Two fantastic pieces; J.S. Bach's Jesu Joy Of Man's Desiring and Vivaldi's Allegro from Double Trumpet Concerto. In both of these Baroque Gems it is essential that an appropriate tempo is set immediately and maintained without effort. The arranger suggests metronome values around 84 for the Bach piece and 116 for the Vivaldi.In the Bach always have awareness of where the melody lies and give careful consideration to whether the dotted quaver - semiquaver rhythm is played with a triplet feel or in strict time. In the Vivaldi the solo parts could be played on just about any pitch of Trumpet though it would be best if the twosoloists could use the same pitch of Trumpet whatever that may be. Players that own natural Trumpets and never play them might see this as an ideal opportunity to let them off!The Latin section needs to be played with good rhythm and a sense of fun. The shock notes is Trumpets Horn and Trombone bars 73-74 are best omitted unless absolutely tight.

On Track-13 specially commissioned pieces which aim to breathe new life into a largely neglected component of the GCSE/Key Stage 4 Music syllabus Ensemble Performance.On Track comes complete with a CD-Rom containing all theparts for all the pieces and transpositions for any instrument and these parts come with a licence for printing as many copies as needed directly from the CD-Rom. A separate 'audio' CD also contains recordings of every piece.The book contains scores for each piece and extended notes by the composers to aid in the preparation of the music; there are 5 pieces for fixed ensembles and 8 pieces for flexible ensembles.The editor of the compilation Sadie Harrison comments: 'Playing in an ensemble with one's peers is perhaps the most rewarding and satisfying thing to do as a young performer and it is crucial to nurture this element ofGCSE courses to reflect this. On Track is a fantastic collection of many different styles approaches and sounds. There is something in here for everybody at whatever level and on whatever instrument. This is what GCSE Musicteachers are crying out for and finally here is something that really hits the mark.' Harrison's comments are echoed by recent examiners' reports from EdExcel one of the largest examiners of GCSE music. Theydescribe how the music they heard in examinations demonstrated 'an extreme range of standards and revealed evidence of the very wide range of instruments in use'. The AQA (Assessment and Qualification Alliance) Examiners' reportin 2004 warns schools against allowing their students to present solo music with a piano accompaniment played by a teacher or with a CD accompaniment for the ensemble performance component. It continues saying that 'it is of utmost importance that the chosen ensemble allows the candidate to show rapport with the other player(s). This is a significant requirement with which many [examination] centres did NOT

Scatter the Mud is a collection of three traditional jigs: Scatter the Mud Up Sligo and Cock of the North. And included by way of light relief the Air: Factory Girl. The tunes are presented in the way they may appear in a session or ceilidh played several times each one after the other. Ideally suited to a quartet that plays for functions - weddings parties etc. - a crowd-pleasing encore. This work is also suitable for string orchestra and if you have purchased this set of score and parts additional individual parts are available separately price: £2.00 each.

These arrangements were written for string ensembles in primary and secondary schools music centres prep schools and for various ensembles at Charterhouse. They grew out of a need for playable yet musically challenging arrangements where maximum 'effect' is obtained by using naturally resonant keys and idiomatic bowings - and have been used and honed over many years. These also recognise the fact that in many schools Viola players are scarce; most of the easier arrangements are therefore in three parts with optional Viola (doubling second Violin) and optional Double Bass (Viola still optional) which can be played if necessary by a Cellist (special part provided). Thearrangements ensure that all departments have the tune or thematic material at some stage - not just the first Violins. Written with the development of young players' technique in mind. Arrangements of 'real' music providing worthwhile musical challenges. No independent Viola part (optional Double Bass and Viola parts provided.) All parts get a go at the tune!

These arrangements were written for string ensembles in primary and secondary schools music centres prep schools and for various ensembles at Charterhouse. They grew out of a need for playable yet musically challenging arrangements where maximum 'effect' is obtained by using naturally resonant keys and idiomatic bowings - and have been used and honed over many years. They also recognise the fact that in many schools Viola players are scarce; most of the easier arrangements are therefore in three parts with optional Viola (doubling second Violin) and optional Double Bass (Viola still optional) which can be played if necessary by a Cellist (special part provided). Thearrangements ensure that all departments have the tune or thematic material at some stage - not just the first Violins!

These folk dance tunes were all well known in the part of England once called Wessex and the instrumental parts are arranged much as they would have been played in Hardy's day.Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion

String Orchestra-Eight innovative pieces for string players in their first year using first position (only first finger) and open strings. Viola part is optional.Individual parts for all Spartan Press ensembles are available separately quickly and inexpensively. DO NOT PHOTOCOPY.

This work can serve as ideal teaching material for orchestras to learn slow sonorous and expressive playing critical to string ensemble performance. As always the parts have been well crafted for student players by veteran arranger Lloyd Conley.

