230 folk songs and spirituals, religious and secular, arranged for piano and voice. From joyous gospel to deeply felt blues, this wonderful collection contains vintage songs sung and played through the years by black Americans - at work, in church and for pure entertainment. Included are spirituals, blues, work songs and a variety of social and dance songs. This is an indispensable treasury of music for singers, musicians and all readers seeking a comprehensive sourcebook of black American folk music. It will be equally welcomed at parties, family get-togethers, sing-alongs, church events and other gatherings where people want to play and sing these classic folk songs thatare an integral part of American musical history./ Recueil / Chant et Piano

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

Broadway Presents! Teens' Musical Theatre Anthology: Female 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: A Little Brains, a Little Talent (from Damn Yankees) * All for You (Seussical the Musical) * Always True to You in My Fashion * (Kiss Me Kate) * Astonishing (Little Women) * Bewitched, Bothered and Bewildered * (Pal Joey) * Boy Wanted (My One and Only * Don't Rain on My Parade (Funny Girl) * Gimme Gimme (Thoroughly Modern Millie) * Hold On (The Secret Garden) * Home (The Wiz) * How Are Things in Glocca Morra? (Finian's Rainbow) * I Had Myself a True Love (St. Louis Woman) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm Not At All in Love (The Pajama Game) * Is It Really Me? * (110 in the Shade) * Mama Who Bore Me (Spring Awakening) * Mamma Mia (Mamma Mia) * Much More (The Fantasticks) * The Music That Makes Me Dance (Funny Girl) * The New Girl in Town (Hairspray) * Part of Your World (The Little Mermaid) * Practically Perfect (Mary Poppins) * Princess (A Man of No Importance) * Raunchy (110 in the Shade) * Roxie (Chicago) * Show Me (My Fair Lady) * Shy (Once Upon a Mattress) * The Simple Joys of Maidenhood (Camelot) * Somewhere That's Green (Little Shop of Horrors) * Waiting for Life (Once on This Island) * Whispering (Spring Awakening) * Your Daddy's Son (Ragtime). / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et Piano

Elgar was pre-eminently the composer of large forms. Complex, lengthy development of musical ideas was for him a measure of genius. His songs, with the exception of the orchestral cycle Sea Pictures , were not often the vehicles for his most striking ideas. Paradoxically, he was also bedevilled by a fine literally taste. He once told a friend that he felt it better to set the best second-rate poetry to music, for the most immortal verse is music already. Some of his songs are therefore settings of poets now all but forgotten, such as Arthur Salmon and Gilbert Parker: to their verse his music might make a vital addition. Elgar's songs offer authentic Edwardian reflections which we can value now in their own terms. These songs are full of echoes of a master's thoughts - and especially in the songs written for the stage - flashes of his genius. / 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: I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Dames (42nd Street) * Radames' Letter (Elton John and Tim Rice's 'Aida') * The Gypsy in Me Anything Goes (1988 Revival)) * Ballad of Booth (Part III) (Assassins) * What Am I Doin'? (Closer Than Ever) * Broadway Baby (Dames At Sea) * Blah, Blah, Blah (Delicious) * When the Earth Stopped Turning (Elegies) * You Gotta Die Sometime (Falsettos) * I Want to Make Magic (Fame: The Musical) * Sandy (Grease) * Donna (Hair) * Different (Honk!) * The Phone Call (Lucky Stiff) * Knowing Me, Knowing You (Mamma Mia) * To Each His Dulcinea (Man of La Mancha) * Larger Than Life (My Favorite Year) * I'm Falling in Love with Someone (Naughty Marrietta) * And They're Off (A New Brain) * Stouthearted Men (The New Moon) * Lucky to Be Me (On the Town) * A New Town Is a Blue Town (The Pajama Game) * Extraordinary (Pippin) * There's a Boat Dat's Leavin' Soon for New York (Porgy / Instrumental Music, Miscellaneous, Songbooks, Voca / Recueil / Voix et 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 /

