Patuffa Kennedy-Fraser's second selection of Hebridean songs arranged for voice and harp (or piano) by her mother Marjory Kennedy-Fraser.

2 Voices. Carto T

Hwayana ya Mwari-Hwayana yaMwari is composed in the spirit of choral music heard at the Episcopal Cathedral in Harare Zimbabwe in the summer of 1993. Shona is the majority tribe in Zimbabwe and its language. The text is the Shona translation of the Agnus Dei of the Mass Ordinary. SS/A . Kesselmann L.

for Piano-Between the composition of the second and third piano sonatas (1912-1917) Prokofieff wrote a variety of works for a great diversity of instruments. Besides 'Visions Fugitives' these include the ballets 'Chout' and 'The Gambler' the Classical Symphony the first Violin Concerto the second Piano Concerto and various songs. This was an immensely productive period during which his obsession with percussive sounds coloured by polytonality was at its height (although the Classical Symphony is an obvious exception). 'Visions Fugitives' is generally less diatonically based than any of the piano sonatas although the style is perhaps closet to the harmonic quirkiness of the Fifth Sonata(1923). Prokofieff's compositional process habitually involved the jotting down of musical ideas as they occured to him to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce in 'Visions Fugitives' a set of self-contained miniatures perfectly shaped and coherent yet comprising a logical sequence when played as a whole. The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofieff's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for these qualities is immediately apparent in 'Visions Fugitives'. Prokofiev's compositional process habitually involved the jotting down of musical ideas as they occured to him to be combined later. The composer's form of spontaneous inspiration seems to have enabled him to produce in Visions Fugitives a set of self-contained miniatures perfectly shaped and coherent yet comprising a logical sequence when played as a whole. The simplicity and transparency of the writing gives us an insight into the interpretation of Prokofiev's music generally. The study of his shorter works enables us to understand the importance of clarity and rhythmic discipline in the performance of the later ones. The necessity for thesequalities is immediately apparent in Visions Fugitives .

4 Violins. Violins In

Technitunes introduce quite advanced aspects of technique such as high positions harmonics rapid bowings and double stops at an early stage in the form of attractive pieces. All pieces may be performed by a single instrument with piano or in various combinations of strings with or without accompaniment. A super bunch of tunes for the elementary Viola player designed to give you early experience of playing in different styles as well as helping you develop key techniques at an early stage. A book of Piano Accompaniments is available (M060039614).

Irish Folk Song-Unison. Hatfield S

12 easy piano pieces for beginners-Piano. Norton C

The Jubilate Deo text is from Psalm 100. This festive setting uses only the first three verses both in English and in Latin. For 3-part treble voices brass and organ

A place to sing and shout-for 4-part chorus.

Treble. Goetze M

A Boogie Woogie Piano solo composed for the Welsh Pianist Iwan Llewelyn Jones. The piece features the driving bass rhythms of the Boogie Woogie style with an energetic leaping right-hand melody - great fun for the repertoire of any Piano player.

SATB (Vocal Score). Rorem N

SAB. Schultz Dg

Zoltan Kodaly's Hymn To King Stephen for SATB Choir with words by Nancy Bush. A piano accompaniment is scored for rehearsal use.

Bartók wrote his Piano Concerto No. 3 during the summer of 1945 intending it as a birthday present to be given to his wife Ditta on 31st October. By this time he was already gravely ill; however he was able to finish the score with the exception of the last seventeen bars which he noted in a kind of musical shorthand. These last seventeen bars were deciphered and scored by his friend and pupil Tibor Serly. Only a few expression marks and tempo indications and no metronome marks were found in Bartók's score. Had he lived on there is no doubt that he would have edited the concerto as meticulously as was his habit.In order to give a complete picture of the work suchmarkings as were deemed necessary were added by Tibor Serly; by Eugene Ormandy who conducted the first performance; by Louis Kentner; and by Erwin Stein.In preparing this Revised Edition all extant sources have been examined and compared with the previously printed edition. For full discussion of the amendments reference should be made to the Editorial Notes to the Revised Edition of the published conductor's score. The 1994 Revised edition of Bela Bartok’s Piano Concerto in a pocket study score format. Bartok wrote this piece during the summer of 1945 intending to give it as a birthday present to his wife Ditta On the 31st October. By this time however he was already desperately ill and managed only to finish by composing the last seventeen bars in a kind of musical shorthand. These were then deciphered and scored by his friend and pupil Tibor Serly.

This is the corresponding Teacher's Book for the New Tunes For Strings (Volume 1) series of books by Stanley Fletcher which present a wide variety of new pieces for Strings. Each piece is fun to play and teaches a range of technical skills. This book features the Piano Accompaniments to all the tunes found in the Volume 1 books.

A Welsh Slumber Song-A Welsh Slumber Song arranged by Alec Rowley for Unison High Voices and piano.

For Voice and Piano.

SATB. Sutcliffe Jh