Stainer-and-Bell

With his move to a Methodist Home for the Aged Fred believed his writing days to be over. 'I knew that old age does nothing for the inspiration'. However he was wrong and this modest 'sequence in verse on the theme of old age' brings smiles and tears as Fred takes us into his new home and shares his and the community's hopes and fears joys and sorrows in 53 'verses'; on themes as diverse as 'Sex in Old Age' Bonnets and Perms' and 'Going to Church in a Mini-bus'. All royalties from the sale of this book are being donated to the Methodist Home for the Aged.ISBN 0 85249 807 1For supply to the USA or Canada please contact Hope Publishing .

Thirty-Five Compositions By King Henry VIII is a unique collection containing King Henry VIII’s complete secular works. These works consist of part-songs and instrumental consorts and have been transcribed and edited by John Stevens. The collection is a mixture of instrumental pieces and pieces for vocal ensemble mostly in three parts with about half-a-dozen in four. Seventeen of the pieces are instrumental though it is perfectly possible (and historically accurate) to play the vocal pieces on instruments if preferred. In the instrumental pieces no instruments are stipulated. The top staff is treble the second is written in the trebleclef but sounds an octave lower as for vocal tenor and the lowest line is a for a bass clef melody instrument. Either flute or recorder would work well for the top line in most of these pieces which usually go no lower than around middle C. The bassoon could play either the second or third line. And the line left over could be played on keyboard. This is not harmonic music however. There are no chords nor would it be easy of idiomatic for the keyboard player to vamp or otherwise extemporise harmonies. The pieces are printed in score so two players might share one copy but two copies would be ideal if the keyboard player is also taking part and three of course if the players want to practise separately.

Standard: Grades 1 to 5.Scale and Polish will enliven regular instrumental practice with its step-by-step guidance and newly composed piano accompaniments for all the scales and arpeggios required for clarinet grades 1 to 5. Students of all ages and abilities will gain confidence from these musical backings available in one or two octaves with choices of slow and fast tempi. Scale and Polish will encourage players to approach an often neglected part of the syllabus with the same style and enthusiasm they bring to the preparation of their pieces.

Cello part and Piano part The seven pieces for cello in this collection are of a slightly more challenging level of difficulty than those of Fiddler's Nursery which like Fiddle Fancies have been transposed and edited for young cellists by noted teacher Wendy Max. As ever Carse fits the solo and accompaniment together to make a complete musical picture testing both the player's technical skills and imaginative gifts. The seven pieces encompass a variety of moods and styles ranging from the tranquillity of Sweet Sorrow Bluebell Chimes and Sadness to the exuberance of Swinging Hopping Dance WaltzSteps and the ever-popular Frog Dance.

The first part of the comprehensive and renowned Method For Cello by nineteenth century composer educator and celebrated cellist Alfredo Piatti. An extremely popular tutor Piatti takes the student through the early stages of playing technique ? such as the open strings first position and bowings ? up to exercises in the fifth sixth and seventh positions (in the Tenor Clef). Arpeggios and scales are also included throughout to train the hands fingers and wrists in order for the right technique to become ingrained. Whenever a new concept or technique is introduced Piatti provides a detailed explanation of it sothat no prior Cello experience is required. However a basic knowledge of music theory is assumed the student is expected to be familiar with the notes of the bass clef note lengths key and time signatures etc.

Compiled by June Boyce-Tillman 32 Galliard Spirituals has been compiled by June Boyce-Tillman after working for many years with children and adults of all races and creeds. In the collection she traces through the songs the authentic record of how the Negro community thought felt and managed to survive in 18th century Maryland and 19th century Louisiana on the hope of freedom still echoed in Dr Martin Luther King's famous I have a dream speech. The songs are not only history but they are amongst the most moving and beautiful of all Western songs both in their poetry and in their simple direct melody . . . and above all in their freedom to sing rhythmagainst a steady beat.ISBN 0 85249 587 0

A highly respected Cello teacher and performer Alfred Earnshaw counted among his peers such notable twentieth-century composers of music for young cellists as Adam Carse and W. H. Squire. His Tarantella for Cello and Piano features on Children's Cello the delightful collection of cello miniatures recorded by Steven Isserlis and pianist Stephen Hough on a recent BIS recording. Earnshaw commanded a fluent graceful idiom ideally suited to inspire beginners with real musical values and the piece combines open-string and first-position playing with the flair and character of an impressive recital item.