A must-own comprehensive collection of 76 songs from musical theatre, movies, folksongs and standards for any budding vocalist! Songs include: Baby Face · The Bare Necessities · Beauty and the Beast · Born to Entertain · Castle on a Cloud · Do-Re-Mi · Do You Want to Build a Snowman? · Edelweiss · Getting to Know You · How Much Is That Doggie in the Window · I Whistle a Happy Tune · Let Me Entertain You · Let There Be Peace on Earth · Little People · Mairzy Doats · My Favorite Things · Never Never Land · Over the Rainbow · Puff the Magic Dragon · The Rainbow Connection · Red Ryder(R) Carbine Action BB Gun · Simple Gifts · Tomorrow · When I Grow Up · Where Is Love? · You've Got a Friend in Me · and more! / Piano/Vocal/Guitare (PVG)

Amoureux de Variété Internationale Et Divers, vous trouverez la partition de vos rêves, que ce soit en format séparé ou en recueil. Composée par Dion Celine cette partition Dion C. That'S The Way It Is est idéale est idéale pour tout amateur ou professionnel de musique. / Divers / Chanson En Séparée

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

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 it justice 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 from the 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 for stretching 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 something that 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 by interesting background notes to give you that extra bit of insight. / Piano

Ed. critica di M. Talbot - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present volume contains all three settings by Vivaldi of the Marian antiphon Salve Regina that have come down to us. All three are for solo voice: soprano in the case of RV 617, and contralto in that of RV 616 and RV 618. The last two settings are scored for two instrumental cori and introduce woodwind instruments, respectively a flute and a pair of oboes, whereas the instrumentation of the first is confined to strings disposed in a single coro, although a solo violin is employed in three movements. RV 617, preserved in a non-autograph source in Brno, belongs to Vivaldi's first period of sacred music composition at the Pietà (1713-1717), while RV 616 and RV 618 are works of his maturity dating from the years around 1730. RV 617 is laid out in four movements, RV 616 and 618 in six movements. All three works are noteworthy for the tenderness of their expression and skilful writing for both the voice and the instruments. The Introduction and Critical Commentary for these vocal scores, prepared by Antonio Frigé, are closely based on those of the Critical Editions by Michael Talbot, published in 1998, 1990 and 1994. / Niveau : Intermédiaire / Classique / Répertoire / Chant et Piano

37 Favourite Songs Instrument : Voice and Piano Type : song book Nombre de Pages : 88 Six outstanding collections of favourite songs (Songs of England, Songs of Ireland, Songs of Scotland, Songs of Wales, Songs of Christmas, Songs of the Americans). All arrangements include the melody line in the accompaniment so that the songs work equally well as piano solos. Ideal for playing at home, in the classroom, or even as concert items! Includes Danny Boy, Cockles and Mussels and Down by the Salley Gardens. The edition is part of the ABRSM singing exam syllabus (grade 1,2,3). Content : Believe Me - Come Back to Erin - I Will Walk with My Love - I'll Take You Home Again, Kathleen - Kathleen Mavoumeen - Kelly the Pirate - The Gypsy Rover - The Lover's Curse - The Meeting of the Waters - The Minstrel Boy - The Rose of Tralee - The Spinning Wheel - The Young May Moon - As I Was Going Along the Road - Avenging and Bright - Cockles and Mussels - Danny Boy - Down by the Salley Gardens - Here Come the Navvies - Hey Ho, the Moming Dew - I Know Where I'm Goin' - If AII Those Endearing Young Charms - Kitty of Coleraine - Lullaby - Oft, in the Stilly Night - The Boys of Kilkenny - The Dear Little Shamrock - The Flight of the Earls - The Garden Where the Praties Grow - The Harp That Once Thro' Tara's Halls - The Irish Emigrant - The Last Rose of Summer - The Mallow Fling - The Praties They Grow Small - The Star of the County Down - The Wearin' o' the Green - Tramping Song - Trottin' to the Fair