Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaro’s once enormously popular aria, “Belle luci, che accendete,� from La disfatta di Dario (1756). As noted in Giorgio Sanguinetti’s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for today’s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until they’ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacher’s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual content—it’s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they won’t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozzi’s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who haven’t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5   Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.Sì, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,Nè più brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1025435 Composed by Samuel Warren Hatch. 20th Century,Contemporary,Jazz. Score. 9 pages. Samuel Warren Hatch #4764165. Published by Samuel Warren Hatch (A0.1025435). Piano Sonata No. 1 in E Major is the first series of concert piano works by S. Warren Hatch, written during his undergraduate study at Campbell University. Each movement is distinct, in that each of them is composed in a different form, utilizes different key changes and scales, and takes influence from a different period in classical music. While there is no theme that connects them to one another, they are all in the key of E Major and consist mostly of a waltz-like feeling. III. A Reflection of Passing depicts the shifting aspects about death as a person matures. It’s a piece that came from a time of great loss and much grieving. It begins with an innocent, hopeful understanding of death, followed by a major tone shift, where there is an odd utilization of the piano: the performer sings into the piano while holding down the sustain pedal, which vibrates certain overtones, producing what sounds like a distant choir. The piece closes with a triumphant, hopeful melody, borrowed from a song written by S. Warren Hatch when he was in high school.Composer Notes- Be sure to ensure that the stage hands lift the piano lid before the sonata’s start, as the strings will need to be exposed in order for you to sing into the piano’s body during A Reflection of Passing. For that section (page 22) you will need to face and sing directly into the strings while holding down the sustain pedal for the entire page. If you are playing with the sheet music (don’t worry, I’m not shaming you) simply slide the music holder in order to expose the part of the strings that are closest to you. For this sonata, I encourage you to find your own voice in these pieces. Your own interpretation should align with how you most relate to the message/story they’re telling. This could be using the una corda (leftmost) pedal during lighter sections to further differentiate them, or having a heavier rubato to strengthen the impact of certain phrases. As long as you bring these pieces to life, then it has my stamp of approval.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1315461 Composed by Francis Poulenc and Guillaume Apollinaire. Arranged by Nicole Elyse DiPaolo. 20th Century,Classical. Score. 11 pages. Nicole Elyse DiPaolo #904195. Published by Nicole Elyse DiPaolo (A0.1315461). The first of its kind, this is a genuinely playable piano/vocal reduction of Non Monsieur mon mari from Poulenc and Apollinaire's Les mamelles de Tiresias. Sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic, poorly notated, and technically demanding vocal score devoid of needed key signatures. Pianists may now enjoy playing this aria comfortably, without risking strain/injury by trying to play reams of excessive 16ths spread out in ways designed for Poulenc's obviously large hands. A few enharmonic respellings in this edition will also provide greater musical understanding for both singers and pianists. This collectionâ??s reductions boast several unique features: 1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or â??fudgedâ?� with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what Iâ??ve provided.2. Iâ??ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a â??sink or swimâ?� accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.3. In addition to the composerâ??s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.4. All page turns have been carefully selected, when possible, so as to result in the least possible disruption to the pianist. When an inevitable page turn precedes a potentially surprising note or chord, Iâ??ve included the next downbeatâ??s notes in cue-size stemless noteheads at the end of the preceding measure.5. I have preserved beams in 8th and smaller note values within the vocal parts so that pianists, some of whom might not be accustomed to syllabic beaming conventions, will find it easier to follow the singerâ??s rhythms while reading potentially unfamiliar arias.6. When known, Iâ??ve noted alternate cuts that singers might like to take within certain arias.7. In some cases Iâ??ve modernized spelling conventions for easier readability (for example, by replacing â??Ã?â?� with â??ssâ?� in German arias) and enharmonically respelled brief passages or added key signatures for greater clarity.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477114 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & Worship,Religious,Sacred. Score. 10 pages. Anastace #1053767. Published by Anastace (A0.1477114). As of this publishing, over 135,000 people have found my one video collection of funeral hymns on YouTube, not including separate postings of each individual song. Because of this it's been on my mind for a long time to write a funeral song, but it was somehow just never the right time until just a few weeks ago when this one came pouring out in 5 minutes flat [which does not happen often, I can assure you!]