This jaunty number from the classic 1937 film Shall We Dance has been diplomatically arranged for everyone!

A stunningly atmospheric piece for five flutes and alto flute. A mesmerising concert piece!

arranged for clarinet and piano by Russel Denwood-This is the piano reduction of an important and substantial work for clarinet and strings (which has also been published in a new corrected edition - JE643). It was written in 1895 when the composer was still a student at the Royal College of Music. His composition teacher Charles Villiers Stanford was so impressed by the piece that he took it with him on a visit to Berlin in 1897 where he arranged for the Joachim Quartet to play it.This is the piano reduction of an important and substantial work for clarinet and strings (which has also been published in a new corrected edition - E643). It was written in 1895 when the composer was still a student atthe Royal College of Music. His composition teacher Charles Villiers Stanford was so impressed by the piece that he took it with him on a visit to Berlin in 1897 where he arranged for the Joachim Quartet to play it.

Funeral March of a Marionette dates from the 1850s and was originally written for orchestra since when it has appeared in numerous other guises. One of the best known is the bassoon ensemble arrangement used as the theme forthe Hitchcock series of f

'My Concerto for Recorder Strings and Percussion was commissioned for Evelyn Nallen and the Guildford Philharmonic Orchestra and composed in 1979. I was much absorbed by composing concertante works at the time and in factwrote six concertos that year

A piano reduction of the Andante grazioso (3rd) movement of Brahms's wonderful Trio Op.114 for Clarinet Cello and Piano.

These Six Little Tuba Pieces were written in late 1977 and early 1978 at the request of a talented student Emma Parkinson then aged 15. She had rightly complained that having made the effort and achieved her Grade 5(with distinction in less than a year from taking up the instrument) there was little else available that was worth playing either in terms of development or enjoyment. Here we see an exquisite response to that complaintwith these are six contrasting pieces written for Tuba and Piano by Gordon Jacob. Two tuba solo parts are included one notated in the treble clef and the other notated in the bass clef. Set as part of the ABRSM Grade 6Tuba Syllabus.

Set on the ABRSM Trombone syllabus.

Kleztet was premiered at the Cannes International Film Festival on 22nd May 2008 for the occasion of Ennio Moricone's 80th birthday celebrations. It's a challenging work for the performers but it's an incredible performance piece and fizzes along at breathtaking speed!The piece is dedicated to ArteCombo Wind Quintet whose stunning performance of the first movement is seen in the YouTube clip. Contents: Gefilte Fish Shtetl Procession Hora & Mazel

Gordon Jacob was born in Upper Norwood South London in 1895 a tenth child and a seventh son. He was educated at Dulwich College which was an unusually musical school and he wrote his first orchestral pieces there. During the First World War he was captured by the Germans near Arras and in his prison camp organised a small orchestra whose entire repertoire he arranged or composed. This early practical approach to music was to remain a hallmark and his musicis always eminently ‘playable’. After the war having decided against a career in journalism he entered the Royal College of Music where he studied composition with Stanford Howells and Vaughan Williams conducting with Boult and piano withThalben Ball. Two of his books Orchestral Technique and How to Read a Score are still much used and highly valued by students throughout the English-speaking world. He died in 1984.

4 Pieces For Beginners- Four pieces for beginners written by Ronald Hanmer for Bassoon with Piano accompaniment.

for clarinet in A 2 violins viola & violoncello-A new corrected edition of an important and substantial work which has been constructed from the existing set of parts by Russell Denwood. A reduction for clarinet and piano is also available (E651). It was written in 1895 when the composer was still a student at the Royal College of Music. His composition teacher Charles Villiers Stanford was so impressed by the piece that he took it with him on a visit to Berlin in 1897 where he arranged for the Joachim Quartet to play it. It was published in 1902 but no score appears to exist and the parts required corrections to be made.A new corrected edition of an important and substantial work which has been constructed from the existing set of parts by Russell Denwood. It was written in 1895 when the composer was still a student at the Royal Collegeof Music. His composition teacher Charles Villiers Stanford was so impressed by the piece that he took it with him on a visit to Berlin in 1897 where he arranged for the Joachim Quartet to play it. It was published in 1902 butno score appears to exist and the parts required corrections to be made. For Clarinet in A 2 Violins Viola and Cello. A reduction for clarinet and piano is also available (EME651).

