With this sheet music, you can play "Chariots of Fire" by Vangelis on piano!

It's an accurate, carefully created piano arrangement of the full song.

Originally created as the title theme for the 1981 British film "Chariots of Fire", the instrumental theme was written and recorded by Greek musician Vangelis (Ev�ngelos Odyss�as Papathanass�ou).

The film tells the true story of two British athletes (Eric Liddell and Harold Abrahams) with different backgrounds, and their competition at the 1924 Olympics.

Directed by Hugh Hudson (starring Ben Cross and Ian Charleson as the two athletes), the film was a huge success, won four Academy Awards, and is considered one of the greatest British films ever made.

Vangelis won an Academy Award for the film's soundtrack ("Best Original Score").

The instrumental theme for the opening sequence was named "Titles" on the original soundtrack album, but became later known as "Chariots of Fire".

The theme was also released as a single, topped the Billboard Hot 100 chart (still the only piece by a Greek artist to achieve this), and became the best-selling single of 1981!

The piece has been covered by countless artists of different genres, it has been used in many films and commercials, and was used by Steve Jobs when he introduced the first Macintosh in 1984.

"Chariots of Fire" is a wonderful song to play on the piano!

A beautifully written selection of 10 new pieces and arrangements for Piano with performance notes & chord symbols.
The pieces in this Piano book are around Pianos Grades 3 up to Grade 5.
Titles:

5th Street Blues ? a classic swinging 12 bar blues with lovely rich harmoniesDancing Leaves ? imitates leaves ?swirling? and ?darting? aroundMidnight Mambo ? syncopated Cuban style piece demanding good coordination between handsIt?s Only Minor ? Duke Elllington style 32 bar ABBA structure with swung quavers, a walking bass and thumping triplet chordsI Dreamt I Dwelt in Marble Halls ? a lovely arrangement of the popular aria by Michael BalfeEvening Time ? evoking an American summers evening, sitting on the porch strumming this little number on the guitarJoshua?s Jiffle ? a cheeky little piece, which needs to be fast and ?fidgety?Raindrop Rhumba ? a descending chord opening sequence leads into a delightful light staccato piece imitating the sound of raindropsThe Chromatic Rag ? the title says it all, a great ragtime tune giving the opportunity to practise playing chromaticallyEternal Love ? dedicated to the composers wife, this is a slow tempo pop ballad

The pdf file contains the original score (in letter format) followed by the somewhat larger copy with dedication by the composer and fingerings by Valentin Bogolubov who premiered the 3 Chromicons.

The sound sample is the live performance.

The Three Chromicons were premiered by pianist Valentin Bogolubov at the Soci�t� de concerts de St-Bruno, Saint-Bruno, Quebec, Canada, on 27 January 2007. Bogolubov's adventurous, technically demanding program, which also featured the works of Alexander Scriabin and Jean Chatillon, was accompanied by video animation of numerous works of art, four of which were created by the composer (among them, the Chromicon No. 3).

Ford explains the significance of these unique scores:

"In both my earliest chromicons, which I had begun to create by the 1980s, and in those I continue to make today, color is the element that links what is seen to what is heard. Unlike composer Alexander Scriabin, who may have been a true synaesthete as the result of a rare neurological condition enabling him actually to hear colors, my approach to color music has been by way of analogy. Although the tones in a musical scale and the colors of a prism both result from specific vibratory frequencies, scales can be replicated in various octaves while there is no comparable transposition observable in the case of the spectrum. However, the analogy between pitch and hue is implicit in the term "chromatic scale" (the Greek chr�ma signifies "color"), and on that basis it is possible to equate the twelve tones of Western music with the hues on a twelvefold color wheel: red, red-orange, orange, yellow-orange, yellow, yellow-green, green, blue-green, blue, blue-violet, violet, and red-violet."

"By placing the pitch names of the chromatic scale in a separate band around the periphery of a such color wheel, much like the numbers on the face of a clock, and by rotating the central color wheel, it is possible for any given pitch to be aligned and associated with any hue. Such an easily constructed device, which I have dubbed the "chromonomicon," is the key necessary to decipher the musical meaning of my chromicons. The chromicon can be thought of as a calligraphic text in which each discrete area of color is a separate letter."

