Trombone Solo - Level 3 - Digital Download SKU: A0.811087 Composed by Tom Ervin. Arranged by Marco Bordogni. Classical,Instructional,Opera,Romantic Period. Individual part. 26 pages. Gordon Cherry #5009439. Published by Gordon Cherry (A0.811087). The Rochut editions of Bordogni’s vocalises have become the most widly used etudes in American trombone pedigogy. They are prized for their lyric beauty, and also for their development of endurance, upper range, legato technique, styling and more. Other bass clef instrumentalists use Rochut. These Twenty Counterparts may be practiced and played as etudes alone. They are similar in style to the Bordogni; some are harder and some are easier than the Bordogni originals. But the primary intent was for recreational duet playing and for the trombone studio. Duets are fun and more, contributing to sightreading, intonation, ensemble, style-matching, confidence, independence, etc. As with the piano accompaniments, the duet parts also enhance the original melodies. Read what these famous trombonists have to say about this new contribution to the trombone literature …indisputably one of the most invaluable additions to appear in a very long time. Understanding lyricism is much easier when hearing this second voice. Joseph Alessi, Principal Trombone, New York Philharmonic …fantastic and beautiful. What a great idea! They will give the student a wonderful sense of music-making. Henry Charles Smith, Arizona State University …absolutely ingenious….they capture the essential character of each piece and cleverly expand and enhance the original material. Can be ‘stand alone’ material in its own right. I have already used them successfully on trombone, euphonium, and tuba. Loren Marsteller, Los Angeles An enjoyable new way to play the old favorites. Perform them with friends; record one part and play the other; play them alone…a great idea. Ralph Sauer, Principal Trombone Los Angeles Philharmonic A great book and a great idea! Really valuable; I am using it in my teaching. Jay Friedman, Principal Trombone, Chicago Symphony Orchestra Excellent studies, challenging in all registers, rewarding to play. Ned Meredith, formerly San Francisco Symphony Orchestra A very insightful and fresh approach to the trombone’s most important collection of etudes…destined to become a standard in the trombone literature. An absolute must! Michael Davis, jazz recording artist, New York City The unexpected harmonic progressions are a delight. They work great for euphoniums and for trombone and tuba R. Winston Morris, Tennessee Technological University …similar to the Rochut yet contains challenging rhythmic independence and contrast, increasing the value of ensemble experience. As an aid to duet performance, the measure, staff and page format is arranged the same as Rochut’s Fischer edition. Glenn P. Smith, Professor Emeritus University of Michigan A fine addition to the lyrical literature Charles Vernon, Bass Trombone Chicago Symphony Orchestra They’re not only enjoyable to play, but add some ‘zip’, harmonically, melodically, and rhythmically, to the original melodies. Buddy Baker University of Northern Colorado Compositionally, very interesting, not just a duet in thirds…stylistically appropriate…a great way to begin a lesson. Vern Kagarice, University of North Texas An outstanding idea, very valuable Keith Brown, Indiana University I enjoy the book with my students and then also change parts Carsten Svanberg, Danish National Symphony Orchestra Bravo! They serve a great purpose, very musical and playable. Will become a part of the standard trombone repertoire in a very short time…already part of mine. Jiggs Whigham, Professor of Trombone and Jazz, Cologne Germany

Small Ensemble Drums,Timpani - Level 5 - Digital Download SKU: A0.883766 Composed by Richard Wagner. Arranged by Phil Lawrence. Romantic Period. Score and parts. 102 pages. Phillip Lawrence #3534823. Published by Phillip Lawrence (A0.883766). The Ride of the Valkyries Wagner.What do brass bands like, a good tune, a challenge, a good blow and technical work-out, a chance to show that a brass band can do what any other instrumental group can do including the symphony orchestra, and being able to bring the great classics to locals in their community, in the concert hall and in the band stand where the music comes to the public too? I’m sure that desires and ideals might be listed above. Besides the history of bands 180 years ago having no music and those within arranged popular tunes of the day and great classic symphonic works (often truncated), not al lots has changed apart from the fantastic influx of composed works for band over the last 60+ years, there’s also been a steady influx of orchestral works form the 1980’s as the technical facility of players has grown beyond belief, for EG. My old mentor and teacher Howard Snell working with Desford and other bands into the 90’s started to arrange orchestral works that A. Were fantastic works of musical caliber (many unknown the the BB rep) and, B. A superb challenge to the band - Daphnis and Chole Suite No 2 Ravel and Pines of Rome Respighi to name just two. In the same vein I have recently released Romeo & Juliet Tchaikovsky recently premiered in London by The Fulham Band, and today I let fly again one of the best known musical works in the world yet so far either not arranged because of over all length and technical difficulty, or just too harder work for the arranger? The Ride of the Valkyries Richard Wagner. 4 pages of full on can’t take your eyes off for a second challenge! Will your band take it on? Chop fatigue guaranteed plus and standing ovation from the audience.

