Broadway Presents! Teens' Musical Theatre Anthology: Male Edition is a delightful collection of musical theatre songs from a variety of shows that span decades of theatre history. Using the original vocal scores, the songs have been selected and adapted with the ranges and skills of teen singers in mind. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make this the most useful and relevant collection of its kind. CD includes accompaniment tracks. Titles: All That's Known (from Awakening) * Chim Chim Cher-ee (Mary Poppins) * Corner of the Sky (Pippin) * Evenin' Star (110 in the Shade) * Giants in the Sky (Into the Woods) * Grow for Me (Little Shop of Horrors) * Heart (Damn Yankees) * I Can't Be Bothered Now (Crazy for You) * I Chose Right (Baby) * I Could Write a Book (Pal Joey) * I'd Rather Be Sailing (A New Brain) * I'm Calm (A Funny Thing Happened on the Way to the Forum) * I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * If I Only Had a Brain (The Wizard of Oz) * It's No Problem (Reprise) (High Fidelity) * Johanna (Johanna) * Ladies' Choice (Hairspray: the Movie) * Larther Than Life (My Favorite Year) * Left Behind (Spring Awakening) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Now I've Seen You (Honk!) * On the Street Where You LIve (May Fair Lady) * Singin' in the Rain (Singin' in the Rain) Slide Some Oil to Me (The Wiz) * Some Girls (Once on This Island) * The Streets of Dublin (A Man of No Importance) * They Can't Take That Away From Me (Crazy for You) * They Were You (Solo Version) (The Fantasticks) * What Do I Need with Love (Thoroughly Modern Millie) * What Would I Do If I Could Feel? (The Wiz) * When I'm Not Near the / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Part of the popular ‘Top Ten’ series this collection contains ten carefully selected pieces in the jazz style. There is such variety within the genre we call 'jazz' it seems almost impossible to do itjustice in just ten songs but we've given it our best shot. We've unforgettable standards like Duke Ellington's 'Take The A Train' and 'Fly Me To The Moon' as popularised by Frank Sinatra; elegant tunes fromthe 1930s such as 'The Way You Look Tonight' and 'The Very Thought Of You'; classic numbers from the late 50s and early 60s 'So What' and 'Cantaloupe Island' - and we make no apology forstretching the jazz definition to accommodate the gorgeous 'Girl From Ipanema'! Some of the pieces are arranged for Piano and Voice; others are purely instrumental but every one possesses that special somethingthat has earned it a place in our collection and indeed in the heads and hearts of countless jazz lovers around the world. Each piece in The Top Ten Jazz Songs To Play On Piano is accompanied byinteresting background notes to give you that extra bit of insight.

Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. GILBERT/SULLIVAN THE GRAND DUKE OR THE STATUTORY DUEL VOCAL SCORE / TV, Film, Comédie musicale / Recueil / Chant et Piano

For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind. Titles: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's 'Aida') * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My Eng / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Jerry Silverman has taken the best songs from Songs of England Songs of Ireland and Songs of Scotland and has arranged them for voice with piano accompaniment and guitar chords. A new section on 'Songs of Wales' is alsoincluded.

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

Par VOLPI ANDREA / GERINI ALESSANDRO. The series ?Scuola superiore di musica? was designed to suit the needs of students from beginning to intermediate-advanced music courses. Canto polivocale moderno is an anthology of rock ? pop/rock songs engraving for two three and four voices. It makes use of a rich material as scores lyrics and audio online to ensure more tools are available to students. / Date parution : 2023-01-24/ Recueil / Piano

Les Take that sont de retour et ils cartonnent en Angleterre !
Retrouvez leur cinquième album studio (le deuxième depuis leur retour) en partitions arrangées pour Piano, Chant et Guitare.
Ce songbook approuvé par le groupe contient les 13 morceaux de l'album The Circus et la chanson cachée ! En bonus un poster A3 en couleur du groupe ! Collector ! / Variétés Internationales / Partition /

Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to us in two main versions, such as ?Dardanus? (1739, 1744), ?Platée? (1745, 1749) and ?Zoroastre? (1749, 1756), none fell into oblivion for as long a period as ?Castor et Pollux?. After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist ?Gentil-Bernard? to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux. The main plot remains very similar to the one of 1737, aside from the fact that the sisters Télaïre and Phébé no longer are in love - the one with Castor the other with Pollux - but rather both with Castor which is the reason why Phébé is jealous of Télaïre. Already at the beginning of the first act Pollux relinquishes his love of Télaïre to the benefit of Castor. Castor, however, is killed by Linceus and finds himself in Hades. Pollux commits to saving his brother, sacrifices his immortality and declares his willingness to take Castor?s place in Hades so that his brother and Télaïre may be reunited. Jupiter, moved by this sacrifice, frees Pollux and bestows the couple immortality by giving them a place in the zodiac. Following the editorial principles of the ?Opera omnia Rameau? (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of ?Castor et Pollux?, the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum. This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged. / Date parution : 2023-06-16/ Répertoire / Chant et Piano

'Colors Of The Wind' as performed by Vanessa Williams and written by the Disney smash songwriter Alan Menken. Taken from Walt Disney's 'Pocahontas.'

Par SONDHEIM STEPHEN. Initialement intitulé The Girls Upstairs, ' Follies ' sont définies dans un théâtre de Broadway croulant, à démolir, au cours d'une réunion de tous les membres du passé des ' de Weismann Follies, ' une revue musicale (basée sur les Ziegfeld Follies) qui a joué dans ce théâtre entre les deux guerres mondiales. La comédie musicale se concentre sur deux couples, Buddy et Sally Durant Plummer et Ben et Phyllis Rogers Stone, qui assistent à la réunion. Sally et Phyllis étaient les deux showgirls dans le drame comme beaucoup des autres invités. Les deux mariages sont des problèmes parce que Buddy, un voyageur, a une liaison avec une jeune fille sur la route, Sally est toujours en amour avec Ben qu'elle était il y a ans, Ben est tellement renfermé que Phyllis se sent émotionnellement abandonnées. Les deux couples interagissent avec les autres et autres fêtards, et tout au long du premier semestre, les numéros musicaux des vieilles Follies sont effectuées par les personnages, parfois accompagnés par les fantômes de leur ancien moi. Ces chansons sont des pastiches de.../ Recueil / Chant

Musical Scene Study-The Rodgers & Hammerstein Musical Scene Study Guide is the first book of its kind featuring both comic and dramatic scenes and songs from ten R&H musicals (Oklahoma! Carousel Allegro South Pacific The King and I Me and Juliet Flower Drum Song The Sound of Music State Fair and Cinderella) for the purpose of musical scene study work. It contains a total of twenty-two scenes organized by the number of men and women in each scene. Each scene includes: An introduction to the musical from which it is taken a description of the characters involved in the scene and a note about the preceding dramatic circumstance of the scene. The dialogue stage directions and piano/vocal score for the song(s) included in the scene. The Rodgers & Hammerstein Musical Scene Study Guide is an essential tool for any and all serious musical theatre students – from high school college and university to community theatre and professional training programs. It is also a must-have for all levels of music and drama teachers as well as vocal and acting coaches. This invaluable book belongs on the shelf in every high school college and university drama department and in any theatre dedicated to developing the talents of its musical theatre performers. It is the perfect tool with which to study character development lyric analysis and musicality whether for auditions or performance.