Take The Lead on these classic Christmas songs. The book contains carefully selected and edited arrangments with chord symbols in concert pitch. The accompanying CD includes full backing tracks and demonstration recordings to help you learn the songs. Includes 'Sleigh Ride' 'Frosty The Snowman' and 'Santa Claus Is Comin' To Town'.

Take the lead Flute on these classic ballads. Hits include Get Here Swear It Again The Wind Beneath My Wings and more.

Voici le nouveau volume de la fameuse collection Pianorama ! Ce répertoire, bien connu des apprentis pianistes, s?adresse à ceux qui étudient l?instrument depuis environ cinq années.

Les arrangements de variété, musique de films, jazz et musique traditionnelle sont élaborés dans le plus grand respect des ?uvres originales afin de procurer un maximum de satisfaction et de plaisir. Chacun pourra retrouver tour à tour sous ses doigts le thème du film Rosemary?s baby, une chanson de Radiohead, de Michael Jackson, un standard du jazz comme «Take The A Train» joué par Duke Ellington, ou encore une Danse hongroise de Brahms.

Chaque morceau est accompagné d?un portrait de son compositeur, ainsi que de conseils sur le jeu pianistique. Un CD accompagne l?ouvrage, et reprend tous les titres dans une version d?écoute de grande qualité
/ Méthodes

The Phillip Keveren Series-In this volume multi-talented Keyboard artist and composer Phillip Keveren has arranged 15 hit songs from the Swedish pop group ABBA in a classical style for Piano. With Keyboards playing a prominent role in many of these recordings [ABBA's] songs are a delight to arrange for solo Piano. Various styles of classical literature inspire all of these settings. 'The Winner Takes It All' and 'Fernando' mine the Romantic style of classical Piano literature while 'Chiquitita' uses a Bach two-part invention as a springboard. - Phillip Keveren The Phillip Keveren Series: Abba For ClassicalPiano includes the songs S.O.S. I Have A Dream Mamma Mia Super Trouper Take A Chance On Me Waterloo Thank You For The Music and more.

9 well-known original pieces in progressive order of difficulty with practical comments-Beethoven?s 32 piano sonatas are the ?New Testament? of music according to Hans von Bülow. Our selection here does not take things quite so solemnly because we have also taken the opportunity to show the more ?worldly? side ofthe composer with dances bagatelles the unusual character piece ?Lustig und traurig? (?Happy and sad?) and of course the indestructible ?Für Elise?. As usual in our series ?At the piano? all the pieces are arrangedprogressively from easy to medium level of difficulty. And you do not have to be in awe of Beethoven?s piano sonatas either: the highly Classical sonata in G major (essentially a sonatina) offers an ideal introduction to themany-facetted world of Beethoven?s sonatas. In contrast to this we also show Beethoven the ?poet at the piano? with the first movement of his ?Moonlight? Sonata in c-sharp minor along with the funeral march from the Sonata inA-flat major visionary creations that already point far ahead into the world of Romanticism.

Luxuriously bound with a unique faux-suede embroidered design and an exquisite presentation box Legendary Piano: ABBA is not just a collection of expertly-arranged sheet music but also a beautifully presentedtribute to one of the greatest pop acts in music history.  The Swedish quartet burst onto the pop music scene after their Eurovision performance in 1974 and within ten years had crafted some of the mostexquisite and melodically interesting pop songs ever and we're not overstating! If we mention some of the tunes that are included in this ABBA sheet music book such as Mamma Mia Take A Chance On Me Waterloo or The Winner Takes It All we can guarantee you've practically started humming them and regardless of your musical taste you can't deny that you love these songs. Despite goingtheir separate ways back in 1982 it is testament to their legacy that their music has remained at the top of the pops even that many years. With the success of the musical based on their songs and their greatest hits album beingone of the best selling albums of all time their music continues to reach new audiences. The Legendary Piano: ABBA book is certainly the most beautiful way to learn songs like Thank You For The Music S.O.S. and Gimme! Gimme! Gimme! for Piano and each song features a lavish engraving in standard notation as well as full lyrics and chord symbols. Not only this though but the bookfeatures full page photographs as well as informative and interesting introductions for a selection of songs. This would be a really perfect addition to the bookshelf of any ABBA fan as well as any fans of pop musicspecifically or great music in general. With each and every song ABBA's popularity rocketed helped along by the brilliantly-composed melodies the masterful songwriting and the vocal performances of all four members of the

Absolute Beginners: Keyboard contains step-by-step photos and DVD videos that take you from first day exercises to playing along with a backup track.This complete guide has been designed to tell youeverything you need to know from the very first time you play your keyboard. In one great book you get a look-and-learn course that uses video instruction and clear pictures instead of long explanations. Practical advice isgiven as are tips covering everything you need to know to get playing fast.The included DVD contains video and audio tracks to show you how things should sound plus full length accompaniment tracks to play alongwith.This ‘owner’s manual’ takes an approach that will make learning the keyboard easier than ever before.

