Toutes les chansons du troisième album de ce groupe indie-rock américain, arrangé pour l'onglet de guitare, complet avec paroles complètes. Interpol sont Paul Banks, Carlos Dengler, Daniel Kessler et Samuel Fogarino / Guitare / 80 pages / Partition

Par PART ARVO. The basic musical material of 'Pari intervallo' by Arvo Pärt consists of two parts which move exactly parallel to each other, so that the interval between them is always the same- hence the title. 'Pari Intervallo' is reminiscent of achorale prelude which might be prefaced with the lines from Romans 14/8: 'lf we live, we live to the Lord, and if we die, we die to the Lord.' Now for the first time available as a single edition for organ. / Musique contemporaine / Répertoire / Orgue

The World'S Loudest Songbook Featuring 45 Headbanging Songs. Shred your axe and thrash your big hair through the air with this jam-packed collection of 45 metal faves in note-for-note guitar trancriptions with tab. Songs include: Ace of Spades - Bark at the Moon - Breaking the Law - Crazy Train - Dying in Your Arms - Enter Sandman - Hail to the King - Iron Man - Master of Puppets - No More Tears - Painkiller - Redneck - Symphony of Destruction - Toxicity - War Pigs (Interpolating Luke's Wall) - Your Betrayal - and more. 430 pages of awesomeness!/ Tablatures / Guitare Tablatures

Par NOURSE NANCY. The four preludes included in this collection are each based upon a tune associated with a particular time of the church calendar. The Lenten prelude, Meditation upon 'Forty Days and Forty Nights', likewise employs a theme with interpolations approach. The hymn tune, Heinlein, is most closely associated with the English text, 'Forty days and forty nights, Thou wast fasting in the wild'. However in the midst of this piece occur short musical representations of the three temptations. In the case of the Variations on an Old French Carol, its association is with both Easter in its text of 'Love is Come Again' and in its Christmas text of 'Noel Nouvelet' (or as sung in English, 'Sing We Now of Christmas'). The advent prelude, Meditation upon a Sarum Plainsong, uses the 7th century plainsong chant Conditor Alme Siderum as its basis, with frequent trope-like interpolations occurring between the phrases. Even more simply conceived, the rendering of the Victorian Christmas hymn, Once in Royal David's City. The first verse is played sweetly and simply, while harmonic material is added for verses two and three./ Répertoire / Flûte Traversière

Three Pieces For Violin And Piano Op.11 were the first works to be written by composer Ian Venables after he moved to Worcestershire in 1986. The pieces, Pastorale, Romance and Dance have been called some of the most beautiful pieces for Violin and Piano ever composed.Brimming with melodic invention and radiant lyricism, the music of Three Pieces For Violin And Piano is both rich and varied. Pastorale begins the interplay between the Violin and the Piano with a beautifully relaxing melodic accord, with an Elgarian influence firmly on its sleeve. Romance exhibits the best kind of artistic simplicity, a musical love-letter featuring an achingly heartbreaking conversation between the two instruments, often ambiguous in its outlook. Dance concludes the Three Pieces with a rhythmically upbeat melody laden with staccato that unfolds into a lovely harmonic concordance, a fitting end to this series of dialogue between the Violin and Piano.Ian Venables' Three Pieces For Violin And Piano Op.11 is a beautifully composed work that is guaranteed to have audiences craving more of such a lovely interplay of these two instruments. / Violon Et Piano

to the concerto for piano and orchestra in G Major Hob. XVIII:4. Par HAYDN FRANZ JOSEF. Improvised and also composed solo cadenzas, normally occuring towards the end of a bravura aria or an instrumental concerto movement, have existed since the late 16th century. They provide the performer with an opportunity for self-presentation in the form of a free style of playing or singing, based on themes and motifs from previous sections of the movement. Solo cadenzas are for the most part introduced by a six-four chord held by the orchestra; the soloist begins a protracting interpolation in free stlye, subsequently culminating on the dominant chord, usually with a trill. Whereas originally composers left solo cadenzas to be freely improvised, from the middle of the 19th century onwards they were frequently specifically written out. The increasing abuse of cadenzas as a mere display of free virtuosity, ignoring the style and impetus of the composition, played a substantial factor in this development. Thus Beethoven gives the soloist no opportunity whatsoever for free improvisation in his 5th piano concerto in which the cadenza becomes an integral, obligatory component of the complete work. In this unique series Schott Music presents cadenzas created for well-known instrumental concertos from the Classical and Romantic periods by major composers and soloists of our time. Nino Rota dedicated the 'Kadenzen zum Klavierkonzert Nr. 4 in G-Dur (Cadenzas of the Concerto No. 4 for Piano and Orchestra in G major) Hob. XVIII:4' by Joseph Haydn to Arturo Benedetti Michelangeli (1920-1995), who recorded them for the label EMI./ Répertoire / Piano

