Réduction pour chant & piano-The vocal score of Francis Poulencs Stabat Mater setting originally composed in 1950 for soprano solo mixed chorus and orchestra. This edition features a Piano reduction of the orchestral material. The vocal score of Francis Poulenc's Stabat Mater setting originally composed in 1950 for soprano solo mixed chorus and orchestra. This edition features a Piano reduction of the orchestral material.

INDLEDNINGDette materiale til opsyngning og stemmedannelse henvender sig til korledere der føler et behov for at fåsystematiseret deres arbejde med korets klang gennem funktionsrettede øvelser.Heftet er delt op i en række afsnit der hver for sig behandler et specifikt emne.Før hvert afsnit er der en kort gennemgang af emnet og det forudsættes at korlederen selv har så meget kendskabtil stemmefunktionerne at han/hun er i stand til at demonstrere øvelserne for koret.Til sammensætning af et opvarmningsprogram kan man til alment brug tage nogle få øvelser fra hvert afsnit såman kommer alle funktionerne igennem; eller man kan udvælge øvelser fra bestemte afsnit for attilgodese dekrav som dagens koropgave stiller.Nogle af øvelserne har klaverakkompagnement med anvisning til transposition. Alle øvelserne bør transponeres.Når ikke alle øvelserne har akk. skyldes det at man bør synge både med og uden klaver under opsyngningen.løvrigt kan man frit udelade akk. eller sætte akk. til andre øvelser hvis man har lyst.Bagest i heftet findes modeller for kromatisk stigende og faldende modulation.April1992Ingelise Suppli - Søren BirchIndhold:A. Holdning og afspændingB. Indånding udånding og støtteC. Svælgåbning og ansatsD. Resonans (svælg- mund- og næsehuleresonans)E. ArtikulationF. Udbygning af omfangG. Flerstemmige intonationsøvelser INDLEDNINGDette materiale til opsyngning og stemmedannelse henvender sig til korledere der føler et behov for at fåsystematiseret deres arbejde med korets klang gennem funktionsrettede øvelser.Heftet er delt op i en række afsnit der hver for sig behandler et specifikt emne.Før hvert afsnit er der en kort gennemgang af emnet og det forudsættes at korlederen selv har så meget kendskabtil stemmefunktionerne at han/hun er i stand til at demonstrere øvelserne for koret.Til sammensætning af et opvarmningsprogram kan man til alment brug tage nogle få øvelser fra hvert afsnit såman kommer alle funktionerne igennem; eller man kan udvælge øvelser fra bestemte afsnit for attilgodese dekrav som dagens koropgave stiller.Nogle af øvelserne har klaverakkompagnement med anvisning til transposition. Alle øvelserne bør transponeres.Når ikke alle øvelserne har akk. skyldes det at man bør synge både med og uden klaver under opsyngningen.løvrigt kan man frit udelade akk. eller sætte akk. til andre øvelser hvis man har lyst.Bagest i heftet findes modeller for kromatisk stigende og faldende modulation.April1992Ingelise Suppli - Søren BirchIndhold:A. Holdning og afspændingB. Indånding udånding og støtteC. Svælgåbning og ansatsD. Resonans (svælg- mund- og næsehuleresonans)E. ArtikulationF. Udbygning af omfangG. Flerstemmige intonationsøvelser

A selection of original Piano music by the master composers of the past four centuries the New Classics To Moderns series provides the pianist with a repertoire which is enjoyable for the player and listener alike. Inspired by the popular series by Denes Agay each of the six books in the New Classics To Moderns collection contains pieces by a wide range of composers from the old masters to contemporary writers with works from recent decades. Students teachers indeed all pianists will find the pieces in New Classics To Moderns a priceless source of study material recital pieces sight reading exercises — or just relaxing musical entertainment. This volume includes works byChapple Bach Lutoslawski Sweelinck and Einaudi amongst others. In the European Piano Teachers Association Journal Nadia Lasserson writes that this series is [e]xcellent value for money the books offer students of ever level a well-balanced musical diet covering over four hundred years of wonderful music as well as offering a wide range of sight-reading material to advanced students. A selection of original Piano music by the master composers of the past four centuries the New Classics To Moderns series provides the pianist with a repertoire which is enjoyable for the player and listener alike. Inspired by the popular series by Denes Agay each of the six books in the New Classics To Moderns collection contains pieces by a wide range of composers from the old masters to contemporary writers with works from recent decades. Students teachers indeed all pianists will find the pieces in New Classics To Moderns a priceless source of study material recital pieces sight reading exercises — orjust relaxing musical entertainment. This volume includes works by Chapple Bach Lutoslawski Sweelinck and Einaudi amongst others. In the European Piano Teachers Association Journal Nadia Lasserson writes that this series is '[e]xcellent value for money the books offer students of ever level a well-balanced musical diet covering over four hundred years of wonderful music as well as offering a wide range of sight-reading material to advanced students.'

