with Recorded Piano Accompaniments Online. The Singer's Jazz Anthology is an exciting new series providing aspiring jazz vocalists and pianists with staples of the jazz repertoire. The singer's portion, matching the original sheet music, is paired with fresh, unique accompaniments arranged in an authentic jazz style and designed to enable the singer to sound like they're being backed by an accomplished jazz pianist. The accompaniments can be performed as written but include chord labels for pianists who are comfortable playing their own chord voicings. This book also includes access to recordings of the series arranger, Brent Edstrom, playing the piano accompaniments for use in rehearsal or performance. This edition features 25 must-know pop standards, including: Alfie · Blackbird · Bridge over Troubled Water · Dream a Little Dream of Me · Every Breath You Take · Fire and Rain · Goodbye Yellow Brick Road · Isn't She Lovely · Rolling in the Deep · (Sittin' On) The Dock of the Bay · Three Times a Lady · What the World Needs Now Is Love · Yesterday · and more.

Cette remarquable série ouvre des perspectives passionnantes du répertoire stimulante et enrichissante pour le chanteur sagace et aventureux. Comme pour les volumes de compagnon Peters de français Operatic Arias, cette série russe présente bon nombre des airs célèbres à juste titre, mais aussi leur juxtapose avec autres gemmes moins familiers, dont undoutedly méritent une reconnaissance plus large. Une grande partie du répertoire sélectionné est parfaitement adaptee aux fins de l'audition, afin que chaque volume est un Trésor pour les chanteurs professionnels et des étudiants. Sheet Music and CD Play-long Pack / Voix Haute Et Piano

Violets was written in 1927. It is a setting of a poem by George Meredith (1828-1909) and has been arranged here for High Voice with Piano accompaniment.Muriel Herbert (1897-1984) was a British composer pianist and singer. She studied at the Royal College of Music where she met Charles Stanford and Roger Quilter. She wrote many songs for Voice and Piano in her early life as well as some instrumental and orchestral works but stopped composing after her husband left her in 1939. Her works were largely unappreciated until twenty years after her death but they have now quite rightly been the subject of a keen and enthusiasticrevival with a growing fan base.

Hohe Stimme / High Voice-Walther Dürr one of the most distinguished Schubert-scientists publishes a third addition to the new Urtext-edition of Schubert-songs in high middle and low range.

Instrumentation: High voice—Pf Format: Sheet Music Details: (Fr.) Those interested in French music have often had reason to be grateful to Roger Nichols; his writings on Debussy, Ravel, Messiaen and Poulenc are indispensable to themusic lover. Nichols now turns his attentionsto the mélodie, where it is his mission to encourage singers to explore beyond the well-trodden paths of French song. In these two anthologies he does not ignore masterpieces by composers of the stature of Fauré and Duparc, but sets them alongside music – almost impossible to find elsewhere in print – by such under-estimated figures asReber, Viardot, Massé and Paladilhe. Even themore celebrated songs are often not easily found in practical editions, which makes thisselection an ideal starting point for wider exploration. In each of these volumes the songs appear in the chronological order of their composer's birth, but Nichols somehow contrives a line-up of music which seems delightfully arbitrary at the same time as carefully designed to enrich everyone's understanding of the mélodie. The books also contain a remarkable amount of scholarship, lightly worn and pithily expressed. As well as complete translations of the songs, there is a useful and concise introduction on singing in French, together with an illuminating historical note and critical commentary; and Nichols gives full due to thepoets who were of crucial importance in the development of the mélodie tradition. Graham Johnson Contents: Reber: Guitare; Gounod: Le soir; Gounod: Le premier jour de mai; Viardot: Les deux roses;Viardot: La mésange; Franck: Nocturne; Massé:Souvenirs; Lalo: Chant breton; Saint-Saëns: Chanson triste; Bizet: Vieille chanson; Massenet: Madrigal; Massenet: Ouvre tes yeux bleus; Chabrier: Les cigales; Paladilhe: Sonnet de Pétrarque; Fauré: Automne; Fauré: Le secret; Duparc: La vie antérieure; Chausson: Nocturne; Debussy: Le jet d'eau; Satie: Sylvie; Séverac: Philis; Honegger: Automne; Poulenc: Fleurs

With diction lessons recorded by Irene Spiegelman German diction coach at the Metropolitan Opera and piano accompaniments recorded by Laura Ward this collection of the most often taught Brahms songs is an excellent introduction to lieder. The diction for each song is recorded twice: first recited as an actor would speak it showing flow of the language and mood followed by a slow deliberate lesson allowing time for the student to repeat each line. This experienced language coach adapts the ?R? in German in the slow versions as recommended for classical singers. She is also very sensitive to liaisons between wordsounds in the musical settings.

La liste des titres comprend : Alfie ? Blackbird ? Bridge over Troubled Water ? Dream a Little Dream of Me ? Every Breath You Take ? Fire and Rain ? Goodbye Yellow Brick Road ? Isn't She Lovely ? Rolling in the Deep ? (Sittin' On) The Dock of the Bay ? Three Times a Lady ? What the World Needs Now Is Love ? Yesterday ? et d?autres. / Partitions jazz

Originaltonarten für hohe Stimme. Written in 1885, the eight songs after texts by the now little-known poet Hermann von Gilm have a special place in Richard Strauss? corpus of Lieder. For the first time, he composed an entire set of songs on texts by a single poet, collecting them into one opus that was also to appear in print. Some of the numbers in it, like ?Zueignung,? ?Die Nacht,? and ?Allerseelen,? are among the most popular Strauss songs of all time, but the entire cycle with its well-planned structure is also worthy of closer examination and performance. The aspiring composer quite consciously aligns himself with the tradition ranging from Schubert to Wolf, choosing the highly Romantic subject of unrequited love and illuminating its most diverse facets. The primary source for the Henle Urtext edition is the first edition from 1887, which Strauss furnished with a dedication to the Royal Bavarian chamber singer Heinrich Vogl - a serious invitation to today?s male singers not to leave these wonderful Strauss songs solely to female singers!

High Voice (E-Flat) and Piano-Christmas song by Adolphe Adam arranged for high Voice in E flat and piano.