Album De Piano Pour Jeunesse.

20 Progressive pieces for Alto Saxophone with Piano Accompaniment-Philip Sparke’s Starter Solos is the first volume of a progressive series of books that takes the young wind player from beginner to accomplished musician. Specifically tailored for each instrument this collection of 20 solos starts with pieces based on only a handful of notes and carefully introduces new musical elements such as articulation dynamics and key signatures in a structured progression to speed the learning process. The books provide invaluable additional material to complement any teaching method. Starter Solos comes with a play-along CD. The advantages of playing either with piano or CD accompaniment are that the beginning player can nowexperience the important aspects of ensemble playing from their earliest lessons thus developing the essential skills of listening while they play and maintaining strict tempo which is not always a factor when playing alone. Twenty progressive pieces with piano accompaniment for Alto Saxophone.

Antonio Soler’s version of the Magnificat is for two four-part choirs SSAT and SATB accompanied by one or two organs.

Audivi Media Nocte is based on the eponymous motet by Thomas Tallis from the 16th Century - a work that holds great fascination for Oliver Waespi. During the process of composition various chord sequences and rhythmical structures emerged that led the work in the direction of a musical drama with elements of a concerto grosso and solos for different soloists. An innovative virtuoso and gripping work that can also take you far in competitions!

Cantata for Whit Tuesday- Er rufet seinen Schafen mit Namen (He calleth His own sheep each by name) BWV 175 Cantata for Whit Tuesday The text of the present cantata was written by Mariane von Ziegler and was set by Bach for the third day of Whitsun in the year 1725. Bach made considerable alterations to the text when setting it. The pastorale atmosphere is created by three recorders through the inkoduction of which the opening words from the scriptures become a charming accompagnato; it is followed by an alto aria in the same orchestration - a combination that Bach uses nowhere else. - Urtext of the New Bach Edition - Performance material (BA10175) vocal score (BA10175-90) & study score format 22.5 x 16.5cm (TP1175) available for sale

The title of this work Febesa refers to the four notes it is based on: F E Bflat (BES in Dutch) and A. At the beginning of the work the sound of these notes creates a mysterious extraordinary atmosphere. The work slowly builds from the low brass as the thematic torch is handed to the woodwind section and this leads into a grand tutti. In a tonal and refreshing allegro the febesa-theme now has a more harmonic role. After this passage the symmetric form of the work brings us back to the mysterious atmosphere of the introduction with solos for euphonium oboe and flute.

One of the biggest hits of WetWetWet has been arranged in an excellent way by George Moreau. ‘Love is all around’ will certainly please the young audience.

Night on Bald Mountain is one of the best-known works of 19th century Russian programme music in the world. With virtuosic orchestration Mussorgsky depicts a demonic witches’ sabbath on St John’s Night on the Triglav mountain. Zsigmond Szathmáry (b. 1939) the internationally-known concert organist has reworked the music of this symphonic poem to create a new work which puts the sound possibilities of the concert organ fully to the test. In the process a virtuosic work has been created a technical and musical challenge for organists and a guaranteed treat for audiences. “Tonally expressive dimensions coupled with unheard-of virtuosity” rejoiced onemusic critic after the performance.

Four Jazzy Clarinet Quartets-Form a fantastic swinging quartet with three colleagues playing the same instrument! Or you may choose to use another Jazz Quartet book to form a combination and play together with other woodwind instruments such as the saxophone flute or clarinet. This will make the music sound really jazzy. Form a fantastic swinging quartet with three clarinet colleagues! Four jazzy Clarinet Quartets by Bert Lochs. Includes a CD with six seperate versions of each piece with demonstration and individual part tracks to enable how each part and the whole combo should go together!

31 choral pieces from the classics arranged for piano solo many of which include part words.