Player's Score-3 Sange Til Tekster Af Politiken for Alto and Chamber Group was composed by Pelle Gudmundsen-Holmgreen in 1966. 3 Sange Til Tekster Af Politiken for Alto and Chamber Group was composed by Pelle Gudmundsen-Holmgreen in 1966.

Guitar. Abe Y Guitar. Abe Y

Printed to Order Carl Nielsen's Fantasy Pieces Op.2 arranged for Flute and Piano accompaniment. Edited by James Galway and Toke Lund Christiansen.

Parts for String Quartet No. 8 Ground by Pelle Gudmundsen-Holmgreen (1986). Parts for String Quartet No. 8 'Ground' by Pelle Gudmundsen-Holmgreen (1986).

Cantata No. 10-The opening Chorus from Bachs Cantata 10: Meine Seel erhebt den Herren. This arrangement requires four instrumentals and either a soprano/mezzo or a choir singing in unison (upper voices only) or simply a fifth instrumentalist to play thesimple Chorale theme. In 1989 in Oxford a group of four bassoonist friends decided to form The Equal Opportunities Bassoon Quartet and met regularly to rehearse. The wife of one of the players Katherine Manville often generously prepared a sumptuous meal for thequartet and this piece was written so that Katherine a fine singer could join in too! The piece was later performed by the fledgling Headington Singers singing the vocal part in unison accompanied on the night by the bassoons. The piece hassince been published as Bach for Blonde and Bassoons (SP112) and also here arranged for flexible ensemble (SP1382) therefore widening its appeal. This set comprises a full score a set of various instrumental parts and a single sided part for the singer or further instrumentalist. The latter is also freely downloadable from the website to allow easy (and legal) duplication for the purposes ofa choir as required. The opening Chorus from Bach's Cantata 10: 'Meine Seel erhebt den Herren'. This arrangement requires four instrumentals and either a soprano/mezzo or a choir singing in unison (upper voices only) or simply a fifth instrumentalist to play the simple 'Chorale' theme. In 1989 in Oxford a group of four bassoonist friends decided to form 'The Equal Opportunities Bassoon Quartet' and met regularly to rehearse. The wife of one of the players Katherine Manville often generously prepared a sumptuous meal for the quartet and this piece was written so that Katherine a fine singer could join in too! The piece was laterperformed by the fledgling 'Headington Singers' singing the vocal part in unison accompanied 'on the night' by the bassoons. The piece has since been published as ' Bach for Blonde and Bassoons' (SP112) and also here arranged for flexible ensemble (SP1382) therefore widening its appeal. This set comprises a full score a set of various instrumental parts and a single sided part for the singer or further instrumentalist. The latter is also freely downloadable from the website to allow easy (and legal) duplication for the purposes of a choir as required.

Op. 142 Nos. 2 & 3-These wonderful pieces have been carefully arranged for guitarists of an intermediate standard.

Danmarks Have for Soprano Solo Choir SATB and Concert Band was composed by Anders Koppel in 2012 for the celebration of Her Majesty Queen Margrethe II of Denmark's 40th anniversary.Commissioned by Wonderful Copenhagen. Danmarks Have for Soprano Solo Choir SATB and Concert Band was composed by Anders Koppel in 2012 for the celebration of Her Majesty Queen Margrethe II of Denmark's 40th anniversary. Commissioned by Wonderful Copenhagen.

