Return To Avalon is scored for two flutes one doubling Piccolo the other doubling Alto Flute. In the mid-thirteenth century over 200 000 Cathars were murdered in the South of France 'Avalon' by forces of darkness and ignorance. The Cathars were European Buddhists who believed in loving each other that we are all equal in the eyes of God non-revenge vegetarianism and that women could be priests. They also believed in reincarnation. In answer to threats and bullying many of them chose to be burnt alive rather than be forced to follow teachings they believed to be untrue. People say that the Cathars never came back. People saythat they died in vain. But I believe that they are wrong I believe that the Cathars did come back to create a Church of light outside the constricts of religion but through the arts through music poetry and prose. 'Return to Avalon' is the story of two great Cathar flute players who rise from the ashes of the Montsegur massacre to return and baptize the world into the truth of the eternal through the beauty of sound and honesty of expression. I imagined these 'Sons of the light ' playing this piece and letting its message of friendship and brotherhood echo out over the mountains. 'Return to Avalon' begins with 'The Last Song' a 13th century Cathar melody echoed on alto flute then explores an idea I first used in my 1993 flute concerto the idea of orchestrated digital delay. The second movement 'Human flame' on piccolo and alto is also based on a medieval theme but takes it further and further out until finally it burns up into a huge fireball. In the third movement 'Sons of the light return to Avalon' the two flutes reappear Phoenix-like from the ashes leading and learning from each other. Eventually the flutes become inseparable as they interweave together at speed leading us to a higher truth – that we are all brothers and sisters equally loved by God. Phenomenal flautist Samuel

This is the 'Haynes manual' of technique for the brass player. It breaks down all areas of preparation and performance into easy to understand sections and provides valuable exercises to improve all aspects of playing. Complete with a quick reference 'fault diagnosis chart'. Introduction This tutor is intended as a self-help tutor for all band players. It is laid out in the manner of a DIY car manual where technical explanations are combined with fault diagnosis and suggestions for corrective solutions. Explanations range in depth to suit playing standards from beginner to championship level. 64 pages.

Through the Seasons was written out of necessity to provide simple playable and hopefully enjoyable music for four guitars. The parts can be doubled or tripled. The pieces make useful guitar ensemble and concert music and indeed have been used as such to great effect. The four movements follow the path of the seasons and are sutiable for players of around Grade One standard and upwards. Grade: upto 1

This collection of tuneful and engaging pieces ranges from Grades 1-5 in standard and is an ideal introduction to developing improvisation. Designed espeically to help the classically trained musician who is nervous about trying to improvise jazz. This great book should help to allay those fears. This book also includes a CD which features short and fairly simple performances allowing you to copy and learn whilst you play.

These works by the celebrated Polish violinist and composer Boguslaw Kostecki offer valuable companion pieces to other 20th century solo violin works such as the Bartok Sonata.

An elegiac ballad coupled with a 'French' style dance.

An entertaining single dance movement for soprano saxophone and piano. Chosen by AMEB (Australian Syllabus).

Produced specifically for the Guildhall Exams syllabus the Creative Variations series provides students with the opportunity to explore and develop their own musical ideas in the preparation and performance of contemporary compositions. This voume is for jazz flautists of intermediate to advanced standard or grades 6-8. A free CD is provided to give full-length demos of each piece and a separate track to play along with.

Based on the Phrygian mode this ballad features the baritone sax.

Encore pieces played the world over by Eugene Sarbu.

A soulful and atmospheric ballad by jazz legend Dave Brubeck.

This English pastoral style work is both serious and witty. John Frith skilfully exploits the many textures of the ensemble producing a challenging yet deeply satisfying addition to the quintet repertoire.

These unaccompanied studies are featured on grades 1-7 of the Guildhall Clarinet Syllabus. Drawing inspiration from different colours and their character this attractive set of pieces prove that studies don't have to be dry technical exercises. Grade: 1 -7

Jazz Routes is a stimulating and practical collection of progressive jazz pieces for Clarinet by Malcolm Miles. The nine terrific compositions cover a wide range of rhythmic and harmonic styles. Includes a CD containing demonstration tracks as well as recorded piano accompaniments.

Moroccan Fantasy was originally two pieces I wrote in the 1980s Shiraz and Gentle Dreams. Then in 1999 'star pupil' saxophonist Simon Haram wanted a new piece so I wrote Moroccan Fantasy based on the earlier pieces extending the harmonies of Gentle Dreams and giving Shiraz more of a Reggae feel. Young Scottish saxophonist Rowan Hawitt then heard Simon's recording and wanted me to make piano and sax reduction so here is Moroccan Fantasy in various arrangements for solo wind instrument and piano. All the pedal dynamic and tempo markings are suggestions only. All my music can be played in many different ways-the main thing is to make it your own and express yourself. Enjoy! Dave Heath Based on the earlier piece 'Shiraz and Gentle Dreams' extending the harmonies of Gentle Dreams and giving Shiraz more of a Reggae feel.

This nursery rhyme is effectively arranged for 3 bassoons.

This expressive and exciting concerto by David Heath was specially commissioned for virtuoso saxophonist Gerard McChrystal. It contains a deliberately sparse Piano accompaniment to allow scope for self-expression in concerto rehearsal or performance with Piano and Saxophone in its own right.

Unaccompanied part-song for SATB choir by Malcolm Pearce.

A virtuosic work for unaccompanied violin reminiscent of Bartok.

This edition returns to Mozart's original manuscripts to provide a source for performance that is free from the ravages of the 19th century 'editors' revealing some startling differences in what has until now been considered the authentic version of these great works.