 'Dance of the Warriors' and the list goes on and on. A separate recorderedition is available.

The much loved song arranged for Viola and Piano by Alan Arnold. The much loved song arranged for Viola and Piano by Alan Arnold.

Danza Espanola No. 6 'Rondalla Aragonesa' composed by Granados transcribed for the guitar by Jose de Azpiazu.

It is well known that Chopin almost exclusively wrote works for solo piano. Only for the cello did he make some exceptions: two works – a Polonaise brillante and the Duo Concertant (HN 788) were written for cello and piano and he also let the cello express itself in his Piano Trio op. 8 (HN 1068). Finally towards the end of his life he honored the low-stringed instrument with a grand four-movement Sonata in g minor. Proof that it was anything but child’s play is provided by the extensive sketch material. Chopin himself claimed: “With my cello sonata I am now satisfied and now dissatisfied. I toss it into the corner then pick it up again.” Today we only have an inklingabout this struggle. The sonata with its famous melodic Largo movement is now firmly embedded in the canon of cello literature. An Urtext Edition of Frederic Chopin's Cello Sonata In G Minor Op.65 as edited by Ewald Zimmermann. Piano fingering by Klaus Schilde and Cello fingering and bowing by Claus Kanngiesser.

Franz Joseph Haydn 's Piano Trios 2nd Volume for Violin Cello and Piano. Urtext edition score and parts.

This book was created to help drummers improve their abilities to play great drum fills. The material presented was originally developed over the course of several years as a result of the needs and requests of many of my students. As drummers practice playing fills it becomes apparent that there are a variety of issues that need to be addressed. To play fluent and creative fills a drummer needs a strong foundation of basic fill concepts the technique to execute the fill and musical ideas for the content of the fill. Without these key elements playing fills can be a source of difficulty and frustration. To further illustrate this idea in some cases a drummer maypractice a particular lick or sticking pattern to a high degree of physical execution but does not have a clear understanding of how to apply it well within a musical phrase. The opposite is also sometimes true a drummer may understand a simple rhythmic idea and play it very well as a fill but doesn't quite know how to employ more interesting techniques or sounds into the phrase and get something else out of it. The goal of this book is to help drummers achieve a balance in these necessary skills. This book presents a diverse collection of studies and exercises that clarify the basics of drum fills develop more advanced and specific techniques to use in fills and present many ideas for musical phrases using the techniques. The studies are presented in an order that follows a natural progression of ability however the exercises do not need to be played in the order they are presented. Students and teachers can select exercises to design a curriculum that fits a student's needs as their skills develop. With each set of exercises you will find descriptions tips and practice instructions. Sometimes they are written for each individual study and when appropriate they are written for the entire chapter. Be sure to read the text that accompanies each part of this book to get the most out of the exercise. This book was created to help drummers improve their abilities to play great drum fills. The material presented was originally developed over the course of several years as a result of the needs and requests of many of mystudents. As drummers practice playing fills it becomes apparent that there are a variety of issues that need to be addressed. To play fluent and creative fills a drummer needs a strong foundation of basic fill concepts thetechnique to execute the fill and musical ideas for the content of the fill. Without these key elements playing fills can be a source of difficulty and frustration. To further illustrate this idea… In some cases a drummer maypractice a particular lick or sticking pattern to a high degree of physical execution but does not have a clear understanding of how to apply it well within a musical phrase. The opposite is also sometimes true a drummer mayunderstand a simple rhythmic idea and play it very well as a fill but doesn't qui