Livre de poche regroupant les partitions pour chant et guitare (diagrammes d'accords) de plus de 90 classiques acoustiques. Des Beatles en passant par Coldplay et Bob Dylan. / Variétés / Partition /

The Little Black Songbook of Great Acoustic Songs boasts over 80 crowd-pleasing hits from the past and present masters of the unplugged tune. Presented in chord songbook format, this collection features Guitar chords and complete lyrics, as well as useful chord boxes for each song. Despite its size, The Little Black Songbook contains enough Great Acoustic Songs to feature something for everyone, such as classic rock from the '60s to the latest and best pop tunes hot off the charts. Whether the songs were originally intended to be acoustic tunes or their singalong choruses make them perfect for the unplugged treatment, every one of these songs is ideal for strumming andsinging. This songbook features a diverse range of songs from Simon & Garfunkel's America, Johnny Cash's Folsom Prison Blues and Elton John's Tiny Dancer , through to Elliott Smith's Ballad Of Big Nothing, James Bay's Hold Back The River and Ho Hey by The Lumineers. Drawn from the finest pop, rock and folk singer-songwriters, these tunes are ideal for a group singalong, a spot of busking or simply enjoying the pleasure of playing Great Acoustic Songs . With The Little Black Songbook , you can learn to play over 80 of the greatest Acoustic Songs by some of the biggest names in pop and rock. You'll also be able to practise strumming, singing, all while learning to play a huge number of chords using the Guitar chord boxes. Perfect for any aspiring guitarist, this acoustic sheet music songbook may be small, but it's packed with some massive songs. 1. 20/20 2. About A Girl 3. Against The Wind 4. America 5. And I love You so 6. Baby can I hold you 7. Ballad Of Big Nothing 8. Blud 9. Breaking The Law 10. Broken 11. Broken Strings 12. Budapest 13. Cornerstone 14. Cosmic Dancer 15. Courage 16. Cracklin' Rosie 17. Cucurucu 18. Dancing Barefoot 19. Everlong 20. Everything Has Changed 21. Far From Any Road 22. Folsom Prison Blues 23. Fourfiveseconds 24. Free Fallin' 25. Grandma's Hands 26. Guitar Man 27. Have You Ever Seen The Rain? 28. Heart Is A Drum 29. Ho Hey 30. Hold Back the River 31. Home 32. I Never Learn 33. I Say A Little Prayer 34. I'm Looking Through You 35. In Between Days 36. Into My Arms 37. Ivy & Gold 38. Jack And Diane 39. Jenny Don't Be Hasty 40. Lean 41. Let Her Go 42. Little Lion Man 43. Little Talks 44. Lola 45. Love Ain't for Keeping 46. Love Is Like A Butterfly 47. Matilda 48. Moonshadow 49. My Winding Wheel 50. No One's Gonna Love You 51. Oblivious 52. Oh Daddy 53. One Love (People Get Ready) 54. Our House 55. Paint The Moon 56. Please, Please, Please, Let Me Get What I Want 57. Quicksand 58. Re: Stacks 59. Red Eyes 60. Ripple 61. Running Scared 62. Ship To Wreck 63. Shiver 64. Silent Movies 65. Sisters Of Mercy 66. Solsbury Hill 67. Someone Like You 68. Stay With Me 69. Strawberry Letter 23 70. Stuck On You 71. Sugar Man 72. Take me Home, Country Roads 73. Take Me To Church 74. Tangled Up In Blue 75. Tears in heaven 76. The Drugs Don't Work 77. The First Time Ever I Saw Your Face 78. The Girl From Ipanema (Garôta De Ipanema) 79. Thinking Out Loud 80. Tiny Dancer 81. Trouble 82. Wagon Wheel 83. Walk On The Wild Side 84. Weather With You 85. Wild West End 86. With A Gun 87. You Turn Me On I'm A Radio 88. You'Re The Best Thing / Paroles&accords / Wise Publications

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

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Vous pouvez acheter la collection plus définitive de la musique de broadway ! Pas moins de 142 songs from les comédies musicales en un seul volume arrangé pour piano, voix et guitare. Chansons inclus sont tous je demander de vous, et All That Jazz, un autre Op'nin', un autre Show, Camelot, porte toutes proches, examiner vous-même, Dancing Queen, jour après jour, Don ' t Cry Me Argentine, Edelweiss, Hello, Dolly!, je pourrait avoir dansé toute la nuit, je Wanna Be un producteur, Kids!, Let Me Entertain You, mémoire, My Funny Valentine, On My Own, People, populaire, Seasons of LoveSeventy Six Trombones, ils vivent en vous, demain, Try to Remember, ce que j'ai fait pour amour et plus encore./ Recueil / Piano, Chant et Guitare

