9 Fantastic Themes Arranged for Piano with Optional Duet Accompaniments-These exciting movie themes have been arranged in traditional five-finger style with the melody split between the hands and without key signatures in the student part. Starting hand positions are illustrated above each piece. Fingerings that are outside the noted five-finger positions and those indicating a shift in hand position are circled for easy identification. Dotted quarter notes triplets and sixteenth notes have been avoided. All of the melodic arrangements have optional duet accompaniments created to achieve a fuller richer musical experience.

This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd Carnarnvonshire North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody requesting that it be played at his funeral. Accordingly it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original.

7 Easy Pieces-Svend Erik Tarp's Snap-Shots Op.45 - A set of seven easy pieces for Piano. Svend Erik Tarp's Snap-Shots Op.45 - A set of seven easy pieces for Piano.

Philip Sparke composed Processional as a wedding present for two of his friends. It is an extremely versatile piece as it can be played simply as a concert piece but has been designed specifically for occasions such as weddings or graduation ceremonies where it?s duration can be altered according to your needs.A must for any ceremonial occasion.

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.

Vocalise-SATTBB.

Book of Common Prayer 1662-This setting was composed for the choir of the Chapels Royal HM Tower of London on the occasion of the Queen’s Golden Jubilee in 2002. MacMillan approaches this well-known text (1662 Book of Common Prayer) in a refreshingly original way. As so often in his choral music he requires basses with very low notes (bottom D). The work also needs an agile soprano soloist at the beginning and a group of soprano soloists later. MacMillan’s predilection for melismatic writing is effectively set against syllabic word setting in the lower parts at the beginning. The work then continues with a mixture of these elements and a marvellous contrapuntal passage leading to a climax at ‘thinehonourable true and only Son’. The organ part is not difficult but requires a keen rhythmic sense and includes passages of MacMillan’s often-used ‘filigree’ figuration. This is a highly effective and approachable work that would be easily performable by a competent choir looking for a fresh approach to a familiar liturgical text. This work was composed in 2001 and first performed at matins on 3rd February 2002 at the Chapel Royal of St Peter ad Vincula HM Tower of London by the Choir of the Chapels Royal. It is a truly beautiful setting of text from the Book of Common Prayer from 1662. Arranged for SATb choir with Organ accompaniment.

Chorale Fantasy on How lovely shines the Morning Star-This composition is based on the beautiful chorale melody Wie schön leuchtet der Morgenstern (How lovely shines the Morning Star). Like the chorale fantasias by Bach and Buxtehude this is a fantasia in which the original theme is used and altered throughout the work in various ways. Slow passages are alternated with fast ones and finally a grand tutti arrives in which the original chorale theme sounds joyfully in a majestic finale. For extra colour and dimension an optional organ part has been added that can be used when the circumstances are appropriate. On the full score the various organ entries are indicated.

For C/Bb Bar.-Euph. and Band-This piece was commissioned by Swiss euphonium virtuoso Eich Schmidli. Bert Appermont dug deep into Celtic music for inspiration and created a fantasy that shows off the incredible but often overlooked versatility of the euphonium. Charming lyrical melodies virtuosic runs and exciting colourful tuttis create plenty of contrast in this exciting work. The difficulty level for the soloist and band means almost any band to perform this piece and showcase their euphonium player.

This is an superb Urtext edition of Telemann's exciting and varied Six Partitas for Violin (Flute Oboe Recorder) and Basso Continuo . Telemann considerably restricted the range of the solo part of these partitas so they could be played by the most widely used melody instruments of the time. His aim was to supply a great number of performers and music buyers with pieces that were as versatile as possible. The solo (Violin Flute Oboe or Recorder) and Basso Continuo parts are also included on separate inserts. This terrific edition has been selected for ABRSM and Trinity Guildhall Descant Recorder examinations at grade 5.

The son of a jazz pianist and a singer Roger Cicero (born 1970 in Berlin) stepped onto stage for the first time when he was only seven years old! He went on to study piano guitar and singing and appeared with well-known swing and jazz orchestras. After first working as a composer he began performing as a vocalist and represented Germany in the 2007 Eurovision Song Contest. Peter Schüller has combined three hits from an artist who makes the language of Goethe swing: Frauen regier'n die Welt Nicht artgerecht and Zieh' die Schuhe aus. This arrangement contains optional parts for piano/keyboard and electric or bass guitar.

French English and German text

Traditional-As a musician Armonia Serrano is very familiar with folk music. Drawing from her experience she has made this appealing arrangement which stays close to the original work. This catchy traditional melody makes it impossible for your audience to stay in their seats!

Francis Jackson's Festal Prelude arranged for Organ.

Francis Jackson's Tree At My Window arranged for High Voices.

Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the “Paris” symphonies (Hob. I:82-87) and their “London” counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that he regarded them as a sort of musicalquarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially. Haydn 's Symphony Hob. I:89 belongs to a group of symphonies composed between the ‘Paris’ symphonies (Hob. I:82-87) and their ‘London’ counterparts (Hob. I: 93-104) – the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece possibly owing to deadline pressure. The second and fourth movements are arrangements of movements 2 and 3 from his Concerto in F major Hob. VIIh:5 for two “lire organizzate” and orchestra. The fact that he also arranged movements from his other lire concertos suggests that heregarded them as a sort of musical quarry. This at least allowed him to recycle parts of these works after his patron had probably prohibited him from offering them commercially. This edition continues the collaboration with the Henle publishing company regarding Haydn's large-scale choral works operas and symphonies. It is based on the Henle Complete Edition of the Works of Joseph Haydn. The complete performance material for several Sturm und Drang symphonies and all of the London and Paris symphonies is now available from Bärenreiter.

The Camelot Chronicles is a series of contrasting musical tableaux each describing the famous characters from the Arthurian legend. Noone knows exactly where Camelot was situated (favourite choices areTintagel and Glastonbury) but the story has passed into legend and isthe subject of many poems and novels each of which have cloudedthe truth and added to the mystery. Let Philip Sparke?s music inspireyour band with this magical tale.

Classical melodies from Piano Opera and Orchestral Literature are revisited in this unique series. The arrangements feature jazz styles including ragtime and blues. Students who are familiar with some of these gems will enjoy their new settings while those playing them for the first time will become familiar with these wonderful melodies. Titles include: Austrian Jazz Dance; Blue Rhapsody; Bluesy Etude; Cool Etude; The Jazzy Mountain King; Parisian Jazz; Ragtime in Baroque Style; Ragtime Symphony; Rockin' Russian Song and Russian Blues

This short work for Oboe and String trio was written c.1878 probably for performance at Worcester Glee Club. It has never previously been published. Score and parts.

This piece was written for two sons of the composer as a welcome to young and innocent lives in to this big world. The concept and instrumentation of the composition allows any young band to play this piece. The optional celesta (keyboard) is a refreshing addition evoking the sound of an ancient music box and has a meaningful part as the music box fades out at the end of the piece.