Here?s how to play ?Love Of My Life? by Queen / Freddie Mercury on piano!

This is a beautiful and accurate piano transcription of ?Love Of My Life?, including all instrumental piano parts and the full melody.

I also created a sheet version of this arrangement which includes the full lyrics and chords, you can find it here:
https://www.sheetmusicplus.com/title/21145110

There's also an easier version:
https://www.sheetmusicplus.com/title/21145489

With this piano sheet music, you can play ?Love Of My Life? on piano, accompany a singer, or sing along yourself.

Frankly, I was not able to find an arrangement of this fantastic song that sounded the way I wanted it to, so I created one that I believe does justice to this great ballad and the legacy of Freddie Mercury.:)

?Love Of My Life? was, of course, written by Freddie Mercury for Mary Austin, his former fianc�e and life-long friend.

It was included on Queen?s 1975 album ?A Night at the Opera?, which included some of their most successful hits (such as ?Bohemian Rhapsody? and ?You?re My Best Friend?).

The song also appeared in the 2018 film ?Bohemian Rhapsody? (in which Freddie Mercury is played by Rami Malek).

In any case, ?Love Of My Life? is one of the most beautiful ballads in the history of pop & rock music, and a fantastic song to play on piano. Enjoy!

Here are the song's full lyrics:

"Love of my life, you've hurt me
You've broken my heart
And now you leave me
Love of my life, can't you see?
Bring it back, bring it back
Don't take it away from me
Because you don't know
What it means to me

Love of my life, don't leave me
You've taken my love
You now desert me
Love of my life, can't you see?
Bring it back, bring it back
Don't take it away from me
Because you don't know
What it means to me

You will remember
When this is blown over
And everything's all by the way
When I grow older
I will be there at your side
To remind you
How I still love you
I still love you

Back, hurry back
Please, bring it back home to me
Because you don't know
What it means to me

Love of my life
Love of my life"

Here?s how to play ?Love of My Life? by Queen / Freddie Mercury on piano!

This is an easy, but nevertheless beautiful piano transcription of ?Love Of My Life?, including all instrumental piano parts, melody, full lyrics and chords.

I also created a more challenging version, which you can find here:

https://www.sheetmusicplus.com/title/21145110



With this piano sheet music, you can play ?Love Of My Life? on piano, accompany a singer, or sing along yourself.

?Love Of My Life? was, of course, written by Freddie Mercury for Mary Austin, his former fianc�e and life-long friend.

It was included on Queen?s 1975 album ?A Night at the Opera?, which included some of their most successful hits (such as ?Bohemian Rhapsody? and ?You?re My Best Friend?).

The song also appeared in the 2018 film ?Bohemian Rhapsody? (in which Freddie Mercury is played by Rami Malek).

In any case, ?Love Of My Life? is one of the most beautiful ballads in the history of pop & rock music, and a fantastic song to play on piano. Enjoy!

Duration: 4:55, Score: 6 pages, Solo part: 1 page, piano part: 2 pages. A very famous aria (Ombra mai fu) from "Xerxes"
Suitable for any venue requiring meditative music. Excellent choice for a recital encore.

Xerxes
Xerxes is, in fact, an opera seria in three acts by Handel. Moreover, Handel conducted the premiere performance in London in 1738. Handel casts the opera in Persia in 470 BC. The part of Xerxes was indeed originally sung by a soprano castrato. Nowadays, the part is generally sung by a mezzo-soprano or conversely a counter-tenor. In the first place, Xerxes sings an opening aria, Ombra mai fu to a plane tree. Handel sets this aria to one of his most truly famous melodies. Although many refer to it traditionally as Handel?s ?Largo,? Handel has, on the contrary, clearly marked "Larghetto" in the score.

Handel Background
George Frideric Handel (1685 - 1759) was born in Germany, but eventually became a British citizen. Nonetheless, he was a famous Baroque composer. In fact, he became famous for his operas, oratorios, anthems, and organ concertos. Handel studied music and, by and large, worked as a composer in Germany and Italy before moving to London. On the whole, Handel was very familiar with the contemporary music of Italy and Germany.

Career in England
It is important to realize that Italian opera was all the rage in England at the time. Moreover, Handel was really good at writing them. Therefore, he started not one but three opera companies in England. Alexander's Feast was a huge success in 1736, but Handel nevertheless began composing English choral works. After success with the Messiah in 1742) he certainly never again wrote an Italian opera. Consequently, he died in 1759, a treasured genius. Accordingly, the English government gave him full state honors at his funeral. Hence, he is buried in Westminster Abbey in London.

Legacy
Music historians agree that Handel was in general one of the greatest composers of the Baroque era. To demonstrate, his works such as the Messiah, Water Music, and Music for the Royal Fireworks remain consistently popular up to the present time. He especially composed the coronation anthem, Zadok the Priest for the coronation of George II. Nevertheless, it has specifically been performed at every succeeding British coronation since. His oratorio Solomon has by all means also continued to be prevalent. As a matter of fact, the Sinfonia from act 3 was featured the 2012 London Olympics opening ceremony. Handel was particularly prolific. To enumerate, he wrote over forty operas. Since the late 1960s, we have expressly experienced a revival of baroque music. Similarly, we have especially seen a pique of interest in historically informed musical performance. Since his death in 1779, interest in Handel's music has, all in all, expanded.



