Ken Matthews was working at the CEGB's Marchwood Engineering Laboratories near Southampton when, in 1977, a group of his colleagues, who were keen brass band enthusiasts, started "having a blow" during their lunchtime break. He went along and was soon given an instrument and taught the rudiments of playing. It was not long before this group decided to form a brass band and so Marchwood Brass performed its first engagement later that year. A sponsorship deal from Vodafone led to a name change in 1989 and the band is now well established as the New Forest Brass Band. Ken has been a playing member of this band ever since it started and, as he has access to a substantial amount of archive information, he has been able to write this account which traces the band's history from its inception to the present day. Along the way, the band has won many cups and performed in numerous concerts and other events. Ken has remembered incidents, both humorous and more serious, which have made his book a personal memoir rather than a chronological historical treatise.

This bibulous, drug-indulgent and anarchic rock legend was born on a small farm in Tipperary, won a scholarship to Westminster, was rapidly expelled, became a rent boy, then a central figure of punk and the hugely influential star of The Pogues. MacGowan's music, innovative and powerful, is as distinctive as his chaotic, breakdown-scarred, drug and alcohol-fuelled lifestyle. MacGowan has an enormous fan-base hungry for stories of his wild behaviour, but this is also a book that celebrates this unique and charming musician, and offers insight into his remarkable perspective on this world - and the next!

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Contains 17 songs for the Christmas season. Most of the songs are for unaccompanied congregational singing, several have been arranged for choirs, and may serve as anthems or introits. Full music and notes by the author are provided for each song.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The Pearson Edexcel AS/A level Anthology of Music introduces the AS and A level set works to a new generation of musicians and will inspire them to develop their music knowledge, understanding and skills and will help them prepare for their assessment. Published in partnership with Edition Peters and Faber Music, and edited by Julia Winterson, the printed Anthology contains: * printed music scores of all 53 new set works in a single volume * a preface to each score, setting the piece in context, highlighting key themes * listening awareness points and suggestions for wider listening * glossary of key terms used in each set work.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

What is the difference between an echo and a reverberation? How do you calculate the best note to whistle in a toilet?Where do you best place microphones for that perfect recording? In this fascinating little book, musician Steve Marshall explores the subject of acoustics. From decibels to dolphins, stereo to surround, this book will appeal to singers, musicians, architects, biologists, and anyone who ever wanted to know more about the wonderful world of sound.

Edwin Eugene Bagley (1857-1922) was born in Craftsbury, Vermont, and started his music career at the age of nine as a vocalist and bellringer. In spite of never having had formal music lessons he became a successful cornet player, trombonist and composer. He moved to Boston in 1880, became solo cornet player in the Boston Theater, and traveled with the Bostonians, an opera company, for nine years, and later played with the Germania Band. He eventually settled in New Hampshire, where he directed several city bands. It is believed Bagley started composing the National Emblem in 1902 while on a train tour with his band, but was dissatisfied with its ending and threw the score out. Fortunately, some members of his band (the Keene, New Hampshire, City Band) retrieved it and secretly rehearsed the score in the baggage car, surprising him with a performance of the work in their next concert. Bagley later revised the work and it was first published in 1906. The first recording of it was made in 1908 by the band of Arthur Pryor, on the Victor Talking Machine Company label. It has since appeared in more than one dozen published editions. The National Emblem, which features an excerpt of "The Star Spangled Banner," deservedly became the most famous of Bagley's marches, and a standard of the American march repertoire. It is widely played in Independence Day celebrations, and is used by the US military for presenting and retiring the colors. John Philip Sousa, when asked to name the three most effective street marches ever written named two of his own works as the first two, and National Emblem as the third. This new edition by Richard W. Sargeant Jr. remains true to the composer's original orchestration, omitting the bloated extra instrumentation which was inserted by publishers over the years. As with the others in this series, it is designed to offer band directors and others interested in this genre newly engraved authoritative editions prepared from the primary sources using the composer's original instrumentaion, which is sometimes markedly different from that found in bands today.

One of the most popular marches ever written, the Colonel Bogey March was composed in 1914 by Lt. Frederick J. Rickets (1881-1945), under the pseudonym Kenneth J. Alford. Born in London, Ricketts enlisted in the band of the First Battalion, Royal Irish Regiment, at age fourteen, and later studied at the Royal Military School of Music, Kneller Hall. He served as bandmaster to several battalions, and was appointed Director of Music of the famed Royal Marines of Plymouth in 1930. He composed 19 known marches and several other light works under the pseudonym Kenneth J. Alford, but "Colonel Bogey" remains his most popular work. Opening with a characteristic two-note phrase (a descending minor third) it is said that the tune was inspired by a fiery and somewhat eccentric military man and avid golfer nicknamed "Colonel Bogey" who used to whistle the catchy notes instead of shouting "Fore" when about to drive a ball. By the early 1930s the Colonel Bogey March had sold well over one million copies, and became widely used for events both in the golfing world and the military world, as it is the authorized march-past in quick time for several Canadian battalions. Its popularity re-surged in the 1950s when the English composer Malcolm Arnold used it in his score of the film "The Bridge on the River Kwai." This new edition by Richard W. Sargeant Jr. remains true to the composer's original 1914 scoring, without the bloated extra instrumentation which was added by publishers over the years. As with the others in this series, it is designed to offer band directors and others interested in this genre newly engraved authoritative editions prepared from the primary sources using the composer's original instrumentaion, which is sometimes markedly different from that found in bands today.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.