. The culmination of years of playing for funerals, a bachelor degree in theology and sacred music, and many more years of writing and playing music through good times and also times full of grief, Lord of All Our Days is my very best and heartfelt attempt to serve those who are also dealing with the absolute heartache of loss, be it the acute, fresh grieving of just losing someone or the flashbacks that come time and time again, years and even decades later.This song carefully and tenderly handles the true earth-shaking grief that it is to lose someone you love, while holding out a strong hope of the life to come for those who trust God. I had a very difficult time recording it without being moved to tears over and over, and I pray it will reach many in need of comfort, being of service to anyone who is looking for a Christian, Biblical funeral hymn for a memorial service or a celebration of life service. This is the full piano vocal arrangement in the original key of B flat major, and has a vocal range of A3-Bb4 for a moderately low voice. Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Piano Vocal in C Major for easier playing and a better congregational vocal rangeLead Sheet for piano or guitar in C Major - best key for singing without a capoLead Sheet in G minor for piano or guitar [play capo 3 or more to match the original key]A backup music track for soloists to perform with in a service, including the full backup choral arrangement.For other formats including large print, a different key to match a soloist's preferred range, or piano solo for a matching prelude or postlude, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one funeral or memorial service with under 1000 people, with proper attribution and credit in all printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1477115 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Praise & Worship,Religious,Sacred. Score. 10 pages. Anastace #1053778. Published by Anastace (A0.1477115). As of this publishing, over 135,000 people have found my one video collection of funeral hymns on YouTube, not including separate postings of each individual song. Because of this it's been on my mind for a long time to write a funeral song, but it was somehow just never the right time until just a few weeks ago when this one came pouring out in 5 minutes flat [which does not happen often, I can assure you!]. The culmination of years of playing for funerals, a bachelor degree in theology and sacred music, and many more years of writing and playing music through good times and also times full of grief, Lord of All Our Days is my very best and heartfelt attempt to serve those who are also dealing with the absolute heartache of loss, be it the acute, fresh grieving of just losing someone or the flashbacks that come time and time again, years and even decades later.This song carefully and tenderly handles the true earth-shaking grief that it is to lose someone you love, while holding out a strong hope of the life to come for those who trust God. I had a very difficult time recording it without being moved to tears over and over, and I pray it will reach many in need of comfort, being of service to anyone who is looking for a Christian, Biblical funeral hymn for a memorial service or a celebration of life service. This is the full piano vocal arrangement in C major, a better key both for playing and for most singers' vocal ranges than the original version in B flat major.Also available, by searching Stacey Plays Hymns and the song title on this site, are the following versions:Piano Vocal in Bb Minor to match the original recording [vocal range: Bb3-Bb4]Lead Sheet for piano or guitar in C Major - best key for singing without a capoLead Sheet in G minor for piano or guitar [play capo 3 or more to match the original key]A backup music mp3 track for soloists to perform with in a service, including the full backup choral arrangement.For other formats including large print, a different key to match a soloist's preferred range, or piano solo for a matching prelude or postlude, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one funeral or memorial service with under 1000 people, with proper attribution and credit in all printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1493833 Composed by Thomas Oboe Lee. 20th Century,21st Century,Chamber,Classical. Score. 63 pages. Thomas Oboe Lee #1070490. Published by Thomas Oboe Lee (A0.1493833). Full score.Program note.  While looking for more poems to set in Italian, I thought maybe Italo Calvino had written some. Unfortunately he did not, but in the process of my research I stumbled upon Cesare Pavese, 1908-1950. To know a bit more about this person, I contacted my Italian colleague, Giorgio Rimondi, who is a professor in Ferrara, Italy. Giorgio gave me a nice summary of Pavese's life and work. So I went on Amazon and bought a bilingual book of his poems: Disaffections. The poems that intrigued me the most were the ones he wrote for his paramour, the American model and actress, Constance Dowling. The last poem he wrote before he committed suicide at the age of 41 was dedicated to her: Death will come and will have your eyes. I chose that poem as the anchor of a set of eight poems for the song cycle. 1. Ancora tu sei l'amore 2. To C. from C.*** 3. In the morning you always come back 4. Verrà la morta e avrà i tuoi occhi 5. Passerò per Piazza di Spagna 6. The night you slept 7. I gatti lo sapranno 8. Last blues, to be read some day*** NB: Two of the poems with *** are originally in English. I thought an English setting within a song cycle that is Italian would be a bit jarring. So I asked my friend Giorgio if he could make me an Italian version of the poems. He instead informed me that Italo Calvino had already made a literal translation of those two English poems. Thanks, Giorgio and Italo.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189. Published by stanleymhoffman.com (A0.1435089). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Ma?gorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Ma?gorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Ma?gorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1313294 By A Peter Dinklage & London Contemporary Orchestr. By Aaron Brooking Dessner, Bryce Dessner, Carin Besser, Matthew Berringer, and Matthew D. Berninger. Arranged by David Richard Corkill. Broadway,Contemporary,Film/TV,Musical/Show. Score. 