Guitar - Level 2 - Digital Download SKU: A0.1140741 By Heather Nova. By Heather Nova. Arranged by Maja Roedenbeck. Pop,Singer/Songwriter. Guitar Tab. 5 pages. Maja Roedenbeck #740974. Published by Maja Roedenbeck (A0.1140741). This is a fingerstyle solo guitar version of Heather Nova's most beautiful song, Everything Changes. Check out also the easy to play and sing fingerpicking, chords and vocals version I offer! I just saw Heather live in Berlin on Nov. 14th 2022, not knowing much about her music before the gig (tickets were a gift). And now I'm absolutely thrilled by this angelic voice and soul-touching song and surprised there was no transcription available on Sheet Music Plus, yet. My music sheet refers to this recording: https://www.youtube.com/watch?v=KQ3g1pRwFkE. I uploaded a Musescore audio export of the guitar tab | music sheet on Youtube so you can hear what you'll get: xxx. What's your favorite Heather Nova song?

String quartet - difficult - Digital Download SKU: S9.Q778767 String Quartet No. 6. Composed by Joerg Widmann. Downloadable, Score and parts. Duration 27 minutes. Schott Music - Digital #Q778767. Published by Schott Music - Digital (S9.Q778767). My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works ranging from the (in my opinion) quasi revolutionary Quartet No. 1 to the Quartet No. 5 entitled Versuch über die Fuge [Attempt at a Fugue]. The Quartet No. 6 – Study on Beethoven – composed fourteen years after No. 5 should be conceived as a new approach and the commencement of a new quartet cycle with an unknown ending. All that can be said is that the subsequent quartets will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Despite a reverence for Beethoven at a very early stage, my own compositions have steered well clear of this unapproachable cosmos with the exception of my concert overture Con brio. The perhaps only link with the five quartets of the first cycle of quartets is the single-movement structure of the thirty-minute Quartet No. 6. The fundamental coordinates have otherwise been reset to zero. This is therefore also a ‘study’ in a literal sense. In the Quartet No. 6, I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenons such as tension/relaxation, suspension/resolution and fixation/deviation. From a formal aspect, the work is too experimental and unsentimental for explorations in a nostalgic-romantic sense. On the contrary, tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material. I have been repeatedly astonished by the unfolding in the progression of this piece which has taken me to unknown locations, especially from a formal aspect. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. The Quartet No. 6 has been created in close artistic and friendly cooperation with Anne-Sophie Mutter and she is the dedicatee of this work. Jörg Widmann, July 2019My quartets composed between 1997 and 2005 were conceived as an interconnected, self-contained cycle of works. The Quartet No. 6 composed fourteen years after No. 5 now opens a new cycle of quartets which will be devoted to an intense study of Ludwig van Beethoven’s unique and consummate artistry of quartet composition. Perhaps the only link with the five quartets of the first cycle is the single-movement structure of the almost thirty- minute Quartet No. 6. I am fascinated to see what forms the subsequent quartets in this ‘Beethoven study’ cycle will lead me to. Jörg Widmann.

