Par HUGHES ED / PALMER BILL / PALMER-HUGHES. This comprehensive method of music instruction enables the beginner to progress to an advanced stage of technical skill. / Instrumental Music, Methods & Tutors, Miscellaneou / Méthode / Accordéon

Par HUGHES VIRGIL. Méthode du débutant dans cette présente des instructions claires et concises pour apprendre à jouer le dulcimer de montagne à trois cordes traditionnel. Trente-huit chansons sont enseignées avec la notation et de fret de numéros pour chaque note. Symboles de corde sont également incluses pour jouer de la guitare, banjo ou un autre instrument simultanée. Mélodie jouant avec drones et jouant de la corde de base est les deux enseigné. Paroles sont inclus avec des chansons pour le plaisir supplémentaire. Depuis l'époque de que ce texte a été publié, il a été un best seller stable. / Niveau : Débutant / All Styles - Methods / Méthode / Dulcimer des Appalaches (Cordes pincées)

Par SATRIANI JOE. A dozen guitar transcriptions with notes and tab are included in this collection matching the 16th studio album released by Satch. This 2018 album also features Deep Purple bassist Glenn Hughes and Red Hot Chili Peppers drummer Chad Smith. Includes: Catbot - Cherry Blossoms - Energy - Forever and Ever - Headrush - Invisible - Looper - Righteous - Smooth Soul - Super Funky Badass - Thunder High on the Mountain - What Happens Next. A dozen Guitar transcriptions with notes and tab are included in this collection matching the 16th studio album released by Satch. This 2018 album also features Deep Purple bassist Glenn Hughes and Red Hot Chili Peppers drummer Chad Smith. / Pop and rock / Tablatures / Guitare

Arr. Philip Sparke. Par TRADITIONAL. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for concert band retains all the beauty and simplicity of the original. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his Harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for Concert Band retains all the beauty and simplicity of the original. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie

1901-2004Content : L. Lehmann: The swing - R. Vaughan Williams: The sky above the roof - R. Quilter: O mistress mine - H. Hughes: She moved thro' the fair - R. Vaughan Williams: Linden Lea - F. Bridge: E'en as a lovely flower - J. Ireland: Spring sorrow - I have twelve oxen - M. Mead: The ships of Arcady - F. Keel: Trade winds - H. Howells: The widow bird - R. Clarke: Infant Joy - E. Poston: Sweet Suffolk owl - B. Britten: The birds - H. Hughes: A young maid stood in her father's garden - M. Mead: Mamble - M. Seiber: O your eyes are dark and beautiful - N. Rorem: Little elegy - M. Rose: See, see, mine own sweet jewel - A. Copland: Long time ago - N. Rorem: On a singing girl - A. Copland: Little horses - M. Rose: The lark in the clear air - H. Ferguson: The apron of lowers - R. Dray: In praise of ale - The Virgin's cradle hymn - C. Field: Spell of creation - P. Ayres: There was a naughty boy - C. McDowell: If there are angels

Music played an enormous role in the works of William Shakespeare, while his own sonnets, poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection, inspired by the 400th anniversary of the Bard's death in 2016, is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities, this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear.The collection features some beautiful settings that have well and truly stood the test of time, such as Thomas Arne's Blow, Blow, Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More, Ladies, Gary Carpenter's Lo, Here, The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass.Not only this, the Shakespeare Choral Collection boasts several works that were specially commissioned, including John Joubert's Be Not Afeard, Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil, I Haste Me To My Bed. Some pieces have never appeared before in print, such as those by Kevin Olsen, Bernard Hughes and John Gardner. These songs truly are a joy to perform, with some relatively simple arrangements that are purely fun to sing, while some more complex settings that will be thoroughly rewarding for choirs and audiences alike.A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection, which would work as a wonderful concert programme on its own, or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating introduction by editor David Wordsworth, and notes describing each piece.Words written by indisputably the greatest writer in the English language can only be matched with music by composers of talent and renown such as these. The Novello Shakespeare Choral Collection is an essential anthology of stunning settings of beautiful words which will be performed and enjoyed for many years to come. / Choeur Mixte (SATB)

Par HALL JONTY. Suite of 4 movements in a modern, quirky style. Advanced players needed. Toot ( and Hoot) Suite A four movement Suite for more advanced musicians. This Suite was brought together from two current compositions (movements II and IV), the other two movements were conceived around 28 years ago - originally for solo clarinet and piano - now re-drafted for flute, clarinet and piano. Flute and Clarinet have equal prominence in all movements. The Toot ( and Hoot) Suite was first performed July 2018 at Christ Church Freemantle by Claire Stocker (Flute), Alison Hughes (Clarinet), and the composer at the piano. / Niveau : Avancé / Répertoire / Flûte Traversière, Clarinette et Piano

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

Par QUARTEL SARAH. Forces or Category: Upper voices in 2-4 parts, with piano or unaccompanied 10 songs for upper voices, with piano or drum, or unaccompanied Wide range of secular texts, including canonical writers like Julian of Norwich, Langston Hughes, and Sara Teasdale, as well as original words by the composer Mixture of moods and styles, from energetic and uplifting to poignant and reflective/ Répertoire / 2 ou 4 Voix Hautes

Par SPARKE PHILIP. This is an ancient Welsh air that was first published in Relics of the Welsh Bards in 1794. Dafydd (David) Owain was a famous Welsh bard who lived on a farm called Gareg Wen (The White Rock) in Eifionydd, Carnarnvonshire, North Wales. Tradition has it that on his deathbed he called for his harp and composed this lovely melody, requesting that it be played at his funeral. Accordingly, it was later played at the parish church of Ynys-Cynhaiarn. Lyrics were later added by Ceiriog Hughes, which describe the melody's inspiration. This version for brass band retains all the beauty and simplicity of the original. / Niveau : 3 / Pièce de concert / Répertoire / Brass Band

20 Short Pieces composed collaboratively by John Cage, Henry Cowell, Lou Harrison and Virgil Thomson. Orchestrated by Robert Hughes for this instrumentation. / Petit Ensemble Contemporain