Danceries Set II arranged for brass band was first commission by Keith Allen for the Birmingham Symphonic Winds. This second set of Danceries continues the format established in the popular Danceries (Set I) of using tunes and dances from Playford s Dancing Master (17th century) to form the basis of an extended dancesuite. In this set the melodies have become more abstracted and project only a distant echo of their original forms. As before each movement is self-contained colourful and direct with its own distinct mood.The outer movements Jennie s Bawbee and Peascod s Galliarda share driving percussion with a military air. Tom Tinker s Toye and Heart s Ease(movements two and three) are both settings of original melodies. All movements are more extended than in the first set with a freer use and approach to the material; melodies now occur in various keys and are supported by a greater variety of harmonic colouring. The result is a richer even more exhilarating set of dances.Brass Band Grade 5

Suite for Brass Quintet No. 2. Even as a young musician, Otto M. Schwarz played numerous works in the baroque style on the trumpet. Inspired by these student days, he is now composing new works ?in the style of??. We open with a festive Intrada, or entrée, followed by a Galliarde in 6/8 time. The regal and dramatic Sarabande is capped by a rapid 6/8 Finale. This is music that transports us back to the baroque era, when the royal houses of Europe were still centres of power throughout the globe.

Ed. Maitland-Squire, Rev. Dover Edition. The most remarkable, and in many respects the most valuable collection of Elizabethan keyboard music. ' - Grove's Dictionary of Music and Musicians. Volume Two of the famous early 17th century collection of keyboard music features 300 airs, variations, fantasies, toccatas, pavanes, and more by Morley, Byrd, Bull, Gibbons, and others. Modern notation. Reprint of the Breitkopf & Härtel edition. 'The most remarkable, and in many respects the most valuable collection of Elizabethan keyboard music' (Grove's Dictionary of Music and Musicians). The close to 300 airs, variations, fantasies, toccatas, pavanes, galliards, allemandes and courantes in these two volumes include some of the finest examples of Elizabethan and Jacobean Music: Morley, Gibbons, Farnaby, Warrock, Ferdinando Richardson, Peter Phillips, Tomkins and practically every other composer of the virginalistic school. John Bull and William Byrd, two of England's greatest composers are represented by over 100 works. The pieces herein, while composed for the virginal, can be played without difficulty on thepiano or any other keyboard instrument. Maitland and Squire set the music into modern notation, preserving faithfully the intent of the composers./ Recueil / Piano

Graded Repertoire: Grades 4 and 5-Contents: Grade 4: Buffons (Morlaye) • The Sinckapace Galliarde (anon) • Gavotte (de Visée) • Gigue (Logy) • Rondo (Purcell) • Study in E Minor (Sor) • Nostalgia: Petite Melódie(Sagreras) • Electric Guitar Barré (Lester) • Allegretto in C (Giuliani) • Alla Polacca (Carulli) • New Day (Norton) • The Seagull (Marsh) • September (Pearson) • Country Rag (Arenstein).Grade 5: Adagio (Albinoni/Giazotto) • Chaconne (Logy) • Fortune (Dowland) • Pavana No. 4 (Milan) • Españoleta (Sanz) • Maria Luisa: Mazurka (Sagreras) • Lágrima (Tárrega)• Londonderry Air (trad) • Perroquet (Buchrainer) • Sonatine (Guiliani) • Preludio (Andes) • May Fayre (Benham) • Aria (Uhl) • La Gatica (Lauro) • Prelude No. 6 (Ponce).

Court to Countryside-Generally regarded as the most valuable book on 16th-century dance and music available this volume offers detailed instructions for all of the steps involved in pavans gavottes galliards and more. References to the practices of instrumental music of the 1500s appear throughout the text in addition to 47 dance tunes with period barring and notation. 44 illustrations.