A set of three movements - challenging but great fun to play and to listen to. Would make an excellent recital piece. Grades 6 to 7 standard.

A delightful melodic piece for oboe and piano. 'The genesis of Aubade is a piece for Piano which I wrote in the spring of 2015 and which I afterwards thought might go rather well on the Oboe. As I warmed to this idea and a piece for Oboe began to develop Irealised that I was constantly thinking about Oboist friends with whom I had had such pleasure when playing in various wind ensembles. Aubade is therefore in a way a celebration of those friends. There is nospecial significance in the title but it seems to me to be appropriate.' - Michael Walshe

David Bevan's Sonata for Oboe and Piano . David Bevan was educated at Westminster Cathedral Choir School Downside School (where he was a music scholar) and Queen's College Oxford on an OpenHastings Scholarship. In 1973 he was awarded an organ scholarship by the French Government to study with Jean Langlais and Gaston Litaize. From 1972-1976 he was Assistant Master of the Music at Westminster Cathedral. He laterobtained a degree in composition at Oxford and went on to teach A-level students in Bath. He is Director of Music at the Church of the Holy Redeemer Chelsea London and also Director of the Bath Baroque Chorus.

These are a charming collection of pieces for horn (in E-flat or F) and piano by Victor Brightmore. The individual horn in E-flat and horn in F parts are also included on separate inserts.

Giuseppe Concone's Studies For Horn In F as arranged by Robert Ashworth.

Bucalossi's jaunty characteristic piece arranged for wind quintet by Russell Denwood. Fun to play - it's the perfect concert 'lollipop'! Ernest Bucalossi (1863-1933) was a light-music composer remembered solely for this one enduring (and endearing) lollipop. Himself a London theatre conductor he was the second son of theatre conductor/composerProcida Bucalossi who migrated to London from Italy. Ernest studied at the Royal Academy of Music and in 1881 began his theatre career by deputising for his father. He went on to compose for a variety of theatrical purposes. Thejaunty characteristic piece is one of those pieces that perfectly exemplifies its title.

Christopher Ball is a British composer conductor and Clarinettist Born in Leeds England in 1936. This challenging work by Ball has three movements dedicated to Ben Norbury Adam Walker and GarySchocker .

Solo Bass Clarinet- Claude Debussy 's Syrinx for Bass Clarinet. Despite being written originally for Flute this transcription of Syrinx by Helen Paskins works beautifully for the Bass Clarinet; the timbre of theinstrument really resonates with the haunting melancholy of the melody. ' Syrinx was written in 1913 by Debussy for the flute as incidental music to Gabriel Mourey's play Psyché. It was first performed by anddedicated to Louis Fleury. It has become a staple of the flute repertoire and subsequently of the solo classical saxophone repertoire too. It works beautifully on the bass clarinet; the timbre of the instrument really resonateswith the haunting melancholy of the melody. The story of Syrinx is from classical mythology and has inspired many wonderful works of art literature and music. It tells of a beautiful and chaste nymph who istransformed into water reeds that sing sweetly in the breeze as she attempts to escape the amorous advances of the Greek God Pan. Pan on hearing the enchanting melody of the reeds cuts them down to make pan pipes therebyunwittingly killing his love but keeping her with him forever. For flautists Syrinx and the French flute tradition have played an important role in inspiring players to find and explore the full palette ofethereal and evocative tone colours. The subtle flexibility with which it is possible to craft the sound is a feature of wonderful flute playing today and from which I feel there is much we bass clarinettists can learn. ' - Helen Paskins 2015