Merry-Go-Round is a mini concerto for band in which each section takes a turn as soloist. On a merry-go-round the viewpoint is constantly changing this being portrayed by different instrumental groups playing variations on the main theme continually coming to the fore. This attractive work will bring all the excitement of the fairground to your concert.

Meditation on 'Quem Pastores Laudavere'-Carol of the Shepherds is based on the hymn tune 'Quem Pastores Laudavere' which dates back to the 14th century and is widely known throughout the Christian world. Although the melody has been set to a number of different texts in different countries it was originally a carol celebrating the Christmas story in particular the visit of the Angel Gabriel to the shepherds.

Super Studies brings this series to a close with 26 more advanced studies which introduce such things as double and triple tonguing lip flexibility breath control and finger strength. By the time you have mastered the studies in this book you will be a ready to face any advanced solo work. Philip Sparke 's Super Studies brings the Progressive Studies series to a close with 26 more advanced studies which introduce techniques such as double and triple tonguing lip flexibility breath control and finger strength. By the time you have mastered the studies in this book you will be ready to face any advanced solo work. This book is suitable for Trombones in both treble clef and bass clef.

from Cantata No 208 'The Hunt Cantata'-There are just over twenty secular cantatas in Bach's prolific output which include The Coffee Cantata (No 211) The Wedding Cantata (No 202) Phoebus and Pan (No 201) and the Hunt Cantata (No 208) which contains the famous aria Sheep May Safely Graze. Written for four vocal soloists it was originally scored for a relatively large orchestra (including flutes (recorders) oboes and horns) and mixed choir. Although secular in character the words describe how well a faithful shepherd keeps watch over his flock and hence has obvious allusions to the teachings of the Christian church. Bring a bit of the Baroque era to your concert with this first class arrangement by Philip Sparke.

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.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.

Meditation on 'O come O come Immanuel'-The Advent hymn we all know today as O Come O Come Immanuel was arranged in its modern form by Thomas Helmore and published in Hymnal Noted in 1856. Both the words and melody however predate this version by centuries.The tune Veni Immanuel is taken from a 15th century processional of French Franciscan nuns part of the setting for the funeral hymn Libera Me . This arrangement aims to expand on the power and mystery of the original tune and will be most effective if the solo trumpet at the start and end of the piece can be placed away from the band maybe at the back of the auditorium.

Harlequin was commissioned by and is dedicated to euphonium virtuoso David Childs. The piece takes as its inspiration the happy and sad masks which symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises two movements a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for euphonium and band.

Born in Jarrow northeast England in 1949 John Miles was something of a child prodigy learning the piano from the age of five. In the early '60s he persuaded his father to buy him a guitar and by the end of the decade he had joined asemi-professional band The Influence. The group soon disbanded and by 1969 Miles was recording with his own group The John Miles Band releasing a dozen singles in the early '70s. In 1975 Miles decided to move to London and secured a dealwith Decca Records. By October that year a newly formed band John Miles and Co had released their debut single Highfly but their greatest hit which stormed the British charts in March 1976 was Music .Born in Jarrow northeast England in 1949 John Miles was something of a child prodigy learning the Piano from the age of five. In the early '60s he persuaded his father to buy him a Guitar and by the end of the decade he had joined a semi-professional band The Influence. The group soon disbanded and by 1969 Miles was recording with his own group The John Miles Band releasing a dozen singles in the early '70s. In 1975 Miles decided to move to London and secured a deal with Decca Records. By October that year a newly formed band John Miles and Co had released their debut single Highfly but their greatest hit which stormed the British charts in March 1976 was Music .

Edward MacDowell can be regarded as the first great American composer although he disliked the idea of being classified as any sort of musical nationalist. He composed a large number of orchestral works but it is the charming and unpretentious suite of musical miniatures Woodland Sketches that has survived as his best-known work with To a Wild Rose being the most popular. Philip Sparke has expertly arranged this simple work for concert band.

This is a little salute to the wonderful music of Duke Ellington taking Mood Indigo as its model. Something Borrowed Something Blue will allow the young band to approach this masterpiece?s laid-back style using chords and harmonies that they may be hearing for the first time. The flexible instrumentation of this work makes it ideal for bands without the full quota of players. Bring the world of jazz to life with this smooth classic.

from Hymn of the Highlands - for Bb Piccolo Trumpet (or Eb Cornet/Trumpet) Solo-The seven-movement suite for brass band Hymn of the Highlands was commissioned by David King and the Yorkshire Building Society Band and provides a series of themed movements which can act as a half-concert featuring a band’s soloists. Flowerdale is one of the solo movements. This solo is also available with piano accompaniment edition no. AMP 285.