Galliarde by Pierre Attaignant (1494-1552) is an elegant opening item for those looking for something a little different. It can also be used as a filler or to link two works in a programme.Manu Mellaerts is an authority on the repertoire of this period and has arranged this short stylish piece while keeping the original renaissance spirit in mind.

Joan Cabanilles was cathedral organist in Valencia and the towering figure in Spanish organ music of the late 17th century. His brilliant and diverse musical language rooted in the traditional sounds of Spain has not managed to reach a large audience outside the Iberian peninsula although he is often called ?a musician of European stature?.The aim of this three-volume Urtext edition is to grant access to his most appealing works. To this end all available sources in the libraries of Astorga Barcelona San Lorenzo de el Escoreal Felanitx/Mallorca Jaca and Montserrat have been examined and newly evaluated.If Cabanilles?s oeuvre consists primarily of tientos organ hymns and versets the third and final volume contains three versos three pasacalles two galliards two toccatas and such special forms as Paseos de tercer tono Diferencias de Fol as and a Jácara.Final volume of the three-volume Urtext editionNew selection of pieces and musical formsExtensive trilingual Foreword (Ger/Eng/Sp) on the works sources and previous editions as well as notes on registration and contemporary organ building

Par BONIS MEL. C'est en 1998 que nous nous sommes plongés dans les archives musicales de Mel Bonis conservées par sa famille dans une cave. Concernant ces trois pièces, une simple chemise de partitions a été retrouvée. Elle portait la mention manuscrite : 'Trois pièces pour violon avec accompagnement de piano (orgue ou harpe), Mel Bonis, 1910.' L'ordre des morceaux, non précisé, est un choix de la présente édition, de même que la décision de publier la troisième pièce, le Largo, jugée pourtant sévèrement par l'auteur puisqu'elle avait écrit en marge du titre : 'Mauvais' ! Chacune des pièces n'existait qu'à l'état de manuscrit : conducteur et partie de violon séparée. L'Andante religioso porte la dédicace 'A mademoiselle Sophie Baudot, affectueux souvenir'. Elle est datée de 1910. L'Allegretto, également en date de 1910, est dédié 'à Raphaël Kellert'. Pour cette page, le matériel comporte des annotations et montre des signes évidents de travail en répétition. Signalons que, entre 1908 et 1913, le trio russe Kellert, dont Raphaël était le violoniste, a interprété des oeuvres de Mel Bonis dans diverses salles parisiennes. Le Largo, dont le manuscrit de violon porte également des marques de travail, est dédié 'à Paulin Gaillard'. L'Andante religioso et le Largo, plus ambitieux dans leur propos que l'Allegretto, déploient une belle ligne de violon qui échappe au genre modeste du morceau de salon et, pour ce qui concerne le Largo, cela explique notre volonté de le conserver dans le triptyque malgré les réticences dont nous avons fait état. L'Allegretto possède un charme double, celui de son temps et celui de son auteur, et il faut entendre cette notion de charme dans son acception profonde, c'est-à-dire dans la capacité de saisir et concentrer le parfum d'une époque, et de le restituer avec une puissance d'évocation qui n'appartient qu'à la musique./ Répertoire / Violon et Piano

DESSUS ET CONTINUO - FRAIS ET GAILLARD - UNG GAY BERGIER - PETIT JACQUET - PETITE FLEUR COINCTE ET JOLYE - ALIX AVOIT AUS DENS LE MALERAGE

Harold Darke's In the Bleak Midwinter arranged for SSA Choir with optional Organ accompaniment as arranged from The Gilliard Book of Carols.

Gallardo, Gonzalo. Par GIULIANI M.. / Niveau : Avancé / Répertoire / Guitare et Quatuor à Cordes

Ce medley rapide (quatre minutes et demie de longueur) brille avec panache et la joie des Fêtes. Chants familiers sont savamment disposés et assemblés, créant un guilleret, fougueux écueil qui est garanti pour casser la baraque! / Choeur Mixte (SATB)