Written in 1899 for the Cambridge Degree of Doctor of Music and prepared by Alan Tongue from the composer's manuscript A Cambridge Mass is the largest work written by Ralph Vaughan Williams before A Sea Symphony of 1909 and amongst his most ambitious. The opening Credo is set for SATB soloists double chorus and orchestra on the broadest and most dramatic scale. The Offertorium that follows is for orchestra only in lyrical sonata form. These two contrasting movements are balanced by a third part: a solemn Sanctus for double Chorus Brass Timpani and Organ and a choral-orchestral Hosanna which returns da capoafter a serene Benedictus for soloists wind and strings to crown the work with a jubilant fugal conclusion.

While the value of authenticity in the performance of Baroque music is now widely appreciated many players still feel daunted by the task of realising the unadorned melodies and basses of Corelli’s Op.5 Violin Sonatas in their original form.Fortunately Gustav Jensen’s edition of these works provides an ideal solution to the problem. Carefully fingered and bowed with the continuo sensitively arranged for harpsichord or modern piano it presents the notated elements of a spirited and musically satisfying reading while still leaving room for performers to shape their own interpretation.This volume includes sonatas No.7 and No.10 both composed on the sonata dacamera pattern and the celebrated La folia variations with which Corelli concluded his collection. Fiery and virtuosic they have remained a favourite item in the violinist’s repertoire since their publication in Rome in 1700.The solo violin part is also included on a separate insert.

Book 7-Keys to include a few in five flats and sharps more difficult passage and scale work more antiphonal detail sustained inner or lower voices pedal notes and wider skips in L.H. melodies and counter-melodies melody and accompaniment shared by hands or working independently test of interpretative skill and pedalling devices. Graded tests show how to reduce horizontal harmonies to connect melodic lines spot key changes pedal for different effects.

For over fifty years A. Forbes Milne's text has been the classic route to mastery of the art of sight-singing an essential skill for vocalists and a most valuable study for all musicians besides. Preparing each section of carefully graded exercises in various keys with a detailed yet concise theoretical account the author offers a thorough preliminary training in time rhythm and pitch before proceeding to major and minor scales groupings of rests crotchets quavers semiquavers and triplets and chromatic notes within non-modulating melodies. The method includes the so-called French time-names and Solfa note-names for those wishing to use them.

Book 2-The two books contain some 100 songs chosen from the definitive collections of The English Lutenists begun by Edmund Fellowes revised by Thurston Dart and added to by later scholars. They include many favourites and many lesser-known songs by popular composers such as Dowland Campion and Pilkington (no known ancestor of the compiler) as well as some unjustly forgotten such as Corkine Attey and Ferrabosco. Nearly all are for middle-range voice with lute parts transcribed in staff notation. The books have an appropriate preface and a commentary on the words which often throw a penetrating light on Elizabethan and Jacobean life.

Edited by William Coates & Thurston DartA rich anthology of fantasias and dances for 'whole' consorts of two to six parts by 34 composers from Adson to Wilbye - and Anon. There is also a substantial section containing music for strings and keyboards and another of music for division viol and lyra viol.First published in 1955 revised 1962 and reprinted with corrections 1971. Further reprint 1977.

The book is intended for piano students who have reached Grade V and then need help with the organisation of their practice rather than simply repetitive playing of scales and pieces. Imaginatively presented the author writes of physical and psychological preparation; practice by analysis; the development of a secure memory; how to approach sight-reading; practising scales exercises and pieces by identifying problem areas; and preparation for performance. Whatever techniques you are taught to use this book is an immensely useful aid to making practice pleasurable rather than dull never mindless and always a stimulating voyage of discovery.