Over 200 of your favorite pop/rock songs, all in one book! The Ultimate Song Pages: Piano Volume 1 provides the lyrics along with piano and chord arrangements for some of the greatest pop and rock hits ever written. Artists featured: 50 Cent * ABBA * Aerosmith * Avril Lavigne * the Beatles * the Bee Gees * Bruce Hornsby * Bruce Springsteen * Celine Dion * Cher * Chicago * Coldplay * Cream * Diana Ross * Dixie Chicks * Elvis Presley * Eric Clapton * Grateful Dead * Green Day * Hall

Full transcriptions of the best moments from the US upstarts Sum 41 including their power-punk anthem Fat Lip.

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

David Bednall's The Scholar for SATB unaccompanied. The Scholar is a sensitive setting of Robert Southey's poem that explores a man's kinship with the dead. With Bednall's characteristic metrical fluidity and effective word setting this piece will provide a moment of quiet reflection in a concert programme.

Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wood: 'I had for many years wanted to set Marina and the opportunity came to start work on it in mid August 1988. About a year later havingcompleted in the meantime the Horn Trio Opus 29 and the Cantata Opus 30 I turned back to the drafts of Marina and completed it on 10 September 1989. It is dedicated to the memory of my daughter who was murdered in Bavaria on 10September 1988.Marina is the heroine of Shakespeare’s Pericles a play remarkable for one of the most moving of all Shakespeare’s recognition scenes a dramatic situation which never failed to draw out his deepest expressionof feeling. This is the re-meeting of an ageing father with his long-lost daughter born at sea during the storm in which her mother is thought to have died and long believed to be dead herself. Eliot transforms the twocharacter’s mutual recognition into a transfigured mediation and surrounds it with a wealth of mainly marine imagery. In the words of Helen Gardener these images are: The prelude to a moment of ecstatic recognition. The voyagein Marina discovers in the ocean anisland and sees again a beloved face. Its theme is not the immortality of the soul but resurrection.

The Four Last Things for Clarinet Percussion and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’ a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance but even whilst providing more of an accompanying role they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

pour piano. Par LENS NICHOLAS. The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'. / Date parution : 2016-11-20/ Etude / Piano

Cette collection rend hommage à Jelly Roll Morton, le compositeur, donnant ses mélodies plein respect plutôt que de les transformer en véhicules d'improvisation. Le résultat est un bel exposé des possibilités musicales de solo jouer de la guitare fingerstyle et un hommage digne de Jelly Roll Morton, un des plus grands musiciens du XXe siècle.Les treize solos présentés dans cette collection couvrent un large éventail de la musique de Mr. Jelly Seigneur, chronologiquement et stylistiquement. Elles ont été organisées par le guitariste suédois Lasse Johansson. Lasse affiche une preuve suffisante de la viabilité des idées de la transposition Morton à la guitare. Morceaux comme King Porter Stomp et les sorts du grand-papa sont de bons exemples de l'expansion de Morton de l'approche de ragtime. Chicago Breakdown et surtout Wild Man Blues ont été rendus célèbres par Louis Armstrong. Et Dixie sait qu'elle a une qualité de folk, de la première section évoque Alabama Bound.Il s'agit d'un CD amélioré et tous les airs ont été transcrites dans l'onglet / la musique dans le livret de 72 pages PDF qui se trouve sur le CD. / Guitare

Now you can play over 250 of your favorite songs from Broadway, movies and television, all in one book! This book provides the lyrics along with piano and chord arrangements for some of the greatest hits ever written for the stage and screen. / Miscellaneous, Scores, Songbooks / Recueil / Piano, Voix, Guitare et Clavier

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)