This is the first section of the five-part Tempest Songbook. Ariel’s Lament is a luminous and beguiling rendering of the air sprite Ariel’s greeting to his master Prospero with deft instrumentation in the Flute part andvirtuosic requirements of the Soprano all suffusing the space with the magical use of Harp. As Ariel sings ‘I charmed their ears.’ Kaija Saariaho is a contemporary Finnish composer living and working in Paris and muchinfluenced by the electronic experimentation of IRCAM although Ariel’s Lament is entirely acoustic in its instrumentation. She gained international renown for her first opera l’Amour du Loin and continues a prolific compositionallife with a wide range of international performances.

The New Real Book is the best-selling legal fake book of all time, with over 100,000 musicians depending on it for accurate, easy-to-read charts for hundreds of the most important tunes in the jazz canon. Don't go to the gig without it!All living composers have approved these charts - many of them are from the composer's own lead sheets.Charts for the standards were derived from a consensus of the best recorded jazz versions.Created by musicians, for musicians. The new standard in fake books! / Instruments En Do

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Walter Brown Mcghee (1915-1996) était un éloquent porte-parole pour les blues qui, a fait un en partenariat avec Sonny Terry, prosélyte le Campania-blues-style flottant à des auditoires folkloriques une décennie avant plus jamais entendu parler du Delta du Mississippi. Bien qu'il est largement associé à la boom folk qui fait des noms familiers de Sonny & Brownie dans le monde entier, carrière d'enregistrement de Brownie commença à Chicago en 1940 - la deuxième chanson dans cette rétrospective, moi et mon chien, c'était le premier enregistrement émis de Brownie. Autres rappels ici de carrière de blues d'avant-guerre de Brownie sont mort de Blind Boy Fuller (écrit à l'ordre à l'occasion de la disparition de 1941 de Fuller) et les Blues de boutique de pion Fuller-ébriété. Tennessee né, Caroline-ébriété, New York, basé à sa gloire boom folk et Nations Unies californien au moment de sa mort, Brownie ont montré une gamme large de stylistique de ragtime turn-of-the-century (Come sur Keep It Coming) à... / Guitare / Dvd

All The Little Lights est le troisième album studio du chanteur folk britannique Mike Rosenberg, mieux connu sous son nom de scène Passenger.
Ce songbook arrangé pour piano, voix et guitare comprend toutes les chanson de l'album dont Let Her Go.

Partitions piano, chant et guitare / Variétés / Partition /

This is one of four level-three books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level Three For early intermediate students- Basic syncopation accidentals swung eighth notes- Whole half quarter note dotted half note eighth note triplet- Whole rest half rest quarter rest dotted-half rest eighth rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent tenuto grace notes- 3/4 and 4/4 time signatures- Keysignatures up to two sharps and one flat- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al Coda About the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on music that is familiar fun and that they can?t wait to play; ? nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; ? enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With 4 resources

This is one of four level-four books in the American Popular Piano series - the educational piano course by Christopher Norton and Scott McBride Smith.The series has 11 difficulty Levels and each Level contains: Repertoire album with CD; Etudes album (including Improvisation); Skills book; Technic (technique) book. Level Four For intermediate students- Frequent jumps and spans of more than a 5th- Whole half quarter note dotted half note dotted quarter note eighth note triplet eighth triplet sixteenth- Whole rest half rest quarter rest dotted-half rest eighth rest- pp p mp mf f ff crescendo and diminuendo- Slur legato staccato accent tenuto grace notes- 3/4 4/4 and 6/8 time signatures- Key signatures up to three sharps and two flats- Repeat 8va 8vb tie fermata ritardando a tempo- Fine DC al Fine Coda DS al CodaAbout the American Popular Piano series:?Why can?t I play more music like this?? asked a fourteen-year-old piano student. ?My friends like to hear me play cool music.? Why not indeed. J.S. Bach taught his sons using the music of his time popular dances preludes and exercises by living composers. It would never have occurred to him to seek out pieces in styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.American Popular Piano has been developed on the same principles. Students working in this series will? ? develop traditional pianistic and musical skills through music in contemporary popular styles;? be motivated to practice by working on music that is familiar fun and that they can?t wait to play; ? nurture their creativity and spontaneity through a user-friendly modular approach to improvisation; ? enjoy regular ensemble playing; ? and find pleasure in a lifelong relationship with music!Written entirely by Christopher Norton and Scott McBride Smith American Popular Piano is an educational piano course which comprises 44 books clearly divided into 11 difficulty levels. With

52 CCM faves in a value-priced songbook: All to You * Be Near * Breathe * Come On Back to Me * Deeper * Faithful to Me * I Wanna Sing * King * Maker of All Things * Oceans from the Rain * Pray * Song of Love * These Hands * This Is Your Life * Wisdom * more.

Pasticcio On A Theme Of Mozart-Percy Turnbull born near Newcastle Upon Tyne in 1902 had his earliest musical training as a cathedral chorister. At the RCM in the 1920s Turnbull studied with Vaughan Williams Holst and John Ireland. Turnbull was a highly accomplished pianist and spent much of his life earning his living as an accompanist performer and teacher. His understandng of the instrument and his extremely wide knowledge of the piano repertoire led him to produce highly varied and colourful output. His interests were almost entirely for miniature forms: suites preludes studies variations and character pieces. All of these pieces be they athletically virtuoso or deftly simple show a flair forthe idiom and perhaps more importantly they lend an historically significant and stylistically interesting perspective to the literature of twentieth-century British piano music.