Mini E-Z Play Today Volume 4-Just like our wildly popular E-Z Play Today songbooks – but smaller! These 6x9 songbooks are easily portable and easily played thanks to handy note names in the note heads. This volume includes 73 easy listening standards such as All Out of Love Always on My Mind Beyond the Sea Bridge over Troubled Water Dust in the Wind Every Breath You Take Hallelujah Hello If You Don't Know Me by Now Imagine Let It Be Midnight Train to Georgia Over the Rainbow Reminiscing She's Always a Woman Summer Breeze Three Times a Lady What a Wonderful World What the World Needs Now Is Love You Are the Woman Your Song and more.

John Thompson: First Film Music is for beginner pianists and is a fun repertoire to complement the Easiest Piano Course.The pieces in this book are ideal for pupils reaching Part Two, Part Three or Part Four of the Easiest Piano Course.As well as reinforcing basic technique they also help to develop musicality and increase the enjoyment of learning. / Piano

32 selections from 'Beautiful America' 'Music of Hope' and other releases from this new age pianist. Includes: 'Canyon Winds' 'Echo Lake' 'Far and Beyond' 'For Only a Moment' 'Harvest Moon' 'Light on the Moon' 'The Sea on Every Side' 'Swept Across Forever' and more.

Une autre collection de 22 favoris de tous les temps. Comprend 'Mona Lisa', 'Take My Breath Away', 'Do You Know The Way To San Jose' et ' Chelsea Bridge '. / Piano / 64 pages / Partition

Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the

8 célèbres standards arrangés par Peter Deneff pour pianistes débutants avec CD d'accompagnement / Variétés / Partition CD / Agrafé /

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major