6 miniatures in a tonal style These six miniatures were written to be played from the top of a tower on Christmas day: They range in mood from melancholic to triumphant. Rhythmically straightforward horn 1 reaches the top of the range and horn 4 needs to be secure at the bottom of the range in bass clef.

A collection of trios aimed at Grade 2-3 standard players.

Two contrasting movements in a modern style Allegro – The first of two movements for wind quintet composed for a concert in London in 2017 and given its premiere by the award-winning London Myriad Ensemble. The mood is lively dance-like bucolic with regular shifts in tonality and frequent harmonic twists. Short motifs dart cheekily from instrument to instrument and are occasionally interrupted by more sedate passages before hurrying to a brusque conclusion. Adagio – In contrast to the first bustling movement this is calm reflective and touched with a certain melancholy exploiting the darker fuller colours of the cor anglais and alto flute to evoke a distant landscape. After an initial climax a flute solobegins a faster section underpinned by a strong rhythmic figure in the other instruments. With more instruments adding their voices a sharp upward surge brings the section to a sudden close ushering in a return to the opening theme this time given to the clarinet. Echoes of the earlier flute solo add further layers rising to a full-throated climax of the main theme and thence to a peaceful close.

Testing variations on an original theme Popi is our black cat. She is chubby lazy ungainly not very clever and a bit weird. And we love her. Why a bassoon piece for Popi? Clara started the bassoon two years ago and I have enjoyed becoming more acquainted with the instrument. It can be lyrical comic plaintive mellow or frenetic. All attributes Popi possesses. Whether she is lamenting (just to get attention) running from one end of the flat to the other and bouncing off the sofa playing hide-and-seek ready to pounce on our feet sleeping under the blanket on Clara’s bed or enjoying the sun in the garden: Popi’s many moods inspired this passacaglia for bassoon.

5 movement suite of character pieces - absolutely delightful Victor August Herbert (February 1 1859 – May 26 1924) was an Irish-born German-raised American composer cellist and conductor. Although Herbert enjoyed important careers as a cello soloist and conductor he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. He was also prominent among the tin pan alley composers and was later a founder of the American Society of Composers Authors and Publishers (ASCAP). Herbert began to compose operettas in 1894 producing several successes including The Serenade (1897) and The Fortune Teller (1898). Some of the operettas that he wrote after the turn of the 20th century were even more successful: Babes in Toyland (1903) Mlle. Modiste (1905) The Red Mill (1906) Naughty Marietta (1910) Sweethearts (1913) and Eileen (1917). After World War I with the change of popular musical tastes Herbert began to compose musicals and contributed music to other composers’ shows. While some of these were well-received he never again achieved the level of success that he had enjoyed with his most popular operettas. His instrumental works were no less popular with his cello concerto entering the standard repertory in his lifetime. Dvorak attended the premiere of the piece and was inspired to write his own cello concerto after hearing it. He worked closely with the Pittsburgh Symphony Orchestra whilst he was their conductor and they premiered many of his large scale works. This serenade (originally for string orchestra) is an absolute gem. The first movement is a brisk march and the second is a polonaise full of stirring rhythms. The third movement is title ‘ Love Scene’ and has an almost Mahlerian intesity to the harmony: this is followed by a beautifully melodic Canzonetta which has an effortless melody owing much to the composers operettas. The last movement is a whirlwind of a Tarantella with fragments of the melody being tossed around between all players before rushing headlong to a breathless conclusion. This is an amazing composition with each movement able to stand on it’s own as a character piece. Both this piece and it’s composer deserve to be more widely known and it hoped that this arrangment will start to bring Victor Herbert back to the concert platform. It has been arranged with a wide range of abilities in mind so while flute 1 is more complex and quite challenging flute 4 is much easier and more manageable. The alto and bass parts both have significant solos throughout the movements and the lowest parts for the biggest flutes are optional. Multiple players on each part will allow for staggered breathing to cover the longer phrases.

6 miniatures in a tonal style These six miniatures were written to be played from the top of a tower on Christmas day: They range in mood from melancholic to triumphant. Rhythmically straightforward horn 1 reaches the top of the range and horn 4 needs to be secure at the bottom of the range in bass clef.

A collection of trios aimed at Grade 2-3 standard players.

Two contrasting movements in a modern style Allegro – The first of two movements for wind quintet composed for a concert in London in 2017 and given its premiere by the award-winning London Myriad Ensemble. The mood is lively dance-like bucolic with regular shifts in tonality and frequent harmonic twists. Short motifs dart cheekily from instrument to instrument and are occasionally interrupted by more sedate passages before hurrying to a brusque conclusion. Adagio – In contrast to the first bustling movement this is calm reflective and touched with a certain melancholy exploiting the darker fuller colours of the cor anglais and alto flute to evoke a distant landscape. After an initial climax a flute solobegins a faster section underpinned by a strong rhythmic figure in the other instruments. With more instruments adding their voices a sharp upward surge brings the section to a sudden close ushering in a return to the opening theme this time given to the clarinet. Echoes of the earlier flute solo add further layers rising to a full-throated climax of the main theme and thence to a peaceful close.

6 miniatures in a tonal style These six miniatures were written to be played from the top of a tower on Christmas day: They range in mood from melancholic to triumphant. Rhythmically straightforward horn 1 reaches the top of the range and horn 4 needs to be secure at the bottom of the range in bass clef.

