Une sélection de leurs morceaux les plus connus, dont 'Back In Black', 'Touch Too Much', 'Who Made Who' et quinze autres en tablatures guitares. / Guitare / Partition

The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed, without any regard to copyright law, or royalties paid to the composers who created these musical masterpieces. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You won't even notice the difference, other than all the notorious errors being fixed: the covers and typeface look the same, the song list is nearly identical, and the price for our edition is even cheaper than the original! Every conscientious musician will appreciate that these books are now produced accurately and ethically, benefitting the songwriters that we owe for some of the greatest tunes of all time! This Bb mini edition includes 400 songs: Ac-cent-tchu-ate The Positive (from the Motion Picture HERE COME THE WAVES) After You After You've Gone (from ONE MO' TIME) Ain't Misbehavin' (from AIN'T MISBEHAVIN') Ain't That A Kick In The Head Aisha All My Tomorrows All Or Nothing At All All The Way (from THE JOKER IS WILD) Allanjuneally Alone Too Long (from BY THE BEAUTIFUL SEA) Along Came Betty Always And Forever Among My Souvenirs Amor (Amor, Amor, Amor) Antigua Aquellos Ojos Verdes (Green Eyes) Aren't You Glad You're You As Long As I Live At Long Last Love (from YOU NEVER KNOW) At Sundown Autumn In 3 Baia (Bahía) Ballad For Trane Bark For Barksdale Be Careful, It's My Heart (from HOLIDAY INN) Bein' Green Bernie's Tune Bésame Mucho (Kiss Me Much) The Best Thing For You (from the Stage Production CALL ME MADAM) The Best Things In Life Are Free (from GOOD NEWS!) Between The Devil And The Deep Blue Sea (from RHYTHMANIA) Beyond The Blue Horizon (from the Paramount Picture MONTE CARLO) Bijou Bitches Brew Blackberry Winter The Blessing A Blossom Fell Blue Bird Blue Champagne Blue Prelude Bolivia Born To Be Blue Bossa Antigua Brazil Breakin' Away The Breeze And I Bud Powell Buzzy By Myself (from BETWEEN THE DEVIL) Bye Bye Baby (from GENTLEMEN PREFER BLONDES) Caldonia (What Makes Your Big Head So Hard?) Careful Cariba Celia Change Partners (from the RKO Radio Motion Picture CAREFREE) Cheek To Cheek (from the RKO Radio Motion Picture TOP HAT) Cheetah Cheryl Chicago (That Toddlin' Town) Come Fly With Me Continuum Copenhagen A Cottage For Sale Crazy Crazy She Calls Me The Creole Love Call Cry Me A River Dark Eyes Day Dream 'Deed I Do Dig Diminushing Don't Ever Go Away (Por Causa De Voce) Don't Know Why Don't Take Your Love From Me Don't Worry 'Bout Me (from COTTON CLUB PARADE) Dream Dancing A Dreamer's Holiday Dreamy Drop Me Off In Harlem Early Morning Mood East Of The Sun (And West Of The Moon) East St. Louis Toodle-oo East To Wes Easy Street Eleven Four Elogie The End Of A Love Affair Ev'ry Time We Say Goodbye (from SEVEN LIVELY ARTS) Everything Happens To Me Ev'rything I Love Exactly Like You The Face I Love Falling In Love Again (Can't Help It) (from the Paramount Picture THE BLUE ANGEL) Feel Like Makin' Love Fields Of Gold Fine And Mellow For Every Man There's A Woman (from the Motion Picture CASBAH) Freckle Face From This Moment On (from OUT OF THIS WORLD) Full Moon And Empty Arms Funkallero Get Happy (from SUMMER STOCK) Glad To Be Unhappy (from ON YOUR TOES) The Glory Of Love (featured in GUESS WHO'S COMING TO DINNER) Gone With The Wind A Good Man Is Hard To Find Good Morning Heartache Got A Match? H