Trombone Solo - Level 3 - Digital Download SKU: A0.792345 Composed by Otto Langley. Arranged by Gordon Cherry and Ralph Sauer. Instructional,Standards. Individual part. 120 pages. Gordon Cherry #4806563. Published by Gordon Cherry (A0.792345). The Otto Langey Tutors were the method books of the early 20th century. Langey, a cellist, was a German immigrant to America who wrote method books for most of the major instruments. Many young instrumentalists used these books for their first studies including Mr. Sauer who in the foreword of the book describes how the Langey Method was one of his mainstays during his early musical years. I started using this method book at age 14 with my teacher Robert Harper (bass trombonist with the Philadelphia Orchestra from 1943 to 1981) and still refer to it today. The rudiments of music are clearly explained, and the scale and arpeggio exercises are excellent for avoiding the boredom that can sometimes set in with other methods. The short etudes starting on page 42 were some of Mr. Harper’s favorites. With these interesting little pieces, I learned how to play exactly what is on the page. Mr. Harper would stop me multiple times (even within the same measure!) to point out the little things that I had ignored or didn’t play correctly. Without this ability to play what is written, it is impossible to build a musical interpretation later on. In addition to Langey’s own etudes, a selection of etudes by other composers (Vaubaron, Belgke, Dieppo, Manna, Clodomir) plus some solo pieces, round out this wonderful old book. If I were limited to one etude book on the proverbial desert island, this would be it. Ralph Sauer This book of over 120 pages is suitable for performers from beginner right up to advanced. We are pleased to add this valuable book to our Vintage Brass collection.

Trombone Solo - Level 3 - Digital Download SKU: A0.792383 Composed by Langey, Otto. Arranged by Sauer, Ralph. 20th Century,Instructional. Individual part. 120 pages. Gordon Cherry #4820167. Published by Gordon Cherry (A0.792383). The Otto Langey Tutors were the method books of the early 20th century. Langey, a cellist, was a German immigrant to America who wrote method books for most of the major instruments. Many young instrumentalists used these books for their first studies including Mr. Sauer who in the foreword of the book describes how the Langey Method was one of his mainstays during his early musical years. I started using this method book at age 14 with my teacher Robert Harper (bass trombonist with the Philadelphia Orchestra from 1943 to 1981) and still refer to it today. The rudiments of music are clearly explained, and the scale and arpeggio exercises are excellent for avoiding the boredom that can sometimes set in with other methods. The short etudes starting on page 42 were some of Mr. Harper’s favorites. With these interesting little pieces, I learned how to play exactly what is on the page. Mr. Harper would stop me multiple times (even within the same measure!) to point out the little things that I had ignored or didn’t play correctly. Without this ability to play what is written, it is impossible to build a musical interpretation later on. In addition to Langey’s own etudes, a selection of etudes by other composers (Vaubaron, Belgke, Dieppo, Manna, Clodomir) plus some solo pieces, round out this wonderful old book. If I were limited to one etude book on the proverbial desert island, this would be it. This book of over 120 pages is suitable for performers from beginner right up to advanced. We are pleased to add this valuable book to our Vintage Brass collection.

Guitar,Voice - Level 1 - Digital Download SKU: A0.1135338 By Heather Nova. By Heather Nova. Arranged by Maja Roedenbeck. Pop,Singer/Songwriter. Guitar Tab with Voice. 4 pages. Maja Roedenbeck #735385. Published by Maja Roedenbeck (A0.1135338). This is an easy to play and sing fingerpicking, chords and vocals version of Heather Nova's most beautiful song, Everything Changes. Check out also the fingerstyle solo guitar version I offer! I just saw Heather live in Berlin on Nov. 14th 2022, not knowing much about her music before the gig (tickets were a gift). And now I'm absolutely thrilled by this angelic voice and soul-touching song and surprised there was no transcription available on Sheet Music Plus, yet. My music sheet refers to this recording: https://www.youtube.com/watch?v=KQ3g1pRwFkE. I uploaded a Musescore audio export of the guitar tab | music sheet on Youtube so you can hear what you'll get: https://youtu.be/UPQ7P-9FL-8. What's your favorite Heather Nova song?

