The first book in The Graded Piano Player series offers popular repertoire for pianists at Grades 0-1. - Filled with classic tunes and songs from Disney, TV and film, jazz, pop and musical theatre. - Rigorously researched, edited and fingered by top educationalists. - Meticulously arranged to progress in line with the ABRSM and Trinity graded piano examinations. - Ideal for anyone seeking well-crafted arrangements of tunes they love. - For leisure, exams and to use as fun and technical repertoire between grades./ Recueil / Piano

The second book in The Graded Piano Player series offers popular repertoire for pianists at Grades 2-3. - Filled with classic tunes and songs from Disney, TV and film, jazz, pop and musical theatre. - Rigorously researched, edited and fingered by top educationalists. - Meticulously arranged to progress in line with the ABRSM and Trinity graded piano examinations. - Ideal for anyone seeking well-crafted arrangements of tunes they love. - For leisure, exams and to use as fun and technical repertoire between grades./ Recueil / Piano

Singbook is an inspirational resource for all singing leaders working with children and young people, and contains 12 songs by some of today's most exciting songwriters. Suitable for established singing leaders seeking new repertoire, and those leading singing groups for the first time. Inspires young people with an exciting and vibrant mix of styles. Celebrates our cultural diversity, combining songs from Gujarati, Chinese and Albanian music with the best of the UK. Each song includes warm-ups, learning strategies and interviews with the songwriters. All vocal parts and lyric sheets are photocopiable. The songs are graded and colour-coded into three levels - Starting, Developing and Challenging. The book is complete with two professionally-produced CDs of complete demonstrations and backing tracks. Produced in association with Youth Music and NASUWT / Voix

We Have All the Time in the World is the classic James Bond theme featuring the warm, graceful vocals of Louis Armstrong. Beloved for its sophisticated, smooth sound, the track - written by John Barry and Hal David - has transcended its tie to cinema, becoming one of the most requested songs at weddings, anniversaries and other celebrations. This brand new arrangement by Thomas Lydon for SATB choir brings this standard to the Novello Choral Pops series - the perfect number for choirs seeking a stylish, soulful number to add to their repertoire. / Choeur Mixte (SATB) Et Piano

We Have All the Time in the World is the classic James Bond theme featuring the warm, graceful vocals of Louis Armstrong. Beloved for its sophosticated, smooth sound, the track - written by John Barry and Hal David - has transcended its tie to cinema, becoming one of the most requested songs at weddings, anniversaries and other celebrations. This brand new arrangement by Thomas Lydon for SAB choir brings this standard to the Novello Choral Pops series - the perfect number for choirs seeking a stylish, soulful number to add to their repertoire. / Sab Et Piano

10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes

This collection of 15 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn?s recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer.
The pieces chart the musical development of Howells, from his earliest known work The Arab?s Song, written when he was 16, to the Petrus Suite, completed in his 80s, as well as demonstrating his fascination with French music (Phantasy, Harlequin Dreaming) and the Tudor period (Pavane and Galliard).
The volume also includes the moving tribute to his friend and fellow composer Finzi: his rest. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well to as anyone seeking fresh and distinctive piano repertoire. / Partitions classique / Piano - instruments à clavier / Piano / NOVELLO

Pour Soprano Quintette Vent Et Harpe. Par CANTELOUBE JOSEPH / ALLEN. French composer, Joseph Canteloube (1879-1957) is best known for his Cinq Chants D'Auvergne. Composed between 1923 and 1930 for Soprano and Orchestra, Chris Allen 's arrangement of the popular work for Soprano, Wind Quintet and Harp enforces the composition's favour. The Cinq Chants D'Auvergne are a collection of five folksongs from the Auvergne region of France. Composed in the local language of Occitan, the best known of the five songs is the second, Baï lèro, which to this day, remains frequently performed and recorded. Famous Sopranos who have recorded Canteloube 's much loved work include, Madeleine Grey, Dawn Upshaw, Sarah Brightman and Barbara Streisand. For all Wind Quintets, Sopranos and Harpists seeking exciting ensemble repertoire, Canteloube 's Cinq Chants D'Auvergne ensures a sublime performance for both performers and audiences alike./ Répertoire / Soprano, Quintette à Vent et Harpe

Une collection de thèmes de film classique des années 1980./ Recueil / Piano, Chant et Guitare