"Although there are literally millions of possible colors, all of them can be categorized as one of the twelve hues shown on the chromonomicon. Instead of being written from left to right or from right to left, the color-letters in a chromicon are arranged concentrically. The shapes of the individual letters, usually painted in watercolor and "illuminated" with metallic paints, colored pencils, and other media, are the result of each artist's creative meditation. The personal meaning of the chromiconic text as a whole emerges during and after this meditation, and may be expressed by a conventional title or accompanying commentary."

"Now, anyone wishing to realize a chromicon is at liberty to follow any path?straight or curvilinear?from the centermost letter to the periphery, constructing a cantus (melody) by notating the musical pitches associated with each contiguous color-letter encountered along the way. The cantus thereafter serves as the structural basis of a new, freely composed work. The individual pitches in the cantus may be moved to any octave, and may be repeated any number of times before proceeding to the next pitch in the sequence. Customarily, once the final tone of the cantus is reached, the entire melody is heard in reverse (retrograde), resulting in a palindrome. That palindrome is itself subject to varied repetition, so that in formal terms, each realization of a chromicon amounts to a 'mirror' theme with variations."

"Chromicon No. 3 travels even further back in collective human memory to the eighteenth century. For all its contemporary melodic and harmonic inflections, the style is pervasively contrapuntal, summoning to mind the polyphonic keyboard textures of Bach and Handel. It eschews the worldly strife and diversions mirrored in the first two chromicons, maintaining a dignified, highly stylized manner throughout, but with its unexpected final cadence on D, there seems to be a fleeting intimation of transcendence."

Video of Chromicon III
https://www.youtube.com/watch?v=VHMw-vzZlGE

An arrangement of the beautiful title theme from the film "Out of Africa", which starred Meryl Streep and Robert Redford. This is the same theme that accompanies the famous flight sequence over the plains of Kenya. The piece started life as an arrangement for solo violin with piano accompaniment, but why should the violinist have all the fun?! Perfect music for a summer wedding or garden party, or indeed a cold, wet winter evening at home.

A modern, melodic original composition, suitable for students and advanced musicians alike.



Composer?s Note:

The title of this piece is taken from Sir Philip Sidney?s c.1590 sonnet sequence, known as Astrophel and Stella. The sonnets are meditations on romantic love, with the titular names derived from the Greek roots aster (star) and phil (love), and the Latin stella (also star). Hence, Stella is the object of Astrophel?s affection.


For interested students or teachers, here are a few pedagogical notes:

This piece is suitable for an intermediate-level student. It is playable as a simple waltz as-written, or as a jazz ballad with straight eighth notes. There are some left hand oom-pah shapes, as well as a couple of large arpeggiated shapes where the right hand might want to catch the top note of bass clef, primarily if a student?s hands are small (like the composer?s).


About the Composer:

Emily Nafius is a pianist in Southern California with her musical roots in jazz. As a soloist or sideman, she has performed at numerous music venues around California in an eclectic mix of styles, and recorded with a variety of jazz musicians, singer-songwriters, and rock bands. Her work as an accompanist spans classical, jazz, and musical theatre, receiving praise for her theatre work as a pianist and ensemble leader. She has maintained a teaching studio for over fifteen years, instructing musicians of all ages.

All piano players should learn this sequence. A great aid to improvisation.

With this sheet music, you can play the James Bond Theme on piano!

Composed by Monty Norman, the iconic theme was used in the first James Bond film, "Dr. No" (released in 1962), and has appeared in every James Bond film since.

It usually accompanies the famous "gun barrel sequence", in which James Bond is shooting directly at the camera. Quite often, it is also part of the end credits (including more recent 007 films such as "Casino Royale", "Quantum of Solace", "Skyfall" and "Spectre").

The James Bond Theme is one of the most recognizable film themes, and it makes for a fantastic piano cover!