Orders should quote the full details of title, composer, arranger, publisher, and, where ever possible, the publisher's number.

The above details are most important with works by prolific C18 composers.

See lower down this page for tables of the abbreviations used.

C18 and earlier compositions are listed under Recorder & Continuo if there is only one recorder. (ABRSM 'List A')

Works from this period for two solo instruments are listed under Trio Sonatas.

More modern compositions are listed under Recorder & Piano. (ABRSM 'List B') This page includes a few works for more than one recorder, with piano.

'Solo' means 'unaccompanied'. Works without keyboard from all periods are listed together. This includes pieces classed as Studies by examination boards. (ABRSM 'List C') Duets and works for several recorders of the same size are also included on this page.

There are separate lists for Easy Ensemble and more difficult Ensemble.

If music is required for an exam, it does help if you tell me which one, and the full details, which should be in the syllabus. In the absence of edition information be guided by the description in my lists.

The title page desription is what I list first. Often I have provided additional information so that individual works may be correlated with collected editions. There are times when alternative editions are available (or, indeed, preferable).

There is never any requirement to use the suggested edition, any edition of the work will do provided that the key is unchanged. A collected edition is usually a preferable, economic option. There is much to be gained by exploring the repertoire beyond syllabus lists. However, if the work is an arrangement you should exercise extreme caution before using a different edition. There can be significant differences. Corelli sonatas are a particular case.

There are other pages too, Methods, Exam etc. Scroll down the left hand menu until you find the page you need.

My stock is based on the needs of recorder players. Editions that have 'Flute' or 'Piccolo' on the cover and title page should not be regarded as problematic. In some cases they are the only edition available and are often an economic choice.

There is a note at the end of this page regarding multiple editions.

I have not graded the music, except for ensembles. Remember that for auditions etc. it is the performance which is judged, not the composition. Be guided by exam syllabuses, experience and title. I am reasonably happy to exchange unsuitable music, but remember that I do not run a library. Please let me know if your order is not firm, and the music is subject to your approval. It is easier for me to deal with written orders for music, but I can help on the phone if really necessary.

Music not listed is usually readily obtainable. I may have some that has not have made it to this list.

Music not listed and specially ordered should not be returned without prior consultation. A handling charge may be made.

'Out of Print' titles are... out of print! If I do not have a stock copy listed I am unable to supply it. You may be able to locate one by doing a web search with Google.

At all times an answering machine / fax machine is on the line. It will attend to you when I am not available. I may ring you back even if you do not leave a message. You may send a fax automatically.

The prices quoted are for the actual copy in stock, or, when bracketed, last in stock. Nothing ever stays the same, changes are inevitable. The figure in the last column of the list is the price in price in pounds sterling. The price charged will be that of the copy supplied. Postage and packing within the EU is charged at about 35% more than the cost of the stamps. This takes care of VAT etc. (£1.99 minimum). Supply is usually by return.

I have found that each time a new edition appears a demand is created and the market for a previous edition is reduced. I do not understand why there have to be so many versions of Handel, Telemann and van Eyck, but it is the way things seem to have to be. It can make maintaining stock very difficult.

My policy is to maintain most stock of the edition that I consider to represent the best overall value, collected editions rather than single works and the lowest priced single publication. Editions named in exam lists are generally in stock, even where there are several alternatives. Where the price is bracketed or not entered the edition is not stocked. There is usually a good reason why this is the case but I do not want to get drawn into a discussion of the relative merits of different editions. Where there are significant differences that I know about I usually draw attention to them in the listing. Otherwise, please make your own choice, or be guided by your tutor.

My own preferences are for uncluttered editions without impossible page turns. I do not care for excessive amounts of ink on the page (typically a Peters characteristic). I am not too bothered about the way musica ficta problems are solved. If I do not like the sound of what is printed I will change things to suit my taste. There is no reason why you should not do the same. At advanced level examinations it might well be expected of you. Very few editions are perfectly accurate and you, or your tutor, should be able to resolve typos without much trouble. It can be interesting to play from facsimile editions and I do stock some. The Schott edition of Handel sonatas includes a reprint of the Walsh edition, nice, but the modern recorder part is terribly squashed.

Where contents are listed, the order is the same as the order in the book. You may safely assume that the third item is 'Sonata No.3' if the book is a collection of sonatas. Please be aware though that the numbers are not guaranteed to reflect numbers within an opus. So, 'Sonata No.3' might well be 'Op.4 No.6' and I will, in order to save space, list it as Op.4/6'.

I have added links to a page of detailed comments on editions to the listings. To go straight to this page click here.