15 empowering songs, including: Imagine, Lean on Me, One Call Away, Over the Rainbow, Times Like These and more! All songs are presented for piano, vocal and guitar with full lyrics and guitar chord diagrams.

Den Lille Napolean is a collection of four songs composed by Danish composer Erik Fiehn for Voice and Piano.

Frank Loesser. Includes 'My Darling, My Darling', 'Once In Love With Amy' and 'The New Ashmolean Marching Society And Students Conservatory Band'. / Voix Et Piano

of the 17th & 18th Centuries-Most voice teachers and singers still prefer the pianistic wonderfully gratifying editions made by Alessandro Parisotti (1853-1913) of early Italian arias. This newly researched edition with updated composer attributions features new clean music engravings. The collection includes the original contents of 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuries plus four additional Parisotti editions. Also includesinternational phonetic alphabet for each song text word for word translations for study historical introduction for each aria and a preface on Parisotti and his approach to this music. This compilation includes the High MediumHigh Medium Medium Low and Low editions in one book perfect for teacher reference.

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Vicky Leandros' L'Amour Est Bleu. Music by Andre Popp with original French lyrics by Pierre Cour. English lyrics by Blackburn.

with Demo and Backing Tracks Online-All that's missing are your vocals! 8 timeless hits by the lads from Liverpool are presented in this book which includes the lyrics vocal lines and Piano accompaniments for each song plus online audio tracks containing demos for listening and separate backing tracks so you can sing along. Songs include Come Together Eleanor Rigby Here Comes the Sun Here There and Everywhere In My Life Let It Be Michelle and Yesterday. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+ a multi-functional audio player that allows you to slow down audiowithout changing pitch set loop points change keys and pan left or right.

I'm Gonna Sing 'Til The Spirit Moves My Heart is a traditional spiritual arranged by Moses Hogan for SATB (Divisi) a cappella. Moses Hogan born in New Orleans in 1957 has earned an international reputation as one of America's most gifted Pianists conductors and arrangers. His contemporary choral settings of spirituals and other works have been praised by the American Choral Directors Association and Gramophone magazine. Audiences have responded with standing ovations upon hearing these unique and sensitive arrangements. The world renowned Philip Brunelle Chorale of Minnesota and the Boy's Choir of Harlem have both performed Hogan'sarrangements for national audiences on television and radio.

This sheet music features an arrangement for piano and voice with guitar chord frames with the melody presented in the right hand of the piano part as well as in the vocal line.

Par SONDHEIM STEPHEN. Toute personne peut Whistle est définie dans une ville imaginaire qui a fait faillite, il se concentre sur la maire tough, impopulaire, Cora Hoover Hooper, qui, déterminés à sauver de la ruine financière, avec ses affidés politiques crée une attraction touristique par feindre un miracle - eaux curatives débiter d'une roche dans la ville de carrés. Ils trouveront contesté par les sceptiques Fay Apple, une infirmière à la sanitarium local, qui a l'intention d'utiliser ses patients à réfuter la réclamation. Sur le devant de la scène vient j. Bowden Hapgood, un patient confondu avec un psychiatre, qui divise la ville en deux groupes, la saine et le loony, mais refuse de divulguer qui est qui. Point de l'histoire est que ' normale ' est un euphémisme pour la maîtrise de soi, de conformité et d'ordre, et son moral est que le vrai miracle simplement est plein de vie. Après plusieurs révisions, le spectacle ouvert à Broadway en avril 1964, où elle est fermée après neuf représentations, incapables de surmonter les examens généralement négatives, qu'elle avait reçu. Bien qu'il.../ Recueil / Chant et Piano