12 pages. David Richard Corkill #902082. Published by David Richard Corkill (A0.1313294). When I Was Born from Cyrano (2021) Arranged for Piano, Male Soloist, Snare Drum, Slap Stick, and Choir CrowdArranged by: David Richard CorkillIn Association With: Teradil PublishingFor this and other exciting creations, or to contact the arranger, visit: www.Teradil.comThis song is sung and performed with an angry intensity. This is quite an unusual arrangement as it has spoken word in the first half before the soloist begins to sing. In the mp3 sample this spoken word hangs on just one note. Snare Drum and Slap Stick join in mid way through to increase the intensity, and at 150 beats per minute, it is a heartpounding arrangement for the ages. A big Choir Crowd echoes the melody while the soloist goes back to spoken word toward the end. Purchase this arrangement today and start practicing! You'll be glad you did.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1381714 By Stacey Plays Hymns. By Stacey Plays Hymns. Arranged by Anastace. Christian,Historic,Praise & Worship,Religious,Sacred. Score. 5 pages. Anastace #966349. Published by Anastace (A0.1381714). Here is the full piano vocal arrangement of The Harvest of the Earth�, as heard on my YouTube channel and requsted by listeners. Originally titled “See How Brown Autumn Spreads the Fields�, this song is so rare that I couldn’t find any music for it online, and therefore wrote a new melody and accompaniment for it that captures the the solemnity and anguish of the lyrics. It’s one of the songs of harvest off of my album entitled “Hymns of Autumn�, but doesn’t talk about harvest in the traditional sense we normally sing about these days.Not many talk about the judgement of God in today’s church, and this hymn will send chills down the spine of the most devout believer as we realize the full spectrum of God's character, including His wrath and power on Judgement Day. I found this in an old hymnal that was so old that the “S�s were still written as “F�s, and I had to squint to read it while learning to sing for this recording. I hope this ancient and powerful hymn finds a place to minister to today's church and believers around the world, perhaps after a sermon on God’s judgement, or for a Lent or Advent service about repentance and turning to God, both individually and as a nation.This version is in B Minor to match the original recording, and includes the full piano accompaniment as played in the recording. Also available, by searching Stacey Plays Hymns and the song title on this site is a lead sheet version for those who prefer to play off a chart.For other formats including large print, or extended choral harmony versions, please write me at staceyplayshymns@gmail.com and I'll be glad to make them especially for you. Purchase includes a free license for one church service with under 300 people, with proper attribution and credit in any printed or online materials. For a license to use this work on a larger scale, please contact me for permission and other usage details including lyrics formatted for printing in church bulletins or for powerpoint. Please let me know if there is any other way I can serve you as a congregation or fellow music/choir director as I endeavour to write several new choral anthems per year, along with my other recording work.Thank you for supporting modern hymnwriters and musicians!

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.842147 Composed by Andrew Mc Donald. Christian,Gospel,Pop. Score. 6 pages. Andrew Mc Donald (Macka Records) #4888701. Published by Andrew Mc Donald (Macka Records) (A0.842147). I Can Forgive is a song about feeling inadequate on a Sunday morning while taking communion. Sometimes we do not feel worthy of taking the bread and wine because we may have sinned during the week. But Jesus says to come to Him and ask him to forgive and He will.

Piano,Vocal,Voice - Level 3 - Digital Download SKU: A0.1422862 By Mark Rowlinson (Baritone) and Peter Lawson (piano). By David Warin Solomons. 20th Century,Contemporary. Score. 5 pages. David Warin Solomons #1004217. Published by David Warin Solomons (A0.1422862). The bereaved lover gains some brief consolation at dawn when the blond light penetrates his (or her) lonely room and reminds him (or her) of the hair of the loved one. The mode of this song is Dorian, my favourite mode. Poem by E M Solomons - mother of the composer. Poem by E M SolomonsThe pale gold lightcreeps into my silent roomtouching my faceI know that you are here.Softly contours formas the colourstake the place of greyTranslucent gold hits the mirrorand reaches my lonely bed.Dispels the grey mist which lingerson the window paneDeepens the image and I see you.Pale blond lightwhere your hair once shone.Lonely shadow of my former selfI languish here.But then your dear voice calls with comfort, loveand saysI have not left,while your fond memories remain.I think of you andyou are herebeside and withinYour image fadesbut you are still here in me.You must you must come backif only at dawn.See through the tears of gold,you are here once moreYour ghostly presencefills my poor heart,searching my mindonce more to be as one,here is your bodyso close to my ownin this spectral worldwe share our thoughts.My soul now quiet at lastmy yearnings on hold.The golden glow brings me peaceand I might face another day(c) E M Solomons.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1019292 Composed by #GeoffRodThomson. Lyrics: #CJDennis. 20th Century,Children,Contemporary,Musical/Show. Score. 1 pages. Geoff R Thomson #3138357. Published by Geoff R Thomson (A0.1019292). #TheDrovers is a short poem by C.J.Dennis about where drovers ride. Geoff Rod Thomson,(me), while keeping the tune extremely simple(bordering on boring;) decided to experiment with his (dis)chord progressions when writing his accompanying music to this poem. To be honest, and I confess, this piece was just an example of pure self-indulgence with chord experimentation on my part and has next-to-no similarity to my other kid songs so my recommendation unless you're into 'acoustic pain' is to move on to my next C.J.Dennis song.....for those who I haven't scared off, feel free to try it out for yourselves. Apologies to the rest of you. I cannot be contacted at #Geoffspianosongs in this case;) or GeoffRodThomson@gmail.com.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloise�, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                                                     Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.