Gergely Vajda composed Lightshadow-trembling at the age of 20 in 1993. Being a clarinettist, he was interested in the possibilities of both traditional and modern ways of playing. Noise elements and sometimes imitations of the sound of folk instruments (bagpipe, reed-pipe) appear in this spectacular concert piece. / 2 Cors

Double Act is a collection of duets where the accent is on playing for pleasure. It is aimed at players of equal standard with the melody often shared between the parts. The popular melodies cover a broadspectrum of styles that will appeal to trumpeters of all ages and abilities from Grade 2 upwards. The duets will help to develop technique and the familiar tunes will make sight-reading easy and rewarding.Adagio from Clarinet Concerto - MozartAmazing grace - Traditional American melodyAndante from Violin Concerto - MendelssohnBlow the wind southerly - Traditional English melodyCanon in D - PachelbelCome landlord fill the flowing bowl - Traditional Scottish student songDaisy Daisy - Harry DacreDance to your daddy - Traditional Northumbrian melodyDick's maggot From 'The Dancing Master' - John PlayfordDonkey riding - Traditional Canadian melodyEvening prayer from 'Hansel and Gretel' - HumperdinckFlower duet from 'Lakmé' - DelibesHallelujah chorus from 'Messiah' - HandelHornpipe from 'WaterMusic' - HandelI do like to be beside the seaside - John A. Glover-KindJ'ai du bon tabac - Traditional French melodyLa donna è mobile - VerdiLinstead Market - Traditional Jamaican melodyLittlebrown jug - Joseph WinnerLullaby - BrahmsMango walk - Traditional Jamaican melodyMinuet in G - BeethovenNearer my God to thee - Lowell MasonPrelude from 'Te Deum' - CharpentierRule Britannia- Thomas Augustine ArneSoldier soldier - Traditional English melodyStill still still (Hush hush hush) - Traditional Austrian melodySwing low - SpiritualThe ash grove - Traditional Welsh melodyTheBritish grenadiers - Traditional English melodyThis jazzy old man - Adapted from a traditional English melodyWaltzing Matilda - Marie Cowa

Flexible four-part arrangements for the first ventures into ensemble playing. Par RAE JAMES. 'Ensemble Debut” by James Rae is a natural progression from the award-winning Debut Series, which already encouraged young players to join their friends for duet versions of its little concert pieces. James Rae has taken four pieces that already appeared in the solo books and expanded them to be played by almost any combination of instruments, from a quartet up to a full orchestra. Parts are provided for C, Bb, and Eb instruments as well as viola, French horn, bass clef (in C) and percussion. The piano part can be used to support both performance and rehearsal. Youngsters in only their very first term of tuition can join together for the wonderful experience of ensemble playing before progressing to Debut's natural sequel, the All Together Easy Ensemble series./ Recueil / Ensemble Flexible

Music Medals Brass Ensemble Pieces are five volumes of enjoyable and accessible repertoire for the developing ensemble progressively graded Copper Bronze Silver Gold and Platinum. They contain original pieces and imaginative arrangements for duets trios and quartets. Suitable for Trumpet Cornet Flugelhorn E Flat Horn French Horn Baritone Euphonium and E Flat Tuba.

Music Medals Brass Ensemble Pieces are five volumes of enjoyable and accessible repertoire for the developing ensemble progressively graded Copper Bronze Silver Gold and Platinum. They contain original pieces and imaginative arrangements for duets trios and quartets. Suitable for Trumpet Cornet Flugelhorn E Flat Horn French Horn Baritone Euphonium and E Flat Tuba.

trumpet cornet flugelhorn E flat horn French horn trombone baritone euphonium tuba-Music Medals Mixed-Brass Ensemble Pieces are three volumes of repertoire for mixed-instrument groups including combinations of B flat E flat and F parts as well as bass and treble clef options for lower brass. Progressively graded Copper Bronze and Silver they contain original pieces and imaginative arrangements for mixed duets trios and quartets. Covering a wide range of styles the volumes provide excellent material for mixed-ability groups as well as being an exciting resource for the individual musician. Fun pieces and arrangements in various styles Ideal group-teaching material for the developing ensemble Suitable fortypical combinations of brass instruments All pieces selected for the Associated Board’s music medals.

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