For two Percussion soloists and ten instruments. Commissioned by and dedicated to Safri Duo. A Concerto in three movements based on Preludes by J.S. Bach for Percussion Duo and Orchestra. Reduced version 2010 by Steve Ferre approved by the composer for Percussion Duo (unchanged) and ten instruments (5 woodwind 5 strings) 1 Flute dbl. Piccolo and Alto Flute in G 1 Oboe dbl. Cor Anglaid in FY 1 Clarinet in Bb dbl. Bass Clarinet in Bb 1 Bassoon 1 Horn in F 1 Violin 1 1 Violin 2 1 Viola 1 Cello 1 Double Bass The score is written in C Per Norgard 's Bach to the Future (reduced version) for two Percussion soloists and ten instruments (2010). Commissioned by and dedicated to Safri Duo. A Concerto in three movements based on Preludes by J.S. Bach for Percussion Duo and Orchestra. Reduced version 2010 by Steve Ferre approved by the composer for Percussion Duo (unchanged) and ten instruments (5 woodwind 5 strings) 1 Flute dbl. Piccolo and Alto Flute in G 1 Oboe dbl. Cor Anglaid in FY 1 Clarinet in Bb dbl. Bass Clarinet in Bb 1 Bassoon 1 Horn in F 1 Violin 1 1 Violin 2 1 Viola 1 Cello 1 DoubleBass The score is written in C Original version for Percussion Duo and Orchestra: KP00615

Eulenburg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Songs for Claire is intended to portray a life journey with all the joys and trials that may be encountered. From a personal point of view it was written in memory of the composer's childhood best friend Claire who sadly died of cancer aged 10. Most people will be able to relate to the moods of the three movements and draw from their own life experiences in order to create the expression desired. Includes a CD of the piece performed by Keri Degg.

Concerto No. 4 For Marimba And Orchestra - 'Zum Gedächtnis des Vergänglichen' was composed by Anders Koppel for Wiener Mozartjahr in 2006. Concerto No. 4 For Marimba And Orchestra - 'Zum Gedächtnis des Vergänglichen' was composed by Anders Koppel for Wiener Mozartjahr in 2006.

15 Balladen für Gitarre solo-Giuseppe Di Girolamo who was born in Palermo (Italy) began as a young man to play the guitar in pop and rock bands for which he also composed the music. Later his interest began to turn more and more towards the classical guitar. At present he teaches guitar at the Schlossgymnasium in Künzelsau the Music School in Krautheim and the Freie Schule Anne-Sophie in Künzelsau Germany.

Quartet was composed by Jørgen Jersild in 1934 for Violin Viola Clarinet and Bassoon. Jørgen Jersild was a Danish music educator and composer. Jersild worked as a professor of ear training at The Royal Danish Academy Of Music in Copenhagen. Quartet was composed by Jorgen Jersild in 1934 for Violin Viola Clarinet and Bassoon. Jorgen Jersild was a Danish music educator and composer. Jersild worked as a professor of ear training at The Royal Danish Academy Of Music in Copenhagen.

A wonderful album especially for Organ Manuals which has been compiled and edited by Darwin Wolford. Includes works by Marcello Pachelbel Brahms and Franck.

Pour Choeur D'Hommes A Cappella-Scored for a cappella men’s choir (TTBB) Poulenc’s Quatre Petites Prieres de St Francois d’Assise were composed for and dedicated to the monastery choir at Champfleury (and in particular a certain monk there named Frere Jerome who happened to be the composer’s great-nephew). With the use of archaic textures of plainchant and Poulenc’s own harmonic colourings these four pieces create a unique reverence and solemnity.

Hans Abrahamsen 's Flowersongs (2012 version) for Flute Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute Oboe and Clarinet.' - Hans Abrahamsen Hans Abrahamsen 's Flowersongs (2012 version) for Flute Oboe and Clarinet. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent i

Sympathetic arrangements with optional practice backing tracks and performances on the accompanying CD. All highly playable. In the interests of playability the strict formality of Pachelbel's 'Canon' has been relaxed while allowing the spirit of the original to shine through. The key has been simplified from D major to C major and the seventeenth century rhythmic notation updated to improve readability. The optional Companion CD allows for small 12 bar sections (between each of the rehearsal letters) to be practised both 'slowly' with metronome click) and 'a tempo' before putting the whole piece together — ideally in the company of another human!