Register for free lifetime updates and revisions of this product at www.jamesguthrie.com.

With this piano sheet music, you can play "Va, pensiero" from Nabucco on piano!

"Va, pensiero" (also known as the "Chorus of the Hebrew Slaves") is Verdi's most famous opera chorus.

This is a piano arrangement in the song's original key (F#).
However, you can also get this arrangement in a transposed version so it's a bit easier to read and play:
in F: https://www.sheetmusicplus.com/title/21411175
in G: https://www.sheetmusicplus.com/title/21410735

With this sheet music, you can play the "Chorus of the Hebrew Slaves" from Verdi's opera "Nabucco" in an accurate piano arrangement which is not too hard to play, and sounds fantastic.

"Va, pensiero" (the "Chorus of the Hebrew Slaves") is a chorus from Giuseppe Verdi's opera "Nabucco". This opera was Verdi's breakthrough as one of the major composers of the 19th century - Verdi himself said Nabucco "is the opera with which my artistic career really begins".

"Va, pensiero" is the most famous number from Verdi's Nabucco and one of the most popular opera pieces of all times.
Beginning with the famous opening lines "Va, pensiero, sull'ali dorate", the Israelites (who are in Babylonian capticity and have lost the First Temple) long for their homeland and pray for God's help.

Here are the full lyrics to Verdi's "Va, pensiero" from Nabucco:

Va, pensiero, sull?ali dorate;
va, ti posa sui clivi, sui colli,
ove olezzano tepide e molli
l?aure dolci del suolo natal!

Del Giordano le rive saluta,
di Sionne le torri atterrate?
O mia patria s� bella e perduta!
O membranza s� cara e fatal!

Arpa d?or dei fatidici vati,
perch� muta dal salice pendi?
Le memorie nel petto raccendi,
ci favella del tempo che fu!

O simile di Solima ai fati
traggi un suono di crudo lamento,
o t?ispiri il Signore un concento
che ne infonda al patire virt�.

With this piano sheet music, you can play "Va, pensiero" - Verdi's most famous opera chorus - on piano!

With this sheet music, you can play the "Chorus of the Hebrew Slaves" from Verdi's opera "Nabucco" in an accurate piano arrangement which is not too hard to play, and sounds fantastic.

For better playability, the piece has been transposed one half step from the original key (G instead of F#).

"Va, pensiero" (the "Chorus of the Hebrew Slaves") is a chorus from Giuseppe Verdi's opera "Nabucco". This opera was Verdi's breakthrough as one of the major composers of the 19th century - Verdi himself said Nabucco "is the opera with which my artistic career really begins".

"Va, pensiero" is the most famous number from Verdi's Nabucco and one of the most popular opera pieces of all times.
Beginning with the famous opening lines "Va, pensiero, sull'ali dorate", the Israelites (who are in Babylonian capticity and have lost the First Temple) long for their homeland and pray for God's help.

Here are the full lyrics to Verdi's "Va, pensiero" from Nabucco:

Va, pensiero, sull?ali dorate;
va, ti posa sui clivi, sui colli,
ove olezzano tepide e molli
l?aure dolci del suolo natal!

Del Giordano le rive saluta,
di Sionne le torri atterrate?
O mia patria s� bella e perduta!
O membranza s� cara e fatal!

Arpa d?or dei fatidici vati,
perch� muta dal salice pendi?
Le memorie nel petto raccendi,
ci favella del tempo che fu!

O simile di Solima ai fati
traggi un suono di crudo lamento,
o t?ispiri il Signore un concento
che ne infonda al patire virt�.

My first season with the Oregon Symphony was 1962-1963. I was so excited when I was told that I was accepted into the Portland Symphony (now Oregon Symphony), I danced and jumped up and down. I can still see myself. Its was like winning the Powerball. I was only 17 years old. What is equally amazing is that 45 years later I retired from a career that very few people can ever experience. I was bass trombonist my first year in the Oregon Symphony and was principal trombonist my third year. I also traveled with the New York Metropolitan Opera National company for 84 weeks as principal trombonist and was bass trombonist of the Portland Opera for 18 years. I played in the Peter Britt Orchestra for two seasons and also in the Anchorage, AK. music festival. I was a scholarship winner to Tanglewood in Lenox, Mass. and the National Music Camp in Interlochen, Michigan. I was privileged to perform with Leopold Stowkowski and Erik Leinsdorf. None of this would have been possible without my early training with the Portland, Youth Philharmonic under the leadership of maestro Jacob Avshalomov.

I have met many famous people and have played the world's greatest music. The Oregon Symphony music directors and conductors have been magnificent and have each brought many special talents to the orchestra. I remember special concerts featuring Jack Benny, Danny Kaye, Isaac Stern, Leonard Rose, and many others.

During my time in the Oregon Symphony I developed a hobby of making batons for some of the conductors who visited our orchestra. Most recently, I made batons for Itzhak Perlman, James DePreist, Carlos Kalmar, Riccardo Mutti, Murry Sidlin, Hannu Lintu, Karel Mark Chichon,

Andre Watts, and many others.

