Music from the official Celeste Piano Collections, composed by Lena Raine, arranged and performed by Trevor Alan Gomes, and engraved by David Peacock.

Digital album available on bandcamp, iTunes, Spotify, and elsewhere. Limited edition CDs and vinyl available. Also available as a physical book!

Capturing the echoed, persistent sound of the arpeggios in this tune was a particular joy. I find that the result is very satisfying and comfortable to play; the secret is taking your time and never letting the tempo feel too rushed, allowing the notes of each arpeggio to unfurl organically. The arrival of the groovier, backbeat-driven section keeps that sort of calm, collected feeling, even as the intensity is rising. Then the final section creates a false sense of security before launching into the ferocious opening of Awake!

Part of what makes the music of Celeste compelling is the high energy that so many of the tracks have. Lena is particularly skilled in creating rhythmically-saturated, high octane grooves. In this particular arrangement, the way I chose to capture that was through constant 16ths in the right hand, almost like a Chopin etude or Hanon exercise might have. While the bulk of this track is certain to keep you ?awake,? the ending brings the themes to a melancholy conclusion.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favourite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was M�ditation sur le Premier Pr�lude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-L�opold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn

ceremonial events. It has always been a favorite among instrumental players and often used in

recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his

own melody over a rippling keyboard accompaniment which was a slightly adapted version of the

Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier,

published in 1722. The title of the ?combined? piece was M�ditation sur le Premier Pr�lude de

Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major

into F major and it was scored for violin (or cello), organ and piano. In 1859, the French

music publishing company Jacques-L�opold Heugel brought out a vocal version based on the

familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the

Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m.

27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist

Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered

a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or

possibly an error in the manuscript) remains a matter of conjecture but the fact remains that

the most familiar-sounding version of this piece, recorded countless times by both singers and

instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This

arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859

edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn

ceremonial events. It has always been a favorite among instrumental players and often used in

recitals or concert encores. This arrangement by Colin Kirkpatrick has been transposed into B

flat to feature the middle to upper range of the saxophone. In is ideal for the intermediate

player who can manage a top ?b? with confidence.
In 1853, the well-known French composer Charles Gounod added his own melody over a rippling

keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major,

BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of

the ?combined? piece was M�ditation sur le Premier Pr�lude de Piano de S. Bach. Gounod?s

original arrangement transposed Bach?s keyboard part from C major into F major and it was

scored for violin (or cello), organ and piano. In 1859, the French music publishing company

Jacques-L�opold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria

(Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m.

27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist

Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered

a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or

possibly an error in the manuscript) remains a matter of conjecture but the fact remains that

the most familiar-sounding version of this piece, recorded countless times by both singers and

instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This

arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859

edition.

This ever-popular piece is often performed at weddings, funerals and many other solemn ceremonial events. It has always been a favorite among instrumental players and often used in recitals or concert encores. In 1853, the well-known French composer Charles Gounod added his own melody over a rippling keyboard accompaniment which was a slightly adapted version of the Prelude No. 1 in C major, BWV846, from Book I of J. S. Bach's The Well-Tempered Clavier, published in 1722. The title of the ?combined? piece was M�ditation sur le Premier Pr�lude de Piano de S. Bach. Gounod?s original arrangement transposed Bach?s keyboard part from C major into F major and it was scored for violin (or cello), organ and piano. In 1859, the French music publishing company Jacques-L�opold Heugel brought out a vocal version based on the familiar Latin text. Ave Maria (Hail Mary) is a traditional Catholic prayer addressed to the Virgin Mary, the mother of Jesus.
The version of Bach's prelude which Gounod used included the so-called "Schwencke measure" (m. 27 in this arrangement), a measure (bar) allegedly added by the German composer and pianist Christian Friedrich Gottlieb Schwencke (1767-1822) in an attempt to correct what was considered a harmonic weakness in the original. Whether there actually was a ?harmonic weakness? (or possibly an error in the manuscript) remains a matter of conjecture but the fact remains that the most familiar-sounding version of this piece, recorded countless times by both singers and instrumentalists includes this Schwencke measure. It is therefore included in this arrangement.
Some published arrangements show minor inconsistencies in the rhythm of the melody. This arrangement uses the familiar rhythm of the Ave Maria version as it appeared in the 1859 edition.

Choralvorspiel ?Wachet auf, ruft uns die Stimme?

Trancribed By Ferruccio Benvenuto Busoni - For Piano

Wachet auf, ruft uns die Stimme, BWV 645 adheres pointedly to the melodic and rhythmic contours of one of Bach?s most indelible chorales.

"Wachet auf, ruft uns die Stimme" (literally: Awake, the voice is calling us) is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie sch�n leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, Awake, for Night Is Flying" (Catherine Winkworth, "Wake, O wake! with tidings thrilling" (Francis Crawford Burkitt, 1906), and "Up! Awake! From Highest Steeple" (George Ratcliffe Woodward, 1908). Johann Sebastian Bach based a chorale cantata on the hymn, Wachet auf, ruft uns die Stimme, BWV 140, one of its many settings for organ and for voices.

Flavio Regis Cunha is a pianist, conductor and composer from S�o Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunha

Here's how to play "Over the Rainbow" on piano!

With this piano sheet music, you can play "Over the Rainbow" in a beautiful arrangement, with just the right amount of jazzy chords and "blue notes".

The full melody of the song is included in the piano part, so it sounds great when it's just played as an instrumental version. But of course, you can use these sheets to accompany singers, or sing along yourself as well!

The famous ballad "Over the Rainbow" was composed by Harold Arlen for the 1939 film "The Wizard of Oz" starring Judy Garland (as Dorothy Gale), Frank Morgan abd Ray Bolger.

The film is certainly one of Judy Garland's most famous works, and her performance of "Over the Rainbow" is one of the reasons!
"Over the Rainbow" won an Academy Award for "Best Original Song" in 1940.

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