Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 best-loved
Christian hymns that have
inspired praise and
worship for over four
centuries. Series: Piano
Treasury Series. 392
pages. Published by Music
Sales.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
Choral SSA Choir, piano, flute SKU: CF.CM9583 Composed by Christopher Gab...(+)
Choral SSA Choir, piano,
flute
SKU:
CF.CM9583
Composed by
Christopher Gabel. Sws.
Performance Score. 20
pages. Duration 4
minutes, 9 seconds. Carl
Fischer Music #CM9583.
Published by Carl Fischer
Music (CF.CM9583).
ISBN 9781491154052.
UPC: 680160912551. 6.875
x 10.5 inches. Key: Eb
major. English. Thomas
Moore
(1779-1852).
Thomas
Moore (17791852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Filld with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when pleasures
dream is gone, Its memory
lives in Musics breath.
Music, oh, how faint, how
weak, Language fades
before thy spell! Why
should Feeling ever
speak, When thou canst
breathe her soul so well?
Friendships balmy words
may feign, Loves are even
more false than they; Oh!
tis only musics strain
Can sweetly soothe, and
not betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779a1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music a
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fillad with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasureas dream is gone,
Its memory lives in
Musicas breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendshipas balmy
words may feign, Loveas
are even more false than
they; Oh! atis only
musicas strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779-1852) was an
Irish poet, singer,
songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song. We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life? On Music -
Thomas Moore When through
life unblest we rove,
Losing all that made life
dear, Should some notes
we used to love, In days
of boyhood, meet our ear,
Oh! how welcome breathes
the strain! Wakening
thoughts that long have
slept, Kindling former
smiles again In faded
eyes that long have wept.
Like the gale, that sighs
along Beds of oriental
flowers, Is the grateful
breath of song, That once
was heard in happier
hours. Fill'd with balm
the gale sighs on, Though
the flowers have sunk in
death; So, when
pleasure's dream is gone,
Its memory lives in
Music's breath. Music,
oh, how faint, how weak,
Language fades before thy
spell! Why should Feeling
ever speak, When thou
canst breathe her soul so
well? Friendship's balmy
words may feign, Love's
are even more false than
they; Oh! 'tis only
music's strain Can
sweetly soothe, and not
betray. Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece. Thomas
Moore (1779–1852)
was an Irish poet,
singer, songwriter and
entertainer. In his poem,
On Music, Moore
emphasizes the power that
music has in our lives
and the ability it has to
evoke memories and
feelings from the past.
Music transcends that
which can be spoken or
felt. The beauty of
making music together is
to establish meaningful
connections with others
and to share a common
language through song.We
are reminded, however,
that relationships with
each other can be fluid
or unstable, but as the
words of the poem remind
us, music will not
betray. No matter the
experiences that we face,
the relationships that we
foster, or the memories
that we create, music
will always be there for
us in times of need and
in times of celebration.
What does music mean to
you? How does it enrich
your life?On Music
– Thomas MooreWhen
through life unblest we
rove,Losing all that made
life dear,Should some
notes we used to love,In
days of boyhood, meet our
ear,Oh! how welcome
breathes the
strain!Wakening thoughts
that long have
slept,Kindling former
smiles againIn faded eyes
that long have wept.Like
the gale, that sighs
alongBeds of oriental
flowers,Is the grateful
breath of song,That once
was heard in happier
hours.Fill’d with
balm the gale sighs
on,Though the flowers
have sunk in death;So,
when pleasure’s
dream is gone,Its memory
lives in Music’s
breath.Music, oh, how
faint, how weak,Language
fades before thy
spell!Why should Feeling
ever speak,When thou
canst breathe her soul so
well?Friendship’s
balmy words may
feign,Love’s are
even more false than
they;Oh! ’tis only
music’s strainCan
sweetly soothe, and not
betray.Note to the
performer: Liberty can be
taken with the tempo
markings and rubato
should be used throughout
in order to further
stress the beauty and
significance of the text.
With its vocal-like
descant, the flute should
be treated as an
additional voice rather
than mere accompaniment
to enhance the texture of
the piece.
For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody...(+)
For voice and piano.
Format: easy
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics and
chord names. Christmas
and holiday. 268 pages.
9x12 inches. Published by
Hal Leonard.
E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and...(+)
E-Z Play Today (Easy
big-note right-hand-only
arrangements for piano,
organ, and electronic
keyboard). Size 9x12
inches. 256 pages.
Published by Hal Leonard.
For voice and guitar. Format: fakebook. With vocal melody, lyrics, guitar tablat...(+)
For voice and guitar.
Format: fakebook. With
vocal melody, lyrics,
guitar tablature, chord
names, guitar chord
diagrams and strum and
pick patterns. Christmas
and holiday. Series: Hal
Leonard Fake Books. 189
pages. 9x12 inches.
Published by Hal Leonard.
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 272 pages.
Published by Hal Leonard.
Edited by Alexander Shealy. For recorder. Format: recorder book (solos, duets, t...(+)
Edited by Alexander
Shealy. For recorder.
Format: recorder book
(solos, duets, trios).
With standard notation,
chord names,
instructional text,
fingering charts and
lyrics. Instructional and
folk. Series: World's
Favorite Series, No. 50.
128 pages. 9x12 inches.
Published by Ashley
Publications.
300 Sacred Songs Piano, Voix et Guitare [Fake Book] - Facile Creative Concepts
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Sacred. 182 pages.
9x12 inches. Published by
Creative Concepts
Compiled by Amy Appleby and Peter Pickow. Spiral-bound book. 240 pages. Publish...(+)
Compiled by Amy Appleby
and Peter Pickow.
Spiral-bound book. 240
pages. Published by Music
Sales. (AM948850)
Pound for pound, one of
the best deals around.
114 selections in
piano/vocal/guitar chord
format. A collection of
the world's best
lovedChristmas music for
the holiday season. Songs
are categorized into 11
sections-from night
before Christmas through
carols for the new year.