Rachmaninoff composed his collection of 13 songs op. 34 in 1912, but it was only three years later that he added a little closing piece without any text: the Vocalise, which soon outshone the other songs in terms of popularity and renown. Since its first performance in 1916 this expressive, melancholy piece has circulated in countless arrangements by others. Rachmaninoff himself made an arrangement for orchestra and voice, as well as one for orchestra alone. Our Urtext edition contains the original version for high voice and piano, and is based on the autograph sources in the Glinka Museum in Moscow. A particular highlight is the separate vocal part that not only serves singers well but also all those instrumentalists who wish to play this wonderful piece using the original solo part. / Voix Et Piano

Selected art songs by prominent American composers in the G. Schirmer and AMP catalog, including songs by Samuel Barber, John Duke, Lee Hoiby, Charles Ives, John Jacob Niles, William Schuman, and others.Includes works from Ernst Bacon: It's all I have to bring - Samuel Barber: The Crucifixion- The Daisies- Hey nonny no!- The Monk and His Cat- Mother, I cannot mind my wheel- A Slumber Song of the Madonna- Sure on this shining night - Paul Bowles: Cabin- Heavenly Grass- Sugar in the Cane - Theodore Chanler: The Lamb - Ernest Charles: When I Have Sung My Songs - John Duke: Loveliest of Trees- Richard Hageman: Do not go, my love - Lee Hoiby: Where the Music Comes From - Carles Ives: In the mornin'- Serenity - Herbert Kingsley: The Green Dog - Charles Naginski: The Pasture - John Jacob Niles: Black is the color of my true love's hair- Go 'way from my window- The Lass from the Low Countree - Gladys Rich: American Lullaby - William Roy: This Little Rose - John Sacco: Brother Will, Brother John - William Schuman: Holiday Song- Orpheus with his lute. / Voix Basse Et Piano

Par LED ZEPPELIN. Page Plant and Jones hand-selected the songs for the unprecedented career-spanning Mothership. Now Alfred Music is proud to present this 200-page sheet music collection of highly accurate piano arrangements. Prior to this songbook many piano/vocal arrangements of Led Zeppelin songs were published in the old-style which means the sheet music didn't necessarily match the epic recordings that made the songs famous. For this collection each recording was revisited for transcription resulting in the finest Led Zeppelin piano/vocal songbook ever published! This is a must-own book for pianists keyboardists and fans in general. Basic guitar chord frames are included. / Date parution : 2023-06-02/ Recueil / Piano/Vocal/Guitare (PVG)

Arch Gwyn (Arranger). Par ARCH GWYN. Gwyn Arch presents some hot and spicy choral arrangements of five classics of Latin America, written specially for SSA chorus and guaranteed to thrill and delight at any occasion! The pieces include Sloop John B , Guantanamera and, of course, Jobim's much-loved Girl From Ipanema . Full Piano accompaniments are included where required. Add a funky dash of sunshine to your choral repertoire! / Niveau : Assez Facile / Feuillet / SSA

Arch Gwyn (Arranger). Par ARCH GWYN. Gwyn Arch presents some hot and spicy choral arrangements of five classics of Latin America, written specially for SATB chorus and guaranteed to thrill and delight at any occasion! The pieces include Sloop John B , Guantanamera and, of course, Jobim's much-loved Girl From Ipanema . Full Piano accompaniments are included where required. Add a funky dash of sunshine to your choral repertoire! / Niveau : Assez Facile / Feuillet / SATB

Par LED ZEPPELIN. The definitive Led Zeppelin collection featuring 24 of the legendary rock group's greatest songs representing all eight of their classic studio albums in vocal/piano arrangements with complete lyrics, chord symbols and guitar chord diagrams. / Rép International / Recueil / Piano, Chant et Guitare

20 Romanzen. Par TCHAIKOVSKI PIOTR ILITCH. Continuing our tradition of publishing Russian music, we are proud to present two invaluable volumes of Tchaikovsky's songs. These have been specially compiled by the distinguished piano accompanist Roger Vignoles, who has created new and idiomatic English singing translations to help both performers and students. These can be used for performance, or as a means to understanding the Russian poetry. Original Cyrillic texts are included to help non-Russian speakers wishing to perform the songs in the original language, transliterations are provided in an Appendix. Each volume contains twenty songs - two superb selections, showing many varied facets of Tchaikovsky's writing - fromsorrow to happiness, love and comedy. Singers and pianists are sure to welcome these volumes, which will open the world of the Russian Romance to many non-Russian musicians. Roger Vignoles is one of the best-known of today's piano accompanists, partner to an impressive list of international singes, including: Elisabeth Soederstroem, Dame Kiri te Kanawa, Thomas Allen, Thomas Hampson, Sarah Walker, Brigitte Fassbaender, Elena Obraztosova, Kathleen Battle, Sylvia McNair and many others. An accomplished linguist and coach, he has given masterclasses for singers and their accompanists in Europe, Scandinavia, Canada, the USA, Australia and the Far East. Tchaikovsky's songs are part of a ricj musical and social tradition; the Russian Romance. They are exhilarating to perform and have a speical way of expressing the emotional essence of a poem. This collection of 20 Romances is scored for Medium/Low Voice and Piano accompaniment. The text is printed in both Russian and English. / Répertoire d'Examen / Répertoire / Voix Moyenne ou Basse et Piano

Par L'ESTRANGE ALEXANDER (Arr.). Freedom Is Coming is an incredibly infectious celebration of hope and freedom from oppression and is coupled here with Hamba Vangeli (‘Spread the new word’) for Soprano, Alto and combined men's voices along with a piano accompaniment. Pay attention to the dynamics – there are lots of opportunities for contrasts and a gradual build-up of texture, as well as chances for soloists to sing out. These two songs, along with Siyahamba and many others, also feature in L’Estrange’s hit cantata Zimbe! Come sing the songs of Africa! This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano

Music from the Motion Picture Soundtrack. Par HELLER NATE / ROGERS FRED. This exclusive folio presents thirteen selections from the soundtrack from A Beautiful Day in the Neighborhood, including songs by Fred Rogers and others, arranged for piano, voice and guitar, alogn with selections from the score by composer Nate Heller, arranged for piano solo. Songs: Fred at the End · It's Our Good Friend, Lloyd/Hello, Old Rabbit · It's Such a Good Feeling · Magazine Printing · Northern Sky · Somethin' Stupid · Won't You Be My Neighbor? (It's a Beautiful Day in the Neighborhood) · You've Got to Do It · and more./ Recueil / Piano, Chant et Guitare

Par PORTER COLE. Written by Cole Porter, I’ve Got You Under My Skin became a signature song for Frank Sinatra and was one of his most requested songs at concerts. In 1966, the song became a top ten hit for the Four Seasons and has also been covered by countless others since. A key piece to include in any programme celebrating the Great American Songbook. This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes et Piano

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Fantastic heart-on-the-sleeve American standards in new arrangements designed to flatter any singer, with interesting harmonies and accompaniments. The arrangements are in the spirit of the performance tradition established by singers such as Judy Garland, Peggy Lee and others. The keys have been carefully chosen and will be comfortable for most voices. The book contains arrangements for voice and piano accompaniment, plus a section of ''fake book''-style arrangements convenient for performing. The accompanying CD includes great performances of each song by a singer backed by piano, bass and drums, as well as trio acompaniment tracks only for practice or performance.

Book 1. Par PILKINGTON MICHAEL. Book 1 of Michael Pilkington's editions of English ayres, with piano reduction accompaniment. Works by Campion, Cavendish, Ferrabosco, and Thomas Ford, amongst others./ Recueil / Chant et Piano