The Eye-Tunes Series for Piano contains newly composed Piano pieces - attractive accessible and pitched at pianists of all ages and abilities. Within each album the pieces are arranged with musical rather than technical concerns in mind in the hope of encouraging profitable dipping! The range of styles is wide - jazz pop ambient reflective humorous minimalist impressionistic. These pieces as the title Eye-Tunes suggests have been written to be read while calling for a degree of spontaneity and flexibility. The titles are thought-provoking and the material intended to spark the imagination. These albums will serve particularly well as an alternative oradjunct to conventional repertoire.

Get Set Jazz! is an exciting collection of jazz blues and pop sketches for Piano or Keyboard with CD exploring a wide new variety of traditional and modern styles. Catchy melodies arranged in the most comfortable keys will guarantee maximum inspiration for any student wishing to develop a natural confidence in both swing and straight syncopation. Every piece has been meticulously scored with detailed phrasing and fingering suggestions.

Flunk! can be played by 5 flutes with CD backing (fretless bass played by Daf Lewis) with or without the optional Alto Flute. The bass clarinet part is provided here for solely acoustic performances as an alternative to using the backing track. It is suggested that the flute players perform this work sitting in a traditional semicircle with two speakers behind them at head height. The speakers face the audience and the instrumentalists are carried by the backing. The flute players do not need any microphones.

The Essential Latin Collection for Guitar contains Latin songs and dances which in the main have become international 'standards'. The arrangements in Book 2 can serve for both study and solo performance and the different styles and moods of the music make the collection a valuable and enjoyable addition to the guitar repertoire.

Flexible Brass Ensemble-An upbeat 'big band' style ensemble for a minimum of just four players. The set includes an optional drum-kit part. Grade: 3 - 6

Each of the four movements of Tchaikovsky's Pathetique Symphony simplified and abridged. Arranged for Strings by Mark Goddard. Grade: 2 - 5

four easy arrangements for flexible brass ensemble- Renaissance Brass is a collection of four Renaissance pieces including works by Susato and Praetorius . Skilfully arranged by Tony Evans a legendary Welsh trombonist and doctor of music. Renaissance Brass has been written for a flexible four part Brass group with optional Drum or Tambourine for authentic effect.

Playable in a variety of combinations of flutes oboe and clarinets with or without optional bassoon this duet/trio collection combines with a separate saxophone version to provide comprehensive versatility. Grade: 3 - 5

Six pieces in varied jazz styles with easy piano accompaniment. A Syncopation Celebration for the young cello player. Grade: 3-5

Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY. Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

A collection of 20 classic melodies made very familiar by their use in TV adverts. Many of these themes have been heard in recent and current TV commercials. This is a companion collection to Simplest Classic TV Commercials (SP489). Grade: Easy. A collection of 20 classic melodies made very familiar by their use in TV adverts. Many of these themes have been heard in recent and current TV commercials. This is a companion collection to Simplest Classic TV Commercials (SP489). Grade: Easy.

Strings Pack-Four pieces. Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY. Four pieces. Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

The Occasional Organist's Survival Kit offers a series of volumes each of which features a range of essential organ repertoire arranged for manuals only and in some cases slightly simplified yet maintaining the integral strength and effectiveness of the music. Ideal for the confirmed pianist called upon to act as organist!

Beethoven: Symphony No. 5 (1st movement and coda) Bizet: Prelude to Carmen and Offenbach: Can-Can (from 'Orpheus in the Underworld'). Score with parts for Piccolo Flutes 1 (div.) Flutes 2 (div.) Alto Flute and Bass Flute.

A flexible teaching resource for one or more Keyboards. Winter by Vivaldi Brahm's Lullaby and Faure's Pavane are among this collection of ten pieces. Grade: 2 - 4 A flexible teaching resource for one or more Keyboards. Winter by Vivaldi Brahm's Lullaby and Faure's Pavane are among this collection of ten pieces. Grade: 2 - 4

Helen Madden 's 20 Crucial Clarinet Studies are now included in the 2014 London College of Music examination syllabus grade 5.

