For Marimba Guitar Harp and Piano-This quartet for piano guitar marimba and harp was inspired by the writings of neuroscientist Antonio Damasio. In it the piano represents a human being whose lived experiences are mapped in brain areas that are represented by the guitar marimba and harp. Like the piano the other three instruments are polyphonic and so can map harmonic content as well as melodic and rhythmic content expressed by the piano in the first movement Lived Experience. This mapping is not passive but rather involves active contributions from inside the brain. The three remaining movements take the performer and listener alike through the journey of these mapped memories. Movements: I. LivedExperience II. Mapping III. Reassessed Rearranged IV. Recollection. Duration: c. 21 minutes

20 terrific tunes from today's top recording artists are included in this collection for Piano, Voice and Guitar.Includes: Blank Space, Budapest, Cheerleader, Earned It (Fifty Shades of Grey), Heartbeat Song, I Really like You, Lay Me Down, Lips Are Movin, Love Me like You Do, One Last Time, See You Again, Shut up and Dance, Sugar, Thinking Out Loud, Uptown Funk, Want to Want Me and more. / Piano/Vocal/Guitare (PVG)

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice 3 May 2008'This music was composed during my DAAD residency in Berlinin October ? November 2007. If I were to describe it in one sentence I would say that it is based on the idea of 'two things seen/heard as one'.'a2 (a due) is a well-known term to musicians; it is often found in orchestralscores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family the literal implementation of the term a2 as a'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly this never happens in this work; in fact the opposite is true: regardless of how itappears on paper (i.e. on one or two staves) the music for each instrument is constantly based on two layers.'This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates.However this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracingthe wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border death-strip killing and escape to freedom had aparticularly evocative resonance especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There there was a nameless road whose destination the authorities did notwant you to know but the locals called it the 'death-road'.'In no way programmatic in this context the extra-musical dimension of the principal idea is very much part of the piece. Here the musical and extra-musical

Mega-hit singles ?Counting Stars? and ?Love Runs Out? are both included in this Piano Vocal and Guitar collection matching the 2013 album release by this popular band from Colorado. The album reached #4 on the Billboard® 200 album charts and also includes the songs: Burning Bridges Can't Stop Don't Look Down Feel Again I Lived If I Lose Myself Light It Up Preacher Something I Need What You Wanted and more.

Composed for Emma Halnan winner of The Arts Club ? Sir Karl Jenkins Music Award 2016.The composer comments that ?for the first ten years of this century I lived and composed on the Gower Peninsula an area of sandy beaches and dramatic cliff scenery with coastal caves; the first area in the UK to be officially designated as one of outstanding natural beauty. Living in an old mill alongside the Bury Pill stream I wrote from a stable block enjoying a vista across Cheriton Valley and the river to Ryers Down. This work is a musical reflection of time spent there.?Originally scored for Flute and Piano this publication comprises the Harp adaptationby Heather Wrighton. It doesn't include the Flute part as a single part. Flautists should purchase the Flute and Piano edition.

The poem I Sing Of A Maiden is one of the best known of the anonymous medieval hymns deceptive in its simplicity and full of grace and faith. The setting by Lennox Berkeley also has a deceptivesimplicity but reveals on repeated listenings or performances a harmonic integrity and subtlely that has made it a work that will continue to be performed and enjoyed for a long time to come. Lennox Berkeley wascomposing and having his works performed before he finished school then upon meeting Ravel was introduced to legendary teacher Nadia Boulanger in Paris with whom he studied. He mixed with the great artistic and musicalnames of prewar Paris before returning to Britain where he later met and lived with Benjamin Britten before the arrival of Peter Pears in Britten’s life. Berkeley was professor of composition at the Royal Academy of Musicand himself composed more than two hundred works of music many of them of enduring value.

One of the greatest blues albums ever recorded by one of the greatest guitarists ever to have lived, every note of Live At The Regal by B. B. King is presented here in staff notation and Guitar tablature so that now you can learn all the details of this legendary performance.Recorded in 1964 at the Regal theatre in Chicago, guitarist B. B. King and his Guitar, Lucille, took to the stage and unleashed one of the most powerful performances in living memory. Blasting through a set of original compositions like Please Love Me and You Upset Me Baby, mixed in with covers of blues standards like Every Day I Have The Blues, King brought his uniquely expressive way of playing to the masses. Now, with this edition of Live At The Regal, you can learn from the greatest, following every sublime lick and expert bend until you've nailed the entire performance.Featuring staff notation and tablature, this book is ideal for the blues-loving guitarist who already knows the basics and wants to sharpen their lead-playing, and what better example to learn from than the King of Blues? The detailed instructions tell you every nuanced technique, such as every time King employs vibrato and sometimes even which pickup to use. At the back of the book there is a useful chart to explain the tablature notation for specific techniques that are used throughout the songbook. To view the complete list of songs included here, please scroll down to the song list.Guitarists like Eric Clapton and John Mayer say that they often listen to this record before their own performances, so if you're looking to follow in the footsteps of the King, don't Worry, Worry, check out Live At The Regal and learn how to get the blues. / Guitare

Written for an obscure short-lived musical that never made it to Broadway this song caught the ear of Nat King Cole who promptly recorded it in 1956 and it became a lesser-known standard in the great American songbook. It has since been recorded by artists such as Johnny Mathis Dinah Washington Diane Schuur and Diana Krall. Accessible and hard-swinging this is a perfect addition to any male or female quartet or chorus repertoire!