Lively and upbeat in nature The Centurion follows the conventional British march format. It is not technically demanding yet a successful performance will need skill and commitment from every player in the band. The Centurion will make an ideal opening piece for any indoor or outdoor concert and will be a popular item with both players and audiences alike.

from the incidental music to This Way to the Tomb-Text from Psalm 70 (Psalm 69 in the Vulgate). Text from Psalm 70 (Psalm 69 in the Vulgate) from the incidental music to 'This Way to the Tomb'. For mixed choir unaccompanied.

The absolute top slow number of the Eighties sung by Roberta Flack. She is not perhaps so well known among younger people but she has her place in history as one of the absolute divas of the world. Back into time the interlude in your concerts.

Dear Frog describes the story of a prince who changes into a frog and then waits for a princess to kiss him so that he can turn back into a prince again. A musical satire for the trombone and orchestra. What is remarkable about this work is the use of the wah-wah sourdine throughout the entire piece which gives it an extra amusing flavour.

Earth Water Sun Wind is a four movement work with the unifying theme of these four elements. The music varies from being purely descriptive of the movements’ titles to specific sound painting - Earth for example is pure music and non programmatic whereas Sun attempts to paint a specific sound picture. The Symphony as a whole concerns itself with man’s relationship with these monumental aspects of nature.

Funeral March-Beethoven’s four-movement Sonata in A-flat major Op.26 belongs to his most popular works. It is dedicated to Prince Lichnowsky one of his most generous patrons and the dedicatee of for example the Grande Sonate pathétique Op.13 and Symphony No.2 Op.35. The work’s initial drafts date from 1800–01; it was first published in March 1802. This demanding sonata is highly varied in its form: it begins with a set of variations and contains the famous Marcia funebre sulla morte d’un Eroe as its third movement earning it the nickname “Sonata with the Funeral March”. The identity of the title’s eroe (hero) remains unknown to the present day. The march was performed atBeethoven’s funeral on 29 March 1827 in an arrangement for orchestra. For this Bärenreiter edition Jonathan Del Mar possibly as one of the first editors of a modern edition consulted the composer’s autograph in the original. This enabled him to decipher details of Beethoven’s handwriting in particular with regard to the exact notation of doubtful slurs. The result is a most reliable and thoroughly-researched musical text. Differing readings and editorial decisions are documented in the Critical Commentary. The edition has been finely engraved and includes practical page turns. Information on central issues of historical performance practice (pedalling ornaments tempo dynamics articulation) is provided in a detailed chapter. Scholarly-critical Urtext edition based on most recent Beethoven research Evaluation of Beethoven’s autograph in the original Elegant engraving with practical page turns Informative Introduction (Eng / Ger) Discussion of central performance practice issues (Eng / Ger) Detailed Critical Commentary (Eng)

These eight little solos are intended to supply easy descriptive pieces for the beginner horn player which are not only beneficial for technical development but will also be useful performance material. The tunes are characteristically horn-like in nature.

Tschaikowskis famous March from the Nutcracker Siute arranged for classic bands.

J.M. Capel 's Love Could I Only Tell Thee arranged for TTBB choir by Doris Arnold .

Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza 's compositions were well-received by audiences Aria for Violin or Flute and Piano being no exception. This Bozza piece adaptable for either Violin or Flute is lyrical and graceful displaying the beautiful lower register of both instruments accompanied by rich pulsating chords in the Piano. As music educationalist Paul Griffiths has written of Bozza 's compositions his works reveal melodic fluency elegance ofstructure and a consistenly sensitive concern of instrumental capabilities. Having won many prizes at the Paris Conservatoire during the 1920s-1930s Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline Bozza 's compositions were well-received by audiences Aria for Violin or Flute and Piano being no exception. This Bozza piece adaptable for either Violin or Flute is lyrical and graceful displaying the beautiful lower register of both instruments accompanied by rich pulsating chords in the Piano. As music educationalist Paul Griffiths has writtenof Bozza 's compositions 'his works reveal melodic fluency elegance of structure and a consistenly sensitive concern of instrumental capabilities.'