24 Heine-Vertonungen. Par STEFFEN WOLFGANG. To familiarize oneself with the basics of lied singing and at the same time work on technical and artistic issues using short and varied lieder, there is no way around the German 'Vaccai”. With lieder based on Heine's poems and following the Italian example Nicola Vaccai, Steffen Wolf succeeded in creating a real highlight in voice teaching. Each volume comprises the lieder with the international phonetic transcription below the music, short pedagogical comments on technical and artistic issues as well as a CD with recordings of the songs and piano playbacks in the respective voice range. Singers: Miriam Alexandra (soprano), Yvi Jänicke (alto), Dávid Csizmár (baritone) and the composer (tenor) himself. They are accompanied by the pianist Henning Lucius, who also recorded the piano playbacks for every CD./ Méthode / Voix Moyenne

24 Heine-Vertonungen. Par STEFFEN WOLFGANG. To familiarize oneself with the basics of lied singing and at the same time work on technical and artistic issues using short and varied lieder, there is no way around the German 'Vaccai”. With lieder based on Heine's poems and following the Italian example Nicola Vaccai, Steffen Wolf succeeded in creating a real highlight in voice teaching. Each volume comprises the lieder with the international phonetic transcription below the music, short pedagogical comments on technical and artistic issues as well as a CD with recordings of the songs and piano playbacks in the respective voice range. Singers: Miriam Alexandra (soprano), Yvi Jänicke (alto), Dávid Csizmár (baritone) and the composer (tenor) himself. They are accompanied by the pianist Henning Lucius, who also recorded the piano playbacks for every CD./ Méthode / Voix Haute

A Gospel Homecoming est une collection de certains des plus beaux chants gospel jamais! Voici une collection de chansons soigneusement sélectionnés qui évoquent une époque plus simple ... à partir de sélections Southern Gospel aux cantiques préférés. Comme vous le chanter et de jouer à travers ces chansons, vous serez transportés vers un lieu de paix et de fraternité. Utilisez cette collection précieuse comme une pièce maîtresse pour créer votre propre groupe ou des rassemblements bourse musicale. Vous pouvez rentrer chez vous ... avec un retour aux sources évangéliques. / Piano/Vocal/Guitare (PVG) / niveau : Facile / Partition

Ce livre de poche contient une collection de plus de 100 classiques de la country. Parfait pour les guitaristes, pianistes et autres musiciens. Chansons arrangées surtout pour voix et guitare (grilles d'accords). Inclus l'histoire de la musique country avec des photos en noir

Featuring songs about whisky and wine; coffee and tea; beer and ale these 85 great songs will put you in the perfect mood for a pint or a mug of your favourite beverage giving you some amazingly appropriate songs to sing at thesame time. So whatever your music taste this book will ensure you Sing Drink And Be Merry. These 85 songs are arranged with melody line full lyrics and chord symbols which are perfect for arousing singalong in the pub café or bar or just in your own living room accompanied by the tipple you're most partial to. Songs like Black Coffee Blue Champagne Little Brown Jug and There's A Tear In My Beerare guaranteed to bring a world of mirth to your evening singalong. First perhaps you'll begin your night of singing drinking and merriment with a classy glass of wine or some whisky with HotToddy I'm Beginning To See The Light?or Kisses Sweeter Than Wine?creating the perfect atmospheric soundtrack. Then maybe you'll move on to the glasses of cool heady beer or ale allowing you to indulge intunes like Malt And Barley Blues An Old Beer Bottle and The More We Are Together.?As you wake up in the morning feeling more than a little fragile the smell of fresh coffee and the sweet sound of songslike Java Jive English Tea or Black Coffee?are sure to perk you up to optimum functionality.? All of the songs included in Sing Drink And Be Merry are fun enjoyable and most of all just great tunes. They are entirely conducive to a group singalong but work equally well as a solo performance either plucked on a Guitar played at the Piano or belted out with a booming voice.Whichever way you wish to perform them these classic drinking songs suit every occasion and make an excellent addition to your general repertoire.