Since establishing the Alan Pierce Piano Service in 1976, I have tuned pianos for the Oregon Symphony, Andre Watts, Lawrence Leighton Smith, James DePreist, Murry Sidlin, Norman Leyden as well as for many churches, schools and prominent piano teachers. Most recently I tuned the piano in the home of world famous Janet Guggenheim. One of my most special memories was an all expense paid trip to Scottsdale, Arizona to tune the piano of a prominent surgeon. While in Arizona, I had the chance to spend time with the late James DePreist who had a home in the area. For two summers, I also served as piano technician for the Sunriver Music Festival I am currently the president of the Reno chapter of the Piano Technicians Guild.

Most recently I got to meet Geoge Curran, bass trombonist of the New York Philharmonic. My wife and I traveled two times to hear him perform my Romanza and Scherzo for bass trombone and piano. What a thrill to hear a world famous trombonist perform my music. I am very honored that George Curran recorded my music on his latest CD. (Vital Signs)

With these piano sheets, you can play ?Bohemian Rhapsody? on piano!

It?s an accurate piano arrangement of the whole piece, including all parts, full melody & instrumental solos.

I believe this is the most accurate piano arrangement of the song you will find anywhere.

It?s a ?Bohemian Rhapsody? piano version in the song?s original key, it?s playable, and it sounds fantastic!


I also created sheet music of the same piano arrangement with the song?s full lyrics - you can get it here: https://www.sheetmusicplus.com/title/21155920


?Bohemian Rhapsody? was, of course, written by the one and only Freddie Mercury.

It was included on Queen?s 1975 album ?A Night at the Opera? and became one of Queen?s biggest hits. Today, it is considered by many to be the best classic rock song of all time.


There?s a good reason why the 2018 biographical film about Freddie Mercuy (played by Rami Malek) is named after this song - arguably his greatest composition.


?Bohemian Rhapsody? is famous for its diverse parts: from the a-capella-intro to rock ballad verses, from hard rock guitar solos to operatic sections.

?Bohemian Rhapsody? really is the whole package - and all parts of it can sound surprisingly great on piano, if played right!


In my experience, many arrangements of the song seem to be lacking something: They are not accurate, don?t sound powerful enough, there are important parts or even whole sections missing.

So I took my time to create a piano arrangement of the song which I feel does justice to this wonderful piece.


I hope you enjoy playing it as much as I do!



Here are the full lyrics to ?Bohemian Rhapsody?:


?Is this the real life?

Is this just fantasy?

Caught in a landslide

No escape from reality

Open your eyes

Look up to the skies and see

I'm just a poor boy, I need no sympathy

Because I'm easy come, easy go

A little high, little low

Anyway the wind blows, doesn't really matter to me, to me

Mama, just killed a man

Put a gun against his head

Pulled my trigger, now he's dead

Mama, life had just begun

But now I've gone and thrown it all away

Mama, oh oh

Didn't mean to make you cry

If I'm not back again this time tomorrow

Carry on, carry on, as if nothing really matters

Too late, my time has come

Sends shivers down my spine

Body's aching all the time

Goodbye everybody I've got to go

Gotta leave you all behind and face the truth

Mama, oh oh (anyway the wind blows)

I don't want to die

Sometimes wish I'd never been born at all

I see a little silhouetto of a man

Scaramouch, Scaramouch will you do the Fandango

Thunderbolt and lightning very very frightening me

Gallileo, Gallileo, Gallileo, Gallileo, Gallileo, figaro, magnifico

I'm just a poor boy and nobody loves me

He's just a poor boy from a poor family

Spare him his life from this monstrosity

Easy come easy go will you let me go

Bismillah, no we will not let you go, let him go

Bismillah, we will not let you go, let him go

Bismillah, we will not let you go, let me go

(Will not let you go) let me go (never, never let you go) let me go (never let me go)

Oh oh no, no, no, no, no, no, no

Oh mama mia, mama mia, mama mia let me go

Beelzebub has a devil put aside for me for me for me

So you think you can stop me and spit in my eye

So you think you can love me and leave me to die

Oh baby can't do this to me baby

Just gotta get out just gotta get right outta here

Oh oh oh yeah, oh oh yeah

Nothing really matters

Anyone can see

Nothing really matters

Nothing really matters to me

Anyway the wind blows?

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septi�me regrettent!!!, Petite Valse,F�tes galantes, and Pr�lude � ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

With this sheet music, you can play the "Evening Prayer" (German: "Abendsegen") from Engelbert Humperdinck's opera "Hansel and Gretel" on piano!

It's an accurate arrangement of the full piece, it's playable, and it sounds beautiful.

Humperdinck (1854-1921) composed the opera "Hansel and Gretel" in the years 1891 and 1892, based on the German fairy tale "H�nsel und Gretel" by the Brothers Grimm.

The beautiful "Evening Prayer" would become the most popular piece from the opera, and arguably Humperdinck's most famous composition.

It's a beautiful, calm, melancholic piece, and makes for a wonderful piano cover!