Debbie Vinick's arrangement of this iconic Beatles song is simple yet beautiful. The classic melody is accompanied by slow arpeggios in the left hand. It's a wonderful addition to your Beatles repertoire. One page of music

DebbieVinick began playing the piano and harp at age 8. She attended Juilliard'spre-college division and graduated from Eastman and Yale Schools of Music. Sheperforms throughout the Northeast and has an active teaching studio of piano and harp students. She loves arranging music that is playable and beautiful. Please search her name for more arrangements!

She would love to hear from you! Ifyou have any questions, comments, or would like an online lesson, pleasecontact:

www.harpistct.com

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Let It Be is one of my favourite songs from the Beatles. John Lennon and Paul McCartney are credited as the singer/songwriters of this beautiful ballad.

I watched the movie "Yesterday" featuring so many of the Beatles iconic songs and had this song running through my head for days afterwards. Sitting down at the piano, this arrangement came to me in a few hours. I scribbled madly to get it all down and then was discouraged when I found out that the Beatles' collection of music was NOT in our catalog of arrangeable songs! (Normally I check before I write!)

I contacted SMP Press to ask if it would be difficult to try to obtain the copyrights from Sir Paul! I was excited to see his music included in our catalog a few months later! I put the video up as a piano cover on YouTube and got a few requests for the sheet music. So glad to be able to make it available now.

This year, I've been arranging songs that I consider to be important. The popular ballad's longevity is a testament to it's importance in songwriting history.

My arrangement is written in 4/4 time, with left hand that provides the accompaniment. This is an expressive piano solo, and is a challenge to intermediate and early advanced players. The arrangement has four-note chords, some octave work, and an area where there are bass leaps in the left hand. Legato pedalling should be used throughout, with attention to careful fingering to ensure that the melody is played smoothly and expressively. The piano solo can be used as a recital piece, a solo in many different arenas or for your own private enjoyment.

If you like this arrangement, please check out my other piano solos on my publisher page. You can also check out my YouTube channel "the-piano-studio.com", or my website at www.the-piano-studio.com.

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 Société 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 chrôma 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

Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l?acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence

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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André 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 André 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.

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ?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 Pelléas et Mélisande 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 Orphée-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 Sébastien and La Boîte à joujoux by his ?angel of corrections? [?l?ange des Corrections?] André 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 André 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.

Piano solo for late Intermediate level. Left hand plays simple bass line. Right hand has some chords with Melody.

English.

Award-winning composer, arranger, pianist, and recording artist Mark Hayes has crafted this superb collection for vocal soloist with piano accompaniment. Wonderful for concerts, contests and recitals, ideal for worship throughout the year, weddings and funerals. Titles: On Eagle's Wings * Bright and Beautiful (A Children's Suite: Praise Him, All Ye Little Children, All Things Bright and Beautiful and Jesus Loves Me) * Take My Life, and Let It Be Consecrated * Come, Thou Fount of Every Blessing * Make Me a Channel of Your Peace * Lord of the Dance * Safe Within Your Arms * Alleluia, Sing to Jesus (Come, Thou Long-Expected Jesus) * Marchin' On Up (Marching to Zion) * Battle Hymn of the Republic

English.

Award-winning composer, arranger, pianist, and recording artist Mark Hayes has crafted this superb collection for vocal soloist with piano accompaniment. Wonderful for concerts, contests and recitals, ideal for worship throughout the year, weddings and funerals. Titles: On Eagle's Wings * Bright and Beautiful (A Children's Suite: Praise Him, All Ye Little Children, All Things Bright and Beautiful and Jesus Loves Me) * Take My Life, and Let It Be Consecrated * Come, Thou Fount of Every Blessing * Make Me a Channel of Your Peace * Lord of the Dance * Safe Within Your Arms * Alleluia, Sing to Jesus (Come, Thou Long-Expected Jesus) * Marchin' On Up (Marching to Zion) * Battle Hymn of the Republic.

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?

With this piano sheet music, you can play "Home" by Michael Bublé. It's an accurate transcription of the whole piece, not too hard to play, and it sounds fantastic!

The whole melody is included in the piano part, so it sounds great as an instrumental solo version - but of course, you can also use these sheets to accompany a singer, or sing along yourself!

"Home" is a song from Michael Buble's fourth studio album "It's Time" (released in February 2005).

The song served as the album's first single and became one of Michael Bublé's most popular songs.
"Home" is a beautiful ballad, and great for piano!

Here are the full lyrics to "Home" by Michael Buble:

Another summer day
Has come and gone away
In Paris and Rome
But I wanna go home, mmm

May be surrounded by
A million people I
Still feel all alone
I just wanna go home
Oh, I miss you, you know

And I've been keeping all the letters
That I wrote to you
Each one a line or two
I'm fine baby, how are you?

