Brief tuneful melodies arranged for intermediate flutists and guitarists from early American (1817) popular music. Written in standard notation these delightful arrangements feature collections of popular melodies from that era as well as airs and dances. In keeping with performance practice of the traditional music played during this time these arrangements are organized into sets of pieces as they may have been performed during this era. The sets include jigs slow airs and marches as well as melodies that were popular from the continent.These arrangements are appropriate both for background music as well as public concert performance. The arrangements are derived from abook of flute melodies entitled 'Riley's Flute Melodies.' Published in 1816 and 1817 this book was possibly used as jazz musicians use lead sheets to develop spontaneous arrangements of pieces depending upon the occasion and the musicians at hand. The guitar arrangements were modeled upon existing guitar practice during that time and use idiomatic guitar devices such as pizzicato and harmonics to provide an imaginative underpinning for the melodies. Many of the arrangements give equal treatment to both the guitar as a harmonic and melodic instrument. Brief tuneful melodies arranged for intermediate flutists and guitarists from early American (1817) popular music. Written in standard notation these delightful arrangements feature collections of popular melodies from that eraas well as airs and dances. In keeping with performance practice of the traditional music played during this time these arrangements are organized into sets of pieces as they may have been performed during this era. The setsinclude jigs slow airs and marches as well as melodies that were popular from the continent. These arrangements are appropriate both for background music as well as public concert performance. The arrangements are derived froma book of flute melodies entitled “Riley’s Flute Melodies.” Published in 1816 and 1817 this book was possibly used as jazz musicians use lead sheets to develop spontaneous arrangements of pieces depending upon the occasion andthe musicians at hand. The guitar arrangements were modeled upon existing guitar practice during that time and use idiomatic guitar devices such as pizzicato and harmonics to provide an imaginative underpinning for the melodies.Many of the arrangements give equal treatment to both the guitar as a harmonic and melodic instrument.

Jules Massenet was born in Montaud France May 12 1842. He was one of the best-respected French composers of his day and a member of the Academy and a professor of composition at the Paris Conservatoire. Massenet was very influential on other French composers in France. His students were also successful due to Massenet's tutelage. Though he was principally an opera composer he also wrote ballets orchestral works and several oratorios. Massenet died in Paris on August 13 1912. This is the Meditation from Massenet's famous opera Thais and has been transcribed for solo Viola with Piano accompaniment by Alan Arnold.

The Opus 210 by Louis Kohler is a delightful collection of 32 pieces ranging from very easy to medium-difficult. Kohler like many of his contemporaries Robert Schumann Peter Tchaikowsky and later Claude Debussy wrote collections of character pieces for beginning students to play.The pieces in this collection are lighthearted in spirit with simple harmonic progressions and straight- forward rhythms. They can be categorized as character pieces (short pieces with programmatic titles) which are typical of the Romantic period. Not only do the pieces provide opportunities to stimulate creativity and imagination within each individual player they also provide excellentopportunities to build technique musicality and rhythmic skills from the very beginning. Kohler proves that one can build technical skills and musicianship skills while at the same time enjoying the music. The pieces are not overly difficult or lengthy which adds to their charm. The Opus 210 by Louis Kohler is a delightful collection of 32 pieces ranging from very easy to medium-difficult. Kohler like many of his contemporaries Robert Schumann Peter Tchaikowsky and later Claude Debussy wrotecollections of character pieces for beginning students to play. The pieces in this collection are lighthearted in spirit with simple harmonic progressions and straight- forward rhythms. They can be categorized as characterpieces (short pieces with programmatic titles) which are typical of the Romantic period. Not only do the pieces provide opportunities to stimulate creativity and imagination within each individual player they also provideexcellent oportunities to build technique musicality and rhythmic skills from the very beginning. Kohler proves that one can build technical skills and musicianship skills while at the same time enjoying the music. Thepieces are not overly difficult or lengthy which adds to their charm.

An American Folk Song-A traditional American Folk Song arranged for SSA choir and piano by Cristi Cary Miller.