Great Piano Solos: The Orange Book is a diverse collection of pop hits, well-known show-tunes, jazz and blues classics, film themes, great standards and classical pieces arranged for soloPiano.
Thisbumper collection offers an eclectic selection of 44 pieces and great standards for the intermediate level pianist.
This songbook includes fabulous pieces such as Every Breath You Take, Somewhere OnlyWe Know, StraightNo Chaser and Skyfall all presented clearly for Piano solo.
1. A Man And A Woman (Un Homme Et Une Femme) (From Un Homme Et Une Femme )
2. All Blues
3. Après Un Rêve (Fauré)
4. Ave Verum Corpus, K618 (Mozart)
5. Best Song Ever
6. Blue Moon
7. Bolero (Ravel)
8. Can't Take Me Eyes Off You (From Jersey Boys )
9. Cantaloupe Island
10. Chinatown (From Chinatown )
11. Circle Of Life (From The Lion King )
12. Clocks
13. Every Breath You Take
14. Fireflies
15. Good Morning (From Singin' In The Rain )
16. Halo
17. Hero
18. How D'Ya Like Your Eggs In The Morning?
19. Hushabye Mountain (From Chitty Chitty Bang Bang )
20. I Believe It To My Soul
21. Li'L Darlin'
22. Love story
23. March From The Nutcracker (Tchaikovsky)
24. My Cherie Amour
25. Nocturne From String Quartet No.2 (Borodin)
26. One Day More (From Les Misérables )
27. Price Tag
28. Ratatouille (Main Theme) (From Ratatouille )
29. Right Place, Right Time
30. Run
31. Sarabande In D Minor (Handel)
32. Skyfall (From Skyfall )
33. Somewhere only we know
34. Spring (3Rd Movement) (From The Four Seasons ) (Vivaldi)
35. Straight No Chaser
36. Thank God For The Rain/Betsy's Theme (From Taxi Driver' )
37. The Great Escape (Main Title) (From The Great Escape )
38. The Pink Panther Theme (From The Pink Panther )
39. The Sidewinder
40. The Trolley Song (From Meet Me In St Louis )
41. To The Evening Star (From Tannhäuser ) (Wagner)
42. Troika (From Lieutenant Kijé Suite ) (Prokofiev)
43. Voulez-Vous (From Mamma Mia! )
/ Partitions variété - pop - rock / Variété internationale / Piano / MUSIC SALES

Piano Solo-'3 Epigrams' (1963) came into existence following my piece for chamber orchestra 'Chronos' (1962). My purpose with these pieces (and others of the same period) was to explore the sound experiences of serialism in space and time but without using the original and fundamental substance of serialism - the tone row. The chromatic space was constituted by four identical and complementary tone columns (established by transposition). The time was divided into 25 different sizes plasticly conceived and graphically notated. These distances were then divided in 25 new distances in the same proportions etc ... into smaller and smaller durations completely hierarchally carried through.This time division 'rhythm' de-termines the gradual or sudden shifts from one tone column to another.The 3 Epigrams became a little play of my own with this material and the work is therefore quite clear to read and easy to play - a kind of bagatelle really.I am now afraid that a classic situation is emerging: If this programme note is any longer it will take more time to read this than it will take to play the three pieces.Pelle Gudmundsen-Holmgreen

Tombeau which takes its title from the central elegy of the work was composed 1966-69. Its form is a series of fairly specific technical studies interspersed with variations. The introduction provides a sortof ‘trailer’ in which each phrase of the theme is punctuated by a brief quote from the ensuing studies (heard in reverse order). This scheme is balanced by that of the finale which is also punctuated by short ‘flashbacks’.Tombeau was written as a tribute to certain composers for the piano notably Schumann and Szymanovsky and to a style of playing that has now become almost ‘historic’. It is also a tribute to our beloved masters many of themobscure who made us musicians. It is therefore in many senses a retrospective work the last of a phase undertaken just before a fairly drastic re-evaluation of techniques ideas and intentions. It is dedicated to StephenKovacevich who commissioned it and gave its first performance on the BBC Third Programme and subsequently at Dartington Hall Summer School.

Solo Version (Printed Edition)-I have finally decided to re-create the already-daunting Rach 3 into an even more horrifying but also emotionally satisfying project which was to make such a large-scale arrangement for solo piano requesting the pianist to combine both the piano and the orchestral accompaniment of Rachmaninoff's original crowning achievement thus merging an 80-people orchestral sonority onto one person. The process of this project was one of the most artistically educational experiences for me as I couldn't just take the original score and copy and paste it onto the same instrument which would've been meaningless and would simply sound like a mess. One has to really work as a sensitivecomposer to know the differences between the timbres and colors of the piano and that of the orchestra which requires me to re-arrange registers minor shifts of structural obstacles avoidance of over-toned harmonies and attempt to make it sound like as if it was conceived originally as a grand solo piano sonata instead of just some crazy transcription for showing off. I hope this new version of the Rach 3 can achieve a different kind of in-depth virtuosity and emotional scope and that it may attract interest from my contemporary and future pianists or musicians.

Following the very successful piano method published in two volumes between 1958 and 1962 the three-volume European Piano Method represents a new textbook which takes into account the development of modern piano pedagogy.7 Winning Features of the Emonts Method:1 Songs from many European countries2 Pupils begin to play without music notation3 Improvisation and playing on the black keys4 Development of listening skills and aural awareness5 Simple and logical learning structure6 Lots of duets7 Attractive full-colour illustrationsVolume 2While the first volume of The European Piano Method introduces the basic principles of playing the piano Volume 2 is concerned with extendingtechnical and musical training. The course begins with the theme of 'Phrasing and Articulation'. This is followed by a series of pieces arranged systematically to give practice of playing in different keys (3 sharps to 3 flats) and so to improve reading skills and increase familiarity with the keyboard. Together with major and minor scales the corresponding cadences are introduced which can be varied in many different playing styles. Parallel to this there is granded practice material for playing scales and to develop 'Velocity and Even Playing'. In this way students gradually reach a technical standart that allows 'artistic' work on expression and musical interpretation to begin. This development of musicianship starts with the use of pedal and an introduction to cantabile which will be taken further in Volume 3.Again playing by ear inventing accompaniements experimenting with timbres and chords and composing little pieces should constantly supplement lessons. In the appendix of Volume 2 the author offers some idea though he has consciously left much to the individual approach of the teacher.