Of Noblest Cities is intended for a choir of between 12 and about 40 voices, although it may also be given by just six singers, one to a part (SSATBB). The piece can be performed unaccompanied, if no suitable organ is available, simply by leaving approximately two crotchet beats of silence between the end of the last note of one verse and the beginning of the next. Underlying the melody is a simple rhythm which is sometimes expanded or contracted. In the first verse the position of the main beats in this rhythm is made clear by the barlines. In the remaining verses, however, the barlines are only there to help the singers to keep together, and for convenience in rehearsal: singers should observe their own strong beats, which fall in different places for each part, and not regard the barlines as indicating downbeats. A few of the strong beats which underlie individual parts and appear to be contradicted by the barlines are marked by the symbol / . The words are a beautiful Victorian translation of a Latin hymn by Prudentius, which meditates on the story of the three wise men. Each verse is set to the same melody, in an increasingly rich counterpoint inspired by the wonderful sound of Tudor choral polyphony. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Jeremy Thurlow is a composer, writer and pianist. His music has been described as 'seductive, innovative, full of freshness' by Henri Dutilleux. It has been performed by the BBC Philharmonic, the Fitzwilliam String Quartet, Rolf Hind, the BBC Singers, Endymion, Carmen Elektra, Peter Sheppard Skaerved, Matthew Schellhorn and Sequitur (New York), among others. In 2007 he won the George Butterworth Award for new composition. As a musicologist he writes on French music in the twentieth century. His book on composer Henri Dutilleux is published in French by Millénaire III, and he has written and broadcast on the music of Messiaen and many other 20th-century composers, frequently appearing on Radio 3's CD Review / Choeur SSATBB Et Orgue

Par PURCELL HENRY. Henry Purcell had a marvelous natural ability for counterpoint, which was especially evident when combining pungent English counterpoint with expressive, flexible, and dramatic word settings. His Organ Music is no less a showcase for his melodic abilities and, in this edition, a feast of intelligent keyboard writing lies. This compilation contains six works plus an appendix by John Blow, including the Voluntary in D minor for double organ. / Rép Classique / Répertoire / Orgue

Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

Play Guitar with the CD backing tracks and the matching music booklet (DVD insert sized), included in the case. This pack includes five hits by The Beatles . On the CD: Two specially recorded 'soundalike' backing tracks of each song: Full demo with Guitar showing you how the song should sound. Backing track without Guitar for you to play along with on your own Guitar. In the Music booklet: Music, chords and lyrics. Learn the Guitar part from the tab or the standard notation. / Piano/Vocal/Guitare (PVG)

Les solos dans ce livre représentent une section transversale de la musique de Charlie Parker. Les soixante solos ont été transcrits des enregistrements pour des instruments en Si bémol, idéaux pour le soprano et le tenor Saxophones.Includes soutiennent les blues à la maison, croix de Red, Knock-out-Knock-out, visa et Chi Chi. Programme et biographie plus de gamme. / Instruments En Si bémol

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Jazz Play-Along Vol.116. 2 CDs and book. What do you play when you have one chord for 8 or 16 bars? The Modal Jazz era presented new challenges for improvisers, spawning a fruitful period rich in new ideas, concepts, and harmonic exploration. This play-a-long includes several 'Standard' forms and important practice tracks; many of which are 'period accurate' and others which are stylistically more contemporary. These practice tracks are designed to foster understanding, facility and familiarity. Many of the first tracks are slow, making them perfect for beginners. Intermediate and advanced players will enjoy the opportunity to doubletime and experiment with an endless array of chord/scalesubstitutions over the otherwise simple tracks. / Niveau : Débutant / Méthode en anglais / Méthode / Tout Instrument

Play-Along with 24 great songs from the later years of The Beatles. Each song is specifically arranged from the original recordings in the original key. The book includes full lyrics, chord symbols, guitar chord boxes and playing guide. Plus two 'soundalike' CDs specially recorded by a live band. / Mélodie/Vocal/Guitare (MVG)

This great collection features all 194 songs written and sung by The Beatles, specially transcribed here for strumming guitarists, from the actual recordings, in the original keys. Each song includes chord symbols, guitar chord boxes and complete lyrics. Also features a helpful playing guide and a full discography. / Guitare

Par NOURSE NANCY. The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon 'Forty Days and Forty Nights', likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, 'Forty days and forty nights, Thou wast fasting in the wild'. However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of 'Love is Come Again' and in its Christmas text of 'Noel Nouvelet' (or as sung in English, 'Sing We Now of Christmas'). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three./ Répertoire / Flûte Traversière

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)