For the beginner to the highly advanced player of Irish flute, tin whistle, or Boehm-system flute. The Essential Guide to Irish Flute and Tin Whistle features a simple and penetrating new approach to understanding and notating ornamentation that goes beyond any previous method, exploring ornamentation techniques never described in print before. Also includes adaptations for Boehm-system flute players, guidance on breathing and phrasing, 49 ornamentation exercises, history and theory of traditional Irish flute and whistle music, and 27 meticulous transcriptions of recordings by these important Irish flute and tin whistle players: John McKenna ,Tom Morrison, William Cummins, Séamus Ennis, Willie Clancy, Paddy Taylor, Paddy Carty, Grey Larsen, Josie McDermott, Matt Molloy, Cathal McConnell, Mary Bergin, Donncha Ó Briain (Denis O'Brien), Desi Wilkinson, Breda Smyth, Seán Ryan, Conal Ó Gráda, Micho Russel, Joanie Madden, Kevin Crawford, Catherine McEvoy, and Seamus Egan. For those who don't read music, almost all the exercises, examples and tunes appear on the two companion CDs. "Grey has, through his research, patience, and diligence, completed a work on Irish flute and tin whistle that I feel is essential reading for anybody interested in getting it right." - Matt Molloy, Irish Flute player with the Chieftains.

Saxophone Choir/Ensemble - 12-15 part. Optional Soprillo, Sopranino, 2 Soprano, 3 Alto, 3 Tenor, 2 Baritone, Bass, optional Contrabass, optional Subcontrabass. A complete, unabridged arrangement of Dvorak's Serenade for Strings Op.22. In five movements, the first four are generally straightforward in form, exploring just one or two themes. The first is melodic and soaring, the second is an elegant waltz, the third is a blistering scherzo, while the fourth is a tranquil and wistful slow movement. The finale is more complex, starting out as a Bohemian peasant dance full off off-beat accents. Two other themes are developed in the course of the movement before a recap of the opening theme of the very first movement leads into a frenetic coda section. All parts take their share of the melodic interest right through this arrangement, which requires careful work to bring out the artistic shading in the work. A great addition to any concert situation.

Gustav Mahler's symphonies tend to be scored for a large orchestra putting this wonderful music out of reach of many smaller orchestras. This arrangement whilst not simplifying the music attempts to remedy this by reducing the orchestral requirements. The original orchestration requires 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 7 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion and strings. Although in many of Mahler's symphonies each movement seems to be an integral part of the larger work, we feel that this movement can stand alone quite happily and offers a good entry to the symphonic world of Gustav Mahler.

8'; for saxophone quartet (2.0.1.1) Published 2004. Commissioned by the Apollo Saxophone Quartet with funds made available by the Arts Council of North West England. First performance: Apollo Saxophone Quartet, Atlantic Waves Festival, Union Chapel, London, 1st December 2004. Recorded on QUARTZ QTZ 2012.

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2008 For recorder, violin and accordion

FLOW The placement of the musicians. The recorder player is placed in the middle of the stage in all three movements. The cello is placed behind the audience in all three movements. In 1st and 3rd movement the violin is placed on the recorders right side and the viola on the recorders left. At the and of the 1st movement the violin and the viola are walking slowly in respective sides in the middle of the hall, and stay there during 2nd movement. Before the 3rd movement they walk back to their position in the 1st movement. SR

FLOW The placement of the musicians. The recorder player is placed in the middle of the stage in all three movements. The cello is placed behind the audience in all three movements. In 1st and 3rd movement the violin is placed on the recorders right side and the viola on the recorders left. At the and of the 1st movement the violin and the viola are walking slowly in respective sides in the middle of the hall, and stay there during 2nd movement. Before the 3rd movement they walk back to their position in the 1st movement. SR

New product for the week of October 08, 2012.

New product for the week of October 08, 2012.