Johann Jacob Froberger, who lived from 1617 to 1667, developed a style of composition representing a synthesis of Italian, French and English influences, thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music.The text to each volume of the complete edition of Froberger's organ and keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques. Also, information on performance practice, on instruments of the time and on ornamentation is included, as well as details on Froberger's biography.Volume V.2, like the previously published volume V.1, contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity, new readings and two appendices containing works of doubtful authenticity and spurious arrangements.- Definitive complete Urtext edition- At the cutting edge of scholarship- Detailed explanatory notes / Orgue Ou Piano

Written for an obscure short-lived musical that never made it to Broadway this song caught the ear of Nat King Cole who promptly recorded it in 1956 and it became a lesser-known standard in the great American songbook. It has since been recorded by artists such as Johnny Mathis Dinah Washington Diane Schuur and Diana Krall. Accessible and hard-swinging this is a perfect addition to any male or female quartet or chorus repertoire!

At First Light was commissioned by Eric Bruskin a resident of Philadelphia USA in memory of his mother. Eric had a longstanding enthusiasm for my work and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances – but in memory I carry the deaths of both my own parents and I was able to draw upon that. Eric’s fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo ‘cello part in the new work – but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent. Eric’s Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually though I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general but balances it with a secular approach to loss celebration remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement the texts by the Lebanese-born Kahlil Gibran and the US Kentuckian poet Wendell Berry first address the departed loved one directly then place us within an imaginary funeral cortège where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer requested and provided by Eric Bruskin which serves to mirror its Latin counterpart heard at the outset. Throughout the lamenting cello represents a commentary on the experience articulated in the text. It evokes and in a sense tries to embrace and sanctify the individual existential journeys of the bereft as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called ‘the unbearable beauty of the dead’ (movement 5). In a modern world hostage to ever greater menace displacement bloodshed and anguish I hope fervently that this music not only brings a measure of solace to the person who commissioned it but also makes its own small contribu

Favourtie French Melodies-In creating these dozen arrangements I am unashamedly cherry-picking from a long and rich seam of French music. I feel confident that younger players and those relatively new to the cello will enjoy my selection. Forgive my tongue-in-cheek title for the book French Baguettelles (I'm half French so I don't feel too guilty!) for the music herein has more than a hint of garlic about it. Although there are certainly serious overtones to one or two pieces there is a healthy dollop of silliness to lighten the mood. Apart from Sur la Pont d'Avignon which was reportedly written in the 15th century Frère Jacques which was a popular 18th century song and Tambourin which wasin all probability also written in the 18th century (Gossec did however live well into the 19th century) all of the pieces come from composers who lived in the Romantic period. Ravel and Debussy were of course known for their impressionistic colours though for the most part it is the accompaniments which reveal this characteristic most fully. I have endeavoured to keep the piano parts playable by mere mortals conscious of the fact that cello teachers may not possess a virtuosic piano facility but may nevertheless wish to turn their hand to accompanying pupils for concerts festivals exams etc. Many of the pieces were originally written for the piano either in its solo capacity (Ravel's Pavane Pour une Infante Défunte Chabrier's Idylle Satie's Gymnopedie 1 Debussy's La Fille aux Cheveux de Lin) or in duet form (Fauré's Berceuse from 'Dolly Suite'). Three orchestral pieces Bizet's L'Arlésienne Offenbach's Can-Can and Saint-Saëns's Danse Macabre lend a welcome dramatic overtone to the book while Franck's exquisite Panis Angelicus originally conceived as a choral piece rounds off the selection admirably. In the main it is the cello's capacity for lyricism that has steered my choice of music so really open up your sound and enjoy yourself with these ageless melodies.I wish you bonne chance!Baguette: a thin loaf of

'The idea of writing a 'Jazz Suite for cello solo' came out when I tried to imagine how it would have sounded like if one of the baroque masters (Gabrielli, Buxtehude, Bach) had lived in our time and wanted to write a suite of dances. I thought it would probably still keep some of the conventions of the traditional form, like maybe the use of a Prelude to establish the key and the alternation of slow with fast movements. But some things would have definitely been different: the harmonies, for example would probably have been more complex and not always tonal. Also the popular dances used as a workbench for the suite would have been not gigues or Bourees but perhaps latin american or Jazz standards. Well, since the great masters are unfortunately not able at the moment to accept my challenge, I had to write it myself. I hope you will enjoy it. The famous cello player Janos Starker says: "Lucio Amanti is a very fine cellist and imaginative composer. His Jazz Suite is an enjoyable mix of jazz and classicism. I much appreciate his work.' (Janos Starker)