Sympathetic arrangements with optional practice backing tracks and performances on the accompanying CD. All highly playable. Presented here are four of Chopin's most playable and recognisable pieces sensitively arranged for piano duet. They are an ideal introduction to Chopin for the student pianist. Includes the Étude Opus 10 No. 3 Prelude in C minor Prelude (originally in A major) and the Waltz Op. 69 No. 1.

This bumper collection of nearly 50 easy to play tunes is for any instrument in B Flat and also includes chord symbols. An essential for any serious Busker!

Bach's glorious six part fugue from The Musical Offering made accessible in easy piano duet form by Mark Goddard.

School String Ensemble-Very entertaining music:- Tango Fox-Trot Waltz and Charleston with naughty musical 'quotes' throughout: The Mendelssohn wedding march 'Swanee River' and Bizet's Carmen! Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

Seven composers including Bach Beethoven Mendelssohn and Purcell arranged by Lee Mitchell with tab and score. Lee Mitchell first began studying the Guitar at the age of ten and has studied in the styles of Classical Blues Folk Jazz Pop and others.

Cantata No. 10-The opening Chorus from Bachs Cantata 10: Meine Seel erhebt den Herren. This arrangement requires four instrumentals and either a soprano/mezzo or a choir singing in unison (upper voices only) or simply a fifth instrumentalist to play thesimple Chorale theme. In 1989 in Oxford a group of four bassoonist friends decided to form The Equal Opportunities Bassoon Quartet and met regularly to rehearse. The wife of one of the players Katherine Manville often generously prepared a sumptuous meal for thequartet and this piece was written so that Katherine a fine singer could join in too! The piece was later performed by the fledgling Headington Singers singing the vocal part in unison accompanied on the night by the bassoons. The piece hassince been published as Bach for Blonde and Bassoons (SP112) and also here arranged for flexible ensemble (SP1382) therefore widening its appeal. This set comprises a full score a set of various instrumental parts and a single sided part for the singer or further instrumentalist. The latter is also freely downloadable from the website to allow easy (and legal) duplication for the purposes ofa choir as required. The opening Chorus from Bach's Cantata 10: 'Meine Seel erhebt den Herren'. This arrangement requires four instrumentals and either a soprano/mezzo or a choir singing in unison (upper voices only) or simply a fifth instrumentalist to play the simple 'Chorale' theme. In 1989 in Oxford a group of four bassoonist friends decided to form 'The Equal Opportunities Bassoon Quartet' and met regularly to rehearse. The wife of one of the players Katherine Manville often generously prepared a sumptuous meal for the quartet and this piece was written so that Katherine a fine singer could join in too! The piece was laterperformed by the fledgling 'Headington Singers' singing the vocal part in unison accompanied 'on the night' by the bassoons. The piece has since been published as ' Bach for Blonde and Bassoons' (SP112) and also here arranged for flexible ensemble (SP1382) therefore widening its appeal. This set comprises a full score a set of various instrumental parts and a single sided part for the singer or further instrumentalist. The latter is also freely downloadable from the website to allow easy (and legal) duplication for the purposes of a choir as required.

Songs for Claire is intended to portray a life journey with all the joys and trials that may be encountered. From a personal point of view it was written in memory of the composer's childhood best friend Claire who sadly died of cancer aged 10. Most people will be able to relate to the moods of the three movements and draw from their own life experiences in order to create the expression desired. Includes a CD of the piece performed by Keri Degg.

Sympathetic arrangements with optional practice backing tracks and performances on the accompanying CD. All highly playable. In the interests of playability the strict formality of Pachelbel's 'Canon' has been relaxed while allowing the spirit of the original to shine through. The key has been simplified from D major to C major and the seventeenth century rhythmic notation updated to improve readability. The optional Companion CD allows for small 12 bar sections (between each of the rehearsal letters) to be practised both 'slowly' with metronome click) and 'a tempo' before putting the whole piece together — ideally in the company of another human!

Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across

The fourth book in the Listen To The World series contains an exciting selection of Piano pieces covering all grades written in response to Mark Tanner 's frequent trips abroad as a concert pianist and ABRSM examiner. ' Intriguing sounds emanate from all around us - the noises of the elements animals and people going about their everyday business. There are exotic evocations and some ancient symbolism in the mix too alongside a little humour here and there to lighten the mood. ' - Mark Tanner

Three well written and entertaining movements for 2 trumpets and trombone ending with a Calypso from this acclaimed composer known for his global travels!

This Sonata is a totally non-esoteric work but like so much of the composer's music it is fun and approachable.

SS & Piano. A lively setting of words by young people which combines rhythmic drive with care for the environment - ideal for a concert with a conservation theme or an Olympic theme!

The Easy Piano Duet with CD series features sympathetic arrangements with optional practice backing tracks and performances on the accompanying CD. All highly playable. Easy Beethoven Piano Duets includes Fur Elise the slow movement from the Pathetique Piano Sonata and Beethoven's 'Sonata for Piano Duet' Opus 6.

For Nautical Bassoons-Four entertaining medleys incorporating traditional tunes like 'What Shall We Do With a Drunken Sailor?' 'Jack The Lad' and 'Life on the Ocean Wave'. Four entertaining medleys incorporating traditional tunes like 'What Shall We Do With a Drunken Sailor?' 'Jack The Lad' and 'Life on the Ocean Wave'.

Introducing the young violinist to the great symphonic repertoire.

Flexible Duets In Jingle-Chris Gumbley (performer teacher and TV jingle composer) has written these nine 'Game Show' style jingles with flexibility in mind. The duets in this book may be played by 2 flutes or flute and Bb clarinet (see preface). Also: a saxophone book is available for any combination of saxophones which when combined with this book provide jingle style jazz duets for all sorts of permutations: flute and alto sax. tenor sax and clarinet etc. Grade: 3 - 6

Theme and six variations on Beethoven's Ode to Joy in the style of: Bach Mozart Mendelssohn Dvorak Wagner and Scott Joplin. Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

Symphony No. 5-All four movements of Schubert's 5th symphony condensed and abbreviated into four charming miniatures. Highly playable and enormous fun. In this collection for Piano Duet arranger Mark Goddard has condensed and abbreviated all four movements of Schubert' s 5th symphony into four charming miniatures. Highly playable and enormous fun.

Playable in a variety of combinations of alto tenor and baritone saxophones this collection combines with another version to provide options for including woodwind instruments. Grade: 3 - 5