Woodwind Ensemble,Woodwind Trio Alto Saxophone,Baritone Saxophone,Clarinet - Level 4 - Digital Download SKU: A0.971660 Composed by Jeffrey Hoover. 20th Century,Contemporary. 30 pages. Musicart Publications #5992037. Published by Musicart Publications (A0.971660). Garage Sale Llama is for Bb clarinet and Eb Alto saxophone (or Eb baritone saxophone). Duration, 5 min. 30 sec.  Garage Sale Llama is a humorous and energetic duo for clarinet and saxophone. About 2/3 of the way into the music, there is an optional narrative that the clarinetist can speak.The score and parts in this edition are arranged to be printed double-sided, with correct page turns.Program NoteA conversation recently overheard at a grocery store: 'Why do you go to garage sales? What do you buy at garage sales?' 'Anything and everything!' 'Anything, really? What about... a Llama? Would you buy a Llama at a garage sale?' 'Well?... Yes!... I'd buy a llama.'It was at a holiday party I had a close encounter with a garage sale llama. 'True story. The llama was in the back yard of the neighbor's house where the party was being held. Having a llama in the neighbor's backyard is wild, but to hear how the neighbor acquired the llama at a garage sale is unimaginable! Even Hollywood could not come up with such a tall tale. – Jeffrey HooverJeffrey Hoover's compositions- music ranging from soloist to symphony orchestra -have received recognition through the Universal Edition/SMP Press Contemporary Composition Award, the prestigious Trieste prize, the international Luigi Russolo competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications fellowships, and more than 25 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer. One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as an M.M. and a Bch.Sc. from Ball State University. His career in higher education has included both faculty and arts administration appointments. To learn more about Jeffrey Hoover's work, or for specific inquiries about his music, guest residencies/festivals, and commissions, please visit his website: https://jeffreyhooverart.wixsite.com/mysiteTo Contact Musicart PublicationsCarlos Rio, Editormusicart.publications.editor@gmail.com

Piano Trio,String Ensemble Cello,Double Bass,Piano,Violin - Level 2 - Digital Download SKU: A0.522286 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 50 pages. Colin Kirkpatrick Publications #6596257. Published by Colin Kirkpatrick Publications (A0.522286). We’re really excited to present our collection of sixty of the best-loved hymns ever composed, presented in three books. Arranged for violin, cello and piano they are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. To make the music accessible to less experienced string players, the range of the notes has been kept fairly low so that many of the arrangements can be played in first position, though more experienced players would probably want to avoid open strings. The cello part does not follow the bass but instead plays an independent tenor line using to the mid to upper range of the instrument. The top note in the cello part is the F sharp above the bass clef. The piano part has been kept as straightforward as possible with the left hand playing the bass part. To extend the possible uses of this collection, there’s also a melody part printed in the bass clef, an octave lower than the violin part. This could of course be used for cello solo or indeed for any other bass clef instrument. Included in the 50-page PDF file is an optional bass part which follows the piano left hand and could be used for string bass or bass guitar. With such a small ensemble, a conductor is hardly necessary and to save on costs the pianist reads from the score. For this reason, the piano part in the score has been slightly enlarged. Book 1 contains the following twenty popular hymns: Abide with Me (Eventide); All Glory, Laud and Honor (St. Theodulph); All Hail the Power of Jesus' Name (Coronation); All Through the Night (Ar Hyd y Nos); City of God, How Broad and Far (Richmond - Haweis); Fairest Lord Jesus (Crusader’s Hymn); Fight the Good Fight (Duke Street); Forth in Thy Name (Angel's Song, Song 34); Guide Me, O Thou Great Redeemer (Cwm Rhondda); He who Would Valiant Be (Monk’s Gate); Holy, Holy, Holy! (Nicea); I Heard the Voice of Jesus Say (Kingsfold); Jesu, Lover of my Soul (Aberystwyth); Nearer my God to Thee (Bethany); Now Thank We All Our God (Nun Danket); O Worship the King (Hanover); Rejoice, the Lord is King (Darwall’s 148th); Soldiers of Christ, Arise (Diademata); The Lord’s my Shepherd (Crimmond); What a Friend we Have in Jesus (Converse). The music has been set in string-friendly keys so they are not compatible with the brass or wind publications of the same name. The audio samples include Abide with Me; All Through the Night; I Heard the Voice of Jesus Say; Nearer my God to Thee and What a Friend we Have in Jesus.

