"Sculthorpe's extraordinary ability to make even the simplest idea generate an almost tactile atmosphere which resonates long in the memory is at its most potent here." CD Review (Simon Hodges), October 1994

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavors of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. Chapters include: Section I - General * Conventions: Ground Rules * Chords -- Dotted notes -- Ties * Accidentals and Key Signatures * Dynamics and Articulation * Grace Notes, Arpeggiated Chords, Trills, Glissandos and Vibrato * Metre * Tuplets * Repeat Signs. Section II - Idiomatic Notation: Woodwind and Brass * Percussion * Keyboard * Harp * Classical Guitar * Strings * Vocal Music. Section III - Layout and Presentation: Preparing Materials * Score Layout * Part Preparation * Electroacoustic Music * Freedom and Choice.

The work's title, Music of Memory, refers to the long-term memory of a golden age (and the corresponding hope that it can continue to nourish our own art) represented by the Mendelssohn; the short-term 'memory' of an original that lies behind the variation form; and the use of the different kinds of memory-related techniques and materials during the work - 'guitar sounds' typical of the instrument and its repertoire, and the 'memory recalls' of the coda.

Britten's Nocturnal After John Dowland Op. 70 is a fantastically varied and intricate piece for Solo Guitar, which has been edited here by Julian Bream. This piece will present an enjoyable challenge to the advancing classical guitarist. The first performance of Nocturnal was given by Julian Bream at the Aldburgh Festival June 12th 1964. The song upon which the work is based is No. 20 in The First Book of Songs or Ayres of Four Parts by John Dowland, published in 1597.