This collection provides a practical edition that can be used for marching as well as in the concert hall for 15 Sousa classics: The Beau Ideal • The Black Horse Troop • El Capitan • The Fairest of the Fair • Hands Across the Sea • The High School Cadets • The Invincible Eagle • King Cotton • The Liberty Bell • Manhattan Beach • Nobles of the Mystic Shrine • Semper Fidelis • The Stars and Stripes Forever • The Thunderer • and The Washington Post

20 Progressive pieces for Flute 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.Twenty progressive pieces with piano accompaniment for flute.

for Euphonium and Piano-Harlequin was commissioned by and is dedicated to euphonium virtuoso David Childs. The piece takes as its inspiration the happy and sad masks which symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises two movements a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for any euphonium player.

Philip Sparke has taken this traditional melody and produced an attractive arrangement for fanfare band. The piece is ideal for use in Christmas concerts and is guaranteed to get everyone’s toes tapping - players and audience alike.

The Hanover Wind Symphony New Jersey USA was founded in 1984 by its conductor Peter Boor. He commissioned HANOVER FESTIVAL to celebrate the band’s 15th Birthday and the first performance took place on October 27th 1999. The piece starts with a solemn brass fanfare. Woodwinds join in and the music subsides into an expressive chorale. A climax is reached and the fanfare returns. Trumpets introduce an explosive vivo section characterised by an energetic theme from the horns and low clarinets. A bridge passage with strong brass chords leads to a playful section that introduces a legato central theme under woodwind figures. This is taken up by the full band the playfulmusic returns and the original horn tune is reintroduced. Finally the opening fanfare returns this time accompanied by music from the vivo section until a fast and furious coda closes the work.

The Ukrainian Bell Carol is part of a large choral work entitled Shchedryk by the Ukrainian composer Mykola Dmytrovich Leontovych (1877-1921). It was first performed by students of Kiev University in December 1916. The tune is an adaptation of an old ‘shchedrivka’ a song traditionally sung on Ukrainian New Year’s Eve (January 13th) which hopes for good fortune in the year to come. In Shchedryk Leontovych added his own the lyrics which concern the legend claiming that when Jesus was born all the bells on earth started ringing in his honour.The tune has since been the inspiration of at least four different Christmas carols but Philip Sparke has sourced the originalUkrainian melody to create this stirring arrangement. The Ukrainian Bell Carol is part of a large choral work entitled Shchedryk by the Ukrainian composer Mykola Dmytrovich Leontovych (1877-1921). It was first performed by students of Kiev University in December 1916. The tune is an adaptation of an old shchedrivka' a song traditionally sung on Ukrainian New Year's Eve (January 13th) which hopes for good fortune in the year to come. In Shchedryk Leontovych added his own the lyrics which concern the legend claiming that when Jesus was born all the bells on earth started ringing in his honour.The tune has since been the inspiration of at least four different Christmas carols but Philip Sparke has sourcedthe original Ukrainian melody to create this stirring arrangement.

This series aims to present the significant concert band works of Philip Sparke in a format that enables any player to study their music whether or not they get the chance to play these pieces with their own band.

Harlequin was commissioned by and is dedicated to euphonium virtuoso David Childs. The piece takes as its inspiration the happy and sad masks which symbolise the Commedia dell?Arte (which features Harlequin as one of its main characters) and comprises two movements a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for euphonium and band.

Flourish for Fanfare was commissioned by Fanfare CWO Groningen to celebrate their 50th anniversary in 2018. It opens with a fanfare on flugel horns and trumpets under saxophone trills which gradually subside to introduce a trio for the trombones. This builds and leads back to the opening fanfare which is interrupted by a slower hymn-like passage on lower brass. A saxophone chorale follows and is repeated by the full band leading to a dramatic molto vivo . The trombones then introduce a new theme derived from their original trio which is developed until the horns take centre stage and introduce a change of mood. This builds to a climax before a contrasting themeemerges on saxes and euphoniums. The trombone theme then returns to introduce a triumphant version of the saxophone chorale which drives the work back to a coda based on the opening fanfare.