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. / Choeur Mixte (SATB), Orchestre Et Piano

MANTOVANI Bruno Quintette Discipline / Instrument : 2 violons, 2 altos et violoncelle Durée : 18' Genre : contemporain Média : Partition + matériel Nombre de pages : 57+14+12+12+13+12 Format : 32 x 24 cm Editeur : Lemoine Réf. : 29082 Date de parution : 18/09/2013 ISBN / ISMN : 9790230990820 Depuis la deuxième moitié du 18ème siècle, le quatuor à cordes s'est imposé comme la formation de musique de chambre la plus prisée des compositeurs. Par son homogénéité sonore (toute relative, dans la mesure où un vrai effectif égal serait composé d'un violon, d'un alto, d'un violoncelle piccolo, et d'un violoncelle traditionnel), mais aussi par la doublure du violon qui éclaircit la polyphonie à quatre voix, le quatuor est devenu un standard, une référence. Ecrire pour une formation de cordes qui n'est pas un quatuor pose donc la question de la nature même de cette formation, et du choix de l'ajout. L'exemple Schubertien, avec son Quintette à deux violoncelles, interpelle dans la mesure où l'instrument supplémentaire agit soit pour épaissir la texture en lui donnant une gravité singulière, soit comme un élément d'orchestration inouï (je pense évidemment aux pizzicati du mouvement lent de cette oeuvre). Pour les quintettes à deux altos, Mozart, Mendelssohn, et Brahms nous ont légué des chefs d'oeuvres qui nous apprennent beaucoup sur la sonorité générale de cet effectif. Le fait de doubler l'alto isole encore plus le violoncelle qui, par son registre, devient une forme de pilier harmonique sur lequel se déploie soit un dialogue à quatre, soit un jeu de questions - réponses opposant deux des instruments aux deux autres. C'est pour cela que j'ai éprouvé le désir d'écrire un quintette à cordes réunissant un alto et un quatuor traditionnel : pour jouer sur les différentes combinaisons instrumentales ou textures qui peuvent être soit cohérentes, soit conflictuelles, tout en créant l'illusion d'un quatuor étendu. La pièce débute par une longue mélopée à l'unisson qui progressivement est ornementée. Par la suite, la texture s'épaissit, les cinq entités ayant chacune son individualité mais restant dans une logique de cohérence par rapport à la globalité. C'est alors que des oppositions internes apparaissent (notamment un dialogue entre deux groupes formés par un violon et un alto). Ainsi passe-t-on de la cohésion au contrepoint. Les idées musicales semblent déterminées par l'évolution de la texture, elle-même étant souvent très continue. En effet, à plusieurs reprises, le quintette évolue selon un processus d'interpolation (passage progressif et linéaire d'un accord de cinq sons à un autre accord de cinq sons par des glissements). Ce quintette est donc une oeuvre relativement linéaire et monolithique, mais il laisse aussi la place aux cadences solistes virtuoses (destinées aux altos). Commande de l'auditorium du Louvre, de la Villa Médicis à Rome, du Wigmore hall de Londres et de la Philharmonie du Luxembourg, ce Quintette à cordes est dédié à Antoine Tamestit et au quatuor Ebène. Bruno Mantovani

Paul Mealor's I Pray for Treble Voices, SATB Chorus and Piano. This is the Vocal Score for this sublime choral work, written by the renowned Welsh composer whose works have reached number one on the UK singles chart, as well as having been played at the 2011 Royal Wedding.Featuring words and music composed by Paul Mealor, this festive-themed carol is a beautiful work for choirs looking for a fresh addition to their Christmas repertoire. Including interpolations from favourite carols like 'Silent Night' and 'O Come, All Ye Faithful', this truly has the makings of a modern classic. Composed by Mealor, I Pray has a strong musical pedigree, with the composer having written for the 2011 Royal Wedding and the Military Wives Choir whose rendition of 'Wherever You Are' shot to number one in the UK. This means he's no stranger to emotive works that capture the spirit of a nation, combining poetic words with soaring melodies, his songs are known to be some of the finest contemporary choral works around. / Choeur Mixte (SATB) Et Piano

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. The Passion narrative is framed by a Prelude exploring the Annunciation and a Postlude taking us beyond the Crucifixion to the Resurrection and Ascension. These incorporate Gospel texts where Luke explains the Kingdom of God. / Choeur Mixte (SATB), Orchestre Et Piano

Par COURT DOUGLAS. Imaginative thematic interplay threads its way throughout this dynamic new concert piece. Your Grade 2 ensemble will enjoy finding several traditional armed forces songs hiding in the fabric of this piece as neatly as if Betsy Ross herself had stitched them together. The parade-like atmosphere is uplifting and energizing. The stars and stripes fly high with Yankee Doodle Salute!Spirited! / Niveau : 2 / Pièce de concert / Répertoire / Concert Band