24 popular works for tenor voice with piano accompaniment featuring selected works from the major exam board syllabuses spanning Grades 5 to 8 and beyond. Includes a preface and performance notes by James Gilchrist and Anna Tilbrook and a digital version of the book to view on any device. 24 popular works for tenor voice with piano accompaniment featuring selected works from the major exam board syllabuses spanning Grades 5 to 8 and beyond. Includes a preface and performance notes by James Gilchrist and AnnaTilbrook and a digital version of the book to view on any device.

Includes Guitar Tablature

POD-Pawe ukaszewski's Like As The Waves for SSATBB choir unaccompanied. This vocal work is a setting of Shakespeare's Sonnet LX. Pawe ukaszewski 's Like As The Waves for SSATBB choir unaccompanied. This vocal work is a setting of Shakespeare 's Sonnet LX. Like as the waves make towards the pebbledshore So do our minutes hasten to their end; Each changing place with that which goes before In sequent toil all forwards do contend. Nativity once in the main oflight Crawls to maturity wherewith being crown'd Crooked eclipses 'gainst his glory fight And time that gave doth now his gift confound. Time doth transfix the flourishset on youth And delves the parallels in beauty's brow Feeds on the rarities of nature's truth And nothing stands but for his scythe to mow. And yet to times in hope myverse shall stand Praising thy worth despite his cruel hand. - William Shakespeare A Piano part is included for rehearsal purposes. Duration: 4 minutes.

'O Beatum Et Sacrosanctum Diem' arranged for mixed voice choir SSATB.

Just Brass No. 33- Joseph Horovitz' Folk Song Fantasy for Brass quintet.

For High Voice and Piano. Text: WH Auden. Commissioned by and dedicated to Alice Esty.

Sonatina was written for solo Clarinet in B flat with Piano accompaniment. It was first published in 1982. Rory Boyle (b.1951) is a Scottish composer and educator currently Professor ofComposition at the Royal Conservatoire of Scotland. He was a chorister at St George’s Chapel Windsor before studying Piano Organ Clarinet and conducting at the RSAMD and composition with Frank Spedding and Lennox Berkeley. Hismusic covers every style from large orchestral works to solo instrumental pieces. He is regularly in demand for commissions from Festivals Music Societies and leading performers.

For Soprano Saxophone and Piano. For Soprano Saxophone and Piano.

Two pieces Sub Tuam Protectionem and Ut Re Mi written for Stephen Pruslin to whom they are dedicated and who gave the first performances ( Sub Tuam Protectionem in 1970 and Ut Re Mi in 1971).

This was composed in 1979 and is scored for SATB. This work is a setting of a sixteenth-century poem which is a plea for death to come and bring an end to suffering thereby affording peace.

Alto-Solo I by Patrick Marcland for solo Viola.

Shadowplay for soprano saxophone and piano was commissioned by Audrey Innes. The work was premièred at the World Saxophone Congress XVI in St. Andrews in July 2012 and played by Rocio Banyuls Bertomeu (sopranosaxophone) and Audrey Innes (piano).

Work for Soprano or Tenor and Guitar. Commissioned by and dedicated to Peter Pears. Premiered by Pears and Julian Bream. Text: Walter de la Mare

Edition Collins

For voice and string quartet. Score and Parts.

Bass Clef Version-Richard Reed Parry 'S Duet For Heart And Breath Bass Clef Version For Cello (Or Other Instrument Of Suitable Range) And Piano (Or Other Polyphonic Instrument). The Performers Wear Stethoscopes Positioned Over Their Hearts So That Each Can Follow His Or Her Own Heart Rate. Two Eighth Notes (Quavers) Correspond To The Two Sounds Of A Normal Heartbeat And Performers Should Match As Closely As Possible The Staccato And Irregular Rhythm They Hear. When Instructed To ‘Play To Breath’ The Natural Cycle Of One Inhalation And One Exhalation Or Vice Versa Will Determine The Length Of The Bar (Two Quarter Notes/Crotchets) Without Any Attempt To Make It Metronomic. ' This Piece IsBased Around The Idea Of Using The Widely Varying Internal Rhythms Of The Performers’ Bodies As Performance Parameters. There Is No Actual Tempo Or Meter Built Into The Piece. The Breathing Rates Of The Players Are Used In Alternation With The Individual Performers’ Heart Rates To Determine The Pace At Which All Of The Musical Material Is Played. This Requires That The Performers Generally Play Quietly And Delicately With Little Or No Vibrato So As To Be Able To Hear Their Heartbeats Adequately. This In Combination With Thenatural Variance Between The Different Heart Rates Results In A Kind Of Delicate Musical “Pointillism”: Starts And Stops Which Are Somewhat Staggered Parts Which Repeatedly Line Up And Fall Out Of Synch With Each Other Different Individuals’ Pulses Rising And Falling. The Piece Is Never Performed Exactly The Same Way Twice. ' - Richard Reed Parry . Richard Reed Parry 's Duet For Heart And Breath Bass Clef version for Cello (or other instrument of suitable range) and Piano (or other polyphonic instrument). The performers wear stethoscopespositioned over their hearts so that each can follow his or her own heart rate. Two eighth notes (quavers) correspond to the two sounds of a normal heartbeat and performers should match as closely as possible the staccato andirregular rhythm they hear. When instructed to ‘play to breath’ the natural cycle of one inhalation and one exhalation or vice versa will determine the length of the bar (two quarter notes/crotchets) without any attempt to makeit metronomic. ' This piece is based around the idea of using the widely varying internal rhythms of the performers’ bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathingrates of the players are used in alternation with the individual performers’ heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly anddelicately with little or no vibrato so as to be able to hear their heartbeats adequately. This in combination with thenatural variance between the different heart rates results in a kind of delicate musical “pointillism”:starts and stops which are somewhat staggered p

Motet for SSATTB Choir.

Ciel D’Hiver By The Finnish Composer Kaija Saariaho Scored For The Orchestra. The Ten Minute Piece Ciel D’Hiver Is An Arrangement Of The Second Movement Of Kaija Saariaho 'S 2002 Orchestral Piece Orion. The Piece Was Commissioned By Musique Nouvelle En Liberté And The World Premiere Took Place On 7 April 2014 At The Théâtre Du Châtelet Paris Given By Orchestre Lamoureux Conducted By Fayçal Karoui. Ciel D’Hiver by the Finnish composer Kaija Saariaho scored for the Orchestra. The ten minute piece Ciel D’Hiver is an arrangement of the second movement of KaijaSaariaho 's 2002 Orchestral piece Orion. The piece was commissioned by Musique Nouvelle En Liberté and the world premiere took place on 7 April 2014 at the Théâtre du Châtelet Paris given by Orchestre Lamoureux conducted by Fayçal Karoui.

The Wounds was expertly composed by British composer James Whitbourn for SATB chorus Speaker Violin Cello and Organ. This product include the full score. James international reputation as a composer began very early on as a programme maker at the BBC. “The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.” James Whitbourn The Wounds was expertly composed by British composer James Whitbourn for SATB chorus Speaker Violin Cello and Organ. This product include the full score. James international reputation as a composer began very early on as a programme maker at the BBC. The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to -Passiontide. Each section continues from the previous one without pause to create a seamless whole. James Whitbourn

This was commissioned by the New london Ensemble with funds provided by the Arts Council of Great Britain. The New London Ensemble conducted by Richard Bradshaw gave the first performance on 8 January 1975 at the Queen ElizabethHall.