Mozart's 'Missa in C major? (K. 220), nicknamed the 'Sparrow Mass? for its frequently recurring characteristic motifs in the violins, has retained a firm place in the choral repertoire to the present day. Now it has been arranged for female choir and is appearing as part of the recently started 'Bärenreiter Female Choir? series.Heribert Breuer has judiciously transferred the tenor and bass solos to the high voices and incorporated the original soprano and alto parts largely unchanged into the solo and chorus parts. He has thereby retained the work's original substance while giving it a wholly new and delightful sound.- Arrangement for female choir (SMezAA) based on the Urtext of the 'New Mozart Edition?- Idiomatic piano reductionHeribert Breuerwas professor of choral conducting and music theory at Berlin University of the Arts until 2010. He is the founder and director of the Berlin Bach Akademie and has made a name for himself with his many arrangements of works from Bach to Schubert. / Choeur Mixte Et Orchestre

This latest, classically-flavoured songbook for John Thompson's Easiest Piano Course introduces easy works by one of the greatest composers ever to have lived, Wolfgang Amadeus Mozart. Featuring some very fine compositions, First Mozart is perfect for pupils reaching parts 2 to 4 of the world-renowned Piano course.These fun repertoire books contain some amazing pieces that have been specially collected and graded to be used in conjunction with the Easiest Piano Course. Pieces like The Birdcatcher Song, Eine Klein Nachtmusik (1st Movement), A Musical Joke and Sonata Facile will reinforce essential technical ability, while simultaneously enhancing a general sense of musicality and melodic playing. First Mozart is ideal for pupils who've worked through the course at levels 2 to 4, but it's also a great set of pieces for sight reading practice for more advanced students.The pieces in this songbook become progressively more difficult, and, to this end, dynamics and phrasing have been omitted for the earlier pieces, since they're not introduced until Part 3 of the course. Early pieces like Ave Verum Corpus and Dies Irae (From 'Requiem Mass In D Minor) help to reinforce what pupils learn in the beginning of the John Thompson Method, with a focus on playing notes and rhythms accurately. Towards of the end of the songbook, more challenging pieces like Piano Sonata #21 and #11 will help pupils to enhance their technical skills, play more melodically, and, most importantly, enjoy playing!Generally, these pieces stay in the 5-finger position, with handy hints and suggestions when a different fingering is called for. The pieces in this songbook are beautiful to hear and to play, making First Mozart a really great beginner's songbook for pupils who want to learn some of the finest music ever composed. As an introduction for beginners to classical music and Mozart in particular, this songbook is rewarding and enjoyable, these pieces being timeless and never going out of fashion.The John Thompson's Easiest Piano Course First Mozart songbook is the ideal beginning book for classical music fans. It's tailor-made for pupils working through the renowned and revered Piano method, so it's authoritative and accurate, helping you to enhance your technique and learn some amazing music. / Piano

This is a beginning fake book for players new to faking. By using a fake book, musicians learn to fake an accompaniment to a melody, playing chords as indicated. This book is designed for those players just acquiring this important musical skill. It includes 100 favorite songs that belong in all musicians' repertoire library, including standards, pop hits, Broadway and movie songs, folk favorites, and much more. All the songs are in the key of C and include easy-to-read, large notation complete with lyrics. Chords have been simplified, but remain true to each tune. This book even includes an introduction on how to use a fake book. Songs include: Beauty and the Beast · Bewitched · Blackbird · Can You Feel the Love Tonight · Do-Re-Mi · Don't Cry for Me Argentina · Edelweiss · Georgia on My Mind · Heart and Soul · Hotel California · I Walk the Line · Lean on Me · Let It Be · A Million Dreams · Satin Doll · Stand by Me · Sweet Caroline · This Is Me · Try to Remember · Unchained Melody · When I Fall in Love · When the Saints Go Marching In · A Whole New World · Yesterday · You Made Me Love You (I Didn't Want to Do It) · and more./ Recueil / Instruments en Do C

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

Grundlegende Technik spielend lernen!. Par BERG ANDREA. Supposedly rudiments are the basis for playing the drums at all . . . . but for students who are not so advanced, it’s an absolute mystery why they have to struggle with these boring technical exercises when all they really want to do is just play. Thisbook can be introduced early in the instructional process or used supplementarily if youre learning on your own. As soon as the first contact with notation has been made and youre playing your first grooves, you can then have fun jumping into theworld of rudiments. To this end, this book is separated into two Tours. Tour 1 contains simple exercises for the beginner, Tour 2 is directed at the advanced student who extensively knows and plays the rudiments. / Niveau : Tous Niveaux / All Styles - Technic / Recueil / Batterie et Percussions