Piano Solo - Level 4 - Digital Download SKU: A0.1495477 By Damien Gauci. By Damien Gauci. Classical,Contemporary. Score. 36 pages. Damien Gauci #1071994. Published by Damien Gauci (A0.1495477). This album follows the simple story of A Squirrel Named Whiskers. Whiskers is a curious but cautious little squirrel that lives in the woods and enjoys exploring new areas of the woods from time to time when he finishes collecting food for the day. This story follows Whiskers as he ventures out into an unknown part of the woods and happens to stumble across an old abandoned house which is surrounded by trees and bushes. There is no one to be seen or heard here and Whiskers can’t help but explore inside.I began writing this album with the track “And Carefully Crept Inside.” but I actually wasn’t planning on writing a full album at that point. I go into more detail in the individual track’s program note about it but it was the spark that led me to commit to writing a full album. I began composing other tracks for the music box to be part of the album and then I had an idea to make the titles into a story, but what would they be about? The music box is an enchanting and mysterious little instrument and is often associated with magic, fairies, and the forest which is what led me to decide to write the story about a Squirrel.I took some time to write out a short story and then created 10 titles that would fit the story. I continued to write the remaining tracks of the album now using the titles as inspiration to write the music which made it easy to create a certain mood and style. Writing this album was a great exercise in writing music that has a story behind it which something I always try to do when composing. I believe that every piece of music has a story behind it intentionally or unintentionally. I plan to continue to infuse a story in the music I write as it gives it much more meaning than a piece of music being written without a story in mind. I hope you enjoy listening to or practicing these pieces and have fun following along with whiskers on his journey into the unknown.

Concert Band - Digital Download SKU: A0.1030824 Composed by Neal Endicott. Contemporary. Score and parts. 35 pages. Neal Endicott Music #1249. Published by Neal Endicott Music (A0.1030824). This piece was originally titled Istn’t it Enough, drawing inspiration from the famous passage from The Hitchhiker’s Guide to the Galaxy. I changed the wording slightly to be more encompassing of different modes of perception (thought is a broader concept than sight and the word think created better melodic material than the word see, using the method described below) I provided an alternate title to more clearly convey the meaning behind the piece. That is; that the only church that I will ever need is the one I find in musical expression and in the beauty of the natural world. Though Adams’ meaning was meant to convey the primary reasoning for his atheism-a reason that I use as well-I also see it as an admonishment of our need for constant stimulation. Adams felt-and I feel-that people need to take the time to slow down and enjoy life: we need to enjoy the beauty of the garden (both literally and metaphorically). That, quite simply, is what this piece is (or at least what it is to me). Among the compositional techniques that I used in this piece is one that I have been using quite a lot. I call it crypto-serialism. The basic concept is that I will take a piece of text (the Douglas Adams quote, in this case) and convert each letter to a number between 0 and 11 and then convert those numbers to musical pitches, where 0 = C, 1 = C#, etc. The technique offers me a way to draw actual musical ideas from the text itself, which I see as a means of creating a deeper connection to the text. The piece is dedicated to the Four Horsemen of the Non-Apocolypse: Richard Dawkins, Christopher Hitchens, Sam Harris, and Daniel Dennett.

Piano Solo - Digital Download SKU: A0.1012713 Composed by Monica Bergo. Contemporary. Score. 10 pages. Moni Bergo #5742995. Published by Moni Bergo (A0.1012713). Music and song composed by me                                                        ALL  AS  BEFORE   Tired flower bends  the head photos in carved marble sad smell of the past along your tree-lined avenue how much peace in this place where you stand hidden cobwebs on your time and the scent of regret  while I touch your beautiful face  I ask myself who decided that your time would stop and that for you all would be over    I, minstrel of my time, tell a thousand stories  chronicles written in pencil real-life stories story now finished my fingers still drive,  find notes and then the enchantment to disperse them in the wind there was a king in love, by a bewitched spell, with the madwoman his queen and everything comes back as before there tucked away in a corner  There is a pathetic clown Look closer: it’s a little girl and everything comes back as before   You clown what would you do? You want to approach the king and then you want to tell him of her polluted heart but him, he does not want to be touched and you have to amuse her smile and do not tire continue your ... dance ... in the void and silence suspended in time  for your queen and everything comes back as before  before your leap do you want to fly high mixed-up Icarus you have fallen into emptiness   the beating of the heart makes too much noise  rumbles here within into emptiness and silence no, do not love me,  now or ever and hang on till the ultimate pain she'll pressure you and insinuate herself into your mind and end by doing you harm  but I invisible to your eyes and I want to hug you, you do not want I would like to tell you what you do not know of me and then on swings of fantasy  my hand close to yours we'll soar to the heights where she is not there  if you want I will reinvent myself for you And I may please you ,I know but with your eyes you’ve already answered me and hidden I'll go ..   The winter does not end the cold seems eternal  here the sun dies ,effaces itself and then disappears   Once upon a time there was or still is, who knows a minstrel that no longer has a court and he belongs to nobody, and no one will stop him while closing the door ,the king will delete him abracadabra here in my Kingdom nothing caresses, no kiss of goodby my name in history was written in pencil to be able to delete from a faded page   the mind has its woodworm and you can not heal it past, present and she who reigns everywhere    pages of your life flowing through my fingers for a king, tired and sick, who has not had a happy ending the spell is broken and now the veil has fallen regret makes its way into him and the minstrel would approach him  puppet in love ,now disconnected from your wires seek your child and there is nothing like before   there is the sunset in your eyes  but I'm here by your side  a daddy and his little girl and there is nothing like before .... ..... the be.

Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #90581. Published by David Warin Solomons (A0.576733). Mysterious piece in octatonic mode, originally written for the short story The Door The pdf file contains score and parts. The sound sample is an electronic preview. High up on the grassy hill behind the town there is a door. It stands there in its frame with nothing before or behind it. It is locked shut. There is no key. We climb the hill each day. We play each side of the door, games of hide and seek. But we cannot go through the door. Each day we go there during this long sultry summer holiday. We are fascinated by the structure. Why would anyone put a door up there, in its frame, eternally locked, with nothing before or behind it? Maybe it is all that remains of an ancient house? We play, we wonder, we laugh and play, and we return regularly to our homes in time for tea. Then, one day, as we climb the hill for the umpteenth time, a lady dressed in white arrives before us. We watch her take the key out of her bag and insert it in the lock. We are too far downhill to catch up before she closes the door behind her. As we arrive, puffing and panting, Steve knocks on the door. No answer. Dave knocks on the door more forcefully. We hear a distant swish of robes. Gloria knocks, perhaps a little more timidly as the swishing sound approaches. Estelle begins to knock in her turn and the door suddenly opens wide. We all gasp as we see the lady standing there in glistening robes. Her face is hidden from view by a white shawl, but her piercing eyes still show. Children, she says, welcome all. Do come in, please, the kettle is on. You are just in time for tea. We hesitate, as well we might. How can we come in when there is nothing before or behind the door? But Estelle puts one foot inside and looks back at us with a curious expression of serenity on her face. We follow her. We look around at the new space beyond the door and at the parquet floor beneath our dew-soaked feet. As our eyes become accustomed to the brightness of the interior we catch sight of many signs of the world we have entered, but only fleetingly. They pass before our eyes in an instant and then flee beyond the range of sight. There is a staircase, a hat stand, a distant gleam of an ancient cooker, a faint whiff of scones and boiling jam. As we walk inside, our senses are overwhelmed with the new reality, we are rooted to the spot. Do please sit down, says the lady with a slight catch in her throat. We are seated on wooden chairs along one side of an oak table, although we cannot recall how we got there, some slip of the memory perhaps. We have no sense of foreboding, Estelle's serenity has passed to all of us. We can stay here eating scones and jam until the end of time. The lady removes her shawl and reveals a face as beautiful as anyone's mother's. Her deep black eyes glisten like obsidian. She beams a smile of welcome and pours the tea. I'm glad you have come. I've been expecting you, she begins. You must have a thousand questions, so do please ask away. Well, says Steve, what is this door that we passed through? Is this another world? There is no other world, the lady replies, this is the only one. But there is! There is! starts Dave excitedly, Look!. He gets up quickly from the chair, knocking it over in his haste and rushes to the door to open it. He pulls at it with all his force and reveals a black nothingness behind it. We were on the hill, where's it gone? he shouts, what have you done to it? There is no hill. But you climbed the hill in front of us says Gloria. There is no hill. Even Estelle of the serene demeanour is beginning to look worried. How did we get here then, how did you get here, she asks the lady nervously. We have all been here since the beginning of time, the catch in the lady's throat is becoming more evident. No, we have our families down there in the town cries Estelle You have no families,.