Of this edition, only six copies have survived: two in London, one in Brussels and three in the United States. An incomplete set also survives in a private collection at Durham. These six concertos were discovered only fairly recently. In 1980, Ruzena Wood, then repertoire consultant for the group Cantilena, had become interested in Hebden after studying his First Sonata for Flute and Keyboard. She began searching to find if he had written any music for strings. Finally, she discovered in the library of the British Museum, the six forgotten concertos which had lain unplayed for 200 years. Hebden's Concertos are in the baroque style, and in them he adheres to the 18th century convention of writing happy music in sharp keys and sad music in flat keys. They are most influenced by the Italian composer and violinist, Geminiani, a follower of Arcangelo Corelli, who came to England in 1714 and from whom Thomas Arne may have had violin lessons. The concertos are in seven parts, written for four violins, viola, 'cello and harpsichord. Two (No. 2 in C major and No. 3 in C minor) have three movements (allegro-largo-allegro) and the others are in four movements (an opening adagio followed by alternating fast and slow movements). The fast movements are characterized by lively dance rhythms: while these are Italian in texture, they distinctly echo the English country dances with which Hebden would have been familiar with from his days in Yorkshire. His only surviving works are the 6 concertos for strings (Op. 2):   and his 6 solos for flute and harpsichord.