'Tall Stories for Short Pianists' is an album of a dozen approachable Piano solos along with 5 duets (for pupil and teacher) pitched at the younger Pianist. Each piece connects with a tale or story (some will be more immediately familiar than others) while the level of difficulty starts at ABRSM Prep Test/Trinity College Initial with a couple nudging Grade 3.While in some cases the technical and reading difficulties have been kept to a minimum other pieces include hand-positon changes hand-crossing isolated high/low notes or brief chromatic features in order to widen the interest. The intrepid Pianist is warmly invited to take up a commanding presenceat the Piano (or Keyboard) and perform with authority!Mark Tanner's compositions encompass an impressively wide range of attractive styles. A number of his pieces written or adapted for a variety of instruments feature in current ABRSM TCL and LCM exam syllabuses drawing from a growing oeuvre (60 volumes) of music published by Spartan Press. You will find a few of his pieces within an appealing new ABRSM series due to appear later in 2016: 'Piano Star'. Mark's 'Scapes' series was shortlisted for the 'Best Print Resource' Award at the 2015 Music Teacher Awards and he is co-author of ABRSM's Teaching Notes an informative book to support the latest Piano syllabus. His thought-provoking book 'The Mindful Pianist' was published by Faber Music in 2016.

From the author of Mel Bay's best selling Learn to Play Fingerstyle Solos for Ukulele and Favorite Fingerstyle Solos for Ukulele we are proud to present Fingerstyle Duets for Ukulele. This book and companion audio offer 21great songs arranged in 18 duets for fingerstyle Ukulele. The songs come from around the world: European waltzes classic Hawaiian songs folksongs Victorian parlor pieces and classical guitar and piano transcriptions.Nothing in this book will be out of reach of the advancing beginner or intermediate player. Even advanced players will find something to tickle their fancy. The book includes tips on technique and fingerpicking exercises.Many of the songs include lyrics adding to the flexibility of the arrangements. Included are four etudes - basic duets featuring scaled down melodic parts for the lead Ukulele and simple pattern picking for the accompaniment.More advanced duets feature modulations chord inversions up the neck and different rhythmic approaches for the right hand in both parts. The book concludes with an arrangement of Erik Satie's haunting solo Piano piece Gymnopedie#1. Includes access to online audio.

With Online Audio-From the author of Mel Bay's best-selling book Learn to Play Fingerstyle Solos for Ukulele we are proud to present Favorite Fingerstyle Solos For Ukulele. This book and accompanying audio offer a variety offingerstyle solos for the Ukulele. The music stretches across several styles including Hawaiian ragtime bossa nova and classical. The solos progress in difficulty and tips on technique are included along the way. Moreadvanced arrangements introduce chord inversions and different rhythmic approaches for the right hand. Thirty-three arrangements are presented in standard notation and tablature. Transposition charts are included for baritoneukulele. Includes access to online audio.

Par MARTIN MATTHEW. Commissioned by the American Guild of Organists, this festive anthem for mixed voices and organ is an ideal choice for choirs new to Matthew's music, as well as existing fans. Lively, rhythmic and compelling, this work is also remarkably approachable: the choral lines have been carefully crafted to offer maximum musical impact without being challenging, and the organ part underpins the whole with stimulating syncopated rhythms and harmony. / Niveau : Intermédiaire / Feuillet / Voix Mixtes

Master of the Queen’s Music Judith Weir was commissioned by St Paul’s Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen’s 90th birthday in 2016.The piece is now available from Chester Music so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include thisapproachable setting of Robert Bridges’ poem.Directed by Andrew Carwood the St Paul’s Cathedral Choir performed I love all beauteous things as part of the National Service of Thanksgiving whichtook place on at 11am on 10 June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury gave the address and the Prime Minister read a lesson.  Judith Weircomments:'It is a particular honour to contribute new music for this great occasion and a pleasure to write a choral version of Robert Bridges’ beautiful verse.'COMPOSER’S NOTEAt the suggestion of Michael Hampel Precentor of St Paul’s Cathedral I have set words by Robert Bridges who was Poet Laureate from 1913–1930. Bridges was an outstanding humanitarian and writer whose poetry hasinspired me before in The Voice of Desire a song-cycle for mezzo-soprano and piano. This short fast-tempo setting aims to emulate the swift fleet-footed rhyme and metre of the two-verse poem with its unobtrusive but tellingreference to ‘man in his hasty days’.J.W.Commissioned by the Chapter of St Paul’s Cathedral to mark the 90th birthday of HM The Queen generously supported by the Boltini Trust. Performed at theNational Service of Thanksgiving for HM The Queen’s birthday at St Paul’s Cathedral London on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh.Music by Judith Weir Master of

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

Uses: Palm Sunday Scripture: Matthew 21:1-11; Mark 11:1; John 12:13 Pure joy for Palm Sunday! This SAB powerhouse is a one rehearsal wonder rich with melodic charm and delightful lyrics. The use of crafty countermelodies helps enrich the texture while maintaining the approachable level of the music. An accessible handbell part will add another layer of sound to your presentation and the brief performance time will make this as an ideal opener for the parade of palms. Handbell Part (2-3 oct. 23-31 bells) available as a digital download.

