Timeless Cornish Melodies Cooked Up For Hungry Brass Players-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture - I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Grades 1 - 4-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Exuberant and entertaining this dynamic work is written all in one tempo and is perfect as a concert opener or festival number. Richard combines a tongue-in-cheek style with some jazzy elements while featuring brief solos forflute clarinet and bassoon (or tenor sax). Definitely NOT just some ?song and dance.? Dur: 2:45 Recorded on ?The Music of Richard L. Saucedo Vol. 2? ? 04002460

A collection of 4 part wind ensemble pieces with part options that will suit almost any group of players. For players of grades 1 to 2 standard. Score and parts included for these possible instruments: Flute Clarinet Oboe Saxophone and Bassoon.Followed by Wizard's Waltz - Flexiwinds Book 2.

Although this composition sounds like it came straight out of the Baroque period it is actually the first movement of a suite written in 1996 by Karl Jenkins. Instantly recognized as the 'diamond commercial' theme its relentless pulse and dramatic nature make it a natural for bands. Robert Longfield's skilled arrangement puts it within reach of most groups.score and parts - 4 Flute I 4 Flute II 2 Oboe 4 Bb Clarinet I 4 Bb Clarinet II 4 Bb Clarinet III 2 Bb Bass Clarinet 2 Bassoon 2 Eb Alto Saxophone I 2 Eb Alto Saxophone II 2 Bb Tenor Saxophone 2 Eb Baritone Saxophone 2 F Horn I 2 F Horn II 3 Bb Trumpet I 3 Bb Trumpet II 3 Bb Trumpet III 3 Trombone I 3 Trombone II 2 Baritone B.C. 2 Baritone T.C. 4 Tuba I String Bass I Timpani 2 Percussion I 2 Percussion II - wind/concert band

Arrangeur: Shaul Ben-Meir. Par KUMMER GASPARD. This Trio in F, Op. 32 is the first movement of a work by the same name of Gaspard Kummer. It is arranged here for a flute trio of 2 C Flutes and Alto Flute. This trio was originally composed for Flute, Clarinet and Bassoon./ Répertoire / 3 Flûtes Traversières

Timeless Cornish Melodies-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yetentirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

French composer Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. Sinfonia Da Camera for Wind Sextet was published in 1965 and remains prominent in the ensemble repertoire. Dubois' music is characteristically light-hearted with unusual harmonic and melodic textures. Sinfonia Da Camera for Flute Oboe Clarinet Saxophone Horn and Bassoon reflects Dubois' compositional characteristics and is made up of three movements; 1) Entrance 2) Gigue and 3) Variations. Sinfonia Da Camera is essential to the advanced Wind Sextet repertoire. Dubois'work makes for an exciting varied and enjoyable performance for players and audiences alike.