Stratshop

for wind (3333+4331), 3 percussion, timpani, harp, piano, electric guitar and strings (parts on hire)

Commissioned jointly for Colin Currie by the City of Birmingham Symphony Orchestra and the Borletti-Buitoni Trust. First performance on 14th May 2008, at Symphony Hall, Birmingham, by Colin Currie (percussion) and the City of Birmingham Symphony Orchestra conducted by Martyn Brabbins.NOTE FOR PERFORMANCEIn table top, the unpitched solo percussion part in the 9th movement, the scoring was initially left open. The present full score shows a suggested instrumentation which was devised by Colin Currie in conjunction with the composer. Soloists should attempt to match the timbres used, but should not feel constrained by the exact choice of instruments.COMPOSER'S NOTEThe percussion instruments used in a table of noises in some ways represent the odd things that were on my great uncle Ash's parlour table that fascinated me as a child. There is even a bottle; there was always a milk bottle with the silver top pushed in surrounded by other essentials for his life. From birth he was quite severely handicapped in one of his legs and couldn't walk too far without his trusty crutch. He kept everything he needed within arm's length. In the list of instruments for the solo part there's everything from deep log drum sounds to very high metallic chime sounds. Wood, glass, metal and a whistle. Mostly small-scale things with a large gong behind, used sparingly. I think that we managed to keep below 30 instruments in all, which I was keen to do. I didn't want scores of things that are only played once, they have to earn their keep. I didn't want to use a marimba but thought that trying to make the xylophone sound in a more expressive way would be more of a challenge. The percussionist sits for much of the time on a Cajon, a flamenco instrument which is essentially a wooden box. The player hits the front of the box in various ways, rather as you play a conga. There are guitar strings inside and bells to add to the overall colour. I would like to thank Colin Currie for the extraordinary 3 hours or so that we spent in his percussion studio trying to find potential instruments for table top. I had fully notated the rhythms for the movement, which functions as a cadenza, and knew the kinds of sounds that I wanted, but as I don't know all the instruments available we were able to collaborate in a very constructive way and make the cadenza what it is now. I see the chosen instruments as being the yardstick for all future performances.

Milonga; Nocturno; Pedestre; Plaza; Corso (for guitar solo and string quartet)

Sur des ThŠmes d'Op‚ras de Rossini (for guitar and string quartet)

for guitar and string quartet

Award-winning instrumentalist Rob Ickes has created a comprehensove course to help you master all aspects of the resonator guitar, from bar tachnique to fingerpicking rolls. He covers ererything you'll need to hold your own in a bluegrass band, from a fine-tuning the strings to achieving good tone, timing and volume control. You'll learn correct hand positions for fast and clean playing, powerful forward and reverse right hand rolls, basic music theory and all aspects of good bar techniques. With Jim Hurst on vocal and guitar, you'll gain an understanding of how to play back-up rhythm and fills behind a vocalist, create effective solos, build chords and scales, and much more. Rob teaches or demonstrates several great tunes, including Will the circle be unbroken, Dixie Hoedown, Ol' Dangerfield, Sailin' To Hawaii, Monrobro, Reuben, How great Thou Art and Flat Lonesome. Whether you want to play bluegrass or explore country, blues, Hawaiian or other styles, these DVDs will get you on the right track-fast.

for mandolin, guitar and harp

for guitar and string quartet

1.Belinda's Air; 2.The Death of Dido (for any instrumental combination, from solo instrument with keyboard or guitar accompaniment, wind or string quartet to orchestra with percussion)

1.Toccata; 2.Prologue; 3.Sinfonia; 4.Moresca (for any instrumental combination, from solo instrument with keyboard or guitar accompaniment, wind or string quartet to orchestra with percussion)

While Gibson produced literally thousands of banjos prior to WWII, only a handful were made in the now most desirable configuration: the Original Flathead Five-String Mastertone. Since Earl Scruggs helped to make them the most sought-after banjos in the world over 60 years ago, these instruments have amassed a cult-like following.These particular banjos featured a completely innovative design when the Gibson Company introduced them around 1930. They have since become the benchmark in design, sound quality, and just sheer power among banjo players. They have therefore also become the inspiration for nearly every successful 5-string banjo that has been manufactured for the past five decades.Like Martin Dreadnaught and Fender Stratocaster guitars, the Gibson Mastertone Banjo has achieved an exalted status: It is appreciated far beyond its utilitarian purpose as a musical instrument, and considered a truly original American art form. The Mastertone design and style are instantly recognizable by musicians and music lovers around the world, even if imitated by other manufacturers.Of the 130 or so Original Flathead Five-String Mastertones known to exist, 19 of the absolute best are featured here. The Scruggs, Reno, Jenkins, Crowe, Osborne, Huber and Mills banjos are shown in all of their glory, with details of their known histories and provenances, as well as never-before-seen photos, bills of sale, factory shipping ledgers, and other ephemera relating to these rare and highly desirable instruments.

for guitar solo, percussion and strings