Well I would send them but I know
That it's just not enough
My words were cold and flat
And you deserve more than that

Another aeroplane
Another sunny place
I'm lucky I know
But I wanna go home
Mmm, I got to go home

Let me go home
I'm just too far
From where you are
I wanna come home

And I feel just like
I'm living someone else's life
It's like I just stepped outside
When everything was going right

And I know just why you could not
Come along with me
That this was not your dream
But you always believed in me

Another winter day
Has come and gone away
In even Paris and Rome
And I wanna go home
Let me go home

And I'm surrounded by
A million people I
I still feel alone
Oh, let me go home
Oh, I miss you, you know

Let me go home
I've had my run
Baby, I'm done
I gotta go home
Let me go home
It'll all be all right
I'll be home tonight
I'm coming back home

?Évocations? is a suite for Piano solo, impressionistic, contemplative much in the trail of Satie, Debussy or Mompou. Intimist and suitable for aesthetic pleasure. This is a series of works that will lead you into an exotic journey to far away places. Just letyourself be drift away to a better place where the sounds will healyour soul.

These Evocations range all degrees of difficulty, from very easy to more challenging ones. Therefore, are suitable for the classrom, recitals or family gatherings and parties.

Evocation I ? The Harvest

The harvest in Alentejo, Portugal, occurs when the fields become tanned and a soft, warm wind coming from the south blows. It is the time of the year when you grab your hat made of straw and you let yourself be sunk ina sea of rye.

Evocation II ? The Sepia photograph

Memories. They can be happy, bittersweet or painful... Sometimes nostalgia gets the better out of us. And then we are dragged into the past, into a suspended, slow and hypnotic time. Old sepia colored pictures in a drawer orscattered around our bed.

Evocation III ? The dead soldier

The battle is over. Amournful wife, the weeping children. An everlasting pain shutteringour heart. And the hope that wherever he is, he is in peace now. And we are all proud of him. Thank you for serving our country.

Evocation IV ? The composer

The tragedy of the blank page. An everlasting winter in our soul. Snow is falling, thepath is difficult to trail. Being an artist involves an incommensurable amount of suffering because we have to give it all. And even giving it all it isn't enough, and we feel drained and exhausted in the end.

Evocation V ? The Glowing Sun

The blond hair and the most radiant smile one could ever imagine. She is a glowing sun, like an everlasting shine in the sky. She doesn't walk, she floats with extreme elegance across the street, and in the corner, she doesn't turn ? she spins and swirls with heavenly grace.

Evocation VI ? The Far

Longing. Eternally. I hope you've read my letters. I hope you've heard my calls. I opened my heart to you. Why do you take so long? Why can't I hear your voice? Why do you keep me waiting here. Here, so close, yet... so far... alone... forever...

Evocation VII ? The Queen of Spades

The dark lady is the strongest in the deck. Mystical, fantastic, she wanders like a shadow in your world. Across the garden, carrying a sickle, she's just waiting to chop a head on the next turn.

Evocation VIII ? The Poem

A book, a sonnet. Fourteen verses with rigorous metric, with a defined purpose. A parlor game, a riddle. Can you guess what's hidden inside these wondrous sounds?

Evocation IX ? The Thinker

A desk loaded with books. The glasses. A mind always working, methodic, cold, rigorous. Numbers, hidden relationships, an everlasting connection with the abstraction.

Evocation X ? The Island of the Hydrangeas.

A paradise on earth, smooth rain, narrow and sinuous roads. Walking, then biking, then driving around. An adventure in one of the most beautiful places in the world.

Evocation XI ? The Near

When you're here everything will be beautiful. I can see it already in my head, the endless, passionate love, a tender sweet kiss that will last forever. Your lips on mine, while holding hands, in the bench, in the garden, under the tree. You are the one.

Evocation XII ?Saffron rice

The rice is golden like your hair and your class. The sweet taste of nobility, the craft ofwisdom, the delicacy of experience. Maturity is what time brings, it is not a curse, it is a gift that we should embrace and respect.

This is a big note/beginner arrangement of ?Reprise: Chihiro's Waltz? (from Spirited Away) intended for students who are currently studying Level 2 piano, though it may also be suitable for students who are in Level 3. All Maria Colletti?s arrangements are carefully edited to be accessible for young students who have been playing piano for approximately six months to two years.
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I'm Maria Colletti and I teach piano and arrange fun songs for beginning and early intermediate students! My sheet music is expertly transposed, arranged and typeset so that students can learn their favorite songs in a way that dovetails with their primary lesson books. I always include hand positions and finger number suggestions ? especially for early beginners who are just learning to read notes. The video tutorials I post on Youtube help to further assist students in learning their favorite music and finding the right keys. Learn by reading, by ear or watch the notes fall!

Learn more about my work at brightsoundspiano.com.