Musik zu Goethe-Soprano Clarinet (also Bass Clarinet) Cello (Playing-Score) . Schluenz A

Set of parts for the brass accompaniment to John Rutter's I will worship the Lord.

Betty Roe's Conversation Piece scored for Horn and Piano accompaniment.

This Dedicatoria from 'Cuentos De La Juventud' was written by Enrique Granados - the Catalan composer and pianist (1867 - 1916).

Thirteen arrangements for unaccompanied SATB of folk-songs from the British Isles Thirteen masterly arrangements of folk-songs from the British Isles. Some of the songs are new others are classics of their kind but they will all delight today's choirs throughout the world.

The quintessential 70s soft rock song Feelings' first became a big hit for its Brazilian co-writer Morris Albert and French composer Louis Gasté in 1974. It was later recorded by many artists from Ella Fitzgerald to Engelbert Humperdinck and acquired a variety of lyrics in different languages over the years. Here the very definition of an international hit song has been arranged for SATB choir with piano accompaniment.

James Weeks ' Stacking Weaving Building Joining for any number of pitched instruments (at least six). Performing score. Stacking Weaving Building Joining was first performed by The Hola with CoMA Sussex Brighton March 2007. James Weeks ' Stacking Weaving Building Joining for any number of pitched instruments (at least six). Performing score. Stacking Weaving Building Joining was first performed by The Hola with CoMA Sussex Brighton March 2007.

You need only minimal playing skills and three chords: G C and D7 to accompany the beautiful songs of faith in this innovative book. If you are a beginning or casual player on a chording instrument this is the book for you. The book is bursting with a great variety of timeless standards your entire family will enjoy. An outstanding collection of innovative arrangements made playable for folks who play for their own enjoyment. Melody and lyrics are included with all songs.Guitar ukulele and five-string banjo diagrams are included for the three chords along with tips on strumming. Transposing and use of capo tips are included for singers.You need only minimal playing skills and three chords; G C and D7 to accompany the beautiful songs of faith in this innovative book. If you are a beginning or 'casual' player on a chording instrument this is the book for you.The book is bursting with a great variety of timeless standards your entire family will enjoy. An outstanding collection of innovation arrangements made playable for folks who play for their own enjoyment. Melody and lyrics areincluded with all songs. Guitar ukulele and five-string banjo diagrams are included for the three chords along with tips on strumming. Transposing and use of capo tips are included for singers.

For SATB unaccompanied Locus Iste has become a popular text for church dedication services. This simple and beautiful linear setting by O'Regan provides a stylish alternative to other over-familiar settings. For SATB unaccompanied Locus Iste has become a popular text for church dedication services. This simple and beautiful linear setting by O'Regan provides a stylish alternative to other over-familiar settings.

Another witty and engaging work from the pen of the inimitable James Rae. Two delightful movements evoking the era of the cinema organ for three clarinets and bass clarinet.

Arranged for SATTB and piano accompaniment. Includes Awake Sweet Love composed by John Dowland for SATB.

for SATB and piano or brass and percussion This gentle and enchanting carol set to a poem by Elizabeth Jennings began life as the fourth movement of Chilcott's Christmas cantata 'And Peace on Earth'. Chilcott's sublime melodic writing and subtle harmonic shifts capture perfectly both the naivety and wisdom reflected in Jennings' text. This is classic Chilcott: a beautiful and approachable carol. Instrumental parts for both the full cantata and this movement are available on hire.This gentle and enchanting carol for SATB and Piano set to a poem by Elizabeth Jennings began life as the forth movement of Chilcott's Christmas cantata And Peace On Earth . Chilcott's sublime melodic writing and subtle harmonic shifts capture perfectly both the naivety and wisdom reflected in Jennings' text to create a wistful beautiful carol.

Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement which features the original solo line as part of a string sextet. Perfect as a rehearsal tool in preparation a larger-scale orchestral concert the arrangement is also ideal for performance in a chamber recital.