An upgraded edition of this exciting work for 10 piece brass ensemble that has enjoyed consistent success since its composition in 1981. Scored for 4 trp (1 dbl picc.trp/2 & 4 dbl flugal) hn in F 3 tenor tbns bass tbn tba. Challenging contemporary music. Duration: 15 mins. Printed facsimile of the original manuscript of score and parts.

Also available for Alto (SP827). 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 my childhood best friend Claire who sadly died of cancer aged 10. I think 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. Living Life begins with a pure and innocent piano introduction where life twinkles into being. The performers should aim for a sweetness and pure innocence. At this stage there have been no challenges and trials. Try to see this through theeyes of a child. At bar 71 we should be able to soar with the sheer exuberance and joy of life. The mood begins to take a downward turn via the piano there after bar 91. This is where situations begin to take a turn for the worse with much more agitation and a darker emotion takes over. Troubled Times now takes us onto a road that we would prefer not to be on everything should be quite agitated and restless. I had a strong feeling in this movement that it should show a battle of wills within; trying to stay positive (the sweeter timbral trills) and trying to fight the ever nagging negative thoughts. Performers should feel able to release fully where the score is marked 'desperately' because these are the cries of one who is struggling to keep fighting. At letter E the pianist should play almost with anger with strong stress to accented notes. At letter H the timbral trills stop abruptly and this indicates that the struggle is over if you imagine a heart monitoring machine that suddenly gives out is length monotone indicating the end of life. The rest of the movement relaxes into the peace of the final movement. Flying Free is similar in feel to Living Life. You will see that the initial theme is reversed. In the first movement we see the theme very introverted probably as we often look inwards in life. In

Three arrangements including Ave Verum Corpus and the Lacrimosa from the Requiem. During the year 1771 when Mozart was 15 years old he and his father Leopold were touring Italy which was at that time the most formidable citadel of the music world. In the following four years the young Mozart was received at the homes and villas of Italy's aristocracy. He met the most famous musicians of the time including Niccolo Piccinni operatic rival to Gluck and Padre Martini from whom he was to benefit from studies in counterpoint. He also met many noted male soprano singers and for one the celebrated Venanzio Rauzzini he wrote in 1773 the motet Exsultate Jubilate from whichcomes the well known Alleluia. At the end of his life only 19 years later in Vienna 1791 Mozart was very ill and working on a number of massive works such as the operas The Magic Flute and Titus also the Requiem. Titus was completed in 18 nerve-shattering days as it had to be performed in Prague in September 1791. At its premiere it was a complete flop. This affected the now overworked almost penniless composer's spirit and he returned to Vienna suffering from mental and physical exhaustion. Rest was denied him. The Magic Flute had to be finished for its premier on September 30th 1791. The task of the Requiem still faced him. In this weakened state Mozart thought that he was in fact writing his own requiem reading evil omens into the commissioning of the work. He thought someone had calculated the precise time of his death and was thus troubled with sombre thoughts. He completed the first two of the twelve parts. The next six parts were in an unfinished state and his manuscript ceased at the Lacrimosa. Süssmayer who was working closely with Mozart at the time was given the task of finishing the Requiem. Ave Verum Corpus is also one of his final works. It is a setting of an anonymous hymn written as a motet for Anton Stoll the choirmaster at Baden in June 1791. Mozart was a composer of great genius who

Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute this among them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. Wilhelm Popp studied with the great Louis Drouet in the 1850s and wrote many charming works for the flute thisamong them. Susan Milan acclaimed soloist and teacher has edited this elegant edition. Susan Milan writes: 'I discovered the charming Popp Sonatinas Op. 388 while researching 19th century flute repertoire in the British Museum Library. They were first published in Hamburg in 1888. These beautifully crafted works are all without exception a delight to play and suitable for a broad level of player. They are a lovely example of Classical style and detailed in a way that makes them a joy to perform and as they are less than 10 minutes long they are a perfect addition to a short recital programme. In editing the Sonatinas I have tidied some of the articulation making the flute part consistent. Discrepancies between markings in the flute and piano part have been corrected. I have occasionally added some slurs where I feel the lyrical nature of a section might be enhanced shown as 'dotted' slurs. Where staccati appear to be missing I have added them. I have not on the whole added expression marks. I have not changed or removed original markings.'