In this composition William Vean takes you on a journey through the fascinating and exciting world of animals. Apart from it being a composition filled with 'special effects' Animal Kingdom contains many educational elements such as playing inswing (triplets feeling) chromatics flutter tonguing gypsy tuning varying keys and of course dynamics and articulation. The melodic lines occur in all four voices as well as in all percussion parts providing each musician with theopportunity to play a solo or to accompany. Highly recommended for your youth band! William Vean is an educational composer. He knows how to musically shape the special elements from our daily lives. His music is therefore veryexpressive containing creative solutions to possible problems. Special ways of playing make his music particularly interesting for the winds but the percussion section is also featured in his special effects. The world of the animalsalways plays on ones imagination. In Animal Kingdom William Vean has portrayed a number of animals in a special manner: Kevin Kangaroo - The jumping character of this animal can be heard in different voices. The swing style alsoemphasizes the characteristic movements of the kangaroo. Playing in swing style can be practised by using scales. Eddy Elephant - For some of his smaller fellow fauna friends this can be quite an ordeal but for Eduard (Eddy for friendsand intimates) it is his daily walk. Baldrick Bat - Baldrick the Bat is a mysterious character. This can be heard in the fast moving valves and keys accompanied by special effects in the percussion section. Curtis Camel - Curtisthe Camel trudges across the desert feeling bored. The idea that the horizon will never change does not affect him anymore. He has accepted his fate. The distinctive tones from the gypsy scale provide the suitable oriental sounds. BettyButterfly - Butterfly Betty elegantly and without worries flutters from flower to flower in the garden. Her motto: Carpe Diem (Seize the Day). Betty is a one-day butterfly. Marvin Monkey - A 'swing' monkey stirs up the feelings. Evenmembers of the orchestra will look like real monkeys. How about your audience? Each part has its own difficulties and challenges. Important in the first part is playing 'in swing' (triplets feeling). This can be practised usingscales. In the second part ensemble playing and balance are important. In Baldrick additional information on the effects that have to be played might be useful. 'New' sounds are of course welcome. Curtis the Camel introduces thegypsy scale. Additional explanation of the use of the scale might be useful. Key changes are interesting in this part. A slight accent on the first beat of the bar will add to the charm of this part. Marvin the Monkey brings back the swingrhythm that was introduced in the first part altern

A Musical Memorial-Today Voestalpine is a company specialising in technology and industrial goods. Founded nearly 150 years ago it has played an important role in the steel and iron industry throughout its history. The company displays an impressive “Contemporary History Exhibition 1938-1945” commemorating the victims of National Socialist forced labour in the factory during WWII. ‘Iron Ring’ refers to the company logo during that time. This work is a symphonic poem-like composition describing different aspects of the companies’ history in four musical scenes. It is a dramatic breathtaking and impressive piece of music that will leave no one untouched. The piece features severalimpressive solos for a cello. Today Voestalpine is a company specialising in technology and industrial goods. Founded nearly 150 years ago it has played an important role in the steel and iron industry throughout its history. The company displays an impressive “Contemporary History Exhibition 1938-1945” commemorating the victims of National Socialist forced labour in the factory during WWII. ‘Iron Ring’ refers to the company logo during that time. This work is a symphonic poem-like composition describing different aspects of the companies’ history in four musical scenes. It is a dramatic breathtaking and impressive piece of music that will leave no one untouched. The piece features severalimpressive solos for a cello.

This is the first publication of Vaughan Williams's earliest substantial work for orchestra composed 1897-8 and premiered in April 1901. This attractive work already shows evidence of the composer's emerging musical style and sure grasp of orchestral techniques. Its five movements display much variety and sense of overall architecture with a sombre opening Prelude a fleet-footed Scherzo a graceful Intermezzo and Trio a delicate Romance and a boisterous Finale. This new edition has been carefully prepared from the original manuscript by Julian Rushton and comes with full textual commentary. Orchestral material is available on hire/rental.

Tendrils has been described as a 'masterly display of Skempton's utterly natural art.' It is built out of continuous undulating lines that sustain their effect throughout the impulse being lyrical and experimental.

Tendrils has been described as a 'masterly display of Skempton's utterly natural art.' It is built out of continuous undulating lines that sustain their effect throughout the impulse being lyrical and experimental.

It S Heaven-Anton Bruckner's Seventh Symphony unlocked by Mark Goddard for flexible ensemble. This arrangement retains the essence of the great work yet is easy to play flexible and concise.Available in three separate versions - woodwind (SP1192) brass (SP1193) and strings (SP1194) - which combine together as required.Woodwind pack includes the full score plus 12 parts: Part 1: Flute and/or Oboe and/or B Flat Clarinet/Soprano SaxophonePart 2: Oboe and/or B Flat Clarinet and/or E Flat Alto SaxophonePart 3: B Flat Clarinet and/or E Flat Alto SaxophonePart 4: Bassoon and/or B FlatClarinet/Bass Clarinet and/or B Flat Tenor Saxophone and/or E Flat Baritone Saxophone