Sadie Harrison 's Hantu for Double Bass and Piano. Composed 2013 and published 2016. Duration: 8 minutes. Hantu was written especially for Nick Lum as part of the first prize awarded for his performance in the Wells Double Bass Recital Competition in 2013. The title means ghost' in Malaysian (Lum is from Kuala Lumpar) with the piece taking its inspiration from the country's annual Festival of the Hungry Ghosts. The Piano is transformed into a westernised gamelan orchestra with gongs' kendang drums' and bamboo flutes'. The music is highly repetitive with rhythm and pitch cycles used toimitate the structure of much gamelan music. The piece is divided into three main sections. The first and last are dark and menacing marked a slow procession of spirits'. The central section entitled The ghost's dance' is a quirky virtuosic interplay between pizz and arco building to a wild crescendo before a return to the procession which gradually disappears into the night. The Double Bass is often used in its highest lyrical register singing out fragments from a Malaysian melody entitled Anak Indung. This tune is heard over the top of the procession music an attempt to dispel the evil spirits through the beauty of song. The piece was kindly commissioned by The Friends of Music at Wells Cathedral School and given its first performance by Nick Lum and Gemma Beeson at Wells Cathedral School on 23 June 2013. Sadie Harrison 's Hantu for Double Bass and Piano. Composed 2013 and published 2016. Duration: 8 minutes. Hantu was written especially for Nick Lum as part of the first prize awarded for his performance in the Wells Double Bass Recital Competition in 2013. The title means ghost' in Malaysian (Lum is from Kuala Lumpar) with the piece taking its inspiration from the country's annual Festival of the Hungry Ghosts. The Piano is transformed into a westernised gamelan orchestra with gongs' kendang drums' and bamboo flutes'. The music ishighly repetitive with rhythm and pitch cycles used to imitate the structure of much gamelan music. The piece is divided into three main sections. The first and last are dark and menacing marked a slow procession of spirits'. The central section entitled The ghost's dance' is a quirky virtuosic interplay between pizz and arco building to a wild crescendo before a return to the procession which gradually disappears into the night. The Double Bass is often used in its highest lyrical register singing out fragments from a Malaysian melody entitled Anak Indung. This tune is heard over the top of the procession music an a

In the relatively sparse Spanish repertoire for Piano and Violin El Poema De Una Sanluqueña is considered by many a key work of 20th century Spanish chamber music. Turina was a frequent visitor to the seaside town of Sanlúcar in his youth and his love for the town shines through in these four movements. The work Is dedicated to the ‘muchachas’ the girls of Sanlúcar who it is said ‘don’t get married’ because the boys of Sanlúcar marry outsiders. Turina wrote the work for ‘those beautiful Andalusian girls living in a sad and never-ending dream.’ Unlike earlier works of Turina this one was not descriptive but rather suggestive of an emotional state. The piece requires thegreatest technical expertise of both Violinist and pianist as well as sensitivity and humour. Joaquin Turina is often contrasted with Albéniz and Granados those two proponents of a Spanish national style. Turina strove to write music of a European standard in the conventional major forms. In his work it is possible to hear the influence of Turina’s years studying in Paris as well as his native Spain combined with the composer’s own unique Voice. In the relatively sparse Spanish repertoire for Piano and Violin El Poema De Una Sanluqueña is considered by many a key work of 20th century Spanish chamber music. Turina was a frequent visitor to the seaside town of Sanlúcar in his youth and his love for the town shines through in these four movements. The work Is dedicated to the ‘muchachas’ the girls of Sanlúcar who it is said ‘don’t get married’ because the boys of Sanlúcar marry outsiders. Turina wrote the work for ‘those beautiful Andalusian girls living in a sad and never-ending dream.’ Unlike earlier works of Turina this one was not descriptive but rather suggestive of an emotional state. The piece requires thegreatest technical expertise of both Violinist and pianist as well as sensitivity and humour. Joaquin Turina is often contrasted with Albéniz and Granados those two proponents of a Spanish national style. Turina strove to write music of a European standard in the conventional major forms. In his work it is possible to hear the influence of Turina’s years studying in Paris as well as his native Spain combined with the composer’s own unique Voice.

Friedrich Burgmuller 's 25 Etudes Op.100 .