A collection of trios aimed at Grade 2-3 standard players.

Two contrasting movements in a modern style Allegro – The first of two movements for wind quintet composed for a concert in London in 2017 and given its premiere by the award-winning London Myriad Ensemble. The mood is lively dance-like bucolic with regular shifts in tonality and frequent harmonic twists. Short motifs dart cheekily from instrument to instrument and are occasionally interrupted by more sedate passages before hurrying to a brusque conclusion. Adagio – In contrast to the first bustling movement this is calm reflective and touched with a certain melancholy exploiting the darker fuller colours of the cor anglais and alto flute to evoke a distant landscape. After an initial climax a flute solobegins a faster section underpinned by a strong rhythmic figure in the other instruments. With more instruments adding their voices a sharp upward surge brings the section to a sudden close ushering in a return to the opening theme this time given to the clarinet. Echoes of the earlier flute solo add further layers rising to a full-throated climax of the main theme and thence to a peaceful close.

Alternating chordal and contrapuntal passages make a short attractive concert piece. A relatively simple yet beautiful arrangement of a choral piece by Rheinberger. G major with an andante tempo marking. Chordal passages alternate with some simple counterpoint building to a magnificent climax in the middle of the piece. Players of about grade 3 standard should be able to get a lot out of this piece.

15 duets for beginner trombonists My original idea for the BIG BAD WOLF series was to offer teachers and students the opportunity to play duets. The accompanying backing tracks fill out the ensemble in a motivating enjoyable way whilst teaching students the discipline of rhythmic and harmonic structure. The two trombone parts are usually played subtly in the backing track just for reference and support. There are both treble and bass clef versions included here. Vol. 1 is for the beginning trombone player and although the level of difficulty increases from the beginning to the end of the book the student parts still more or less follow the ABRSM and Trinity College guidelines for Grades 1 & 2.

3 Greek Tunes for flute choir. Lively and exciting. The Greek suite is a combination of three different traditional pieces from Greece (Lemonaki Milo mu kokkino and Ksekina mia psaropula). They derive from various places both islands and mainland cities. Unlike a traditional suite the three tunes flow seamlessly into each other. The first and the last melodies are the most varied as they come from different areas whereas the middle tune (the most popular in Greece) unites the suite in a loving atmosphere. There are many rhythmical changes full of greek musical elements and syncopations.

Non standaard harmony trio. The conservative explanation for this piece was a simple desire to exploit repeated notes in a brass trio. An underlying ABA form can be discerned after which there is a “bridge” in 5/8. Subsequently the music returns to the opening motifs. Hence Over The Bridge And Back. The more amusing explanation was provided by my spouse who upon hearing the music remarked that she could picture whales parading down the avenue. And so the sub-title was born.

Charming suite of character pieces for the developing player. Tonal and melodic. I learnt the trumpet for several years until the age of 12 when for various reasons I switched to the French horn. But I always missed the trumpet an instrument to which I think I was better suited. Writing this Little Suite brought back fond memories of my brief youthful career as a trumpeter! These seven pieces are great teaching resources but also stand well on the concert platform. They range through various styles from jazz waltz to military march and explore a basic range of keys rhythms and moods. Ideal for developing players.

A full and faithful arrangement of the evergreen classic concerto. Mozart wrote this concerto in 1791 for the clarinettist Anton Stadler and it has since gone on to become the best known concerto for the instrument. There is some debate as to which type of clarinet Mozart intended to be used as Stadler was also a virtuoso basset horn player. He also experimented with extending the range of the instrument down to written low C. Unfortunately the original manuscript is now lost and various attempts have been made to discern the original format of the piece. This version has been scored for solo clarinet in Bb 2 clarinets in Bb alto clarinet in Eb (or clarinet 3 in Bb) and bass clarinet in Bb. The solo part is unchanged from theurtext. All phrasing and dynamics are editorial and may be altered as desired. Apart from this this is a full and faithful arrangement of the entire concerto with the aim of introducing players to an ensemble situation before launching into the full orchestral version.

Two contrasting movements in a modern style Allegro – The first of two movements for wind quintet composed for a concert in London in 2017 and given its premiere by the award-winning London Myriad Ensemble. The mood is lively dance-like bucolic with regular shifts in tonality and frequent harmonic twists. Short motifs dart cheekily from instrument to instrument and are occasionally interrupted by more sedate passages before hurrying to a brusque conclusion. Adagio – In contrast to the first bustling movement this is calm reflective and touched with a certain melancholy exploiting the darker fuller colours of the cor anglais and alto flute to evoke a distant landscape. After an initial climax a flute solobegins a faster section underpinned by a strong rhythmic figure in the other instruments. With more instruments adding their voices a sharp upward surge brings the section to a sudden close ushering in a return to the opening theme this time given to the clarinet. Echoes of the earlier flute solo add further layers rising to a full-throated climax of the main theme and thence to a peaceful close.

A collection of trios aimed at Grade 2-3 standard players.

6 miniatures in a tonal style These six miniatures were written to be played from the top of a tower on Christmas day: They range in mood from melancholic to triumphant. Rhythmically straightforward horn 1 reaches the top of the range and horn 4 needs to be secure at the bottom of the range in bass clef.