The second volume of a thousand and one all-time hit songs ranging from essential standards to the latest pop hits - a must for all singers and musicians. / Chant Et Guitare

Faced with the daunting legacy of Beethoven's symphonic works Brahms took twenty years to shape his first symphony- a masterpiece that premiered in 1876 to great critical acclaim. The expansive Symphony No.1 perfectly displays Brahm's ability to organise a variety of moods into a coherent whole. Published in full score ideal for study purpose.

DVD One: One-On-One with the Master-On this instructional session the late Bill Monroe - widely known as the 'father of bluegrass' - discusses and demonstrates the instrumental techniques that changed the course of American music. The camer's eye reveals up close and in detail Bill's incredible facility and inventiveness on the mandolin as he plays and sings both alone and backed up by his long-time band the Blue Grass Boys.You'll see and hear Bill Monroe play twenty-seven tunes (some recorded here for the first time) including favourites such as 'Rawhide' 'Wheel Hoss' 'Tennessee Blues' 'Dusty Miller' 'Roanoke Pike' 'Country Breakdown' 'Blue Grass Stomp' 'Get Up John' 'Katy Hill' and 'Rocky HeadBlues'.In an intimate coversation will fellow musician John Hartford Bill discusses a wide variety of topics: His musical development ideas about performing and songwriting memories of childhood early touring days his years on the Grand Ole Opry and much more.

Twenty great saxophone solos from the musicals with two accompanying CDs featuring demos and full 'soundalike' backing tracks. A classic selection of showtunes ranging from West End hits by Jorome Kern and Lionel Bart to thegolden years of stage musicals by Lloyd Webber & Rice and Ulvaeus & Anderson. Here's your chance to stand in the spotlight and play some of the all-time greatest numbers from the musicals! Learn to play these solosspecially arranged for alto saxophone. Hear how they should sound on the demo CD then play along with the full backing tracks to show off your new skills! Be the star - learn the solos - then take your place centrestage!

Collected (and set with a Piano accompaniment) by Ralph Vaughan Williams from the collection Folk Songs from the Eastern Counties.  For solo voice with Piano accompaniment.First sung to R. Vaughan Williams by James 'Duggie' Carter a King's Lynn fisherman  the song tells the story of the death of a young boy aboard a ship. According to comments from RVW himself 'The ballad was probably called forth by a particularly brutal case of ill treatment similiar to that narrated in it which occurred some twenty or thirty years ago'.Lyrics:One day a poor boy to me was bound apprentice Because of his beingfatherless;I took him out of St.James’ workhouse His mother being in deep distress.One day this poor boy unto me offended But nothing to him I did say Up to the mainmast shroud I sent him And there I kept him all that long day.All with my gasket I misused him So shamefully I can’t deny And by my barbarous cruel entreatment The very next day this poor boy died.You captains all throughout the nation Hear a voice and a warning take by me;Take special care of your apprenticeWhile you are on the raging sea.

Bill Harley - songwriter storyteller author playwright - is known as one of the finest family performers in the United States. His unique combination of song and story silly and serious has entertained families for overtwenty years. This sing-along CD of kid-friendly songs includes: There's a Pea on My Plate A Light That Always Shines Oh No Not Again A Cowboy's Life Put Your Helmet On The Love of the Game Don't You Just Know It I LoveMy Sister Moving Day Tue Tue You Should Have Been There and Things Will Look Better in the Morning. Printed lyrics also included.

Handel originally wrote Israel in Egypt in the late 1730s but this the well-known version was not written until twenty years later when he discarded the old one as out-of-date. The 'new' version is a two-act oratorio where the chorus is far more prominent and serves much greater variety of expressive purposes than one finds almost anywhere else in Handel's output. Notably there is extensive use of the double-chorus. It did not take long for this 1756 version of Israel in Egypt to assume a place alongside the Messiah as one of England's favorite choral treasures. Part I tells of the Israelites' deliverance from their Egyptian captivity at the hands of Moses; thetwelve choruses that describe the miracles leading to the Israelites' freedom are among the most stunning and colorful ever written -- images of hailstones pestilence and even the glorious parting of the Red Sea are achieved without once resorting to the kind of pictorialism that a lesser composer would relish. Part II Moses' Song recounts the Israelites' victory. This is the Schirmer Edition of the Vocal Score and hence contains a piano reduction of the original orchestral accompaniment.The full score is also available order code DP16788.

Mendelssohn produced an early work for Organ in 1837, but it was a London music publishing firm who commissioned the first of his mature Organ works. The second half of the commissioned pieces are published in this volume. Mendelssohn himself saved all his manuscripts and they have survived in libraries in Berlin and Krakow, providing the subtitle of this book.Eleven movements are included here, all written in 1844 and 1845. What were originally commissioned as 'Voluntaries' were changed at the composer's request to 'Sonatas'. Whether one considers these movements as drafts and sketches or as distinct musical entities in their own right, the works are not identical to the final, printed versions. For those who appreciate or study the Mendelssohn Organ oeuvre, this volume is of immense interest.While the Organ never completely fell from grace as the instrument of church and religious music, it is the editor's belief that in the century dividing JS Bach from these works of Mendelssohn, fashion and church practice had greatly diminished its importance and few works of real note were produced. Mendelssohn was introduced to the Organ early in his prodigious career and found a warm audience for his Organ performances in Engand, to which he returned nine times over nearly twenty years. / Orgue

Techniques and Concepts from 40 Years of Rock Guitar-The aim Masters Of Rock Guitar (Book and CD) is to document the development of Rock Guitar playing by thoroughly investigating the styles of twenty distinctive and influential Guitar greats including Chuck Berry Jeff Beck Jimi Hendrix Mark Knopfler Gary Moore Eddie van Halen Joe Satriani Steve Vai and others.Masters Of Rock Guitar (Book and CD) uses more than 250 licks selected for inclusion here serve as a reference for anyone in search of authentic sounding material. This book is more than a mere compilation of licks. By presenting detailed information about personal influences identifiable elements harmonic material sound (preferred instruments amps effects etc.) and discographies Masters Of Rock Guitar provides the reader with a well-rounded picture of each individual guitarist. In addition the level of technical difficulty increases parallel to the chronological sequence so the book can also be used as a methodically constructed learning aid for beginning to advanced players.The accompanying CD is over 70 minutes in length. It will not only help readers play the licks but gives them the ability to select each profiled guitarist's music individually. In notation and tablature.

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)