Uses: Communion Scripture: Deuteronomy 8:3 Matthew 4:4 Mark 6 John 5:39 Hebrews 5:12 A quiet canticle of grace and hope this communion moment is a touching addition to any Lord's Supper commemoration. A truly memorable melody carries the message as a sincere prayer. Approachable part-writing and a sensitive piano support makes for quick learning while the inclusion of one of the great hymns of the faith fulfills all the requirements for a successful anthem presentation.

Par WEIR JUDITH. Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir's special new choral piece I Love All Beauteous Things Master of the Queen's Music, Judith Weir, has been commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges' poem. Directed by Andrew Carwood, the St Paul's Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: 'It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges' beautiful verse.' Preview the score here Download the digital sheet music here COMPOSER'S NOTE At the suggestion of Michael Hampel, Precentor of St Paul's Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to 'man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust. Performed at the National Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral, London, on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen's Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844-1930) Poet Laureate 1913-30 I love all beauteous things, I seek and adore them - God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making - Altho' to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)/ Feuillet / Choeur Mixte (SATB) et Orgue

This work is intended for performance on Good Friday during the 'Adoration of the Cross' ceremony of the Roman (Catholic) rite. The pitch of the sung parts is given by a member of the choir who after discreetly obtaining a tone with the aid of a tuning fork (or other such device) intones 'Popule meus' (and later 'Hagios') clearly on the notes indicated in each case. The recited 'Hagios' choruses should be performed as speech on diverse tones but in the natural speaking registers and in compliance with the rhythms and expression marks indicated. When reciting the word 'Sanctus' the consonant 'nc' should dominate.The two speech choruses develop into a 'Miserere nobis' sungon chance (random) tones with fixed time values (durations) the second time however culminating in completely free improvisation. At this point each singer sings 'Miserere nobis' independently of the others. The sentence may be repeated (ad lib.) with new variations until at a sign from the leader each initiated phrase is terminated in a diminuendo.These improvised sections should allow for considerable freedom of expression. They should be a result of spontaneous inspiration but should at all times be characterised by sacral dignity and should conform to the character of the work as a whole. All sections to be performed quasi attacca - keep the intensity.The reproaches are to be recited by a male chorister in his normal speaking register but quasi cantabile.It is left at the discretion of the performers to decide how many of the recited verses in the last section of the work are to be performed. When 'Popule' is sung for the last time the word 'mihi' should be uttered as a sigh.Bernhard Lewkovitch

For Clarinet solo with wind quartet and string quartet. Score OnlyFirst performed by Michael Collins Clarinet London Winds and the Endellion String Quartet on 27th January 2011 at the Wigmore Hall London.Scoring:Solo ClarinetFluteOboeBassoonFrench Horn2 ViolinsViolaCelloDuration:circa 13 minutes'During a visit to the exhibition of Francis Bacon at the Tate Gallery in December 2008my eye fell on Figure in a Landscape 1945 which resonated in me powerfully. It is a sceneof devastation and despair and also it seemed to me of latent anger and hostility... butabove it all a serene blue sky beckons. So perhaps even in the darkest moments there is aglimmer of hope - the possibility of change.This idea became the starting point for this work - Towards the Blue - a mini concerto forclarinet who eventually becomes the leader of the group.The work starts without the clarinet and all is desolate yet fiercely argumentative discordant and uncomfortable. Suddenly the offstage clarinet is heard and the players insurprise are quietened. However when the clarinet enters and approaches with a lyricalmusical motif some of the players respond others resist. Gradually the clarinetpersuades the dissident voices to join him in a spirit of co-operation and harmony.A brief memory of the opening desolation casts a momentary shadow which is quicklydispelled by the coda marked Gioioso.'Thea Musgrave (May 13th 2010)Parts available for hire separately

When Jeffrey Skidmore of Ex Cathedra approached me to write this piece he specified that it should be remembering the first World War and if at all possible the words should be by or about a woman.A friend steered me towards Vera Brittain's Testament of Youth and spookily the book fell open on page 163 where appeared Kathleen Coates' s poem 'A Year and a Day'. This was written between 1910 and 1913 but is I think prophetic of the impending war in its depiction of a woman and man in love reluctantly separated and missing each other. Around the same time my mother sent me the poem 'Since we parted yestereve' by Victorian statesman and poet Robert Bulwer-Lytton(1831-1891) — it seemed to fit beautifully as a refrain to 'A Year and a Day'.We start with the refrain in which I try to create a sense of yearning — with harmonies that lean into each other and suspensions that only partly resolve. I have given the ladies the first verse of 'A Year and a Day' — I have used mellow flat keys as this is marked 'languorously' as I picture a calm but pining Edwardian lady reclining in a warm English Summer's garden. When the men take over in the second verse this comes from a darker place — maybe a noisy fetid trench where dreams of love and happiness are sometimes hard to conjure. The music shifts in harmonic uncertainty — the harp oscillates and rumbles creating instability. This part is written in sharp keys which I think have a more stringent feel about them. The whole piece is made up of my typical major-minor harmonic language which sets a bittersweet atmosphere and the trumpets remind us from time to time of the backdrop of war. The piece ends meditatively with 'Eleven Armistice Chimes' and lasts approximately 10 minutes. It's dedicated to Jeffrey Skidmore and Ex Cathedra and my deepest thanks go to them for commissioning the work and Jane Arthur for sponsoring the commission.