Overture. Par MOZART WOLFGANG AMADEUS. In 1786 Mozart composed his wonderful opera Le Nozze di Figaro (KV 492). The Italian libretto, based on the play Le mariage de Figaro by Beaumarchais, was written by Lorenzo da Ponte who also made the libretti of Mozart’s opera’s Don Giovanni and Così fan tutte. In the opera Le Nozze di Figaro, Count Almaviva tries to seduce the fiancée of Figaro, his valet. Eventually, through four acts full of complicated intrigue, he is outwitted. In his music, Mozart at times in a humorous way reflects the numerous social and erotic intrigues with both empathy and insight. The brilliant overture is just as vivacious and witty as the opera itself. Mozart delightfullyanticipates the passion and playful love that is to come. The skillful transcription for concert band by Tohru Takahashi certainly does justice to this appealing music. / Niveau : 5 / Transcription / Répertoire / Concert Band

Overture. Par MOZART WOLFGANG AMADEUS. In 1786 Mozart composed his wonderful opera Le Nozze di Figaro (KV 492). The Italian libretto, based on the play Le mariage de Figaro by Beaumarchais, was written by Lorenzo da Ponte who also made the libretti of Mozart’s opera’s Don Giovanni and Così fan tutte. In the opera Le Nozze di Figaro, Count Almaviva tries to seduce the fiancée of Figaro, his valet. Eventually, through four acts full of complicated intrigue, he is outwitted. In his music, Mozart at times in a humorous way reflects the numerous social and erotic intrigues with both empathy and insight. The brilliant overture is just as vivacious and witty as the opera itself. Mozart delightfullyanticipates the passion and playful love that is to come. The skillful transcription for concert band by Tohru Takahashi certainly does justice to this appealing music. / Niveau : 5 / Transcription / Répertoire / Concert Band ou Harmonie

Captivating Classics From Argentina. Par GARDEL CARLOS. In 'Tango Saxophone Duets”, Diego Collati has collaborated with saxophonist Mario Cerra to provide new arrangements of Carlos Gardel's music. These duets can be played by a pair of alto saxes or by alto and tenor. Gardel, who died tragically young in an air accident in 1935, is credited as the man who made the tango internationally popular and his music will be recognized by young and old alike. The timbre of the saxophone is particularly suited to this genre and lends itself to evoking the fascination and glamour of Gardel's tangos. As well as being rewarding to play, these arrangements will introduce new elements of tone production and rhythm and steer young players towards good grounding in technique and ensemble playing./ Recueil / 2 Saxophones (AA/AT)

Family Jewels : best of ARC/DC. Paroles et partitions pour guitare (normes de notations et tablatures). / Guitare Tablatures / Partition

Paroles et arrangements pour guitare - notations standards et tablatures / Guitare Tablatures / Partition

Par BARRETT DAVID. This book is meant to take an instrument and musical style and teach it to the people who made it so popular, the blues listening public. A comprehensive lesson and study book for the intermediate and advanced diatonic harmonica player, Classic Chicago Blues Harp presents techniques, progressive examples and accompanying twelve bar blues exercise and examples. Special attention is given to the accurate reading of blues rhythms and each notated tune is carefully marked with tablature indicating precisely where to find individual notes. Each chapter concludes with a chapter review of what was taught in that section. This book is best suited to the intermediate player rather than the beginner, and will appeal strongly to those with a genuine desire to learn the Chicago blues harmonica style. The book is excellent for self-teaching, yet is comprehensive enough to be used in a private instruction format. The included CD recording insures accuracy of interpretation and ease in learning. Most of the exercises and examples are included on the CD with split-tracked back-up music. Each song is played once with harmonica and then without. A great all-around study book for blues harmonica players at any level. / Niveau : Tous Niveaux / Blues - Solos / Recueil / Harmonica Diatonique